CLAT Step 4C - Relate the event's genre(s) to its broader cultural context

Question 1

Broader cultural context categories (12)

Answer 1

1. artists
2. creativity
3. language
4. transmission and change
5. cultural dynamism
6. identity and power
7. aesthetics and evaluation
8. time
9. emotions
10. subject matter
11. community values
12. community investment

Question 2

Artists – Issues/Topics (2 sources)

Answer 2

(Fujimura 2017; Chenoweth 1984): Get to know the artists well - might be outside church

(Schrag2015): Globalization → hybrids of cultures and arts → art forms worldwide becoming less diverse (usually the minority cultures suffer the most loss)

Question 3

Artists – Questions (4 sources)

Answer 3

(Stone 1979): Where can I find artists? At enactments of artistic genres, which are often bounded events “set off and made distinct from the natural world of everyday life by the participants.”

1. Bauman (1992): Performance = aesthetically marked, heightened mode of communication, framed as a special display for an audience.

(Merriam 1964; Schrag 2013): How does the community view artists? high or low status, as drunks and deviants, or as community heroes?

(Schrag 2013): Who are the artists, etc.?

1. Who made this, and when? Where and who are the individuals and groups who compose and perform this community’s arts?
2. Who are the artists of this genre? What is required to become one of these artists? (status, gender, age, skill, training, etc.) Is this artistic role ascribed or achieved?
3. If a specific artist is required to create this artistic genre, which artist should be contacted? If so, how, and by whom, should he or she be contacted?
4. What meaning(s) do community members attach to each artistic role?
5. Did any participants receive payment in goods, services, or $$ for performing their role?

Question 4

Artists – Principles/Theoretical Background (3 sources)

Answer 4

Merriam (1964): Being classified as a valid artist is determined by the community

Small (1998): An artist is anyone who is musicking (includes composing, practicing/rehearsing, performing, listening….); Everyone can do musicking; musicking is a social activity; the meaning of music lies in not only the notes but also in the relationships of those making it.

Fujimura (2017): Artists are often border walkers, mearcstapas, and don’t fit into the church; but can be great bridges between church and outside world

Question 5

[[Merriam (1964)]] – Artists

Answer 5

Being classified as a valid artist is determined by the community; every society sees some as more skilled than others, some as high or low status, as drunks and deviants, or as community heroes.

Question 6

[[Small (1998) - Artists (def)]]

Answer 6

An artist is anyone who is musicking (includes composing, practicing/rehearsing, performing, listening….)

Question 7

[[Fujimura (2017) - Artists]]

Answer 7

Artists may struggle to fit into the church, because they are typically mearcstapas (border walkers), those who walk on the borders of different groups. This identity means they are gifted in reaching the outside world with the Gospel and showing other people new ideas and connecting church communities to outside communities.

Question 8

Creativity (2 sources)

Answer 8

Csikszentmihalyi (1996); [[Toynbee (2003)]]

Question 9

Creativity – Issues/Topics – 2 defs & (2) related concepts from Csikszentmihalyi (1996)

Answer 9

Creativity (CLAT p.162) = when people draw on personal competencies, symbolic systems, and social patterns to produce an event of heightened communication that has not previously existed in that exact form.

Csikszentmihalyi (1996):

• Creativity must start with an innovation by a person operating within a certain domain that is then accepted by the field.
• domain = set of symbolic rules & procedures
• field = gatekeepers of the domain (who have to accept the new creation—creativity not just judged from innovation alone, but recognition of that innovation—creativity cannot be separated from its recognition).

[[Toynbee (2003)—the listener ultimately determines creativity! The artist interacts between the field of production and the social context around him]]

Question 10

[[Csikszentmihalyi (1996) – Creativity]]

Answer 10

• Creativity must start with an innovation by a person operating within a certain domain that is then accepted by the field.
• domain = set of symbolic rules/procedures
• field = gatekeepers of a domain (have to accept a new creation—creativity not just judged on innovation, but also recognition of that innovation—creativity cannot be separated from its recognition)

Question 11

[[Toynbee (2003) – Creativity]]

Answer 11

The listener ultimately determines creativity! artist interacts between the field of production and the social context around him

Question 12

Creativity category – research questions (4)

Answer 12

1. Who are the creators of new works?
2. How do new examples of this form come into being?
3. What does “new” mean in this art form?
4. Where are the components of creativity [creators; language/symbolic systems; audience/gatekeepers] located?

Question 13

[[Rice (2003) – Creativity: what and where are the components of creativity for this genre?]]

Answer 13

Components of creativity are the creators, language and other symbolic systems, and audience and gatekeepers. Each component, in turn, can vary in its nearness to the community, measured geographically, conceptually, and in communal identity.

Question 14

[[Clifford (1997) – Creativity: where do components lie?]]

Answer 14

Emphasis should be on intercultural connections and routes (not roots) of creativity.

Question 15

Creativity: where do components lie? (sources)

Answer 15

[[Rice (2003); Clifford (1997)]]

Question 16

Language – (2) questions + (1) cross reference

Answer 16

• Which language(s), dialect(s), register(s) are appropriate?
• What status/identity is associated with each language choice?
• [see also Dye (2009), esp. #1, appropriate language/dialect/orthography, and #2, good translation]

Question 17

[[Dye (2009) – Language]]

Answer 17

Esp. Condition #1, appropriate language/dialect/orthography, and #2, good translation

Question 18

Transmission and Change – (2) questions + sources

Answer 18

How are competencies passed on to others?

• [[Harris (2012/2017): two keys factors of preservational resilience for an epic tradition: effective transmission and necessary levels of innovation.]]

How has the form changed historically?

• [Nettl (2005: 272-290)—There are four kinds of musical change; Musical change is slowest in . . . (4 things); Music often changes when society doesn’t change and vice versa; There seems to be a need for musics to exhibit both change and stability.
• [Coulter (2011) created GMSS (Graded Music Shift Scale) for music; added “Locked” category where community only plays fixed repertoire (12); overall, focuses on musicking in home community; based on:
  
  • Fishman (1991)—GIDS
  • Lewis & Simons (2010)—EGIDS

Question 19

[Harris (2012/17) – Transmission and Change]

Answer 19

(2) key factors of preservational resilience for an epic tradition: effective transmission and necessary levels of innovation.

Question 20

[Coulter (2011)] – Transmission and Change

Answer 20

CLAT p. 258-259

Created GMSS (Graded Music Shift Scale) for music:

• different expectations with music, e.g., not everyone will be an expert performer;
• added “Locked” category – community only plays fixed repertoire (12);
• overall, focuses on musicking in the home community

based it on:

• Fishman (1991): GIDS (Graded Intergenerational Disruption Scale); original language scale with 8 stages
• Lewis & Simons (2010): EGIDS (Expanded GIDS); from 8 stages to 13

Question 21

Cultural dynamism (2) sources

Answer 21

[Schrag (2013b, 2013c:166)]

Question 22

[Schrag (2013b, 2013c:166)]

Answer 22

Use malleable structures to strengthen stable structures; use stable structures as points of reference to anchor creativity/malleability

Question 23

Identity and Power – (2) main questions

Answer 23

What kinds of people identify with this form?

How does this form relate to social stratification, gender, other distinctions? [examples of wielding power through music]

Question 24

Identity and Power – What kinds of people identify with this form? (2 of 5 sources)

Answer 24

Merriam (1964); Daughtry (2006); Shelemay (2001); Schrag (2003); Schechner (2013)

Question 25

[[Nettl (2005)]] - Identity and Power – How does this form relate to social stratification, gender, other distinctions?

Answer 25

Nettl: Societies not equal in participation; men perhaps have had access/paid attention more to men? with more women in the field, perhaps will learn more….

Question 26

Identity and Power – How does this genre relate to social stratification, gender, other distinctions? (source)

Answer 26

Nettl (2005) – Societies not equal in participation; men perhaps have had access/more attention paid to them by researchers? with more women in the field, perhaps will learn more….

Question 27

[[Daughtry (2006)]] – Identity and Power

Answer 27

negative reaction in Russia to melodic associations of “old anthem tune,” even though words new and better suited

Question 28

[[Shelemay (2001)]] – Identity and Power

Answer 28

hidden vs. public agendas (South African national anthem; reggae subversive resistance; Shoshone powwow flag/war songs)

Question 29

Identity & Power: Examples of wielding power through music (sources)

Answer 29

Daughtry (2006) – negative reaction in Russia to melodic associations of “old anthem tune,” even though words new and better suited

Shelemay (2001) – hidden vs. public agendas (South African national anthem; reggae subversive resistance; Shoshone powwow flag/war songs)

Question 30

Aesthetics and Evaluation (3 of 4 sources)

Answer 30

Margolis (1965); [[Small (1998); Merriam (1964); Fitzgerald and Schrag (2006)]]

Question 31

Margolis (1965) – Aesthetics and Evaluation

Answer 31

Aesthetics: the study of the criteria people use to judge an artifact with respect to attributes perceived to be intrinsic to it.

Question 32

[[Fitzgerald and Schrag (2006)]] - aesthetics and evaluation

Answer 32

A song or other bit of artistic communication is good insofar as its features work together to effect the purposes demanded by the context of its performance and experience.

Question 33

[[Merriam (1964)]] – aesthetics and evaluation

Answer 33

No object or action is intrinsically aesthetic; “beauty” depends on the culture; Western aesthetic concepts don’t transfer into other cultures; What is THIS culture’s philosophy of aesthetics? What do THEY view as beautiful in their arts?

Question 34

Time – main points

Answer 34

1. People experience time during performances differently than in other parts of life
2. The structure, flow, and timing of a performance may intersect with broader temporal patterns like agricultural, religious, and calendrical cycles.

Question 35

Time – People may experience time during performance differently (sources)

Answer 35

Goodridge (1999); [[Rice (2003)]]

Question 36

Goodridge (1999) - time

Answer 36

Movement rhythm in performance is a “patterned energy flow of action…marked in the body… [and] by changes in the level of intensity, speed, and duration.”

Question 37

[[Rice (2003)]] - Time

Answer 37

people experience music through time 1) historically (musical progression within a performance, musical stylistic progression through time periods) and 2) experientially (in the present, which is affected by past personal life experiences prior to that performance)]]

Question 38

Emotions (3 of 4 sources)

Answer 38

Huron (2006); Keil (1995); Turino (1999); Racy (1991)

Question 39

[[Keil (1995)]] - Emotions

Answer 39

Form is often more important than content in producing emotional responses; people stay engaged because of the variations (groove, texture, timbral); importance of music as a process, social time of creating together

Question 40

[[Turino (1999)]] - Emotions

Answer 40

(semiotics) When “indices are tied to” an individual or community’s “affective foundations,” they have “special potential for creating direct emotional effects because they are often unreflexively apprehended as ‘real’ or ‘true’ parts of the experiences signified”; these indices are perceived as part of the experiences, while symbols are simply about those experiences

Question 41

[[Racy (1991)]] - Emotions

Answer 41

Intelligent, emotional feedback from the audience affects how the performers spontaneously compose. This emotional exchange helps to create in the performer the ecstatic state of saltana.

Question 42

Subject Matter (source)

Answer 42

Murdock (2004)

Question 43

Murdock (2004) – Subject Matter

Answer 43

There are many themes common to many cultures

Question 44

Community Values (source)

Answer 44

[[Beeman (1997)]]

Question 45

[[Beeman (1997)]] - Community Values

Answer 45

[Artistic communication events are] the means–perhaps the principal means–through which people come to understand their world, reinforce their view of it and transform it on both small scale and large scale. It can be conservative, or transformative.

Question 46

[Schrag (2013: 171)] - Communal Investment questions

Answer 46

What is the status, size, expense, and exclusivity of the performance space? What is the status, number, expense, and exclusivity of the performers? How many resources (social, material, financial, and spiritual) does the community invest in this genre? How emotionally invested is the community in the artistic genre?