Step 4C - Relate the event's genre(s) to its broader cultural context Flashcards
Broader cultural context categories
- artists
- creativity
- language
- transmission and change
- cultural dynamism
- identity and power
- aesthetics and evaluation
- time
- emotions
- subject matter
- community values
- community investment
Artists main points
who are the artists-what are their roles?
how do artists in this genre relate to the community?
how do people become artists in this genre?
Who are the artists? sources
Small (1998); Ruskin and Rice (2012)
Small (1998)
ACTIVITY (not thing) of musicking; everyone involved, down to the trash cleaner at the end of the concert
Ruskin and Rice (2012)
4 types: innovators, key roles, ordinary, anonymous; artists are the ones influencing new social structures
Creativity main points
o who are the creators of new works?
o how do new examples of this form come into being?
o what does “new” mean in this art form?
o where do components [creators; language/symbolic systems; audience/gatekeepers] lie?
Creativity sources
Csikszentmihalyi (1996); Toynbee (2003)
Csikszentmihalyi (1996)
- creativity = people draw on personal competencies, symbolic systems, and social patterns to produce event of heightened communication that has not previously existed in that exact form [note that is systemic, between person’s thoughts and a given context]
- domain = set of symbolic rules/procedures
- field = gatekeepers of domain (have to accept the new creation—creativity not just judged from innovation, but recognition of that innovation—creativity cannot be separated from its recognition)
Toynbee (2003)
the listener ultimately determines creativity! artist interacts
where do components lie? sources
Rice (2003); Clifford (1997)
Rice (2003) - creativity: where do components lie
with world in flux, 3 dimensions to describe individual’s music experiences: time x2, space, metaphor (perception of what art is)
Clifford (1997)
emphasis on intercultural connection, routes, not roots
Language main points
o which language(s), dialect(s), register(s) appropriate?
o what status/identity associated with each language choice?
o [see also Dye (2009), esp. #1, appropriate language/dialect/orthography, and #2, good translation]
Transmission and change main points
how passed on to others?
how has the form changed historically?
Transmission and change sources
Nettl (2005); Coulter (2011); Fishman (1991); Lewis and Simons (2010); UNESCO (2003)
Nettl (2005) - transmission and change
ethnomus now more interested in change; 4 types (concentrate on changes to essential character); musical change slowest where….; music focused on either innovation or variation, but not both
Coulter (2011)
sustainability—language survey tools SEQ and RTT for GMSS, 8 steps, addition of “locked” (fixed repertoire for tourists—not everyday part of community)
Fishman (1991)
GIDS
Lewis and Simons (2010)
EGIDS, from 8 stages to 13 (but preserved numbering with levels a, b, etc.; new stages beginning—international and end—dormant, extinct)
UNESCO (2003)
new attention to education, protection, etc., of art forms
Cultural dynamism source
Schrag (2013)
Schrag (2013)
[also listed under Step 3], use malleable to strengthen stable; use stable as point of reference to understand the malleable
Identity and Power main points
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]
What kinds of people identify with this form? sources
Merriam (1964); Bourdieu (1977)
Merriam (1964) - identity and power
artistic action creates feelings of cohesion; solidarity
Bourdieu (1977)
artistic action builds social capital = way you get a voice and potentially influence a community
How does this form relate to social stratification, gender, other distinctions? source
Nettl (2005)
Nettl (2005) - identity and power
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….
[examples of wielding power through music] sources
Daughtry (2006); Shelemay (2001)
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)
Aesthetics and Evaluation sources
Small (1998); Merriam (1964); Fitzgerald and Schrag (2006)
Small (1998)
beauty = when relationships communicated by object/gesture align with ideal relationships in mind of perceiver; musicking involves both performing and listening
Merriam (1964) - aesthetics and evaluation
Western aesthetic concepts (distance self from object, manipulate form for its own sake) don’t transfer into other cultures; the arts are all one, stemming from same source but just using different materials
Fitzgerald and Schrag (2006)
identify signs at work; identify purposes of song; see how well aligned—do the signs effect the purposes?
Time main points
experience time during performance differently
borader temporal context (yearly cycle, month/date)
experience time during performance differently - sources
Goodridge (1999); Rice (2003)
Goodridge (1999)
“patterned energy flow of action…marked by changes in level of intensity, speed and duration”
Rice (2003) - time
historical and experiential time
Emotions sources
Huron (2006); Keil (1995); Turino (1999); Racy (1991)
Huron (2006)
fight/flight/freeze (frission/laughter/awe)
Keil (1995)
people stay engaged because of the variations (groove, texture, timbral); importance of process; social time of creating together; constant negotiation
Turino (1999)
semiotics = lexical (symbolic, conventional); iconic (resemblance); indexical (by association)—these indices are perceived as part of the experiences, while symbols are simply about those experiences
Racy (1991)
importance of educated and responsive audience in getting tarab performer into ecstasy, sultana
Subject Matter source
Murdock (2004)
Murdock (2004)
themes common to many cultures
