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Music Education Research. Vol. I, No. 1, I999 9 Musicking‐the meanings of performing and listening. A lecture CHRISTOPHER SMALL, Calle Rafael Uopart 45. l" 2“, 08870 Sitges, Barcelona, Spain (e-mail: [[email protected]) ABSTRACT The essence of music lies not in musical works but in taking part in performance. in social action. Music is thus not so much a noun as a verb, ‘to music'. 'l'o music is to take part in any capacity in a musicalperfiirmance. and the meaning of musicking lies in the relationships that are established between the participants by the performance. Music/ting is part of that iconic, gestural process of giving and receiving information about relationships which unites the living world, and it is in fact a ritual by means of which the participants not only learn about. but directly experience. their concepts of how they relate. and how they ought to relate, to other human beings and to the rest of the world. These ideal relationships are often extremely complex. too complex to be articulated in words. but they are articulated effortlessly by the musical performance, enabling the participants to explore. affirm andcelebrate them. Musicking is thus as central in importance to our humanness as is taking part in speech acts, and all normally endowed human beings are born capable of taking part in it, not just of understanding the gestures but of making their own. I offer here some thoughts on some abiding issues concerning the nature of the musical act and its function in human life. I have been thinking about this for the last few years as l have been writing my third book, which bears the same title as this paper‐Musicking: The Meanings of Performing and Listening. In doing so I make no claim to speak ex cathedra or to tell anyone what they ought or ought not to be doing; rather I want to offer such philosophical support asI can in these confused and worrying times to those who are actually out there doing the work. to clarify as best I can the reasons why I am certain that music is of central importance in human life and to be defended stoutly, not only in the education of the young but as a lifelong practice. For more years than I care to think about I have been worrying away at the question. or rather, a pair of questions: “What is the nature of music?" and “What is the function of music in human life?"‐‐in the life. that is, of every single member of the human species? I have reached some tentative conclusions. I make no apology for throwing my l4(il-3808/99/0l(XX)9-l3 ©l999 Christopher Small 10 C. Small two cents' wonh into a pair of questions that seem to have defeated some of the best minds in Western thought, at least since the time of Plato, since I feel I do have something to contribute to the formulation of the questions and possibly even to the quest for an answer. In the search of that answer I have. over the years, read as widely as I could in the philosophy, the aesthetics and history. and the sociolo ...
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Paper for 3rd INTERNATIONAL CONFERENCE, INTERDISCIPLINARY CULTURAL GROUP RESEARCH: Youth Subcultures, Worldviews and Lifestyles, Kaunas, Lithuania Previous research on beginnings of Latvian punk, which was mostly done in fields of journalism and punk activism, indicates that first Latvian punks appeared in early 80-ies, but the first punk bands - in the first half of the same decade. This rises the first question: why punk came so late? Comparing with Estonia and Russia or with some Central European socialist countries, it was late (Troitsky 1988, Trubetsky 2009, Haas 2001). Comparing with some other Soviet Republics or some 3rd World Countries the first wave of Latvian punks cannot be labeled as late. There are some explanations why Latvian youth were behind the Estonians in adoption of punk style. Most popular is Estonia’s closeness to the capitalistic Finland. They were better informed about newest trends in the ‘free world’ because they get better access to the Finland’s broadcasting, including TV, and mass media, and to understand the communication was easier because of similar languages. Other explanation of lagging Latvian punk scene, and not only the punk, the same can be said about whole Latvian rock, is more conservative and strict local cultural policy. Second question asks about the social origins of first soviet Latvia’s punks. There are two prevailing lines in explanation of the birth of subcultures, including punk. The first is original Birmingham subcultural theory, which talks about relations of youth class and resistance through the style and rituals (Hebdige 1979). More modern approach to the analysis of subcultures brings so called post-subcultural theory, stating that youth involvement in different taste cultures or subcultural groups are matter of individual choice, not determined by the factual class affiliation (Bennett 1999; Muggleton 2000). If we are investigating early Latvian punk, we can detect both aspects and motivations, but also new factors emerges. Significant part of the first Latvian punks were strongly connected with the art school circuits. It might be said that these middle class kids were better informed about current cultural trends in the West and just appropriated punk style as a sign of distinction. At the same time actual resistance in soviet-time Latvian punk was always apparent. Arguing with the political regime the main battlefield was so called national question. Ethnic Latvian punks expressed their national oppression turning to the right, in direction of nationalism. This was one of the main reasons why they adopted swastika and nazi imagery. This also initially lead to the separation of newly forming punk scene into two: Latvian singing and Russian singing. This again contest the notion of style as purely aesthetic value.
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Limits of enlightenment rationality in the face of cultural relativism Biological universals, symbolic particulars and political discourse This talk will explore the conceptual underpinnings of cultural relativism and universalism. It will present examples of common issues raised in debates on cultural differences and outline a possible direction in which an analyst of universalist and relativist discourse might proceed. OutlineOrigins and nature of cultural relativismParadoxes of cultural relativismChallenges to cultural relativism: conservative, liberal, rationalistic/scientificCultural relativism as a cultural patternEnlightment, romaticism, secular humanism and limits of cultural relativism as a political view Qualifications: - background in cognitive and text linguistics currently doing PhD research on metaphors in educational discourse at EDU - cross-cultural trainer for the Peace Corps (visited and worked in over 20 countries) - run a website on Czech culture (http://www.czechupdate.com) and language (http://www.bohemica.com), translate and teach languages for a living - taught a course on Czech national identity at universities in Prague and Glasgow Defining cultural relativism (the Google way)the ability to view the beliefs and customs of other peoples within the context of their culture rather than one's own. www.china.org.cn/english/features/Archaeology/98851.htmunderstanding the ways of other cultures and not judging these practices according to one's own cultural ways. oregonstate.edu/instruct/anth370/gloss.htmlCultural values are arbitrary, and therefore the values of one culture should not be used as standards to evaluate the behavior or persons from outside that culture. www.killgrove.org/ANT220/cultanthdef.htmlthe position that the values, beliefs and customs of cultures differ and deserve recognition. www.anthro.wayne.edu/ant2100/GlossaryCultAnt.htmCultural relativism is the principle that an individual human's beliefs and activities make sense in terms of his or her own culture. This principle was established as axiomatic in anthropological research in by Franz Boas in the first few decades of the 20th century, and then popularized in the 1940s by Boas's students. ... en.wikipedia.org/wiki/Cultural_relativism Defining cultural relativismThe degree to which an individual or a society is willing to suspend the universality of values and value-based actions (particularly those acquired by primary socialization) in the face of conflicting values held and acted upon by individuals or groups recognized as belonging to another in-group defined social unit. Origins and nature of relativismNatural relativism (Bible, Jesuits, missionaries, ‘different folks different strokes’/‘when in Rome’ [387 A.D.])Enlightenment (pursuit of happiness)Romanticism (noble savage)Anthropology (Boas, Lévy-Strauss)Linguistics (Whorf-Sapir, Lakoff)Philosophy (pragmatism) Paradoxes of cultural relativismCultural relativism vs. univer ...
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Final Senior Project
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Methi Satyanarayana
As we reflect on the journey we have taken through the annals of music history, one thing becomes abundantly clear: music is more than just notes on a page or sounds in the air. It is a window into the soul of humanity, a reflection of our deepest fears and desires, our triumphs and tragedies. From the ancient chants of our ancestors to the cutting-edge compositions of the present day, music has been a constant companion on our journey through time. It has lifted our spirits in times of sorrow, inspired us to greatness in times of need, and brought us together in times of celebration. As we look to the future, let us continue to cherish and celebrate the universal language of music, forever weaving the threads of harmony into the fabric of our shared existence. For in music, we find not only beauty and joy but also the timeless echoes of the human experience.
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