Music Pathways

Exploring Pathways of Appreciation.
Finding Interconnected Intercultural Connections.

To foster an awareness and appreciation of music by listening and coming to appreciate how the diverse application of shared elements of melody, harmony, rhythm, texture vocalizations and form gives rise to such diverse expressive pathways revealing an inner beauty of the human spirit.

Here are links to music performances showing diverse styles and performance as voiced around the world; each expressing a component part of a global diverse counterpoint of cultural contrast. Enjoy yourself and do check on the links.

Without support from authoritive references this site would not be possible.

In Counterpoint of Cultural Contrast

Classical European AmericanNative FolkMiddle EastIndian-AsianJapaneseAfricanAnd More
Fiddle & BluegrassCountry/balladJazz & Blues
Vocal AdventuresFlute FormsViolin VersatilityDrumbeats
Throat SingingNative American

Music: A way for mankind to find expression beyond words.
A bridge spanning soul and heart.
A monument of genius; A simple joy for the common man.
Melody of beauty and harmony of solace;
Vehicle of love and voice of longing.

Music: a cooperative effort.
Endeavor reaching loftiest heights of sublime beauty;
Testamony of  what can be wrought between composer, conductor and performers.
Verse of sweet song to steal a loved one's kiss.
A lifetime of struggle for a moment of bliss,

Home Basis for Musical Connections

Melody & Harmony

Pow-wow Songs

 

 

Ragas of India

 

Scales & Chords

Pow-wow Songs

 

 

Ragas of India

 

Vocal & Instrument use.

Vocal Adventures

Throat & overtone song

Flute Forms

Violin Versatility

Fiddle & Bluegrass

Rhythms & Drums

Native Peoples

 

 

 

Rhythms & Drums

Contemporary

Native Peoples

 

 

 

Rhythms & Drums

 Historical

Native Peoples

 

 

 

Rhythms & Drums

By World Region

American

European

Middle East

Asian

African

Social  Impact

Country & Ballad

 

 

 

 

 

 

 The musical collaboration in the video below signifys what the theme of this website is all about. East meets West as two famous masters from different music schools get together and perform as a duet.

Menuhin and Shankar go on to discuss elements of East Indian music

tripmonk0 — May 18, 2009 — A short clip from a marvellous series from the late 60s early 70s presented by the Late Sir Yehudi Menuhin. This slightly grainy clip shows Pandit Ravi Shankar & Ustad Alla Rakha demonstrating & talking about Indian classical music.

 

Of course, not all of the diverse music forms and interpretations are, or could hoped to be, represented. This site is only an overview; a basic introduction to some of the more well known examples that might be found in a "Global Music Appreciation 101" textbook.

Fundamental elements of rythm, melody, harmony, singing style, performance settings and others will be observed and compared. Hopefully the viewer/listener will come to expanded awareness of a "Global music appreciation"

The music available here is taken from freely available online sources.

One of the elements that varies in usage around the world is the relative importance of a standardized tuning system and the criteria to which it is applied. Tunings range in application to making sure all instruments of a modern symphony orchestra will sound well together to simply drilling holes in a homemade traditional flute and letting the "soul" of that particular instrument express itself. Not only the individual pitches were unique but also the very scale the flute would produce could only be played on that particular instrument.

Thus pitch and modes (or scales) are fundamental to music but are applied differently according to accpted traditions and training of  the culture in question.

A professor of Western music was asked to fill in on a tamboura at an East Indian music concert. His practical music education and training was founded on the well-tempered tuning system upon which amost of his familiar music experience was based.

This professor had a hard time utilizing the perfect tuning system essential in performance of a raga; wherin intervals are absolutely based on physical ratios of perfect octaves, fifths and fourths; not on an "imperfect "slightly altered" system creating enharmonic equivalence (such as F#/Gflat allowing for changing of keys (such as "C" to "G" or "D") within a piece etc.

Scale Elements as used around the world

There are many scales, modes and ways of treating individual pitches within a scale. Proper "behaviors" can be prescribed to any note. An example is the "leading tone". The seventh note "Ti" or "B" in the C major scale "needs" to resolve itself by moving a half step up to the tonic pitch of  "Do" or "C". In the same way a 4rth "Fa" or "F" wants to move a half step down to "Mi" or "E" etc. (See music theory)

Other music systems may use differing methods. It mostly depends on what kind of ear training the general population relates too.

The video below shows exercises aiding one to perform a particular Raga. As you will hear, the use of the intervals in this Phrygian modal sounding ("E" to "E" played on the white keys of the piano) is exotic sounding compared to Western music traditional ear training. Many more subtle variations abound in this music.

There are many different scales, melodic scales and different treatments of the pitches of a scale in music. A very easy example is the melodic minor (aolian based) scale where the 6th and 7th interval is raised a half step in the ascending form but is lowered to the natural pitch in descending.

Indian music uses many different melodic treatments of scales in very unique and beautiful ways. The video to the right is a nice illustration.

Normally, vibrato is little heard in Hindustani music. The minute inflections of this art form would be obliterated by it

This video gives good examples of working with an Indian music scale.

Learn a raga entitled "Bhairavi" that can be performed as part of the Hindustani vocal music tradition in this free online video voice lesson on the traditional Indian singing style.

Expert: Amelia Maciszewski
Contact: www.sangeetmillennium.org.com
Bio: Amelia Maciszewski has a Ph.D. in Ethnomusicology, and has been performing Hindustani music for over 20 years.

Quarter tone interval sing exercise

I talked with an Iranian musician who is an instructor of the Kamancheh and also teaches voice. He told me about the use of tetrachords. He explained there are the major and minor versions much the same as would be found on a piano but, in addition, there are certain pitches which are altered by quarter tone increments. This is what gives the music a different exotic feel. To many Westerners it might well sound out of tune.

This video does a good job of showing how the quarter step intervals are applied to Persian music.

Persian Voice Training, lesson 2. Simple mayehs درس آواز

For indepth information on scales, modes and ragas check out - Modes and Ragas:More than just a scale.

The human voice:

An instrument of such power, beauty, natural and seemingly unnatural performance heard in diverse striking contrast as voiced throughout the music of mankind. For more on human voice use and examples of widely varying traditions world wide click on the appropriate link:

Vocal AdventuresFlute FormsViolin VersatilityDrumbeats

Franz Schubert was a prolific German composer. He wrote many kinds of music but is most remembered for his many romantic art songs.

Notice how the solo voice is accompanied. The standard notated music of chords and melody is very familiar to those acquainted with European/ Western music theory yet, this kind of music practice is quite different than what is heard in "Hindustani" or "throat singing".

Soprano Christine Schafer performs the Leider der Delphine. D 857 nº 1

 

Of  large dimensions and granduer.

Music can be  a way to inkindle concepts of cooperation, organisation and appreciation; inspiring an awareness of wonder and beauty within us all. This whole work is scored for large orchestra, chorus and soloists. All must work together if the complete whole is to be realized. To harness forces of this size and blend them into a rich evolving musical universe of expressive beauty of soul and sound is surely a bestowal of favor; a showcase of genius within the human spirit of creation and fellowship.;

Listen as Andrea Bocelli conducts the ''Sanctus''. from the Verdi Requiem

 

The Barbershop Quartet:  Singing in four part harmony.

Barbershop harmony is based on four part singing. One of the rules when writing this style of music is that none of the four parts can be doubled. In other words, no unison or octave intervals are used. Each voice must at all times carry its own part and be an integral part of the harmonic structure.

For four part writing that means utilizing very complex chord structures. Dominant seven chords, such as C,E,G, Bflat are commonly used but many varieties of major, minor, augmented and diminished forms of " six", "seven" and even "nine" chords are used as well.

Barbershop singing utilizes the physics of overtone harmonic generation. A good quartet works hard at blending parts together in just the right combination of tone and loudness so as to "ring" the chords. When this is done well pitches may be heard that are not actually sung. The blending of the harmonies themselves produces a "fifth" tone.

The physics involved is difficult to capture in a recording so often the "chord ringing" effect will be lost; but, trust me, it is there in a live performance,

  The Barbershop Harmony Society is proud to present your 2009 International Quartet Champions....representing the Central States District...Crossroads!!!!!!!! They opened their semi-final set with this rendition of 'Lucky Old Sun' arranged by David Wright.

Crossroads-2009 International Quartet Champions

Compare a performance of the same song as it was sung by Louis Armstrong sixty years earlier. Note, not only the performance reflecting the times, but also the distinct contrast between this recording and the Barbershop rendition heard above.

To the right is a brief history showing how a popular song can beused and repopularized by different artists.

Louis Armstrong with Gordon Jenkins and His Orchestra
Title: "That Lucky Old Sun" ("Just Rolls Around Heaven All Day")
(Smith-Gillespie)
Label: Decca Personality
Cat No: 24752-A
Release Year: 1949
Country: Canada

Upon listening to both the Louis Armstrong and barbershop versions of the song "That Lucky Old Sun" a friend said," The barbershop arrangment does not sound like the same song as was sung by Louis Armstrong. The words are the same but the music is different". He then asked," When is a song considered a separate independent piece and not an arrangement of the same song?". I answered," in "That Lucky Old Sun" both lyrics and melody were used directly from the original 1949 song. It was simply adapted for use in barbershop singing. Sometimes the melody line in barbershop arranging may be hard for someone not familiar with the style to follow. You have to listen for it within the chord structure. Usually the melody is sung by the Lead (which is below the tenor) but can be shared between all voices.

Music history is full of examples of composers taking well known folksongs and incorporating the melodies into their own work. The Largo movement of the "New World Symphony by Dvorak is a prime example.

The melody to the Negro Spiritual "Goin Home" is clearly discernable. Dvorak was a student and researcher of folksongs.

Yet, further research brings to question what I was traditionally taught in music history class. New light is shed upon the true origin of the "Goin Home" melody. Was it actually created by Dvorak himself or taken from a preexisting song?. see:  http://www.americanmusicpreservation.com/nemusic4.htm

"That Lucky Old Sun" is a 1949 popular song with music by Beasley Smith and words by Haven Gillespie. Like "Old Man River", its lyrics contrast the toil and intense hardship of the singer's life with the obliviousness of the natural world.

The biggest hit version of the song was by Frankie Laine. This recording was released by Mercury Records as catalog number 5316. It first reached the Billboard magazine Best Seller chart on August 19, 1949 and lasted 22 weeks on the chart, peaking at #1. [1]

The recording by Vaughn Monroe was released by RCA Victor Records as catalog number 20-3531 (78 rpm) and 47-3018 (45 rpm). It first reached the Billboard magazine Best Seller chart on September 16, 1949 and lasted 14 weeks on the chart, peaking at #9. [1]

The recording by Louis Armstrong was released by Decca Records as catalog number 24752. It first reached the Billboard magazine Best Seller chart on October 14, 1949 and lasted 3 weeks on the chart, peaking at #24. [1]

Frank Sinatra released his competing version of the song on the Columbia label catalog number 38608. It reached the best sellers chart on October 29, 1949 and peaked at #16.

This song was translated into Russian, and was presented to Soviet audiences as describing how a Western man suffers the hardships of capitalism. It was recorded in Russian by singer Mark Bernes in early 1960s.

A version by Ray Charles appeared on his 1963 album Ingredients in a Recipe for Soul. (This recording is also included as a bonus track on post-1988 CD reissues of Charles' landmark 1962 album Modern Sounds in Country and Western Music.)

Jerry Lee Lewis recorded an unreleased solo version at Sun Studios in 1956 or 1957. (A recorded version by Lewis can be found on the Great Balls of Fire album, the soundtrack for the movie "Great Balls of Fire" with Dennis Quaid playing the part of Jerry Lee Lewis.)

Paul Williams recorded a version on the 1972 Album Life Goes On (Paul Williams album)

Willie Nelson recorded a version on the 1976 Album The Sound in Your Mind which was also released as an extra track on the reissued Stardust: 30th Anniversary Legacy Edition.

The Jerry Garcia Band performed a version on the Jerry Garcia Band live album in 1991.

Johnny Cash covered it on the album American III: Solitary Man in 2000.

Brian Wilson premiered a song cycle inspired by the song entitled That Lucky Old Sun (A Narrative) at the Royal Festival Hall, London, England on 10 September 2007.

A duet with Kenny Chesney and Willie Nelson is included on Chesney's 2008 album Lucky Old Sun.
From Wikipedia, the free encyclopedia  http://en.wikipedia.org/wiki/That_Lucky_Old_Sun

Dvorak - Symphony No. 9 " New World" - "Largo" (part 1)
Wiener Philharmoniker. Herbert von Karajan, conductor.

 

 

 

 

 

 

Below are some original compositions exploring different styles of music.

>Loon Serenade

(A flute harmonizing as a duet with recorded calls of wild loons.)

>Intone: A Baha'i prayer:

(Music is a hybrid of East & West styles.)

>Lauded & Glorified art Thou: A Baha'i prayer.

(Music is a hybrid of barbershop and contrapuntal classical.)

>Star Songs:

(Verses about stars set to Mozart's classic melody.)

The Violin:

The ever-popular violin has had a major impact on the global music scene. It has been adopted and adapted by many and it, in turn, has often influenced change in native instruments themselves.

Experience eand learn more about how the violin is played in other kinds of music by clicking on the appropriate link below.

Vocal AdventuresFlute FormsViolin VersatilityDrumbeats

 

   

American

European

Middle East

Asian

African

Australian

Native Peoples    Folk Music    Classical European    Contemporary    Historical

Rhythms & Drums    Vocal Adventures   Violin Versatility   Flute Forms

Ragas of India    Pow-wow & Native American   Throat Singing    Barbershop Harmony   

 Sonata & Symphony   Jazz & Blues    Fiddle & Bluegrass    Country & Ballad

The "Global Music Appreciation" concert tour presents a perfomance of a well known German symphony conducted by a Japanese conductor.

This live recording, from the Alte Oper Frankfurt, features the Japanese maestro Seiji Ozawa conducting the Boston Symphony Orchestra in a performance of Beethoven's Symphony No.8 in F major Op.93.

 

 

Note: This site on "Global Music Appreciation" is a work in progress. Thie main purpose of being online at this point of development is to allow collaborators and friends to view the progress, make suggestions and provide comments.

You may find "scratch notes" concerning future implementaion of goals. Pages will still be partially complete or even blank.

Yet, there is still an ever-evolving growing selection of music from around the world lavailable through links in this site. You are welcome to look, play and experience music as performed from around the world.

Sincerely

David    

 To email me, Click here

 

Do a "Match the Mode" exercise in which modes will be played and described allowing a student to match the mode name with its sound.

Also pieces done in various modes will become available. The mode will be then selected to match the composition.

Examples of popular chord progressions will be shown...including the popular 1,6,4,5, of popular 50s/early 60s music; the 1,5,6,3,4,1,4,5 progression of Pachelbel's Canon; the "search for a home key at the beginning of the beethoven 1st Symphony and a few others.

This will lead to a few examples of key modulation as commonly seen in Western music practice.

 

The Supreme Melody of the "Song Of God" is clear.

When combined with the counterpoint of other faiths it becomes a sublime symphony of rich texture and masterful development!

Each part appears, ends, then reappears as the same melody but sung in a  different voice.

The major themes are continually enriched and nourished as they are passed on from one age to the next.

 The timeless symphony continues playing.

 

 

 

The supreme melody within never ends!

Below are some original compositions exploring different styles of music.

>Loon Serenade

(A flute harmonizing as a duet with recorded calls of wild loons.)

>Lauded & Glorified art Thou: A Baha'i prayer.

(Music is a hybrid of barbershop and contrapuntal classical.)

>Intone: A Baha'i prayer:

(Music is a hybrid of East & West styles.)

>Star Songs:

(Verses about stars set to Mozart's classic melody.)

 To email me, Click here