The homework for this coming Monday is to read/listen to and be prepared to discuss all the readings/listenings that were assigned for Friday, and the reading assigned for Monday.
- “Change the World” (Interview with Babatunde Olatunji) http://www.drumcircle.com/articles/baba.html;
- “Arthurian Philosophy” http://www.drumcircle.com/articles/philosophy.html
- “Rythmaculture” http://www.drumcircle.com/articles/rhythmaculture.html
- Drums of Passion album (log in at audio.depauw.edu using your network/Moodle uername and password)--listen to at least 3 tracks
- The Music for People Bill of Musical Rights.
Then write one paragraph about each of the following, as a comment on this post:
- What did you find most interesting in the Arthur Hull articles?
- What was your response to the Drums of Passion music?
- What did you find most interesting about "Bill of Musical Rights"?
- What overlap do you see between the Hull drum-circle articles and the Bill of Musical Rights?
Have fun!
This is an example comment for me to use in the post about how to document your comments. Now, start writing!
ReplyDeleteI liked the historical part of drum circle from "Rythmaculture" the most interesting. I have always like history and having a background is always nice. Also it shows hard evidence that "Rythmaculture" drumming is impossible to suppress. It shows that people will always find a way with their passions.
ReplyDeleteI liked the "Drums of Passion" enough. It's not something I normally listen to. I did like how different drums changed the feel of the music. between "Akiwowo" and "Odun de! Odun de!" there seems to be two contrasting themes and styles.
The "Bill of Musical Rights" is actually rather straight forward. I agree with it's statements about how music is emotionally driven and how anyone can do music.
The social and spiritual development seems to be a theme shared between drum-cirlces and the "Bill of Musical Rights". There is a lot of the "anyone can do it" ideas. Also both articles agree that music is a way of of expression that can be physical, emotional, and social. From our drum circle in class I can see how true all of these ideas are.
I actually didn't see the "anyone can do it" overlap at first, but now I do--so thank you! Accessibility is probably the most important point in these articles, or at least the one that Hull drove at the most. It's definitely the most important in practice; otherwise, how are we going to bring back certain forms of music that are dying out?
DeleteI agree with your statement about how the 'Bill of Musical Rights' is straightforward. However, I think it is more than that. It is an insightful analysis on how music affects all human life, how we utilize it and how we express it.
DeleteThe Arthur Hull articles were very interesting in that he clearly presents a vibrant movement and culture that I had no prior knowledge of whatsoever. I had always perceived drum circles to be little more than a less common musical style. The extensive thought poured into the philosophy, however, describes a totally different way of making music I'm excited to learn more about.
ReplyDeleteThe Drums of Passion album was a very enjoyable listen. Sometimes, art music can require a listener to painstakingly analyze form in order understand what is happening. DOP manages to create a strong vibe that washes over the listener; all the while maintaining the artistry of what is happening.
The context within the Musical Bill of Rights surprised me in that it describes music as a necessary, daily exercise for ALL people. I think this is very important that musicians evoke a sense that what we do is a needed element of society because not enough people take the idea of a musical way of life seriously.
In my opinion, the most interesting overlap between the two is that both view music primarily as a communication and interaction first and as an actual sound second. It is definitely a departure from a more classic approach to music and I think it captures music's best qualities more fully.
I completely agree with you about how the DOP tracks had a "strong vibe that washes over the listener." When I listened to the tracks I became completely absorbed in them and found it hard to even think about anything else. And I hadn't realized the communication and interaction first, and actual sound second thing, but once I saw how you worded it I think you're completely right.
DeleteI definitely got the same sense with the Drums of Passion listening assignment. Sometimes I listen to music and just analyze it by habit, which can be fun but also entails some work. Listening to Drums of Passion was ultimately a relaxing experience because I got the point by passive listening (good thing, too, because with as little sleep as I got last night, I can't analyze anything!).
DeleteI'm with you on wanting to learn more of the philosophy behind drum circles! It seems to be such a foreign take on making music compared to what we see in conservatory settings, but also really familiar because we all started making music in the first place because it was inside of us.
DeleteMelanie, I'm so with you! Too often we are so contained to the strictness of the standard of conservatory music that we forget to unwind and just play to play, not caring about mistakes or who is watching. It is a nice change to be able to just let loose.
DeleteMy favorite part of all the Arthur Hall articles was definitely the interview he had with Babatunde Olatunji. Rhymaculture and the Arthurian Philosophy were both good articles but I really felt the most could be learned from anecdotes of the man himself. Olatunji wanted to teach more then just lessons concerning the drum spirit. He also wanted to indirectly teach people to be better as is described when he speaks of "getting even" with people. I thought the interview with Olatunji was the most interesting and there is a lot more to learn from this man then just things concerning the spirit of the drum.
ReplyDeleteI really enjoyed the "Drums of Passion" music. It was something new to listen to, but I thought it was very interesting. That word sure is used a lot in this seminar.. I really liked how none of the drummers ever took control, and the flow of the music was incredible. The chanting was something, although in another language, that really added to the pieces and made them more original. I thought the songs, even the long one "Chant to the God of Thunder" were very good. And they held my interest and showed a new perspective of music.
The "Bill of Musical Rights" described music simply and efficiently. The one that spoke to me the most was definitely the right that no one is not musical, but are instead lacking in musical experience. As a Music Education major I see this as why I'm shooting to educate. Everyone has the music inside them, it just needs a little prodding and maybe a little training to let it emerge and possibly change the world.
I see the Hull articles as a perfect example of the "Bill of Musical Rights." Olantunji lives by these rights and makes sure people know of them (in some way, maybe not the exact same rights). Olantunji spoke of how everyone can be a musician, and advocated for dancing. He also demonstrated how there are multiple sides to music. There is an obvious reliance between Olantunji and the "Bill of Musical Rights." Olantunji teaches the rights because it is how he believes music can be formed, and the rights depend on teachers such as Olantunji to make sure they're implemented and perfected. I believe our drum circle seminar with Professor Edburg will help us not only learn about drums, but will help us embrace the spirit of the drum and become better, stronger musicians and educators.
The interview was also my favorite! Olatunji was very intelligent, informed, and passionate about the topic, and his words were for me the most interesting to read. I loved how he was talking about the officious American stereotypes about Africa and then talked about his idea about "getting even" as only with those who help or do otherwise good deeds. It's such a beautiful thing to read about people who deal with this and not become embittered by it. (I know I would get bitter over stereotypes.) Educating then did not become a force of revenge but one of solution. This was one of the most heartening pieces I've ever read.
DeleteI completely agree with your analysis on the 'Bill of Musical Rights'. I hadn't thought about it from a future music educator point of view until I read your post.
DeleteThe Arthur Hull articles were very informing; his interview with Babatunde Olatunji especially was an interesting look into rhythmic origins. The part where Olatunji alluded to a Chinese proverb about 'getting even' only with people who have been kind to you struck a chord with me. Even in the face of America's officious stereotypes about Africa, people were still able to be educated and taken back to their roots, and all without 'getting even.' Music works wonders as a uniting force, indiscriminate to boundaries.
ReplyDeleteListening to Drums of Passion brought me into a world of music I'm pretty unfamiliar with. The music was at once intriguing, unrefined, and spontaneous--though not altogether beautiful in sound. Most of the songs sounded similar to each other, but not to the point where they were indistinguishable.
The Bill of Musical Rights was interesting--the last one, which talks about being responsible for the vibrations we send each other is a bit strange, but it's still true, even if I like to think of it in a less spiritual way than "vibrations" in favor of kindness and patience in how we treat one another. It's also an interesting metaphor when compared to the vibrations of pitch. (Perhaps it's the other way around, where the author is describing pitch and communicative connotation is the metaphor here.) Overall the Bill of Musical Rights has a very good message about the togetherness of making music.
The Hull articles and the Bill of Rights overlap in an interesting way. Both exhibit a sort of intangible language which refers to the spirit of music rather than the making task of making it. Both stress the importance of unity in music, also.
I agree with you about the sound of the DOP not being beautiful but I think that's what really adds to it in some ways. Instead of making the spine chilling chords and moving melodies it focuses more on the rhythm and overall feeling of the music. And it's something we can all take from and learn even more of our own musical inclinations. I was the same way about being unfamiliar with the music but it opened us up to a new perspective and will definitely help.
DeleteI really like how you describe the primary similarity between the Hull drum circles and the Bill of Musical Rights as referring to the spirit of music.
DeleteYour final paragraph was wonderfully insightful. I was trying to find the words to say exactly what you did with "...intangible language which refers to the SPIRIT of music rather than the task of making it." Music is one of those deep and true things in life which are impossible to really touch with words, but I thought both all of this week's articles did a great job of making their points anyhow.
DeleteI personally thought the article that discussed the concept of 'Rhythmaculture' to be the most interesting. I have heard that music is the oldest form of language. However, due my background as a singer, my mind jumps to the conclusion that the statement refers to singing. For some reason the idea that it would include rhythm and drums just never occurred to me. The fact that slaves in Haiti used drums to communicate and organize a successful revolt, freeing them from their bondage.
ReplyDeleteI enjoyed listening to the "Drums of Passion" tracks. I like how different emotions could be expressed through the different drum sounds. It was fun to expose myself to something that I was so unfamiliar with.
First of all, I think that the 'Bill of Musical Rights' is a cool concept. I love that it is written in such a way that it is clear that it applies to both musicians and non musicians. It is also interesting to note that 'Bill of Musical Rights' raises the level of the importance of music in our culture to something more than just a hobby or a source of entertainment; it can ridiculed, debated over, and supported in the same way that a religion or any kind of personal opinion can. As a vocalist, I very much enjoyed the section that states "The human voice is the most natural and powerful vehicle for musical self-expression. The differences in our voices add richness and depth to music."
The ideas stated in the 'Bill of Musical Rights' and the Hull drum circle articles share very similar views on how music impact us socially, culturally, physically, and emotionally. They both say that music can affect everyone, not just musicians, and can also be created by everyone.
I'm with you concerning the "Bill of Musical Rights." It's great how it applies to non music people as well as music people. It makes it clear that music is open to everyone and being a musician isn't some secret society that only certain people can be in. It's great that someone finally put it into official writing so it's not like a secret code only certain people know about.
DeleteI totally agree with you on the point about the Drums of Passion. I found it really neat how the emotions of so many people can be expressed through the sounds of drums. I also like how you talked about the Bill of Musical Rights by saying that it's impact on us is social cultural, physical and emotional.
DeleteI definitely agree about Drums of Passion. I think the emotion came through not only the drums, but also the human voices that were added on later. They both combined to make it a very powerful form of expression.
DeleteLike most people, the interview was the best part of the article. The questions he asked were insightful and interesting. I liked how the questions hull asked did not completely shape the answers that Babatunde Olatunji gave. He not only answered the questions but he gave more insight than he needed. His passion for the drums and everything was clearly shown in the answers he gave.
ReplyDeleteI really like the Drums of Passion music. While listening, I wanted to get up and dance a lot.
I found it interesting that someone actually wrote them down. There are 11 points in the Music Bill of Rights. The actual Bill of Rights there are 10. This shows that a musician's Bill of Rights is more important then the National Bill of Rights.
In Hull's article about drum circles, he stated that everyone and anyone can be a part of the drum circles. In the Bill of Rights, it states that everyone is a musician. In Hull's article, he talked about the different music of different cultures. In the Music Bill of Rights, it states that the are as many different music styles as there are people.
I think you really pinpointed the clarity of Olatunji's passion through his responses. His responses were not minimal but perceptive and thorough. Most people can start talking about a thing or two at length, but Olatunji captured the essences of a lot of things in his interview... music (of course), society, culture, and unity, among other topics. This shows him to be visionary and very, very intelligent.
DeleteTo be honest, I very much disagree with your opinions regarding the importance of the US Bill of Rights compared to the importance of the Bill of Musical Rights. For one thing, just because there are more points in the Bill of Musical Rights doesn't mean they are more important. I would argue that the US Bill of Rights is FAR more important. Music is amazing, but it doesn't guarantee BASIC human rights such as freedom of speech, religion, etc.
DeleteMy favorite concept Hull touched on was in Arthurian Philosophy when he spoke about the philosophy of rhythm. It's such a simple idea. We don't think about often because it's all we've ever known, but indeed all of life is a rhythm. By drumming, we join in with that rhythm in a way we can hear and perceive, but it's always there. And the rhythm is what makes us all feel so connected when we can hear ourselves playing to the same beat, but again it's always there. If we were more tuned into the rhythm of our lives, we might feel that connection to the world and ourselves and each other even when we're not playing.
ReplyDeleteI really enjoyed the Drums of Passion CD. When I first turned it on, I tried to analyze it to see if was the kind of music I "liked." But I had to stop because I couldn't decide. Typically those musical elements would not be my taste, but that music made me happy! It made me want to dance, so I sort of stopped listening with my ears and just tried to feel it for a while.
The Music Bill of Rights described music in such a way that made music seem to me both larger and smaller as a concept. It seemed larger in that the Music Bill of Rights clearly reminded me of the importance of music, not just to a select few, but to everyone in all parts of life. It made it seem smaller in that it described music in a way that is accessible to everyone and not just elite music students. :) Overall, I thought it captured "the point" of it all very well!
The major overlap I noticed between the Hull readings and the Music Bill of RIghts was the over-arching idea about the role of rhythm and music in all of life. So often people tend to view music as one of the "'finer things" in life... and that's wonderful. It is special and should be valued in that way. But I believe that idea puts music on a shelf out of reach, so-to-speak. It kind of misses the larger point that music is in all of us always. We always have our voices or our hands to clap or feet to tap, etc. !
I really like the last sentence of your first paragraph. It's incredibly insightful, and it makes a ton of sense. It seems so simple, and because of that I feel like a substantial number of people would be able to relate to it in the same way that I have.
Delete
ReplyDelete1. In the Arthur Hull interview I found it interesting how persistently Olatunji believes in this “grass-roots hand drumming movement”. In 2012 I can see how this movement may have some standing; with new-age, old-world and every which way fads cropping up globally, the perspective of young people may now be open enough for this to happen. However, Olatunji is not starting this movement today or even 10 years ago. Over 60 years ago, Olatunji began making a difference with his drums and he still keeps up with it today as travelling drum circle facilitator. I think that this is an excellent example of the gradual, yet powerful change that music can make in people. Over 60 years and this movement has grown so much, despite the fact that it is an old and unassuming art.
2. Though I was not necessarily expecting to like this music I was also not expecting to dislike it. In both areas, I was surprised. Excepting “Kiyakiya (Why Do You Run Away?)”, I enjoyed the beats extremely well and even the singing excited me. The songs were just so free and I could really feel the joy and desperation in “Odun de! Odun de!” and “Shango (Chan-go)”, respectively. That said, I found the singing in “Kiyakiya” to be extremely whiny and irritating. Because of this assignment I have started exploring more cultural music and I think that my horizons will be broadened positively because of this.
3. I could not find one single statement that I wanted to or even could disagree with. That is what I found interesting about this Bill of Musical Rights. Many people would benefit from seeing and understanding this Bill if for nothing else to see that it is not a bill for “Musicians” it is simply an all inclusive bill.
4. The overlap is that both Olantunji and The Bill of Musical Rights are aimed at including all people. The bill calls for a non-judgmental and free musical experience. As Olantunji and the bill state, “there are no non-musical people” and anyone can play a hand drum. These two items proclaim that music is expression, a form of healing as well as fun. Both articles also suggested that music helps people to interact with one another, whether building improvisational skills as in the Bill of Rights or simply by meeting the community.
The Arthur Hull articles opened my eyes to a drum circle culture that I was not even aware of. I particularly enjoyed his interview with Babatunde Olatunji, the main talent behind the "Drums of Passion" album. There were several things that Olatunji said that I found really interesting and applicable. The first of these is that you never know where life will take you. Olatunji came to America planning to become a diplomat and represent Nigeria in the United Nations. Instead, he found a hole in the American culture, and he decided to do something about it. To me, this also spoke to the creativity that is often necessary in the field of music in order to find a career of project that interests you. One of Olatunji main goals seemed to be using music to relay a message of togetherness. Music is something that can bring us all together, in the best and worst of times. If we use that connection, great things can be accomplished.
ReplyDeleteThe thing that impressed and interested me the most with the Drums of Passion music was that the mood/theme of each individual piece came across so immediately. Even if I hadn't read the titles of each piece, I would have recognized that, for instance, "Odun de! Odun de! (Happy New Year)" was a piece meant for some sort of celebration, or to describe such a celebration. The music, while not something I typically would have chosen to listen to, had me constantly tapping my foot.
With the "Bill of Musical Rights", what stuck out to me was the very first statement: "Human beings need to express themselves daily in a way that invites physical and emotional release." This struck a chord for me because sometimes when I am in a weird mood, or am just plain pissed, going to the piano and slamming down some chords is exactly the catharsis I need. Similarly, during a day when things just aren't going my way, sitting down and playing scales and etudes on the clarinet is something solid and stable that I can rely on. Additionally, playing an instrument or singing can truly be an intense physical experience. You're putting all that you've got into this one act that requires concentration and focused movement. You sway, you push your air through the mouthpiece, you draw your bow across the strings; these little movements can add up to great things in a performance.
I found overlap between Hull/Olatunji's message of bringing people together and the Musical Rights statements that anyone can make music together and that we must be aware of the "vibrations we send one another." Race, nationality, age, sexuality, social status: none of these matter when it comes to getting together and making music. When playing music, it is important to be aware of what others are doing with their parts. Similarly, when coexisting with others, you must be aware of their feelings and their personal situations.
I found the perspective on how America is the biggest melting pot of different people (which initially seems delightful, one would think, because of all the different cultures) the most interesting thing about the Arthur Hull articles. The article made me realize the reality of the situation which is that, yes, there are many different people from different places in America but this has just caused the true cultures of these different people to die out and become forgotten.
ReplyDeleteI'm just going to be frank. Initially when I read how the CD name was called "Drums of Passions" I was incredibly skeptical and hesitant on wether or not I'd enjoy what was to come. As a musician, I try very hard to be open to anything and everything, but it seemed that this was just one of those situations where my brain has already made up its mind. To me surprising delight the Drums of Passions music ended up being incredibly delightful and uplifting. The musicians sounded so free and joyous. You can almost see their beaming faces and expressions of joy with each internal pulse their drumming and chants instill in you.
What I found most interesting about the "Bill of Musical Rights" was how flexible, open and emotionally involved it described music to be. I am a firm believer that music can be catered and molded to each individual person. The "oh I'm just not a musical person" is such a typical excuse that I've heard a handful of times and I adore how the list says that unmusical people do not exist and that instead, it is just rather a matter of if the individual has had musical oppertunities available to them. Overall, I full-heartedly agree with every single point that was made.
One overlap that I saw between the Hull drum-circle articles and the Bill of Musical Rights was how they both describe music as vibrations that we share with others and how unique music really is. They both also discussed how music is a great form of communication and way of expressing yourself.
In the Arthur Hull articles, I found it terribly interesting how many cultures are surrounded by drum circles and it is actually an accepted to be expressive and able to release your inner self. It is nearly opposite to the modern culture of the United States. Here and now, it isn’t accepted to be expressive or colorful. It is like they are trying to make us all fit into a mold and conform to their ideal “society”. In this ideal society we are in, expression is a way to break that mold and is frowned upon. I envy the cultures with rythmaculture and having the acceptance to express and imagine.
ReplyDeleteMy initial response to the Drums of Passion was weird. At first I thought it was very dramatic in the singing, drumming, and general emotion emitted from the music. As I continued listening, my first response disappeared and I thoroughly enjoyed the music of Drums of Passion.
In the Bill of Musical Rights, the idea that has stuck with me the most is there are no “unmusical” people, only those with no musical experience. To me that mean that everyone who has ever judged or been narrow-minded about my musical abilities and passions have the ability to do exactly as I do. The only thing is that they don’t try to learn or are afraid to express themselves. It shows ignorance on their behalf. To have this ability inside of you and everyone else and to not use it…it is a waste and determent to humanity.
The correlation between the Arthur Hull articles and the Bill of Musical Rights is this: Everyone has the opportunity to express emotions through music and to let the rhythms heal them. Medicine and doctors can heal most anything, except was music can only heal. I feel sorry for those who have never experienced serenity of expression through music, strict and/or not strict. If they could only feel that high…