Mapeh 3
•Download as DOCX, PDF•
0 likes•438 views
The document is a student's reaction paper on the life of Ravi Shankar, an Indian musician famous for playing the sitar. It summarizes that Ravi Shankar developed his own style of sitar playing based on rhythmic practices of carnatic music. While the student likes the Indian musical styles of ragas and tala, they do not like the cultural ritual of burning bodies and throwing them in the river. The student also comments that while Indian music is the oldest, Filipino music is more accurate.
Report
Share
Report
Share
Recommended
Recommended
North Indian Classical Music
Here is my presentation about North Indian Classical Music. I hope you gain some new information and please do not hesitate to write comments!
/Anna
CHAPTER 1 • Thinking about Music if you can speak you .docx
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail is taking his
tum (probably last in the program due to his eminence) is ascertained by the
positioning of one (sometimes it is both) ...
Pandit ravi shankar – a great sitar player
Musical instruments store with collection of Indian musical instruments - string instruments, wind instrument, percussion instruments, electronic instruments in best prices and deal
Nhemamusasa From ShonaThe Girl From Ipanemamueve.docx
Nhemamusasa From Shona
The Girl From Ipanema
mueve la cintura mulata lyrics
La Maria Chuchena
Patria Borinquena
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail ...
This could be in your family too...
This could be in your family too... The inheritance of art and innocence of a child artist.
More Related Content
Similar to Mapeh 3
North Indian Classical Music
Here is my presentation about North Indian Classical Music. I hope you gain some new information and please do not hesitate to write comments!
/Anna
CHAPTER 1 • Thinking about Music if you can speak you .docx
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail is taking his
tum (probably last in the program due to his eminence) is ascertained by the
positioning of one (sometimes it is both) ...
Pandit ravi shankar – a great sitar player
Musical instruments store with collection of Indian musical instruments - string instruments, wind instrument, percussion instruments, electronic instruments in best prices and deal
Nhemamusasa From ShonaThe Girl From Ipanemamueve.docx
Nhemamusasa From Shona
The Girl From Ipanema
mueve la cintura mulata lyrics
La Maria Chuchena
Patria Borinquena
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail ...
This could be in your family too...
This could be in your family too... The inheritance of art and innocence of a child artist.
Similar to Mapeh 3 (10)
CHAPTER 1 • Thinking about Music if you can speak you .docx
CHAPTER 1 • Thinking about Music if you can speak you .docx
Nhemamusasa From ShonaThe Girl From Ipanemamueve.docx
Nhemamusasa From ShonaThe Girl From Ipanemamueve.docx
More from rizaldymargate
More from rizaldymargate (16)
Sang araw habang naglalakad si kuneho ay nakasalubong niya si pagong
Sang araw habang naglalakad si kuneho ay nakasalubong niya si pagong
Sang araw habang naglalakad si kuneho ay nakasalubong niya si pagong
Sang araw habang naglalakad si kuneho ay nakasalubong niya si pagong
Mapeh 3
- 1. Submitted by: Eloisa Mae Jamoles III Falcon Submitted to: Jose Taton Jr. Teacher
- 2. Question to Answer for EACH ARTWORK What is my work all about? It is all about the artwork that they can contribute the world. What are the good qualities of my work? The good qualities in my work is the creativeness and willingness in my artwork. What are the aspects that need improvement? The aspect that need improvement is creativeness and willingness on my artwork. If I given a chance to redo my work, how will I do? If I given a chance to redo my work I will make it presentable and cleanliness to my work. What I have learned in making the artwork? I learned how to discipline myself and be more creative on doing my artwork.
- 3. REACTION PAPER on THE LIFE OF RAVI SHANKAR Ravi Shankar was an Indian musician and a composer who played “sitar”. He has been described as the best known contemporary Indian musican. By developing a style on his contemporaries from rhythm practices of “carnatic music” Is the music of the world and it uses on its own culture I like about their style of music „ragas‟ and „tala‟ I don‟t like their rituals because after they burn the body of the dead Indian people they throw it into the river. It is the oldest music in the world, Indian is more cultural there music. But the Filpino is more accurate than Indian music.