India, North America, Africa, Latin America, Contemporary mass media Music

1. MUSIC CULTURES
OF THE WORLD
GROUP I
ZYRELLE EDEN E. DIAZ
TRICIA MARVI P. NAVARRO
HANNAH NUNEZ
DANIELLE DEOCAMPO
FRANCHETTE AGRAVIADOR

2. I N D I A N
M U S I C
INCLUDES MULTIPLE
VARIETIES OF FOLK,
POPULAR, POP, CLASSICAL
MUSIC AND R&B. INDIA'S
CLASSICAL MUSIC
TRADITION, INCLUDING
CARNATIC AND
HINDUSTANI MUSIC, HAS
A HISTORY SPANNING
MILLENNIA AND
DEVELOPED OVER
SEVERAL ERAS. IT
REMAINS FUNDAMENTAL
TO THE LIVES OF INDIANS
TODAY AS SOURCES OF
SPIRITUAL INSPIRATION,
CULTURAL EXPRESSION
AND PURE
ENTERTAINMENT.

3. • MELODY (RAGA)
• HARMONY (DRONE)
• RHYTHM (TALAa)
ELEMENTS OF
INDIAN MUSIC

4. • HINDUSTANI MEANS CLASSICAL MUSIC
OF NORTH INDIA
• CARNATIC MEANS CLASSICAL MUSIC OF
SOUTH INDIA
TRADITIONAL MUSIC OF INDIA

5. • AN INDIAN CLASSICAL
MUSIC TRADITION THAT
GOES BACK TO VEDIC
TIMES AROUND 1000 BC.
• IT FURTHER DEVELOPED
ON THE 13TH AND 14TH
CENTURIES AD WITH
PERSIAN INFLUENCES AND
FROM EXISTING
RELIGIOUS AND FOLK
MUSIC.
HINDUSTANI MUSIC

6. • IT IS BASED ON HISTORICAL
DEVELOPMENTS THAT CAN BE TRACED
TO THE 15TH - 16TH CENTURIES AD
AND THEREAFTER.
• HOWEVER, THE FORM ITSELF IS
REPUTED TO HAVE BEEN ONE OF THE
GIFTS BESTOWED ON MAN BY THE
GODS OF HINDU MYTHOLOGY.
• IT IS ONE OF THE OLDEST MUSICAL
FORMS THAT CONTINUE TO SURVIVE
TODAY
CARNATIC MUSIC

7. F O L K M U S I C

8. BHANGRA MUSAIC
• LIVELY FORM OF MUSIC THAT
ORIGINATED IN THE PUNJAB REGION TO
CELEBRATE VAISAKHI.
• DURING THE LAST THIRTY YEARS, IT HAS
ENJOYED A SURGE IN POPULARITY
WORLDWIDE, BOTH IN TRADITIONAL
FORM AND AS A FUSION WITH GENRES
SUCH AS HIP-HOP, AND IN SUCH FORMS
IT HAS BECOME A POP SENSATION IN
THE UNITED KINGDOM AND NORTH
AMERICA.

9. • THIS PURE AND BLESSED MUSIC HAVE
THE FEEL AND THE TOUCH, RELATED TO
NATURE.
• RELATED TO THE VARIOUS FESTIVALS,
RELIGIOUS TRADITIONS, FOLK STORIES
AND SIMPLE LIFE OF THE PEOPLE OF
UTTARAKHAND.
• TRUE REFLECTION OF THE CULTURAL
HERITAGE AND THE WAY PEOPLE LIVE
THEIR LIVES IN THE HIMALAYAS.
UTTARAKHANDI MUSIC

10. • IT COMES FROM THE WORD
‘’LAVANYA’’ WHICH MEANS BEAUTY.
• THE MOST POPULAR FORMS OF
MUSIC THAT IS PRACTICED ALL
OVER MAHARASHTRA.
• SONGS ARE SUNG BY FEMALE
ARTISTS.
• MALE ARTISTS MAY OCCASIONALLY
SING LAVANIS.
LAVANI MUSIC

11. RAJASTHAN MUSIC
• IT HAS A VERY DIVERSE CULTURAL
COLLECTION OF MUSICIAN CASTES,
INCLUDING LANGAS, SAPERA, BHOPA,
JOGI AND MANGANIYAR.
• A SOULFUL, FULL-THROATED MUSIC
WITH HARMONIOUS DIVERSITY.
• IT’S HAUNTING MELODY EVOKES
FROM A VARIETY OF DELIGHTFULLY
PRIMITIVE LOOKING INSTRUMENTS.

12. NORTH AMERICA LIKE SOUTH
AMERICA HAS MUSICAL
TRADITIONS THAT ORIGINATE
WITH:
1. AMERINDIAN ETHNIC GROUPS
2. EUROPEAN ETHIC GROUPS
3. BLACK AFRICAN AND CREOLE
GROUPS
NORTH AMERICAN MUSIC

13. • ALL INTERMIX AND NONE HAVE REMAINED
UNAFFECTED BY THE OTHERS.
• IT IS ARGUABLE THAT THE MIXING OF
BLACK AFRICAN AND EUROPEAN HAS
PRODUCE IN JAZZ AND BLUES THE MOST
UNIVERSAL MUSICAL IDIOM ON EARTH
TODAY – IT BEING THE BASIS OF WESTERN
POPULAR MUSIC N AMERINDIAN IS THE
LEAST KNOWN, LEAST UNDERSTOOD AND
LEAST INFLUENTIAL. MUCH OF IT DYING
WITH THE LOSS OF LAND AND IDENTITY AS
THE WHITE MAN TOOK OVER NORTH
AMERICA

14. • MUSIC PLAYED A
SIGNIFICANT
ROLE IN
AMERINDIAN
CULTURE
BEFORE
CONTACT WITH
EUROPEANS BUT
ONLY IN THE
20TH CENTURY
HAS IT BEEN
STUDIED.
MUSIC IN
AMERINDIAN
SOCIETY

15. • SPECIAL ROLE IN AMERINDIAN.
CULTURE TO MAINTAIN ETHNIC
IDENTITY AND PROVIDE A FOCAL POINT
FOR VIEW OF PAST.
• INTIMATELY CONCERNED WITH
RELIGION – MOST IMPORTANT
ELEMENT IN WORSHIP AND IN RITUALS
SUCH AS PEER GROUP SOCIETIES AND
GAMBLING GAMES.
• USED TO ACCOMPANY DANCES,
GAMES, CALENDAR RITUALS AND LIFE
CYCLE EVENTS.

16. • MUSIC IS USED TO SYMBOLISE AND
PERSONALISE SUPERNATURAL
POWER. SPIRITS GAVE POWER TO
HUMANS BEINGS BY TEACHING
THEM SONGS. SHAMANISM AND
MUSIC GO TOGETHER.
• ACCOMPANIMENT TO CEREMONIES,
PRAYER, AND AID TO RELIGIOUS
EXPERIENCE.
• MUSIC JUDGED LESS BY MUSICAL
CRITERIA THAN BY HOW EFFECTIVE
IN RELIGIOUS FUNCTIONS AND HOW
GOOD IN PROVIDING FOOD, WATER,
HEALING ETC.
USES OF MUSIC

17. • CLOSELY RELATED IN AMERINDIAN
CULTURE. IN SEPARABLE IN MANY CASES.
THIS IS A PARTICULAR FEATURE OF THE
CULTURE.
• MUSIC ACCOMPANIED DANCES IN SPECIFIC
CEREMONIES.
• DANCES SERVE TO UNITE MEMBERS OF THE
COMMUNITY WITH EACH OTHER, WITH
ANCESTORS, AND WITH SUPERNATURAL
BEINGS.
• EACH TRIBE HAD OWN DANCES BUT
TYPICALLY THEY ARE CIRCULAR AND
FEATURE DIGNIFIED FRONTAL MOVEMENT.
MUSIC AND DANCE

18. • CLOSELY RELATED IN AMERINDIAN
CULTURE. IN SEPARABLE IN MANY CASES.
THIS IS A PARTICULAR FEATURE OF THE
CULTURE.
• MUSIC ACCOMPANIED DANCES IN SPECIFIC
CEREMONIES.
• DANCES SERVE TO UNITE MEMBERS OF THE
COMMUNITY WITH EACH OTHER, WITH
ANCESTORS, AND WITH SUPERNATURAL
BEINGS.
• EACH TRIBE HAD OWN DANCES BUT
TYPICALLY THEY ARE CIRCULAR AND
FEATURE DIGNIFIED FRONTAL MOVEMENT.
SONGS AND POETRY

19. A F R I C A N
M U S I C
• 2ND LARGEST
CONTINENT WITH A
POPULATION OF
APPROXIMATELY 700
MILLION PEOPLE.
• MOSTLY TROPICAL
CLIMATE
• OVER 800 LANGUAGES
AND CULTURE
A F R I C A

20. PURPOSE OF MUSIC
• RECREATION – SINGING, DANCING,
DRUMMING AND CONCERTS
• RITUALS & CEREMONIES – CELEBRATING
• OCCUPATIONAL – WORK SONGS,
PREPARING FOOD
• SOCIAL – CHILD CARE, STORY TELLING, SOCIAL GAMES
AND PARTIES
• LANGUAGE – DRUMMING AND SIGNALING ARE USED
TO SEND MESSAGES

21. CHARACTERISTICS OF
AFRICAN MUSIC

22. 1. POLYRHYTHMIC –THEY PERFORM
TWO OR MORE BASIC RHYTHMS
SIMULTANEOUSLY
2. WIDE RANGE OF TONAL QUALITY
IS OBSERVED AMONG THE
AFRICAN (OPEN VOICE QUALITY,
OPEN THROATED, FALSETTO,
GLISSANDOS AND SWOOPS)
3. GROUP SINGING IS DONE
THROUGH A CALL-RESPONSE
TECHNIQUE

23. • TEXTURE IS COMPLEMENTARY
– MANY RHYTHMS OCCURING AT THE
SAME TIME
• SYNCOPATIOM
– OFF-BEAT PHRASING
• MUSIC IS PART OF MOST ACTIVITIES
– MUSIC AND MOVEMENTS ARE
LINKED TO EACH OTHER
• BUZZY TONE QUALITY

24. • MUSIC IS PASSED ON
THROUGH ORAL
TRADITION RATHER
THAN NOTATION,
AND IN WEST AFRICA
PARTICULARLY
THERE ARE
HEREDITARY
MUSICIANS CALLED
GRIOT OR “JALI”
WHO CAN TRACE
THEIR FAMILY
HERITAGE BACK TO
THE 12TH CENTURY.
A F R I C A N
M U S I C

25. • THE GRIOT PASS THEIR MUSICAL
SKILLS ON TO THEIR SONS FROM A
VERY YOUNG AGE AND ARE
HIGHLY RESPECTED (AND PAID)
WITHIN THEIR COMMUNITIES.
• MASTER DRUMMER ARE SOLOISTS
AND CONDUCTORS. THEY SET THE
RHYTHM, PULSE AND DECIDE
UPON SOLOS AND DYNAMICS.
THEY GIVE VISUAL AND DRUM
SINGANLS THROUGHOUT

26. • IN AFRICAN MUSIC
REPETITION IS
OFTEN USED TO
ORGANISE THE
MUSIC. THE
INTERACTION OF
PLAYERS HANDS
ESTABLISHES A
REPEATING
PATTERN
(OSTINATO) WHICH
PLAYERS USE AS A
BASIS FOR
IMPROVISATION.
MUSICAL STYLES:
A F R I C A N

27. • POLYPHONY HAS MANY MUSICAL
PARTS OR RHYTHMS
INTERWEAVING WITH EACH
OTHER.
• POLYRHYTHM IS THE
SIMULTANEOUS SOUNDING OF
TWO OR MORE INDIVIDUAL
RHYTHMS (3 AGAINST 4).
• CALL-AND-RESPONSE IS VERY
POPULAR. THE CHORUS REPEATS
A FIXED REFRAIN IN
ALTERNATION WITH A LEAD
SINGER, WHO THEN HAS MORE
FREEDOM TO IMPROVISE. THIS
MAKES THE MUSIC
CONVERSATIONAL.

28. LATIN AMERICAN
M U S I C
LATIN MUSIC IS THE
RESULT OF A
COMPLEX SOCIAL AND
HISTORICAL PROCESS
THAT TOOK PLACE IN
THE AMERICAS AFTER
THE ARRIVAL OF
COLUMBUS. DESPITE
THE TRAUMATIC
EXPERIENCE, LATIN
MUSIC IS ONE OF THE
POSITIVE OUTCOMES
THAT CAME FROM
THAT PROCESS.

29. GENERALLY SPEAKING, LATIN MUSIC
HISTORY STARTS WITH THE CULTURAL
ENCOUNTER THAT OCCURRED AFTER
THE ARRIVAL OF COLUMBUS. HOWEVER,
IT IS IMPORTANT TO REMEMBER THAT
THE INDIGENOUS PEOPLE OF THE NEW
WORLD HAD THEIR OWN MUSIC.
INDIGENOUS MUSIC

30. • LATIN MUSIC IS DEFINED TO A LARGE
EXTENT BY THE SPANISH AND PORTUGUESE
LANGUAGES. WHILE PORTUGUESE CAME TO
DEFINE THE MUSIC FROM BRAZIL, SPANISH
LANGUAGE DEFINED THE REST OF LATIN
AMERICA.
• WHEN THE SPANISH CONQUERORS ARRIVED
ON THE AMERICAN CONTINENT THEIR
HOMELAND HAD RICH MUSICAL
EXPRESSIONS THAT INCLUDED TRADITIONS
FROM BOTH THE EUROPEAN AND THE ARAB
WORLDS.
THE ARRIVAL OF EUROPEANS

31. • THE AFRICAN SLAVES BROUGHT WITH
THEM ALL THE TRADITIONS AND BEATS OF
THEIR CONTINENT. THEIR INFLUENCE IN
LATIN MUSIC IS SO BIG THAT THIS COULD
BE THE SINGLE MOST IMPORTANT ELEMENT
IN LATIN MUSIC HISTORY.
• THIS HOWEVER DOES NOT TOUCH ALL THE
RHYTHMS AND STYLES THAT BELONG TO
LATIN MUSIC. SAMBA, SALSA, MERENGUE,
BACHATA, TIMBA AND MUCH MORE, ARE
JUST SOME OF THE RHYTHMS THAT HAVE
BEEN SHAPED BY AFRICAN BEATS.
THE AFRICAN INFLUENCE

32. • THE ENCOUNTER OF THE THREE
CULTURES MENTIONED BEFORE CREATED
THE DYNAMIC SOCIAL ENVIRONMENT
THAT HAS SHAPED LATIN MUSIC SINCE
THE COLONIAL TIMES.
• LATIN POP AND ROCK EN ESPANOL HAVE
BEEN SHAPED BY THE FOREIGN SOUNDS
OF ROCK, ALTERNATIVE AND POP MUSIC.
REGIONAL TRADITIONS LIKE THE COWBOY
WAY OF LIFE IN THE PLAINS OF COLOMBIA
AND VENEZUELA HAVE
PRODUCED LLANERA MUSIC.
A SOCIAL PHENOMENON

33. • SOCIAL CONDITIONS, ESPECIALLY THOSE
CREATED BY IMMIGRATION AND CLASS
DIVISIONS, ARE BEHIND THE DEVELOPMENT
OF TANGO IN ARGENTINA. TRADITIONAL
MEXICAN MUSIC WAS LARGELY DEFINED BY A
FEELING OF NATIONAL IDENTITY THAT WAS
INCORPORATED INTO MARIACHI MUSIC AFTER
THE MEXICAN REVOLUTION.
• LATIN MUSIC IS A COMPLEX PHENOMENON
THAT REFLECTS THE COMPLEX HISTORY OF
LATIN AMERICA, A MIXED REGION WHOSE
SOCIAL ENVIRONMENT HAS FORGED SOME OF
THE MOST BEAUTIFUL SOUNDS IN THE
WORLD.

34. ZAMBA AND MURGA
FROM THE SOUTH
• BESIDES TANGO, THE SOUTHERN PART OF SOUTH AMERICA IS
HOME TO VERY INTERESTING TRADITIONAL MUSIC. ZAMBA IS, IN
FACT, THE NATIONAL DANCE IN ARGENTINA AND CHILE.
• THE SOUNDS OF ZAMBA ARE PRODUCED BY A COMBINATION OF
GUITARS PLAYING ALONG THE BEATS OF A PROMINENT DRUM
NAMED BOMBO LEGUERO. BY CONTRAST, MURGA IS MORE OF A
POPULAR MUSICAL THEATER PLAYED IN URUGUAY AND
ARGENTINA DURING THE CARNIVAL.

35. AS ITS NAME SAYS IT, ANDEAN MUSIC WAS BORN IN THE
EXTENSIVE REGION CROSSED BY THE ANDES. BECAUSE OF
THIS, ANDEAN MUSIC IS VERY POPULAR IN COUNTRIES LIKE
BOLIVIA, PERU AND ECUADOR. THIS TYPE OF INDIGENOUS
MUSIC IS USUALLY PLAYED WITH A SET OF DIFFERENT
PANPIPES, CHARANGO (A SMALL STRING INSTRUMENT) AND
BOMBO (DRUMS).
A N D E A N
M U S I C

36. CHORO AND SERTANEJA
MUSIC FROM BRAZIL
• CHORO AND SERTANEJA MUSIC ARE ONLY TWO OF THE MOST
POPULAR FORMS OF TRADITIONAL LATIN AMERICAN MUSIC
COMING FROM BRAZIL. CHORO DEVELOPED IN RIO DE
JANEIRO DURING THE 19TH CENTURY. IT BECAME POPULAR IN
THE 1930S BUT IT LOST ITS APPEAL DURING THE BOSSA NOVA
BOOM. CHORO IS USUALLY PLAYED WITH GUITARS, FLUTE
AND CAVAQUINHO, A COMBINATION THAT MAKES THIS STYLE
QUITE PLEASANT TO THE EAR.
CUMBIA FROM COLOMBIA
• CUMBIA IS COLOMBIA'S MOST WELL KNOWN CONTRIBUTION
TO TRADITIONAL LATIN AMERICAN MUSIC. THIS RHYTHM WAS
BORN IN THE ATLANTIC COAST OF THE COUNTRY DURING THE
19TH CENTURY. CUMBIA OFFERS A HEAVY PERCUSSION
WHICH IS NICELY COMBINED WITH LARGE GAITA FLUTES.
DESPITE BEING A COLOMBIAN RHYTHM, CUMBIA HAS BEEN
EXTENSIVELY ADOPTED AS A MUSICAL

37. CONTEMPORARY MASS MEDIA
• CONTEMPORARY IS
DEFINED AS A HAPPENING
OR BEGINNING NOW OR IN
RECENT TIMES.
• THE CONTEMPORARY
MUSIC PERIOD IS THE
PERIOD FOLLOWING THE
MODERN MUSIC PERIOD.
IT IS GENERALLY
CONSIDERED TO HAVE
LASTED FROM 1945 A.D.
TO THE PRESENT.

38. • SOME COMMON CHARACTERISTICS,
WHICH ARE NOT ALWAYS PRESENT AND
ARE NOT ONLY SPECIFIC TO THIS
PERIOD, INCLUDE :
1. FEWER LYRICAL MELODIES THAN
OTHER PERIODS.
2. DISSONANT HARMONIES
3. COMPLEX RHYTHM
4. PERCUSIVENESS
5. GREATER USE OF PERCUSSION, BRASS,
AND WOODWIND
6. USES SYNTHETIC AND ELECTRONIC
SOUNDS.

39. • MUSIC ELEMENTS IN MASS MEDIA
IS ABSORBED, DECODED AND
CONSUMED SOCIALLY BY MANY
KINDS OF INDIRECT / DIRECT
WAYS.

40. • MUSIC HAS ALSO BEEN
ONE OF THE VERY
IMPORTANT COMPONENTS
OF ADVERTISEMENS,
SOAP – OPERAS, SITCOMS,
COMPETITION PROGRAMS
IN MASS MEDIA .
• MUSIC OFTEN SERVES AS AN
ACCEPTABLE CHANNEL OF
COMMUNICATION IN A
SITUATION WHERE OPEN
CRITICISM OR COMPLAINT
WOULD BE UNACCEPTABLE AND
TRADITIONS OF IMPROVISING
MUSIC AND LYRICS ENABLE
PERFORMERS TO MAKE
PERSONAL COMMENTS ON
EVENTS AS THEY ARE OCCURING.

41. THANK YOU FOR