- Tapa blanda: 132 páginas
- Editor: University of Washington Press; Edición: Reprint (1 de septiembre de 1974)
- Colección: Jessie & John Danz Lectures
- Idioma: Inglés
- ISBN-10: 0295953381
- ISBN-13: 978-0295953380
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
Clasificación en los más vendidos de Amazon:
nº240.068 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
- n.° 639 en Referencias de música
- n.° 1440 en Antropología (Libros en idiomas extranjeros)
- n.° 2410 en Enciclopedias y obras de consulta (Libros en idiomas extranjeros)
- Ver el Índice completo
How Musical Is Man? (Jessie & John Danz Lectures) (Inglés) Tapa blanda – 1 sep 1974
Compra este producto y disfruta de 90 días gratis de Amazon Music Unlimited
Después de tu compra, recibirás un email con más información sobre cómo disfrutar de 90 días gratuitos de Amazon Music Unlimited. Descúbrelo
Descripción del producto
Reseña del editor
This important study in ethnomusicology is an attempt by the author -- a musician who has become a social anthropologist -- to compare his experiences of music-making in different cultures. He is here presenting new information resulting from his research into African music, especially among the Venda. Venda music, he discovered is in its way no less complex in structure than European music. Literacy and the invention of nation may generate extended musical structures, but they express differences of degree, and not the difference in kind that is implied by the distinction between `art' and `folk' music. Many, if not all, of music's essential processes may be found in the constitution of the human body and in patterns of interaction of human bodies in society. Thus all music is structurally, as well as functionally, `folk' music in the sense that music cannot be transmitted of have meaning without associations between people.If John Blacking's guess about the biological and social origins of music is correct, or even only partly correct, it would generate new ideas about the nature of musicality, the role of music in education and its general role in societies which (like the Venda in the context of their traditional economy) will have more leisure time as automation increases.
'How Musical Is Man?' explores the role of music in society and culture, and of society and culture in music. The author, and anthropologist and ethnomusicologist, draws examples from Western music and from the music of the Transvaal Venda people.
No es necesario ningún dispositivo Kindle. Descárgate una de las apps de Kindle gratuitas para comenzar a leer libros Kindle en tu smartphone, tablet u ordenador.
Obtén la app gratuita:
Detalles del producto
Si eres el vendedor de este producto, ¿te gustaría sugerir ciertos cambios a través del servicio de atención al vendedor?
Ninguna opinión de cliente
|5 estrellas (0%)|
|4 estrellas (0%)|
|3 estrellas (0%)|
|2 estrellas (0%)|
|1 estrella (0%)|
Valorar este producto
Opiniones de clientes más útiles en Amazon.com
We are treated to page after page of Venda music, and told such earth-shattering truths as when analyzing music, we have to take into consideration the society that produced it. Maybe this book can be forgiven for expecting this to be a momentous insight because it was written in 1974 before cross cultural studies were common. Reading this in 2002, Blacking is simply a preaching to a bewildered crowd of the converted.
Blacking also fails to make any distinction between songs composed for dance, for opera, for solo or choral performance, for ritual, for symphonies or any for any other type of music. He doesn't take into consideration that the inspiration for, say, blues, rock, and jazz, for classical and atonal Gregorian chanting may be quite different, that their functions may make for poor comparison. I lost the last of my tolerance for this book when, in the conclusion, Blacing decided to prove that purely musical considerations, such as "the logic of the melodic pattern" and tonal relationships, are not sufficient to analyze a song the Venda used to teach their children to count. Well, why should they be? This is the Venda version of Sesame Street ditties in which "on each half-note beat, a finger is grapsed and counted ... from the left little finger to the thumb ..." Who in the world would expect purely musical considerations to explain everything in such a pragmatic piece of work? Blacking utterly fails to take into account that virtually all of the Venda's music is of this sort-it serves a social or pragmatic function-whereas Western music has long since moved away from that into the realm of aesthetic expression.
Even the section of the book in which Blacking tried to decide whether there might be universal aspects to music was an abysmal disappointment because he fails in any way to expound on his idle musing that music may have universal elements.
By the time he gets to the conclusion, he will say a half dozen things about music that are either contradictory or simply hang there without any discussion, including the "hard task is to love, and music is a skill that prepares man for this most difficult task." He states this on page 103 (of 116) without any previous mention of love in the context of music. Nor will he go on to prove his point, instead he will briefly and tangentially discuss this before moving on to how music "may represent the human mind working without interference and therefore observation of musical structures may reveal some of the sturctual pinciples on which all human life is based." Indeed a revelation if only it weren't dropped on page 115 like paratrooper who finds himself utterly alone after the drone of the plane has faded into silence on the very next page. Perhaps the most absurd thing Blacking asserts in his conclusion is that "In order to create new Venda music, you must BE a Venda, sharing Venda social and cultural life from early childhood." It's no more absurd than the claiming that for an author to portray a believable male character, she must be a man.
"The chief function" -yet another chief function-"of music is to involve people in shared experiences within the framework of their cultural experience." Once again, he states this as if it were a self-evident truth and makes no attempt to sway anyone who might be skeptical. What about those of us who lean more toward the belief that music can be, if not a universal language, at least more mutually intellgible than, say, Turkish and German? In other words, the belief that a German musician can convey much much more with a musical composition than he or she can with a lecture given to a Turkish-speaking audience? Transcending culture, seems as much an element of music as perpetuating it. What a shame such a fascinating topic was given such unforgivably narrow treatment.
You are far better off reading what Mahler had to say about music (his are the most interesting quotes in this book) or, Igor Stravinsky's wonderfully concise and presented "The Poetics of Music."
In the first chapter of his small yet very powerful book, Blacking writes that when he began to live with and study the Venda, he believed that music began and ended with Western classical music, but, that after two years of living and studying the Venda and their music, he no longer understood Western music. Put differently, his experience living with and studying the Venda forced him to question all prior beliefs he had both about Western music and assumptions underlying them. The Venda taught him that all people have talent or musical ability. It is only Western values or myths that create hierarchies of talent and ability. And that these underlying Western values and myths subjugate countless people, causing them to dismiss key aspects of their inherent human potential, because of widespread belief that it is pointless to pursue musical ambitions only a fortunate few possess, but most do not.
Blacking's book is important not only as an ethnomusicological study, but has, I think, universal application because its underlying theses directly question Western assumptions and myths that adversely affect people regardless of musical preference. The book forces one to think, to challenge values one might previously have taken for granted.
I have recommended John Blacking's How Musical is Man? to friends who thought themselves totally bereft of any musical ability or talent, who were highly reluctant to attempt anything musical.
Though the book has musical examples, it can be read and appreciated by those with absolutely no ability to read or play music.