Music I Have Never Listened To
Didjeridu
I chose to explore the Didjeridu more in depth because I did not like the music it produced the first time I heard it; it did not sound like music to me, rather, just animalistic noise. When I first listened to the didjeridu, there didn’t seem to be any interesting rhythms or contrasting dynamics, the range of the instrument also appeared to be minimal, and the timbre was not pleasing to the ear.
After listening to some other players, I still do not enjoy it as much as I do the other instruments and genres. That being said, after doing some research and reading about the didjeridu I discovered some things that have given me a stronger appreciation for the instrument. I learned that a technique called circular breathing (breathing in through the nose and blowing air out through the mouth at the same time) is employed in order to achieve different pitches, tones, and pulsations. Further, I discovered that rhythms are produced by mouthing different types of vocables - this proved me wrong from my original observation of the instrument, which was that there were no alluring rhythms.
I also learned that it is viewed as a sacred instrument in indigenous Australian culture and is used not only for religious ceremonies but also as accompaniment to entertainment and clan songs. Not only is it made from a hollowed tree branch, but the instrument is also viewed to be born from nature and players would typically mimic the sounds and noises heard in forests.
Musical Bow
I chose to learn more about I had never heard of or seen a musical bow before and I thought it had a unique sound. The technique used by the instrumentalist was something I had never seen before and I found it interesting to listen to the harmonics that were created.
When I first began listening to the music produced by the musical bow I thought it had an interesting sound; I neither enjoyed it or disliked it. I liked the rhythms created by hitting the string with a stick and I thought the harmonics, although faint, provided nice overtones. After some reading and research, I discovered that the musical bow was believed to be derived from a hunting bow in Southern and Central Africa. This fascinated me because when I initially listened to the music produced by the instrument it reminded me of an chant or gathering of some kind. I also learned that, on some bows, there are two segments of the string and each one is struck with a thin rod. By controlling the back of the string players are able to play an additional undertone, creating a layer of notes and harmonics which is what makes the sound of the instrument so unique.
Finally, I learned that the musical bow is credited to a number of South African cultures and was discovered in an illustration on a cave wall of a man holding a bow in the middle of a herd of bison. This also explains its ties to hunting bows and the chant-like music that it produces.
References
(n.d.). Retrieved from http://didjiman.com/didjeridu/didge-origin.htm
(n.d.). Retrieved from https://thinkingonmusic.wordpress.com/tag/musical-bow/
Britannica, T. E. (2016, September 27). Didjeridu. Retrieved from https://www.britannica.com/art/didjeridu
Didgeridoo acoustics/ yidaki acoustics. (n.d.). Retrieved from http://newt.phys.unsw.edu.au/jw/didjeridu.html
Musical bow. (n.d.). Retrieved from http://music.africamuseum.be/determination/english/instruments/musical bow.html
Shelemay, K. K. (2015). Soundscapes: Exploring music in a changing world - third edition. W.W. Norton.
Hi Marissa,
Thanks for your response regarding the didjeridu and the musical bow. You mentioned that with the didjeridu, you didn’t like the sound of it as much at first and listened to several other players. You mentioned it lacking interesting rhythms and contrasting dynamics. Do you think this is considered just as much “music” or a “musical instrument” as other instruments? When players are making a sound and not adding those musical elements that we are accustomed to here in our western culture, is it still music and being played musically? Music in the Shelemey chapter is associated with organized sound that is meaningful to people. How does this idea play into conceptualizing an instrument that is more difficult to play with contrasting dynamics and changing rhythms? Along with the musical bow, how can we as outsiders know if these instruments are being used to create sound that is “meaningful” to people? Don’t worry about answering all of these questions but here’s a few different conversations we could enter in with response to your paragraphs! Make sure you also have the Shelemey article referenced in your reference list.
Thanks,
Laura
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Hi Laura,
I think that, despite my likes or dislikes of the instrument’s sound, it definitely still should be considered music just as much as any other instrument. Just because I don’t understand the musical intent behind what is being played does not mean that there isn’t one; I believe this is what determines whether something should be considered music or not. Meaningful, organized sound will mean something different to everyone because there is no set in stone rules or guidelines that determine meaning.
Those were great questions!
Thanks,
Marissa