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Cross-Cultural Fusion Analysis, World Music Culture

Instructions
Goal: The purpose of this assignment is to evaluate the cultural appropriation of music.

Course Objective(s): CO-1, CO-2, CO-3, CO-4

Description:

Part of the phenomena of world music is the appropriation by Western musicians of non-Western instruments, sounds, structures and styles. There is also the appropriation by non-Western musicians of elements of Western music, including instruments, sounds, structures and styles. These types of recordings are often referred to as “world beat,” “ethno pop,” or “world pop.” This paper will analyze and evaluation the appropriation of music from other cultures.

For this paper, you will choose one of two options.

OPTION #1

This option explores the appropriation of traditional music by Western musicians. Choose one recording from the list below. Write a critical review of the recording addressing the following:

Briefly describe the musical and aesthetic concept behind the recording answering this question: “What was the goal of the artists?”
Discuss how traditional non-Western music is incorporated into the sound of the music. Be sure to utilize musical terminology and scholarly sources to express your ideas.
Does the Western artist show musical respect for the imported tradition(s) represented on the recording? If so, how? If not, why not?
Offer a critical evaluation about ways in which the project succeeds or fails as music, and in developing cross-cultural relationships and understanding.

RECORDINGS:

Peter Gabriel, “Passion” (created for The Last Temptation of Christ soundtrack based upon Middle Eastern music)

Kate Bush, “The Sensual World” (featuring Bulgarian women singers)

Paul Winter, “Kurski Funk” (jazz and Russian village music)

Outback, “Dance the Devil Away” (Australian Aboriginal music combined with folk guitar)

Baka Beyond, “Spirit of the Forest” (jam sessions with Baka Pygmies and composer/guitarist Martin Cradick

Linda Ronstadt, “Por un Amor” (featuring Mexican and Mexican-American musicians)

Talking Heads, “Born Under Punches” (appropriation of scratch, funk, Afro-Beat and jj rhythm)

“Ambilanao Zaho” (pop/avant-garde guitarists Henry Kaiser and David Lindley with musicians in Madagascar)

“Diaraby,” guitarist Ry Cooder with Ali Farka Toure, a griot from the Sahara

Robbie Robertson and the Red Road Ensemble, “Coyote Dance” (pop music with Native American music)

Led Zeppelin, “No Quarter” (collaboration with musicians from Egypt)

Beats Antique, “Dope Crunk” (experimental world fusion and electronic music)

OPTION #2

This option explores the fusion of Western music elements with aspects of traditional music. Choose one recording from the list below. Write a critical analysis of the recording addressing the following:

Briefly describe the musical and aesthetic concept behind the recording answering this question: “What was the goal of the artists?”
Explain how elements of Western musical traditions (e.g., instruments, styles, textures, cultural references, recording techniques) are combined with those of the featured non-Western tradition(s). Be sure to utilize musical terminology and scholarly sources to express your ideas.
Discuss musical and ethical issues that the recording raises. Are musicians from non-Western cultures selling their own musical traditions short when they combine these traditions with Western styles and techniques? Can music remain traditional while incorporating elements of modern Western music?
Evaluate how the project succeeds or fails as music, and in developing cross-cultural understanding and relationships.

RECORDINGS:

The Ravi Shankar Project. “Seven and 10” (fusion of Indian raga, the technology of synthesizers and digital sampling keyboards, and Western popular music)

Sheila Chandra, “True” (fusion between Indian classical music and English pop)

Ofra Haza, “Kirya” (Yemenite Jewish songs performed in a pop style)

R. Carlos Nakai, William Eaton & Will Clipman, “Feather, Stone & Light” (New Age Native American music)

Baaba Maal, “Sidiki” (Afro-Pop)

Yat Kha, “Yenisei Punk” (Tuvan “techno-ethnic-acid-folk music”)

“Shakti India” with John McLaughlin, Shankar, Zakir Hussain, T.H. Vinayakram (fusion of Indian classical music and jazz)

“Deep Forest, “Deep Forest 1992” (samplings of Pygmy music)

Nusrat Fateh Ali Khan and Eddie Vedder, “The Long Road” from Dead Man Walking

The Bulgarian Voices, “Lonely Bird” (Bulgarian female choir with Tuvan overtone singers)

Musi-O-Tunya, “Katonga” (Zamrock – combination of traditional African music with psychedelic rock and funk)

This paper should be 750-1000 words in length. This assignment should reflect knowledge and understanding of the course materials. Points should be supported by specific information from scholarly sources. This paper should be written in paragraph form using complete sentences with a clear introduction and conclusion.

REQUIREMENTS FOR WRITING ASSIGNMENTS

CONTENT

– Content applies to subject matter.

– Demonstrates knowledge and comprehension of major issues and concepts.

– Content reflects the use of analysis, synthesis, and comparison.

– Major points are stated clearly and are developed and supported by specific details, examples, research, or analysis supported by information from scholarly sources.

ORGANIZATION

– Response has an organized and logical structure with an introduction and conclusion.

– Smooth sentence and paragraph transitions.

– Sentences are complete, clear, and concise.

MECHANICS

– Response follows standard rules of grammar, usage, punctuation, and spelling.

– Any material referenced is properly cited with both in-text citations and references formatted in MLA style. This is an excellent website for citing in MLA.

– For papers submitted as attachments, formatting should be double-spaced with margins no more than 1 inch. Please use 10 or 12 pt. fonts.

– Papers submitted as attachments must be .doc, .docx or .rtf files. File formats can be changed by going to the “File” drop-down menu and selecting on “Save As.” Please note that papers submitted in any other format will not be accepted or graded. Papers must be submitted in the proper format to be considered on time.

Papers will be evaluated according to the Short Paper grading rubric (see attached). Please review and utilize this grading rubric in order to maximize points earned on this assignment.

This assignment is due by Sunday of Week 4 at 11:59 pm (Eastern time). Please note that late submissions will be automatically downgraded.

Papers must be uploaded as an attachment. Please also double check that your attachment is in .doc, .docx or .rtf format.

DISCLAIMER: Originality of attachments will be verified by Turnitin. Both you and your instructor will receive the results.

I am looking forward to reading your analysis of cross-cultural fusion music. Let me know if you have any questions about this assignment. I am happy to help in any way I can.

 

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