iDIDJ Australia Didgeridoo Cultural Hub

[flyangler18]

I raised this point on the SS forum:

Aboriginal music, for example, is vastly under-appreciated because (a) it hasn't been commodified(not always a 'bad' word) in the same way that the visual arts have and (b)people are wary to approach it and experience it because of the 'secret/sacred' aspect. As such, there are relatively few texts that have really studied genres of Aboriginal music- which I see as a real shame.

It is my belief that some well-meaning people shy away from Aboriginal musical styles because there is an undercurrent of thought that views Aboriginal music is all secret/sacred in nature, and to study it is somehow disrespectful. As such, relatively little is known about the various genres in a meaningful and in-depth way.

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[kdidj]

Further to this, I believe the public in general find it easier to understand the visual vocabulary of Aboriginal Art much more than the important song cycles for which one would have to understand the local dialect to begin to analyse or comment upon. Add to this the fact that the most popular forms of Aboriginal Art (Desert Dot paintings) are created in a Western context, i.e. acrylic paint on canvas, making them far more palatable to a Western audience.

Perhaps also, a great understanding of the songs and music would erode some of the 'spiritual' aspects that Westerners tend to latch onto when discussing aspects of Aboriginality and that they appear keen on retaining.

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[flyangler18]

Quote:

Further to this, I believe the public in general find it easier to understand the visual vocabulary of Aboriginal Art much more than the important song cycles for which one would have to understand the local dialect to begin to analyse or comment upon.

Exactly, Kyle- as such the visual vocabulary is easily transferred into a physical tangible object like a bark painting or acrylic on canvas and easily made into a 'sellable' thing.

And while cross-over acts like Warumpi Band, Yothu Yindi and Waak Waak Jungi mix traditional aspects into contemporary pop music (thus more easily commodified), traditional song cycles and performance remain relatively isolated in the larger sphere.

Quote:

Perhaps also, a great understanding of the songs and music would erode some of the 'spiritual' aspects that Westerners tend to latch onto when discussing aspects of Aboriginality and that they appear keen on retaining.

I think this could be a real possibility, and help identify truly 'spiritual' aspects of performance and help foster a deeper understanding on a cross-cultural level.

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[ididjaustralia]

Studying music is not an easy matter! As Kyle indicated, a mastery of language is essential. Not just knowing words and grammar, but having a deep understanding of phrasing, symbolism, double meanings etc. The other thing too is that words used in song are often different to every day language, so anyone wishing to study Australian Indigenous music must know two 'languages' at least.

There are secret and sacred aspects to songs as well, or call it restricted knowledge if you prefer. For men's business, there is men's talk that only men know about. So for Yolngu to say "Nhathinya ngunhi gapu ngunha Renyngur?" which translates literally as "How's the water over there at Renyngur?" really means "What is the progress with the ceremony at Renyngur?". This is ok to share on the internet, as I've asked Yolngu and they say it is ok... the real content of the ceremony is still secret and I ain't gonna tell!

Guan

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[flyangler18]

Quote:

Studying music is not an easy matter! As Kyle indicated, a mastery of language is essential. Not just knowing words and grammar, but having a deep understanding of phrasing, symbolism, double meanings etc. The other thing too is that words used in song are often different to every day language, so anyone wishing to study Australian Indigenous music must know two 'languages' at least.

You'll get no argument from me here, Guan, that's for sure After all, wouldn't want to put all those academics out of a job!

But in all seriousness, my comments were really directed toward appreciation of Aboriginal music, although I may have not made that particularly clear. In the global context, traditional songs have not been commodified as easily as fusion pieces. There is still a somewhat pervasive belief that all Aboriginal music is restricted knowledge, and so even world music enthusiasts may shy away from it from some misguided sense of 'respect'.

Jason

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[ididjaustralia]

To appreciate requires understanding, so I think the real appreciation is within communities themselves. Outside of cultural contexts, traditional songs and music in general take on a different meaning, so it might be more about melody, instrumentation, etc.

Art is somewhat different to music because it is produced specifically for the market. Traditional music, when produced for Western audiences, is mostly an academic endeavour focussed on recording and documenting and as such is not easily digestible by lay audiences.

Guan

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[flyangler18]

Quote:

To appreciate requires understanding, so I think the real appreciation is within communities themselves. Outside of cultural contexts, traditional songs and music in general take on a different meaning, so it might be more about melody, instrumentation, etc.

I agree completely. Discussions about melody, instrumentation and the like can be equally insightful- because there is a recognition that traditional music is worthy of study in the first place.

Jason

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[pacdidj]

I think you're right on here Jason. Such study is definitely worthwhile, even if it is limited, at least initially, to the sonic/formal/instrumentational aspects of the music, and some very basic observations about context. In the first place it illustrates that there is something worthy of study to those who might think otherwise. Also, many of us Westerners are used to connecting with music largely through its sonic/formal elements, and a better understanding of these elements can help lay the groundwork for a kind of appreciation, even if it's not the same appreciation that the Aboriginal people who produce these musics have for them.

Best,
Phil

[kdidj]

This is an interesting discussion and I think touches on why we, as Westerners, have so latched on to the didjeridu, an important element of the traditional music/religion of the area, but simply that, an element.

We will never begin to understand the complexities and multilayered meanings woven into the songs so we grasp what we can attempt to understand - the didjeridu.

It is interesting how music does speak its own 'language' however. Listening to some field recordings the songman's voice often sends shivers down my spine. I may not mentally be aware of the importance or meaning of the song, but something in my physiological and physical self is affected.

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[ididjaustralia]

Good points all around I agree! I mentioned Strehlow's Songs of Central Australia on the SS Forum... that tome was a monumental feat for a white person to have written and set the benchmark as far as understanding and scholarship are concerned. Strehlow really got into the heads of the Aranda people whom he studied and learned from. I think it is fair to say there has never been a person like Strehlow since.

For Arnhem Land, there have been a number of scholars who have done good field research on music and performance art, not quite the standard of Strehlow IMHO but good nonetheless. This is not an inclusive list, but look for names such as Knopoff, Stubington, Moyle of course, Trevor Jones, Peter Toner, Fiona McGowan, Franca Tamisari, Borsboom, Craig Elliott...

Guan

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[flyangler18]

Quote:

Listening to some field recordings the songman's voice often sends shivers down my spine. I may not mentally be aware of the importance or meaning of the song, but something in my physiological and physical self is affected.

Yes! I have this experience quite often when I'm listening to Gurritjiri sing manikay

Jason

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[Ed Drury]

Very good thoughts, Jason. When I am asked about the differences between traditional music forms and contemporary music forms (in the broadest sense, not just Australian Aboriginal music) I always find myself replying that it is made for a different purpose. Without going into the 'purposes' for which traditional music is composed(many), most contemporary music forms are composed with the idea of commercial release and/or performance. Or, at the very least, influenced by that industry.

I'm not sure why Aboriginal music can not be appreciated strictly in musical terms. To me, structurally and sonically, it is impressive in it's diversity and range of expression especially in light of the limited use of instruments. Because of that, it uses a wealth of musical techniques to create it's variations in tempo, time signature, vocal harmonies and so on. I think it can certainly offer a great deal of study and thought just as a musical form. Of course, any study of language and culture will only enrich the experience. But, to the careful listener, there is a lot there to take in. Those who don't think so probably haven't tried to recreate some approximation for themselves.

Anyway, that's always been amongst my thoughts. Don't get me wrong, I think it's wonderful to develop a deeper understanding - but I feel the music is plenty musical even on the surface. That is to say, I enjoy listening to it and always have.

Ed

flyangler18 wrote:

I raised this point on the SS forum: Aboriginal music, for example, is vastly under-appreciated because (a) it hasn't been commodified(not always a 'bad' word) in the same way that the visual arts have and (b)people are wary to approach it and experience it because of the 'secret/sacred' aspect. As such, there are relatively few texts that have really studied genres of Aboriginal music- which I see as a real shame. It is my belief that some well-meaning people shy away from Aboriginal musical styles because there is an undercurrent of thought that views Aboriginal music is all secret/sacred in nature, and to study it is somehow disrespectful. As such, relatively little is known about the various genres in a meaningful and in-depth way.

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[ididjaustralia]

Bravo Ed, good to have you on board and totally agree with your thoughts!

I'm not musically trained so I'm not so eloquent when it comes to expressing ideas about music. You're much better mate, keep those posts coming!

Now, where are those other 2 'musketeers'?!?! Burrows! Lister!

Guan

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[Ed Drury]

ididjaustralia wrote:

Bravo Ed, good to have you on board and totally agree with your thoughts! I'm not musically trained so I'm not so eloquent when it comes to expressing ideas about music. You're much better mate, keep those posts coming! Now, where are those other 2 'musketeers'?!?! Burrows! Lister! Guan

Thanks for the welcome, Guan. The other two musketeers are probably polishing their swords. I'm sure they will be quite excited to come aboard and contribute when they have time.

One of the most exciting things for me in recent years has been the arrival of traditional music CD's professionally produced and recorded in studio. The sound quality above field recording is wonderful and I think really makes the traditional manikay forms much more appealing to the larger population of non-indigenous listeners.

Ed

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[itsadidj]

Welcome Ed - and thanks! I've always been very grateful of the information you've shared................

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Chris