In
order to sustain music, there has to be an effort to preserve it. Preservation efforts include cultural
tourism, school courses including music appreciation and the textbooks that go
along with it, as well as music-making.
All these efforts contribute to the sustainability of music along with
the various cultures associated with the music different people work to
preserve. Jeff Titon connects heritage
and music in his blog with the different points of cultural tourism and
conservation efforts, and provides an example of when he visited China. Through these points, we can examine how they
manifest themselves in sustaining heritage through music as well as provide an
intertext to our recent studies on the nō Ataka
and Bonnie Wade’s Music in Japan.
Ataka |
One way
of conserving music is through cultural tourism. Bonnie Wade begins her book, Music in Japan, by describing the
festival of May in which millions of people come and engage in Japan’s culture,
including the music scene. This is more
of an inward tourism, where people inside Japan’s borders travel through the
country to engage in such activities.
People from all over experience culture at its finest where there are
bands performing outside and also productions of nō taking place within the
theatre, representing and sustaining both modern and classical music.
Jeff Titon presents another way to look at
cultural tourism in which he looks at music appreciation as a form of it. Music books, which coexist in music courses,
are meant to sustain the types of music the students are learning about. Titon talks about how the authors of these
books base their purpose for writing on acquiring culture, however they seem to
leave out the principle of aesthetics and the feeling the music often reflects. Nevertheless, the collecting of information
and buying of musical materials created a market and supported the music
business and its connoisseurs. To write
about different musics, one must go and explore and experience it themselves,
like that of Bonnie Wade. To do this, cultural tourism must take place. Bonnie Wade describes her experiences in
Chapter 3 in which she took shakuhachi
lessons and became apart of a ryū in order to experience the music and
culture at its fullest. This not only
represents the effort to preserve music, in this case Japanese hōgaku music, but also remains to be an
example of cultural tourism.
Jeff Titon also writes about his
recent trip to China and the policy they have implemented to preserve
traditional music. He states that the government
was threatening the traditional expressive culture especially during the Chinese
Revolution and the Cultural Revolution. This includes their ability to collaborate as a group and express themselves through music. Titon
then writes of his experience of listening to a concert performance in the
village where he was staying. Immediately,
I related this conversation with intertextuality and its link to preserving
Japanese traditional music. Ataka, the nō play, was written from an
epic poem The Tales of the Heike in
which Bonnie Wade describes in Chapter 4.
Different guilds/ryūs of various classes form and practice the repertoire
of nō plays. (Ataka uses characters from different ryūs.) Each ryū comes together and meets and essentially, the
knowledge of the particular group and the art forms the ryū possesses gets passed down from generation to generation. The members are participating in their
heritage that their ancestors created and are also working to sustain the music
inherent in a nō play. For example, the
main character, the shite Benkei and
his companion, the tsure which are
the nine retainers come from the same guild of nō, while the waki and the kokata each come from a different
one. The musical elements in nō reflect gagaku Japanese music which was the
music at the time of the imperial court.
How might this relate to intertextuality? Take this picture, for example,
that Titon displays in his blog of the Chinese orchestra:
Titon notes that the full Chinese orchestra consists of
percussion, winds, transverse flutes, and a sheng which is a traditional Chinese
mouth organ. The sheng immediately caught
my attention because it related back to the shō,
the traditional Japanese mouth organ.
Although only three drums and a nōkan
flute are used in Ataka, this
picture drew me back to something familiar which I had learned (the shō) from Music in Japan, establishing an intertext for me personally to draw
back on. This intertext continued as I continued
to read Titon’s blog and began to understand the intermingling between Japan
and China. This relates back to the first chapter when Wade described Japan whose culture has been influenced by many cultures because of its position of an island, with many people of different backgrounds coming on and off its shores. He notes that a lot of the Chinese
orchestra’s music was played in free rhythm and how the percussion did
establish a pulse. This too related to Japanese
music.
Preservation
efforts such as cultural tourism through textbooks and traveling to different
areas to experience music in its original culture along with participating in
one’s own heritage through music-making all are associated with the
sustainability of the music and the culture.
We see this in the organization of a nō play such as Ataka beginning with its origins in the
script of it as well as the different ryūs
the different characters come from.
All these forces come together to support this particular art form and
provide awareness to others who find it intriguing as well. Without culture tourism or the want to learn
how to play a particular instrument, the music cannot be sustained and that
element in the culture will eventually disappear.
Bibliography
Book
"Ataka." In Japanese Noh Drama, vol. 3, translated by Nippon Gakujutsu Shinkōkai, 149-72. Tokyo: Nippon Gakujutsu Shinkōkai, 1960.
Wade, Bonnie C. Music in Japan. New York: Oxford, 2005.
Web
Wade, Bonnie C. Music in Japan. New York: Oxford, 2005.
Web
Titon, Jeff Todd. Sustainable Music: A Research Blog on the Subject of Sustainability and Music. Accessed October 27, 2012. http://sustainablemusic.blogspot.com.
I fully agree with your blog, and I too made a connection of the Ataka with Jeff’s travel to China. Cultural tourism is a great was to sustain a culture, especially when that culture was in danger of complete non existence. War and government disagreement with traditional culture could have been a major disaster for the artistic world, but through appreciation and dedication of many people, old traditions are sustained to this day. Jeff created a thread between sustainable heritage in China to the sustainability of Japan’s culture, just being able to see and hear the traditional Chinese concert he went to was another gain for the artistic world and its people.
ReplyDeleteI like this idea of cultural tourism. As students, I think it is easy to believe that we can learn everything we need to know in the classroom. As music students, we know better––we realize that it is impossible to learn to play and understand a new instrument just by reading about it. We must sit down and interact with the instrument. How much more with a new music culture? Reading and studying will certainly help, but for those who are passionate about preserving specific music cultures and advocating their sustainability––experience is key.
ReplyDeleteAlso, thanks for sharing some of your own personal “intertext” connections. It’s interesting to see how this concept plays out in other people’s minds. It's sort of like a more sophisticated word association game, isn’t it? Fun!