Ethnomusicology: Developments of Māori Music

Ethnomusicology: Developments of MÄ ori Music Music in Context A: Ethnomusicology Discuss some of the more recent social, cultural and technological developments that have informed studies in ethnomusicology Introduction For this essay I will be focusing on the MÄ ori people of New Zealand, and looking at the changes and developments in both their traditional music and that of their modern popular culture, much of which is adopted from American and European sources. I will include the work of several ethnomusicologists who have experience in the areas of MÄ ori music, modern New Zealand popular culture, and American rap music and its sphere of influence. The MÄ ori people Have had their own traditional songs since they first inhabited New Zealand. However, there have been changes to the cultural situation of the music and how it is received by both the white public and MÄ ori youth. In this essay I will focus on three points, the transcendence of MÄ ori traditional music, the changes made as a reaction to this and the influence of other modern genres and styles, specifically American rap, to discuss these changes and how they have informed ethnomusicology either positively or negatively. In doing so I hope to show that a vibrant musical continuum is working in New Zealand youth culture, informed by both their traditions and outside influences, and yet is making original new music because of this. Song loss and researching traditional music The MÄ ori have inhabited New Zealand since the 14th century when they arrived from other Pacific islands seeking new lands to migrate to and cultivate. It is hard for an ethnomusicologist to find or have found any songs surviving from the earliest parts of MÄ ori history, for several reasons. Firstly, as many MÄ ori songs are to do with traditions and practices, when those traditions or practices become obsolete or go out of use, then the songs will be lost with them.For example, when canoes started to be replaced with sail ships, all songs about canoeing were either lost, or modified to talk about sail ships instead. Secondly, because of superstitious beliefs, many songs have restricted performances, where only certain members of the tribe or community are allowed to attend and listen or join in. This also limits the number of MÄ ori who will learn theses songs, as they are taught purely by oral tradition. The teaching itself is a point of interest, as traditionally the folk songs of MÄ ori are taught in a very strict sense,as they are not meant to change organically or be re-interpreted, apart from if the community as a whole learns a new version in line with a new meaning, as with the canoe/sail ship example above. In most cases, the songs will be passed down through generations, preserved as accurately as possible, which would in fact make it easy for an ethnomusicologist to discover these antiques of folk song. However, these traditions were cut abruptly short by the intervention of European missionaries. The missionaries were accepted to a degree by MÄ ori curiosity, and arrived decades before the treaty of Waitangi in 1840,which signified the taking of New Zealand by the English under queen Victoria and the official surrender of the MÄ ori as a people (though conflict did continue for years). These missionaries took it upon themselves to educate the seemingly primitive MÄ ori tribes in every aspect of Christian and European ideals. This included their music, as the Europeans found their traditional folk chants ‘idolatrous, ‘indecent and even ‘lascivious.The missionaries set about their task quickly, so much so that by 1830, a letter sent from a missionary to his brother-in-law at home in England read; Quietness and good order has succeeded to their native wildness; we never hear anything of their songs or dances. In place of their traditional music, the missionaries taught them hymns and church music. In doing so, they also taught the rudiments of western music theory, which they encouraged the MÄ ori to adopt as their new musical language. This meant that many new MÄ ori songs were created, using traditional words and stories, but with diatonic harmonies that made them listenable and distinguishable to a European ear.Though this was widely acknowledged and followed through to the MÄ oris own teaching, some traditional songs were kept hidden and secreted in both MÄ ori text collections and those of curious westerners. One such was John McGregor, a guard of captured MÄ ori warriors held in a beached hulk at Auckland harbour. John ‘collected and later published a large number of songs written down by the captives.He could be said to have been one of the first to research and record MÄ ori traditional music, yet this white interest in the music did not start to reappear until t he twentieth century. This change occurred on a grand scale over the next century, and to this day MÄ ori music is seen as synonymous with hymns and European-based melodies. This view has been widely held by the white general public for all of the twentieth century, though many MÄ ori know it not to be entirely accurate. Ethnomusicologist Mervyn Mclean stated that among the public at large, however, such songs are a mostly hidden tradition.A revival of the MÄ ori culture began in the 1960s, dubbed the MÄ ori renaissance,and with it came both the technology and the motivation to record and preserve the traditional songs that were left among the populace. This made the job of collecting and studying MÄ ori music a lot easier for ethnomusicologists, as up until this utilisation of new recording technology, they had been hard pressed to source singers and songs out. Mclean mentions that ‘preparations for fieldwork took an inordinate amount of timein the late 1950s, and mentions that without th e huge advantage of meeting several willing MÄ ori Elders I would not have had the resources to survive in the field. Changes and modern learning The traditional MÄ ori song forms, as well as being non-diatonic as previously stated, were in fact completely incompatible with western tonal language. Though the melodies sung could be transcribed into musical notation, they were not in a fixed time signature or particular key as we would understand it. The lack of harmonic movement mystified witnesses to performances in the nineteenth century, as the MÄ ori music relied more on repetition, both rhythmic and harmonic, and different performance approaches by different singers, for the colour and variety in their music.

Last poem Essay

Dogen was greatly surprised by the fact that making a strong accent on the study of koan Chinese masters did not teach their disciples Buddhist sutras, which made the core study in Buddhist monasteries in Japan (Tanahashi, 5). Dogen’s discontent with the style of teaching became even a reason of his refusal to take Dharma transmission from one of the masters. In 1225 Dogen decided to leave Rinzai school of Chan Buddhism and started his journey in order to visit Ru-jing, whose style of Zen teaching differed from ones which disenchanted Dogen. Ru-jing was the thirteenth patriarch of Soto lineage of Zen Buddhism. During that time he lived at Tiantong Mountain in Nongbo. Soto school, presented by Ru-jing made an accent on sitting meditation, or zazen. In general it used much softer methods than Rinzai School did. Studying Zen with Ru-jing Dogen has finally reached enlightenment of mind and body. The legends state that he finally reached liberation after hearing the Master’s words: â€Å"Cast of body and mind† (Tanahashi). These words became especially meaningful for Dogen and he later used them in many his writings. As he states in one of his works: †To study the Way is to study the self. To study the self is to forget the self. To forget the self is to be enlightened by all things of the universe. To be enlightened by all things of the universe is to cast off the body and mind of the self as well as those of others. Even the traces of enlightenment are wiped out, and life with traceless enlightenment goes on forever and ever† (Kim, 195). In 1227 Dogen received Dharma transmission from Ru-jing and finally admitted that he has reached the answer for the question of all his life. Dogen was greatly influenced by his teacher Ru-jing. All Dogen’s religious philosophy is marked by two major tendencies. The first peculiarity of all Dogen’s teaching is his attachment to Buddhism tradition and second one is a strong accent on individual search. These tendencies can be traced not only in Dogens’s books but also in his lifestyle. Dogen did not reject traditional Buddhism. He only wanted people to give critical evaluation of its doctrines and principles. Dogen criticized competition among different schools of Zen because they were tiring Buddhism to pieces. He proclaimed identity of faith and believed it could have been found in Soto Zen. He did not even want to apply the name Zen for his sect and did his best to follow his teacher’s lifestyle living without attachment to anything. In 1228, after reaching enlightenment, Dogen returned to Japan. He came back to ti Kennin-ji, a monastery where he spent several years learning from Eisai and his successors. After coming back he wrote a detailed description of sitting mediation called Zazen. The manual was called Fukan Zazengi, which can be translated as â€Å"Universally Recommended Instruction for Zazen. † His teaching appealed to many people and he gathered a lot of adherents around himself. After some time he had to leave Kennin-ji because of tension, which arouse inside the Tendai community. This tensions with caused by the desire of Buddhist leaders to suppress new forms of Buddhism, including Zen. Dogen left Kinnin-ji temple in 1230 and moved to empty temple situated to the south from Kyoto in the place called Uji (Tanahashi , 40). Dogen founded small temple in this place and soon this temple grew into Kosho-Hirniji Temple. The tension between Dogen and Tangai community did not stop, though. That is one of the reasons Dogen gladly accepted Hatano Yoshishige’s proposition to relocate to Echizen province, located far from Kyoto. After relocation Dogen’s disciples built a new center for Zen practice and called it Daibutsuji Temple. Dogen later renamed this center to Eihei-ji. This temple remains one of the most popular Zen temples in modern Japan. Dogen spent all his further life living and teaching in this temple. Shogun regent Hojo Tokiyori invited Dogen to come and teach him Zen in 1247. Dogen accepted this invitation and made a long journey to Kamakura in order to meet Shogun and retuned to Eihei-ji the next year. In 1252 Dogen became seriously ill and after realizing that he was not going to recover he gave his robes to his favorite disciple Koun Ejo. This way Koun Ejo became Abbot of Eihei-ji. After appointing Koun Ejo an abbot Dogen left for Kyoto looking for remedies from his illness. The remedy was not found and Dogen died in 1953. Soon before death he wrote his last poem.

Health and Social introduction Essay

The sector that I have chosen to write my report on is ‘children and young people’, I chose this sector because I am hoping to work with children when I am older. The client group is children who are 2 – 4 year old(Nursery age) the care setting will be nurserys in England. The work of the sector Nurseries provide full day care and education for children from as young as six weeks to pre-school five year olds. Day nurseries are different from nursery schools and can be privately run, community, council or workplace services. They all must be registered and regulary inspected by Oftsed though and must comply with the guidlines of how much staff there should be to children(for under two’s, one carer to three children; two to three year olds, one carer to four children; three to five year olds, one carer to eight children). All staff there must have or must be working towards the relevant qualifications in children. The care setting and client group The purpose of a nursery is to provide care for those under the legal school age(5). The care may be needed if the parents work or if the parents just want their child to get used to been around other children of similar age so they can get their confidence up. In a nursery there will usually be between 10 and 26 children in it depending how big or small it is. Nurseries are more likely to be in a rural area because families with children will more likely live there, any care setting for children in Urban areas will more likely be private care. Facilites in a nursery : Nurseries will have a lot of many factilites that are suitable for the children, there will be a mix of play areas which are an important part of the childs development in the nursery years. There will possible be a soft play area for younger children, plenty of toys(suitable for the ages) a sand pit and/or a water pit for them to, depending on the age the nursery accepts though. They may even have an outside area for play which would be best for the oldest children in the nursery, the outside area would have tricicles(maybe) and possibly Jungle-Jim equipment that the children can play on. Inside they are likely to have a small reading area(where the children will sit down on the carpet like they do in reception). Toilets, possibly a changing room depending on the ages the nurseries accepts. They may have a small kitchen or an upstairs caffeteria if connected to a school. The differet practicioners : Manager, deputy manager, room leaders(depending on how big the nursery is), workers, volunteers, special education needs coordinator(senco). If the nursery is big they will possible have a cook and maybe an administrator. The clients will only meet the room leaders, workers, volunteers(as these are the ones who look after/teach the children) and maybe the senco depending on if they need one. The manager and deputy manager are there to make sure that the nursery runs smoothly and that they keep to the standards expected of them(buying supplies, keeping in contact with parents). The room leader is there to be in charge of a certain room in the building, these are only needed for the bigger nurseries.

Symbolism - 1922 Words

All authors of famous short stories want their reader to be engaged in their readings. Most authors have their own unique and different ideas brought into their text. That’s what I think symbolism means in terms of English Literature. It is creating the background for us readers. The author wants us to connect the dots in the story. When the author makes the connection, we are more engaged and interested in what else he has to write. Most symbols used in literature are objects used to represent other things or ideas. There are several ways to recognize symbolism in literature. One of common ways is the frequency an object or character is mentioned in a piece of literature. If it is mentioned often, it is probably important. (Jones) Another†¦show more content†¦Charlotte began to understand her roles of wife and mother as the root causes of her depression. Subsequently, she separated from Charles and eventually divorced him. Charlotte published The Yellow Wallpaper, a fictional short story based on her experience with the rest cure, in 1892. Katharine Beecher Stetson, as she grew older, came to resent her mother for what she saw as her abandonment. Likewise, Charlotte was critical of herself for this decision as well, as part of her wanted to fulfill the motherly role successfully, to give Katharine all the love she had never received from her own mother. However, her aspirations as a writer and lecturer superseded any goal of traditional womanhood. â€Å"The Yellow Wall-paper† is about a woman who suffers from mental illness after three months of being closeted in a room by her husband for the sake of her health. She becomes obsessed with the room s revolting yellow wallpaper. 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