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YouTube transcript (NxzdW9M9L14) — Transcript

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0:00[Music]
0:06Annenberg media one of the most
0:24universal of all human pursuits is the
0:27creation of music from birth to death
0:32music defines describes and accompanies
0:36us on our journey through life
0:38[Music]
0:43music is like food every human being
0:46needs food but everybody eats different
0:50food food that Americans eat is really
0:57strange to people in other parts of the
0:59world some of the food that other people
1:03he would make an American sick to a
1:05stomach
1:05but everybody needs food
1:11[Music]
1:37[Music]
1:42what is music well from a scientific
1:50point of view it's the organization of
1:52sound
1:55[Music]
2:02so language without words and the reason
2:07for language is to communicate and the
2:10reason for music is to communicate
2:16depending on what you want to express it
2:21can be hundreds of different things
2:28music is the essence of the Creator the
2:32entire universe in my case it's the
2:35sounds that I make with my violin there
2:38are people go that's not music music is
2:42music if someone thinks it's music you
2:44can't put it in the box and say this is
2:46music it's all these wonderful abstract
2:49things brought together you can think
2:51about it and rationalize it and express
2:53it and explain it that's all afterwards
2:55it gets you on an emotional level first
3:01[Music]
3:05while music seems to exist in every
3:08human society its meaning and role
3:11differ from culture to culture
3:21but the physical laws of sound are
3:24universal at the root of all sound is
3:27vibration not only the root of all music
3:35is vibration but in some sense perhaps
3:37the root of everything is vibration
3:41everything it's moving all the time the
3:44earth is moving the Sun is moving on the
3:47earth the waves are beating against the
3:49shore everything which is is vibration
3:54in order to have a sound you need a
3:57physical object which vibrates whether
4:00it's a cello or the speaker and a radio
4:03you need a medium to carry that
4:06vibration typically its air and finally
4:09we need an ear an ear drum and a brain
4:11to turn it into something that's
4:13meaningful to a human being
4:19the simplest sort of sound is called a
4:22sine wave and I can display that sound
4:25on an oscilloscope of course in nature
4:29nothing is so simple as that there isn't
4:32just one sine wave happening at one
4:34moment actually there are many sine
4:36waves all adding and subtracting
4:41when you listen to a sound when you
4:44listen to a musical note you hear
4:46several things
4:47[Music]
4:52you hear the the basic note but you also
4:56hear some overtones that are generated
5:02the overtone series is really quite
5:05simple
5:06behind every acoustically generated tone
5:09there is a series of other tones which
5:13are happening simultaneously and this
5:17series of tones extends above what we
5:20call the fundamental tone and what we
5:22call the fundamental tone is usually the
5:24tone we can identify and sing back when
5:34you begin to talk about the notes of
5:36music you have to talk about different
5:38parts to those sounds every musical
5:41sound as for parameters it has its pitch
5:46and we've been looking at pitch in terms
5:48of the frequency of the sine wave or the
5:51fundamental it has its pitch how high or
5:53low is the sound it has its amplitude
5:55how loud or soft is the sound it's has
5:59its Tambor how complex or simple
6:03how many overtones go into making up
6:05this sound and what is their
6:07relationship and proportions and it has
6:10its duration how long does the sound
6:12last
6:15i as a composer write a piece its
6:18decisions about those four parts of each
6:21note that really determine which note
6:24goes where how long it is how high it is
6:26how it relates to the other notes and
6:28now we're really talking about music
6:30more than about sound per se
6:33[Music]
6:41in western societies people define music
6:44in terms of its basic structural
6:46elements melody rhythm Tambor harmony
6:51and texture however not all cultures see
6:54music in this way most cultures around
6:59the world there's no word for music our
7:02our word music come from the Greeks and
7:04it's something that's used in European
7:06culture and it's used in Arabic culture
7:08so of course there's no word for melody
7:12for rhythm for harmony for texture for
7:16any of the record for any of the other
7:18terms that were that we commonly use in
7:21the United States and Europe to to talk
7:23about music but if you want to make
7:28comparisons across cultures you need
7:30some kind of terminology to use a melody
7:37is a succession of pitches it can be
7:46composed like the melody of a song or it
7:55can be improvised like a solo in a jazz
7:58performance
7:59[Music]
8:07rhythm refers to the time element in
8:10music such as the steady pulse of
8:13Australian Aboriginal clap sticks
8:19rhythm can also be free without a
8:22regular beat like the solo shakuhachi
8:24music of Japan
8:30[Music]
8:39Tambor is the tone color of a musical
8:42sound the same pitch sounds different
8:49when it is played on different
8:50instruments this is because each
8:54instrument has its own unique Campbell
9:08harmony refers to the simultaneous
9:10sounding of two or more notes
9:20composers of Western classical music
9:23have developed a detailed harmonic
9:25system rooted in the musical practices
9:27of medieval Europe
9:29[Music]
9:42texture is the way all of these elements
9:44are combined into a musical fabric
9:47[Music]
10:00textures can be complex like the
10:03overlapping rhythms of a West African
10:05drumming ensemble or as simple as the
10:12sound of a single human voice we can
10:23analyze and compare different musics by
10:26looking at their basic elements but
10:28music itself also exists as an element
10:31in the cultural life of every society
10:35the environment can influence music in
10:38both conscious and unconscious ways for
10:46instance in the West the argument has
10:49been made that a lot of the dissonant
10:51music that arose at the beginning of
10:55this century was a result or reaction to
10:59the the noisiness of industrialization
11:02and the dissonance of modern
11:06civilization they then there was a
11:08reflection of social dissonance in a way
11:10in sound
11:12[Music]
11:38if we use the word environment to relate
11:40to music we're talking about two things
11:42a physical environment and a social
11:45environment in the case of Highlander
11:48people in Bosnia singing together the
11:51two are pretty much inseparable in a
12:02mountainous region of Bosnia Herzegovina
12:04close to Sarajevo a sheepherding
12:07community has developed a unique singing
12:10style known as Ganga this genre which is
12:18primarily sung outdoors in groups
12:20closely reflects the conditions and
12:23lifestyle of the Highlander community in
12:30Bosnian Highlander culture specifically
12:33around violations people will spend a
12:37lot of time outdoors since it's the
12:41herding culture they will spend a lot of
12:45times up in the hills all alone looking
12:49down into the valley and if somebody is
12:51passing through the valley they
12:53certainly want to be heard it is very
13:03important to conquer that space with
13:05your voice
13:09in terms of the finding in janitors will
13:12carry the furthest it's definitely genre
13:14called Ganga and this particular type of
13:18singing is characterized by very close
13:21harmonies so voices are close to each
13:24other and they somehow acoustically
13:27clash off of each other but that enables
13:31the sound to travel further when I first
13:39got to met load fair which is the
13:42occasion on the mountain when everybody
13:46gathers in one place and the singing
13:50happens everywhere it's it's just
13:52absolutely astonishing but when I first
14:01got there I was somewhat frustrated
14:03because that was my first really
14:07independent fieldwork and I really
14:09wanted to get nice recordings and I
14:11wanted to get nice cuts and it was just
14:15impossible and for a while I was running
14:17around from one group to the other you
14:18could never tell when is somebody going
14:21to sink there just standing there and
14:23suddenly somebody just breaks into the
14:26song and I would not even get a chance
14:28to click my record button and then
14:39family it occurred to me this is really
14:42what is attractive about this type of
14:45singing it's not there to be performed
14:48it's there to express something
14:50[Music]
15:01another singing style which reflects
15:04Highlander culture is called bit chariot
15:10[Music]
15:16in poetry Arkell highlander culture men
15:19and women do not sink together singing
15:22is a very important part of courtship
15:25rituals and people will start singing at
15:29very early age but not in public they
15:32will sink out in the meadows they will
15:34sing up in the hills they will sing away
15:36from the adult so it often happens that
15:41for example a group of girls when they
15:44feel ready for courtship and for
15:47marriage subsequently they will suddenly
15:50one night decides to start a song in the
15:53village and it's almost like an
15:55initiation rite the bechara that we sang
16:12is called shining star and I can tell
16:15you the story of how I first encountered
16:19that particular vichara
16:21it was fairly cold but extremely clear
16:24summer night there are these girls that
16:35start singing shining stars does any of
16:38you know where my darling is tonight
16:40shining stars wandering through the sky
16:43on the earth my darling and I
16:46[Music]
16:49[Applause]
16:53these girls were singing about the
16:58boyfriend or you know potential
17:00boyfriend of one of the women that
17:03started sang and I've been looking at
17:07them and in this environment where you
17:10are really surrounded by nothing but the
17:13stars it suddenly made so much sense and
17:16became so clear this connection that
17:19people find with what is closest to them
17:21and in that case that it was the stars
17:24and also this fact that there is nobody
17:28else that you can ask but the stars was
17:32somehow very poetic and in a way very
17:35symbolic of their experience of the
17:37environment
17:38[Music]
17:51[Music]
17:54just as music is an integral part of
17:57culture it may be intimately linked to
18:00the natural world and in many cases it
18:03is perceived as a powerful bridge to the
18:05supernatural or divine in Tuva music has
18:20always served as a medium through which
18:23people and place themselves in
18:26landscapes and soundscapes Tuvans are
18:29animists that is they believe that the
18:31world is inhabited by spirits and that
18:37humankind can make contact with those
18:40spirits can make offerings to them by
18:43imitating the sounds of the places or
18:47the things in which those spirits live
18:57Tuvans love to imitate sounds
19:04and the reason they do this is because
19:06they believe that by imitating some
19:08sound they can literally and place
19:11themselves put themselves in that being
19:14or thing to votes it's just on the
19:28northwest border of Mongolia politically
19:32it's part of Russia it's a small place
19:35and it's people have always been herders
19:39they heard she yak goats and when you
19:46live all of the time with animals you
19:47develop a very close relationship with
19:51the animals and so there's actually many
19:53forms of music that are used to interact
19:57with animals they're part of the
19:59environment
20:02horses occupy a central place in the
20:05life of tubers and there's a lot of
20:08music that's also related to horses in
20:11different ways first of all the
20:12instruments they're made of horses via
20:15gill for instance the two string fiddle
20:18is made from the skin of a horse which
20:21is on the head of the instrument the
20:24strings are made from horse gut the bow
20:27is made from horsehair and in fact a lot
20:31of the music that's performed on that
20:33instrument is about horses
20:39there's a legend about a horse that dies
20:42and goes to heaven and the owner of the
20:46horse hears the voice of of his beloved
20:49animal coming to him from the heavens
20:51and the horse tells him to build this
20:54instrument that you heal and to play a
20:58tune and that when that tune is played
21:01that he will come down from the heavens
21:12and so Tuvans listen carefully to the
21:15sounds that are all around them in their
21:18natural environment and they imitate
21:20these in some cases they imitate them
21:23very precisely and that's a kind of
21:26imitation that I would call iconic
21:28imitation and in other cases the
21:31imitation is aesthetically processed
21:35aestheticized for instance if you hear a
21:39crow and you make a crow sound that's
21:42iconic imitation but if you hear water
21:45it's hard to make a sound that's exactly
21:47like water and what they do is that they
21:50they kind of fantasize on the sound of
21:54water
22:03and they use this remarkable technique
22:05that's become known in the West as
22:07throat singing to imitate the sound of
22:11water for instance and not only to
22:13imitate it but to interact with it
22:21traditionally what singers did was to
22:25stand by a stream sit by a stream and
22:28sing to the spirit of the stream and our
22:35work in Tuva is an attempt to capture
22:39this whole relationship between
22:41humankind and the natural world through
22:44this kind of music
22:52in throat-singing
22:54which the Tuvans called who may and is
22:57also called overtone singing in the West
22:59what you're doing is selectively
23:02amplifying harmonics which are naturally
23:04present in the voice and thus singing
23:07two pitches at the same time a
23:09fundamental pitch and a harmonic pitch
23:12and I'll try to demonstrate that
23:16[Music]
23:24[Laughter]
23:25[Music]
23:32[Music]
23:44this Tuvan throat-singing the imitation
23:48of natural sound I think represents a
23:51window into the dark deep past of music
23:54maybe back to the very origins of music
23:56how did music begin it's a big question
23:59and there's very little evidence around
24:02but I think that this case of Tuva
24:04perhaps provide some evidence of how
24:07music began and I think it it might have
24:09begun as a way of people interacting
24:13with natural sounds in just the way that
24:15the tuvans - you can see them moving for
24:18instance from these literal imitations
24:23[Music]
24:29to this more aestheticized
24:33artistic interpretation of a sound you
24:42also see the dawn of the artist because
24:45an artist - someone who asked to have a
24:47kind of subjective sense of him or
24:51herself as an artist of someone who is
24:53not simply literally imitating or
24:57reflecting what you hear but processing
24:59making it one's own making it one's own
25:02artistic property in a way and that's
25:05what they do
25:12[Music]
25:37[Music]
26:10[Music]
26:17[Music]
26:26Annenberg media
26:35for information about this and other
26:37Annenberg media programs call 1-800
26:40lerner and visit us at
26:44[Music]

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