CHAPTER 6 | | HARMONICA Abt sa eS SSMUSIC, MOBILITY, AND THE GLOBAL MARKETPLACE INTRODUCTION In Chapters 4 and 5, we discussed processes of musical transmission. Chapter 4 focused on the ways communities that share aspects of descent (ethnicity, religion, or national identity) have transmitted and transformed music as they resettled in new places, In Chapter 5, we took a close look at how individual and collective memory interact to transmit music over long periods of time and across great distances In this chapter we will explore music's increasing mobility through the global pathways that have emerged in twentieth- and twenty-first century musical life, including travel, tourism, concert tours, festivals, and new technologies. ‘The deep: eated Western notion that the arts exist in a purely aes thetic arena of emotion and beauty has diverted attention from the social and economic factors that bring twenty-first-century music tra ditions to new audiences. Individual initiatives and creativity, economic considerations, and corporate decisions all play a role in shaping aspects of musical life, The work of agents and presenters has brought unfamil: iar music traditions to far-flung localities and has shaped new musical communities of affinity that would not otherwise exist. Over the course of the last century new settings for musical performanice—international educational exchanges, recordings, broad: casts, and festivals—have opened new channels of musical transmission. We find the historical roots of this trend in the nineteenth century colonial era and the exhibition culture that emerged in Europe and Introduction Travel and Tourism ‘CASE STUDY: Transmitting the Hawallan Sound Intercultural Transmission and Boundary Crossing ‘CASE STUDY: New Music for Balinese Gomelon Music as Art and Commodity case sTuby: Traveling the Sik Road Conclusion MAINPOINTS @Q Be aed of place, helps sustain and Coes Ceres Peek tes ree ees Pee ead acd240 CHAPTER Music, Mobility, and the Global Marketplace ‘An image of members of the brass band of Cain University, a historically African American univer. sity in Orangeburg, South Carolina, was part of en fexhibiton African American life atthe Pars Exposition oF 1900. The opening ceremany of the 1939 Golden Gate Exposition festured dozens of bands, Including @ Chinese drum and bugle corps (center) the United States in the mid-nineteenth century. For example, the first American Exposition in 1853 displayed live Native Americans for profit, entertainment, and public education. Later exhibitions reproduced native villages and scenes from daily life, including musical per formances. The World’s Columbian Exposition (Chicago, 1893), which fea- ‘ured! musical performances by Kwaktutl Indians of the Northwest Coast and oth- ers, has been termed "an early form of touristic consumption." Many of these displays at early fairs and festivals presented so-called exotic traditions in reconstructed scenes from daily life. These were the first panoramic exhibitions that an observer could walk into and interact with—early ancestors of theme parks such as Disneyland, Other presentations adopted a panoptic of all-seeing approach; the viewer watched from a distance, commanding a supreme vantage point? Concepts under- lying these early panoramic and panoptic exhibitions are still detectable in present- day musical presentations and performances, at festivals or in concert halls, raising ‘many isstes for those who stage, perform, attend, or study these musical events (see “Studying Music: Presenting Musie and Mu ‘The juxtaposition of music traditions within the same setting has resulted not only in the introduction of rmusic to new audiences, but also in an exchange between musicians who formerly did not interact but now have been brought together. “Musicians from one tradition now borrow from other musics and combine music traditions in new ways. How do we study such musical interactions and take into account the wide variety of factors at work around the world that shape and transmit music? Scholars have proposed frameworks for examining the forces that influence present-day ‘musical production, performance, and reception. One approach has been to focus on miciomusics, “small musical units within big music cultures.” This approach includes situating all micromusics within thee over- lapping levels called subculture, supercul- ture, and interculture* ‘Throughout this book so far, we have gen- erally situated each music tradition within its subculture, which inchides local, personal, familial, occupational, and community net- ‘works, Itis within individual subcuttures that most of the music traditions we have explored, from the fado (Chapter 2) to the pizmon (Chapter), have been created and transmitted, ‘evens they have become available to outsiders through recordings and live performances,PRESENTING MUSIC AND MUSICIANS hink Globally, Listen Locally," advised the headline of a New York Times artcie on February 4, 2000, celebrating the fifteenth anniversary Cf the World Music Institute, @ major presenter of world music in New York City, As we have seen throughout Soundscapes, today it is possible to travel only a few minutos from your Iiv- ing room to attend concerts of musics from around the world, Therefore itis Important ta analyze through ethno ‘musicological investigation the chan reels through which music reaches us in our dally lives. (Over the last century and a half, treat changes have taken place in the presentation of music. Follow: Ing the exhibitions that first brought Global styles 10 local settings, the presentation of public concerts wes dominated throughout much of the twentieth century by impresanos (orga nizers) who managed—and sometimes rmismanaged-—musicians’ careers. During the second half ofthe twen. tleth century, an increasing number of nonprofit organizations began to Contract with musicians for perfor ances, The World Music Institute 's ‘an example of relatively recent major Institution that now organizes musical tours. Many universities, museums, ‘and cultural organizations present live performances. As we sawin Chapter 2, ‘many cltles and towns also sponsor festivals that feature both local and Imported musical talent. Presentation Is organized on the national level in many countries, as in the Smithsonian Institution's National Folklife Festival which brings together musicians from many sectors of American and interna ‘tional musica if Most performances by artists from traditions thatlack mass audiences are sponsored by nonprofit organizations that underwrite expenses through a precarious combi- nation of ticket sales, private donations, corporate support, ‘and grants from agencies such fas the National Endowment for the Arts. But the world of ‘musical presentation is chang- ing radically. In particular, new kinds of corporate involvement fare transforming the promo- tion, praduction, and presenta- tion of musical events, In the first years of the twenty-first ccontury, Clear Channel Entertainment (CCE) became a major force in present- ing musie, theater, and dance events Inthe United States and worldwide, A, network of companies that spanned the entertainment industry and pro- duced and promoted musicions os diverse as Britney Spears and TLC, CCE became the world’s largest producer ‘and promoter of live entertainment. What clstinguishes CCE from earlisr presenters, such as record companies that have long sponsored national anc international tours by thelr artists, Is that CCE contracted with artiste and ‘also operated the lergest network of performance facities. A subsidiary of the radio corporation Clear Channet ‘Communications, by the spring of 2004 CCE owned, leased, or booked 125 per- formance venues in North and South America ond Europe. Although CCE's shows tended ofocus on the most mar- ketable musicians, they also mounted ‘second stages” at many oftheir events tobring musicians who were notas well lcnown to new audiences. The activities of CCE in consoli- dating the live entertainment industry raised deep concems in many sectors. Nonprofitorganizations who supported musical diversity could not compete with the resources and scope of major Inroduction 242 {itn tne US Capitol busing nthe: background, the Dalai Lama acknowt- ‘ecges 40.000 peopie who have come to the 2000 Smithsonian Folie Festival for {8 Great Prayer Rial led by Tivelan monks, Corporations like CCE. Many musicians ‘and listeners voiced concern about corporate control over performance and its Impact on existing traditions as well as on new artistic directions, Inthe name of marketablity In a move sparked In part by a drop In revenue, Clear Channel at the end of 2005 sold ff its entertainment division (Clear Channel Entertainment, The new company, Live Nation, is headquar teted in Los Angeles In early 2010, Live Nation, already the worl's lead- Ing concert promoter, with contracts with Madonna, U2, and Jay-Z, among others, merged with Ticketmaster to become Live Nation Entertainment, This new company had to agree to divest some assets before US antitrust officials approved the merger.* Although we have touched on many Important issues relative to music's role in the world throughout Soundscapes, the new and powerful corporate pres- tence inthe presentation and marketing, ‘of musical events is exactly the type of change that demands thoughtful and Informed study and discussion.242 CHAPTER Music, Mobility, and the Globel Marketplace Celtic Corner Series a musteal Bridge to the anctent ‘The largest selection of exotic and traditional percussion instruments anywhere! dw oe cr de ga camer FEAF 2 | sein ne LAN oii eae ree ‘Some advertisements, such asthe ones for Pro Drum and the Celtic Corner Series, represent unfamiliar o foreign cultures as {exotic links to an ancient past Others, such as The Longing Sky concert of the Vancouver Inter-Culural Orchestra, are efforts to fuse instruments and musics across multiple cultura traditions The second sphere of musical interaction is the interculture. Subcultures influence each other through economic or commercial connections, proximity, or affinity. We encountered intercultural interaction in the remarkable worldwide dispersion of the Scottish bagpipe, spread through British colonial and military presence but also adapted to numerous local settings (Chapter 3). We will encounter further exam- ples of intercultural connections in Chapters 7 and 10 in case studies involving the accordion, an instrument spread by migration and commerce through many rausical subcultures and incorporated into diverse musical styles. The case of the bagpipe also illustrates a third, overarching sphere of musical interaction termed the superculture, winich is shaped by the power of the state and by the national and global economy In subsequent chapters, we will encounter several musical practices that began locally, were spread through intercultural exchange, and were then further transformed through the influence of the superculture, These include the music traditions associated with the tango (Chapter 7), reggae (Chapter 9), and karaoke (Chapter 10), The chart opposite is another way of looking at how local music traditions are subject to complex societal forces. This approach sets forth in detail the complex interactions of the superculture, intercutture, and subculture, located at the top, mid- le, and bottom of the chart. The chart incorporates the impact of national policy, the music industry, the media, and international economic forces on the creation and transmission of music. This framework emphasizes the institutional forces such as national arts organizations, the music industry, the music business, and educational entities including schools and universities. Read horizontally, the chart provides a summary of factors, organizations, and areas of activity; read vertically, it moves from international to local entitiesIntroduction 248 won ayr antason Iwporrayr ACTORS, ONGANIZATIONS sere cron ssocitans and J] industry oeection, }¢@————————p} elite medisand fg tends Sancrany ae eee TTF es | geass NATIONAL Music INDUSTRY ovner music| | MEDIA music annem Oneantzirions USINSS Ebocanioy| Onset nana ene | [AND serenneneis| | sthoowoncmpine] —fe-tow ine | [OY sratnine [Skene |_| Seton ie (oma sprees | | oremrantnn Pavement |_| Fiati ato Spe sautots | | sSenettcimens lep| scuccieinar les! Le Sulina coe ae eng Sn rssh tT Sa policies: : — —sitbcultures. ae al ry = Local govemment ¥ nce <> a || MUSIC psoas, on nfo) This chart by Roger Wallis In this chapter, we will explore the forces shaping soundscapes through three 2" lst Maim maps tne ‘world of everyday musical contrasting case studies. We will look first at the impact of travel and tourism on fe One reat the short, musical transmission within the Hawaiian tradition, Next we will study intercul- by fllowing the arrows, all tural transmission and cross-cultural collaboration between composers in Bali and of which are b- or mult the United States that have produced new, hybrid musical styles. Finally, we will ectional refiecting the investigate a large-scale musical endeavor, The Silk Read Project, which has created So ie. nner 4 new, global community of participants and audiences from various subcultures, entties ecrose and botwoon influenced by forces of the interculture and supereulture to create an international levels of society soundscape of great economic impact.ont ncmtetatie SAMOAN MOON (HAWAIIAN SONG) Date of recording: 1989 Case Study: Transmitting the Hawalian Sound Mutat conte Lae) Performers: Tau Moe family with Bob Brozman Form: Strophic song with instrumental interlude ‘Tempo: Moderately slow triple meter WHAT TO LISTEN FOR: + Effects particular to the lap steel guitar, including slides and harmonics. The harmonies are produced by touching the string lightly at its midpoint while Its plucked, + Vocal techniques including yodering, in which the singer intentionally produces a break in hertone 0:00 127 a3. 4:59 2:30 ‘STRUCTURE AND TEXT Introduction Instrumental Phrase a Phrase a’ Phrase b Phrase b’ Verse Back home, across the sea That's where I long to be, In my dear od grass hut by the sea Back home, across the sea, ‘That's where | used to be, (On the deep Samoan moon with you, Instrumental Phrase ¢ Phrase c Verse Back home, across the sea That's where Long to be, Im my dear old grass hut by the sea. Back home, across the sea, ‘Thats where lused to be, On the deep Samoan moon with you. ‘On the deep Samoan moon with you. {as she switches from chest voice to head voice DESCRIPTION ‘The steel guitar carries the melody. At the cadence, the guitar's harmonics are used to play an arpeggto (broken chord), ascending to some very high pitches. ‘This instrumental section is based on two melodic ideas, here labeled phrase a and phrase b. The ukulele strums ‘on each beat, outlining fairly simple Western harmonies, In the melody, the beat is often subdivided into three equal parts (triplets), or into long-short (swung) rhythms. AA triple meter that is further subdivided into triplets can be described as being in 9/8 ‘When the singers enter, the melody is the one introduced in phrase b, above. The steel guitar drops out except for ‘occasional ornaments, such as the arpegeio played on the harmonies at the end ofthe first line of text. female voice leads with the melody, while the other members of the family sing under the leader homophonically: One singer can be heard ‘outlining a bassline, nd the others fil n the inner harmonies. ‘A new melodic idea is introduced in the steel guitar, Listen for tremolo in the steel guitar, rapidly and repeatedly plucking the same pitch, While the family sings homophonically as before, the lead singer improvises a descant (an ornamental melody sung above the main melody) using vocables and yodels. Note the repetition ofthe final phrase, called a turnaround. 4anthncraemnectemmie ‘Case Study: New Music for Balinese Gameton 253 aN eect ar) KEMBANG PENCAK (“FLOWERING PENCAK” COMPOSITION [GENDING] FOR GAMELAN AND MALE CHORUS) © Pe eteompontionsatera0e Composer: I Nyoman Windha Date of recording: Late 1980s Performers: AST Gamelan, Denpasar; I Nyoman Windha, pemtimpin (leader) Genre: Kreasi bar a "new artistic creation” for gamelan, male dancers, and singers Based on traditional five-part structure, of which the fist three are heard here, with expanded and innovative percussion sections Tempo: Variable, moderate to fast Tuning system: Plog 4:03 Fort WHAT TO LISTEN FOR: + A traditional kebyar opening section played by the entire gamelan + Prominence of fve-note melodies in pelog Introduced by flute and varied by other gamelan instruments + The use of an unaccompanied (a cappella) male choir for Part 2, punctuated by a jegogen solo + Return to large ensemble for Part 3, which Is Lelambatan Pengawak, a slow central part of the composition not heard in its entirety here STRUCTURE AND TEXT DESCRIPTION 0:00 Part Reyong (set of pot gongs) introduction. 0:05 Enter entire gamelan 0:29 Flute (suling) solo introducing pelog melody: 0:43 Entire gamelan returns. 051 Kemong (small gong) plays offbeat, with kendang (drum) heard underneath, oss Entire gamelan returns. 1106 Repeat solo flute section first heard at 0:30, 0 Reyong entry, 427 Damped kempur (a special gong used for pencak practice imported for this plece) plays “pur pur” Entire gamelan, Repeat solo flute section from 1:06, Long percussion section, with large gong; damped kempur plays “pur pur” inalternation with kemong, and extended kendang solo. Closing ection to Part 1 by entire gamelan, with kebyarand pause at end Part2 Unaccompanied male chorus begins singing in unison. Jegogen (ange fve-key metallophone in gangsa family solo. ‘Chorus unison, with subtle jegogan accompaniment. Part 3 (Pengawak) Section begins with gangsa and deum. Flate solo, then fade-out256 CHAPTER 6 Music, Mobily, and the Global Marketplace eee ata KEKEMBANGAN (COMPOSITION [GENDING] FOR GAMELAN) Date of composition: 1990 ‘Composers: Evan Ziporyn and | Nyoman Windha Date of recording: 1990 Performers: Gamelan Sekar Jaya (northern California) Genre: Quotation gending in which most ofthe materials ofa preexisting composition are adapted for gamelan gong kebyar, transforming the original composition and surrounding it with contrasting materials ‘Source: Draws on Kemtbang Pencak for gamelan and male chorus by I Nyoman Windha Form: Five-part structure, of which the first three sections are heard here: Introduction (gamelan with saxophone ornaments), Cappella (saxophone quartet), and Pengawak (gamelan and saxophone in harmony) Tempo: Variable, moderate to fast Tuning system: Pelog WHAT TO LISTEN FOR: + Quotations from Kembang Pencok at the opening of the piece, followed by new, contrasting materials + Saxophone quartet added to the gamelan gong kebyar, using alternate fingerings to produce pitches approximating those of the gamelan + The prevalence of five-note melodies in saxophones based on pelog as played by gangsa ‘metallophones STRUCTURE DESCRIPTION Introduction, Part A ‘Gamelan gong kebyar provides an introduction. Drum (endang) and ceng-ceng enter: 0:27 Theme1 ‘Gangsa(metallophones with ten keys, played with hammers, that flesh out and ornament the melody) introduce Theme 1 0:34 Introduction, Part B Saxophone quartet joins the gamelan with ‘Theme 1; revong ‘Theme 1 and ceng-ceng punctuate texture; note that saxophones are used. percussively, Theme 2 Saxophones play Theme 2 in imitative texture, ‘Transitional Theme Gangsa play a descending pattern. Reyong plays melody and cuks (pronounced “chucks”, nonpitched rhythms, sometimes joined by ceng-ceng, which fills out the percussion, 4:07 Introduction, Part BY ‘Theme 1 1:24 © Theme2FO Case Study: New Music for Balinese Gamelan 257 LISTENING GUIDE 55 (CONTINUED) STRUCTURE DESCRIPTION 431 Gangsa descending pattern with reyong cuks and cengeeeng percussive sounds. 4:41 Introduction, Part BY ‘Theme 1 487 ‘Theme ‘Saxophone with ceng-ceng, drums, egagan and gong moving 2:33 transitional descending pattern by gangsa, with reyong and ceeng-ceng cus 2:37 Acceleration leading to end of introduction, 2:43 Kebyar (explosion) and pause, Cappella Saxophone quartet without gamelan; repeated pitches, ostinatos, land extended section of polyphonic interweaving in the saxophone parts somewhat similar to kotekan (interlocking parts) 4:08 Repeated jazzy chords by saxophones. 4:25 Close intervals between pairs of saxophones replicate "beating ones" between paits of gamelan instruments 4:03 ‘Melody emerges in highest saxophone voice, 5:00 ‘Tempo slows. 5:10 Final saxophone statement, 515 Pengawak Gangsa and rest of gamelan enter, joining saxophones in harmony 5:29 ‘The aesthetic issues were in fact only the surface concealing much deeper matters: What should be the role of an American gamelan of considerable skill and reputation, admired even in Bali? Could an American gamelan rightfully take the same liberties with Balinese music as contemporary Balinese composers and performers did? Could Sekar Jaya face the fact that by the late 1980s they were not just perpetuating traditional Balinese music, but had already established a two-way relationship with Balinese music and musicians? Ziporyn and Windha decided that they should acknowlealge all of these realities. The result was the collaborative com- position Kekembangan. Kekembangan builds on Windha’s composition Kemibang Pencak but substitutes a saxophone quartet for the male singers. This substitution of Western instruments for Balinese voices intentionally blurs the boundaries hetween sound sources and musical styles. According to Ziporyn, the role of the saxophones continually changes. Sometimes the saxophones blend with the gamelan parts, helping the Western listener to hear saxophones play along with gangsaCase Study: Tiaveling the Sik Road 267 LISTENING GUIDE 56 XIAO YUE ER GAO (“HIGH LITTLE MOON’ @_ 2st of compostion: 2001 Performer: Wu Man 217 Form: Short, sectional foro Tempo: Moderate duple meter WHAT TO LISTEN FOR: + Pentatonic (scale that contains five pitches) melodic content emphasizing a central pitch (tonic) sounded at three different octaves from high to low (T2, TI, T) + A variety of subtle ornaments distinctive to this four-stringed plucked lute: (1) brief grace notes {the addition of one or more notes in slight anticipation ofa pitch) sounding above a pitch, usually 8 tonic; (2) fingered tremolo (the repeated, fast plucking of the same string); (3) gllssando (a slow and blurted descent produced by plucking a string repeatedly with the right hand while sliding a finger of the left hand down the string to gradually change the pitch); (4) bending of a pitch by stretching a string slightly; and (5) a high harmonic produced by touching a string lightly STRUCTURE DESCRIPTION 0:00 Section A Repeated sounding of tonic pitch at octaves T2 and T1; brief grace notes sounded on octave pitches T2 and TL Fingered tremolo begins. Section A cadences on TI. Section B Contrasting section begins with melodic motion in lower register between tonics in octaves T1 and T; tremolo prominent through- cout; section cadences on conic at T. Bending of final three pitches in descent to cadence on T. ‘Transitional section Motion back and forth between T and TI, ‘Tremolo. Varied repeat of Section A Ascent and repeated sounding of octaves T2 and TT, slightly varied. Slide up, then glissando down to cadence on T1; abrupt stop. Extension of Section A Harmonies Final cadence on TL, with tremolo, leading to descending glissando, Briet closing section (coda), with final descent to tonic bending, final three pitches toward a major scale.Case Study: Traveling the SilkRoad 269 ‘commitment to education and its mission of advancing passion-driven learning through the arts. In addition to maintaining a fall calendar of international con- certs and commissions, The Silk Road Project has organized educational projects that seek to connect “the world’s neighborhoods" in locales ranging from a primary school in Hong Kong to classrooms in Harlem." These events feature not only music, but also dancers, visual artists, and storytellers from around the world. Well into its second decade as a lively global presence, it has been said that The Silk Road Project's work may be considered “venture culturalism."* Yet The Silk Road Project's success in so many spheres of cross-cultural musical innovation still has its roots in the spirit of adventure that Yo-Yo Ma recalls marked the jam sessions of its earliest days: ‘We hada huge amount offun, Noone knew exactly what was going to happen. We had ‘an amazing mix of instruments, and people just figured out what to play and where to fil in, [think that’s the way people have always made music. Part of being artistic is being prepared to ask questions to which you don't have the answers. I's something, that happens inside you—something that’s very private, very intimate, but if you locate ‘your question andif you're able to make it come slve in a musical form, and somebody clse receives it and it comes alive within them, you can get pretty connected to another person. think that's a beautiful way to comrmunicate.” BERIT MIDO MOUNTAIN (FOLK SONG ARRANGEMENT) Of Performers: Members ofthe Silk Road Ensemble: Yo-Yo Ma, cello; Wu Man, pia (Chinese lute); Wu Tong, sheng (Chinese mouth organ); Xu Ke, erhu (Chinese bowed lute); Edgar Meyer, bass; Joel Fan, Joseph Gramley, Mark Suter, Shane Shanahan, percussion; Sandeep Das, tabla (North Indian drum) Form: Three-part (ternary) form built on an ostinato (a short musical pattern that is repeated) ‘Tempo: Moderate quadruple meter Function: Concert performance and recordings. WHAT TO LISTEN FOR: + Melodies and harmonies built on a pentatonic scale + A unique juxtaposition of Western cello with an Indian membranophone (tabla), Chinese chordophones (pipa and erhu), and a Chinese aerophone (sheng) + An energetic, virtuoso performance that is marketable and accessible to many different audiences |270 CHAPTER 6 Music, Mobilty, and the Global Marketplace LISTENING GUIDE 57 (CONTINUED) STRUCTURE AND TEXT DESCRIPTION 0:00 Section A ‘The ostinato theme is introduced by the pipa, each phrase punctu- ated by claves, a pair of cylindrical wooden sticks struck together. ‘The pipa uses vibrato and short slides at the ends of phrases. The ‘ostinato repeats every 10-11 seconds in Section A. 0:11 Phrases aand a {As the pipa continues playing the ostinato, the erhw chimes in with a two-phrase melody. On the next ostinato cycle, as phrases a and a! 0:21 Phrases a and a' repeated _are repeated, the cello and bass join in, 0:31 Transitional passage A brief eransitional passage includes several instruments playing the ‘same melody in parallel octaves. This melody, based on a repeat ing three-note motive, has a complex rhythm. After the transition, ‘the sheng comes to the fore, accompanied by the tabla and the pipa ostinato, 0:46 Phrases b and b’ ‘The erhu and cello now play a single melody in parallel octaves. The pipa and tabla continue in the background. 0:56 Phrases band b' repeated The texture grows more complex and polyphonic. The cello contin- (ith countermelodya ues playing the phrases b and by, while the erhu plays phrases a and and a) a. The pipa stops playing the ostinato and joins the cello. 4:05 Transitional passage ‘Another brief transitional passage, in which the erhu and cello immi- tate each other’ tris, leads into another section highlighting the sheng. This time, the sheng and the cello share a motive. 4:22 Variations on phrases The texture becomes more polyphonic as the various instruments, aandb diverge, each playing a different melody. Many of these melodies recall those heard earlier. ‘Transitional passage Another transitional passage. The constant rhythmic energy of the ‘ostinato ceases, and long-held notes predominate. Erhu and cello briefly quote the imitative crilling passage from 1:05, 4:57 Section B ‘A new ostinato is established, in a much slower tempo. A frame Phrases cand ¢° ‘drum and the pipa play the ostinato cycle. The sheng plays a melody based on the pentatonic scale, which is repeated. 2:32 Phrases d and d! ‘The sheng presents a contrasting phrase which is repeated with a slightly different cadence. The ensemble pauses briefly atthe end of the section, 3:04 Section A’ ‘The energetic first section suddenly returns. Phrase b originally Phrases b and b’ presented by erfw and cello at 046, is again played by the same instru- ‘ments. On phrase by the sheng introduces a new countermelody, 3:13 Phrasesband b'repeat The cello continues playing phases b and by, while the erhu plays (ith countermelody phrases a and a’ as a countermelody. The tempo and volume gradu: aanda’) ally increase, and other instruments add layers of polyphony. 3:22 Phrases b and b repeat twice more 3:37 Closing passage ‘The music suddenly becomes quiet. The melody, a repeating three- note motive is the same as that at 0:31. A large crescendo takes place, from softest to loudest, as the tempo continues to accelerate.