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    Hood BiMusicality PDF

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    Gustavo Goldman

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    ‘The Challenge of "Bi-Musicality” Mantle Hood Ethnomusicology, Vol. 4, No. 2. (May, 1960), pp. 55-59. Stable URL: http flinks,stor.orgsicisich=0014 1836728 196015%204%3A2%ICSSHSATCOR22GAB2.O.COWIBI-Z Exhnomusicology is currently published by Society for Edmornusicology. Your use of the ISTOR archive indicates your acceptance of ISTOR's Terms and Conditions of Use, available at flip: feworwjtor org/aboutterms.htmal. ISTOR's Terms and Conditions of Use provides, in par, that unless you fave obtained pcior permission, you may not dowaload an cnt isus of @ journal or multiple copies of articles, and you may use content inthe ISTOR archive only for your personal, non-commercial uss. Please contact the publisher cegarding any further use of this work. Publisher contact information may be obtained at bupsforwe.jstor.org/joumals/sem.hten, Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transtnission. ISTOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding ISTOR, please contact support @jstor.org- hup:thrww stor orgy ‘Thu Jun § 19:45:15 2006 THE CHALLENGE OF "BI-MUSICALITY"* Mantle Hood [rye ors of ste one accastnaly neare of te high-skilled me hanic who fancies Mmaeit a performer, the clever inventor wo passe himselt off a5"2 composer, tie cligent histofian who aelleves. be ta mes) ologist tnd the professional eaeator who eontuses method with music. At fhe Fisk af overaimplificatien Jet vs say at least that al af theve diverse Fepresentatives af the fielé af music ‘auld seem to Aave one trait in cort- anca Lack of mustealley. ‘Aad what do we mean by “musicality?” "Burst fec'Ge qote that the Harvard Dictionary of Music wisely skips trom "Musical lasses to "Musical offering,” and then=aaain a! the risk of dveraimplits Edlonmiet us pass on to Webster's Unabridged Dictionary where “musicality” {erdetined as “musteainess." a noun Tarm- af the adjective, "musical under vsnioh, at long Inst, definition number thres may be quoted: “Fond of, Or tn Xelligently appreciative of, music. 22, 2 thusieal coterie, having @ natural antilide for muse" =e Although at this point we may see some wtedom in the volley followed ty the Hareard Dictionary, lef us desume that a natural aovituge for rete "The basic study and training which develops musicality 18 known b? serept Bees: nisiatanip iniamenca ot munis, olepgi» ae never ierrd 4 musician suggest tat this sine qua nan ‘tight be by-passed, tha beginner shovid: start arith musical InaIvaie-ar eritewom.. The training, a e2Fs, eyes, hands and voice and fluency gained in theee sills aseure reat Sompretersion af theoretical studies, which im thea prepares the way 20" the professional activities of the peeforer, the composer, the msicologist and fhe muste edieazor ‘Berhape if la not necessary to remind the reader that we ave speaking of the world of rlsicy thal training in aaie musicianship of one. order oF nother ia character de at cultivated music wherever It'S found and 10 Some extent ts unconsciously present in the practice of ingenious miste, 1 rrav be of some comfort to the muste stiiert of the West to reallee that ihe" chinese, Javanese av Indian Stadert 4190 must jump thecugh 4. sez%es of Misieal hoses Mut i this kind of (caning 1 laceee esaentist the Western Tusiclan who wishes to study Bastern music or ihe Fastern musician wo Ie'interested tn Western music faces the challenge of "i-musicaltey ‘A considerable interest in the performance. 402. composition of Western rosie in ome Oriental countries. indicates that the Eaat baa made nore progress in lacing this challenge than the West, Tn fact, in some instances, Se nignt point to'an “altemative musicality” e.,"an interest Western ‘Rosie which Raa developed at the exsenae of the indigenous muste~ However, In dapan the musicians of the fmperial Sousehold in Tokvo would. seem to fe tally “brmoneal” "| They] have undergone cigié training svnce eh Hood, not only im tho Gagsks dances and instrament techniques, but also te the pesiormance of Western tas of tne Clasmeal period. “in thelr capse Uy 2s official court musicians, they aze requiced to'pertarm both Gagaki and Western classiest muaie.” ‘Gscidentala on the ateer hand, have usvally United their interest tn non-Western music to passive dhservation, working. with informants. and Fuseumt studies. Theee may well be a. moltihicity of rezsons why in this IRsitnce Gasie mustelanshlp or the fandamentile of muste have been By asses: but keeping (a mind the cosrt msiclan of Tokyo we should. cliccinate fre resment that an ‘allen causical expression has ealtural or racial char actetisives whieh make ie inaceessioles Rather than labor the povnt of wat iae not been done tn the past, ie! ue consicer some of tre apecice problems which contrant the stdent who ts learning 4 loneign musie. "Aer vnder= Standing the nature ‘of these. gratlome we shail ben's balier postion to Evaluate the Pealisuic goals whieh the suident. sight aspire "Phe tollswing asgervatiena are based on neveonal experience and 4 constant assoc ation with the periormvanceratudy gracgs at the Unversity of “*s.puper rou ut ne Fourth Annual Maeting of tae Snotety for Etanomasicéoes, ctucage, Dessiner 28-30, 185, 58 Salornla at 1909 Angeles whlch currenly wclude: Javanese gamelan, falinese qaumelan, alinese genaar walany Japanese gagsia, Tapanese naga Gi, "Perch made and South TactaT Mase ‘The initial challenge, of course, 1s the development of an abllity to near. ‘The tendency of Westerners td “correct” onfaniliar Intervals, usually itaiut belng aware ot colng £9, can itselt be corrected caly by repeated exposure to listening and by singing. ‘Tals beginmiag stage of tratuing ts di- Feeted at aural perception rather Can vocal production, the latter involving Special problems to be consiaeved presently. In Meeratzing Ns sural per ception he student who has tad ro previods musteal training may have a Slight acvantage over the advances music major, but the most Important Gichoe ‘iy this Sonnection le probably Webster's malgimal delintion of sual cailtysna natural aptitude far misie, ‘The most di(cenit conditioned pre}u- dice to avercame among Western musicians ts the sense Of perlect. pitch och ‘x Individual must come lo realize that im the World of galeratonal in Aetna ia "sonae "a plc ts, seus iepertee and untess he canages 1 meee a Melodcld antes he wf fave to evtgtch te ee iat hs ton Utes a ate domaerate anveoaeh' ts te ond ot Sound BN arenas Sinem taal tines tate nd rate Hating ard Bore Sevasfing ts bal une tod ceetlich Ca fe LeseeteF te SE/E0%S Fafunse apace hee tather detsied art books Ecenjiowed bythe sosiciata't'aew fie ia test leaenec by gle th iclamena pals “yavaese td Entinewe ea nes, stern ron SeaUsey hesitate ad page saulanoacaiy 44 86 lens gece sa hy ehesae: ths parton Sule gp peatson Guseal tesiing Sg hae se sSlamlage aves te mise sent odin’ the print cage Seda, C2 Be bop, iestetin moh to be slat" see Wire’ he te foie argc cto gata gets fhe acee tance gue (aN op dence to SESE MEN, eG ite chp deme sieste Far themsalves the valisity of traditional methods. Far example, at He Mgnt he academe qeae mien tity nek cent mote Ot ke getup (Sendo Uo neteomersy a glece Mguen tlesyone in thet mae noe Sn Galt ovoning a colossbal el is ne" ocee, evecyooey loseant ae Slat saver) Th caieeed abe laos weet. “At ee kas ne haciendo 1g whl, ancy the fon Being, “Chasen cal, eben ea atony tr it ater ew phesaes mente fl finally Nhe piece alters and dlus. At this potat' traction) metiads are og gente ir aul al posters uae Gataion ie cage ae Sects, Aut aan cteardil s conidat barton. 6 lock of comasion Sit the ine olddeny Seveuod sustain ad’ Scuy Sveryae. agave that int ibe" tppnsses fs rorth yng: We mencises irae Weat Ste del Ef lena Memory and ic plachee™n memaenite pare (ay the Stinled pope, ‘Bytintatie weeds & fairly comelon eal ity clogs BMS Laat tna arene aid retained ar ae dati ar feara, Helens t tomer terse ot ie favanese gina secured ate ap abe aoe eer ss Smaseineat Te a elses were aa Gea Sh Sind Tie ype often shirpene aural perception, develop tral memory and bering tPeclease Wetcandll ned Westen mesons trou hy dependence SR PSIRe cdadtise. “ase” tnd band movercnte are act bed by he dace ca oti the Sound'S) Mleeeae Rieger or Ses drge, 3© oP Cataag Mie an onc a seta ot Ma hata, Silde Pater wie tt snge davantse. mclsy becomes ely one tend In Sebipatate pet ole: tise aetan tn se We a Beh eS bie ES aia Baa athcns nich Soser the etre chen "the elemeat of rhythm In non-Western music presents anober chal: lenge, ei newene fn balsnae gastlan the exe mistolow taeriodk- 1epMfagtants eisjed Sy a aural maic'tes tomate dbus, walle te tae eee SHH alfecesl irl uation slathme. the Shodan Sag Sle 2 pareive beet ofan sighs foe Mug? ckangen cempon Shame aeletlte follow a natal etea'Gy Sy choca ds Sag" PM adlcese inten the ig ith prey ay ty EFS of Rett and hel the ince dian sad tke Regret tae of SESS ae an tae ante wes SSE aaa a Himes uameagused rhyihny awaines the regular guisstions of he rest of the of ensemble, In Fapanese gagaics the lang tlme-spans of the talko (2 deeg-toned Grima) subdivided by the falco (a small hour-gizss dem) and the shoka (a Small gong) will scem to the beginner like random sounds in the etsemble. ‘An LP record of gagaku speeded up to 78 rom will convinee the navice that these Instrumente fallow 2 regular metric structure. Persian musie requires avgocd unitalive ear ta register the traditional spirit of its trea meter, In the study of fndian music the student finds that he rust learn a complex oeabalery of ram ‘suns, called GOL, whieh tovmns the bests of Improviea- Hon on te tala “The technical demands of oral or marual articulation vary in degree from ane instrument ta ancthor, but oven the simglest requires a surprising amourt af study. It usually Likes the beginner 2 ew monies to believe the experienced player when fe says that it te no easy matter to earn to hit Gow or a single bronze slab in just the right way. "The following account Sill llusteate this point. A Chinese Indonesian friend of mine told we that before the Japanese” occupation her family owned a testify large. gamelan, A member of her family moet devoted to the evening gamelan periormances Was her bling gesna/atner, who casla always tell at the (rst

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