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    Music in Society

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    Gerben Buijze

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    © All Rights Reserved
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    The Social Psycholo, of Music 4 Edited by DAVID J. HARGREAVES Reader in Psychology, Uniersity of Leicester and ADRIAN C. NORTH Lecture in Psychology, University of Leicester (Oxford New York Tokyo ‘OXFORD UNIVERSITY PRESS 1997 7 | The roles of music in society: the ethnomusicological perspective Andrew H. Gregory “Most studies on the psychology of music are et within the context of Wes- frm musical and cultural tadions. However, in many other cultures both the style ofthe music and ts role in society are quite diferent. This area of study is particulary interesting both fort own sake and because allows conclusions fom studies onthe pychology of Western misc to be looked Bt from a diferent perspective ‘The study of music im diferent societies is known a8 ethnomusicology, ‘This a hybrid discipline atone extreme muscologistswhowe interest le inthe strcture of the music and the struments, and atthe other extreme anthropologists whose primary concern i clture and the roles payed by ‘music within it It ist later approach to ethnomusicology which t mast "Rlevant othe socal psychology of music Merriam (1964), nis book onthe Anthropology of musi, gives his defnion of ethnomsiology es the sadly ‘of musi in culture. Net (1980), a general overview ofthe subj, ime arly suggest ‘the study of manic n and a cultre the study of how people ‘use perform, compose and think about music and of thee general attitudes {toward it: Merriam stresses that ethnomusiology isan approach all types ‘of music, not just to non Hestem music He also makes a dstnction between the uses and the function af musi. Te uses comprise the ways in which ‘nics employed in society, bu the use may ot may not have deeper function such as emotional expression, aesthetic enjoyment or enetainment. “To wad about these topics without being able olsen to the seal music gives a very incomplete picture. Two books which both contain susie ‘Samples on records or compact dics are a series of intoductory esays on the music of many cultures edited by May (1980), and a review ofthe tradi- tional musi indigenous people by Blumenfeld (199) In general references have been given t these Or ther books in preference to more specialized journal articles, TRADITIONAL ROLES OF MUS In many societies musics not an independent artform tobe enjoyes for its ‘wn sake, but san integral prt ofthe culture. Musi may accompany every 1A And Gragg human att fom the cradle to the grave ing lis games, Almung wor, fellate sand cee, nding, edlnge ‘nd tors The syst tous e eucly very dierent om tat ‘Western mis Baty (1975) ener trio mu of Back Afi "Aiscanmusclns not tk techn sound manne lean the en Thi if simpy to expres He all Hs apects trough the tedium ofsound He albeit to understand An ia tt ‘stu within the context of eitonal Aca Aen has hands citer sts ea with th wm adios and with Sifern ols fe mae bat he mj of hem musi fos mimogel pat sl actin in ober cultures eer the wee, ‘mune ay suo be agra it ay Huan Sis resid 1 iy lintod numer Seay al oes» ecety may take post ‘mca aces o there maybe usa pumber of silld musica The {tain adios use emus wll ow be Bed some of hich ae Soman neal sockets, butlers areas unio atlas Lallabics ae one othe most univers forms of asic an ound al ‘Sts vious tefeting te unversl ne to ai nfs in ety ‘SSoety Thee hare bee few rose cultural coopartons fle Dut [cal thy tendo ave snot descending tours, tow tempo, la oj simple srctore and wepeton Uayke a (1982 found that labs from seve diferent cules were adged as simpler in orn than tet “ings rm the same cures were ore lf be ded sales iFthey contained sigh proportion of densi intervals Tis pales the cseration that sting inn deced speech aso ted to show ‘South descending coos fPapouick and Papense, 18), ames Chrers ames ae anther nivel city where mu an ng a8 {Gund The ng ae oem! dancng png ooh yee cits allow om the reso the per Chis gamer may ier dict fom ay nace, ray ea muro os pe poston for dat eB (9 ee hems mes [Fates sme Alvan ces as ono nal aig wh Pepursten prtpate nall sroo ll cyan he me oy copy tthe cy and he sauce mun In Empey fs Uh te wie er tom ifort wor, whch may wel ne Echt fat et cho bg op spate rm won Toe lef mae society 28 Whenever population: hive moved, the musi of cis games has sly bee incorprated i the new clare. iby, (9R9) desres Gitthan clr’ game sngs hic derive from beh European 26d ‘Sncan wos Many ofthe sanga ave acaltand-esponse frm, an ince ‘Migany samen tng gamer ad stone pss ame, Sore, sch 2 he ‘Retin song Bown Cain the Ring ser fo be drive fom Betis ‘Sette bt other such a Mane! Ran (Emmanuel Road), where the “hue pss toes shy they ang Show cla igs fhe much ‘Strnger can ye 71. Work mee In Eure, the use of music nd song acompay work has al bt did Au aogh su shane ave prota the mostra surviving fam, ‘ripe m te at mn in Moe corn neces sang Hult (61 ves» god te wp sea stan They wee says sce wih work, ‘ronan tps em Meg Somat tinerejpettng pe rats ‘Rise unc song The om ft Songy chy make dhe tne Sarat Spin etn ao nd ei 5 ow the S05 Sot as se for inne tks hal sae 72) AS wualy had ger esa chara ‘Aso and ‘Setndnt and was wd for continous operations sich =e capatin wale Tr raioal Arian sce, manic accompanies the dythm of wie lds ssl dor acts ach nding and pong. SSM deco amet en rm he at peopl of hana ho Segal by mca Ty mgt cases tothe tn STSmaccis eearae ef on te spend of the ras cating In Justi wei ang wee + ton at of he masa esingy oe sam pap songs fr digg inser ing and ete Frag user’ caren espns src, witha ene ng tnenowerelby shar and they pry derive ent Aan Eat wean, Wer eng aot commun oe ou working Salsas sungby niin eer blp ep yen ot weve Simonton Dancing ancng mas ound in wie vary of frm autres ter at Detngal p arenas er trom jpn is es est TIMES he pinay Sty unc oe dance. de ms pt 126_ Andrew H.Grory Teer musi in sckty_127 Manuel Road BLOW THE MAN DOWN ss se tg et od Exot Te tae wie moatenen i Heme Brak denenby om, a nd ny, bk dem Neen Fame ee ees rsktheneney neg andy, breathem {no by te sendin. Go dg Hous, gol ‘ro By Woe dandy: Go ‘Gob fowl fo Sf 7, ond ay, Mm «ley wide. py, ales 5, Sl Sd oy Ramone ey iy Sten te oIRECTIONS gle: Bach way pice nd puting thet oon rch tina. Now vorsex may be. ‘Detegion by Maton Robes 1959 C5. ig. 72 ow the Man Dow Haat Stay cording ang om pe (eg an accompaniment othe dance, o& the dance a moverent fo the music? Cran in many societies marie an dance ae ints irik. ‘Arom (191 ewerines musi sub Saharan Alcs aeinga et acy, mot inseparable fom dance, and cmnents hat hearing nue wl often immediatly give rae to 4 movement of the ay. Mont Cental Afton, ‘vernacular languages have no words or pur mas no forthe concepts of Imelody or sth. Melody only thought of a presenting te words i conveys and Un becomes song Rt though of atte stimulus foc the boy movement te which gives rae, and even the same he dine: Chere! (1979) points out that the dance gives the implied eet ‘which isnot always paysially present in Altar and AfteAmetcan tus, and that ne is incomplete without the her Waterman (1952) also fmphaszes the importance ofthe subjective beat Asean mast whieh iSot always actly plays Hestses that to appre ren set Is necessary to develop 2 croc sense’ Eurpean mute emphasses ‘he man bets, the upbeat and he downbeat. Alcan musiansssome hat thee audience & mentally supplying tee fundamental teats and wl tlakorate heir hyts around ts mental bet en using polyhytns, {he inerpay of oor more smpe meses and ofbest melo ace An ‘example of polymytm fom Ewe drumming in Ghana ven by Chrno (G87) and ltusteted in ig, 7 bala wo deme the high pte Kagan andthe ner ower pthed Ki, each play simple epee inthe intaductry sation of dance cll Azo. However, the fl "ns f the hyths is complex. The bells patter splay thes nes while the Kis patter plage four times Thema es wot srs Isic but ens inthe dance and in the finds ofthe munca and steers. Thus African musi needs to be dance to, phil mental, Svonter 6 appresa fally 128 Andrew H. Gregory An ado scien Fg.73 Example af Aan palhythnshowing he af ll an wo rns {tite poste ft man ea ated Xeon 3) Stonteling ‘The telling of sors, with song oration to mas has along histori tradition In many ealtzes The medieval wandering mans! 9 type ‘example, This trainon is stil song over a desea of south-west Sn, uch as Afghanistan, Aza, and Turkey. Te teaveling tard, the wig sings epic tres anc tales, keeping an age-old ol radon fen secon Pnying himself onthe za tngenekod Toe (mene 199). In West Affe the grits ae prdessonal msicane who play vital ke ‘tational Atria fe bey (1975) ves nese description hele ‘ctv, Some are tached to the houses of blemen, whe eters ae Independent and wander from vlage vise Tey sing store frm he Pst providing ving ahve of thr sce tans os sos the present. They know everything ti going on, and thes song spread ‘sip and slander. These who belong tothe osc fs nobleman wll sings praises and rei is eneaogy, but sndepenen ris wl sng the pres anyone who wil pay ean slander anyone who vets The {rts both despised and feared perhaps the clara oqelen oa newspaper nxt Africa the euivalent of the ris the player ofthe meet or ‘hrp-ther. He combines he fnton of uncon, dance seytlos td ‘expe of the orl traditons of the sesty. Home he does het usally limprovise songs to pase the ich as thei cs aa so sel in Nigh The rele of ms sity 129 ‘Ceremonies and festivals Religious and sate or lca ceremonies ae one ofthe most widespread ‘cisions for masic thoughout the wold anging fon church fest ‘ceremonial fanfare on ramps to ret a rer Nk (198) deibs the ue of music in ceremony in Ales, and points out hat usc ether Set the mood for the actions or provide an cute fr the elings they _rverate Drums may cates mood of moaming fr the deth ofa cht ‘ca sense of pageant for telson of ne rer The formal et of {xy eemony Is ofen followed by mie and dancing whieh alos an ‘motional expression of feelings Ceremonies for individual members of sciety are aso impurtat, and mas san essential lomo of every arog sta and feral ‘inmost cultures Several Alan sot: have pecs mus for the ith of ‘vin which Is considered very special oso, Bate Msc has frequent been used both efor batt inspire the armies, and the batt to lntimidae the ene ad lo fo ge signal to top. ‘hehistory of tary munis eviewed by Farmer (S12 10a a Hart's 1980 survey 0 the drum Trumpets were widely used in ence Eaypt eee and Rome, and inancent nate ketedru was combined wrth umpe nd conch shel During the Crusades the arco oe te {ble plying tumpes, drums, cymbals ad pipe, The Chess doped ‘he Saracen ketdram, an! ove he set fo conunesthe Bal sider, and ts dam wee ad, Inthe mil ef the ghee ‘entry the Turkish smyof the Otoman empire marched fo the sun Sh ie, etdrum, tenor drum, Sass rum cytal and ange Ts brian percussion sound was soon adopted by Erepesh aid ale by European composers wishing fo wre Turke me ‘bythe fe ofthe Renisance the aces of Europe had worked out ‘mua languages to communicate information intl. The vay used the tumpet to nue command, while the drums pve commands he nln. Changes in the drum yt raed mar lm, appre Soul bate rena ov snake hws emailed atone ee round «drummer although he cptre of he enemys drama Was Sym ily very important Communication Many languages inthe word ave tonal where the pitch of vowel Is linguistically important However sme angungs su ste Ban ou 130 Andrew Gregory Ee Fig24 Ml tnsin fo Bante wert (ey 1975). snd many central Afican languages, have a much more subtle ses and Imonation ete. oth the ph ofa evel tne angie hats ng or {eling maybe nuit icant, an each yb ast own chy Intensity, and duration bey (1975) tats that in Bont these may beso [recs tat each ward cin be wien ons si stave (Fi. 74). Hans owever be steed tht i the pitch of given aye relative to that of reighbourng syllables that t lingustcly significant. Thus ferent [Spenters wil at cea se the same abolate itch level In thee iBngusges mss canot be dissociated rom speech, and play music 0 Spuok The mic in many ceremonies and dances ths speaking diel {Bie patcipants bey (475) deserbes how during the ation ereony {ru manfoed of fe diukur people of the Ivory Coast, the tomtom fovume the lof human and speak to the young men, who answer them tack “This ability to represent ngage musically the Dass ofthe talking ram found in sone Afncan soci, This a smal tweheaded, Rou {is shaped dram, eh cor stent the mere. The drum eld {Ener the spit sa prssreom the am an ary te lenin ofthe kins, ind thus the plc of the deur Thi insrament i purclrty found in West ‘isi and ca accurstely convey the itonabon change spoken language ‘Another wayof talking with drums to eto deus of illeent pitches, ‘ihe Athans do orto vary the pith oft singe drum by thing ‘ifrnt ways (Chern 17) "The other forme aking drum in fa ea lange strum sully made from length of hallow teen, leaving a yinder with ceo To engin! shi fering ins, There fe no mmtane, but tkng he fium ear an orother ofthe site praduces one ftw posible tes, which ane eand over great distance By (175) describes hese drums ‘Eat and the frm of he meaages which ate ly cade wing he Thereof msi nsecley_ 131 ‘hth ofthe language sings ew simple phrases, These ae the bases (he Worcs of he Eh teepaph given yearly European traveler ‘Ns by which messages cou Ravel pil over a ong distance. Personal symbol “The Saami people (Lappe) ave a unique musical tradition where each Individual pena hs ther om spec ng ojo. Tas becomes personal oustcymbol ad toe sung when herding rsner Pures can ve Aoutoheirefldorlovercan ive oto cach other aso Blumenfeld 1993), “Athough the Sami ok is 2 unique tection, Horo, (535) dselbes 3 custom ofthe Arran nds of the central ras, where each person ne Lie in hislfe was expected to havea rion Caen were san out © ‘Sty ty themacves without food or ep unt vision appeared usally an Shia which woul give the cid certain power name and en one ‘ore personal songs However hee songs eel pe sce y the Inve until ase the te of death Ethnic o group Mentty Music it powerful means of creating a sense of belonging, lhe 1.2 pclae prop ort. place Stokes (1984) stats Musi socal Fennngll.lngey becuse provides meansty which people recogrize ‘nites and paces, andthe Boundaiwhich separate thea Stokes ‘decree boundary neteen “and Brita sents Nowe Trend a beng patelled and efor by mucins. The parades by Protestant Orangemen with fife and drum bands define the ental cy Space in Best the domain of Ulster Protestants ar of Betis rae. On ‘Tevet hand ns transl! msi, which Is ofen considered fo be ‘Cathal musk, widely play nbars nd lbs and defines the Cathal sof the ly "The Atorigral people ofthe Norther Troy of Australia also have a stong ans tween suse peeformonce, sia identity, ar igh to geographical ars, Magowan (1980) descabes how tht ancestral ae ‘eins inlvdals and sane t spit ancestors by right land hough ‘ytiogcl links, These rights are sured in pantings songs and dances, {Torwhch aso people wih places Songs bing to particular clans and ‘hay only be sung By someone belongs to that dan or elated clans The [nearing ofthe songtext ae analogues connecting people with Paces. in Bich popular music Caen (194) has shown how discourses, both cnt and inthe msl prs have restate Liverpool sound as Sppene to haha Marchester sod and ‘London ound 132 Ando H Gogo The politcal use of musk & a strongly rested topic. Rhodes (962) \tescrbes an example rom Chana After the Acar people subited fo Batch rue in 190, whenever the Covernor appeared fora dar he was fected coemonlly with drum mos The Ashant used ling dane ‘ehich waited the txt fam old war song‘ ut surly we Sal El ‘whose meaning was lar oeveryone excep he Brits Satesmanship At markets allover the word, song and musi ae used to atact the atenton of paserby Inthe hope of sling wares. The od Landon tet free area wellknown example of this cstom, where cach seller Bad & Into wance, nat the musicians playing who ae external othe cle. Backing (973) esrb the dance of he Venda people of he [Nother Tanstal and shows the smportance ofboth the musi and the ‘sel envirannent The tthe ef the pose nce o not snd every Venda ntoa rane, but only tose who ae members facut and hen ony When they ae dancing thet own homes The eecivenes ofthe muse Th depend very much onthe context bt ulmatly depends upon the “The shaman in contrast in every case the musical prformerforhis owe ny into trance, Oer musilansate present to assist do take ver when ‘heen trance ant elp bing hi out safely. The Siberian or Eskimo shaman tradionaly ses the drum to induce ance This has ld some Suthrs to speculate about the power iherent in the phy sound of he ram but a with posseasion mun, olher instrument are ein iene! ‘lies In genera is th uta canes of he mi rathor han te Inve properties which ae important or inducing wane ‘In many sacees people enoy musi singing, and dancing independently of any clebaton and festival In many Alia vlages people wil ange {stein the evening ian open pace and spontaneous emai ad ‘Sancing wil ecu Some ofthe music may De specially for enterarment, ‘whe other masiemay be hat ormully eerved for oe occasions Der ‘nto of musciane may fake tums ana this spatiale the me ‘She hen partpatein the miei ofthe commumiy “Many instrumentalists play for personal enjoyment when they ae alone [Nk (1985) mentions how in East Aes the sight of = fnely waar playing the hanapano is gute common, and Wat eden looking att ils tany be give or make Buco pipes ard wil play tem for he enjoyment Soctes which have develops separated soi dass tend to have fe ft sles of muni for ech group. A ring class would develop om curt muse and religious groups their own forms af msi. The common ‘peopl, bit being sare of is use sedlar or lions ceremonies, 136 Andrew H. Gregor would have quite diferent styles of musi for singing dancing, working ‘Suhr avis atk mas cn be defined in tov forms of soit 8 ihe wadionel popuse une othe coeuon people “The cultures ofthe Far Eat i particular have developed this pattern of cil dfn masa! syies. Japan Rad ancient court msc for ‘Rattan dancing whe the common people were entrained by tars ‘SuMryelon segag with musa! actompaninet, and by drama std ‘rete These incl the traitonal woh drama with singing and an {RScumentt ensemble and rte atu thea and he bua puppet then in both which misc an essential prt ofthe pesormance (Malm. 130) tn acint Chie, hcl trains of ok songs, mite music and na tative sung developed longaie court music Confacis hielf commented (Grin ex of sxular music and! mente Ue decdine of ita and ceemon- Rae the Ging dynasty (eveteet Yo mnctonth century AD) ‘ergs inte promt of tratsnal Chinese ats Regional heat was ‘eaiced the court and ed to the Sowerlng of the Pking opera, which ecame popular Uwoughout sna (Han snd Mark 1980) Tanda mune was rina oridered obo vine origin, and the temples were ultra cette trinng dancers, musicians and ge The [Saeindtomes also encouraged the performing asad many rule: id ‘Sen thetr wives were proficent musiians Histol ee as a cone ‘Sisnanaip between he court and the people ll whotn showed a respect ‘Senin. The two grat Indian pie te Mabubhoat andthe Romagna ‘Sere constnly etl in forms of drama dance and song and had et ‘opulanty thoughout icin During the ugha empie te Most rulers Ex te troditn of supporting the prtorming arts inthe cours but yard tas secular entertainment cotast tothe Hind reverence for BealThe extensive court patronage of music meant that musicians were plying fore highly knowledgeable aucence and Indian lassie! music ours in cour ees Wade 1979) “he lamic empite developed rapidly fllowing the founding of am, andat fst muse sso approved at and asi as one ofthe fobiden ‘nsun, slong with wine and women fat the Quran does ot nin Ey tatenent agin music and Mohammed was nly opposed 1 the icdetiousness seated withthe the. However, the original eal chooks nam jie tet agave ti om he basis feat. During, the fst ynsty mas id Boga to ours and the court in Damascus ‘Ramer cltoral cen here tana! Arable and Pesan misc were Sin poplar Dring te flowing dynasty Arie musi Hour, ad Te sof music scty 137 ‘tis pero is conser the Golden Age of lic cultre. The Arabic tle Mtescomplinented by 2 new ‘oman’ Persian sl in Baghdad, and Cordoba ounetive Andaisian se began to develop. Aer the evra ‘lon of Boghnd by the Mongols, the esta ens moved t Persia and ‘Steals and the Chetan rconquest of Spin led othe expulsion of ‘he Moors ad thee mu to North Aen, Traitinal Arabic musi i jevormed in Egypt, Lebanon Syria and Lag ut esti ltt having ExEn developed in te courts (Paholcyk 1980) Religious musi In sme societies religion hs bon the main force behind the development nin wl ober ligase no muse and may even approve of| ‘musa with ortho slam. lous usc may be pubic music with ‘Thck mon ofthe members ihe soit ae ive cf misc performed pigs communes for thir own apstual devotions Some flat ‘igo communtics have maintained the sme musa tye fr several ‘ned year and have preserved some ver ek musica ations One (RSS Lie ancient ching syle of Tibetan monks frm GyOH0 Tan ‘Stings, which sl immed, although the collage was coved uring ‘fein invasion and reesaliebed nln, Te vocal quality of the ‘Saning sounds que unr a he singers produce low bass notes with {tmuualy ich overtones (Blumenfeld 199). ‘Must rama en developed from religious plays. In va, where mest pays and msi have eligios bas tdtional tres ar enacted bythe Wagon Kul «puppet play with two-dimensional puppets accompanied by small ge Bronze enacnbe dao by the Pens ‘lng human heat with ng double gala nse DEVELOPMENTS “Te emergence of cultured iw in many socies le to he development ‘tare musi which i listened to for personal ejoyment. This often adlgpe fom cour or relgous mos fm Some regions i as remained Sty cine ots erga source, ar with cassia Arable msin the Mle ESE Europe However Wesiem clasal music has evolved and tor persed muse rom many sours slung folk msc and tary mus. ‘Some of the mow sting in mune have aren fom the ‘man populton movements of lr few centuries, where musical od The have waved ih the people and ferent traditional mises have ‘Sine topether to crest ew mse. The European immigrants 0 ‘Keita kl ms with head many European folk melodies 138 Andrew H. Gry ‘an be traced in the folk songs ofthe USA. Where group of immigrants ‘remained opt there was aourshingo ak song which real eras of entity fr each etic community Also, singers and tnsrumentats from diferent areas ofeach county were Bought together and thee ws _gat crsbfertization of musical dens. Afcan music tell tothe “Amercs with the slave trade, and ravey unchanged Asean msc and song can clearly be herd in some prt of the Carocan and Sour Ameres Enstwhee, however many new forms of music developed, with heii ‘hing of Altcan and European musi, suchas Crlonan dance mse Soul and jizz. This eld hasbeen reviewed! by many author, parila ‘Waterman (1952), and asates how change in solly can fen ead casuequnt developments in muse Tn-caelsin i cer thatthe very wie range of variation in th ke ‘of muse and musians within diferent sos shows thecal eter ‘ination of many aspects of the psjcology of usc. For example, tose exits such atthe pygmics where ll members engage na ery sled level of musi acti state the pont or mustanship i every fone. On the other hand nearly all soit contin individuals who me ‘scptonally sled musica, expressing hor sls ins form determined by the particular culture. Ccsrctral sti show tat liters in _geeral have dificult in perclving the emotions expe by unamlat "asic from another cure (Gregory ar Varney 198 Morey 194) Emr ‘onal expression in music Hus seems to be culturally eterned rather ‘han being an inherent propery ofthe music. "es event that one can only begin to understand the mas of another ‘oltre If one understands the care. The songest sample of ths trains Afican muse which only makes sense fone knows he ym ‘ofthe dance which it asompani, but the principe apis oll forme msi. True understanding othe music would nly come fom cope ‘immersion in the culture, but 2 knowledge of te isn and cal slgnfeance of any mass important fore appreciation, am gate to fol Bly for aaa cnment on df of this chapter ‘Am, (991 Afton py and pith, Cambie Uniesiy es, com $07 A iv ge Univer bey 87). pee mappa Lawn, Wet by KOs. crac ner tb Ane ‘mat (Hayden and 0 Ma) Conary Toon ‘hie 097) Fema ma? Unley f Mhingon Pre, Sete ‘hers ofa in scity 139 men fn er Pid pp tn a i ft Nd Li Ce aa at i cy ny hogs Teche COR san ck te von: nn yn les at one Spee nro ean SEES ETS cna de ions np Dos a aT de ine, edn Fel i er ty cmp a eee Se TRS cere “attains Ea) tty fone oa hy vga Si oleae ene ee tw G95 Ma hing he Arc nin, Ply alten tis pene Seen (oo a deaf te ga nin tee rics mh of “Site neers ba” MO Maen nage eine ernie [htt ata sree wR tne oS re yy Doe hin iy oon Pn i" Sahn tag mae ne eas rn eee Mean “A.B. (1968). The anthropology of music. Northwestern University Press, MES Upetin cmon ut fl Pah 1 1826. Femdom egret A OD iy sa My enya Retr eres Mr ted eh a. ir ws Tala ha ncaa ee foi noticia poset Ga Yaa ene obi ction rape tenon ye as meee ed Pipes yy NEE Ae oe Shh ana dae er ta Teak fee any va i ry tin an mn Se er ea eee aes a ‘Seay KK ed) (9D. The Cron yf ain neg 8 on ato Cae rk Sikes Mt) (95) Ey, Mi, md mit mas station fa erg Os nyt A MT, 6. Tain LJ, and Seber G19) abies Stns tal pei, Poa 9 sk 3a de Gn et! i Pe al, end \iteman A 80) Aan inca on th i of he Ane Aa ont nae et) Uva oe Nag Pres cage epee a ‘Shelemay (1990) a 8 | Musical tastes and society Philip A. Russell Links betwoon musical tastes and society manifest themselves in various ways and at various level, particularly those levels described as soci. Postional and ideoegcat (see Chapter 1). For example, different types of ‘music tend to appeal to diferent socal groupe the audience at a heavy metal concert wil probably have litle in common interme of age, seca

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