Culture: Inuit; Møller is of Greenlandic Inuit heritage and Blanchett, Blanchett and Kairaiuak are of Yupik heritage
Instrumentation: Membranophone and voices
Pamyua is a group that describes themselves as "tribal funk" and "world music." They take their name from an Inuit word meaning "to request an encore of a drumsong or dance" according to their website. Their music is inspired by their heritage and often incorporate additional elements into their music. For instance, this piece is part of an album called SideA/SideB.In this album, Version A of each song is performed with just voice and drum as is traditional, and Version B is performed in another, different and unrelated style. I highly recommend listening to at least a few selections from the two sides and comparing them.
This could be an interesting application of the Cultural Prism Model. The music was created as a song in the tradition, but the very same performers also adapted it to a very different tradition. Would this mean it should be treated as musical beginnings and continuities, or both as musical beginnings, or as completely separate pieces? It is an interesting question.
Additionally, the music is in a pentatonic scale (so, la, do, re, mi) and uses what sound like a few microtonic bends down from the lowest pitch. The drum performs an ostenato throughout the piece. The Wade reading says that a is a fixed pitch under a melody, but at the very end of chapter it explains that a rhythmic ostinato can be considered an "extended form of drone." I agree that the percussive ostinato in this track should be considered a drone because of its constant independent underpinning of the melody and harmonies.
What do you think?
What a FACE
ReplyDeleteI agree that the drum ostinato in the background could be considered a drone. If you listen carefully the pitch of the drum is the same as his 'home' pitch.
ReplyDeleteI also want to say that this is a really awesome piece to listen to! It's very relaxing!
I really like the idea of having an album that shows an original work and something newer based off that work. This shows us that performers are interested in their musical predecessors and want to put their own touch on a traditional piece. I think that we as educators can use this same concept by teaching an original folk tune and then teaching a modern piece that is based off the fold tune. This allows students to hear something they are familiar with, and how it relates to music of the past.
ReplyDeleteGreat example, Bror, and excellent connection to our classrooms, Matt. There is no reason why a traditional piece cannot inspire a new arrangement or composition. Questioning only comes when one tries to present an arrangement or new composition as being the original or traditional work.
ReplyDeleteThis is very interesting. The first version with only the drum as accompaniment is more a depiction of the prayer and the ocean. The music reflects more of what the song is. The second version with more added things seems to be more for people who are trying to popularize a particular type of music. I think it devalues the purpose and words of the song to add things that are not reflective of the lyrics. The firs version was more calm, bare, and comes from a more innate place in the performer. The second version seems to be very face value, hoping someone likes it for a minute and doesn't need to take interest in the meaning behind it.
ReplyDeleteI also really like the idea of a double-sided album with one original piece and a piece that is based off of it. The problem with that, as Betsy pointed out, is that it can devalue the purpose of the music. But, if done well, it can be valuable for both the musicians and the audience. This can inspire and excite students who would not normally be excited about this type of music.
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