The Sound of Azan: Muslim Reflections on the Call to Prayer

The call to prayer, azan, pervades Islamic culture. Muslims can hear azan up to five times a day--once for each of the five daily prayers. It is often broadcast from the minarets of mosques. Parts of azan can be used to gather Muslims for a public event. There is also an Islamic tradition of reciting azan into the ear of a newborn child, and azan is said to have medicinal qualities in some forms of Islamic folk medicine. Ethnomusicologists have occasionally focused on azan. Faruqi (1981) identified two styles: laythi, an unembellished recitative style popular in villages, and sultani, a less recitative and more florid, urban style. Sultani seems linked to Ottoman sultans; Turkish Muslims are still noted for their florid and highly embellished azan style.

Musical Stupidity and the Reigning Monoculture

Many music educators, myself included, thought Howard Gardner's theory of multiple intelligences was useful when it first appeared. But over time, some of us became frustrated with it being limited to separating out the individual components of what in the end needs to be a whole, integrated person. On the heels of hard won gains in holistic education, the theory of multiple intelligences is re-compartmentalizing schooling, by suggesting that a different curriculum can be developed for each intelligence, whereas what is needed is a curriculum for the whole person. While Gardner insists that the various intelligences can be merged together in life and education, the discourse of multiple intelligences reifies intelligence into separable entities, each testable and isolatable.

Mapping the Musical Commons: Digitization, Simulation, Speculation

This essay is a speculation on how recent digitization and simulation technologies are providing a means of mapping cultural processes that may contribute to new ways of enclosing the musical commons. Three broad, shifting, and interwoven themes permeate this speculation: contested concepts of ownership between a disorganized and reorganized capitalism; blurred distinctions between cultural products and human processes; living beings between the convergence of technologies for mapping and simulation. By outlining a potential paradigm shift in how people understand music, the essay suggests some new directions for ownership and control of primary cultural resources, especially with respect to embodied and simulated musical processes.

Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section

Swing is sometimes described as a groove, pulse, or feel, and I assume that there are as many words for comparable concepts as there are musical styles, languages, and cultures. On the syntactical level (that is, in the realm of crotchets and quavers and their subdivisions), jazz swing has never been effectively notated. Ridetaps, the drummer's tapping on a ride cymbal, are often represented by dotted rhythms or eighth note triplets, while a bass line is usually written as straight quarter notes. To these notated sketches, musicians add the "swing," making the notes come alive. What is it that they add? What is swing on the sub-syntactical level? Some may argue that swing results when musicians are playing precisely together, while others may insist that swing occurs when the musicians are a bit out of time, or out of phase with each other. Both musicians and analysts may disagree about these "together" and "apart" issues, so it is important for us to develop a systematic method, an etic grid, for measuring degrees of synchrony and discrepancy between musicians.

The Distillation of Dr. Hiller: Choices in Editing Oral History

After completing an interview, we begin the task of organizing and editing our tapes and notes. During this process, we must continually make choices, and often these choices are interrelated and interdependent; making one choice often lead us to confronting another. This article considers such editing choices on several different levels, ranging from the mechanics of transcribing a distinct set of interview problems, to the question of making them useful in presentation, to the broader issue of editing sound as well as written documents. On this last level, we will see how new technology now gives the old issue of orality a particular vitality. Editing permutations will be presented, culminating in a demonstration and comparison of two routes to a final prose transcription - one route derives from editing a visual document; the other explores editing the aural document, before transcribing, with new tools of sound-processing designed for an aural medium such as radio.

Music out of Mud: Nigerian Pot Drums in Upstate New York

The workshop took place at the upstate New York pottery studio of Frank Giorgini. He and Abbas Ahuwan instructed 12 students in the finer points of pottery drum making. The workshop proper was held on consecutive weekends, and I had the opportunity to stay the week between as an impromptu apprentice. Abbas began on Saturday with a slide show of traditional Nigerian pottery making. Abbas is a professor of ceramics at Ahmed Bello University in Zaria, Nigeria and has a Ph.D from the University of Georgia. He shared scenes from his workshop in Zaria as well from rural areas. I initially sensed an “African” sensibility in the works he depicted. Designs and methods that might otherwise be labeled primitive by some observers appeared to come alive with a rhythm in the context of culture, albeit objectified through slides. I had later several discussions with Abbas about this - the differing sensibilities of Westerners and Africans. For me, it came down to a McLuhanoid viewpoint of oral and visual sensibilities. The African peoples can be considered orally oriented, I argued, and this sensibility shows in the work, the design. One does not see the obsession with formalization, quantization and uniformity. The works are shaped with an oral sensibility, the perfection being in the unperfected form. Abbas thought about this for a few moments, then replied, “There are no bad curves in nature.”

Children of Jaliya: Teaching and Learning Kora in West Africa

"From his mouth you will hear the history of your ancestors, you will learn the art of governing Mali according to the principles which our ancestors have bequeathed to us."

The youthful prince Sundiata heard these words as the reigning king of 13th century Mali presented him with a customary gift. Sundiata was about to receive his own personal jali, who was called Balla Fasseke (Niane 1965:17). The jali (also known as "griot") is an oral historian and master musician who presents his knowledge in the form of song. Balla Fasseke inherited his art, known as jaliya, from his father who was the king's jali. Prince Sundiata was heir to the kingdom, and Jali Balla Fasseke, was heir to its knowledge, wisdom and music.