[king_buzzo]

Well I have to write an essay 2000 words-ish about 2 different cultures/genres of music. They can be from any time period and if they're modern, only one is allowed to be modern and the other one older (non western influenced).

The thing is, I can't come up with a good comparison of anything.

Any suggestions?

[demonrail666]

Trance and Haitian voodoo music? Both loved by zombies?

[SYRFox]

Noise Rock and Contemporary Classical Music

[ihateyouth]

Originally Posted by SYRFox

Noise Rock and Contemporary Classical Music

good idea.

[batreleaser]

Early pre-commericalized folk/blues and early pre-commercialized punk/hardcore and early pre-commerizalied hip hop. Those three genres=American music, as far as I'm concerned.

[uhler]

Originally Posted by batreleaser

Early pre-commericalized folk/blues and early pre-commercialized punk/hardcore and early pre-commerizalied hip hop. Those three genres=American music, as far as I'm concerned.

i did a paper comparing and contrasting hardcore and hip-hop. it was the most fun i had writing a paper.

i think all three of those genres are considered modern.

[fugazifan]

compare 20th century french folk music/chansons like brel and aznavour with 12-14th century trouver and troubadore chansons

[alteredcourse]

did nobody except fugazifan actualy read the guys post?

Originally Posted by king_buzzo

if they're modern, only one is allowed to be modern and the other one older (non western influenced).

Sorry i have nothing of my own to offer, but would love to read more into it.

[uhler]

Originally Posted by alteredcourse

did nobody except fugazifan actualy read the guys post?


Sorry i have nothing of my own to offer, but would love to read more into it.

did you not read my post?

[GeneticKiss]

Ambient and traditional Japanese music...

The two actually have a bit in common...

[fugazifan]

heres an intersting one, but its probably been done quite a few times
20th century minimalis music compared to 12th centurty notre dame polyphony. like perotin ad leonin (or only those two guys) steve reich has said that he was influenced by them.
http://www.youtube.com/watch?v=gtkmn...eature=related
http://www.youtube.com/watch?v=xJ_W1...eature=related
http://www.youtube.com/watch?v=SaSdm...eature=related

[blunderbuss]

Minimalism / Traditional Asian or African musics.

Probably well documented elsewhere too, but see:

 

It's quite an interesting book to read anyway, even if you don't pursue the suggested avenue.

[SuchFriendsAreDangerous]

the traditional music of Ethiopia is most interesting. It is a pure multicultural blend like contemporary American music. It is indigenously African, and yet also indigenously Semitic with ties the musical modes and structures of the Middle East, and also even Europe.

 

One of the better known affirmations of the Church Father's on the subject of Ecclesiastical Music and the performance of is: "Those who sing well pray twice." In the Ethiopian Orthodox Tewahedo Church St. Yared is the one who perfected the Liturgical Musical tradition of the Church. He was born around beginning of the sixth century, circa 505 A.D. The son of devote and affluent Tewahedo Orthodox Christians, St. Yared became known in his own time and even to this day as the furthermost composer of Church music in the Ethiopian Orthodox Tewahedo Church.

The account of his life of service to the Orthodox Tewahedo Church began on a very sad note. At the age of seven years our Saint suffered the terrible loss of his earthly father (Isaac). His Mother (Christian), being a pious women, sent him to live with his Uncle, Gedewon, who was a wise and learned man serving at the Cathedral of St. Mary of Zion in the Imperial City of Axum.

Over a period of Twenty-five years St. Yared learned from his Uncle knowledge of Sacred Theology, Church Music and History. After the death of his Uncle, St. Yared took over the great task of his Uncle and became a talented teacher of the Churches Sacred Theology as well as the Sacred Scriptures of the Old and New Testaments. As would be expected he was ordained a Deacon; then married and later was ordained to the Priesthood.

In or around the year 500 A.D. St. Yared began have contacts with the Nine Monks who came from Alexandria to translate the Sacred Scriptures, Liturgical books etc into the spoken language of the Ethiopian people at that time, Ge'ez. The most ancient tradition of the Church is for the Sacred Scriptures and Liturgical books etc, to be in the language of the people. One of the Nine Monastic Fathers, an Abba Pantelewon, remained in Axum. St. Yared acquired a great deal of information from Abba Pantelewon about the Liturgical traditions, customs and way of life of those who lived in the West. From his desire to learn more, St. Yared visited the eastern Roman Imperial Capital of Constantinople twice. There he observed and learned of the Liturgical traditions, customs and way of life of those living in the eastern Capital of the Roman Empire.

From his exposure to the Liturgical and musical traditions of the Churches, St. Yared began to compose the music used for the Ethiopian Church. Of his works (skillfully rooted in the Old and New Testaments) the music all speaks of the Creation, Prophecies and the life of Christ (His Advent, Incarnation, Nativity, Baptism, Saving acts, Crucifixion, Death, Resurrection, Ascension and His Second Coming) while also reflecting the national heritage and ideals of the Ethiopia and its people.

During the reign of Emperor Gabre Masqal (A.D. 55O-64), Saint Yared compiled the famous Mazgeba Deggua (Hymn of Sorrow). It in*cludes three main stages: 1. "Ge'ez," the first stage of song; 2. "Uzil," the second stage, to be sung together with the first; and 3. 'Ararai," a sor*rowful, plaintive song. The original Mazgeba Deggua composition is believed to have been writ*ten by St. Yared himself, and can be found today in one of the oldest Monasteries of Ethiopia, which located on Lake Tana, the Tana Krikos Monastery, were for two years the Saint lived. After this period he went to Gaient and built the Church of Saint Mary at Zur Amba. It is said that the Emperor, Abba Aragawi, and St. Yared, while going to the hill on which they built the Church, had difficulty finding their way until a guide from God came to them and said to Abba Aragawi, "Zur Abba Mengale Misraq,..." which means "Abba, turn to the east; you will find the way to the hill." The place is now called Zur Amba because of this miracle, for through the grace of God, they were able to find the right way and to build the Church there. At this particular place Saint Yared taught Zimmare and Mewasit for three years. Since then Zur Amba has become the seat of the principal of the Zimmare and Mewasit faculty. After three years in Gaeint, Saint Yared came back to Axum and Medebaytabir, where he composed the fourteen Anaphoras. He then went to Telenit, and there he c'om posed the Merraf, which is the Psalm of David. Afterward he traveled to Wagara and Agew, teaching and performing his duties.

St. Yared begins his works with the words, "Halleluiah to the Father, Halleluiah to the Son, Halleluiah to the Holy Spirit." His divine composition is from the Old and New Testaments and from the works of the Church Fathers: Saint Athanasius, Saint John Chrysostom, and Saint Cyril. His work is intricately done, with words suitable for prayers and for the glorification of Almighty God.

Though he visited the eastern Roman Capital City of Constantinople, his work is uniquely Ethiopian, bearing no resemblance to Western or Greek notation. It con*sists of Ge'ez syllabic characters and projects the tradition and culture of the Ethiopian people.

St. Yared's hymns are divided into four parts char*acterizing the four seasons of the year: "Messow" (Fall), "Hagie" (Sum*mer), "Tseday" (Spring) and "Kiramt" (Winter) and were planned to bring a greater sense of reality in the praise of the people. The different sounds of his chants indicate the joy or sorrow and brave determination of the Christian Ethiopian.

[SuchFriendsAreDangerous]

Yared's Hymn MP3 files

Traditional Ethiopian music with instruments like the Krar (harp), Bagana (harp-like bass), and Masenqo (violin)

Traditional Ethiopian Instrumentals (Ethio DUB stylee)

I enjoy playing this music on my acoustic guitar, the melodies translate easily onto the contemporary medium of guitar, it combines the different indigenous instruments, the way the piano does for western music.