Author| Cornelia Saab Klodic
The translator | Yang Xiaorui
Introduction
The following study is based on two characteristics of the Western musical tradition. The first feature is the prioritization of the structure of music, which can be described as the claim that the so-called art music is presented as a web of musical intrinsic relations, which links not only different versions of the same piece (adaptation, transcription) but also different pieces (imitation, reference, variation, "music about music") chronologically and historically. The second feature is the concern with the social function of music, which can be described as a phenomenon in the cultural musical life of the citizens (bourgeois): when composers acquire aesthetic autonomy (that is, they no longer work exclusively for individual patrons, but mainly for the mass market), two basic categories of public musical interests rise rapidly, splitting increasingly specialized music into (didactic) art and (relaxed) entertainment. The starting point of my research is the assertion that in recent decades this split (which has long been reinforced by different value criteria) seems to have become significantly interpenetrating. Especially today, the various forms of mixing (remixing, intersection, etc.) mark a middle ground that represents not only the interaction between musical genres, but also between musical cultures, between different social (urban) classes, and between different ethnic traditions. The interaction between ethnic traditions is shaped by the tension between globalization and the pursuit of national or regional identity, which is characteristic of our world consciousness. As a result of these interactions, imagery is mixed, values change, and forms of expression and transmission that were not in harmony with each other become similar.
The works and figures of Johann Sebastian Bach are particularly suitable as research cases: art and the mundane, education and entertainment, idealism and commerce, (Western) artistic and national (folklore) forms, which have traditionally been regarded as different areas of (musical) culture, or different musical cultures, in contemporary times, these relationships affect each other and can be clearly described in the circulation of Bach's works. Given the imagery associated with both "the man and his music", the multi-layered acceptance of his music, Bach's widespread influence on contemporary art is evident, and he is also at the center of Western musical life and musicological research. In defining (to be a little more precise, constructing) the tradition of composer masters (Forkel 1802), Bach was the first to form a lineage of classical musical achievements of the German-speaking people. Bach is also regarded as an outstanding representative of (Protestant) German culture and Western artistic music. His work has long been a sign of the boundary between "the repertory" and "early music". "Reserved repertoire" is part of general musical training, music that is interpreted according to tradition. "Early music" refers to music that has been unearthed by music scholars from past generations and interpreted according to historical knowledge (performance practice). Both art music and pop music composers were influenced by Bach (from Villa-Lobos to Sweet box, examples are many listed just two), and Bach's music also inspired modern painters such as August Macke, Wassilij Kandinsky, and film artists such as Oscar Fischinger.
The two models selected here (Inspired by Bach by Yo-Yo Ma and the compilation album Lambarena: Bach to Africa) have some characteristics in common: both represent an acceptance of Bach in the early 1990s. Both relate to Albert Schweitzer, a prominent figure influenced by Bach in the post-Romantic period (early 20th century), who was also a model of Christian compassion and humanism; both were run by the commercial line of a company (Sony Classical); both represent characteristics of the recent way of "shaping" classical music, Inspiration from Bach. Using new media, Bach Goes to Africa is a classic example of a globalized product ("world music"). Given my musicology resume (I am a music historian, not an ethnomusicologist), the following analysis will be gathered in Yo-Yo Ma's video series to critically examine its aesthetic significance. Bach Goes to Africa offers a different perspective on the mix of genres and categories, looking into all aspects of global production and public relations.
Educational idealism and economic interests are the two guiding forces of (musical) culture. The purpose of this study is to explore and illustrate the relationship between music programs and these two guiding forces.
The teachings of the Age of Music
It took seven years (1991-1997) for the famous cellist Yo-Yo Ma to complete a grand project, not only to produce an album of six suites for Violoncello Solo, one of Bach's instrumental works, but also to use these performances as a musical basis, collaborating with six different artists to publish a series of six short films entitled "Inspiration from Bach". Some people will think that this is a clever way to popularize very advanced classical music by meeting the imaging needs of contemporary people, so that classical music can reach a wider range of listeners. Needless to say, there may have been economic (and educational) motives in the minds of the producers, but the product itself is carefully crafted and cannot be dismissed with simplicity. Each short film is preceded by a documentary about its production (and even its distribution model) before the artists work together (i.e., the visualization of the suites). The film engages the audience-listener by showing fragments of discussion between artists (where ideas are expressed in language and also providing additional information) and by providing the opportunity for the audience to listen to the passages in the score repeatedly (which is not only a good way to understand the composition more deeply, but also a general premise for the audience to gradually fall in love with the music).
The combination of art and the expression of a certain conceptual meaning (as the title of Yo-Yo Ma's project suggests) is not a new idea, but closely echoes the ideas of the 19th century about music, which were developed by German philosophers around 1800. Schlegel, Tieck, and Schelling believed that music was the highest of the arts because of its ability to express the ineffable. This idea is also reflected in Beethoven's manifesto as a poet to be a voice, in the aesthetics of Schubert's artistic song (Lieder). In this sense, this series of six short films, and their documentaries, are full of the history of music, and can be said to be full of traditional ideas about music. These ideas can be divided into three different subject areas.
1) Life and work of Johann Sebastian Bach
2) The sociology of concerts – a way to celebrate art music – (this also includes the contemporary situation of the performing artist Yo-Yo Ma)
3) Look at the social role and value of Western art music in general
In his public relations statement for the project, Yo-Yo Ma made a rather striking point of reference: the theologian, doctor, and organist Albert Schweitzer. In 1908, Schweitzer published a famous book about Bach, in which he encouraged music lovers to think about the nature and spirit of Bach's art. In fact, Yo-Yo Ma was initially inspired by this project to prepare a conference on the theme "What is the significance of Schweitzer's life in the 1990s", as well as to discuss and exchange papers at the conference. The congress was organized by Mark Wolf, a federal judge in Boston and president of the Albert Schweitzer Foundation (Eisler 2001). Yo-Yo Ma said his ideas would be based on the humanistic and humanitarian qualities represented by both Bach and Schweitzer. Bach was a master of Western music. Schweitzer relied closely on Bach, who was the representative of the human force, and he held concerts to educate the people, while also collecting donations for Lambari. Lambari is a famous hospital founded by Schweitzer in 1914.
Schweitzer's humanitarian dedication also inspired another product, released around the same time: Lambari: Bach goes to Africa. The album combines the references to Bach's works with music from Africa, especially Gabon. Its starting point is Lambari's 80th anniversary, the basic idea of which is described as "Bach visited Dr. Schweitzer, and together they discovered gabonese music" (Bensignor 1996).
Although they originated in the same era and have the same patron saints, the two projects have different characteristics in terms of musical culture. The Lambari album belongs to the history of Bach's popular adaptation in the world music field (see items in "Bach Shock: a list by Charles_ah_rum" and "My mixed up Bach: a list by leonor barroso"), while Yo-Yo Ma's visual focus on the field of Western musical life points to the importance of cultural heritage as a preserved repertoire. But other similarities can be found between the two: both Schweitzer and Yo-Yo Ma argue that through their interpretation of darstellungsmaterial, the arts are interconnected, essentially portraying the same thoughts and emotions. Both Schweitzer and Yo-Yo Ma adhered to the value of music in the ideal sense of enlightenment, seeing music as a tool for improving ethics, a medium of communication between people (or nations), and a messenger of social progress.
The Lambari album also had an idealistic purpose: to assist a Gabonese aid program launched by Mariella Bertheas and her foundation l'Espace Afrique. The album's Gabonese ensemble and traditional solo pieces, selected by Pierre Akendengue. Arkenden was born in Gabon but educated in France as a political singer and composer who was working in his hometown as a cultural official. He was initially skeptical of this combination of what he called "these two forms of sacred music", as was his involvement in the Search for Certain Types of Music by the National Artists' Association, a branch of the Ministry of Culture (Bensignor 1996). The album references Bach's work, selected by French producer and musician Hughes de Courson, who in the 1970s became known as a producer of a folk-rock band, but later turned to composing music for modern dance, film and advertising, "engaged in a series of fascinating cross-cultural collisions" (Roden 2000). The album's conductor, Tomas Gubitsch, works on the fusion of classical and world music and supports social projects involved in musical activities. Gubic is an Argentine-born, French-settled musician (Roden 2001). As a result, the main players in this record represent the global network of music production, as well as the globalization of music based on the fusion of styles and genres.
Given that the music business has become globalized, and that commerce is used as an intermediary for social work to promote classical music based on the core ideas of musical art as understood by Westerners, this idea deserves further examination. It seems a contradiction to combine elite art and commerce in favor of popularization; after the end of the Enlightenment, the promotion of enlightenment ideas may even be called anachronistic, and the humanitarian concern in the music business may even be considered a trick. In the case of Yo-Yo Ma's role, he tried to extend the importance of Bach's music beyond the boundaries of Western civilization, that is, to global culture. For example, "Fighting for Hope", a short film based on the fifth of Bach's six suites, yo-yo Ma collaborated with a famous Japanese Kabuki actor, Yuzaburo Sakato. In the first of his own conversations, Yo-Yo Ma claims that Kabuki impressed him with something ancient and highly stylized, and that Kabuki's gestures express thoughts, personalities, and emotions are similar to Bach's treatment of melodic lines: therefore, Bach's music is not "just the music of dead White men", but a compilation of what we call cross-cultural values and ideas. When Yo-Yo Ma wanted Bach to be treated as part of world music, he brought a typical Western approach into the project to illustrate the content and value of Bach's music: he talked about the emotional qualities of music through personal connections and descriptions, such as his statement that the music of this suite emerged from the abyss of despair, a cathartic work, strong and unreserved, and finally he spoke of a completely subjective autobiographical experience — that is, "why I love it so much, why my father loved it so much." At the same time, by analyzing its form and technical structure, Yo-Yo Ma tries to explain what the music is about, in order to imply the absolute music in the Romantic concept, that is, the music expresses its meaning through its own structure, rather than according to the content or function of non-music. In the case of Tamazaburo Sakato's character, he clearly shows that he comes from a different artistic tradition: he had a hard time designing a set of dance moves for the music because he felt that the melody and rhythm of the music were constantly changing, and he could not dance with it. The solution to this problem is to treat individual notes as they bounce, treating those notes as pearls on a line (in fact, Sakato compares melodic lines to rosary beads). But even with this analogy, Yo-Yo Ma's interpretation still makes the dancer's task difficult, because instead of regularly and mechanically, but (according to Western performance practices), Ma improvises the rhythm, pulling out the rhythm flow with a longbow, as if it were a pulse (Ma said that "it is inescapable like fate"). In order to solve this incongruity, Sakato decided to let his body divide the work, using his lower body to follow the rhythm and using his upper body to express emotions.
In the case of Lambari, direct cross-cultural communication is unnecessary: it is not a matter of combining some non-Western art form with a Western music (such as the collaboration between Yo-Yo Ma and Ban dong), and the African ensemble in it does not change the performance according to Bach's music. The production of Lambari is based on the combination of a model of traditional African music (traditional African music is part of ceremonies and celebrations, not art in the Western sense) with the selected Bach music (where Bach music is stripped of its original functions and plays only in a purely artistic sense), a work done not by traditional musicians and classical musicians in collaboration with performances, but by The Gabonese Arkendenge, who had been educated in the West, together with de Cussen and Gubic. They mixed these two musical worlds based on their own ideas. The music in Lambari is composed mainly of African music, sounding rhythmic (in different timbres), singing (solo, alternating choruses), occasionally mixing with various noises in the bushes (dog barking, birdsong), and musical fragments that we might call Bach's glimpses, which are usually mixed in and out of the way. The symbolism of the selected Bach pieces is therefore extremely important; they are based on general insights (Bach, master of fugues; the peaceful flow of Baroque rhythms).
African music, combined with the intimate themes and temperament of Bach's music, often appears rough and clumsy. For example, in the fifth piece, a cheerful gigue dance song selected from the fourth cello suite is combined with the melody of the Fang (Mabo Maboe), and the whole piece is described as a mixture of "Bach's Rosicrucian membership symbolism to melodic symbolism". Similarly, the soldier's chorus from John's Passion is combined with Sankanda (the second in Lambari), in which the rhythm of the xylophone associates the African chorus with the corresponding chorus of Bach's answer to the chorus, but due to inappropriate associations with Bach's piece, the so-called analogy function (this African dance is said to celebrate a joyful event, and Bach's music celebrates Easter) is invalidated. Some of Bach's quotations seem to be associated with African music only on the basis of structure or sound quality: percussion and sounds in the bushes are introduced into the chorus at the beginning of John's Passion (Herr unser Herrscher, the fourth in Lambari), and the gongs are joined by the triumphal sound of baroque and timpani. Another example is the chorus (Ruht wohl, ihr heiligen Gebeine) that precedes the final hymn in John's Passion, which is combined with Bombe (sixth): after the applause and rhythm, the Bach chorus joins in at the same rhythm; this rhythm with the "Bach Music Miraculously Combined into One Whole" is said to mark the beginning of a ceremony in which someone speaks to both the living and the dead while dancing solo. The only exception to this dominant idea on the album is the third, Mayingo, the first part of which is interpreted as a dance piece rooted in traditional female society; followed by a fugue with the same melody, composed by Thomas Gubic and performed by classical music singers. When this African music was choreographed in a way like Bach's, the relationship between traditional music and Bach was changed, no longer unadorned to create some kind of mixed form of music; instead, the two worlds met in a traditional way (colonial, European-centric).
In Yo-Yo Ma's project of adapting Kabuki with Bach, another important point of thinking and making decisions is to express emotions. The documentary section of "Fight for Hope" tells us that according to tradition (onnaga-ta kabuki), Yusaburo Sakato wears a women's dress and paints makeup when performing, playing various typical roles, and these typical roles are like female character models. Banto's task was to find a typical one suitable for cello sound—when Yo-Yo Ma appeared on stage to play its performance part—and to transform the relationship into something more general: "In a larger sense, it's human love, or the emotion you harbor when a bird sits next to you, when you see the flowers bloom." "The Western concept of the humanistic value of music here seems to fit well with the traditional Kabuki concept. The dance that Bandong eventually formulated retains the basic essence associated with the Kabuki tradition, as there are longer henge-mono dances, where dancers play a different role on each stage, while the stage is either five, or seven, or nine. The first set of actions and the last set of actions are performed on the same stage. The entire dance work is shaped in a wide arch, which allows the dance to begin and end in the dark (just as the original Kabuki began in the morning and continued into the evening). Bach's suite consists of six movements (one overture and five dance pieces), two artists who seem to believe that each movement expresses a unique emotion that is expressed in the title and forms the basis for Bandong's modeling and performance: Overture/Ritual, Alemand/Lamentation, Courant/Negation, Sarabande/Prayer, Gavot III/Dream, Gig/Reconciliation.
Yo-Yo Ma's position on stage (on a red carpet) coincides with that of the players of shami-zen, a type of lute, the most important instrument in Kabuki; in the documentary section, Bandong says, "When friends play,...... In his mind, something happened — an elf descended — and you entered a world beyond the sound of the cello. This spirit, this dancer, is pulled into it, or pulled forward by it. "To illustrate the relationship between music and dance, the musician and the dancer, we refer to the fifth movement, whose music consists of two gavots, each of which consists of two repeating parts (aabb); these music are combined into a larger syllogism, since the first dance is repeated after the second dance (ABA). The title used in the movement, "Dream", can be interpreted as an illusion connecting east and west. The dancer appeared in black and gold costumes, dancing while striking knots with a small drum hanging from his neck. The veil is transparent and blurs the shape. In the second Gavot, Yo-Yo Ma seems to have fallen asleep or entered a trance: this is the only time in the entire film where music is only heard in the background (Yo-Yo Ma on stage does not play). The dancers beat around him and finally took his instrument away, seemingly dreaming of playing it himself. When the first Gavot dance was repeated, the cello was returned to its owner: the dancer played the Japanese drum while re-playing his original role, while Yo-Yo Ma played the cello again.
Perspective: Endangered Traditions?
Analyzing the techniques of musical fusion in the Album of Rambare (from the eyes of Western music historians) faces a fundamental obstacle: because standards of evaluation and comparison are so difficult to obtain, the custom of contextuating a piece in the tradition it represents no longer applies, except for a very small number of experts who can grasp the astonishing cultural diversity. Gabon has a relatively small population of only one million, but there are 42 culturally diverse ethnic groups (see Roden 1996). Thus, apart from subjective associations of imagery or emotion, it is impossible to attribute meaning to music—at least, if one wishes to avoid the impression that another folklore is exotic. So the audience for "Lambari" — the standard consumer of the product — would seem to be a different group, different from the audience expected by Yo-Yo Ma's short film. The moral of Yo-Yo Ma's project can still be described within this tradition: the legacy of classical music to carry out education. The Lambari album is a different story, although it involves the same symbol Bach and Schweitzer, but the relationship with them is weak, Bach's existence is only a few glimpses by chance, and it is based on habits, and Schweitzer is hardly mentioned (the 12th has a male dance from a medical society; the 14th has an organ part, "as if Schweitzer may have played").
Yo-Yo Ma's short film is also exotic, but somehow it has a different quality. For example, the visual typing of Fight for Hope is a clear implication that, in addition to the task of making classical music part of world culture, this cross-cultural product can be interpreted as something that caters to the fashion of a Western city that is: take a look at Japan. The attitude of discovering the japanese lifestyle is consistent with the belief that the Japanese are capitalist ideals, young, beautiful, successful, and fond of healthy food (sushi), and of specially designed ornaments that represent a mixture of cool and traditional fashion. In short, it's a classic exoticism for contemporary Western urbanites. From the first shot of its documentary, accompanied by discussion, the image uses Japanese elements: a decorative branch, a sudden overlook of the pedestrian sign at the Tokyo crossroads, a close-up of a brush with Japanese characters. Director Niv Fichman (who describes himself as "a Westerner fascinated by Japanese aesthetics") said he wanted to replicate Bandong's dance experience with a camera in a film style derived from the West (expressed in the performanceist's quest for spontaneity), but with both content and form under the image of Japanese aesthetics. As a result, Frasermann worked with an almost identical Japanese team, and every decision he made was the result of heated discussions, even in the documentary section, in a rather stylized, unnatural blend of colors and exaggerated camera movements and compositions.
The documentary section, which makes up the vast majority of all six films, engages the audience-listener and makes them listen to the conversations that led to the short film. Using this method to provide additional information and make one feel like an expert – it is a habitual business operation, just as the director's edit, the extra accompanying music, etc., is the bait for buying this repackaged product. However, documentary material also has a substantive meaning, and repeatedly listening to the various parts of a piece of music makes people understand the piece more deeply, so that people can hear much more details, so as to explore not only its technique, but also its emotional content. In the pre-electronic era, frequent attendance at concerts and private music gatherings, gaining a sense of familiarity through repetition, was part of bourgeois socializing. Today's so-called fragmentary listening is the norm for musical acceptance, with full concentration on long-form listening being an exception. This traditional purpose can be achieved by repeatedly playing the short parts to show the composition of a piece of music, or by splitting the score into fragments and playing it at different times, as in Milos Forman's Amadeus.
Yo-Yo Ma's involvement as an actor (not just a performer) in his fifth short film points to another problem: the role of the musician and his artistic self-concept. From the early Romantic cult of genius, the cultural practice of musical life has made the power relations between the performer and the listener, as well as the related issues of social or moral responsibility, very remarkable, and it has been the object of much discussion and reflection (see Franz Liszt's relevant writings since the 1830s). At the same time, as a social or moral other, the artist's role is widely depicted in popular literature, used as fodder to satisfy Bourgeois's desire for passion. In the 20th century, there were also a few cases where performing artists left the standardized career track in pursuit of different forms of expression, such as the pianist Glenn Gould or Friedrich Gulda, who both took this step not for commercial reasons, but because of their personal attitudes towards the image of the performer and the mechanics of the music business. Yo-Yo Ma can also be seen as an artist seeking unconventional expression, but he represents another genre, an artist who transcends the barriers of orthodox classical repertoire and Western tradition—think yo-yo Ma's collaboration with country violinist Mark O'Connor (Appalachia Waltz(1996), his work related to tango (his tango lesson for Sally Potter) (his tango lesson for Sally Potter) Tango Lesson recorded Piazollas Libertango and Piazzolla recorded The Soul of Tango, and his work with Edward Said on Goethe's West-Ostlicher Divan and his Silk Road project Project 2001）。 The project includes a series of concerts, festivals and educational promotions in North America, Europe and Asia. The project was co-sponsored by Chinese composer Tan Dun, who had earlier mixed Chinese and European instruments on the soundtrack of Crouching Tiger, Hidden Dragon.
These events are not done outside the traditional performance path, but are part of it, and are consistent with the commercial objectives, that is, with the general marketing strategy of Sony Classic. The exception may be to Yo-Yo Ma's personal classical music experience, but his role is typical of today's musicians and connects him to the leader of the "Lambari" music team. Hughes de Cusson and Thomas Gubic engaged in world music because it was used as a business, or, to put it mildly, as a mixture of commercial and idealistic goals (Roden 2000, 2001). The same term applies to the activities launched under the name albert Schweitzer, who appears to be a symbolic figure in the various humanitarian activities that might be called "Schweitzer Business", which are represented by several associations (Association Internationale de l'oeuvre du docteur Albert Schweitzer de Lambaréné, AISL], Albert Schweitzer Foundation, Albert Schweitzer Humanities Institute, USA). Rhea Schweitzer Miller, Schweitzer's only daughter, is an agent of many of these activities. It was also because of her initiative that the Schweitzer Prize was established in 1975 under the name "Music is His Passion" at the celebration of the centenary of the founding of the Albert Schweitzer Prize in New York. The list of winners over the years includes Issac Stern (1975), Van Cliburn (1983), Mstislav Rostropowitsch (1985), three highs (Carreras, Domingo Domingo, Pavarotti, 1997), and Anna Mofu (Anna Moffo, 2002) – Again, idealism and business are mixed together. Subsequent Schweitzer activities also involved the "Lambari" album. In 2000, a seminar on "Achieving World Peace through Respect for Life" was held in Nashville, Tennessee (see spaceformusic.com), and other programs in the seminar included an expanded edition of James Brabazon's Biography by James Brabazon, published by Syracuse University Press in 1975, paintings of Lambari, and a performance by Tennessee actors. Arambari" is a dance program based on it.
The Rambarre album is still on sale, but Pierre Arkendengo, the only Gabonese musician to play a major role in the production, has sharply criticized that, despite idealistic manifestos —which saw Schweitzer as a model for promoting the spirit of Lambari — old colonial business habits prevailed. Not only did Arkenden feel "ostracized and deprived of the fulfillment of his work" (he was not notified when the album was released and invited to talk about it in international media or radio), but he also said that even though about 70,000 albums were sold in the first year and a half, the producers did not fulfill their contract to help build a music school in Gabon with profits (Bensignor 1996). In contrast, de Cusson speaks openly about the commercial success the album has brought to himself: "I love this finished piece. It made me think a lot about the future. It's worth mentioning that it's been quite a long time, 15 years, and I haven't made a high-selling record, and then it comes along, and it gives me the opportunity to get into a big company. After I sold 150,000 copies, they suddenly started liking me again and liking my new plan! "(Roden 2000) There is a typical power relationship in the record industry, where large companies are always on the edge of the market (smaller, non-independent brands and lesser-known artists) looking for music that they can develop further. As de Cousson said, "In the beginning, WEA, Virgin, and Sony refused to release it!" Can't sell, they say! Then Melodie released it, and it sold so well, so hot, that Melodie was too small to sell it to Sony, and that's when they loved it! ......”
Sony seized American culture in the 1990s (e.g., by buying the entire Library of Columbia Records) and took steps to maintain its position as a world leader in classical music in the face of difficulties, which Sony did long ago (Lebrecht 1996). As a result, classical music producers now have to keep in mind whether the project is "useful for the parent company's film, advertising, and hardware benefits" (Lebrecht 1996:392). This media interweaving is exactly what we can find in the product Inspiration from Bach, which includes a video series and an album on a standard record, accompanied by interactive music (album-R), which is widely displayed on Sony's website. This package acts as an adaptation of these highly artistic pieces for the masses, similar to some of the pieces made by versatile performers like Liszt, written not for amateurs who wished to know more about music (and thus play symphonies according to piano scores), but for the self-presentation of the performing artist (which is quite artistic in conception).
From the point of view of form and communication— that is, from the perspective of form and commerce — the entire series is typical of infotainment, and Jim Collins uses the term "high-pop" to define this feature of contemporary cultural development. The album is typical of this feature: not only has the business of classical music (successfully) adopted the promotion and distribution strategy of popular culture, but pop culture has also gradually made the pursuit of taste its own business. For the mass audience, the popularity of elite taste insists on "alienating" the true aesthetic expression, but at the same time promises to convey that experience to the mass audience, thus claiming to be able to reconcile approachability with the preciousness of performance. From this perspective, the function of Yo-Yo Ma's commentary is not just to transform old-fashioned education into new media: it is also a metamorphosis that changes the message. Concepts such as the human nature of classical music are not necessarily part of political ideas (such as in romantic ideas), but the distinction between elite culture and popular culture has been popularized, which means a certain degree of consumer education, a value meaning different from price, a refinement that is available to everyone (Collins 2002).
The success of the "Ranbari" album gradually faded into a number of different music products, such as the "Kyu Rai. The energy of good music" (on the site it is labeled "ethno-pop"), or "wonderful musical paradigm, relaxation, contemplation, world music". Lambari represents the problematic side of the West in accepting foreign (musical) culture. Foreign music, known as "world music," is threatened with a double: commercial theft and what we call art theft. Largely pandering to unspoken, pseudo-subjective emotions, "world music" seems to support the idea that music is personal expression (self-expression), but it also represents the (post)modern individual desires and yearning for intense emotional and spiritual experiences (see Booming Industries Based on the Occult). It is worth asking to what extent this cancels out what Adorno calls the ideal of "an education to mature judgment." The problems that development assistance has always faced are clearly expressed in the words of Arkenden: the role of aid in different traditional societies has been called into question. It seems that the dominant party always gains. Critical observers of Western civilization are compelled to recognize that in such cases, not only was Bach not globalized, nor were traditional African musicians; on the contrary, the globalized music business reaped another product that was somewhat different and therefore popular. The same worldview, and the associated business strategy, certainly require critical scrutiny.
bibliography
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appendix
1. Yo-Yo Ma, Inspiration from Bach (SH6V 60125):
Musical Garden (Suite 1), in collaboration with garden designer Julie Moir Messervy. Film director Kavin McMahon (SHV 60196)
Carceri's voice (Suite 2), in collaboration with a print by Giovanni Battista Piranesi. Film director Francois Girard (SHV 60197)
Fall down the stairs (Suite 3) in collaboration with ballet choreographer Mark Morris and the Mark Morris Dance Company. Film director Barbara Willis Sweete (SHV 60198)
Sara Bond Dances (Suite 4), with Ronnie Singer, Don McKellar, George W. Lee Sperdakos, in collaboration with Arsinee Khanjian. Film director Atom Egoyan (SHV 62852)
Fighting for Hope (Suite 5) with Kabuki actor Tamasaburo Bando. Film director Niv Fichman (SHV 62724)
Six poses (Suite 6) with ice dancers Jayne Torvill and Christopher Dean. The film's director, Patricia M. Patricia Rozema (SHV 62808)
It can also be found on the album S2K 63203.
2. Lambari: Bach goes to Africa (LC 6868 SK 64542):
1) Cantata 147, Jesus bleibet meine Freude—0.13
2) John's Passion, Lasset uns den nicht zerteilen and Sankanda (anon)—5.07
Link: A child's voice similar to track 1 (very short).
3) Mayingo and Fugue on Mayingo—2.11
4) John's Passion Song "Herr, Unser Herrscher" — 4.39
5) From the Gig dance from The Fourth Suite of A cappella cellos, and Mabo Maboe—3.36
6) John's Passion Song "Ruht Wohl, Ruht Wohl" and Bobbe—3.47
7) From the prelude to Solo Variations 3 for Violin in E major, and Pepa Nzac Gnon Ma-4.23
8) Prelude 14 in L F minor from The Average Rhythm Piano Volume 2, and Mamoudo Na Sakka—4.28
Link: Strings and organ sounds arranged in counterpoints similar to track 9
9) The Lamb Sutra from the Mass in B minor, Vocal rhythms — 5.06
10）Ikokou—2.11
11) Three-part composition in D major, and Inongo—5.40
12) Cantata 147 "Jesus bleibet meine Freude" and Okoukoue—1.54
Link: Animal sounds similar to 13 audio tracks
13) Cantata 208 "Ihr lieblichste Blicke"—3.02
14) Cantata 147 "Jesus bleibet meine Freude" and Mouse Biabatour—2.14
This article is from "Music, Media, Symbols - A Collection of Musical Semiotics", Sichuan Education Publishing House, June 2012, with deletions.