PDA

View Full Version : Racial Pre-dispositions to Music Sounds and Instruments



Erlingr Hįrbaršarson
Tuesday, May 17th, 2005, 12:52 AM
I,

What does every one feel on music and folk? i.e. Do you believe that a liking for and enclination to create a certain type of music is genetically related or found to some degree in the biology of a race? Or is this proclivity to certain music merely absorbed by cultural empires and learnt since your first naked take of the air?

One seldom sees -and I am gratefull to this- a chinese death metal band, an african singing country music or a fijian writing and producing keltic lullabies. This may sound arbitrary at first and easy to be dismissed as but a cultural creed; though, perhaps there is more to this e.g. that certain harmonies, tones, rythms etc. -and the instruments yielded to produce such sounds- bear enfact an innstinctual pre-disposition.

Perhaps the fact that the bagpipes are not a cornrestone to asian culture or that the jinghu is not one of Europe's is not coincidental, but a result of race...

II,

Additionally, if you look at certain instruments the world across, then one can not help but notice that the shape and design for use is very unique to each culture e.g.

traditional asian:
http://www.chinesemusic.co.uk/images/jpg/Jinghu.jpg

http://www.chinesemusic.co.uk/images/jpg/shenxin.jpg

http://www.chinesemusic.co.uk/images/jpg/Bangu.jpg

african:
http://www.settlershillcottages.co.za/Images/African%20Instruments.jpg

http://www.ptgo.org/images/kala.jpg

http://www.london.gov.uk/sponsorship/images/bhm.jpg

european: (keltic, norse, etc.)
http://music.pauljames.de/jpg/fiona.jpg

http://www.edigita.com/www.ingebretsens.com/html/images/CAT1.jpg

http://dougbarber.com/db_Harpist1.jpg

http://www.2l.no/artists/2L4artist.jpg

http://eldar.cz/caledonia/pcd0864/bagpiper-36.2.jpg

http://arts.state.wi.us/static/folkdir/images/wilson01.jpg

Does any one have any thoughts over this? Such as that each folk wills to create a shape or form which is not merely of pragmatic design, but of a reflection for the attributes to their race? Notice the asian instruments...slender, gracefull...whilst now taking note of the african...long, simple and loud...european instruments...big, yet intricate with detail, beautifull, bulky and complex involving thought and cognitive structure.

Does any one have any personall experience with playing a non-european instrument and if so, if s/he did much poorer with its playing than when compared to their playing of a european instrument? I would not be surprised if europeans learn more efficiently to play certain instruments whilst othe races to others. Please share any thought over all of this. Thank you for your reading. Have a nice night and may snows blanket your housetops as you dream. Praise be before Brage on this night for he gifted to us such beautifull northmusics in both song and word. May He verse us untill we are no more...

RoyBatty
Tuesday, May 17th, 2005, 01:41 AM
Erlingr -

I don't have much experience with non-European instruments but was involved in music for a long time. I'd like to address this point:


I would not be surprised if europeans learn more efficiently to play certain instruments whilst othe races to others.

As far as I'm concerned there is no better music training than that of Classical European Music which methodically teaches the fundamentals of the major instruments such as strings, brasses, woodwinds and percussive instruments. It also teaches essential theory and harmonial background. Once one has mastered the basics of this artform one is well equipped to learn other styles, be it folk, ethnic, rock, blues, jazz, latin-american or whatever.

I believe that a reasonably intelligent person who has mastered this training will be able to adjust without major difficulty to any "ethnic" instrument and style with far less difficulty than someone from that genre trying to switch to classical music. Race does not necessarily play a role. Some of the most respected and talented classical musicians are Oriental and of course, Jewish.

While it is debateable whether someone from a Western Classical background will necessarily be better than a talented native ethnic musician at playing an ethnic instrument and style, the Classical Musician would be able to do a reasonable job. By contrast, it is highly unlikely that the ethnic musician playing a Western Orchestral instrument would be able to play to a professional level in an orchestra, never mind being able to do the basics such as reading a music score.

Erlingr Hįrbaršarson
Wednesday, May 18th, 2005, 12:04 AM
Almost no one has read or thought over this...? Nordics would rather make their own cartoon viking than think...no wonders we are soon extinct.

Agrippa
Wednesday, May 18th, 2005, 01:10 AM
I think that rhythmic music just isnt that common in post-Christianisation Europe for various reasons, but that all people are somewhat preconditioned for certain kinds of rhythmic music, especially when used to it.

I sometimes felt that Negrids have just one real giftedness, and thats the play with rhythmic music. It seems to be in their blood to be not only more influenceable via rhythmic music but also to be masters in it.

After Christianity was introduced officially, step by step rhythmic music was killed in the central Christian provinces, which are the most developed regions, but were also the best controlled areas, under the control of the Catholic church and later Protestantism was partly even more puritan and against joy and rhythm too.

Only on the fringes of Europe rhythmic music survived like in Ireland, Southern Italy, South Eastern Europe etc.

So when the consumer oriented liberal society replaced step by step the Christian culture, Europeans had the demand but nothing on their own to fill it.
Here came the Negroes of America into the game, they preserved their African rhythmic music even in the white dominated culture and when the demand and the new culture of "free joy" came up, they were able to fill out what was just a hole in the European folk culture especially, of the Central and Protestantic parts of Europe and white America too some degree as well.

The reason Negroid rhythmic music could grow so fast and influence our culture so much was, that because our own rhythmic music and orgiastic culture was dead or so deformed by Christianism that it couldnt apply to the animal demand people want in the mass culture, which isnt made for higher culture of the old kind, at least not ONLY - the animal side was too neglected.

This lead to the total destruction of the old moral, to the other extreme, but the reason behind it was that this old way of living and culture was just endurable with a strong belief which most people had lost, music is just one symptom for the changes.

Or does anybody think that during Germanic rituals people used the same music as in late medieval or protestantic churches? I dont think so...
This was just a hole in our European hearts and it was easy for the foreign influenced mass culture to fill it with foreign rhythms, what doesnt have to mean rhythms are foreign to us as people or race.

And yes, Negrids are just quite good at it...I can even imagine a certain selection for it since rhythmic music was so important for the traditional African societies.

The typical "black influenced pop cultural music" has a great advantage to traditional forms of music too, its more centred around individual "stars", which are in the foreground, that was already the case with the "blues" stars.
Just a nice marketing concept for the mass society too...

Once I read the comment that Mongolids are worst if its about rhythmic music, their music is rather monotone and abstract, Europids are intermediate, and Negrids are the specialists for that kind of "moving" music. The idea about this was (by some anthropologists) that the athletic build Mongolids (especially Indianids and Northern Mongolids) have a rather viscoes and calm temperament with the opposite being the Negrids with their extraverted personality.
In the culture of SSA music was very important and could have been even a stronger selective force than elsewhere since music and a feeling for rhythmus was important in their culture.

anonymaus
Wednesday, May 18th, 2005, 03:04 AM
The only genetic pre-disposition to certain types of music, that I can fathom, would be an evolutionary response to the culture attached to the genetic material. I don't believe the races of man were born, initially, with innate love for the music their descendants 1000 generations down the line would come to love; Therefore, culture must be our missing link. Music and Culture and Nationalism are all intertwined, so it is certainly possible that Race has become a part of this grid over time.

There may very well be a genetic attunement to certain types of music, soundwaves in certain patterns repeated often enough have an effect on the body as do other types of radiation--microwaves, cellphones, cordless telephones, they all vibrate at an exact frequency, and they cause humans to vibrate at that frequency while in contact with them. Scientists are now seeing the effects of this, though more in-depth work is years off, and we may soon see the response to excessive influence of radiowave vibration on the body and the DNA.

I do not imagine negroes being born with an innate, nor easily learned, love for Wagner or Sibelius. If a certain culture, say west african, for example had long created music with a (mostly)unchanged set of instruments and played in the same way producing sounds from the same octaves and similar harmonies, it is doubtless to me that it would have an effect on the body after the countless generations they have been keeping their culture and music alive.

So what we are talking about here, then, is the effect of a very many generations of cultural solidarity and, such were the times, monoracial genetic evolution.

Keep in mind the effect of evolution on the human body and its genetic composition, the effect of not only environment but input of all kinds to the body and mind--if a culture were to exist long enough and with it their traditional music, it is logical that the music has survived and along with it their genetic material; anything existing today needn't justify its own existence to any man, as it has already defeated gargantuan odds and via its very existence justifies itself. Thus, logically, the music and the genetic material exist in a cultural symbiosis; Music, culture, race. I think music is as much an influence as it is a support to the natural existence and evolution of racecultures worldwide.

What frightens me the most is not the effects of an Israeli conducting Beethoven's 9th, but the effects on a cultural group existing without the influence of its ancestral music.

Agrippa
Wednesday, May 18th, 2005, 03:56 AM
Whats so special about Negrid SSA is, that music and rhythm were so central in their life and that prestige was probably early linked to it to some degree as well.
F.e. work, discussions, rituals (even very simple ones), war everything was much more influenced and stamped by rhythmic music than in other groups. One important question about that is, how long was this the case? Is this a development just 1000 years old? Then the influence might not be that huge, but lets say it would have been that way, that having a musical feeling of the COMMON sort was important for many activities, then there might have been some selection.
I always wonder how important music is for their communication. Even if traumatised children introduce themselves in groups or speak about what happened they sing it, if the women work they sing, if they drive they sing, etc. and almost always in a similar, very rhythmic manner a European must get used to first.
Interestingly that survived in the US and in South America as well, or came up again, like you want.