I believe, after conducting my research, that the sound produced by the group known as Stomp can be considered music. They follow all of Michael Bakan’s 5 propositions that help to define whether something truly is or isn’t music. In addition, they travel around the world performing as a musical percussion group.

Another important fact is that I agree with their message stating that music can be made from anything. I do not believe that one needs generic musical instruments in order to create music. People can create amazing compositions with anything if they put their minds to it. This also creates a fun and unique way for anyone to take common household items and create something unique and original.

When discussing the topic of “What is music?” John Cage’s 4′33′′ composition is an interesting case study to look at. The piece involves him sitting at a piano, clicking the start button on a stop watch, and placing his fingers over the piano keys. Not once, however, does he actually play the piano. After 4 minutes and 33 seconds are up, he turns off the stop watch and the piece is over. Throughout the performance, the only noise that can be heard is that of the ambient noise in the room. Depending on the location and the audience, the air conditioner or heater can be heard as well as any coughing or scuffling occurring in the audience. The big question with this piece is whether or not it can be called music. I went and found a couple of books discussing 4′3′′ and why John Cage created it.

Book 1: John Cage

The 4′3′′ composition is considered by some to be a manifesto presentation of Cage’s “definition of silences as the presence of ambient and unintentional noise rather than the complete absence of sound” (page 78). It allows sounds from the environment to flow freely and be heard throughout the venue where the piece is being performed.

Cage was also known to relate his ideas on silence, which is featured in his 4′33′′ composition, to glass. He thought that openness to environmental sounds can be found in the openness to modern sculpture and architecture. One example he uses is a glass house, where one can see through the actual glass that composes the house and into the environment surrounding the house. Another example is a wire sculpture where both the sculpture and the space between the wires is visible and a part of the sculpture. There is always something to see or something to hear. There really is no such thing as silence.

Temporal container is one way to describe this form of silence that has the potential to be filled with any type of sound. The purpose of 4′33′′, and many after it, was to change or shift the foundations of music. “An ‘empty’ score with only a temporal framework ... 4′33′′ gave Cage’s stunning assertion of ‘silence’ a noted form” (page 193). Cage is also know to have been inspired by Robert Rauschenberg’s White Paintings for this piece.

There were three versions of 4′3′′ that Cage created and there were three important aspects that made this piece unique to all the others before it. One, the 1952 version has the musical notation removed from it. Two, in 1953 the song echoed the painting mentioned above. Three, the musical notation was converted into a textual proposition.

Book 2: John Cage: Music, Philosophy, and Intention

Cage confessed at one point in his career that his initial intention for 4′33′′ was to create a silent piece that he could broadcast over the radio. When composing this piece, he actually used a metric notation. There were three movements each with their own sets of short silences and together the three movements ended up being four minutes and 33 seconds long.

Although structure is necessary for understanding life and art, it is unnecessary for the composer to impose that structure consciously. Even though structure is vital, Cage believe that structure doesn’t really have a point. In 4′33′′ for example, sounds arise on their own even without the guiding hand of the conductor.

Book 3: The Music of John Cage

In 1948, when Cage was first toying with the idea of creating a composition where the performer made no sound, he described it as a “Silent Prayer”. “Silent Prayer” is an ancestor of 4′33′′. Originally, “Silent Prayer” was supposed to be four and a half minutes long. Cage said it would “open with a single idea which I will attempt to make as seductive as the color and shape or fragrance of a flower. The ending will approach imperceptibility” (page 59).

4′33′′ on the other hand is a four minute 33 second piece that is broken up into three parts: one that is thirty seconds long, another that is two minutes and twenty three seconds long, and a final part that is a minute and forty seconds long. These lengths were created by chance through the combination of many shorter durations of silences in 1952. Back in 1948, when he first thought of this idea for a silent composition, Cage would have almost certainly used a consciously-chosen structure instead. The final product that became 4′3′′ is truly an empty rhythmic structure.

Book 4: The Amores of John Cage

Early in his career, Cage seemed to reject the traditional Western view that pitch was the primary element of music. Since he rejected pitch as the primary element, a larger emphasis was often times placed on rhythm and tone color in his compositions. At first, he created many precessional pieces, then he switched over to the piano, and finally he worked with electronic music. 

Cage believed that structure can exist independently of content as an inorganic composition. If this is the case, than structure should be able to exist without intentional content as in 4′33′′. Since this is the case, 4′33′′ can actually be performed by any instrument, even though it is known for being played (or not played depending on how you look at it) on the piano. The movements of the piece can also be altered to be any length of time. 

For 4′33′′ the three parts that make up this piece are known as tacets. To signify the beginning of each of these parts, when played on the piano, the lid of the piano is opened and then closed. 

Bibliography:

DeLio, Thomas, and Michael J. Budds. The Amores of John Cage. Hillsdale, NY: Pendragon, 2009. Print.

"John Cage's 4'33"" YouTube. N.p., n.d. Web. 12 Mar. 2016. <https://youtu.be/JTEFKFiXSx4>.

Patterson, David Wayne. John Cage: Music, Philosophy, and Intention, 1933-1950. New York: Routledge, 2002. Print.

Pritchett, James. The Music of John Cage. Cambridge: Cambridge UP, 1993. Print.

While I was searching the internet for sources that contained information on STOMP, I ran across many websites with interesting tidbits about the group. Although I couldn’t find any case studies on the group, it was still interesting to learn more about them, why they do what they do, and how they came to be.

Website 1: http://articles.latimes.com/1996-07-15/entertainment/ca-24466_1_orange-county-performing-arts-center

Stomp was once a singular group that originated in Britain, but now there are four Stomp groups - two national tours, one in New York, and one international tour. One of the national touring groups have 12 actors that are from California (some were born in CA, some moved to CA, and some studied in CA). A member of one of the Stomp groups explains briefly how tryouts went when she applied for a spot in the group. During the first tryout, they were asked to use their hands and feet to create a set rhythm. For the second part of the tryout, brooms and poles were given to them. Finally, all of the props that you would find in a regular Stomp performance, garbage can lids, poles, brooms, newspapers, etc. were given to the people trying out and they were asked to improvise. Finding new talent with new ideas helps Stomp maintain a fresh feel and sound during the performances. The use of improvisation also allows the actors to express themselves and show off their personality in the shows. 

The performances are an hour and 70 minutes long, and this tests the actors strength and stamina. At times, the groups perform eight shows a week with little time to rest. The way the shows are set up, everyone in the group is, for the most part, on stage at all times. Being a part of Stomp also requires all of the performers to expand their skills so that they can use their bodies, the props, and their expressions to make the show what it is.

Website 2: http://www.mlive.com/entertainment/kalamazoo/index.ssf/2010/01/how_stomp_turns_props_into_ins.html

All of the sounds heard during the Stomp performances come from the actors onstage. None of it is a prerecording or a track in the background that accompanies them. There are normally between 25 and 30 microphones on the set that help the actors project the sounds that they are creating. Since the group uses props that are normally meant for simple household tasks, the sounds they make are not supper loud which is why they use the microphones. Another interesting fact that I found was, “in one week the cast of Stomp goes through 30 broom, eight trash-can lids, six trash cans, 12 boxes of matches and 200 liters of water”. There are prop masters that help take regular items and tune them so that they will produce a unique sound. Sometimes, the performers will chose or modify a specific prop so that it will produce the sound they are trying to create. An example is that some of the performers will clip bristles off the end of their brooms so that they can knock the wooden par against the ground with greater ease. This is one of many ways the performers modify or tune their instruments to fit their needs.

Website 3: http://www.yesnoproductions.co.uk/STOMPLive.html

Stomp combines percussion, dance, and physical comedy (use expressions rather than words to create comedy). Over 10 million people worldwide have seen Stomp groups perform. The goal is to show that “the junk and clutter of urban life [can become] the source of infectious rhythm and wonder”.

Website 4: http://www.broadway.com/videos/153234/behind-the-scenes-making-music-at-stomp/#play

This was an interesting video that talked about Stomp and about how they create their shows and form their precessional compositions. Unfortunately, this link was on a site other than youtube, so I was unable to link the video in here, but if you click on the website above, that will take you straight to the video. One of the female performers talks about what it is like for her to be part of a Stomp group. She also takes the time to talk about a couple of the pieces that they will do in a regular show in more detail. The tree main ones she discusses is Matches, Pipes, and Just Clap Your Hands. I found the video to be very informative and helpful in understanding why this group means so much to the performers and how they are able to create such a diverse sound with such simple props. 

Bibliography:

15, July. "United in Rhythm." Los Angeles Times. Los Angeles Times, 15 July 1996. Web. 12 Mar. 2016. <http://articles.latimes.com/1996-07-15/entertainment/ca-24466_1_orange-county-performing-arts-center>.

"Behind the Scenes: Making Music at Stomp." Broadway.com. N.p., n.d. Web. 12 Mar. 2016. <http://www.broadway.com/videos/153234/behind-the-scenes-making-music-at-stomp/#play>.

[email protected], Simon A. Thalmann |. "How Stomp Turns Props into Instruments." N.p., n.d. Web. 12 Mar. 2016. <http://www.mlive.com/entertainment/kalamazoo/index.ssf/2010/01/how_stomp_turns_props_into_ins.html>.

Those who practice Islam believe that the call to prayer is not a form of music. It is important to realize that the people who combine sounds and silences in an organized way have to decide whether or not what they are creating is music to them. The Islamic call to prayer is an excellent example of this. 5 times a day the Muezzin leads and recites the call to prayer. Although they are singing and producing sound and silences in an organized way, they consider this to be a prayer, not music. Others who do not practice Islam however, may classify the call to prayer as a form of music since it does follow Michael Bakan’s 5 major propositions.

In Aribic singer means “one who enchants” (Bakan 298). Qur’anic recitation and other sacred Islamic vocalization is not viewed as a form of music. The idea of it being considered music is actually rejected by the Islamic community. To categorize the person who recites the Quran as a singer would be considered offensive. While Qur’anic recitation is seen as a form of praise to Allah (God) singing and music are seen as a threat to Islamic piety. It is believed that music will tempt people away from their duty to Allah. There is a “‘suspicion toward music because of its secular and even profane associations’ that dates back many centuries” (Bakan, 298). Contrasting this is the idea that sacred forms of Islamic art posses musical qualities. For the most part, however, music is frowned upon in any context with some forms of singing being a rare exception.

Bibliography:

Bakan, Michael B. World Music: Traditions and Transformations. Boston, MA: McGraw Hill, 2012. Print.

One definition of music is “organized sound that is meaningful to people within a specific time and place” (lecture 2). The big takeaway here is that the organization of sound and silences can be called music. What is really important is the meaning behind the sounds being produced. As Bakan mentions, “One person’s music may be another person’s noise, prayer recitation, or even silence” (Bakan, 3).

Towards the beginning of class one of the main concepts that the textbook  discussed is what can and cannot be considered music. Michael Bakan lists out five major propositions that are used to describe music.

1. The basic property of all music is sound

Tone is used to distinguish musical sounds from one another. Bakan defines tone as “a sound whose principal identity is a musical identity, as defined by people (though not necessarily all people) who make or experience that sound” (textbook page 3). There are four basic physical properties that every tone possesses. The first property is duration which is the length of the sounds. Second is the frequency, also known as the pitch of the sound being heard. Each musical piece will have its own unique range of pitches. The third property is amplitude and this describes how loud the sounds are in the musical composition. Finally, there is timbre, or the quality of sound / tone color. Timber is used as a way to use sensory representation such as smell and sight in order to describe the sounds being created. 

Musical environment surrounding the tone provides the composition with musical meaning. Relationships with other tones are the building blocks of music that lead to the formation of melodies, chords, rhythms, and textures. 

In addition, cultural meaning can be attached to the tone through symbolic associations that are attached to it by people. An example used by Bakan is that one tone can be used for both a religious ritual and for a commercial jingle. How people perceive and interpret the music and the tone is just as important and the physical sounds that are produced. 

In relation to the question of what can be called music, Bakan discusses how notes that are played on the piano have the potential to be music just as much as slamming shutter doors, pig squeals, water rushing in a stream, or anything else does. He believes that theoretically anything can be considered music, but people will put limits on what sounds they will and will not categorize as music.

2. The sounds and silences that comprise a musical work are organized in some way

A unifying difference between random sounds and musical sounds is that musical sounds contain a type of organized framework while random sounds may or may not. Another important note to keep in mind is that just because a piece of combined sounds may seem unorganized to some people, this does not automatically mean that it can be disregarded as music. Different cultures organize their music in unique ways, so what may be aesthetically pleasing in one region of the world may sound like complete randomness somewhere else. Some musicians may also strive to create compositions that defy previous organizational methods to create a new style of music. This can make it difficult to form a clear-cut line dividing what is and is not considered to be an organized musical piece.

3. Sounds are organized into music by people (“humanly organized sound”)

Music is sometimes described as a “human phenomenon” which brings light to the fact that humans are the ones organizing the sound into specific patterns and rhythms. It is also said that some forms of communication between animals, such as with dolphins and whales, contain music-like qualities relating to the organization of sounds. Animals may also be able to conceptualize sounds similarly to how humans conceptualize music. 

Currently, it is widely agreed upon that music is a human invention that is defined by the concept of humans creating sound. Whether humans are the ones making the music or are assigning sounds made by other organisms into the category of music, it is still human intention and organization that determines this. Again, this returns us back to the earlier idea that all sounds have the potential to be music. What people make of the sounds is the main criterion.

4. Music is a product of human intention or interpretation

When people create sound, it is made with the intention of it being heard as music. Also, when people perceive sounds and silences put together as music, this means that it can be called music as well. Bakan calls this approach to defining music the HIP (human intention and perception approach). There are two parts to this approach: one, “privileges inclusiveness over exclusiveness” and two, “emphasizes the idea that music is inseparable from the people who make and experience it” (Bakan, 5). Both John Cage’s 4’33’’ composition and Islamic call to prayer (each of these musical compositions / rituals are discussed at some point in this blog) can be considered a form of music according to this parameter.

Bakan continues on by giving an example that involves a father and a son. The son listens to thrash metal recordings, but the father thinks that it is just sound rather than music. Bakan argues that the musicians created it with the intention of it being heard as a form of music, and the son thinks of the sounds as music. For both of these reasons, it meets the criteria for something that can be classified as music. It is interesting to take note that to the father this is not considered to be music, leading to a continual debate about what can and cannot be classified as music.

5. The term music is inescapably tied to western culture and its assumptions

Many people in the world do not even have a word that translates into “music” and even if there is such a word, it does not necessarily hold the same meaning as it does in Western culture. Although there are many cultures around the world that put together sounds and silences, they may not categorize it as music. This leads to a very ethnocentric view when it comes to music around the world. There are a couple of things that could be done to confront this dilemma: 

1. avoid dealing with trying to classify what is and is not considered to be music

2. impose Western musical concepts onto groups that have none

3. integrate both indigenous terms and western perceptions of musics

Bibliography:

Bakan, Michael B. World Music: Traditions and Transformations. Boston, MA: McGraw Hill, 2012. Print.

When searching up “what is music?” I came across a book review article written by Bennett Reimer that discusses what music is. There are many different opinions of what music is and when sounds make up music and when they are just considered to be random. 

The book being reviewed classifies music into four basic categories that have been around since ancient Greece: “formalist”, “expressive”, “metaphysical”, and ethical”. Formalist interest focuses on how the structure and the quality of the sound are meaningful. Expressive interest looks into how the music engages people at the level of subjectivity. Metaphysical interest focuses on the nature of being and how music has a spiritual aspect to it. Finally, ethical interest deals with the societal activity associated with music. Each of these four aspects of music help provide meaning and allow the audience to connect with the music being performed. 

It does not matter whether or not what is being performed is in the same language or is culturally similar to the audience watching, music is universal. An example of this is American pop music. Although it is in English and originated in the United States, it has become popular world wide. This shows that even if there is a language barrier, people will still appreciate the tunes and music that accompanies the words. There is a deeper meaning to music that anyone can feel and understand and it is something that people identify with and enjoy. Also, music doesn’t have to involve words. The instruments alone can be used to create meaning.

Music is created through the silences and sounds that are intentionally made by people to capture an audience and/or to freely express themselves. People have intentions and ideas that they are trying to get across to their audience through their music. It takes time and intention to create a piece of music or to develop the skills to do it on the spot (improvisation). Sometimes music is described as a conversation and the instruments sound as if they are able to speak. An example of this can be found in Africa where talking drums are used to communicate. The sounds produced by the drums mirror the sound of words.

Bibliography: