Ethnomusicologist Alan Merriam’s Model For Studying ✓ Solved

Ethnomusicologist Alan Merriam Suggested A Model For Studying

Ethnomusicologist Alan Merriam suggested a model for studying world music that examines more than just the sound of music. According to Merriam, when studying world music we need to look at it as a cultural phenomenon. In doing so we must consider a culture's idea about music or the role of music in a culture as well as people's behavior involved in making music and in the consumption of music by audiences and communities. We can see this laid out as a chart. The triangle indicates that sound, behavior and concept should be considered equally when approaching music as a cultural phenomenon.

In some cases we'll find that there is more to say about the sound of the music than there is to say about the behavior involved or how the music is conceived. In other cases we'll find that behavior and concept is far more noteworthy than the music itself. But in all cases we'll want to consider the music from every angle.

Paper For Above Instructions

Ethnomusicology, the study of music within its cultural context, has evolved significantly since its inception. Alan Merriam, a prominent figure in this field, has offered a comprehensive model for analyzing world music that transcends mere auditory experience to encompass the full range of social and cultural influences on music production and consumption. His approach highlights the importance of considering the interplay between sound, behavior, and concept—elements that are vital for a holistic understanding of music as a cultural phenomenon.

The Three Dimensions of Merriam's Model

Merriam's model is often represented as a triangle, in which each point represents one of three essential components: sound, behavior, and concept. This triangular framework emphasizes that each aspect is interrelated and equally important when examining music within its cultural realm.

The sound component refers to the actual auditory experience of music—the melodies, rhythms, instruments, and styles that define a musical tradition. Understanding sound involves analyzing not only what is produced but also the technical and aesthetic choices made by musicians. For example, the use of specific scales in Indian classical music or the polyrhythmic structures in African drumming exemplify how the sound embodies cultural values and practices.

The behavior aspect encompasses the social practices surrounding music-making and consumption. This includes rituals, performances, and community gatherings where music plays a crucial role. Behaviors such as dance, singing, or even passive listening can significantly shape the way music is experienced and understood. For instance, the social functions of music in Native American powwows demonstrate music's role in identity, community cohesion, and spiritual expression.

The concept element involves the beliefs, values, and meanings ascribed to music within a culture. This encompasses how different societies interpret the purpose of music, its significance in social or religious contexts, and its role in cultural transmission. For instance, in many cultures, music is not just an art form but a means of storytelling and passing down oral traditions, as seen in the griot traditions of West Africa.

Interconnections between Sound, Behavior, and Concept

One of the key strengths of Merriam's model is its recognition of the interconnections between sound, behavior, and concept. This interplay allows for a nuanced examination of music within its cultural framework. For instance, in a study of jazz, researchers might explore how the improvisational nature of jazz (sound) reflects the cultural history of African American communities (concept) and the live performance settings where this music is traditionally developed (behavior).

In some cases, the emphasis may lean more towards one aspect than the others. For instance, Western classical music may focus heavily on sound through complex compositions and technical skill, while folk music might reveal richer insights through the behaviors and rituals associated with its performance and transmission. Recognizing these variations is crucial to understanding the diversity of global music practices.

Case Studies in Ethnomusicology

Applying Merriam's model can be seen in numerous ethnomusicological studies. For example, a study of the mariachi tradition in Mexico showcases how sound, behavior, and concept are intricately woven together. The crisp notes of trumpets and strumming of guitars (sound) are performed at family celebrations and religious events (behavior), representing cultural identity, regional pride, and social connections (concept). In this way, the model helps illuminate the significance of mariachi beyond mere entertainment.

Similarly, researching Japanese gagaku music—an ancient form of court music—can reveal how the sounds produced are deeply tied to the behavior of the performers and the ceremonial contexts in which they occur. Gagaku’s aesthetic principles (concept) emphasize harmony and balance, reflecting broader Japanese cultural values.

Such case studies reinforce the importance of utilizing a comprehensive approach when studying music, honoring its multifaceted nature. Each culture offers a unique lens through which to view the interplay of sound, behavior, and concept, leading to richer and more informed understandings of world music.

Conclusion

Alan Merriam's model for studying world music serves as a vital tool for ethnomusicologists striving to understand the cultural significance of music beyond auditory appreciation. By examining sound, behavior, and concept as interconnected elements, researchers can appreciate the complexities of music within its social and cultural contexts. This model encourages a holistic approach, fostering a deeper understanding of the diverse practices and meanings associated with music globally.

References

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• Merriam, A. P. (1964). The Anthropology of Music. Northwestern University Press.
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• Moore, R. (2013). The Cambridge Companion to World Music. Cambridge: Cambridge University Press.
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