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Other basic building blocks of
music are rhythm, melody, tone
color (the characteristic sound of a
particular instrument or voice) and
harmony. All of these components
are usually present to sorne degree
in Western music. Jn fact, it is the
varying manner and degree in
which these basic building blocks
are used - coupled with other fac–
tors such as variations in loudness
and tempo, choice of mode or scale,
how the separate strands of sound
are woven together into a musical
fabric , degree offreedom allowed in
interpretation or improvisation, and
choice of words (if any) - that
largely account for the differences
between the various kinds of music.
How these basic building blocks
are used witbin a particular kind of
music determines the specific style
of a given composer or school of
cornposition. An outstanding fea–
ture of rock, for example, is the un–
precedented emphasis it gives to the
rhythmic beat. This overemphasis of
the rhy thmic element and con–
sequent reduction of emphasis on
other musical elements can have a
devastating, hypnotic effect on lis–
teners. Excessive loudness of sorne
rock has even damaged ears per–
manently. Any music which leaves
the listener with less control over bis
mental or physical powers is dam–
aging. Good music· heightens the
positive emotions and uplifts the
spirit.
It
does not dull the senses or
degrade the emotions.
Eastern, African or other non–
Western types ofmusic, too, empha–
size tbe basic building blocks of mu–
sic in various ways. In tbese types of
music, it is quite common for certain
building blocks not to be used at all ,
except perhaps incidentally. The
music of sorne African cultures, for
exarnple, consists primarily of
hi·ghly complex rbythmic patterns
without any real attention given to
melody, harmony or tone color.
By way of contrast, the traditional
classical music of the Western world
has placed great emphasis on bar-
PLAIN TRUTH May 1973
mony (indeed, over-emphasis at
times) and tone color - both of
which are concerned with bigness,
fullness and richness of sound. Its
rhythms, however, have remained
simple by comparison, its melodies
are not greatly embellished and or–
namented and improvisation is rare.
And look at the classical music of
India, with its long and proud tradi–
tion. This rnusic has great rhythmic
and melodic complexity and sophis–
tication, and uses challenging tech–
niques ofimprovisation. Yet it is not
concerned with tone quality and
harmony in the Westem sense.
A number of Oriental cultures
have music in which severa! differ–
ent instruments simultaneously play
variations in pitch, time and orna–
mentations of the same basic mel–
ody. To Western ears, this sounds
like cacophony, since the Westero
ideal is to rnake all instruments in
an ensemble sound in unified and
harmonious blend. The ideal for
these Oriental cultures, however, is
to hear and enjoy the individual
identity and separateness of the
sound of each instrument. This sep–
arateness is not only appreciated,
but is also actually required, and in
sorne genres, it is prescribed in great
detail.
In sorne Asían music, great value
is placed on long-held, single tones
which are ornamented by subtle
variations in pitch, vibrato and tone
color, according to strict traditional
rules. To Western ears, this static
quality
is
not immediately appealing.
But it is important to remember
that this matter of unfamiliarity
with new combinations of sound
works both ways. A recent article I
read told of a United Nations diplo–
mat from Asia who decided that he
needed to become familiar with
Western music. So he went toa con–
cert in New York. Afterward, his
American friend asked how he en–
joyed it. He replied that he didn't
enjoy the last four numbers very
mucb, but that he rather liked the
first one and would enjoy hearing
it
ELOERLY MUSICIAN
dressed in over–
alls strums guitar in southeastern
United States (for left). Boy of Abouri
tribe learns to play tom toms in Yaou
village, lvory Coast (top). lndian
musician with a sitar (center). Hunza
musician in the foothills of the Himala–
yas in northern India plays the
bagpipes.
Top, 8ernheim - Woodfin
Comp
&
Associates
Center, John Loundis
-
Block Stor
Bottom, Bonington
-
Woodfín
Comp
&
Associotes
4 1