Cross-Cultural Fusion Analysis

InstructionsGoal: The purpose of this assignment is to evaluate the cultural appropriation of music.Course Objective(s): CO-1, CO-2, CO-3, CO-4Description:Part of the phenomena of world music is the appropriation by Western musicians of non-Western instruments, sounds, structures and styles. There is also the appropriation by non-Western musicians of elements of Western music, including instruments, sounds, structures and styles. These types of recordings are often referred to as “world beat,” “ethno pop,” or “world pop.” This paper will analyze and evaluation the appropriation of music from other cultures.For this paper, you will choose one of two options.OPTION #1This option explores the appropriation of traditional music by Western musicians. Choose one recording from the list below. Write a critical review of the recording addressing the following:Briefly describe the musical and aesthetic concept behind the recording answering this question: “What was the goal of the artists?”Discuss how traditional non-Western music is incorporated into the sound of the music. Be sure to utilize musical terminology and scholarly sources to express your ideas.Does the Western artist show musical respect for the imported tradition(s) represented on the recording? If so, how? If not, why not?Offer a critical evaluation about ways in which the project succeeds or fails as music, and in developing cross-cultural relationships and understanding.RECORDINGS:Peter Gabriel, “Passion” (created for The Last Temptation of Christ soundtrack based upon Middle Eastern music)Kate Bush, “The Sensual World” (featuring Bulgarian women singers)Paul Winter, “Kurski Funk” (jazz and Russian village music)Outback, “Dance the Devil Away” (Australian Aboriginal music combined with folk guitar)Baka Beyond, “Spirit of the Forest” (jam sessions with Baka Pygmies and composer/guitarist Martin CradickLinda Ronstadt, “Por un Amor” (featuring Mexican and Mexican-American musicians)Talking Heads, “Born Under Punches” (appropriation of scratch, funk, Afro-Beat and jùjú rhythm)”Ambilanao Zaho” (pop/avant-garde guitarists Henry Kaiser and David Lindley with musicians in Madagascar)”Diaraby,” guitarist Ry Cooder with Ali Farka Toure, a griot from the SaharaRobbie Robertson and the Red Road Ensemble, “Coyote Dance” (pop music with Native American music)Led Zeppelin, “No Quarter” (collaboration with musicians from Egypt)Beats Antique, “Dope Crunk” (experimental world fusion and electronic music)OPTION #2This option explores the fusion of Western music elements with aspects of traditional music. Choose one recording from the list below. Write a critical analysis of the recording addressing the following:Briefly describe the musical and aesthetic concept behind the recording answering this question: “What was the goal of the artists?”Explain how elements of Western musical traditions (e.g., instruments, styles, textures, cultural references, recording techniques) are combined with those of the featured non-Western tradition(s). Be sure to utilize musicalterminology and scholarly sources to express your ideas.Discuss musical and ethical issues that the recording raises. Are musicians from non-Western cultures selling their own musical traditions short when they combine these traditions with Western styles and techniques? Can music remain traditional whileincorporating elements of modern Western music?Evaluate how the project succeeds or fails as music, and in developing cross-cultural understanding and relationships.

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