OU Music Dept Research Seminars on "Entrainment in Cuban Music: An Analysis of Son" & "Word and Song: Performing Devotion in South Asia"

Room MR03 – Ground Floor, Wilson Building A (R023), Open University, Milton Keynes 24 June 2009 – 2:00 pm
All welcome

Adrian Poole (OU) - Entrainment in Cuban Music: An Analysis of Son

Son is a style of popular dance music that combines African and Spanish elements and which originated in the Eastern region of Cuba in the late 19th century. Originally associated with the peasant or working-classes, son developed to become one of Cuba’s most important and influential musical forms and is often described as the forerunner of modern salsa. An important feature of son, and all dance music, is the ‘groove’: the sense of shared timing negotiated between performing musicians which provides the drive, feel and motion that invites audiences to move with the music.

Whilst early ethnomusicologists such as Alan Lomax and John Blacking have explored the relationship between musical rhythmic interaction and bodily movement, it is Charles Keil and Steven Feld’s work on Participatory Discrepancies that provides the most explicit connection between the socio-musical processes that create the musical ‘groove’ and how this groove draws the listener in, evoking a sense of participation and shared experience. In their 2005 article “In time with the music: The concept of entrainment and its significance for ethnomusicology”, Clayton et al suggest an interdisciplinary approach that connects research in ethnomusicology with entrainment theory - how two or more rhythmic entities interact - providing a useful methodological framework that combines ethnography with the analysis of performance timing data.

This paper draws on the these theories to present some initial findings of how musicians in rhythm sections (bass, percussion and piano players) interact with each other to create and develop a successful dance ‘groove’ during the performance of Cuban son.

Jaime Jones (University College, Dublin) - Word and Song: Performing Devotion in South Asia

The liturgical canons of bhakti (devotional) practice in South Asia undergo constant manipulation and transformation through performance. The musicians who activate the canon through song, dance, theatre, and drumming play a fundamental role in the creation of felt connections between sacred ideologies and daily experience, and they do so knowingly. The music-making that constitutes devotional ritual simultaneously reiterates a fixed repertoire and re-creates the same fixed repertoire through musical invention, virtuosity, and stylistic citation. In other words, devotees build new spiritual encounters from the established texts of their tradition through music.

In this paper, I examine the use(s) of music in devotional traditions of South Asia in order to underscore the agency of devotees as performers. I consider the ways in which singers and musicians mobilize histories, practices, and genres in order to effectively and affectively construct bhakti. This focus extends previous literary studies of bhakti songs by sustaining questions about the role of performance in the sacred and the discursive strategies that allow musical practice and worship to coincide.