![]() On one end of the time spectrum, there is the present day with a musical culture of Western Europe art music based on the equally tempered Diatonic Scale and few elements of the Natural Scale remaining. ![]() This duality of tuning suggests a spectrum of transcendence of one tuning system over another over time. Moreover, the dichotomy between “art” and “folk” music begins to have an understandable relationship based on a dichotomy of tuning systems that has not been suggested to date. If the assumption is made that the general music played by “the folk” is in fact “pastoral music ” that is, created by instruments employed by shepherds, then confusing variables are eliminated. The present paper suggests that the Natural Scale is the foundation of the Western European Folk Music Scale and solves all of the above-mentioned anomalies. This scale has many characteristics that seem inexplicable to researchers some of these distinguishing traits are that the scale is “gapped,” tuned in a different manner than Pythagorean tuning or Equal Temperament, is somehow aligned with the ecclesiastical modes, is either pentatonic or hexatonic, is also missing half-steps when pentatonic, etc. Therefore New Zealand pipe bands not only represent historical settlement by Scottish migrants, and play a significant part in global pipe band culture, they also incorporate New Zealand national identity within their culture and display this during performance.Ībstract: Research into the origin of the Western European Folk Music Scale has been inconsistent, varied, and mostly unsatisfying. These included representations of provinces and regions, individual pipe band cultures that are unique to New Zealand, and local characteristics of the community which hosted the festival. Although the results demonstrate a predominance of Scottish cultural identity at the festival, the presence of New Zealand cultural identities were also observed. These surveys and interviews were structured in order to gather data on representations of cultural identity in New Zealand pipe bands. This research project involved an ethnographic fieldwork investigation of the 2008 Royal New Zealand Pipe Band Championships and included surveys and interviews conducted with festival participants and culture bearers. The aim of this thesis is to consider the place of pipe bands within New Zealand Society. Although pipe bands are considered by many to be a representation of Scottish culture they are hypothesised to also represent other identities in their performance. Historical literature clearly defines the international development of pipe bands up to the present time and today pipe bands can be found on every continent and in many diverse places. New Zealand pipe bands associate with other national pipe band cultures, including those from Scotland, the United States of America, Canada, Ireland and Australia. Internationally, pipe bands have grown from the translocation of Scottish culture as a result of emigration since the 17th century. The New Zealand pipe band movement began in 1896 arising from the earlier influence of Scottish settlers who arrived in the mid 19th century. Hindi speakers will be able to work them out. Words entered using that font come out as junk. Further, the font I used for the Hindi-language words in the text is no longer available. I have uploaded a pdf version of this book because it appears that it will remain unavailable from the publisher. As a history of South Asia’s assimilation of a colonial music tradition, the work questions notions of musical change and puts current studies of globalisation into historical and musical perspective. It looks at the life of music in India from the everyday level of the street where and examines connections between social status and music performance. This is the first study of this important component of Indian culture. Collectively, South Asian brass bands are by far the largest commercial brass band tradition in the world they offer a distinctive view of India’s ability to transform things foreign into symbols of Indian identity. Almost every Indian has, at some point in his or her life, listened, processed, or danced to the music of a brass band, as have a majority of Pakistanis, along with many Bangladeshis and Nepalis. The brass bandsmen of modern South Asia play anything from early 20th century regional wedding songs to the latest rap-inflected Hindi film hit as they accompany wedding processions and other festive events throughout the subcontinent.
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