Global Citizenship

A productive and engaged citizen is easy to spot.  In my opinion, a good citizen is defined as one who actively contributes positively in some way to their community.  There are a lot of people who fit this description, but possibly ever more who do not.  A case can be made that music can change the current situation, and make people happier and bring them closer together.  Music is very influential on society, and can dictate the vibe of the general public.  There is a lot to be learned from music as well, which is a very exciting phenomenon.  Using music in its entirety is a very powerful concept.  Citizenship can affect communities from both a global standpoint and local.  Global citizens carry with them many responsibilities as well as many consequences for imagining the self in terms of interrelated local, national, and global communities.  A lot goes into being a global citizen, and music plays a large part in influencing the public.

Musical practices influence society greatly.  A society that plays primarily participatory music is going to make for a much more involved group of people.  People in this type of community would work well together and be a productive bunch.  A society focused on high fidelity music, much of the social aspects that are critical to participatory music are cut out.  There is less personal connection and interaction in high fidelity communities.  Presentational music falls somewhere in between as a sort mix of the two vastly different styles.

A lot can be learned about society through music.  For example, determining the main music style of a certain country may say a lot about those who inhabit it.  A majority of America is entranced in high fidelity music and some presentational.  Not much social interaction goes into these two music styles.  Countries that play participatory music are generally more social, friendly, optimistic and positively spirited as we learned at the contra dance.  Attitudes are generally more encouraging among participatory music.  The music played by a society indicates the time of community that is maintained.  

A global citizen is one who considers the whole world to be their community, and contribute to the growth and prosperity of the world.  Global citizens are a peaceful type, determined to better the world around them.  In many ways, global citizenship is manifest locally.  Cultural upbringing plays a crucial role in determining the type of citizen one will be.  Local community affects how one sees the global community and little things like contra dances can be an important factor.  The music one is raised on also affects the person they become.  Citizenship must start at the local level to be manifest globally.

Global citizens are solely responsible for doing their part in the community.  The world works as one giant participatory music performance.  Everyone on earth is contributing somehow, and if everyone does their part to support one another and work together, progress can be made.  There are places in the world where music operates differently.  Participatory music concepts can be applied to actions other than music and dance.  Being aware of what you do and how you do it affects the world around you.  Understanding one’s relationship with the world is the first step.  Being open and inquisitive toward cultural differences is part of being a global citizen.  Participatory framework can assist in eliminating certain local, national, and global issues.  The more we learn about people, the more we are able to humanize them and forget about differences.  Changing the world from a capitalist community through little changes and shifting from a high fidelity lifestyle to a participatory one is what this world needs.  The goal of high fidelity music is money, which is what makes in indicative of a capitalist society.  The goal of participatory music is togetherness and communal productivity.  More participatory communities would drastically change the world we all share for the better.  

America has plenty of cultural cohorts in smaller communities as in Bloomington’s Runciple Spoon and Contra Dance.  Cultural formations occur when the entire society is shaped by the society in which they live.  Participating in cultural cohorts adds to the culture of a community.  However, cohorts are brief, and once the experience is over, it is over.  Once the values of cultural cohorts are adopted as a way of life, it becomes a cultural formation.  

I agree with Doctor McDonald in that a socialist environment may be the direction our world should go in.  A society where everyone does their part and no one person is better than anyone else.  It would be an egalitarian society and everyone would play a role.  I admit that I am no politician, and I consider myself to be ignorant to many political ideas.  However, it is not difficult to understand participatory action when you experience it first hand, and the values and ideas of this type of society, it is difficult to deny the benefits it would provide.

Bloomington Contra Dance

After taking part in the Bloomington Contra dance, I understand our class.  Never before have had I felt such a strong sense of community and belonging while having the time of my life.  No exaggeration necessary, the contra dance was inspiring.  The people were friendly and had a boat load of energy regardless of their age and gender.  Everyone was an equal participant as the dance went on.  When everyone did their part, the room of amateur dancers flowed smoothly, and each song seemed to end in an instant.  Concentration and instinct took over as if the music ordered them too, and the band played a number of tunes perfectly.  Whether it was your first time at the contra dance or your third year, everyone was treated equally and played an equal role in the fluidity of the group dance.    

The event as a whole made me feel great!  I had entirely too much energy by the time the dances were over.  It was a sort of inspired feeling, one that is difficult to explain.  Contra dancing is not a typical, mainstream forum for public dancing and music making, but it seemed as though it should be.   The contra dance is perfect for shy people who would like to break out of their shell.  Kind folk will not hesitate to ask you to dance with them, and everyone’s company is thoroughly enjoyed.  

Typically, when kids of my age want to go to a musical event, it is a presentational form of music they long to see.  Few kids are able to experience alternative forms of musical social events.  If more students were introduced to participatory music at a young age, our country could be drastically different, and kids may spend their free time differently.  We can only speculate as to how the world may be different if everyone understood the power of music, and the potential powers it possesses.

I will admit I did not even want to go to the contra dance at all.  Luckily it was my obligation, because I would have missed out on some valuable life lessons had I not gone.  Now I even think I would like to go back in the future just to obtain the satisfaction of partaking in a community, participatory event as well-run as the contra dance.  When the action is participatory, no one in the room has the opportunity to be bored!  Everyone has a job, or role, to play in the event. The whole room of people was in constant movement, be it the musicians strumming away or the dancers spinning their partners round and round.  Motion was constant as in all participatory music.  

While everyone was kept busy, the social aspect of the contra dance was not thrown out the window.  Plenty of small talk and numerous friendly gestures were exchanged.  Everyone became friends simply because of a common interest, or goal.  Being forced to dance with people you do not know or even don’t know well, is perhaps the best part of the contra dance.  Leaving your comfort zone and joining forces with a stranger to conquer the art of dance works in a beautiful way.  Hand contact made for a feeling of togetherness and closeness.  People tend to go to Contra Dance specifically to connect with people.  This is the opposite of what people get at high fidelity dance clubs.  The environment of the contra dance is designed to create relationships.  People do not only come to connect with people, they also feel the connection of the entire place.  Everyone at the Contra Dance is very accepting and at least pretendes to be congenial.  

If more people participated in activities like the contra dance, Bloomington would be an even happier place then it already is.  When people put their minds to having a good time and a fun experience, the result is the achievement of such.  Everyone in the gymnasium wanted to enjoy themselves, and brought with them an optimistic attitude.  

The contra dance made me question society.  While those who play participatory music are generally happier and community oriented, the United States does not play nearly as much participatory music as other countries.  This leads me to believe regardless of economic issues, countries that play participatory music together are generally closer to one another and have a generally more positive attitude.  This may say a lot about America, considering the large quantity of problems and lack of participatory music.  

At first I did not want to have anything do with the contra dance, but much to my surprise the contra dance delivered a moral lesson I will hold with me forever.  I kept an open mind while I was there, and the feel of the music took over.  Felt like a professional dancer by the end of the night.  While the event was participatory, I was able to take away a very valuable personal gain.  I realized the importance of togetherness, community, and open mindedness.  With those three things, there is so much to be achieved.  

Irish Music Community Observation

The Runcible Spoon is a quaint, house-like café in the heart of Bloomington.  The homey structure is small and compact, giving the room a very personal feel.  The food was delicious, but the main attraction was the Irish music being played in the corner of the main dining room.  The sounds of a guitar, a mandolin, a couple of flutes, an accordion, a drum and a violin flooded the café.  A majority of the crowd was made up of students in our IFS class, while older couples and young couples also dined at the café.   The musicians were squeezed in a compact booth in the corner of the restaurant, sharing their leg room with their instruments.  The musicians played at the table as if they were conversing with one another through sound.  It was a motley gang of common interest musicians, all of which genuinely enjoyed playing music.  The audience rotated between listening and chewing, enjoying the environment throughout their stay.  

People in attendance were generally light hearted and happy to be there.  The music was merely pleasant background noise to their evening meal.  Though people were happy and enjoyed the music, applause was not given after each song, which reflects a participatory style, rather than presentational.  Everyone understood their part in the café as a whole, and was mindful of the roles of others as well, contributing to the participatory claim support.  The musicians seemed to sync together and flow together easily.  The group was flexible, allowing the guys to play the instrument of choice, and welcoming any musician who wanted to play along.  The instruments seem to serve as a level playing field for all of the musicians. They connected immediately and joined forces to play music.  The product was nothing to be ashamed of, songs sounded clean and together.  Songs were long and generally upbeat and euphoric.  We probably heard about ten in total.  The musicians seemed to have natural or possibly even learned instincts for tune switches.  In between songs the musicians would talk about what they wanted to play next.   No one complained and the song was played in a peaceful manner.    

I believe that when people join together with positive and peaceful energy and attitudes, togetherness and sincerity can be achieved.  When the group of gentlemen began playing, a certain wave of flow caught them and they felt the music.  This presentational form of music resembles communities who actively take part in participatory music.  America has a primarily high fidelity musical preference, so to see this type of music played in America is inspiring.  Their energy and desire to play music is what allows the musicians to join in song.  Basic music concepts are applied and brought to action.  There is a certain feeling the musicians get out of performing together, and an irreplaceable social environment that keeps them coming back week after week.  They are not being paid or anything, they simply continue to play music together because they share an interest Irish music.  Coming together based on a common passion is a truly unique experience.

Gray Larson graced spectators and musicians with his presence, as he is widely viewed as the fourth best flutist in the World.  However this fun fact was not an important one when this group of guy’s got together.  No leaders or followers were necessary as the group of guys followed each other, and mutually lead the musical performance.  I found it very interesting that the accordion was being used as an Irish musical instrument, when the two are not normally associated.  Acoustic Guitar was incorporated as well, providing an Irish style rhythm.   Musicians were able to adjust their instruments and musical habits to fit well together and complement one another beautifully.  The awareness and attentiveness the musicians played with was incredible.  

The Runcible spoon is a genuinely cool place to grab a meal, cup of coffee, or even just to sit and talk to friends.  The comparisons between participatory music and the hustle of the café are easy to see.  Everyone is somehow involved, in a way very similar to the Bloomington Farmers’ Market.  There was nothing making the performers stand out, or separating them from the rest of the loungers in the café.  You can tell Tuesday night Irish music is a regular tradition because it seems to be a perfect fit for the atmosphere of the restaurant.  Participatory music values community and a strong community is what we were able to witness in visiting the Runcible Spoon.

I Love Hip-hop in Morocco

Hip-hop is often viewed as a western musical art form.  We often forgot that hip-hop has grown and graduated to a global scale.  But issues arise when music clashes with religion and politics, as it does in certain parts of the world.  One of these places can be found in northern Africa, the country of Morocco, where Islam is the most practiced religion.  Followers who are referred to as, Muslims, learn that the key to peace in life is dedication to the almighty “Allah” in heart, soul and deed.  In the Muslim community, hip-hop is viewed as a sin.  Moroccans are not given the right to free speech, which makes their hip-hop quite a bit different from hip-hop in North America.  They are ruled by a king, and to publicly voice displeasure is unacceptable.  For these reasons and many more, hip-hop in Morocco is a whole different ball game compared to the United States, with shared basics and fundamentals.

Morocco does not fall short in the character department.  Many inspiring and talented young hip-hop artists were introduced in the documentary.  DJ Key is the first artist we meet.  DJ Key is known us the number one DJ in all of Morocco.  He is credited as the founder of the original hip-hop collective and he is an advocate for the advancement of hip-hop in Morocco.  DJ Key utilizes his own unique blend of old school and new school hip-hop to win over his audiences.  DJ Key struggles with maintaining his practice of Islam and continuing his DJ career.  His religion is his life but music is his passion, a passion he will not soon give up.  Another wall he is forced to overcome is the money.  There is simply not much money to be made in hip-hop in Morocco.  It costs more money to put together a show than can possibly be earned in one performance.  Despite this, DJ Key is an inspired and genuine artist, and he was the one who put together the idea of having a hip-hop festival in Morocco.  His reasoning for his love of hip-hop was simple, and common amongst Moroccan artists: The ability to speak and share the truth.  This is much like American motives for music, a voice in the community.   DJ Key will forever be remembered as a pioneer for Moroccan hip-hop.

As the film continues, more acts are introduced, one being “Mot de Passe,” a Moroccan hip-hop duo comprised of one male and one female.  When I was watching the documentary, I was shocked to see a female rapper in Morocco, given the Middle East’s reputation for women’s lack of rights.  None the less, the female’s parents fully supported her pursuit of music.  Her parents let her choose her own path because her father had musical dreams crushed when he was a child.  The reason they gave for liking rap music was the truth that lyrics provided.

Youth is a beautiful thing in the world.  Young generations have amazing capabilities.  If hip-hop takes off in Morocco and reaches the young kids of the country, hip-hop could be just another part of their culture in the future.  Nothing can prevent a certain type of music from becoming popular.  Religion is a road block for now, but if the revolution for hip-hop music continues and grows, the possibilities for the future are limitless.  The hip-hop business may even be profitable one day.

Moroccan artists are obligated to negotiate the competing pressures of Islam and globalization.  Hip-hop is a growing industry that is still relatively young.  It is taking over the world one country at a time.  The obstacle that Muslims face in hip-hop is their religion.  Hip-hop is considered a sin, and only traditional music is considered acceptable.  However, with the modernization of music, it is natural for all countries to keep up with current styles.  After watching the movie it seemed as though artists were forced to choose which, religion or hip-hop, they would pursue.  The hip-hop groups and artists shown in the video were not willing to give up their passion for music.  It is unclear what this meant for their religious lives, but music was not about to be sacrificed.  Therefore globalization is slowly occurring in Morocco, and will continue to grow now that children and teens will hear hip-hop artists in their homeland.

One controversial aspect of the music festival was America’s involvement.  Funding the music festival would look bad from a political standpoint, because America is essentially supporting a rebellion against Islamic culture.  On the other hand, the citizens of Morocco, especially hip-hop fans, would be thrilled which would make America well liked among the people of Morocco.  I would not think the music festival would play too much into future foreign policy between America and Arab and Islamic countries, although they may resent the fact that America supported the growth of hip-hop and free speech in Morocco.   

The music festival was a revolutionary event in Morocco.  Hip-hop festivals are not simply a weekend activity.  Being able to showcase the best musical talent in Moroccan hip-hop was huge for the industry.  The audience was captivated, and loved the show.  In turn, they were thankful that America stepped in to fund the festival and ultimately made it possible.  Furthermore, they respected the fact that America supported a non-violent cause for once.  America appeared to be the hero in advocating freedom of speech.  This was a great step for America, and shed some positive light on our country.

The growth of hip-hop in Morocco is a beautiful thing.  With more countries getting involved in hip-hop, new ideas methods and techniques will be introduced to the rest of the world.  Music can be a collaborative concept, even when it’s not meant to be.  In other words, artists new and old around the world can use each other to better themselves and hip-hop as a whole, both competitively and collaboratively.  I look forward to seeing what the future of hip-hop in the Middle East, and in America brings.

Reel Bad Arabs

Watching “Reel Bad Arabs” helped me come to a very real realization:  Though it often goes unnoticed, deliberate racism in popular Hollywood movies portrays the Arab race very negatively, and has elicited numerous stereotypes.   What’s startling is how early on these stereotypes are taught to children.  Among the most famous Disney movies is the story of “Aladdin.”  In Aladdin, the Arabs are portrayed as evil villains in search of higher power.  Children are trained to view Middle Eastern people as the “Bad Guys” of the world.  The use of stereotypes and racism is evident in Aladdin and many other films as well.  Even other family films like “Back to the Future,” depict Arabs as problem causers and destructive.  In the movie, Michael Fox’s character yells in panic because the “Libyans” are coming.  The so called Libyans proceed to shoot at the “good guys” in the film, and end up killing the Doc. I am amazed that I have seen so many of the movies mentioned in the Documentary, yet I still never even thought about the message that was being sent regarding a whole race of people.  The title of the documentary says it all, Hollywood Vilifies a People, and “Reel Bad Arabs” does not do the Middle Eastern people justice in personifying their people.

The American Film industry may be so cavalier toward the situation because it is not brought up very frequently.  The census of 2000 revealed that only 0.42% of Americas population were Arab.  With such an insignificant number of Arabs in America, film makers do not fear portraying Arabs negatively because threat of protest is not prominent.  However, these films still have socio-political consequences for highlighting Arab culture negatively.  Kids learn from a young age that the Arab people are the villains, the terrorists, or even simply arrogant goofy and naïve.  These images stick with us as toddlers because we don’t know better.  

I was surprised to find how many movies mentioned in the documentary I Had actually seen.  Many big name movies were mentioned, including films that have been viewed by a majority of Americans.  It was amazing how blatantly racist these films were when I truly paid attention.  It is hard to believe that I missed it the first time, and how different my reaction was the second time.  I couldn’t believe what the Arab characters did.  At one point in the documentary, an actor talks about his experience in auditioning for Arab roles.  He goes on to recall that he was joking about the character he was auditioning for and sort of making fun of the part.  His mockingly silly Arab mindset actually ended up getting him the role.  This just shows how crazy the film industry can be.

Even in real life, racism toward people of Arab descent is evident.  Back in High School, I had a girlfriend who was half Iraqi.  She did not have to cover her head or anything of that sort she looked like everyone else.  Still, when classmates learned about her background they would ask ignorant questions like, “Did your relatives kill people?” or make ridiculous statements like “thanks for 9/11.”  She never cared that people made these judgments based on her background, but it just goes to show how people see middle eastern people as a whole.

There is a lot to be learned after watching “Reel Bad Arabs.”     Popular culture has the power to shape conceptions of self by introducing adults and children to a falsified version of an actual people.  In other words, how a type of people is portrayed in film, is often how the audience of such films will portray that type of people in reality, even though film makers use stereotypes and assumptions in developing their characters.  Therefore, the conceptions that films shape are often misleading and can harm ones understanding of people.  The fact that film and media can get away with doing so just shows how powerful and influential their products are.

At one point in the documentary, Jack Shaheen, author of “Reel Bad Arabs” talks about how if any other race or religion was treated like Arabs in film, it would not be tolerated.  The more I thought about this the more I realized how true it was.  If it were any other type of people, a filmmaker would be ridiculed for being a racist or anti-Semite.  But why should the reaction toward Arabs be any different?  It shouldn’t. 

To summarize, while there have been, and still are, Arab bad guys and terrorists, there is no reason to overlook the rest of the Arab population who are regular people.  Hollywood and the movie industry have taught us the wrong things about the Arab people.  Perhaps it is not even intentional, but we begin to learn the stereotypes as toddlers.  And sadly the concepts do not change whether the movie we watch is rated “G”, “PG-13”, or ever “R.”  While many are starting to realize that this portrayal is not right, I personally would doubt if any changes were going to be made to Arab characters in movies in the future.  People’s opinions have been shaped by history.  Terrorist attacks that make headline news and the war in the Middle East.  All people see in the media is the negative side of Arab life.  The reality is that even America has its ugly side.  Watching this documentary will definitely change the way I watch movies.  Now I will more easily identify subtle stereotypes and I will not let movie characterization change my opinion of real people.  It is almost laughable to see how Arab characters act in films.  Once people can look past the humor, negativity and stereotypes we can begin to understand who Arab people really are.

Bloomington Farmers' Market

         The Bloomington Farmers Market was one of the most interesting events I have taken part in my short time living in Bloomington.  The combination of people, food, and music, made for a dynamic atmosphere.  The nice weather was not a bad thing either.  Spirits were high as families and friends gathered at the Marketplace on Saturday morning.  Kids flocked to the pet adoption tent when they weren’t walking the market with their families.  Musicians were set up all around the market, strategically scattered so that no ear walked without a melody.  Mostly country, rock and folk songs were being played.  On one side of the seemingly triangular market were about three rows of fresh produce, from ginger to watermelon.  Toward the back there were about two rows of concessions for the dehydrated and hungry consumers.    Fresh iced tea, baked goods, ice cream, and even pulled pork were available.  Political tables and community involvement tables seemed to be positioned out of the way or off to the side.  Political tables sat in the back toward the concession stands as did some of the community involvement tables.  Other community involvement tables were just off the isles of produce in between the street and the city hall building.  All tables were strategically placed and the venue flowed to perfection.

There was an obvious sense of togetherness at the Bloomington Farmers Market.  People genuinely enjoyed being there.  I thought it was an awesome experience and a great way to spend a Saturday morning.  It truly was fun for the whole family:  Kids could play with the dogs, parents could do some produce shopping, and the whole family could enjoy a nice lunch or snack outside while they listened to talented musicians.  The structure of the farmers' market can be compared to that of participatory music:  Everyone (Kids, Adults, Farmers, Musicians, etc.) plays a role and does something to contribute.  Everyone at the market is involved as in participatory music.  The Bloomington Farmers' Market was a very interesting and truly fun-filled event to take part in.

Shut Up and Sing!

       The events that occurred on the eleventh day of September in 2001 altered life as we know it.  No longer would Americans breeze through security in airports nationwide.  No longer would security be taken for granted, period.  The whole view of the public was shifted.  Patriotism instantly took over the nation after the twin towers were destroyed.  However, not everyone supported the war that would ensue under George W. Bush’s presidency.  At this time, music gave people a voice in politics.  As we found in the documentary, “Shut Up and Sing!” the Dixie Chicks, a country music trio, were not on the side of a Middle Eastern invasion.  In fact, lead singer Nicole Maines expressed her displeasure with the war, saying she was, “ashamed the president of the United States is from Texas.”  Needless to say, people were outraged by the comment made by the lead Dixie Chick at a concert in London.  Though many people may have agreed the war was not the right move for the United States, country fans nationwide were outraged at the artists bashing their president.  The Dixie Chick’s reputation was shattered and their music widely boycotted.  The first amendment is supposed to guarantee citizens have the power of free speech, so I myself find the penalties suffered by the country artists to be unjust.  The issue was the sensitivity of the people, country music fans in particular, after the 9/11 terrorist attacks.  The fact was that the Dixie Chicks did not say they didn’t support the troops, they did.  Nicole was simply angered with the president’s decision to engage in war.  Patriotism post 9/11 was at an all-time high, and Nicole’s comment on stage was poorly timed.  I personally do not think Nicole was wrong for saying what she said in London, and I think the people’s reaction to her comment were over the top. 

As previously mentioned, music gave artists a way of expressing their thoughts, feelings and emotions.  After 9/11, many artists wrote songs mourning the loss of those who passed in the terrorist attacks, and some wrote ballads for sticking together as a nation.  This may be why people were so taken back by the Dixie Chicks lack of support for their president. 

The success of a musical artist is entirely based on the support and following they obtain.  This in mind, post 9/11 music fans were a very sensitive and patriotic group of people, especially country music fans.  When Natalie Maines made her seemingly anti-American statement on stage, people were instantly furious.  Outraged, country music fans who once praised the Dixie Chicks now threw away their CD’s and boycotted their music.  Freedom of speech did not even play a factor in limiting the people’s hatred for the Dixie Chicks, despite many people nationwide having similar views.  

I think the actions of Natalie Maines were not wrong.  She said how she felt, and stood by it.  She did not want her country to enter what turned out to be a long and anticlimactic war.  However she made it very clear that she supported our troops through and through.  Natalie was not alone in her stance; many people did not want to enter war.  As rapper “Lowkey” talks about, America’s actions have done a lot of damage to a lot of people, just as the terrorists did to the United States.  And if revenge was our only goal in going to war, maybe we should have thought about it differently. 

Music post 9/11 regarding the war on terror reminds me quite a bit of the music that was made during the Vietnam War era.  Musicians would write and perform songs opposing the war, and some even led rallies themselves.  Music served as a sort of rallying cry and a cause for action.  Joe McDonald sang a song called, “I Feel like I’m Fixin’ to Die” which he would go on to perform at the legendary “Woodstock” concert.  Also on the Vietnam anti-war play list was “Rejoyce”  by Grace Slick, “Two Hangmen” by Terry Talbot, and “It Better End Soon” by Robert Lamm and Terry Kath, just to name a few.  People were not shy about expressing their opinions about the Vietnam War.  This shows how drastically things have changed since the 1960’s, and how freedom of speech has shifted.

The Dixie Chicks were not the only notable names who spoke out about their political opinion.  Kanye West, a very popular figure in the rap game, spoke out against the president on live television in one of the most awkwardly unexpected broadcasts of all time.  He said simply, “George Bush doesn’t care about black people.”  While not proven to be true or false, one would think Americans would be outraged by this common.  But what would follow Kanye’s comment was rather peculiar… nothing.  No one was angry, no one boycotted Kanye West’s music, and Kanye’s career continued to thrive.  So why was Natalie Maines ridiculed while Kanye West was brushed off?  There are a few potential answers to this.  For one, it was not unusual for Kanye to publicly voice his opinion and act with a degree of immaturity.  Another reason may be the fan base.  If Kanye West was a country artist, maybe he would have been under more scrutiny.  But the fact is that rap fans enjoy controversy, so George Bush hating black people may have just seemed like a tidbit of funny news.  A last reason Kanye’s remarks may not have been as big of a deal as Natalie’s is the timing.  Natalie made her comment about the President very shortly after troops were deployed to the Middle East, when Americans were in a hard place, emotional and sensitive.  

The story of Natalie Maines and the Dixie Chicks is a frustrating one because it did not have to turn out the way it did.  The comment about President Bush marked the beginning of the end of the Dixie Chicks career.  Many Americans agreed with the Dixie Chicks, in that war may not have been the answer.  But regardless, the country music stars were hit hard by the reactions of once loyal fans.  I personally am glad that Natalie Maines said what she said and stuck by it, and did not tell the people what they wanted to hear for the sake of business.  All Americans are entitled to their own opinion, and they are also entitled to speak freely.

Four Fields of Music Making

Participatory

"Bridgewater" - Sacred Harp

The above video demonstrates a participatory music style.  This means that all present parties are taking part in the music making, and there is no distinction between artist and audience.  In "bride water" everyone, even the conductor, is actively participating by singing.  Potentials for such a style include an intense feeling of unity and togetherness, as well as a simple, interactive, and fun way to entertain one's self.  There is no limit to the number of people involved in the music making and everyone is an equally important contributor to the group.  However, limitations may include willingness to participate, as well as varying skill levels.  In reality, the limitations to participatory music are minor compared to the potential of the music style.

Presentational

"King Without a Crown" - Matisyahu (Live at Stubb's)

Presentational music occurs when one or more artists performs for one or more audience members.  In other words, a basic concert or show would classify as presentational music.  This video is one of rapper/reggae artist Matisyahu performing his song "King Without a Crown,"live at Stubb's in Austin, Texas.  Matisyahu is able to spread his wings and take advantage of his artistic freedom, as he is not responsible for audience participation.  Some limitations of presentational music include keeping the audiences attention and interest, as well as not necessarily being able to stray from pre-rehearsed musical sets.  Potentials include being able to connect with an audience and move a group of people, and getting into a flow as a performer.  Presentational music is a very popular and well-liked style because no two performances are ever exactly the same.

High-Fidelity

"Both of Us" - B.o.B. feat. Taylor Swift

This video captures the music style known as "high fidelity."  It is a recorded track being played, acting as an index to a live music performance.  Studio production is evident, given the quality of the sound.  Much of the control over the final product of a high fidelity track is in the hands of sound engineers.  This may be viewed as a limitation of high fidelity music.  The sound engineers are in charge of piecing together all the layers of a song.  Another limitation may be that high fidelity music may not always sound as natural as participatory or presentational music.  On the other hand, a potential of high fidelity music may be that songs can be very crisp, and sound nearly flawless.  It's also nice to have a recorded product that can be shared all over the world.

Studio Audio Art Music

"Bass Head" - Bassnectar

Finding a song to fit under the umbrella of "Studio-Audio Art" seemed to be the easiest task of all.  The music that this style consists of has a very unique sound.  Studio-audio art is recorded with no expectation that it should, or even could, be performed in a live show.  "Bass Head" can be associated with electro-acoustic music, suggesting it belongs in the studio-audio art music style.  This music style has a few limitations, including very little human interaction, as well as a product that simply cannot be performed.  This music is also viewed as abstract, so opinions as far as meaning may vary greatly.  A crisp, unique sound is a definite potential in studio-audio art.  Another potential is that artists have maximum control over the finished product.