Defining Music: Western Concepts and Native North American Traditions
This paper examines the definition of music through a cross-cultural lens, beginning with a critical review of the article "What, in the World, is Music?" The paper evaluates a five-part definition of music — covering sound, organization, human intention, perception, and Western origins — and challenges the assumption that music is inherently a Western concept. It then turns to Native North American musical traditions as discussed by McAllester and Ruggles, analyzing the structure, social function, spiritual significance, and emotional dimensions of music among the Sioux, Zuni, and Iroquois peoples. The paper argues that music must be understood within its cultural, technical, and psychological contexts.
- Defining Music: A Five-Part Framework: Five-part definition of music examined critically
- Critiquing the Western Definition of Music: Challenges to assuming music is a Western concept
- Native North American Music: Structure and Diversity: Structure, function, and diversity of indigenous music
- Function, Spirituality, and Emotion in Native American Music: Emotional and spiritual roles of Native American music
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What makes this paper effective
- The paper demonstrates strong critical thinking by identifying a logical flaw in the source argument — accepting that non-Western cultures produce "music" while simultaneously calling music a Western concept — and articulating why this is internally inconsistent.
- It moves beyond summary to offer its own analytical categories: cultural context, technical practice, and social-psychological dimensions as additional criteria for defining music.
- The comparative move between Native North American and Native South American musical traditions (noting the pre-Columbian orchestral difference) adds intellectual depth without overstating the evidence.
Key academic technique demonstrated
The paper models source-responsive argumentation: it engages each source on its own terms, identifies both strengths and weaknesses, and supplements the readings with the writer's own analytical framework. This is a disciplined approach to the critical response essay that goes beyond agreeing or disagreeing to building a more nuanced position.
Structure breakdown
The paper opens with a summary and critique of the five-part definition of music, then transitions into two paired essays on Native North American music — the first focusing on emotional and evolutionary dimensions, the second on structure, function, and diversity. Each section is self-contained but collectively they build toward the argument that music must be understood in cultural and technical context.
Defining Music: A Five-Part Framework
The question "what is music?" is similar to the question "what is art?" As one author points out, talking about music is actually an ethnocentric activity because historically, most cultures did not think of their own music as "music," just as they might not have considered their art as "art." In the 21st century, most cultures are familiar with the concept of "music," as well as the concept of "art." However, music has historically been an extension of human culture and even religious activity, and was not viewed as something distinct from religion and society. Even when musical traditions are deep, historical, and sophisticated, the methods used to analyze music do carry Western components. Therefore, it may be important to consider different ways of analyzing musical features, concepts, and structures.
In this framework, music is defined in five parts. The first is that "all music is sound," and yet ironically, music also has elements of no-sound or silence — as illustrated by the example of John Cage. Periods of no-sound or silence can be used strategically to punctuate sound within a piece, or to draw the audience's attention to the ordinary sounds in the atmosphere that can constitute music when they are reorganized or constructed as such. Second, music is defined as "organized sound," even when the logic or organization is not immediately apparent or appreciated by the listener. Third, music is human — though this aspect of the definition makes little sense given the variety and structure of birdsong. In fact, the fourth part of the definition addresses "intention and perception." With animals, there is a lack of intention in creating "music," but there is also a lack of clear intention in traditional chanting and religious music. Finally, the fifth concept is that music is a Western concept.
Works Cited
McAllester, David P. "North America/Native America."
Ruggles, Mary Jo. "Songs of the Peoples of the North American Plains."
"What, in the World, is Music?"
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