1a. Adolat Tanovari In Otmagay Tong the music is acoustic no alteration done to the music. The producer maintained the traditional sound of each instrument. The timber of the various instruments used in the performance is original. The slight alteration in this song is the echo in the voice of the singer which I believe is deliberate being a solo vocalist to create a stylistic effect typical to the oriental culture. On the other hand Yol bosin's version has a lot of alteration to the music to give it a modern touch. At the beginning of the song there is an echo sort of bass and a wave-like sound. Each instrument has undergone through sound synthesis to give it more polished music to fit the voices singing which also sound modern. However in colloquial dialect with traditional orchestra. 4. Own choice In Sanam the medium of performance is voice and instruments the performers are men playing lutes. The sound is purely acoustic without any electronic modification. In Zhonghua the medium of performance is instruments. The Sanaam performer had the edge over the Zhongua artist because his music is polished. The unwanted sonic material has been edited and the voices as well as instruments are clear unlike the other song. I believe Uyghur is popular hence the artist has the power to determine his music and recording as well as privilege to access the best equipment for recording and therefore an excellent manager to market his songs. The Zhonghua artist maybe marginalized due to his polished music and genre that might be old-fashioned purely instrumental. [...]
Please write short paragraphs in response to the following questions, describing sound and cultural context as specifically as possible, while using terms from the textbook and class lectures. 1a. Listen to the two versions of Moghulchai Navo on eCommons and describe the differences and similarities in sonic material. 1b. Listen to the two versions of Adolat Tanovari on eCommons and describe the differences and similarities in sonic material. Bearing in mind material from lecture and from the reading on Central Asia, discuss issues of power, access, and privilege that are involved in Sevara Nazakhan's entry into the international recording scene via the WOMAD festival and Peter Gabriel's Real World Records label. Discuss the same issue of privilege and access in terms of the music of Umm Kulthum. How did Kulthum enjoy privilege in Egyptian society? In what ways was she marginalized? How is her life story reflected in the ways that she makes music? Choose a track from your own personal listening library that has non-Western sounds in it. Try to figure out where those sounds come from and look at the documentation for this track. Are the sources of those sounds listed? If not, try to guess using the material that we've listened to in class. Can you tell who had power and privilege when creating, editing, and marketing this music? Who (if anyone) is being erased or marginalized in that process and how?