Do it yourself (DIY) ideologies have been associated with music emerging from concepts of rebellion; individualism and free thought. Essentially, it has been linked to socio-political beliefs of a punk music subculture. In terms of participatory effects it is expressed sociologically, through spoken language, in art forms, music, fashion and various types of recordings. This exposition examines concepts of participatory music as it relates to this do it yourself (DIY) ideology. Importantly, an exploration into Irish Music Event, Bloomington Farm Market, and Country dance will be embraced as various aspects of do-it yourself ideologies are transposed into these dimensions of music forms.
According to John Bealle (2013) scene theory has been applied in describing the social, economic, and geographical aspects of urban popular music. In this analysis aspect of this theory will be cited in analyzing how music is an integral part of social life and actually emerging as a basis of physical social and spiritual communication. The analyst contends that scene theory at first was associated with jazz, which carried its peculiar genre embodied in music depicting blues invoking a specific energy for participation (Bealle, 2013).
Bealle (2013) continues to describe the theory by outlining the assumption that there appears to be a semiotic gap between the scene and the community. Further it is explained where the identity of scene and community is closely linked to the’ complex interplay of longevity of residence, property ownership, access to heritage discourse, access to resources elsewhere, and so on’ ( Bealle, 2013, pp 14). As such, when the ability to align community with scenes is evident music achieves its transformative impact. This is how Social influences outside of the music content itself creates a scene whereby zoning, the use of alcoholic beverages, enforcing dress codes; age limits and specific geographic locations in which the music can be aired all combine to develop the participatory portion of the music culture (Bealle, 2013).Music is influenced by norms and norms also impact the extent to which music is participatory
The Irish music event consisted of an indigenous genre from where the music originated. Most successful genres have been rock and popular tradition. In the American context it has been fused into what is known as rock and roll as well as punk and rock. Traditional Irish music event was conducted by singing songs that would invoke a drinking energy. Often they were referred to as drinking ballads and sung either unaccompanied or accompanied by harps and a variety of other musical instruments. Obviously, the participatory element was embodied in the singing; drinking and dance which included polka movements (Sawyers, 2002).There are distinct symbolic associations with this music event because it initiates obvious physical responses communicated in the dance.
Bloomington Farm Market is an ethnographic event where people gather weekly to purchase vegetables harvested through organic cultivation. Usually, the market is located at a central spot where it can be located. Often as people go about their other shopping thy stop and make a purchase from observation samples of fruits are offer for tasting and people sit on the benches as they chatter participating in the lively shopping environment. The busy downtown atmosphere invokes a community spirit.
Country dance was observed to be a social dance form. In this encounter couples dance interacting with each other as a couple then in pairs together as a group. It is performed by each dancer moving towards his/her partner dancing and facing each other. Individual couple groups dance forward to the other couples’ group. The set moving long ways is usually formed by a row of men making a line to face the women. They form line two facing the men; moving towards them as the music is played and they dance in this very significant formation for a while.
Traditionally, this dance culture originated from the British country dance. It was first designed and choreographed by John Playford a Londoner in 1651. His strategy has been extensively applied to several other dance forms beside county dance known also as the longways formation. It has been widely used also in square dances, “round about the room” sets, which but be considered distinct from country dances and triangular dance sets where three set of couples are used to complete the routine ( Robbins,2011).
In some cultures country dancing is also accepted as a part of the folk dance culture. Many people own it as a tradition embodied in their socialization. Some analysts’ contend that country dance is not a demonstration exercise, but rather a participation entertainment. In highlighting its participatory nature, they emphasize the distinction between country and folk dance forms are the Clogging aspect, which can be interpreted as is primarily dancing for demonstration purposes. Further arguments are that social interaction encompassing county dance adds to the communal nature of the music art form, which has become distinguishable as it pertains to ballroom, and other forms of couple dances whereby dancers dance embrace and dance with their partners, but do not relate to other couples within their environment in designing a communal event (Robbins,2011).
Music is influenced by norms and norms also impact the extent to which music is participatory. Reflecting on the theme scene theory it must be understood when applying music to the do it yourself (DIY) ideology regarding its participatory nature a ‘complex interplay of longevity of residence, property ownership, access to heritage discourse, access to resources elsewhere, and so on’ ( Bealle, 2013, pp 14) are embraced.
Longevity of residence, property ownership, access to heritage discourse are all elements informing the community features that influence music norms identified as various genre. For example, the ethnographic interpretation of Irish music event clearly is impacted by the norms that determine what type of ballad is accepted as one that initiates drinking. Tradition is rooted in longevity of residence, property ownership, and access to heritage discourse. Participation is the social action emerging from how norms are held sacred when music forms are activated as cultural communication tools.
Data observed in compiling the country dance highlighted the experience as a social dance form. Insidiously, the normative nature separates country dance from all other similar dance traditions to say that the social interaction encompassing this activity adds to the communal nature of the music art form, which has become distinguishable as it pertains to ballroom, and other forms of couple dances whereby dancers embrace and dance with their partners, but do not relate to other couples within their environment in designing a communal event. Ideologically, the do it yourself (DIY) philosophy is maintained in the normative tradition since it is subsequently emphasized that country dance is not a demonstration exercise, but rather a participation entertainment. In highlighting its participatory nature, analysts confirmed the distinction between country and folk dance forms to be the Clogging aspect, which can be interpreted as primarily dancing for demonstration purposes (Robbins, 2011). Hence, here again the social action relationship is engraved in a norm related to the dance routine, which impacts longevity of residence being its traditional arrangement, property ownership, access to heritage discourse designed by the Londoner John Playford in 1651. Property ownership now becomes intellectual property as well regarding who owns the music forms and successfully market it across cultures.
People engage in music forms mainly for participations while it can be demonstration to the extent of entertainment such as punk, ballroom and liturgical dancing. Patterns of behaviors are either meetings as a group to enjoy the activity together or attending a music function as part of an entertainment. Music conception is participatory because people either sign or dance to the music as feelings, and meanings for this event are expressed. Precisely, the ‘and so on’ ( Bealle 2013, pp 14) of Bealle (2013) scene theory explains how norms also impact the extent to which music is participatory since zoning, the use of alcoholic beverages, enforcing dress codes; age limits and specific geographic locations in which the music can be aired all combine to develop the participatory portion of the music culture ( Bealle, 2013).
In assessing the significance of music as a form of social action it forces one to embrace its importance in communicating the deep beliefs and desires of a people. For example, the legendary Bob Marley used music to express world views related to the Rastafarian movement evolution in his society. In this sense the social action created by his music led to society developing a different perception of the movement. Music is important since many studies show where it is a healthy emotional nonviolent release (Robbins, 2011).
Therefore, we can use music, participatory action, and DIY as a tool for remodeling society just by subtly communicating messages that insidiously impact the hearing through rhythm, sound that speak to the senses and reconstruct thought patterns. Precisely, music can produce calm that even medications cannot achieve. As such, it can be applied as a peace therapy in redirecting war patterns and strife across the world.
Bealle, John. DIY Music and Scene Theory. Presented at the meetings of the Midwest Chapter of the Society for Ethnomusicology Cincinnati, Ohio, April 13, 2013. Print.
Robbins, Donny. Country Dancing.YouTube.2011.
Sawyers, June Skinner. The Complete Guide to Celtic Music London: 2002.Print