Music and Place

Throughout the years there has been a close connection between sense of place and music. Music has a number of issues that it can communicate about the setting of the song. In spite of this importance, the subject of music and place is often avoided in studies even in human geography. However, the mystical relationship between music and place is not a new concept. The little work that has been carried out in the literature concerning this subject is also descriptive with limited conceptual ability. Every musical tradition is born amidst a group of people in a particular place. As a result, the music tradition grows in compliance with the people’s habits in a way that reflects the character of such people and situations. Even though music can be passed from the teacher to a student in a form of vertical lineage, the music is guarded and owned by the entire community, and this is where the concept of place sets in (Cohen, 1995, P.435).

Though music evolves with time it also spreads across geography that follows a horizontal journey; it also follows a vertical lineage. For instance, in Cuba, the bata drummers reflect a family tradition where young men are coached by their fathers starting with the easiest drums and rhythms to more difficult ones as they progress and finally reach the level of community temple drummers (Skoog, 2010). Music is like language where people can speak the same one, English for example, but still maintain their specific accents. For instance, there is close and frequent interaction between British and American musical scenes but there is still a huge difference between both. The flavor of English music is succinctly higher and more refined than American. This can be used to understand how people tend to be connected through music even when they are miles away from their actual places or homes. Therefore, music and place interplay in order to form a sense of identity (Cohen, 1995, P.434).

As a place, America has identified its music through genres such as orchestra and Americana. This does not only end with music but also its performance that is arguably presented by different people. Concerning Americana the proponents are obliged to pass on music and repertoire which will be profitable and can be identified by the place because shape in the environment was silent (Skoog, 2010). The system may not imply something in relation to the music style. There are a lot of places where shrieking, screaming, beating, pounding music is wholly acceptable and welcome. Therefore, such music can be played with total integrity for the enchantment of its listeners. Playing dance music confers the impression of an exceptional harmony of music and place(Cohen, 1995, P.439).

The mystical relationship connecting music and place is not a new development or concept.  Stephen foster and Britten’s Aldeburgh are the best examples showing close connection of sound and geography (Skoog, 2010). Stephen foster is attributed to the origin of American music while in Buddhism it is known as 'dependent arising' which follows a certain kind of principle asserting the sentence "When this arises that becomes". Turning in the middle of Zen Buddhism as well as having stimulating observation on the mathematical correlation connecting the rhythm of music with a natural occurrence such as heartbeat are sequentially affected by place. For instance, the minstrel show was a famous American event where a variety of dances, songs, tricks, playing and comedy skits were shown which were American but being showcased through the tour to the whole world.