As a composer, I often find myself captivated by the ways in which the environment shapes the music that is created and performed around the globe. From some of the more traditional societies of Africa and Asia to the modern metropolises of the West, the music of the world reflects the unique characteristics of the places and times in which it is born.

• Physical environment
• Social environment
• Religious environment
• Political environment

Physical environment and music

From the harsh and unforgiving landscapes of Siberia to the lush and tropical jungles of South America, the music of the world reflects the unique characteristics of the places it is born. And nowhere is this truer than in the way in which the physical environment shapes the music that is created and performed.

During a composition festival, we had composers from all over the US visit the deserts of New Mexico. After I had presented my piece in a master class setting, one of the visiting composers declared there was a “desert school of composition here.” My fellow composers and I had noticed that much music coming from composers that live in much more dense and metropolitan areas had a very different feel to their music. The “desert composition school” had a lot of space in the textures. The rhythms were open and harmonically the pieces were “vast.” Our physical environment was influencing the sounds we were creating. Even though we all composed in very different styles, there was a common thread. Let’s move on to other examples.

One of the most striking examples of this can be found in the traditional music of the Tuvan people of Siberia. Their music, known as Khöömei, is a form of throat singing that is characterized by deep, resonant, and sustained notes that seem to echo the vast expanses of the surrounding steppe. This music reflects the people’s close relationship with nature and their deep respect for the land they inhabit. The harsh and unforgiving environment of Siberia has given rise to a unique form of music that reflects the strength and resilience of the people who call it home.

Another example of how the physical environment shapes music can be found in the traditional music of the Andean people of South America. In the high altitudes of the Andes, the thin air and extreme weather conditions have given rise to a distinctive form of music that is characterized by the use of panpipes and other wind instruments. These instruments reflect the wind and air of the mountains, and the music itself reflects the people’s deep connection to the land and their environment.

The physical environment plays a notable role in shaping the music of nomadic cultures around the world. This can be observed among groups such as the Bedouin of the Middle East and the Mongols of Central Asia, who have developed musical traditions that are closely tied to their nomadic way of life and the landscapes they traverse. In order to accommodate their need for mobility, these cultures often rely on instruments that are portable and able to be played in outdoor settings. Such instruments include the lute and the flute. The music that is produced by these cultures is influenced by the rhythms of the land, and often evokes the sense of constant movement and change that is an integral part of the nomadic lifestyle. The music can also serve as a reflection of the spiritual practices and social customs of the people, which could be marked by celebrations, rituals or even daily routines.

Even today, in a world where many of us live in urban environments, the physical environment continues to shape the music that is created and performed. For example, in the modern era, many urban musicians have been inspired by the energy and chaos of the city, and the music they create reflects this energy and reflects the hustle and bustle of the urban landscape.

The land shapes the notes. I’ve seen it firsthand, from the bitter cold of Siberia to the sticky heat of Thailand. Each place breeds its own tune. As a composer, I draw inspiration from traveling the globe and studying the music of different regions and eras. The world is my muse, and through my compositions, I strive to capture its essence.

Social environment and music

The music of the world mirrors the societies that birth it, from ancient Africa and Asia to the bustling cities of the West. Nowhere is this connection clearer than in the way music is employed to commemorate life’s important moments. From celebrations to ceremonies, music gives voice to the culture’s norms and values.

West African Societies

West Africa’s traditional societies offer a prime example of how music can be used to mark significant moments in life. From birth to death, music is an integral part of daily rituals, serving not only as an art form, but also as a medium to strengthen community ties and convey cultural heritage. The beats and harmonies of the music reflect the lively atmosphere of these events, while the lyrics communicate the reverence for family, community, and tradition. In Ghana, for example, the Akan people use music and dance as part of naming ceremonies and funeral rites.

The Yoruba people of Nigeria have a rich and diverse musical tradition that is closely tied to their culture and way of life. Among other things, traditional music is used to mark important life events such as births, marriages, and deaths.

For instance, when a child is born, the Yoruba people celebrate with music, dance and other rituals. The arrival of a new baby is considered a significant event in the community, and music plays a central role in the celebrations. The mother and baby are serenaded with songs, and traditional instruments such as the talking drum and the shekere, an instrument made from a gourd, are played to announce the arrival of the new child to the community. The drumming and singing are believed to usher in the new life and bring good luck and blessings to the child and the family.

Here’s a short example of the talking drum:

Here’s an explanation of the shekere:

In addition, the music and lyrics of the songs performed at these events often contain important cultural and social messages. They may express congratulations and well wishes for the new family, convey moral and ethical values, or offer advice and guidance for raising the child. The lyrics can also contain spiritual and religious elements, such as invoking the blessings of the ancestors and the gods. Music is not only a celebration, but it also a medium to transmit cultural and spiritual knowledge and practices.

The rhythms of the traditional music of these societies, such as the Ghanaian Highlife and Nigerian Afrobeats, are deeply rooted in the West African rhythms and drums, giving a sense of energy and joy to these events.
Also, the prominent musicians and singers such as Osibisa, E.T. Mensah, and King Sunny Ade from these regions, have taken traditional music to new heights and popularized it globally.

North American Indigenous Society and Music

The music of North American Indigenous peoples is a reflection of their culture and surroundings. Ceremonies and community gatherings are where their music shines. Take for example, healing rituals, where music plays a central role. Traditional songs passed down from one generation to another, serve to anchor the community to their heritage. The rhythms and melodies reflect the close connection of these people to the land. Lyrics often speak of the importance of living in harmony with the natural world, of being one with the earth.

A case in point, the Navajo Nation in Southwest of America, where the traditional healing ceremony “Sing” is performed by a medicine man and his apprentice, using the power of song and chant to heal the patient. Or the Lakota people, who use the drum and singing in the healing ceremony “Sweat Lodge” for both physical and spiritual purification.
The traditional music of these societies not only provides comfort and healing but also a connection to the spiritual realm.

Urban Societies and Music

Urban social environments shape the music that is created and performed. In the modern era, many urban musicians have been inspired by the social issues and challenges of the day, and the music they create reflects this. For example, in the United States, the music of the Civil Rights Movement was a powerful tool for expressing dissent and resistance, and in many parts of the world, the music of protest movements reflects the political and social issues of the day.

Political environment and music

From the revolutionary songs of Cuba to the protest anthems of South Africa, the music of the world reflects the political issues and struggles of the people who create and perform it.

One of the most striking examples of this can be found in the traditional music of Cuba. During the revolutionary period of the 1950s and 60s, a new style of music emerged in Cuba, known as Nueva Trova. This genre of music reflected the political and social changes taking place in Cuba at the time and was used as a means of expressing dissent and resistance. The lyrics of Nueva Trova songs often dealt with issues of poverty, injustice, and the struggle for freedom, and the music itself reflected the energy and passion of the revolution.

One example of a Nueva Trova song is “Volver a los 17” (Going back to 17) by Silvio Rodríguez. The song was written in 1972 and was released on his album “Dulce y amargo” (Sweet and Sour). The song is widely considered one of the most popular and enduring songs of the Nueva Trova movement.

The lyrics of the song are nostalgic and reflect on the innocence and idealism of youth, and the passing of time. The lyrics are poetic and metaphorical, expressing the longing for the past and the sense of loss and regret.

Here is a translation of the first verse and the chorus:

Verse 1: I’m going back to 17, with my guitar, to sing to the girls in the plaza, to sing to the stars that shone on the nights of my youth

Chorus: Going back to 17, with the same illusions, with the same songs, with the same love.

Silvio Rodríguez

The song speaks about the longing for the past, the nostalgia of youth, and how things change and how the time goes by. The metaphor of going back to 17 years old, is a way to express the idea of wanting to go back in time to relive and enjoy the moments of our youth, with its dreams, illusions, and passions. The music and lyrics of this song, like many other Nueva Trova songs, are deeply rooted in the Cuban culture and history, and they often reflect on the social and political issues of the time.

Another example of how the political environment shapes music can be found in the traditional music of South Africa. During the apartheid era, music was used as a powerful tool for expressing dissent and resistance. The music of artists such as Miriam Makeba and Hugh Masekela reflected the struggle for freedom and equality and became the voice of the anti-apartheid movement. The lyrics of these songs often dealt with issues of injustice and inequality, and the music itself reflected the energy and determination of the people who were fighting for their rights.

Even in parts of the world where many of us live in more politically stable environments, the political environment continues to shape the music that is created and performed. In many parts of the world, music is still used as a means of expressing dissent and resistance, and the lyrics of songs often deal with issues such as poverty, injustice, and the struggle for freedom.

The environment shapes the music, that much is clear. From the guttural Khöömei of Siberia to the lively Nueva Trova of Cuba, each corner of the world has its own unique sound. As a composer, it’s my honor to draw inspiration from these varied places and times, to capture the essence of the world in my compositions. The political climate, social norms, religious beliefs, and physical surroundings all play a vital role in shaping the music of a place. To truly understand a culture’s music, one must understand the forces that shape it. It’s a never-ending exploration, but one that I find endlessly fascinating.