It may seem strange that we're discussing music from a Broadway production inthis class, "The Lion King" especially, since it's based on a popularHollywood movie. I mean music preformed for Broadway theater in the heart ofNew York city surely would seem to be in the western tradition of popular musicand not have much in common with the music we have been studying in thiscourse, such as gamelan music of Indonesia, or Zulu chants of South Africa,music that developed outside the western tradition of Europe and America. Butin fact, musicians have a long-standing tradition of borrowing front oneanother's cultures. And this production's director intentionally included bothwestern and non-western music. That way, some of the rhythms, instrument, andharmonies typical of non-western music contrast with and complement popularmusic more familiar to audiences in North America and Europe,music like rock, jazz or Broadway style show tunes. So I want to spend the restof this class and most of the next one on the music from the show "TheLion King" as a way of summarizing some of the technical distinctionsbetween typical western music and the non-western music that we've beenstudying. Now the African influence on the music is clear. The story takesplace in Africa. So the director got a SouthAfrican composer to write songs with a distinctly African sound. And the songseven include words from African languages. But we'll get back to the Africaninfluence later. First let's turn to the music that was written for the shadowpuppet scenes in "The Lion King", music based on the Indonesian musicused in the shadow puppet theater of that region.
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