Language and Culture Intertwinement in Music
Year: 2019

In today's society, arts, music, and education, are strongly rooted in "Cultural Diversity" and "Intercultural Dialogue." Effective international collaboration requires that we be more sensitive and aware of the unique aspects of other cultures, and people from other cultures need to be sensitive to ours. However, cultures and our relationship to them are continually changing. This article investigates current issues linked to multicultural environments, languages, and social differences with respect to artistic and, in particular, musical collaboration; it includes a discussion of problems related to terminology and artistic creation, and attempts to highlight efforts to enhance its theory and practice.  Language is intertwined with culture. In his essay "Utterer's Meaning and Intention," Grice establishes that an essential feature of most human communication, encompassing both verbal and non verbal forms, is the expression and recognition of intentions (Grice, 1969)  Music performance presents a clear example and application of both verbal and non verbal communication. Musicians rely on using predetermined symbols that are inherent to one's music culture and tradition. For example, a conductor directing an orchestra performing Western symphonic music uses pre established signs to lead the performers and help them know when to start and stop in time, or play faster or slower. Samovar and Porter present communication as a process "in which one person intentionally encodes and transmits a message through a channel to an intended audience (receivers) in order to induce a particular attitude or behavior" (Samovar, Porter Jain, 1981, p. 13)  When two people communicate, they interact with and through symbols that exist within a specific culture and tradition, and create and interpret meanings" (Wood, 2004, ] By interpreting these symbols, people can understand each other. Symbols are invented and re invented by cultures, and for most cases, understanding specific symbols implies knowing and understanding the culture and tradition they come from. Thus, when we use symbols to communicate, we assume that others share our system of symbols. Unfortunately, symbols are abstract, culturally connected, arbitrary, and often ambiguous representations. A communication is an intercultural social performance with two actors, the hearer (or the interpreter) and the perceiver. It is a cooperative Benoit Granier, English, The issues linked to a multicultural environment including the social and linguistic differencesFirst draft,  2018 principle where both parts are motivated to understand and make themselves understood (Walker,  Intercultural (mis)communication has a central place within Intercultural Communication studies; there are many examples, anecdotes, or personal experiences of cross cultural misunderstandings. Cultural difference is one essential reason that might result in cross cultural misunderstandings. Major findings on the causes of misunderstandings include the discrepancies in communication styles, cultural values, and interpersonal relationship orientations. The difference in communication style is recognized as a primary cause for misunderstandings in cross cultural communication. The concept of "High Content" versus "Law Context" Communication is proposed by anthropologist Edward T. Hall (1976) On one hand, communication processes in High Content Communication (HCC) society, also referred to as "individualism," is embedded. On the other hand, communication in Law Context Communication, referred to as "collectivism," assumes little background information in common and codes and transmits much information. Cultural diversity can be simply separated into two groups: "individualism" or "collectivism." According to studies carried out by Hofstede (Erdman,  Triandis (1988 &1995) [6][7] and Bhawuk (1996)  individual cultures emphasize individual goals and careers, whereas collectivistic cultures tend to emphasize group goals. Of course, within the medium of music we are very interested about these definitions and the distinction we can make between these group behaviors, from soloists to chamber ensembles. Notating music for groups that are culturally connected implies a set of rules and symbols that need to be predefined, understood and agreed upon. However, musical notation appears in many different guises. Differences exist not only between classical and traditional music but also, in many cultures, between music fixed by notation and improvisation (i.e. music created spontaneously, and usually without notation) music improvisation often plays a significant function in a musical performance. In order to create a system of music notation that embraces intercultural dialogue through music, then, each of these aspects must be considered. Notation systems evolve along with the music they serve.  They also reflect the underlying aesthetics of their cultural milieu. Whilst staff notation is well equipped for Western notation, it fails to transcribe a certain form of traditional music where the idea of pitch is non existent, or when the music focuses on the gradual increase or decrease of volume or timbre. The Western system of proportional note values quickly finds its limitation when dealing with fine fluctuations of value; such limitations can be found in the transcriptions of Serbo Croatian and Romanian folk song by Hungarian composer Bela Bartok (Bruggeman, 2013)  These works contain an absence of strophes, the universal appearance of