In both ancient and modern days, music is used as a form of expression in human culture. It is created with melodies and words that represented our thoughts and emotions. Musicians are known to express themselves through songs to convey how they are feeling in life, allowing listeners to relate and find comfort in their music. Moby, a multi award-winning recording producer once said, “For me, music is an end unto itself but also a way of representing every aspect of the human experience. You can represent joy, despair, confusion, anger and so on.” Each culture has its unique form of music that is enjoyed by people of all ages on a different continent. Music is also utilized as a tool of unification for each ethnic group and has been played throughout the years for different occasions and entertainment purposes. Because of the use of different instruments and inspirations, music around the world comes in different styles and forms. For example, Western songs were originated from European folk songs which were played frequently using strings and occasionally, harmonica. As the theory of orientalism explains how the Occident imitate the culture of the Orient, music can also be one of the examples featured. Orientalism is often found in Western art, literature, and design as inspirations. A few renowned art pieces such as Grand Odalisque (1814) and The Snake Charmer (c. 1879) are examples of Orient-influenced artworks. As it was written by Edward Said (1978), "the Orient was almost a European invention...a place of romance, exotic beings, haunting memories and landscapes, remarkable experiments". Exotic beings, in the forms of snakes, feathers and silk are drawn to describe the fantasied, mysterious Orient. Music is one of the many forms of art, so it is no exception that Orientalism also had influenced some Western music. It can be influenced in terms of rhythm, lyrics or any elements of the song that can represent some certain Eastern countries. In Western music, Orientalist styles have related to previous Orientalist styles rather than to Eastern ethnic practices, just as myths have been described by Lévi-Strauss as relating to other myths (Scott, 1997). It is clear that some Western songwriters seldom describe the Orient accurately in their music, but only style their music in a way that they are set in exotic, foreign places. Therefore, these differences between the Orientalists styles and the real ethnic practices have become controversial and stereotypical. Westerners are led to believe that the Orient is a structure of myths and “a creation with no corresponding reality” (Said, 1978). The purpose of the study of Orientalism was executed not to criticize the depictions or imitations by the West, but to acknowledge the reality of cultures in the East. All orientalist musical styles originated from different countries in the East. The first style that was featured in Western music is the Turkish style. According to Bellman (1993), this style "evolved from a sort of battle music played by Turkish military bands outside the walls of Vienna during the siege of that city in 1683.” He remarked that a few had heard it, however, virtually no one remembered it, and that "what became understood as Turkish Style was thus almost entirely the product of the European imagination." It surely added pleasure to the music that era, but also gave a sense of superiority over the Turks during the Siege of Vienna. Typical Turkish Style of the eighteenth century would be: a 2/4 march with a bass of reiterated quavers (often asserting a tonic pedal); a melody decorated with grace notes (often dissonant) and insisting on the notes of the tonic triad, but with an occasional raised fourth; and `crude' harmony, such as root position triads and octave doubling of melody (Scott, 1997). Turkish music is lively in tempo and sounds as it is in a march. Many Viennese musicians such as Mozart and Beethoven were no strangers to the Turks, as they viewed them as military opponents. One of Mozart’s well-known pieces, Rondo Alla Turca, or most known as The Turkish March was inspired by the Turkish Janissaries company. This piece consists of repeated notes and ornaments, as well as loud/soft passages, which resemble the Turkish style. Mozart's use of a style of music traditionally played by Ottoman Janissary troops straddles the line between cultural appropriation and destruction. It simultaneously borrows from and legitimizes (for a western audience) a long-standing musical tradition, while undermining its integrity by westernizing its themes to produce something only loosely resembling Janissary marching band music (Sisneros, 2013). The Ottoman-inspired style had only represented war and fear for the Austrians, as the style used always sounded like soldiers marching into war. Furthermore, Mozart’s opera Singespiel Die Entfuhrung aus dem Serail (The Abduction from the Seraglio), which was first played in 1782, also gave the same impressions. It tells the story of the hero Belmonte and his attempt to rescue his love Konstanze from the harem of a high-ranking official of the Ottoman Empire. An imprecise impression of Janissary music was also westernized to depict where the innocence belongs. As quoted by Sisneros (2013), the opera’s light-hearted, entertaining nature falls in line with one of two common modes of presenting Turkish culture in European art present for centuries prior: the Turk as ruthless, bloodthirsty, and terrifying; or as exotic, backward, heretical, and bordering on buffoonery. In reality, the military ensemble that was played by the Ottoman Janissary troops was named Mehteran. The music was a sign of majesty, splendour and might of their country, rather than a vehicle for merriment. The Ottoman mehter was usually played wind instruments such as the zurna (similar to the oboe), the boru (bugle), the kurrenay and the mehter whistle. It also contained such percussion instruments as the kös, the drum, the nakkare (a small kettledrum), the zil (cymbals) and the çevgan, which were used by Mozart for his mimic of the Janissary music. Today, the music of the mehters is largely ceremonial and considered by the Turks as a stirring example of heroism and a reminder of their historical past. The following example involves a tune that is quite familiar to most Asians, especially the Chinese. Known as the Oriental riff, the tune was used dating back to the "Aladdin Quick Step" used in an Aladdin stage show. It is nine-notes long and it is usually played to hint on the involvement of Asians or something Asian is coming. For example, in Betty Boop’s “Making Stars” episode, the tune was played when a Chinese baby popped up on the screen. The notes used in the riff are part of a pentatonic scale and often harmonized with parallel open fourths, which makes it sounds like East Asian music to a typical Westerner. The tune was used in well-known songs, like ‘Kung Fu Fighting’ by Carl Douglas and ‘Turning Japanese’ by The Vapors. Both of these songs have been featured in children's films, such as Kung Fu Panda and the Aristocrats, which help boost their popularity. From then on, the tune is known as a representation of Asians to the Westerners. It is a musical phrase that creates a sound world that is 'distant' and 'exotic', drawing the listener to believe that they are in the Asian realm of fantasy and make-believe. One user with the name of Martin Nillson claimed that he devoted his time to researching the roots of this tune. "It doesn't come from Chinese folk music, really," Nilsson says. "It's just a caricature of how [Westerners] think Chinese music would sound." Because it became famous through movies, Westerners, especially their children have assumed that this tune was part of Asian music. Moreover, this tune acts as a mockery towards the Asian society as it created a typical stereotype for the yellow-faced. People would only think of the tune whenever they were asked about Asians or their music. Chinese music is totally different from the riff, as it involves a more advanced art form of organized vocals and instruments. The riff only contains the rhythmic pattern of “da-da-dada, da da, da da, Daiah!” and an occasional gong at the end. Chinese instruments can be distributed into those made of gourds (early sheng instruments), bamboo (flutes), wood (string instruments), silk (although rarely used, strings can be made of silk), clay (used for a type of compact flute which can resemble an ocarina), metal (gongs), animal skin (drums) and even stone (used to create a ringing sound). Voices are also significant in Chinese music and often accompanied monophonically. The only resemblance that exists for both the riff and Chinese music is that their tonality is pentatonic, which means that they use a scale of five notes for harmonies. In terms of lyrics, there are some cases where the songs orientalism has become too offensive. Modern rap artist often features Asian elements that actually raise conflicts. For instance, Lil Pump made a derogatory slur against Asian people in the track ‘Butterfly Doors’. The lyrics were written, “They call me Yao Ming, ‘cause my eyes real low, ching chong.” Yao Ming is a famous Chinese basketball player, and the lyrics deliberately point out that all Chinese people have small eyes. “Ching chong” is a pejorative term that is used to mock on the Chinese language as well as the people. Furthermore, Kanye West wrote “Chasin love, lots of bittersweet hours lost eatin’ Asian pussy, All I need was sweet and sour sauce,” in “I’m in it”. Asian women were disrespected as they were sexualized and mocked in this song. Sweet and sour sauce was also featured as an Asian element because it is commonly cooked in the East. The lyrics “I'm looking for an Asian princess wearing a sari, yo Jasmine pass me the car key, let's all go back to my house right now and have a mehendi party,” which were featured in Skepta’s “Asian Girl” also crossed the line for Asian stereotypes. The Asian princess is known to be an Indian as she wore a sari and named Jasmine, the name of the Arabian princess in Aladdin. Jasmine was only given as a nickname for Indians here because there is a species of jasmine named Indian Jasmine. A Mehendi party is a traditional pre-wedding Indian ceremony which is essentially organized by the family of the bride. It is usually a private affair that takes place in the presence of friends, relatives and family members. It is obvious that this rap music has contributed nothing but travesty towards the Asian community. They associate small eyes to the Asian guys while assuming all Asian girls are sexually deprived and easy to fool. This sends the wrong message that Asians are weak and are nothing more than a group of “ching chongs” and prostitutes. Westerners might look down on Asians and mistreat the people there because of all these assumptions. The Asian community is made up of a lot of races, including the Indians, Chinese, Arabs and more. It is wrong to generalize Asians into only one category, for they have all different types of biological traits and characteristics. Some of them are dark-skinned, while some have largely round eyes. However, the Westerners only break down the races around the world into three types, which are White, Black and Asians. Moreover, Asians have the same career options in their countries as the Westerners. It is very offensive that some Westerners still think Asian women only work as prostitutes as this date back to the colonization era. Movies such as Geisha Girl and China Doll have influenced them to think that Asian women are only sex symbols. Women in Asia nowadays have the opportunity to choose who they want to be, and they have access to all job careers. Some accomplished Asians, such as Krystal Choo and Pocket Sun show how much women have achieved since that era. References: 1. Shah MBE, V. (2017). The Role of Music in Human Culture. Retrieved 14 November 2019, from https://thoughteconomics.com/the-role-of-music-in-human-culture/ 2. Weakley, L. (2017). 7 Reasons Why Music Is Important To World Cultures - MTT Music Think Tank. Retrieved 15 November 2019, from http://www.musicthinktank.com/blog/7-reasons-why-music-is-important-to-worldcultures.html 3. B. Scott, D. (1997). Orientalism and Musical Style. Critical Musicology Journal, 1. Retrieved from http://www.leeds.ac.uk/music/Info/critmus/articles/1997/02/01.html 4. Sisneros, K. (2013). What does a Turkish Janissary band have to do with Mozart?. Retrieved 15 November 2019, from https://www.classicalmpr.org/story/2013/11/12/mozart-alla-turca 5. Bellman, J. (1993). 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