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| Foreword | |
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| Preface | |
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| CD Track List | |
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| A Note to Readers | |
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| Thinking about Music | |
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| People | |
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| Music Makers | |
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| Listeners | |
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| Music | |
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| In Terms of Sound | |
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| Calling Something "Music" | |
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| Aesthetic Values in Music | |
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| Meaning | |
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| Music and Textual Meaning | |
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| Music as Text | |
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| Use | |
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| Transmission of Musical Knowledge | |
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| Oral and Aural Transmission | |
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| Visual Transmission in the Form of Notation | |
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| Thinking about Instruments | |
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| Instruments as Objects | |
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| Ideas about Instrument Types | |
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| Ideas about Particular Instruments | |
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| Associations of Sexuality and Gender | |
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| Spiritual Associations | |
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| Cultural Status | |
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| Aesthetic Value | |
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| Item of Technology | |
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| Item of Commodity | |
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| Timbre and Aesthetics of Sound | |
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| Instruments in Musical Practice | |
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| Instrumental Capacity | |
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| Ideas about Ensemble | |
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| Heterogeneous and Homogeneous Sound Ideals | |
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| Musical Roles | |
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| Aesthetics of Ensembles | |
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| Thinking about Time | |
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| Rhythm | |
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| Free Rhythm | |
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| Rhythm for the Text Alone | |
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| From Free Rhythm to Relatively More Organized Time | |
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| Pulse/Beat | |
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| Organizing Time into Units | |
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| At the Level of a Single Beat | |
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| Metric Structures with Flexible Means of Articulation | |
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| Duple and Triple Meters | |
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| Some Other Meters | |
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| South Indian Tala | |
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| Metric Structures with Given Means of Articulation | |
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| Southeast Asian Colotomic Meter | |
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| North Indian Tala | |
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| Middle Eastern Rhythmic Modes | |
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| Rhythmic Groupings | |
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| Korean Changdan | |
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| Polyrhythm | |
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| Speed | |
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| Thinking about Pitch | |
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| Pitch | |
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| Pitch Names | |
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| Syllables | |
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| Numbers | |
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| Letters | |
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| Setting the Pitch | |
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| Who Sets the Pitch | |
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| Pitch Placement | |
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| Pitches in Succession | |
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| Intervals | |
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| Naming Intervals | |
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| Microtones | |
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| Scale | |
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| The Chromatic Scale | |
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| Diatonic Scales | |
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| The "Oriental" Scale | |
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| Number of Pitches in an Octave | |
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| Pitch Functions | |
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| Melodic Mode | |
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| Simultaneous Pitches | |
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| Naming "Vertical" Intervals | |
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| Dissonance and Consonance | |
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| Western Functional Harmony | |
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| Tone Clusters | |
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| Interplay among Melodic and Harmonic Parts | |
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| Performing One Melody | |
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| Solo and in Unison | |
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| Interlocking Parts | |
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| Rounds | |
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| Heterophony | |
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| Performing One Melody with Another Part | |
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| Melody and Drone | |
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| Melody and Chords | |
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| Performing Multiple Melodies | |
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| Polyphony | |
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| Melody and Ostinato | |
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| Thinking about Structuring | |
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| Improvising and Composing | |
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| Persons Who Compose | |
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| Putting Something Significant First | |
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| Sonata Form | |
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| North Indian Instrumental Form | |
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| Corning to an End | |
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| Telling the Story | |
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| Music for the Moment | |
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| Through-composed Music | |
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| Contrasting Instrumentation | |
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| Strophic Form | |
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| Responding to the Context | |
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| Audience-Performer Interaction | |
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| Intra-ensemble Interaction | |
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| Music and Movement | |
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| Social Values | |
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| Thinking Critically about Issues | |
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| Encounters and Identities | |
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| A Focus on Influences | |
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| A Focus on Boundaries | |
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| The National Community | |
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| Regional Identity | |
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| Gender | |
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| Multiple Identities | |
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| Authenticity | |
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| Transcending Boundaries | |
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| The Mass Media | |
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| Globalization | |
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| The Local | |
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| Thinking about Fieldwork | |
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| Picking a Project | |
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| Planning the Project | |
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| Doing the Project | |
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| Finishing the Project | |
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| Glossary of Musical Terms | |
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| References | |
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| Index | |