Worlds of Music : An Introduction to the Music of the World's Peoples

Name: Worlds of Music : An Introduction to the Music of the World's Peoples
Price: 4.7 USD
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ISBN: 9780534591038

ISBN-10: 0534591035

ISBN-13: 9780534591038

Edition: 4th 2002

Authors: Jeff Todd Titon

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This market-leading, best-selling text covers ethnomusicology-the study of music in a people's way of life, which treats music as a distillation of cultural styles. The authors of this text approach diverse musical styles with the desire to understand them on their own terms-as the people who make the music would understand them. The text is organized by region. Each study focuses on the life histories and autobiographies that are essential to understanding music as a human activity. Song lyrics are singled out by the authors as a way to understand the meaning and purpose of musical performances. Musical examples, or transcriptions, are included on the accompanying CDs, and are treated…

Book details

Edition: 4th
Copyright year: 2002
Publisher: Wadsworth
Publication date: 10/5/2001
Binding: Paperback
Pages: 504
Size: 8.00" wide x 9.75" long x 0.75" tall
Weight: 1.936
Language: English

Recorded Selections	p. viii
Preface	p. xii
The Authors	p. xvi
The Music-Culture as a World of Music	p. 1
The Soundscape	p. 1
The Music-Culture	p. 2
Music or Nonmusic?	p. 5
Structure in Music	p. 9
Rhythm and Meter	p. 9
Melody	p. 10
Harmony	p. 13
Form	p. 14
A Music-Culture Model: Affect, Performance, Community, and History	p. 15
The Four Components of a Music-Culture	p. 19
Ideas About Music	p. 19
Activities Involving Music	p. 24
Repertories of Music	p. 26
Material Culture of Music	p. 28
Ecological Worlds of Music	p. 30
References	p. 32
Additional Reading	p. 32
North America/Native America	p. 35
Three Different Styles	p. 35
Sioux Grass Dance	p. 35
Zuni Lullaby	p. 40
Iroquois Quiver Dance	p. 42
Making a "Cowhorn" Rattle	p. 44
Music of the Navajos	p. 46
A Yeibichai Song from the Nightway Ceremony	p. 46
"Folsom Prison Blues"	p. 49
The Navajo Way of Life	p. 50
Traditional Popular Music	p. 54
The Circle Dance Song "Shizhane'e"	p. 54
The Enemyway Ceremony	p. 56
The "Classical" Music of the Navajos	p. 60
The Life Story of a Navajo Ceremonial Practitioner	p. 64
The Native American Church	p. 71
The Water Drum	p. 74
The Sun Dance	p. 76
Navajo Hymn Music	p. 76
New Composers in Traditional Modes	p. 77
Music with Newly Created Navajo Texts and Melodies	p. 79
New Navajo Music with English Texts and Orchestral Accompaniment	p. 79
The Native American Flute Revival	p. 80
References	p. 82
Additional Reading	p. 83
Additional Listening	p. 84
Major Sources for Recordings	p. 85
Africa/Ewe, Mande, Dagbamba, Shona, BaAka	p. 87
Postal Workers Canceling Stamps	p. 89
Generalizations About African Music-Culture	p. 90
Musical Analysis: Toward Participation	p. 92
Agbekor: Music and Dance of the Ewe People	p. 94
The Ewe People	p. 94
Agbekor: History and Contemporary Performance	p. 96
A Performance	p. 100
Music of the Percussion Ensemble	p. 101
Songs	p. 107
Mande Jaliya: "Lambango"	p. 113
Historical and Social Background	p. 114
Music-Culture	p. 115
Elements of Performance	p. 117
A Hearing of "Lambango"	p. 119
A Drummer of Dagbon	p. 122
The Drums	p. 122
A Praise Name Dance	p. 123
Life Story: Abubakari Lunna	p. 124
Shona Mbira Music	p. 127
Cultural Context	p. 127
The Mbira	p. 128
"Nhemamusasa"	p. 131
Thomas Mapfumo and Chimurenga Music	p. 135
The BaAka People Singing: "Makala"	p. 137
Three Images of the Forest People	p. 138
"Makala," a Mabo Song	p. 139
Music-Culture as an Adaptive Resource	p. 142
Conclusion as Discussion	p. 145
References	p. 147
Additional Reading	p. 149
Additional Listening	p. 149
North America/Black America	p. 151
Music of Worship	p. 151
Music of Work	p. 162
Music of Play	p. 168
Blues	p. 169
Blues and the Truth	p. 170
Response to the Lyrics of "Poor Boy Blues"	p. 172
Autobiography and the Blues	p. 174
Learning the Blues	p. 180
The Blues Scale	p. 182
Composing the Blues	p. 183
A Blues Song in the Making	p. 184
How to Make and Play a One-Stringed Diddly-Bow	p. 187
Social Context and the Meaning of the Blues	p. 192
The Blues Yesterday	p. 196
The Blues Today	p. 202
A Few Final Words	p. 206
References	p. 207
Additional Reading	p. 208
Additional Listening	p. 208
Viewing	p. 209
Bosnia and Central/Southeastern Europe: Music and Musicians in Transition	p. 211
Bosnia: From Tradition to Destruction	p. 214
Music in a Muslim Highlander Village	p. 215
Music of Rural and Urban Lowlands Muslims	p. 221
Popular Music Styles: "Newly Composed Folk Music" and Rock	p. 225
Mensur Hatic: Versatile Musical Traveler	p. 228
Flory Jagoda: Keeper of the Sephardic Jewish Tradition of Bosnia	p. 230
Update: Bosnia, 2001	p. 232
Bulgaria: Another Approach to Musical Change	p. 236
Summary	p. 239
References	p. 240
Additional Reading	p. 240
Additional Listening	p. 241
India/South India	p. 243
The Environment of Indian Musics	p. 247
History, Culture, Politics	p. 247
Many Musics	p. 249
Karnataka Sangeeta, the Classical Music of South India	p. 255
The Sound World	p. 257
The Ensemble: Musical Texture	p. 259
Raga: The Melodic System	p. 261
Tala: The Time Cycle	p. 264
The Drummer's Art	p. 265
A Carnatic Music Performance	p. 267
Alapana	p. 269
Tanam	p. 270
Kriti "Sarasiruha"	p. 270
Kalpana Svaras	p. 272
The Drum Solo: Tani Avartanam	p. 272
Indian Music and the West	p. 273
References	p. 275
Additional Reading and Viewing	p. 275
Additional Listening	p. 275
Major Sources for Recordings	p. 277
Asia/Judouesia	p. 279
Central Java	p. 281
Gamelan	p. 282
Gamelan Construction	p. 287
Gamelan Identity	p. 288
Gamelan Performance Contexts	p. 289
Gamelan Music: A Javanese Gendhing in Performance	p. 291
Irama Level	p. 298
Performing Your Own Gamelan Music	p. 299
A Javanese Gendhing in Soft-Playing Style	p. 299
Pathet	p. 300
A Close Examination of "Ladrang Wilujeng"	p. 302
Biography of Ki Nartosabdho, a Gamelan Musician, Composer, and Puppeteer	p. 307
Gamelan Music and Shadow Puppetry	p. 312
Bali	p. 314
North Sumatra	p. 316
Indonesian Popular Music	p. 319
Rhoma Irama, Dangdut	p. 319
Responses to Globalization	p. 321
References	p. 326
Additional Reading	p. 326
Additional Listening	p. 327
Viewing	p. 329
East Asia/Japan	p. 331
Listening Habits of Contemporary Japanese	p. 333
General Characteristics of Japanese Traditional Music	p. 334
Pitch and Scales	p. 334
Timbre	p. 335
Melody and Harmony	p. 336
Rhythm	p. 336
Musical Form	p. 337
The Shakuhachi (Bamboo Flute)	p. 338
The Koto (Zither)	p. 344
The Kouta (Short Song) and Shamisen (Lute)	p. 345
Gidayu-bushi (Music of the Puppet Theater)	p. 352
Minyo (Folk Song)	p. 356
Matsuri-bayashi (Festival Music)	p. 361
Ensemble and Technique	p. 364
Biography of Ueno Mitsuyuki	p. 366
Popular Music	p. 369
Historical Background	p. 370
Karaoke	p. 374
Gunka	p. 380
Folk Song	p. 380
New Music	p. 380
Pops	p. 380
Final Words	p. 381
References	p. 382
Additional Reading	p. 383
Additional Listening	p. 383
Viewing	p. 384
Latin America/Ecuador	p. 385
The Venezuelan Joropo	p. 387
Chilean Nueva Cancion	p. 388
Victor Jara	p. 388
Violeta Parra	p. 392
The Front Lines of Social Change	p. 393
Bolivian K'antu	p. 395
The Quichua of the Northern Andes of Ecuador	p. 400
The Musical Tradition: Sanjuan	p. 403
Sanjuan and Cotacachi Quichua Lifeways	p. 412
Walking in Sanjuan: The Vital-Domain Metaphor	p. 415
Two Classic Sanjuanes	p. 417
The Andean Ensemble Phenomenon	p. 420
Wawa Velorio	p. 426
The Career Dilemma of Don Cesar Muquinche	p. 432
African-Ecuadorian Music of the Chota River Valley	p. 438
Despedida, or Farewell	p. 440
References	p. 441
Additional Reading	p. 443
Additional Listening	p. 445
Viewing	p. 446
Discovering and Documenting a World of Music	p. 447
Music in Our Own Backyards	p. 447
Family	p. 449
Generation	p. 450
Avocation	p. 451
Religion	p. 451
Ethnicity	p. 452
Regionalism	p. 454
Nationalism	p. 454
Commercial Music	p. 455
Doing Musical Ethnography	p. 457
Selecting a Subject: Some Practical Suggestions	p. 457
Collecting Information	p. 459
Finishing the Project	p. 473
References	p. 474
Additional Reading	p. 474
Credits	p. 475
Index	p. 477
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