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| Recorded Selections | |
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| The Authors | |
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| Preface | |
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| The Music-Culture as a World of Music | |
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| The Music Culture | |
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| Affect, Performance, Community, and History: A Music-Culture Model | |
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| Components of a Music-Culture | |
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| Ideas about Music | |
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| Social Organization of Music | |
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| Repertories of Music | |
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| Material Culture of Music | |
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| Worlds of Music | |
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| References Cited | |
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| Additional Reading | |
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| North America/Native America | |
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| Three Different Styles | |
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| Sioux Grass Dance | |
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| Zuni Lullaby | |
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| Iroquois Quiver Dance | |
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| Making a "Cowhorn" Rattle | |
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| Music of the Navajo Indians | |
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| A Yeibichai Song from the Nightway Ceremony | |
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| "Folsom Prison Blues" | |
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| The Navajo Way of Life | |
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| Traditional Popular Music | |
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| The Circle Dance Song "Shizhane'e" | |
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| The Enemyway Ceremony | |
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| The "Classical" Music of the Navajos | |
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| The Life Story of a Navajo Ceremonial Practitioner | |
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| The Native American Church | |
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| The Sun Dance | |
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| Navajo Hymn Music | |
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| New Composers in Traditional Modes | |
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| Music with Newly Created Navajo Texts and Melodies | |
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| New Navajo Music with English Texts and Orchestral Accompaniment | |
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| The Native American Flute Revival | |
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| References Cited | |
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| Additional Reading | |
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| Additional Listening | |
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| Major Sources for Recordings | |
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| Africa/Ewe, Mande, Dagbamba, Shona, BaAka | |
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| Questions | |
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| Postal Workers Canceling Stamps | |
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| Generalizations about African Music-Culture | |
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| Musical Analysis: Toward participation | |
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| Agbekor: Music and Dance of the Ewe People | |
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| The Ewe People | |
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| Agbekor: History and Contemporary Performance | |
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| A Performance | |
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| Music of the Percussion Ensemble | |
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| Songs | |
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| Mande Jaliya: "Lambango" | |
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| Historical and Social Background | |
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| Music-Culture | |
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| Elements of Performance | |
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| A Hearing of "Lambango" | |
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| A Drummer of Dagbon | |
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| The Drums | |
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| A Praise Name Dance | |
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| Life Story: Abubakari Lunna | |
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| Shona Mbira Music | |
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| Cultural Context | |
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| The Mbira | |
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| Thomas Mapfumo and Chimurenga Music | |
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| BaAka Singing: "Makala" | |
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| Three Images of the Forest People | |
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| "Makala," a Mabo Song | |
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| Music-Culture As an Adaptive Resource | |
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| Conclusion As Discussion | |
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| References Cited | |
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| Additional Reading | |
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| Additional Listening | |
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| North America/Black America | |
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| Music of Worship | |
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| Music of Work | |
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| Music of Play | |
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| Blues | |
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| A Few Final Words | |
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| References Cited | |
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| Additional Reading | |
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| Additional Listening | |
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| Additional Viewing | |
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| Bosnia and Central/Southeast Europe: Musics and Musicians in Transition | |
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| Bosnia: From Tradition to Destruction | |
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| Music in a Muslim Highlander Village | |
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| Music of Rural and Urban Lowlands Muslims | |
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| Popular Music Styles: "Newly Composed Folk Music" and Rock | |
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| Mensur Hatic: Versatile Musical Traveler | |
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| Flory Jagoda: Keeper of the Sephardic Jewish Tradition of Bosnia | |
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| Bulgaria and Hungary: Other Approaches to Musical Change | |
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| Bulgaria | |
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| Hungary: Learning from Traditional Music | |
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| Summary | |
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| References Cited | |
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| Additional Reading | |
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| Additional Listening | |
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| India/South India | |
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| The Environment--The Musician | |
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| The Setting | |
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| Many Musics | |
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| A Day in the Life of Ramachandra, A Musician of Madras | |
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| Karnataka sangeeta, the Classical Music of South India | |
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| A Performance Segment: The Sound World | |
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| Instruments | |
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| The Ensemble | |
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| Sruti (the Drone) | |
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| Raga (the Expressive Mode) | |
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| Scale, Raga sankarabharanam | |
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| Tala (the Time Cycle) | |
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| Musical Structure: Improvisation | |
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| Musical Structure: The Kriti | |
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| The Song Text | |
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| Svara kalpana in the Performance | |
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| The Drummer's Art | |
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| An Ear Map | |
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| Indian Music and the West | |
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| Instrument Building and Performance | |
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| Instrument Building | |
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| Playing Technique | |
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| Inventing a Raga | |
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| Scales | |
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| Tones | |
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| Phrases | |
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| Psychoacoustics | |
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| References Cited | |
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| Commercial Recordings Cited | |
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| Classroom Resources | |
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| Additional Reading | |
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| Additional Listening | |
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| Asia/Indonesia | |
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| Central Java | |
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| Gamelan | |
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| Gamelan Construction | |
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| Gamelan Identity | |
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| Gamelan Performance Contexts | |
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| Gamelan Music: A Javanese Gendhing in Performance | |
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| Irama Level | |
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| Performing Your Own Gamelan Music | |
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| A Javanese Gendhing in Soft-Playing Style | |
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| Pathet | |
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| Instrumental Playing in "Ladrang Wilujeng" | |
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| Singing in "Ladrang Wilujeng" | |
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| Biography of Ki Nartosabdho, a Gamelan Musician, Composer, and Puppeteer | |
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| Gamelan Music and Shadow Puppetry | |
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| Bali | |
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| North Sumatra | |
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| Indonesian Popular Music | |
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| References Cited | |
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| Additional Reading | |
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| Additional Listening | |
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| Additional Viewing | |
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| East Asia/Japan | |
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| Listening Habits of Contemporary Japanese | |
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| General Characteristics of Japanese Traditional Music | |
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| Pitch/Scales | |
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| Timbre | |
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| Melody/Harmony | |
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| Rhythm | |
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| Musical Form | |
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| Shakuhachi | |
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| Koto | |
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| Kouta | |
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| Gidayu-bushi: Music of the Puppet Theater | |
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| Folk Song | |
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| Festival Music: Matsuri-bayashi | |
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| Popular Music | |
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| Historical Background | |
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| Gunka | |
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| Folk Song | |
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| New Music | |
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| Pops | |
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| References Cited | |
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| Additional Reading | |
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| Additional Listening | |
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| Additional Viewing | |
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| Latin America/Ecuador | |
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| Venezuelan Joropo | |
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| Nueva Cancion: "El Lazo," | |
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| Bolivian K'antu | |
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| The Quichua of the Northern Andes of Ecuador | |
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| The Musical Tradition: Sanjuan | |
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| Sanjuan and Cotacachi Quichua Lifeways | |
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| Walking in Sanjuan: The Vital-Domain Metaphor | |
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| Two "Classic" Sanjuanes | |
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| The Andean Ensemble Phenomenon | |
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| Wawa Velorio | |
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| The Career Dilemma of Don Cesar Muquinche | |
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| Elsewhere in Ecuador | |
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| African-Ecuadorian Music of the Chota River Valley | |
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| Despedida, or Farewell | |
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| References Cited | |
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| Additional Reading | |
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| Additional Listening | |
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| Additional Viewing | |
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| Discovering and Documenting a World of Music | |
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| Music in Our Own Backyards | |
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| Family | |
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| Generation | |
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| Avocation | |
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| Religion | |
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| Ethnicity | |
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| Regionalism | |
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| Nationalism | |
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| Commercial Music | |
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| Doing Musical Ethnography | |
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| Selecting a Subject: Some Practical Suggestions | |
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| Collecting Information | |
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| Gaining Entry | |
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| Selecting a Topic | |
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| Library Research | |
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| Participation and Observation | |
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| Ethics | |
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| Field Equipment: Notebook, Tape Recorder, Camera | |
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| Interviewing | |
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| Other Means of Collecting Information | |
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| Finishing the Project | |
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| References Cited | |
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| Additional Reading | |
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| Index | |