| |
| |
| Foreword | |
| |
| |
| Preface | |
| |
| |
| CD Track List for the Accompanying Volume, Thinking Musically | |
| |
| |
| |
| |
| Cultures, Courses, and Classrooms | |
| |
| |
| Surround-Sound | |
| |
| |
| Those Who Can, Teach | |
| |
| |
| Learning Styles of the World's Musicians | |
| |
| |
| Learning Styles of Students in Classrooms | |
| |
| |
| Oral/Aural Techniques | |
| |
| |
| Curricular Infusions of the World's Musics | |
| |
| |
| Sample Course Schedules | |
| |
| |
| 20-Session School Unit on Music as a Global Phenomenon | |
| |
| |
| 30-Session All-Level Survey of "Big Cultures" | |
| |
| |
| Exploratory Middle School Music-Culture Modules | |
| |
| |
| Secondary School Ensemble Sessions | |
| |
| |
| Nonstandard Secondary School "Academic" Music Courses | |
| |
| |
| Nonstandard Secondary School Music Ensembles | |
| |
| |
| University World Music-Culture Courses | |
| |
| |
| Teacher Education Methods Courses | |
| |
| |
| World Music Pedagogy | |
| |
| |
| A Pathway Ahead | |
| |
| |
| Problems to Probe | |
| |
| |
| |
| A Sound Awareness of Music | |
| |
| |
| Discovering the Splendors of Sound | |
| |
| |
| Getting the Focus on Music and Culture | |
| |
| |
| Opening the Ear I: Rhythm and Instruments | |
| |
| |
| Opening the Ear II: Pitch and Form | |
| |
| |
| Local and Global Identities | |
| |
| |
| Problems to Probe | |
| |
| |
| |
| Learning through Attentive Listening | |
| |
| |
| "Listen-to-Learn" Phases | |
| |
| |
| Attentive Listening Experiences | |
| |
| |
| Listening from Near and Far | |
| |
| |
| Problems to Probe | |
| |
| |
| |
| Learning through Engaged Listening | |
| |
| |
| Participatory Consciousness | |
| |
| |
| Engaged Listening Experiences | |
| |
| |
| Engaging the Disengaged | |
| |
| |
| Problems to Probe | |
| |
| |
| |
| Performance as Enactive Listening | |
| |
| |
| Listening as "Means" and Method | |
| |
| |
| Enactive Listening Experiences I: Straight from the CD | |
| |
| |
| Enactive Listening Experiences II: In the Style of the CD | |
| |
| |
| The Enactive Act of Listening | |
| |
| |
| Problems to Probe | |
| |
| |
| |
| Creating "World Music" | |
| |
| |
| Creating, Re-creating, and Conserving | |
| |
| |
| Extending What's Already There | |
| |
| |
| Extending "Astiagbeko" | |
| |
| |
| Extending "All for Freedom" | |
| |
| |
| Extending "Music of the Kiembra Xylophone Orchestra" | |
| |
| |
| Full-Fledged Composing and Improvising | |
| |
| |
| Techniques for Creating "World Music" | |
| |
| |
| Music's Artistic Inspirations | |
| |
| |
| Worlds of Creative Music | |
| |
| |
| Problems to Probe | |
| |
| |
| |
| Music, Cultural Context, and Curricular Integration | |
| |
| |
| Music-as-Music | |
| |
| |
| Music-as-Culture | |
| |
| |
| Music in Context | |
| |
| |
| Music, Integrated | |
| |
| |
| Ethnomusicological Issues, Considered | |
| |
| |
| Global-Local Interests | |
| |
| |
| Acculturation | |
| |
| |
| Gender 1 | |
| |
| |
| Gender 2 | |
| |
| |
| Nationalism and Musical Identity | |
| |
| |
| Putting It All together | |
| |
| |
| Problems to Probe | |
| |
| |
| Resources | |
| |
| |
| Index | |