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

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 throughout as points of departure for discussion. Student music-making projects-singing, building and playing instruments-greatly increase music appreciation and allow students to experience firsthand what it's like to be an ethnomusicologist puzzling out unfamiliar music. This text seeks to provide as much pleasure as knowledge, fostering lifelong curiosity and a desire to experience and appreciate music in all its forms.
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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 Selectionsp. viii
Prefacep. xii
The Authorsp. xvi
The Music-Culture as a World of Musicp. 1
The Soundscapep. 1
The Music-Culturep. 2
Music or Nonmusic?p. 5
Structure in Musicp. 9
Rhythm and Meterp. 9
Melodyp. 10
Harmonyp. 13
Formp. 14
A Music-Culture Model: Affect, Performance, Community, and Historyp. 15
The Four Components of a Music-Culturep. 19
Ideas About Musicp. 19
Activities Involving Musicp. 24
Repertories of Musicp. 26
Material Culture of Musicp. 28
Ecological Worlds of Musicp. 30
Referencesp. 32
Additional Readingp. 32
North America/Native Americap. 35
Three Different Stylesp. 35
Sioux Grass Dancep. 35
Zuni Lullabyp. 40
Iroquois Quiver Dancep. 42
Making a "Cowhorn" Rattlep. 44
Music of the Navajosp. 46
A Yeibichai Song from the Nightway Ceremonyp. 46
"Folsom Prison Blues"p. 49
The Navajo Way of Lifep. 50
Traditional Popular Musicp. 54
The Circle Dance Song "Shizhane'e"p. 54
The Enemyway Ceremonyp. 56
The "Classical" Music of the Navajosp. 60
The Life Story of a Navajo Ceremonial Practitionerp. 64
The Native American Churchp. 71
The Water Drump. 74
The Sun Dancep. 76
Navajo Hymn Musicp. 76
New Composers in Traditional Modesp. 77
Music with Newly Created Navajo Texts and Melodiesp. 79
New Navajo Music with English Texts and Orchestral Accompanimentp. 79
The Native American Flute Revivalp. 80
Referencesp. 82
Additional Readingp. 83
Additional Listeningp. 84
Major Sources for Recordingsp. 85
Africa/Ewe, Mande, Dagbamba, Shona, BaAkap. 87
Postal Workers Canceling Stampsp. 89
Generalizations About African Music-Culturep. 90
Musical Analysis: Toward Participationp. 92
Agbekor: Music and Dance of the Ewe Peoplep. 94
The Ewe Peoplep. 94
Agbekor: History and Contemporary Performancep. 96
A Performancep. 100
Music of the Percussion Ensemblep. 101
Songsp. 107
Mande Jaliya: "Lambango"p. 113
Historical and Social Backgroundp. 114
Music-Culturep. 115
Elements of Performancep. 117
A Hearing of "Lambango"p. 119
A Drummer of Dagbonp. 122
The Drumsp. 122
A Praise Name Dancep. 123
Life Story: Abubakari Lunnap. 124
Shona Mbira Musicp. 127
Cultural Contextp. 127
The Mbirap. 128
"Nhemamusasa"p. 131
Thomas Mapfumo and Chimurenga Musicp. 135
The BaAka People Singing: "Makala"p. 137
Three Images of the Forest Peoplep. 138
"Makala," a Mabo Songp. 139
Music-Culture as an Adaptive Resourcep. 142
Conclusion as Discussionp. 145
Referencesp. 147
Additional Readingp. 149
Additional Listeningp. 149
North America/Black Americap. 151
Music of Worshipp. 151
Music of Workp. 162
Music of Playp. 168
Bluesp. 169
Blues and the Truthp. 170
Response to the Lyrics of "Poor Boy Blues"p. 172
Autobiography and the Bluesp. 174
Learning the Bluesp. 180
The Blues Scalep. 182
Composing the Bluesp. 183
A Blues Song in the Makingp. 184
How to Make and Play a One-Stringed Diddly-Bowp. 187
Social Context and the Meaning of the Bluesp. 192
The Blues Yesterdayp. 196
The Blues Todayp. 202
A Few Final Wordsp. 206
Referencesp. 207
Additional Readingp. 208
Additional Listeningp. 208
Viewingp. 209
Bosnia and Central/Southeastern Europe: Music and Musicians in Transitionp. 211
Bosnia: From Tradition to Destructionp. 214
Music in a Muslim Highlander Villagep. 215
Music of Rural and Urban Lowlands Muslimsp. 221
Popular Music Styles: "Newly Composed Folk Music" and Rockp. 225
Mensur Hatic: Versatile Musical Travelerp. 228
Flory Jagoda: Keeper of the Sephardic Jewish Tradition of Bosniap. 230
Update: Bosnia, 2001p. 232
Bulgaria: Another Approach to Musical Changep. 236
Summaryp. 239
Referencesp. 240
Additional Readingp. 240
Additional Listeningp. 241
India/South Indiap. 243
The Environment of Indian Musicsp. 247
History, Culture, Politicsp. 247
Many Musicsp. 249
Karnataka Sangeeta, the Classical Music of South Indiap. 255
The Sound Worldp. 257
The Ensemble: Musical Texturep. 259
Raga: The Melodic Systemp. 261
Tala: The Time Cyclep. 264
The Drummer's Artp. 265
A Carnatic Music Performancep. 267
Alapanap. 269
Tanamp. 270
Kriti "Sarasiruha"p. 270
Kalpana Svarasp. 272
The Drum Solo: Tani Avartanamp. 272
Indian Music and the Westp. 273
Referencesp. 275
Additional Reading and Viewingp. 275
Additional Listeningp. 275
Major Sources for Recordingsp. 277
Asia/Judouesiap. 279
Central Javap. 281
Gamelanp. 282
Gamelan Constructionp. 287
Gamelan Identityp. 288
Gamelan Performance Contextsp. 289
Gamelan Music: A Javanese Gendhing in Performancep. 291
Irama Levelp. 298
Performing Your Own Gamelan Musicp. 299
A Javanese Gendhing in Soft-Playing Stylep. 299
Pathetp. 300
A Close Examination of "Ladrang Wilujeng"p. 302
Biography of Ki Nartosabdho, a Gamelan Musician, Composer, and Puppeteerp. 307
Gamelan Music and Shadow Puppetryp. 312
Balip. 314
North Sumatrap. 316
Indonesian Popular Musicp. 319
Rhoma Irama, Dangdutp. 319
Responses to Globalizationp. 321
Referencesp. 326
Additional Readingp. 326
Additional Listeningp. 327
Viewingp. 329
East Asia/Japanp. 331
Listening Habits of Contemporary Japanesep. 333
General Characteristics of Japanese Traditional Musicp. 334
Pitch and Scalesp. 334
Timbrep. 335
Melody and Harmonyp. 336
Rhythmp. 336
Musical Formp. 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 Techniquep. 364
Biography of Ueno Mitsuyukip. 366
Popular Musicp. 369
Historical Backgroundp. 370
Karaokep. 374
Gunkap. 380
Folk Songp. 380
New Musicp. 380
Popsp. 380
Final Wordsp. 381
Referencesp. 382
Additional Readingp. 383
Additional Listeningp. 383
Viewingp. 384
Latin America/Ecuadorp. 385
The Venezuelan Joropop. 387
Chilean Nueva Cancionp. 388
Victor Jarap. 388
Violeta Parrap. 392
The Front Lines of Social Changep. 393
Bolivian K'antup. 395
The Quichua of the Northern Andes of Ecuadorp. 400
The Musical Tradition: Sanjuanp. 403
Sanjuan and Cotacachi Quichua Lifewaysp. 412
Walking in Sanjuan: The Vital-Domain Metaphorp. 415
Two Classic Sanjuanesp. 417
The Andean Ensemble Phenomenonp. 420
Wawa Veloriop. 426
The Career Dilemma of Don Cesar Muquinchep. 432
African-Ecuadorian Music of the Chota River Valleyp. 438
Despedida, or Farewellp. 440
Referencesp. 441
Additional Readingp. 443
Additional Listeningp. 445
Viewingp. 446
Discovering and Documenting a World of Musicp. 447
Music in Our Own Backyardsp. 447
Familyp. 449
Generationp. 450
Avocationp. 451
Religionp. 451
Ethnicityp. 452
Regionalismp. 454
Nationalismp. 454
Commercial Musicp. 455
Doing Musical Ethnographyp. 457
Selecting a Subject: Some Practical Suggestionsp. 457
Collecting Informationp. 459
Finishing the Projectp. 473
Referencesp. 474
Additional Readingp. 474
Creditsp. 475
Indexp. 477
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