| Introduction: The Little Man Who Wasn't There | p. 1 |
| The Theory: The Ecology of Music, Media, and Cultural Change | |
| Communication in a New Key | p. 17 |
| The Psychophysiological Dimension of Music in Ancient Thought | p. 22 |
| The Psychophysiological Dimension of Music in Modern Thought | p. 28 |
| The Electronic Vibration | p. 38 |
| In the Rear-View Mirror | p. 44 |
| In the Time Before Rhyme | p. 47 |
| Music as Technique and Technology | p. 50 |
| Technology as an Environment | p. 55 |
| Communication Environments as History | p. 62 |
| Mimetic Culture | p. 65 |
| In the Rear-View Mirror | p. 80 |
| And the Word Was Made in Flesh | p. 83 |
| Oral Culture | p. 86 |
| Chirographic or Writing a Culture | p. 102 |
| Print Culture | p. 109 |
| Printed Music and the Vox Populi | p. 127 |
| In the Rear-View Mirror | p. 133 |
| The Music Goes Electric | p. 137 |
| The Mechanical Era (1877-1925) | p. 140 |
| The Electromechanical Era (1925-1955) | p. 148 |
| The Electronic Era (1955-Present) | p. 157 |
| In the Rear-View Mirror | p. 179 |
| An Application: An Ethnography and Oral History of Musical Change in a Small Brazilian Town | |
| Abadiania: A Tale of Three Cities | |
| Abadiania: A Small Town in Brazil | p. 187 |
| Three Environments, One Town | p. 193 |
| Research Design | p. 196 |
| The Elders | p. 211 |
| The Oral Experience of Music | p. 212 |
| The Electromechanical Experience of Music | p. 238 |
| Middle-Aged Adults | p. 241 |
| The Oral Experience of Music | p. 242 |
| The Electromechanical Experience of Music | p. 267 |
| Young Adults | p. 279 |
| The Oral Experience of Music | p. 280 |
| The Electromechanical Experience of Music | p. 299 |
| The Youth | p. 315 |
| The Oral Experience of Music | p. 316 |
| The Electromechanical Experience of Music | p. 331 |
| Adeus Meu Sertao | p. 347 |
| The Oral Music Environment | p. 348 |
| The Transitional Music Environment | p. 357 |
| The Electromechanical Music Environment | p. 362 |
| In the Rear-View Mirror | p. 369 |
| The Last Exit | |
| The Silent Song | p. 375 |
| The Conceptualization and Experience of Musical Performance | p. 378 |
| Reportorial Stability | p. 383 |
| Participation and Involvement | p. 386 |
| Pedagogical Considerations | p. 390 |
| The Proxemics of Performance and Sound Recording | p. 394 |
| The Authenticity Debates | p. 396 |
| The Mythic Inversion | p. 406 |
| In the Rear-View Mirror | p. 407 |
| Glossary of Foreign Terms Used in Part Two | p. 411 |
| References | p. 417 |
| Author Index | p. 437 |
| Subject Index | p. 443 |
| Table of Contents provided by Rittenhouse. All Rights Reserved. |