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

The bestselling WORLDS OF MUSIC, now in its fifth edition, provides authoritative, accessible coverage of the world's music cultures. Based on the authors' fieldwork and expertise, this text presents in-depth explorations of several music cultures from around the world, with new chapters on China, Eastern Europe and the Arab world. The student-friendly, case-study approach and music-culture focus gives students a true sense of both the music and the culture that created it. Additionally, a high-quality 4-CD set (purchased separately) contains a variety of recordings from multiple sources, including the authors' own fieldwork, other ethnomusicologists' field research, and commercial releases. Front Cover......Page 1 Title Page......Page 2 Copyright......Page 3 Contents......Page 4 Recorded Selections......Page 9 Preface......Page 17 The Authors......Page 25 THE SOUNDSCAPE......Page 30 THE MUSIC-CULTURE......Page 31 WHAT IS MUSIC?......Page 33 Rhythm and Meter......Page 37 Melody......Page 39 Harmony......Page 41 Form......Page 42 A MUSIC-CULTURE PERFORMANCE MODEL......Page 43 Ideas About Music......Page 47 Activities Involving Music......Page 52 Repertories of Music......Page 55 Material Culture of Music......Page 58 ECOLOGICAL AND SUSTAINABLE WORLDS OF MUSIC......Page 59 Sioux Grass Dance......Page 62 Zuni Lullaby......Page 68 Making a “Cow-Horn” Rattle......Page 70 A Yeibichai Song from the Nightway Ceremony......Page 74 The Navajo Way of Life......Page 78 The Circle Dance Song “Shizhané’é”......Page 82 The Enemyway Ceremony......Page 85 The “Classical” Music of the Navajos......Page 88 The Life Story of a Navajo Ceremonial Practitioner......Page 91 The Native American Church......Page 97 The Water Drum......Page 100 Navajo Hymn Music......Page 101 New Composers in Traditional Modes......Page 104 New Navajo Music with English Texts and Orchestral Accompaniment......Page 106 THE NATIVE AMERICAN FLUTE REVIVAL......Page 109 3 Africa/Ewe, Mande, Dagbamba, Shona, BaAka......Page 112 POSTAL WORKERS CANCELING STAMPS......Page 113 Generalizations About African Music-Culture......Page 114 Musical Analysis: Toward Participation......Page 116 The Ewe People......Page 118 Agbekor: History and Contemporary Performance......Page 120 Music of the Percussion Ensemble......Page 125 Songs......Page 131 Historical and Social Background......Page 139 Music-Culture......Page 141 Elements of Performance......Page 142 A Hearing of “Lambango”......Page 144 A Praise Name Dance......Page 148 Life Story: Abubakari Lunna......Page 150 Cultural Context......Page 152 The Mbira......Page 153 “Nhemamusasa”......Page 156 Thomas Mapfumo and Chimurenga Music......Page 160 THE BAAKA PEOPLE SINGING “MAKALA”......Page 163 Three Images of the Forest People......Page 164 “Makala,” a Mabo Song......Page 165 Music-Culture as an Adaptive Resource......Page 171 CONCLUSION......Page 172 MUSIC OF WORSHIP......Page 174 MUSIC OF WORK......Page 185 MUSIC OF PLAY......Page 193 Blues and the Truth......Page 194 Response to the Lyrics of “Poor Boy Blues”......Page 195 Autobiography and the Blues......Page 198 Learning the Blues......Page 203 The Blues Scale......Page 205 Composing the Blues......Page 206 A Blues Song in the Making......Page 207 How to Make and Play a One-Stringed Diddly-Bow......Page 209 Social Context and the Meaning of the Blues......Page 214 The Blues Yesterday......Page 218 The Blues Today......Page 228 A FEW FINAL WORDS......Page 231 5 Europe/Central and Southeastern Regions......Page 234 SOCIAL AND POLITICAL ORGANIZATION......Page 239 Religion and Society......Page 240 Nationalism and Nation-States......Page 243 Rhythm and Meter......Page 244 Pitches, Scales, and Melody......Page 253 Harmony......Page 254 Summary......Page 258 CASE STUDY: PODHALE, POLISH TATRA REGION......Page 259 Genres of Muzyka Podhala......Page 261 Music for Dancing......Page 267 Life Story: Krzysztof Trebunia-Tutka......Page 275 European Village Music on Stage and in Your Neighborhood......Page 279 EUROPEAN REGIONAL MUSICS ON THE GLOBAL STAGE: THREE CASE STUDIES......Page 280 Muzyka Podhala and Reggae......Page 281 Balkanski Dzhaz (Balkan Jazz), Yuri Yunakov, and Ivo Papasov......Page 285 Riffing on Music from the “Southern Slavs”......Page 288 REINTERPRETING EUROPE......Page 291 6 India/South India......Page 294 The Indus Valley Civilization (C. 2500–C. 1700 B.C.E.)......Page 296 Kingdoms Through the Classic and Medieval Periods (500 B.C.E.–C. 1400 C.E.)......Page 297 The Moghuls (1527–C. 1867)......Page 298 The Period of British Colonization (1600s–1947)......Page 299 Independence and the Modern Period (1947–Present)......Page 300 Pop Music......Page 302 Religious Music......Page 305 CLASSICAL MUSIC......Page 306 The Sound World......Page 308 Concerts......Page 310 The Ensemble: Musical Texture......Page 311 The Melakarta System......Page 313 Tala: The Time Cycle......Page 315 The Drummer’s Art......Page 316 A CARNATIC MUSIC PERFORMANCE......Page 317 Alapana......Page 321 Kriti “Sarasiruha”......Page 322 Kalpana Svaras......Page 323 INDIAN MUSIC AND THE WEST......Page 324 7 Asia/Music of Indonesia......Page 328 CENTRAL JAVA......Page 330 Gamelan......Page 331 Gamelan Instrumentation......Page 332 Gamelan Performance Contexts......Page 337 Gamelan Music: A Javanese Gendhing in Performance......Page 341 Performing Your Own Gamelan Music......Page 350 Pathet......Page 351 A Close Examination of Ladrang “Wilujeng”......Page 353 Biography of Ki Nartosabdho—A Gamelan Musician, Composer, and Puppeteer......Page 359 Gamelan Music and Shadow Puppetry......Page 363 BALI......Page 367 NORTH SUMATRA......Page 370 Rhoma Irama, Dangdut......Page 374 Responses to Globalization......Page 376 8 East Asia/China, Taiwan, Singapore, Overseas Chinese......Page 382 A MUSICIAN BETWEEN TRADITIONAL AND MODERN WORLDS......Page 387 A CROSS-SECTION OF CHINESE MUSIC......Page 393 The Marriage Lament Tradition......Page 395 Lady Mengjiang......Page 396 Shan’ge (Songs of Agricultural Work, Flirting, and Courting)......Page 398 INSTRUMENTAL ENSEMBLE TRADITIONS......Page 403 Jiangnan Sizhu......Page 405 Beiguan......Page 408 Jingju (Beijing Opera)......Page 413 Suzhou Tanci (Suzhou Ballad Singing)......Page 419 Zither (Qin) Solos......Page 422 Erhu Solos......Page 428 Piano Solos......Page 430 RELIGIOUS TRADITIONS......Page 432 POPULAR MUSIC......Page 437 CHINESE MUSIC/WORLD MUSIC?......Page 443 9 Latin America/Chile, Bolivia, Ecuador, Peru......Page 444 Víctor Jara and Inti Illimani......Page 446 Violeta Parra......Page 450 The Front Lines of Social Change......Page 452 BOLIVIAN K’ANTU......Page 453 THE QUICHUA OF THE NORTHERN ANDES OF ECUADOR......Page 460 The Musical Tradition: Sanjuan......Page 462 A Classic Sanjuán......Page 468 African Ecuadorian Music of the Chota River Valley......Page 472 THE ANDEAN ENSEMBLE PHENOMENON: GOING ABROAD......Page 476 WAWA VELORIO......Page 482 THE CAREER DILEMMA OF DON CÉSAR MUQUINCHE......Page 488 AFRO-PERUVIAN MUSIC: A LANDÓ......Page 495 DESPEDIDA, OR FAREWELL......Page 499 10 The Arab World......Page 502 “ARABIA”......Page 503 The Performers and Their Instruments......Page 504 Musical Texture......Page 505 Rhythm......Page 506 Form, Melody, and Improvisation......Page 507 Tarab......Page 511 CATEGORIES AND TERMINOLOGY: MIDDLE EAST, ARAB WORLD, MUSLIM WORLD......Page 512 RELIGION AND MUSIC IN THE ARAB WORLD......Page 513 The Call to Prayer: Azan......Page 514 Music and Islam......Page 519 Musical Life in Medieval Mesopotamia......Page 520 Interview with Rahim Alhaj, Musician from Baghdad......Page 521 The Ottoman Empire and the Colonial Era......Page 528 Music Theory in the Colonial Era......Page 529 THE MAGHRIB......Page 531 The Andalusian Legacy......Page 532 Independent Morocco......Page 538 The Public Baths......Page 539 The Wedding Celebration......Page 540 The Zaffah Wedding Procession......Page 541 Wedding Traditions of the Eastern Mediterranean Arab World (the Levant)......Page 543 Sirat Bani Hilal......Page 545 Theory of Formulaic Composition......Page 546 Formulaic Composition and the Solo Taqasim......Page 552 HOMELAND AND DIASPORA: AN UNEXPECTED REACTION......Page 556 FROM DIASPORA TO GLOBALIZATION: OFRA HAZA AND WORLD BEAT......Page 558 CONCLUDING REMARKS......Page 559 MUSIC IN OUR OWN BACKYARDS......Page 562 Family......Page 563 Leisure......Page 564 Religion......Page 565 Ethnicity......Page 566 Regionalism......Page 568 Commodified Music......Page 569 Selecting a Subject: Some Practical Suggestions......Page 571 Participation and Observation......Page 574 Selecting a Topic......Page 575 Library and Internet Research......Page 578 Ethics......Page 580 Field Gear: Notebook, Recorder, Camera......Page 581 Interviewing......Page 583 Other Means of Collecting Information......Page 586 Finishing the Project......Page 587 References......Page 589 Credits......Page 618 Index......Page 620

New edition of a text that studies music as a way of life for people around the world. Rather than surveying all music, musicologists from leading universities discuss a small number of representative human groups. Through geographical and historical context, biography and autobiography, discussion of instruments, transcriptions, and song lyrics), they approach diverse kinds of music in order to help the listener understand and enjoy a variety of forms. The editor, Jeff Todd Titon (American studies, U. of Minnesota) is also one of the contributors.

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