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1 The Music-Culture as a World of Music |
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1 | (30) |
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2 | (1) |
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3 | (2) |
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5 | (3) |
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8 | (6) |
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9 | (1) |
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10 | (2) |
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12 | (1) |
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13 | (1) |
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A Music-Culture Performance Model |
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14 | (4) |
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The Four Components of a Music-Culture |
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18 | (10) |
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19 | (3) |
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Activities Involving Music |
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22 | (2) |
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24 | (3) |
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Material Culture of Music |
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27 | (1) |
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Ecological and Sustainable Worlds of Music |
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28 | (3) |
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2 North America/Native America |
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31 | (38) |
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33 | (14) |
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34 | (4) |
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38 | (5) |
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43 | (4) |
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47 | (13) |
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48 | (12) |
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Native American Popular Music |
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60 | (9) |
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3 Africa/Ewe, Dagbamba, Shona, BaAka |
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69 | (42) |
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Postal Workers Canceling Stamps |
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71 | (3) |
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Generalizations about African Music-Culture |
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72 | (2) |
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Agbekor: Music and Dance of the Ewe People |
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74 | (14) |
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74 | (2) |
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Agbekor: History and Contemporary Performance |
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76 | (5) |
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Music of the Percussion Ensemble |
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81 | (3) |
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84 | (4) |
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88 | (4) |
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88 | (1) |
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89 | (1) |
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Life Story: Abubakari Lunna |
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89 | (3) |
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92 | (7) |
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92 | (2) |
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94 | (1) |
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95 | (2) |
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Thomas Mapfumo and Chimurenga Music |
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97 | (2) |
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99 | (4) |
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The BaAka People Singing "Makala" |
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103 | (5) |
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Three Images of the Forest People |
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105 | (1) |
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106 | (1) |
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Music-Culture as an Adaptive Resource |
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107 | (1) |
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108 | (3) |
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4 North America/Black America |
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111 | (36) |
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113 | (4) |
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117 | (3) |
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120 | (1) |
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120 | (27) |
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121 | (1) |
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Response to the Lyrics of "Poor Boy Blues" |
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122 | (2) |
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Autobiography and the Blues |
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124 | (6) |
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130 | (1) |
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131 | (1) |
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131 | (1) |
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A Blues Song in the Making |
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132 | (2) |
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Social Context and the Meaning of the Blues |
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134 | (1) |
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135 | (4) |
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139 | (2) |
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Blues in the New Millennium |
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141 | (6) |
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5 Europe/Central and Southeastern Regions |
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147 | (34) |
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Social and Political Organization |
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148 | (5) |
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148 | (4) |
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Nationalism and Nation-States |
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152 | (1) |
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The Sounds of European Music |
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153 | (6) |
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153 | (2) |
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Pitches, Scales, and Melody |
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155 | (1) |
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155 | (3) |
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158 | (1) |
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Case Study: Podhale, Polish Tatra Region |
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159 | (13) |
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People and Music in Podhale |
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160 | (1) |
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161 | (6) |
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Life Story: Krzysztof Trebunia-Tutka |
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167 | (5) |
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European Regional Musics on the Global Stage: Two Case Studies |
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172 | (7) |
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Case Study 1 Muzyka Podhala and Reggae |
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173 | (2) |
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Case Study 2 Riffing on Music from the "Southern Slavs" |
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175 | (4) |
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179 | (2) |
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181 | (28) |
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History, Culture, and Music |
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183 | (4) |
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The Indus Valley Civilization (C. 2500--C. 1700 B.C.E.) |
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183 | (1) |
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The Aryans (C. 1700--C. 500 B.C.E.) |
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183 | (1) |
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Kingdoms through the Classic and Medieval Periods (500 B.C.E.--C. 1400 C.E.) |
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184 | (1) |
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The Mughals (1527--C. 1867 C.E.) |
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185 | (1) |
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The Period of British Colonization (1600S--1947) |
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186 | (1) |
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Independence and the Modern Period (1947--Present) |
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186 | (1) |
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187 | (1) |
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Religion and Music in South India |
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187 | (1) |
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188 | (3) |
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189 | (2) |
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191 | (13) |
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191 | (1) |
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The Ensemble: Musical Texture |
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191 | (2) |
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193 | (1) |
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194 | (1) |
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A Carnatic Music Performance |
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195 | (6) |
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201 | (3) |
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Indian Music and the West |
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204 | (5) |
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209 | (34) |
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211 | (15) |
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212 | (4) |
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216 | (1) |
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216 | (1) |
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Gamelan Performance Contexts |
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217 | (3) |
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Gamelan Music: A Javanese Gendhing in Performance |
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220 | (4) |
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224 | (1) |
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Gamelan Music and Shadow Puppetry |
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224 | (2) |
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226 | (3) |
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229 | (3) |
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232 | (11) |
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233 | (3) |
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Responses to Globalization |
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236 | (7) |
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8 Asia/China, Taiwan, Singapore, Overseas Chinese |
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243 | (34) |
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A Cross Section of Chinese Music |
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248 | (2) |
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250 | (4) |
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Shan'ge (Songs of Agricultural Work, Flirting, and Courting) |
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250 | (4) |
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Instrumental Ensemble Traditions |
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254 | (7) |
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256 | (2) |
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258 | (3) |
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261 | (3) |
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261 | (3) |
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Solo Instrumental Traditions |
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264 | (5) |
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265 | (3) |
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268 | (1) |
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269 | (2) |
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271 | (4) |
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Chinese Music/World Music? |
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275 | (2) |
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9 South America/Chile, Bolivia, Ecuador, Peru |
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277 | (34) |
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279 | (4) |
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Victor Jara and Inti-Illimani |
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280 | (3) |
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283 | (4) |
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The Quichua of the Northern Andes of Ecuador |
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287 | (14) |
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The Musical Tradition: Sanjuan |
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289 | (5) |
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294 | (3) |
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African Ecuadorian Music of the Chota River Valley |
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297 | (4) |
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The Andean Ensemble Phenomenon: Going Abroad |
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301 | (5) |
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302 | (2) |
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304 | (2) |
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Afro-Peruvian Music: A Lando |
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306 | (5) |
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310 | (1) |
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311 | (38) |
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312 | (2) |
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314 | (5) |
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The Performers and Their Instruments |
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314 | (1) |
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315 | (1) |
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316 | (1) |
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Form, Melody, and Improvisation |
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316 | (2) |
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318 | (1) |
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Religion and Music in the Arab World |
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319 | (3) |
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The "Call to Prayer": Azan |
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319 | (2) |
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321 | (1) |
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Music in History/Music as History |
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322 | (6) |
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Musical Life in Medieval Mesopotamia |
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322 | (1) |
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Interview with Rahim Alhaj, Musician from Baghdad |
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323 | (4) |
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The Ottoman Empire and the Colonial Era |
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327 | (1) |
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328 | (2) |
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329 | (1) |
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The Music of Celebration: Communal Music Making at a Wedding in Morocco |
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330 | (13) |
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330 | (1) |
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331 | (1) |
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The Zaffa Wedding Procession |
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332 | (2) |
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Wedding Traditions of the Eastern Mediterranean Arab World (The Levant) |
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334 | (2) |
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Musical Biodiversity in the City of Salalah, Sultanate of Oman |
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336 | (7) |
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Homeland and Diaspora: An Unexpected Reaction |
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343 | (2) |
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From Diaspora to Globalization: Ofra Haza and World Beat |
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345 | (2) |
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347 | (2) |
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11 Discovering and Documenting a World of Music |
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349 | (26) |
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Music in Our Own Backyards |
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350 | (7) |
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350 | (1) |
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351 | (1) |
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352 | (1) |
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353 | (1) |
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353 | (1) |
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354 | (2) |
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356 | (1) |
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Doing Musical Ethnography |
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357 | (18) |
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Selecting a Subject: Some Practical Suggestions |
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358 | (2) |
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360 | (1) |
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360 | (1) |
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Participation and Observation |
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361 | (1) |
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362 | (3) |
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Library and Internet Research |
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365 | (2) |
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367 | (1) |
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Field Gear: Notebook, Recorder, Camera |
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368 | (2) |
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370 | (3) |
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Other Means of Collecting Information |
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373 | (1) |
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373 | (2) |
Glossary |
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375 | (6) |
References |
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381 | (16) |
Credits |
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397 | (2) |
Index |
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399 | |