Synopses & Reviews
No background or training in music? No problem. This shorter version of WORLDS OF MUSIC: AN INTRODUCTION TO THE MUSIC OF THE WORLD'S PEOPLES is written to make music accessible. Using the case-study approach, the text presents in-depth explorations of music of several cultures from around the world. The authors all ethnomusicologists working in their fields of expertise base their discussions of music-cultures on their own fieldwork and give you a true sense of both the music and culture that created it. The supplementary 3 CD set works hand in hand with the authors' prose providing students with access to a wide range of music-cultures and include authentic recordings from the authors' fieldwork. Leading off is the long-standing jewel in the Worlds of Music crown ? James Koetting's magnificent recording of postal workers canceling stamps at the University of Ghana post office. A Western-sounding hymn tune performed against African rhythms, this piece, more that any other, lets you hear contrasting music-cultures.
Intended for courses in World Music/Ethnomusicology, an introductory course for non-music majors at four-year colleges and universities, as well as community colleges. Appropriate for students with no formal musical background and instructors with little or no formal training in ethnomusicology. [Instructors of music majors and students with some formal musical training may want to adopt the WORLDS OF MUSIC, 5th Edition (2009-comprehensive version).] This new shorter version particularly targets the music appreciation instructor who wants to take a world music approach or the world music instructor who wants to take an appreciation approach.
About the Author
Jeff Todd Titon received his Ph.D. in American Studies from the University of Minnesota, where he studied ethnomusicology with Alan Kagan and musicology with Johannes Riedel. He has completed fieldwork in North America on religious folk music, blues music and old-time fiddling with support from the National Endowment for the Arts and the National Endowment for the Humanities. For two years he was the guitarist in the Lazy Bill Lucas Blues Band, a group that appeared in the 1970 Ann Arbor Blues Festival. The author or editor of seven books, including EARLY DOWNHOME BLUES (which won the ASCAP-Deems Taylor Award) and the five-volume AMERICAN MUSICAL TRADITIONS (named by Library Journal as one of the outstanding reference works of 2003), Titon is also a documentary photographer and filmmaker. In 1991, he wrote a hypertext multimedia computer program about old-time fiddler Clyde Davenport that is regarded as a model for interactive representations of people making music. He founded the ethnomusicology program at Tufts University, where he taught from 1971 to 1986. From 1990 to 1995, he served as the editor of ETHNOMUSICOLOGY, the journal of the Society for Ethnomusicology. A Fellow of the American Folklore Society since 1986, he has been Professor of Music and the director of the Ph.D. program in ethnomusicology at Brown University. Timothy J. Cooley is Associate Professor of Ethnomusicology at the University of California, Santa Barbara, where he teaches courses in Polish and American vernacular, and folk and popular music. He also is affiliated faculty with the university's Global and International Studies Program. He earned a masters degree in Music History at Northwestern University, and received his Ph.D in Ethnomusicology at Brown University, where he studied with Jeff Todd Titon. His book, MAKING MUSIC IN THE POLISH TATRAS: TOURISTS, ETHNOGRAPHERS, AND MOUNTAIN MUSICIANS, won the 2006 Orbis Prize for Polish Studies, awarded by the American Association for the Advancement of Slavic Studies. He enjoys playing Polish mountain fiddle music, American old-time banjo, and singing in choirs. A revised second edition of his book SHADOWS IN THE FIELD: NEW PERSPECTIVES FOR FIELDWORK IN ETHNOMUSICOLOGY, edited with Gregory F. Barz, is being prepared for publication in 2008. Cooley is the editor of Ethnomusicology, the journal of the Society for Ethnomusicology, and serves as the Society's Southern California Chapter president. His recent research considers how surfers, especially in California, musically express their ideas about surfing and the surfing community, and how surfing as a sport and lifestyle is represented in popular culture. David Locke received the Ph.D. in ethnomusicology from Wesleyan University in 1978, where he studied with David McAllester, Mark Slobin, and Gen'ichi Tsuge. At Wesleyan his teachers of traditional African music included Abraham Adzinyah and Freeman Donkor. From 1975 to 1977, he conducted doctoral dissertation fieldwork in Ghana under the supervision of Professor J.H.K. Nketia. In Ghana his teachers and research associates included Godwin Agbeli, Midawo Gideon Foli Alorwoyie, and Abubakari Lunna. He has published numerous books and articles on African music and regularly performs the repertories of music and dance about which he writes. He teaches at Tufts University, where he currently serves as the director of the master's degree program in ethnomusicology and as a faculty advisor in the Tufts-in-Ghana Foreign Study Program. His current projects include an oral history and musical documentation of dance-drumming of the Dagbamba people and an in-depth musical documentation of Agbadza, an idiom of Ewe music, in collaboration with Professor Gideon Foli Alorwoyie. He is active in the Society for Ethnomusicology and has served as the president of its Northeast Chapter. David P. McAllester received the Ph.D. in anthropology from Columbia University, where he studied with George Herzog. A student of American Indian music since 1938, he undertook fieldwork among the Comanches, Hopis, Apaches, Navajos, Penobscots, and Passamaquoddies. He was the author of such classic works in ethnomusicology as Peyote Music, Enemy Way Music, Myth of the Great Star Chant, and Navajo Blessingway Singer (with coauthor Charlotte Frisbie). He was one of the founders of the Society for Ethnomusicology, and he served as its president and the editor of its journal, Ethnomusicology. Professor Emeritus of Anthropology and Music at Wesleyan University, he passed away in 2006. Anne K. Rasmussen is Associate Professor of Ethnomusicology at the College of William and Mary, where she also directs a Middle Eastern Music Ensemble. She received her Ph.D. in ethnomusicology from the University of California where she studied with A. J. Racy, Timothy Rice, and Nazir Jairazbhoy. Gerard Behague and Scott Marcus also are among her influential teachers. Her first area of research is Arab music and culture in diaspora enclaves of North America, and her current project, based on two years of ethnographic research in Indonesia, concerns Islamic ritual and performance. Her book, WOMEN'S VOICES, THE RECITED QUR'ÂN, AND ISLAMIC MUSICAL ARTS IN INDONESIA, is forthcoming with University of California Press, and she is the contributing co-editor of MUSICS OF MULTICULTURAL AMERICA (Schirmer, 1997). Professor Rasmussen has written articles appearing in ETHNOMUSICOLOGY, ASIAN MUSIC, POPULAR MUSIC, AMERICAN MUSIC, THE WORLD OF MUSIC, THE GARLAND ENCYCLOPEDIA OF WORLD MUSIC, and the HARVARD DICTIONARY OF MUSIC; she also has produced four CD recordings documenting immigrant and community music in the United States. She is a former Fulbright senior scholar, served as the First Vice President of the Society for Ethnomusicology, and received the Phi Beta Kappa Award for Excellence in Teaching, as well as the Jaap Kunst Prize for the best article published annually in the field of ethnomusicology.
Table of Contents
1. Music Culture as a World of Music (by Jeff Todd Titon and Mark Slobin). The Soundscape. The Music-Culture. Music or Nonmusic?. Patterns in Music. A Music-Culture Performance Model. The Four Components of a Music-Culture. Ecological Worlds of Music. Study Questions. Glossary. Resources. 2. North America/Native America (by David P. McAllestair). The Sioux Musical Style (Close Listening: Grass Dance, Traditional Sioux War Dance The Zuni Musical Style; Close Listening: Zuni Lullaby). The Iroquois Musical Style (Close Listening: "Gadasjot," Quiver Dance or Warrior's Stomp Dance Song). Musical Life of the Navajos (Close Listening: Yebichai, Navajo Dance Song; Close Listening: "Folsom Prison Blues"; Close Listening: "Shizhane'e," Navajo Circle Dance Song; Close Listening: Hymn of the Native American Church; Close Listening: "Clinging to a Saving Hand," Traditional Christian Hymn). The Native American Flute Revival. Study Questions.Glossary. Resources. 3. Africa: Ewe, Mande, Dagbamba, Shona, BaAka (by David Locke). Postal Workers Canceling Stamps (Close Listening: Postal Workers Canceling Stamps at the University of Ghana Post Office). Agbekor: Music and Dance of the Ewe People (Close Listening: Agbekor Vulolo; Close Listening: Agbekor Adzo; Close Listening: Agbekor Vutsotsoe; Close Listening: Performance Demonstration of an Agbekor Percussion Ensemble). The Jaliya of the Mande (Close Listening: "Lambango," a Mande Song). Drummers of the Dagbamba (Close Listening: "Nag Biegu," Traditional Praise Name Dance Song). Shona Mbira Music (Close Listening: "Nhemamusasa," Traditional Shona). The BaAka, Forest People (Close Listening: "Makala," a Mabo Performance Event). Conclusion as Discussion. Study Questions. Glossary. Resources. 4. North America/Black America (by Jeff Todd Titon). Music of Worship (Close Listening: "Amazing Grace"). Music of Work (Close Listening: Field holler; Close Listening: "Rosie" (call and response excerpt); Close Listening: "Rosie"). Music of Play. Blues (Close Listening: "Poor Boy Blues"; Close Listening: "She Got Me Walkin'"; Close Listening: "Ain't Enough Comin' In"). A Few Final Words. Study Questions. Glossary. Resources . 5. East Asia/Japan (by Linda Fujie). General Characteristics of Japanese Traditional Music. The Shakuhachi (Bamboo Flute) (Close Listening: "Tsuru no sugomori" ("Nesting Cranes")). The Kouta (Short Song) and Shamisen (Lute) (Close Listening: "Hakusen no" ("A White Fan")). Folk Song (Close Listening: "Nikata-bushi" ("The Song of the Nikata")). Popular Music (Close Listening: Taiko (Drumming); Close Listening: "Naite Nagasaki" ("Crying Nagasaki")). Final Words. Study Questions. Glossary. Resources . 6. India/South India (by David B. Reck). Culture, History, Politics. The Classical Music of South India. A Carnatic Music Performance (Close Listening: "Sarasiruha," Kriti in Natai raga, Adi tala). Indian Music and the West. Study Questions. Glossary. Resources. 7. Asia/Indonesia (by R. Anderson Sutton). Central Java. Gamelan (Close Listening: Performance Demonstration of a Javanese Gendhing, "Bubaran Kembang Pacar"; Close Listening: Playon "Lasem" slendro pathet nem, Central Javanese Gamelan Music for Shadow Puppetry). Bali (Close Listening: "Kosalia Arinim," Gamelan Gong Kebyar). Popular Music (Close Listening: "Shufflendang-Shufflending," Ethno-Jazz Fusion of West Java). Conclusion. Study Questions. Glossary. Resources. 8. Latin America: Chile/Bolivia/Ecuador/Peru (by John M. Schechter). Chilean Nueva Cancion (Close Listening: "El aparecido" ("The Apparition")). Bolivian K'antu (Close Listening: "Kuitimunapaq" ("So that we can return")). The Quichua of the Northern Andes of Ecuador (Close Listening: "Muyu muyari warmigu" ("Please return, dear woman"), a Quichua Sanju?n; Close Listening: "Iluman tiyu" ("Man from Iluman"), a Classic Sanju?n of the Imbabura Quichua). African-Ecuadorian Music of the Chota River Valley (Close Listening: "Me gusta la leche" ("I like milk"), an African-Ecuadorian Sanju?n). The Andean Ensemble Phenomenon: Going Abroad (Close Listening: "Amor imposible" ("Impossible Love"), Traditional Peruvian wayno). Afro-Peruvian Music (Close Listening: "Azucar de bana" ("Sugar Cane"), an Afro-Peruvian Lando Despedida, or Farewell). Study Questions. Glossary. Resources. 9. Discovering and Documenting a World of Music (by Jeff Todd Titon and David B. Reck). Music in Our Own Backyards. Doing Musical Ethnography. References. Index.