Recorded Selections p. xi The Authors p. xvii Preface p. xxi The Music-Culture as a World of Music p. 1 The Music Culture p. 1 Affect, Performance, Community, and History: A Music-Culture Model p. 2 Components of a Music-Culture p. 7 Ideas about Music Social Organization of Music Repertories of Music Material Culture of Music Worlds of Music p. 13 References Cited p. 14 Additional Reading p. 15 North America/Native America p. 17 Three Different Styles p. 17 Sioux Grass Dance Zuni Lullaby Iroquois Quiver Dance Making a "Cowhorn" Rattle Music of the Navajo Indians p. 28 A Yeibichai Song from the Nightway Ceremony "Folsom Prison Blues" The Navajo Way of Life Traditional Popular Music The Circle Dance Song "Shizhane'e" The Enemyway Ceremony The "Classical" Music of the Navajos The Life Story of a Navajo Ceremonial Practitioner The Native American Church The Sun Dance Navajo Hymn Music New Composers in Traditional Modes Music with Newly Created Navajo Texts and Melodies New Navajo Music with English Texts and Orchestral Accompaniment The Native American Flute Revival References Cited p. 67 Additional Reading p. 69 Additional Listening p. 69 Major Sources for Recordings p. 70 Africa/Ewe, Mande, Dagbamba, Shona, BaAka p. 71
Questions p. 71 Postal Workers Canceling Stamps p. 72 Generalizations about African Music-Culture Musical Analysis: Toward participation Agbekor: Music and Dance of the Ewe People p. 78 The Ewe People Agbekor: History and Contemporary Performance A Performance Music of the Percussion Ensemble Songs Mande Jaliya: "Lambango" p. 101 Historical and Social Background Music-Culture Elements of Performance A Hearing of "Lambango" A Drummer of Dagbon p. 111 The Drums A Praise Name Dance Life Story: Abubakari Lunna Shona Mbira Music p. 118 Cultural Context The Mbira Thomas Mapfumo and Chimurenga Music BaAka Singing: "Makala" p. 129 Three Images of the Forest People "Makala," a Mabo Song Music-Culture As an Adaptive Resource Conclusion As Discussion p. 138 References Cited p. 139 Additional Reading p. 143 Additional Listening p. 143 North America/Black America p. 144 Music of Worship p. 144 Music of Work p. 154 Music of Play p. 161 Blues A Few Final Words p. 206 References Cited p. 207 Additional Reading p. 208 Additional Listening p. 209 Additional Viewing p. 210
Bosnia and Central/Southeast Europe: Musics and Musicians in Transition p. 211 Bosnia: From Tradition to Destruction p. 214 Music in a Muslim Highlander Village Music of Rural and Urban Lowlands Muslims Popular Music Styles: "Newly Composed Folk Music" and Rock Mensur Hatic: Versatile Musical Traveler Flory Jagoda: Keeper of the Sephardic Jewish Tradition of Bosnia Bulgaria and Hungary: Other Approaches to Musical Change p. 243 Bulgaria Hungary: Learning from Traditional Music Summary p. 249 References Cited p. 250 Additional Reading p. 250 Additional Listening p. 251 India/South India p. 252 The Environment--The Musician p. 252 The Setting Many Musics A Day in the Life of Ramachandra, A Musician of Madras Karnataka sangeeta, the Classical Music of South India p. 267 A Performance Segment: The Sound World p. 269 Instruments The Ensemble Sruti (the Drone) Raga (the Expressive Mode) Scale, Raga sankarabharanam Tala (the Time Cycle) Musical Structure: Improvisation Musical Structure: The Kriti p. 281 The Song Text Svara kalpana in the Performance The Drummer's Art An Ear Map Indian Music and the West p. 296 Instrument Building and Performance p. 299 Instrument Building Playing Technique Inventing a Raga p. 305 Scales Tones Phrases
Psychoacoustics References Cited p. 313 Commercial Recordings Cited p. 313 Classroom Resources p. 314 Additional Reading p. 314 Additional Listening p. 315 Asia/Indonesia p. 316 Central Java p. 318 Gamelan Gamelan Construction Gamelan Identity Gamelan Performance Contexts Gamelan Music: A Javanese Gendhing in Performance Irama Level Performing Your Own Gamelan Music A Javanese Gendhing in Soft-Playing Style Pathet Instrumental Playing in "Ladrang Wilujeng" Singing in "Ladrang Wilujeng" Biography of Ki Nartosabdho, a Gamelan Musician, Composer, and Puppeteer Gamelan Music and Shadow Puppetry Bali p. 352 North Sumatra p. 356 Indonesian Popular Music p. 359 References Cited p. 363 Additional Reading p. 364 Additional Listening p. 365 Additional Viewing p. 367 East Asia/Japan p. 369 Listening Habits of Contemporary Japanese p. 371 General Characteristics of Japanese Traditional Music p. 372 Pitch/Scales Timbre Melody/Harmony Rhythm Musical Form Shakuhachi p. 376 Koto p. 382 Kouta p. 384 Gidayu-bushi: Music of the Puppet Theater p. 391 Folk Song p. 397
Festival Music: Matsuri-bayashi p. 402 Popular Music p. 411 Historical Background Gunka Folk Song New Music Pops References Cited p. 424 Additional Reading p. 425 Additional Listening p. 426 Additional Viewing p. 427 Latin America/Ecuador p. 428 Venezuelan Joropo p. 429 Nueva Cancion: "El Lazo," p. 430 Bolivian K'antu p. 437 The Quichua of the Northern Andes of Ecuador p. 443 The Musical Tradition: Sanjuan p. 447 Sanjuan and Cotacachi Quichua Lifeways p. 457 Walking in Sanjuan: The Vital-Domain Metaphor p. 460 Two "Classic" Sanjuanes p. 462 The Andean Ensemble Phenomenon p. 466 Wawa Velorio p. 468 The Career Dilemma of Don Cesar Muquinche p. 475 Elsewhere in Ecuador p. 481 African-Ecuadorian Music of the Chota River Valley p. 483 Despedida, or Farewell p. 486 References Cited p. 487 Additional Reading p. 490 Additional Listening p. 492 Additional Viewing p. 493 Discovering and Documenting a World of Music p. 495 Music in Our Own Backyards p. 495 Family Generation Avocation Religion Ethnicity Regionalism Nationalism Commercial Music Doing Musical Ethnography p. 504
Selecting a Subject: Some Practical Suggestions p. 504 Collecting Information p. 506 Gaining Entry Selecting a Topic Library Research Participation and Observation Ethics Field Equipment: Notebook, Tape Recorder, Camera Interviewing Other Means of Collecting Information Finishing the Project p. 517 References Cited p. 518 Additional Reading p. 518 Index p. 521 Table of Contents provided by Blackwell's Book Services and R.R. Bowker. Used with permission.