Performance Practice: Ethnomusicological PerspectivesGerard Béhague Gerard Behague presents five culture-, process-, and community-specific case studies of performance that challenge the assumption that contextual differences in performance and performance practice matter little in overall effect. Within the diverse performance contexts evaluated--Hindustani, Karantak, Mali, Berber, American, and Latin American music--the concept of performance practice as the integrated study of sound and context is self-evident although the nature of the empirical data gathered and the perspective and theorectical framework of each study varies significantly. |
Contents
Performance Practice in Indian Classical Music | 13 |
The Manding Contexts | 53 |
Berber Professional Musicians in Performance | 91 |
Copyright | |
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accompanist accompanying African agogô ahwash amarg Arabic artist astara audience axêxê barracão basic Bayard Berber bowing patterns Boyden British-American Burman-Hall candomblé cassette ceremony concert context creativity cult center cult leader cultural dancers dhrupad drone drum drummer eguns elements ensemble ethnomusicologist example fatha Fiddle Tunes fiddler Folk Music Folklore genre halqa Herskovits High Atlas Hindustānī idioms important improvisation initiates instrument Ishlhin jali jaliya jalolu Karnatak khyāl kora kumbengo l-adrub listeners malinké Manding Mandinka melody melody-producing Middle Atlas Moroccan Morocco mrdangam musical performance musicians naqus nyamalo occasion orixás patrons performance practice pitch playing popular radio rāgas raisat record region relationship religious repertory rhythm rhythmic ritual role rwais scordatura segments Seruba Shankar singer singing social Soldier's Joy solo soloist songs Southern Appalachian specific śruti strain strings structure tablā player tāla tashlhit tbil technique Thede Traditional Music urban usually Variant village violin violinist vocal Western Xangô Yoruba