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

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Cengage Learning, Feb 12, 2008 - Education - 640 pages
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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 (packaged with the book or purchased separately) contains a variety of recordings from multiple sources, including the authors' own fieldwork, other ethnomusicologists' field research, and commercial releases.
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Contents

The MusicCulture as a World of Music
1
North AmericaNative America
33
AfricaEwe Mande Dagbamba Shona BaAka
83
North AmericaBlack America
145
EuropeCentral and Southeastern Regions
205
IndiaSouth India
265
AsiaMusic of Indonesia
299
East AsiaChina Taiwan Singapore Overseas Chinese
353
Latin AmericaChile Bolivia Ecuador Peru
415
The Arab World
473
Discovering and Documenting a World of Music
533
References
560
Credits
589
Index
591
Copyright

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About the author (2008)

Jeff Todd Titon is Professor of Music, Emeritus, at Brown University, where he directed the Ph.D. program in ethnomusicology from 1986 to 2013. He received a Ph.D. in American Studies from the University of Minnesota, where he studied ethnomusicology with Alan Kagan, cultural anthropology with Pertti Pelto, and musicology with Johannes Riedel. 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. He has done ethnographic 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 at the 1970 Ann Arbor Blues Festival. He founded and directed an old-time, Appalachian, string-band ethnomusicology ensemble at Tufts (1981-1986) and then at Brown (1986-2013). He is the author or editor of eight books, including Early Downhome Blues, which won the ASCAP-Deems Taylor Award, Give Me This Mountain, Powerhouse for God, and the Oxford Handbook of Applied Ethnomusicology. A documentary photographer and filmmaker as well as author, he is considered a pioneer in applied ethnomusicology, phenomenological ethnography, and ecomusicology. His most recent research may be tracked on his blog at sustainablemusic.blogspot.com.

Timothy J. Cooley is Professor of Ethnomusicology at the University of California, Santa Barbara, where he teaches courses in Polish and American vernacular, and folk, and popular music, as well as music and sports, and music and tourism. He also is affiliated faculty with the university's Global and International Studies Program. He earned a Master's 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, was published in 2008. Cooley served as the editor of ETHNOMUSICOLOGY, the journal of the Society for Ethnomusicology. His most recent book, SURFING ABOUT MUSIC (2014) considers how surfers from around the world musically express their ideas about surfing and the surfing communities, and how surfing as a sport and lifestyle is represented in popular culture.

David Locke received a Ph.D. in ethnomusicology in 1978 from Wesleyan University, 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. He conducted doctoral dissertation fieldwork in Ghana from 1975 to 1977 under the supervision of Professor J. H. K. Nketia. In Ghana, his teachers and research associates included Godwin Agbeli, 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 in the Music Department of Tufts University, where he also serves as a faculty advisor to the Tufts-in-Ghana Foreign Study Program and member of the steering committee of the Africana Studies Program. His recent projects include an oral history and musical documentation of dance-drumming from the Dagbamba people, and an in-depth musical documentation of Agbadza, an idiom of Ewe music. He is active in the Society for Ethnomusicology and has served as the president of its Northeast Chapter. He founded the Agbekor Drum and Dance Society, a community-based performance group dedicated to the study of traditional Ghanaian music, and the Samanyanga Mbira Club, a community-based performance group dedicated to the study of Shona mbira music. Study of Akan traditional music-culture is Locke's most recent focus.

David P. McAllester received his 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 co-author 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 Professor of Music and Ethnomusicology and the Bickers Professor of Middle Eastern Studies at the College of William and Mary, where she also directs the Middle Eastern Music Ensemble. Her research interests include music of the Arab and Islamic world; music and multiculturalism in the United States; music patronage and politics; issues of orientalism, nationalism, and gender in music; fieldwork; music performance; and the ethnographic method. Rasmussen received a Ph.D. in ethnomusicology from the University of California, Los Angeles, where she studied with A. J. Racy, Timothy Rice, and Nazir Jairazbhoy. Gerard Béhague and Scott Marcus are also among her influential teachers. Rasmussen is author of Women, the Recited Qur'an, and Islamic Music in Indonesia (2010); coeditor with David Harnish of Divine Inspirations: Music and Islam in Indonesia (2011), coeditor with Kip Lornell of The Music of Multicultural America (1997, 2015); and editor of a special issue of the world of music on "The Music of Oman" (2012). She is the author of articles and book chapters in numerous publications and has produced four CD compact disc recordings. Winner of the Jaap Kunst Prize for best article in published in 2000, she also received the Merriam Prize honorable mention for her 2010 book from the Society for Ethnomusicology (SEM). Rasmussen has served that society twice as a board member and was elected SEM president in 2014.

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