Analytical Studies in World Music : includes CD: includes CD
Michael Tenzer Professor of Music University of British Columbia
Oxford University Press, USA, Apr 28, 2006 - Music - 456 pages
Combining the approaches of ethnomusicology and music theory, Analytical Studies in World Music offers fresh perspectives for thinking about how musical sounds are shaped, arranged, and composed by their diverse makers worldwide. Eleven inspired, insightful, and in-depth explanations of Iranian sung poetry, Javanese and Balinese gamelan music, Afro-Cuban drumming, flamenco, modern American chamber music, and a wealth of other genres create a border-erasing compendium of ingenious music analyses. Through description of contexts of performance and creation, and especially compositional and formal construction, each chapter proposes stimulating ways to hear, conceive, and imagine these repertoires. Selections on the companion CD are carefully matched with extensive transcriptions and illuminating diagrams in every chapter. Opening rich cross-cultural perspectives on music, this volume addresses the practical needs of students and scholars in the contemporary world of fusions, contact, borrowing, and curiosity about music everywhere.
SECTIONAL PERIODICITIES POETRY SONG RITUAL
Navai A Musical Genre of Northeastern Iran
How to Spin a Good Horo Melody Mode and Musicianship in the Composition of Bulgarian Dance Tunes
Flamenco in Focus An Analysis of a Performance of Soleares
An AfroCuban Bata Piece for Obatala King of the White Cloth
ISOPERIODICITY FROM STRICT TO DISCURSIVE WITH VARIATIONS
Aka Polyphony Music Theory Back and Forth
Flexing the Frame in Javanese Gamelan Music Playfulness in a Performance of Ladrang Pangkur
LINEAR COMPOSITION IN PERIODIC CONTEXTS
Yangs Eight Pieces Composing a Musical SetPiece in a Chinese Local Opera Tradition
Architectonic Composition in South Indian Classical Music The Navaragamalika Varnam
Mozart Piano Concerto No 17 in G Major K 453 Movement I
Autonomy and Dialog in Elliott Carters Enchanted Preludes
Oleg Tumulilingan Layers of Time and Melody in Balinese Music
akpwon analysis Arom Balinese basic batá batá drumming beat beginning cadence called Carnatic music CD track cello chachá chord clave compás composition concerto contour contrast copla core melody culture cycle dance diﬀerent drum eﬀect ensemble enú Ethnomusicology falseta ﬁfth ﬁguration ﬁgure ﬁnal ﬁnd ﬁrst ﬁve ﬂamenco ﬂute ﬂute’s gambang gamelan gendhing Georgi gong gongan guitar harmonic horo ichachalekefun improvisation instruments interval irama itótele iyá Javanese Kambhoji Kedaram kempul kenong kenongan kolyano Ladrang listeners main melody measure metallophones meter musicians notation notes octave oﬀ oﬀer okónkolo Oleg orisha otsvir pallavi Pangkur pattern performance phrase piece pitch played players polyphony raga reﬂect repertoire repetition rhythm rhythmic Santería scale-degree Simha Arom singer singing sléndro soleá soleares solo song speciﬁc Stoyan structure style sung svara syllables tempo tion tonal tone tonic toques tradition transcription tune Valachi variation varnam verse vocal Western Yang’s yinyang
Page 3 - ... unbearable to be condemned to lose the second infinity as well, the one so close, so nearly within reach. Tamina lost the infinity of her love, I lost my father, we all lose in whatever we do, because if it is perfection we are after, we must go to the heart of the matter, and we can never quite reach it. That the external infinity escapes us we accept with equanimity; the guilt over letting the second infinity escape follows . us to the grave. While pondering the infinity of the stars, we ignore...
Page 3 - ... compare it to a journey leading through the boundless reaches of the external world, on and on, farther and farther. Variations also constitute a journey, but not through the external world. You recall Pascal's pensee about how man lives between the abyss of the infinitely large and the infinitely small. The journey of the variation form leads to that second infinity, the infinity of internal variety concealed in all things.