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duced major changes in the worlds musics through
Concepts After 1950 ethnomusicology began to look
Responses The specific interaction of Western
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accompaniment Arapaho art music Asian audience Bruno Nettl Carnatic music Carnatic musicians central characteristic Choctaw Christian church compatible composed concert conservatory dastgah developed drum elements ethnic ethnomusicology Europe European gamelan genres Ghost Dance guitar improvisation Indian music indigenous innovation Iran Iranian music juju juju music kamancheh kinds of music Kroncong large ensembles Madras major melodies Middle Eastern Missa Luba modern musical style musical system national instrument North American Indian older traditions orchestra performance perhaps Persian classical music Persian music Peyote piano piece played popular music powwow preservation radif radio ragas record repertory result rhythmic role santour Shuar singers singing social context social dance societies songs sound South Indian struments Sun Dance symbol syncretic teaching Tehran tion tional tonic traditional music tribal tunes ture twentieth century urban variety Vaziri violin vocal Western culture Western harmony Western music Western notation Western-style Yoruba