PA R T IChapter 1 What, in the World, Is Music? 1
A Point of Departure: Five Propositionsfor Exploring World Music 2
Proposition 1: The Basic Property of All Music Is Sound 2
Proposition 2: The Sounds (and Silences) That Comprisea Musical Work Are Organized in Some Way 3
Proposition 3: Sounds Are Organized into Music by People;Thus, Music Is a Form of Humanly Organized Sound 4
Proposition 4: Music Is a Product of Human Intentionand Perception 4
Proposition 5: The Term Music Is Inescapably Tiedto Western Culture and Its Assumptions 6
Summary 6
Key Terms 7
Study Questions 7
Discussion Questions 7
Applying What You Have Learned 7
Resources for Further Study 7
Chapter 2 How Music Lives: A Musicultural Approach 9
Culture in Music 10
Meaning in Music 11
Identity in Music 11
Societies 13
Cultures 15
Nations and Nation-States 16
Diasporas and Other Transnational Communities 17
The Individual in Music 18
Spirituality and Transcendence in Music 20
Music and Dance 21
Music in Ritual 22
Music as Commodity and the Patronage of Music 23
The Transmission of Music and Musical Knowledge 25
Production and Reception 25
Music Creation Processes 26
Music in the Process of Tradition 27
Summary 29
Key Terms 29
Study Questions 29
Discussion Questions 30
Applying What You Have Learned 30
Resources for Further Study 30
Chapter 3 How Music Works, Part I: Rhythm 31
The Four Basic Properties of Tones 32
Rhythm 32
Beat 34
Subdivision 34
Meter 35
Accent and Syncopation 39
Tempo 39
Free Rhythm 40
Summary 40
Key Terms 40
Study Questions 41
Applying What You Have Learned 41
Resources for Further Study 41
Chapter 4 How Music Works, Part II: Pitch 43
Pitch and Melody 44
Pitch and Melody in "Mary Had a Little Lamb" and a NativeAmerican Eagle Dance Song 44
Names of Pitches in Western Music 44
The Western Pitch System and the Octave 46
Common Scales in Western Music: Major, Pentatonic,Minor, and Blues 48
Modulation: Moving from One Scale and Key to Another 50
Pitch and Scales in Non-Western Musical Systems 51
Pitch, Chords, and Harmony 53
Single Chord-Based Music and Music with Chord Progressions 53
Harmonization of Melodies 53
Arpeggios (Broken Chords) 53
Other Chords, Other Harmonies 54
Summary 54
Key Terms 55
Study Questions 55
Applying What You Have Learned 55
Resources for Further Study 55
Chapter 5 How Music Works, Part III: Dynamics, Timbre,and Instruments 57
Dynamics 58
Timbre 59
Music Instruments 62
Music Instrument Classification 63
Summary 73
Key Terms 73
Study Questions 74
Applying What You Have Learned 74
Resources for Further Study 74
Chapter 6 How Music Works, Part IV: Texture and Form 75
Single-Line Textures 76
Multiple-Part Textures 76
Form: The Designs of Musical Works 79
Repetition and Patterning 79
Forms with Contrasting Sections 82
Summary 84
Key Terms 84
Study Questions 85
Applying What You Have Learned 85
Resources for Further Study 85
PART 2Chapter 7 Interlocking Rhythms and Interlocking Worldsin Balinese Gamelan Music 87
Introduction 90
Balinese Gamelan Music in Context 90
Bali and the Republic of Indonesia 90
Religion in Bali and Indonesia 91
Gamelan in Bali and Beyond 92
The Gamelan Beleganjur: An Introduction 95
Kilitan Telu Interlocking Rhythms: A Musical Symbolof Communal Interdependence 95
Musical Guided Tour: The Gamelan Beleganjur 96
Balinese Kecak and the Kilitan Telu 97
Experiencing Balinese Interlocking, Kecak-Style 98
The Gamelan Beleganjur in Battles of Good versus Evil 99
Beleganjur Music in Hindu-Balinese Cremation Processions 99
Guided Listening Experience: Beleganjur Music Performedduring a Balinese Cremation Procession 101
Crossroads Battles and a Musical Ladder to the Upper World 102
Walking Warriors: Worldly Battlegrounds of BeleganjurMusic 103
Lomba Beleganjur: The Modern Beleganjur Contest 104
Kreasi Beleganjur: The Contest Musical Style 105
Tradition and Innovation in Kreasi Beleganjur:An Elusive Balance 106
Achieving the Elusive Balance: The Kreasi Beleganjur Musicof I Ketut Suandita 108
Guided Listening Experience: "Wira Ghorava Cakti '95"(Kreasi Beleganjur), by I Ketut Suandita 109
Crossing International Borders 110
Guided Listening Experience: "B.A.Ph.PET," by Michael Bakan 111
Summary 114
Key Terms 114
Study Questions 114
Discussion Questions 115
Applying What You Have Learned 115
Resources for Further Study 115
Chapter 8 Raga, Ravi Shankar, and Intercultural Crossingsin Indian Music 117
Indian Music in Context 120
Musical Diversity and Two Great Traditions 123
The Hindustani Raga of Northern India 125
Ravi Shankar and the Maihar Gharana 126
"An Introduction to Indian Music," by Ravi Shankar 127
The Sitar-Tambura-Tabla Trio: Instruments and Texture 128
Musical Guided Tour: "An Introduction to Indian Music" 128
Raga Defined 132
Tala: Meter and Rhythm in Raga Performance 132
How a Raga "Grows" 133
Form in Raga Performance 134
Keeping Tal with Ravi Shankar 135
Guided Listening Experience: "Raga Nat Bhairav"(Hindustani Raga), Vishwa Mohan Bhatt 138
Intercultural Crossings 141
Early Inroads: West Meets East, Improvisations, and the Musicof John Coltrane 142
Ravi Shankar, the Beatles, and the "Great Sitar Explosion" 143
A New Level: John McLaughlin and Shakti 144
Guided Listening Experience: "Joy," Shakti 145
Trilok Gurtu: Global Fusion Artist Extraordinaire 147
Guided Listening Experience: "Living Magic," Trilok Gurtu 148
Summary 150
Key Terms 151
Study Questions 151
Discussion Questions 151
Applying What You Have Learned 152
Resources for Further Study 152
Chapter 9 Tradition and Transformation in Irish Traditional Music 153
A Preliminary Listening Experience 156
Irish Music in Context 156
An Introduction to Irish Traditional Music 158
Traditional Irish Dance Tunes and Medleys: Two Examples 159
Musical Guided Tour: Irish Traditional Dance Tunes 160
Guided Listening Experience: "The Cuckoo's Hornpipe,"Seamus Ennis 162
Guided Listening Experience: "The First House in Connaught/The Copper Plate Reel" (Medley), Seamus Ennis 165
The Life and Legacy of Seamus Ennis 168
Neo-Traditional Irish Music and the Irish Music Revival 170
Sean O'Riada and the Transformation of Irish Traditional Music 171
The Chieftains 171
Guided Listening Experience: "The Dingle Set" (Medley),The Chieftains 172
The 1970s: Second Generation of the Irish Music Revival 174
The Modern Ensemble Sound of Irish Traditional Dance Music 174
Guided Listening Experience: "The Emyvale/Ril Gan Ainm/The Three Merry Sisters of Fate" (Medley), Altan 176
The Post-Traditional World of Irish Music: Crossing Bridgeswith Eileen Ivers 179
The Music and Life of Eileen Ivers 179
Guided Listening Experience: "Gravelwalk" (Medley),Eileen Ivers 180
Summary 183
Key Terms 183
Study Questions 183
Discussion Questions 184
Applying What You Have Learned 184
Resources for Further Study 184
Chapter 10 Musical Conversations: Communication and CollectiveExpression in West African Musics 185
African Musics in Context 188
The African Continent, Sub-Saharan Africa, and theAfrican Diaspora 188
Music, Culture, and History in Sub-Saharan Africa 189Drumming 190
Fontomfrom: An Akan Royal Drum Ensemble 191
Musical Guided Tour: Instruments and Basic Rhythmic Patternsin Fontomfrom Music 192
Guided Listening Experience: Fontomfrom(Akan Royal Drum Ensemble Music) 194
Unifying Features of Music in West Africa: Musical Africanisms 195
More Than Drumming: African Musical Diversity and the Kora 196
The Kora and Its Musicultural World 197
Mande History and Culture 198
The Jeli and the Art of Jeliya 199
Seckou Keita: Kora Master, Jeli, and Radical Royal 200
"I am not shy to sing and play the kora" 201
Guided Listening Experience: "Dounuya," Seckou Keita 202
A Meeting of Musical Worlds: "Atlanta Kaira" 204
Guided Listening Experience: "Atlanta Kaira," Toumani Diabate,Taj Mahal, and Ensemble 206
Angelique Kidjo: West African Collective Expressionin a Global Musical World 209
The Diva from Benin 209
Guided Listening Experience: "Okan Bale," Angelique Kidjo 211
Summary 213
Key Terms 214
Study Questions 214
Discussion Questions 215
Applying What You Have Learned 215
Resources for Further Study 215
Chapter 11 "Oye Como Va": Three Generations in the Life of a ClassicLatino/American Dance Tune 217
Introduction 218
"Oye Como Va" and Latin Dance Music in Context 219Latin Dance Music Defined 219
A Latino/American Phenomenon 221
Cuba, Creolization, and the Roots of Latin Dance Music 222
Afro-Cuban
Roots of Latin Dance Music 222
Spanish-Cuban Roots of Latin Dance Music 224
The Danzon-Mambo 225
Enrique Jorrin and the Cuban Cha Cha Cha 225
Musical Guided Tour: Latin Percussion Rhythmsof the Cha Cha Cha 227
Mambo (Big Band Mambo) 228
Tito Puente, the Newyorican Connection, and Latino/AmericanMusic Culture in New York City 229
Guided Listening Experience: "Oye Como Va,"Tito Puente (1963) 231
New Sounds, New Times: "Oye Como Va," the Santana Version 234
The Rise of Santana and Latin Rock 235
Guided Listening Experience: "Oye Como Va," Santana (1970) 237
Beyond the Music: Santana, "Oye Como Va,"and Pan-Latino Identity 240
Santana's "Oye Como Va" and Tito Puente 240
The King of Salsa 241
"Oye Como Va" and the Emergence of Pan-Latino Identity 241"Oye Como Va": The Next Generation 243
Guided Listening Experience: "Oye Como Va,"Tito Puente Jr. (2004) 244
Tito Puente Jr.: Into the Future, Back to the Past 246
Summary 247
Key Terms 248
Study Questions 248
Discussion Question 249
Applying What You Have Learned 249
Resources for Further Study 249
Chapter 12 From Baladi to Belly Dance: Women's Danceand Dance Rhythms in Egypt and Beyond 251
Introduction 252
Egypt: An Overview 257
Egyptian History 258
The Foundations of Egyptian Women's Dance 260
Speculations on Ancient Roots 261
The Ghawazi Tradition 261
Witness to a Ghawazi Performance 262
Zaar: Egyptian Women's Dance in a Healing Ritual 263
The Zaar Ritual 263
Guided Listening Experience: Traditional Zaar Rhythms,Hossam Ramzy 265
Musical Guided Tour: Demonstration of Dum andTek Drum Strokes 266
Music, Dance, Nationalism, and Mass Media Entertainmentin 20th-Century Egypt 267
The Contributions of Badiaa Masabni 268
Dance, Music, and the Egyptian Film Industry 269
Muhammad 'Abd al-Wahhab and Samia Gamal 269
Guided Listening Experience: "Zeina," by Muhammad'Abd al-Wahhab (Arrangement by Hossam Ramzy) 272
The Post-Independence Era 276
Cultural Nationalism and the Baladi Folk Idealin Post-Revolutionary Egypt 277
Farida Fahmy and the Reda Troupe 278
Folk Dance Rhythms in Raqs Sharqi and Belly Dance:Fallahi and Saaidi 278
The Tabla Solo Dance 280
Tabla Solo in a Raqs Sharqi Dance Routine 281
Guided Listening Experience: "Belhadawa Walla Belshaawa?"(Tabla Solo), Hossam Ramzy 282
From Cairo to Mexico 284
Summary 285
Key Terms 286
Study Questions 286
Discussion Questions 287
Applying What You Have Learned 287
Resources for Further Study 287
Chapter 13 A Musicultural History of the Chinese Zheng 289
Introduction 292
China: An Overview 293
The Nation-State of Modern China 293
From Antiquity to the Present 294
An Introduction to the Zheng 295
Musical Guided Tour: The Zheng 297
The Zheng in Imperial China 298
The Han Dynasty Era 299
The Tang Dynasty Era 299
The Ming and Qing Dynasty Eras 302
Regional Styles: Traditional Solo Zheng Music 304
Guided Listening Experience: "Autumn Moonover the Han Palace," Deng Haiqiong 305
Emergence and Development of the ConservatorySolo Zheng Style in Mainland China 307
Guided Listening Experience: "Return of the Fishing Boats,"by Lou Shuhua 308
Music and the Conservatory Solo Zheng Traditionin Communist China, 1949-1965 310
Guided Listening Experience: "Spring on Snowy Mountains,"by Fan Shang'e 312
The Cultural Revolution Era 314
The Rise of Deng Xiaoping and the Period of Openness 315
The Arts, the Zheng, and Musicultural Life in Post-1970s China 316
Guided Listening Experience: "Music from the Muqam,"by Zhou Ji, Shao Guangchen, and Li Mei 319
Summary 322
Key Terms 322
Study Questions 323
Discussion Questions 323
Applying What You Have Learned 324
Resources for Further Study 324Chapter 14 Climbing Jacob's Ladder: Modern Musical Reflections of an Ancient Jewish Mystical Text
Jewish Music and Jewish Musics 328
Jewish History and the Zohar 330
Early Jewish History 330
Rabbinic Judaism, the Zohar, Kabbalah, and Reform Judaism 332
Modern Jewish History 333
Climbing Jacob's Ladder: Musical Symbolismand the Melodious Voice in Kabbalistic Prayer 334
Guided Listening Experience: "V'amazirim" (Zoharic chant),Isaac Kataev 335
Melodic Symbolism in "We Are Climbing Jacob's Ladder" 337
Musical Guided Tour: Melodic Contourin "We Are Climbing Jacob's Ladder" 338
Music, the Zohar, and the Secrets of the Torah 338
Roza D'Shabbos: The Secret of the Sabbath 339
Background Information on the Zohar and Roza D'Shabbos 339
Divine Reunification and Universal Redemptionin Roza D'Shabbos 341
Pinchas Pinchik's "Roso De Shabbos" (Roza D'Shabbos):A Tone-Poem about Holiness 342
Guided Listening Experience: "Roza DeShabbos,"Ruth Wieder Magan (after Pinchas Pinchik) 342
Ruth Wieder Magan: Dusting Off the Surfaces of Tradition 345
Zohar Remix 347
The Zohar in Zoehar's "Ehad" 348
Guided Listening Experience: "Ehad," Zoehar 350
Summary 352
Key Terms 353
Study Questions 353
Discussion Questions 353
Applying What You Have Learned 354
Resources for Further Study 354
Glossary 355
References Cited in the Text 365
Credits 369
Index 371
