Holdings: World music :: THWS Bibkatalog

World music: traditions and transformations

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Bibliographic Details
Main Author:	Bakan, Michael B. ca. 20./21. Jh (Author)
Format:	Book
Language:	English
Published:	New York [u.a.] McGraw-Hill 2011
Edition:	2. ed.
Subjects:	Geschichte World music > History and criticism Weltmusik Einführung
Online Access:	Inhaltsverzeichnis
Physical Description:	XXXVII, 377 S. Ill., Kt.
ISBN:	9780073526645

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MARC


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adam_text	r ---------1 brief contents Preface xix About This Book: An Introduction for Students xxx PART I Chapter 1 What, in the World, Is Music? 1 Chapter 2 How Music Lives: A Musicultural Approach 9 Chapter 3 How Music Works, Part I: Rhythm 33 Chapter 4 How Music Works, Part II: Pitch 45 Chapter 5 How Music Works, Part III: Dynamics, Timbre, and Instruments 57 Chapter 6 How Music Works, Part IV: Texture and Form 75 PART II Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds 85 Chapter 8 From Raga to Bollywood: Developments and Intercultural Crossings in Indian Music 115 Chapter 9 'Not the Same, but Just as Nice': Traditions and Transformations in Irish Music 157 Chapter 10 The River and the Path: Conversation and Collective Expression in West African Musics 191 Chapter 11 'See How She Moves': Musics of Latin America and the "Oye Como Va" Phenomenon 223 Chapter 12 From Baladi to Belly Dance: Rhythm, Dance, and Music in Egypt and Beyond 273 Chapter 13 A Musicultural History of the Chinese Zheng 315 Glossary 353 References Cited in the Text 363 Credits 367 Index 369 vi contents Preface xix About This Book: An Introduction for Students xxx PART I Chapter 1 Chapter 2 What, in the World, Is Music? 1 A Point of Departure: Five Propositions for Exploring World Music 3 Proposition 1 : The Basic Property of All Music Is Sound 3 Proposition 2: The Sounds (and Silences) That Comprise a Musical Work Are Organized in Some Way 4 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 Intention and Perception 5 Proposition 5: The Term Music Is Inescapably Tied to Western Culture and Its Assumptions 6 Summary 7 Key Terms 7 Study Questions 7 Discussion Questions 8 Applying What You Have Learned 8 Resources for Further Study 8 How Music Lives: A Musicultural Approach 9 Culture in Music 10 Meaning in Music 11 Identity in Music 11 Societies 15 Cultures 17 Nations and Nation-States 18 Diasporas and Other Transnational Communities 19 The Individual in Music 20 Insights and Perspectives — Do You Belong to a Virtual Music Community? 21 Spirituality and Transcendence in Music 22 Music and Dance 23 Music in Ritual 24 vii Music as Commodity and the Patronage of Music 25 The Transmission of Music and Musical Knowledge 27 Production and Reception 27 Music Creation Processes 28 Music in the Process of Tradition 29 Summary 31 Key Terms 31 Study Questions 31 Discussion Questions 32 Applying What You Have Learned 32 Resources for Further Study 32 Chapter 3 How Music Works, Part I: Rhythm 33 The Four Basic Properties of Tones 34 Rhythm 34 Insights and Perspectives — Mozart and "The Alphabet Song" 35 Beat 36 Subdivision 36 Meter 37 Insights and Perspectives — Clap on 2 and 4: Backbeats 39 Insights and Perspectives — Three Beats or Seven? 40 Accent and Syncopation 41 Tempo 41 Free Rhythm 41 Summary 42 Key Terms 42 Study Questions 42 Applying What You Have Learned 43 Resources for Further Study 43 Chapter 4 How Music Works, Part II: Pitch 45 Pitch and Melody 46 Pitch and Melody in "Mary Had a Little Lamb" and a Native American Eagle Dance Song 46 Names of Pitches in Western Music 46 Insights and Perspectives — Curing and Causing Illness with Melody 48 The Western Pitch System and the Octave 48 Insights and Perspectives — Scale versus Mode 49 viii Contents Insights and Perspectives—When High Is Low and Low Is High 49 Common Scales in Western Music: Major, Pentatonic, Minor, and Blues 50 Pitch and Scales in Non-Western Musical Systems 52 Insights and Perspectives — Modulation: Moving from One Scale and Key to Another 52 Pitch, Chords, and Harmony 53 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 and Instruments 57 Dynamics, Timbre, Dynamics 58 Timbre 59 Music Instruments 61 Music Instrument Classification 62 Summary 71 Key Terms 72 Study Questions 72 Applying What You Have Learned 72 Resources for Further Study 73 75 79 Chapter 6 How Music Works, Part IV: Texture and Form Texture 76 Insights and Perspeaives—The Debate over Polyrhythms in West African Music 76 Form: The Designs of Musical Works 78 Forms Based on Repetition and Patterns Forms with Contrasting Sections 80 Summary 83 Key Terms 83 Study Questions 83 Applying What You Have Learned 83 Resources for Further Study 84 Contents IX PART II Chapter 7 Indonesian Gamelan Musk: Interlocking Rhythms, Interlocking Worlds 85 Introduction 88 Balinese Gamelan Music in Context 88 Bali and the Republic of Indonesia 88 Religion in Bali and Indonesia 89 Insights and Perspectives — Bali Aga: The "Original Balinese" and Their Gamelan Music 90 Gamelan in Bali and Beyond 90 Insights and Perspectives — The Paired Tuning of Female and Male Instruments 94 The Gamelan Bełeganjur: An Introduction 95 Musical Guided Tour: The Gamelan Bełeganjur 96 Kilitan Telu Interlocking Rhythms: A Musical Symbol of Communal Interdependence 97 Balinese Kecak and the Kilitan Telu 97 Experiencing Balinese Interlocking, Kecak-Style 98 The Gamelan Bełeganjur in Battles of Good versus Evil 99 Bełeganjur Music in Hindu-Balinese Cremation Processions 99 Insights and Perspectives — Caste and Class in Bali 100 Guided Listening Experience: Bełeganjur Music Performed during a Balinese Cremation Procession 101 Crossroad Battles and a Musical Ladder to the Upper World 102 Walking Warriors: Worldly Battlegrounds of Bełeganjur Music 103 Lomba Bełeganjur: The Modern Bełeganjur Contest 103 Kreasi Bełeganjur: The Contest Musical Style 104 Tradition and Innovation in Kreasi Bełeganjur: An Elusive Balance 105 Insights and Perspectives — Gerak: The Choreographic Element in Kreasi Bełeganjur 106 Achieving the Elusive Balance: The Kreasi Bełeganjur Music of I Ketut Suandita 107 Contents Guided Listening Experience: "Wira Ghorava Cakti '95" (Kreasi Beleganjur), by I Ketut Suandita 107 Crossing International Borders 107 Guided Listening Experience: "B.A.Ph.PET," by Michael Bakan 109 Summary 112 Key Terms 112 Study Questions 113 Discussion Questions 113 Applying What You Have Learned 114 Resources for Further Study 114 Chapter 8 From Raga to Bollywood: Developments and Intercultural Crossings in Indian Music 115 Indian Music in Context 119 Musical Diversity and Two Great Traditions 122 The Hindustani Raga of Northern India 125 Ravi Shankar and the Maihar Gharana 125 Insights and Perspectives — The Caste System in India 125 Insights and Perspectives — The Gharana 126 Insights and Perspectives — Anoushka Shankar: Carrying on the Legacy 127 "An Introduction to Indian Music," by Ravi Shankar 127 Musical Guided Tour: "An Introduction to Indian Music" 127 The Sitar-Tambura-Tabla Trio: Instruments and Texture 128 Insights and Perspectives — Muslim Musicians in Hindustani Musical Society 130 Other Hindustani Melodic Instruments 130 Raga Defined 132 Tala: Meter and Rhythm in Raga Performance 132 Insights and Perspectives — Standard Features of a Tala Summarized 133 How a Raga "Grows" 133 Form in Raga Performance 134 Insights and Perspectives—Two Kinds of Time 135 Keeping Tal with Ravi Shankar 136 Insights and Perspectives—The Rhythm of Tihai 138 Contents xi Guided Listening Experience: "Raga Sindhi-Bhairavi" (Hindustani Raga), Ravi Shankar 138 Intercultural Crossings and Transformations 143 Early Inroads: West Meets East, Improvisations, and the Music of John Coltrane 143 Ravi Shankar, the Beatles, and the "Great Sitar Explosion" 144 A New Level: John Mclaughlin and Shakti 145 Guided Listening Experience: "Joy," Shakti 147 Bollywood and Beyond: The Genius of A. R. Rahman 148 Guided Listening Experience: "Barso Re," by A. R. Rahman, Featuring Vocalist Shreya Ghoshal 150 Summary 154 Key Terms 154 Study Questions 154 Discussion Questions 155 Applying What You Have Learned 155 Resources for Further Study 156 Chapter 9 'Not the Same, but Just as Nice': Traditions and Transformations in Irish Music 157 A Preliminary Listening Experience 160 Irish Music in Context 160 An Introduction to Irish Traditional Music 162 Traditional Irish Dance Tunes and Medleys: Two Examples 164 Musical Guided Tour: Irish Traditional Dance Tunes 165 Guided Listening Experience: 'The Cuckoo's Hornpipe," Seamus Ennis 167 Insights and Perspectives — Irish Music and Celtic Music and Cultures 169 Guided Listening Experience: "The First House in Connaught/ The Copper Plate Reel" (Medley), Seamus Ennis 170 The Life and Legacy of Seamus Ennis 173 Neo-Traditional Irish Music and the Irish Music Revival 174 Sean Ó'Riada and the Transformation of Irish Traditional Music 176 The Chieftains 176 Guided Listening Experience: "The Dingle Set" (Medley), The Chieftains 177 xii Contents The 1970s: Second Generation of the Irish Music Revival 179 The Modern Ensemble Sound of Irish Traditional Dance Music 180 Insights and Perspectives — The Irish Bouzouki 181 Guided Listening Experience: The Emyvale/Ril Gan Ainm/ The Three Merry Sisters of Fate" (Medley), Altan 182 The Post-Traditional World of Irish Music: Crossing Bridges with Eileen Ivers 184 The Music and Life of Eileen Ivers 184 Guided Listening Experience: "Gravelwalk" (Medley), Eileen Ivers 185 Summary 188 Key Terms 188 Study Questions 188 Discussion Questions 189 Applying What You Have Learned 189 Resources for Further Study 189 Chapter 10 The River and the Path: Conversation and Collective Expression in West African Musics 191 African Musics in Context 194 Insights and Perspectives — Isicathamiya and Ladysmith Black Mambazo 195 The African Continent, Sub-Saharan Africa, and the African Diaspora 196 Music, Culture, and History in Sub-Saharan Africa 196 Drumming 197 Fontomfrom: An Akan Royal Drum Ensemble 198 Musical Guided Tour: Instruments and Basic Rhythmic Patterns in Fontomfrom Music 199 Guided Listening Experience: Fontomfrom (Akan Royal Drum Ensemble Music) 201 Unifying Features of Music in West Africa: Musical Africanisms 202 More Than Drumming: African Musical Diversity and the Kora 203 The Kora and Its Musicultural World 204 Mande History and Culture 205 The Jeli and the Art of Jeliya 206 Contents xiii Sečkou Keita: Kora Master, Jeli, and Radical Royal 207 "I am not shy to sing and play the kora" 208 Guided Listening Experience: "Dounuya," Sečkou Keita 209 A Meeting of Musical Worlds: "Atlanta Kaira" 211 Guided Listening Experience: "Atlanta Kaira," Toumani Diabate, Taj Mahal, and Ensemble 213 Angélique Kidjo: West African Collective Expression in a Global Musical World 215 The Diva from Benin 216 Guided Listening Experience: "Okan Bale," Angélique Kidjo 217 Summary 220 Key Terms 220 Study Questions 220 Discussion Questions 221 Applying What You Have Learned 221 Resources for Further Study 221 Chapter 11 'See How She Moves': Musics of Latin America and the "Oye Como Va" Phenomenon 223 Introduction 224 "Oye Como Va" and Latin Music in Context 225 Latin Music Defined 226 Latin Music Traditions and Transformations in South America, Mexico, and the Caribbean: A Selective Survey 228 Brazil: Samba, Bossa Nova, and Tropicália 228 Insights and Perspectives — Carnival in Trinidad: Panorama and the Steel Band Tradition 230 Argentina and Uruguay: Tango 234 Folkloric Andean Music of Bolivia and Peru (and Paris and Buenos Aires, Too) 236 Mexico: Mariachi 239 Cuba, Creolization, and the Roots of Latin Dance Music 243 Afro-Cuban Roots of Latin Dance Music 243 Spanish-Cuban Roots of Latin Dance Music 245 The Danzón-Mambo 246 Enrique Jorrin and the Cuban Cha Cha Chá 246 Musical Guided Tour: Latin Percussion Rhythms of the Cha Cha Chá 248 xiv Contents Mambó (Big Band Mambo) 248 Tito Puente, the Newyorican Connection, and Latino/American Music Culture in New York City 250 Insights and Perspectives — Machito and the Afro-Cubans in the History of Latin Dance Music 251 Guided Listening Experience: "Oye Como Va," Tito Puente (1963) 252 Insights and Perspectives — The Palladium Ballroom 253 New Sounds, New Times: "Oye Como Va," the Santana Version 255 The Rise of Santana and Latin Rock 256 Insights and Perspectives — Carlos Santana and Prince 256 Guided Listening Experience: "Oye Como Va," Santana (1970) 258 Insights and Perspectives — The Hammond B-3 Organ and "Oye Como Va" 261 Beyond the Music: Santana, "Oye Como Va," and Pan-Latino Identity 261 Santana's "Oye Como Va" and Tito Puente 261 The King of Salsa and Latin Jazz 262 Insights and Perspectives — Deep Cuban Tradition Meets Salsa and Latin Jazz: Francisco Aguabella's "Nena" 263 "Oye Como Va" and the Emergence of Pan-Latino Identity 264 "Oye Como Va": The Next Generation 266 Guided Listening Experience: "Oye Como Va," Tito Puente Jr. (2004) 267 Tito Puente Jr.: Into the Future, Back to the Past 270 Summary 270 Key Terms 271 Study Questions 271 Discussion Questions 272 Applying What You Have Learned 272 Resources for Further Study 272 Chapter 12 From Baladi to Belly Dance: Rhythm, Dance, and Music in Egypt and Beyond 273 Introduction 274 Egypt: An Overview 279 Contents xv Ancient Egypt and the Rise of Arab-Islamic Culture 280 Guided Listening Experience: Arab Music and the Art of Maqam ("Iraqi Café," by Ahmed Mukhtar) 280 Insights and Perspectives — Iraqi Rock: Acrassicauda's Only the Dead See the End of the War 285 Foreign Rule, Nationalism, and Nationhood in Egypt 285 The Foundations of Egyptian Women's Dance 286 Speculations on Ancient Roots 287 The Ghawazi Tradition 287 Witness to a Ghawazi Performance 288 Insights and Perspectives — Muhammad Ali Street 288 Zaar: Egyptian Women's Dance in a Healing Ritual 289 The Zaar Ritual 289 Guided Listening Experience: Traditional Zaar Rhythms, Hossam Ramzy 291 Musical Guided Tour: Demonstration of Dum and Тек Drum Strokes 292 Music, Dance, Nationalism, and Mass Media Entertainment in 20th-century Egypt 293 The Contributions of Badiaa Masabni 294 Dance, Music, and the Egyptian Film Industry 295 Muhammad 'Abd al-Wahhab and Samia Gamai 295 Insights and Perspectives — Accidental Innovations 297 Insights and Perspectives — Qur'anic Recitation versus Musical "Enchantment" in Islamic Society 298 Guided Listening Experience: "Zeina," by Muhammad 'Abd al-Wahhab (Arrangement by Hossam Ramzy) 298 Insights and Perspectives — A Rhythm by Any other Name 300 The Post-Independence Era 301 Cultural Nationalism and the Baladi Folk Ideal in Post-Revolutionary Egypt 302 Farida Fahmy and the Reda Troupe 303 Folk Dance Rhythms in Raqs Sharqi and Belly Dance: Fallahi and Saaidi 303 The Tabla Solo Dance 305 Tabla Solo in a Raqs Sharqi Dance Routine 306 Guided Listening Experience: "Belhadawa Walla Belshaawa?" {Tabla So/o), Hossam Ramzy 307 xvi Contents From Cairo to Mexico, Lebanon, and Beyond: Contemporary Belly Dance Music 309 Guided Listening Experience: "Hou Hou Hou," Emad Sayyah 309 Summary 312 Key Terms 313 Study Questions 313 Discussion Questions 314 Applying What You Have Learned 314 Resources for Further Study 314 Chapter 13 A Mušicu Itu ral History of the Chinese Zheng 315 Introduction 318 China: An Overview 319 The Nation-State of Modern China 319 From Antiquity to the Present 320 An Introduction to the Zheng 321 Insights and Perspectives — The Koto and Japanese Music in Ancient and Modern Times 322 Musical Guided Tour: The Zheng 325 The Zheng in Imperial China 326 The Han Dynasty Era 327 Insights and Perspectives — Confucianism and the Qin Zither 328 The Tang Dynasty Era 329 The Ming and Qing Dynasty Eras 330 Insights and Perspectives — Chinese Opera and Beijing Opera in Dynastic and Post-Dynastic China 330 Regional Styles: Traditional Solo Zheng Music 331 Guided Listening Experience: "Autumn Moon over the Han Palace," Deng Haiqiong 332 Emergence and Development of the Conservatory Solo Zheng Style in Mainland China 335 Music and the Conservatory Solo Zheng Tradition in Communist China, 1949-1965 336 Guided Listening Experience: "Spring on Snowy Mountains," by Fan Shang'e 338 Insights and Perspectives — The Chinese Occupation of Tibet and the Plight of Tibetan Buddhists 339 Contents xvii The Cultural Revolution Era 339 The Rise of Deng Xiaoping and the Period of Openness 341 Insights and Perspectives — Rocking the Zheng on the New Long March: Cui Jian and Bei Bei He 341 The Arts, the Zheng, and Musicultural Life in Post-1970s China 343 Guided Listening Experience: "Music from the Muqam," by Zhou Ji, Shao Guangchen, and Li Mei 346 Insights and Perspectives — Uighur History and Culture 346 Summary 349 Key Terms 349 Study Questions 350 Discussion Questions 350 Applying What You Have Learned 351 Resources for Further Study 351 Glossary 353 References Cited in the Text 363 Credits 367 Index 369 xviii Contents
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spelling	Bakan, Michael B. ca. 20./21. Jh. Verfasser (DE-588)1074148916 aut World music traditions and transformations Michael B. Bakan 2. ed. New York [u.a.] McGraw-Hill 2011 XXXVII, 377 S. Ill., Kt. txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf World music History and criticism Weltmusik (DE-588)4267804-3 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Weltmusik (DE-588)4267804-3 s Geschichte z 1\p DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022564728&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk
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title	World music traditions and transformations
title_auth	World music traditions and transformations
title_exact_search	World music traditions and transformations
title_full	World music traditions and transformations Michael B. Bakan
title_fullStr	World music traditions and transformations Michael B. Bakan
title_full_unstemmed	World music traditions and transformations Michael B. Bakan
title_short	World music
title_sort	world music traditions and transformations
title_sub	traditions and transformations
topic	World music History and criticism Weltmusik (DE-588)4267804-3 gnd
topic_facet	World music History and criticism Weltmusik Einführung
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