World music: traditions and transformations
"World Music: Traditions and Transformations has long been a market leader among introductory-level textbooks on diverse global music. It assumes no prior education in music and avoids the use of notation. Though written principally for non-music majors, it is appropriate for courses enrolling...
Gespeichert in:
| Hauptverfasser: | , , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
McGraw Hill LLC
[2024]
|
| Ausgabe: | Fourth edition, ISE edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "World Music: Traditions and Transformations has long been a market leader among introductory-level textbooks on diverse global music. It assumes no prior education in music and avoids the use of notation. Though written principally for non-music majors, it is appropriate for courses enrolling non-music and music students alike. The work’s unique traditions-and-transformations approach offers a coherent pathway to exploring the world’s music, from ancient to contemporary genres and experimental to top-of-the-charts popular styles." |
| Beschreibung: | Includes index |
| Beschreibung: | xxxvii, 490 Seiten Illustrationen, Porträts (s/w) 24,8 x 19,9 cm |
| ISBN: | 9781265204549 |
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—: brief contents Preface xviii About Th is Book: An Introduction for Students xxix PART I Chapter 1 What, in the World, Is Music? Chapter 2 How Music Lives: A Musicultural Approach Chapter 3 How Music Works, Part 1: Rhythm Chapter 4 How Music Works, Part II: Pitch Chapter 5 How Music Works, Part III: Dynamics, Timbre, and Instruments 59 Chapter 6 How Music Works, Part IV: Texture and Form 1 9 35 47 77 PART II Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds 87 Chapter 8 From Raga to Bollywood: Developments and Intercultural Crossings in Indian Music 119 Chapter 9 ‘Not the Same, but Just as Nice’: Traditions and Transformations in Irish Music 163 Chapter 10 The River and the Path: Conversation and Collective Expression in West African Musics 199 Chapter 11 From the Blues to Beyoncé: Black Music Aesthetics and a History of African American Song 233 Chapter 12 “We Don’t Play Sauce": Latin American Musics from Guaguanco to Latin Trap 281 Chapter 13 Story Songs: Indigenous Traditions and Transformations in Alaska Native Music and Dance 337 Chapter 14 From Baladi to Belly Dance: Rhythm, Dance, and Music in Egypt and Beyond 375 Chapter 15 A Musicultural History of the Chinese Zheng Glossary 459 References Cited in the Text Index iv 477 471 419
--------------------------- contents Preface xviii About This Book: An Introduction for Students xxix PART I Chapter 1 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 Ethnocentric Summary 7 Key Terms 8 Study Questions 8 Discussion Questions 8 Applying What You Have Learned Resources for Further Study Chapter 2 6 8 8 How Music Lives: A Musicultural Approach Culture in Music 10 Meaning in Music Identity in Music 11 11 14 Societies Cultures 9 16 Nations and Nation-States 18 Race, Gender, Sexuality, and (Dis)Ability 19 Diasporas and Other Transnational Communities The Individual in Music Spirituality and Transcendence in Music Music and Dance Music in Ritual 21 22 23 24 25 Music as Commodity and the Patronage of Music 27 V
The Transmission of Music and Musical Knowledge Production and Reception 29 Music Creation Processes 30 Music in the Process of Tradition Summary 31 33 Key Terms 33 Study Questions 33 Discussion Questions 34 Applying What You Have Learned Resources for Further Study Chapter 3 34 34 How Music Works, Part I: Rhythm The Four Basic Properties of Tones Rhythm 29 35 36 37 Insights and Perspectives—Mozart and “The Alphabet Song” 37 Beat 38 Subdivision 38 Meter 39 Insights and Perspectives—Three Beats or Seven? 41 Insights and Perspectives—Clap on 2 and 4: Backbeats Accent and Syncopation 43 Tempo 44 Free Rhythm Summary 44 45 Key Terms 45 Study Questions 45 Applying What You Have Learned Resources for Further Study Chapter 4 42 46 46 How Music Works, Part II: Pitch 47 Pitch and Melody 48 Pitch and Melody in “Mary Had a Little Lamb” and an Arapaho Eagle Dance Song 48 Names of Pitches in Western Music 49 Insights and Perspectives—Curing and Causing Illness with Melody 50 The Western Pitch System and the Octave 50 Insights and Perspectives—When High Is Low and Low Is High 51 vi Contents
Insights and Perspectives—Scale versus Mode 51 Common Scales in Western Music: Major, Pentatonic, Minor, and Blues 52 Pitch and Scales in Non-Western Musical Systems 54 Insights and Perspectives—Modulation: Moving from One Scale and Key to Another 54 Pitch, Chords, and Harmony Summary 56 56 Key Terms 57 Study Questions 57 Applying What You Have Learned Resources for Further Study Chapter 5 57 How Music Works, Part III: Dynamics, Timbre, and Instruments 59 60 Dynamics Timbre 61 Music Instruments 63 Music Instrument Classification 64 74 Summary 74 Key Terms Study Questions 75 Applying What You Have Learned Resources for Further Study Chapter 6 57 75 75 How Music Works, Part IV: Texture and Form Texture 77 78 Insights and Perspectives—The Debate over Polyrhythms in West African Music 78 Form: The Designs of Musical Works 80 Forms Based on Repetition and Patterns Forms with Contrasting Sections Summary Key Terms 81 82 85 85 Study Questions 85 Applying What You Have Learned Resources for Further Study 85 86 Contents vii
PART II Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds 87 90 Introduction Balinese Gamelan Music in Context 90 Bali and the Republic of Indonesia Religion in Bali and Indonesia 90 91 Insights and Perspectives—Bali Aga: The Original Balinese” and Their Gamelan Music 92 Gamelan in Bali and Beyond 93 Insights and Perspectives—The Paired Tuning of Female and Male Instruments 97 The Gamelan Beleganjur: An Introduction 98 98 Musical Guided Tour: The Gamelan Beleganjur Kilitan Telu Interlocking Rhythms: A Musical Symbol of Communal Interdependence 100 Balinese Kecak and the Kilitan Telu 100 Experiencing Balinese interlocking, Kecak-Style 101 The Gamelan Beleganjur in Battles of Good versus Evil 102 Beleganjur Music in Hindu-Balinese Cremation Processions Insights and Perspectives—Caste and Class in Bali 102 103 Guided Listening Experience: Beleganjur Music Performed during a Balinese Cremation Procession 104 Crossroad Battles and a Musical Ladder to the Upper World Walking Warriors: Worldly Battlegrounds of Beleganjur Music Lomba Beleganjur: The Modern Beleganjur Contest Kreasi Beleganjur: The Contest Musical Style 105 106 106 107 Tradition and Innovation in Kreasi Beleganjur: An Elusive Balance 108 Insights and Perspectives—Gerak: The Choreographic Element in Kreasi Beleganjur 109 Achieving the Elusive Balance: The Kreasi Beleganjur Music of I Ketut Suandita 109 Guided Listening Experience: “Wira Ghorava Cakti ’95” (Kreasi Beleganjur), by I Ketut Suandita 110 Crossing International Borders 111 Guided Listening Experience: “B.A.Ph.PET,” by Michael
Bakan Summary Key Terms ii Contents 116 116 113
Study Questions 117 Discussion Questions 117 Applying What You Have Learned Resources for Further Study Chapter 8 118 118 From Raga to Bollywood: Developments and Intercultural Crossings in Indian Music 119 Indian Music in Context 123 126 Musical Diversity and Two Great Traditions The Hindustani Raga of Northern India 129 Ravi Shankar and the Maihar Gharana 130 Insights and Perspectives—The Caste System in India 130 131 Insights and Perspectives—The Gharana Insights and Perspectives—Anoushka Shankar: Carrying on the Legacy 132 “An Introduction to Indian Music,” by Ravi Shankar 132 Musical Guided Tour: “An Introduction to Indian Music” 132 The Sitar-Tambura-Tabla Trio: Instruments and Texture 133 Insights and Perspectives—Muslim Musicians in Hindustani Musical Society 135 Other Hindustani Melodic Instruments Raga Defined 135 137 Tala: Meter and Rhythm in Raga Performance 138 Insights and Perspectives—Standard Features of a Tala Summarized 138 How a Raga “Grows” 139 Form in Raga Performance 139 Insights and Perspectives—Two Kinds of Time Keeping Tai with Ravi Shankar 141 141 Insights and Perspectives—The Rhythm of Tihai 143 Guided Listening Experience: “Raga Sindhi-Bhairavi” (Hindustani Raga), Ravi Shankar 144 Intercultural Crossings and Transformations 148 Early inroads: West Meets East, Improvisations, and the Music of John Coltrane 148 Ravi Shankar, the Beatles, and the “Great Sitar Explosion” A New Level: John McLaughlin and Shakti Guided Listening Experience: “Joy,” Shakti 149 151 152 Bollywood and Beyond: The Genius of A. R. Rahman 154 Contents
Study Questions 231 Discussion Questions 232 Applying What You Have Learned Resources for Further Study Chapter 11 232 232 From the Blues to Beyoncé: Black Music Aesthetics and a History of African American Song 233 African American Musics in Context 234 Intersectionality: Race, Gender, and Music Aesthetics of Black Music Black Music Evolution 238 239 246 Musical Guided Tour: An Interview with Dr. Portia Maultsby by Dr. Steven Lewis 247 Black American Music at the Turn of the 20th Century 249 Insights and Perspectives—The Harlem Renaissance Bessie Smith: Empress of the Blues 255 256 Guided Listening Experience: “St. Louis Blues,” performed by Bessie Smith (Written by W.C. Handy) 258 Tina Turner: The Queen of Rock ’n’ Roll 260 Insights and Perspectives—The Civil Rights Movement Racism, Rhythm and Blues, and Rock ’n’ Roll The Road to Rock Royalty 262 263 What’s Love Got to Do With It?: The Post-Ike Career of Tina Turner 264 Guided Listening Experience: “Proud Mary,” Performed by Ike and Tina Turner 266 Insights and Perspectives—Black Deaths and Black Lives Matter 268 Beyoncé: Queen Bee 270 Insights and Perspectives—Hip Hop and Black American Music 272 Guided Listening Experience: “Freedom,” by Beyoncé, Featuring Kendrick Lamar 274 Summary 278 Key Terms 279 Study Questions 280 Discussion Questions 280 Applying What You Have Learned Resources for Further Study Ü Contents 280 280 260
Chapter 12 “We Don’t Play Sauce”: Latin American Musics from Guaguancô to Latin Trap 281 Introduction 283 “Oye Como Va,” “I Like It,” and Latin Music in Context Latin Music Defined 283 287 Latin Music Traditions and Transformations in South America, Mexico, and the Caribbean: A Selective Survey 288 Brazil: Samba, Bossa Nova, and Tropicalia 288 Insights and Perspectives—Carnival in Trinidad: Panorama and the Steel Band Tradition 289 Argentina and Uruguay: Tango 293 Folkloric Andean Music of Bolivia and Peru (and Paris and Buenos Aires, Too) 295 Mexico: Mariachi 298 Cuba, Creolization, and the Roots of Latin Dance Music Afro-Cuban Roots of Latin Dance Music 302 Spanish-Cuban Roots of Latin Dance Music The Danzon-Mambo 302 304 305 Enrique Jorrin and the Cuban Cha Cha Cha 305 Musical Guided Tour: Latin Percussion Rhythms of the Cha Cha Cha 307 Mambo (Big Band Mambo) 307 Tito Puente, the Nuyorican Connection, and Latin/American Music Culture in New York City 309 Insights and Perspectives—Machito and the Afro-Cubans in the History of Latin Dance Music 310 Guided Listening Experience: “Oye Como Va,” Tito Puente (1963) 311 Insights and Perspectives—The Palladium Ballroom 312 Boogaloo: Cha Cha Cha and Mambo Meet R B and Soul Latin Rock, Santana, and “Oye Como Va” Insights and Perspectives—Carlos Santana and Prince Santana, the Band 314 315 316 317 Abraxas and “Oye Como Va” 317 Guided Listening Experience: “Oye Como Va,” Santana (1970) 318 Insights and Perspectives—The Hammond B-3 Organ and “Oye Como Va” 321 The Salsa Explosion and Latin Jazz 321 Contents xiii
Reggae en Espanol, Reggaeton, and Latin Trap 324 Jamaican Roots, El General, and Panamanian Reggae Espanol Reggaeton and the Puerto Rican/Nuyorican Connection Latin Trap: Reggaeton Meets the Hip Hop South Latin Trap and Cardi В 324 326 328 328 Guided Listening Experience: “I Like It” (Clean Version), Cardi В 329 From Ί Like It Like That” to “I Like It” The Form and the Arrangement Summary 334 Key Terms 335 Study Questions 335 Discussion Questions 336 Applying What You Have Learned Resources for Further Study Chapter 13 330 331 336 336 Story Songs: Indigenous Traditions and Transformations in Alaska Native Music and Dance 337 Introduction 341 Alaska Native Music in Context 343 Insights and Perspectives—Native American Boarding and Residential Schools 344 Music as Story, and as Worldview 345 Musical Guided Tour: “I Am an Alaska Native Dancer” (Mini-Documentary Film) 347 Guided Listening Experience: Three Traditional Inupiaq Story Songs Performed by Otis Ahkivigak 348 Many Stories, Many Kinds of Songs 352 Civil Rights, Indigenous Rights, and the Story Songs of John Angaiak 353 Guided Listening Experience: John Angaiak, “Ak’a Tamaani” Insights and Perspectives—Cultural Appropriation 356 358 Insights and Perspectives—What Is the “Correct” Term to Use to Refer to Indigenous People 358 Music as Identity in Alaska Native Cultures 359 Dance and Music in Traditional Inupiaq and Yup’ik Story Songs Dance and Music in Contemporary Alaska Native Story Songs Guided Listening Experience: Qacung, “The Gathering” Insights and Perspectives—Land Acknowledgments civ Contents 364 366 362 363
Contemporary Indigenous Popular Musics Beyond Qacung: A Brief Survey 370 Summary 372 Key Terms 372 Study Questions 373 Discussion Questions 373 Applying What You Have Learned Resources for Further Study Chapter 14 373 373 From Baladi to Belly Dance: Rhythm, Dance, and Music in Egypt and Beyond 375 Introduction 376 Egypt: An Overview 381 Ancient Egypt and the Rise of Arab-lslamic Culture 382 Guided Listening Experience: Arab Music and the Art of Maqam (“Iraqi Café,” by Ahmed Mukhtar) 382 Insights and Perspectives—Iraqi Rock: Acrassicauda’s Only the Dead See the End of the War 387 Foreign Rule, Nationalism, and Nationhood in Egypt The Foundations of Egyptian Women’s Dance Speculations on Ancient Roots The Ghawazi Tradition 389 390 Witness to a Ghawazi Performance 390 Insights and Perspectives—Muhammad Ali Street Zar: Egyptian Women’s Dance in a Healing Ritual The Zar Ritual 387 388 391 391 391 Guided Listening Experience: Traditional Zar Rhythms, Hossam Ramzy 393 Musical Guided Tour: Demonstration of Dum and Тек Drum Strokes 394 Music, Dance, Nationalism, and Mass Media Entertainment in 20th-Century Egypt 396 The Contributions of Badia Masabni 397 Dance, Music, and the Egyptian Film Industry Muhammad Abd al-Wahhab and Samia Gamal 397 398 Insights and Perspectives—Accidental Innovations 399 Insights and Perspectives—Qur’anic Recitation versus Musical “Enchantment” in Islamic Society 400 Contents XV
Guided Listening Experience: “Zeina,” by Muhammad Abd al-Wahhab 401 Insights and Perspectives—A Rhythm by Any Other Name The Post-Independence Era 402 404 Cultural Nationalism and the Baladi Folk Ideal in Post-Revolutionary Egypt 404 Farida Fahmy and the Reda Troupe 405 Folk Dance Rhythms in Raqs Sharqi and Belly Dance: Fallahi and Sa’idi 406 The Tabla Solo Dance 408 Tabla Solo in a Raqs Sharqi Dance Routine 408 Guided Listening Experience: "Belhadawa Walla Belshaawa?” (Tabla Solo), Hossam Ramzy 410 From Cairo to Mexico, Lebanon, and Beyond: Contemporary Belly 411 Dance Music Guided Listening Experience: “Hou Hou Hou,” Emad Sayyah Summary 415 Key Terms 415 Study Questions 415 Discussion Questions 416 Applying What You Have Learned Resources for Further Study Chapter 15 412 417 417 A Musicultural History of the Chinese Zheng Introduction 419 422 China: An Overview 423 The Nation-State of Modern China From Antiquity to the Present An Introduction to the Zheng 423 424 425 Insights and Perspectives—The Koto and Japanese Music in Ancient and Modern Times (Plus Some J-Рор and K-Pop) 426 Musical Guided Tour: The Zheng The Zheng in Imperial China The Han Dynasty Era 429 430 431 Insights and Perspectives—Confucianism and the Qin Zither The Tang Dynasty Era 432 433 The Ming and Qing Dynasty Eras 434 Insights and Perspectives—Chinese Opera and Peking Opera in Dynastic and Post-Dynastic China 435 Kvi Contents
Regional Styles: Traditional Solo Zheng Music 436 Guided Listening Experience: “Autumn Moon over the Han Palace,” Haiqiong Deng 437 Emergence and Development of the Conservatory Solo Zheng Style in Mainland China 439 Music and the Conservatory Solo Zheng Tradition in Communist China, 1949-1965 440 The Zheng and Folk Music “Development” Pianistic Influences on Zheng Music 442 442 Guided Listening Experience: “Spring on Snowy Mountain,” by Fan Shang’e 442 Insights and Perspectives—The Chinese Occupation of Tibet and the Plight of Tibetan Buddhists 444 The Cultural Revolution Era 444 The Rise of Deng Xiaoping and the Period of Openness 445 Insights and Perspectives—Rocking the Zheng on the New Long March: Cui Jian and Bei Bei 446 The Arts, the Zheng, and Musicultural Life in Post-1970s China Musical Renaissance in Modern China The Zheng in Modern China Modern Challenges 447 448 448 450 Guided Listening Experience: “Music from the Muqam,” by Zhou Ji, Shao Guangchen, and Li Mei 451 Insights and Perspectives—Uyghur History and Culture Summary Key Terms 455 455 Study Questions 455 Discussion Questions 456 Applying What You Have Learned Resources for Further Study Glossary 457 457 459 References Cited in the Text Index 452 471 477 Contents xvii |
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| id | DE-604.BV050039802 |
| illustrated | Illustrated |
| indexdate | 2025-01-20T13:03:17Z |
| institution | BVB |
| isbn | 9781265204549 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-035377581 |
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| owner | DE-12 |
| owner_facet | DE-12 |
| physical | xxxvii, 490 Seiten Illustrationen, Porträts (s/w) 24,8 x 19,9 cm |
| psigel | BSB_NED_20250115 |
| publishDate | 2024 |
| publishDateSearch | 2024 |
| publishDateSort | 2024 |
| publisher | McGraw Hill LLC |
| record_format | marc |
| spelling | Bakan, Michael B. ca. 20./21. Jh. Verfasser (DE-588)1074148916 aut World music traditions and transformations Michael B. Bakan, Heidi Senungetuk, Stephanie Shonekan ISE world music Fourth edition, ISE edition New York, NY McGraw Hill LLC [2024] xxxvii, 490 Seiten Illustrationen, Porträts (s/w) 24,8 x 19,9 cm txt rdacontent n rdamedia nc rdacarrier Includes index "World Music: Traditions and Transformations has long been a market leader among introductory-level textbooks on diverse global music. It assumes no prior education in music and avoids the use of notation. Though written principally for non-music majors, it is appropriate for courses enrolling non-music and music students alike. The work’s unique traditions-and-transformations approach offers a coherent pathway to exploring the world’s music, from ancient to contemporary genres and experimental to top-of-the-charts popular styles." Geschichte gnd rswk-swf Weltmusik (DE-588)4267804-3 gnd rswk-swf World music / History and criticism Weltmusik (DE-588)4267804-3 s Geschichte z DE-604 Senungetuk, Heidi Verfasser (DE-588)1292513357 aut Shonekan, Stephanie Verfasser (DE-588)107426892X aut Äquivalent Druck-Ausgabe, Hardcover 9781264296057 Äquivalent Druck-Ausgabe, US loose-leaf 9781264879298 Erscheint auch als Online-Ausgabe 9781264879502 Erscheint auch als Online-Ausgabe 9781264877584 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035377581&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Bakan, Michael B. ca. 20./21. Jh Senungetuk, Heidi Shonekan, Stephanie World music traditions and transformations Weltmusik (DE-588)4267804-3 gnd |
| subject_GND | (DE-588)4267804-3 |
| title | World music traditions and transformations |
| title_alt | ISE world music |
| 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, Heidi Senungetuk, Stephanie Shonekan |
| title_fullStr | World music traditions and transformations Michael B. Bakan, Heidi Senungetuk, Stephanie Shonekan |
| title_full_unstemmed | World music traditions and transformations Michael B. Bakan, Heidi Senungetuk, Stephanie Shonekan |
| title_short | World music |
| title_sort | world music traditions and transformations |
| title_sub | traditions and transformations |
| topic | Weltmusik (DE-588)4267804-3 gnd |
| topic_facet | Weltmusik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035377581&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT bakanmichaelb worldmusictraditionsandtransformations AT senungetukheidi worldmusictraditionsandtransformations AT shonekanstephanie worldmusictraditionsandtransformations AT bakanmichaelb iseworldmusic AT senungetukheidi iseworldmusic AT shonekanstephanie iseworldmusic |