Worlds of Music : An Introduction to the Music of the by Jeff Todd Titon, Timothy J. Cooley, David Locke, David P.

By Jeff Todd Titon, Timothy J. Cooley, David Locke, David P. McAllester, Anne K. Rasmussen

No historical past or education in song? No challenge. This shorter model of WORLDS OF tune: AN advent TO THE track OF THE WORLD'S PEOPLES is written to make track available. utilizing the case-study technique, the textual content offers in-depth explorations of song of numerous cultures from all over the world. The authors all ethnomusicologists operating of their fields of craftsmanship base their discussions of music-cultures on their lonesome fieldwork and provides you a real experience of either the tune and tradition that created it.

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By Jeff Todd Titon, Timothy J. Cooley, David Locke, David P. McAllester, Anne K. Rasmussen

No historical past or education in song? No challenge. This shorter model of WORLDS OF tune: AN advent TO THE track OF THE WORLD'S PEOPLES is written to make track available. utilizing the case-study technique, the textual content offers in-depth explorations of song of numerous cultures from all over the world. The authors all ethnomusicologists operating of their fields of craftsmanship base their discussions of music-cultures on their lonesome fieldwork and provides you a real experience of either the tune and tradition that created it.

Show description

Read or Download Worlds of Music : An Introduction to the Music of the World’s Peoples , Shorter Version, Third Edition PDF

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Additional info for Worlds of Music : An Introduction to the Music of the World’s Peoples , Shorter Version, Third Edition

Sample text

Piano playing in jazz, rock, and other popular music is homophonic. The pianist usually gives the melody to the right hand and an accompaniment to the left. Sometimes the pianist plays only accompaniment, as when “comping” behind a jazz soloist. Blues guitarists such as Blind Blake and Mississippi John Hurt developed a homophonic style in the 1920s in which the fi ngers of the right hand played melody on the treble strings while the right-hand thumb simultaneously played an accompaniment on the bass strings.

Musical analysis is an important part of this procedure. Unlike the analyst who investigates Western classical music by looking at the composer’s written score, ethnomusicologists must usually deal with music that exists only in performance, without notation or instructions from a composer. The ethnomusicologist usually transcribes the music—that is, notates it—and then analyzes its structure. ” The Four Components of a Music-Culture A music-culture ultimately rests in the people themselves—their ideas, their actions, and the sound they produce (Merriam 1964:32–33).

Does music belong to individuals, to groups, as if it were private property? Or is music a public resource that should be treated as common property? 1 The Four Components of a Music Culture. I. Ideas about music A. Music and the belief system B. Aesthetics of music C. Contexts for music D. History of music II. Activities involving music III. Repertories of music A. Style B. Genres C. Texts D. Composition E. Transmission F. Movement IV. Material culture of music and the universe. Cultures vary enormously in their answers to these questions, and the answers often are subtle, even paradoxical; they are embodied in rituals that try to reconcile love and hate, life and death, the natural and the cultural.

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