A note to instructors from Bonnie Wade
Greetings to all of you who use this book in your teaching or who are considering using it. Since the first edition was published in 2004, I have had quite a number of different responses to it. The responses have differed largely according to the different types of courses for which the book has been a text. I remain astonished by the variety.
I wrote Thinking Musically for individuals for whom the material is unfamiliar—i.e., at an introductory level; nevertheless, it has been found useful for courses for music majors. It has even been used in graduate courses where for some pedagogical reason the students need introduction to non-Western musics.
I wrote it for students, but it has been found useful for others such as travelers to various places in the world.
I wrote it as a framing volume to be used in a course with other volumes in the Global Music Series; nevertheless, it has been adopted as the primary textbook for some whole courses. In fact, I have used it that way myself, as you will see elsewhere.
I also wrote the book with the idea that I would “interact” in a sense with an instructor. If you find there is too much there for the time you can devote to it, choose what really interests you and/or what you anticipate will be of greatest interest to your students. If you find something missing or if you have a tried and true analogous musical example that you consider more effective for your students than what I have used, by all means go with it. Please exploit Thinking Musically for your purposes.
One request. I wrote the book with the idea that there would be interaction between the students and me. (The Activities carry that out most obviously.) Would you therefore please assign for reading “A Note to Readers” that Oxford University Press insisted on placing as front matter rather than with the body of the text. You might even project the text for them to read on the first day of class, when they might not have the textbook. Thank you very much.