Preface
Acknowledgements
List of Reviewers
Introduction

Introduction

PART I. UNDERSTANDING THE BASICS OF MUSIC
1. Pitch, Melody (Pitches in Succession), and Rhythm (Managing Time in Music)
Introduction
Pitch
Selecting Pitches
Pitch Placement and Intonation
Setting the Pitch
Naming Pitches
Melody (Pitches in Succession)
Intervals
Scales
Melodic Mode
Rhythm (Managing Time in Music)
Free Rhythm
Purposeful Organization of Time
Meter
Tempo

2. Harmony (Simultaneous Pitches), Texture (How Musical Parts Fit Together), and Form (The Structure of a Piece)
Introduction
Harmony (Tonal system)
Naming Simultaneous Pitch Relations
Chords
Chord Progressions
Key
Harmony in World Fusion Music
Tone Clusters
Texture
Performing One Melody
One Melody with Some Other Pitched Part(s)
Multiple Melodies (Polyphony)
Melody and Chords (Homophony)
Form
What Is a Piece of Music?
The Structure of a Finished Work
Form in Performance

3. Understanding and Classifying Musical Instruments
Introduction
Instruments as Physical Objects
Classifying Subtypes of Musical Instruments
Classifying Vocal Types
Other Ways to View Musical Instruments as Physical Objects
Instruments as Expressive Culture
Extramusical Associations
Social/Cultural Status
Musical Ensembles

4. Thinking about Global Music Cultures
Introduction
The Field of Ethnomusicology
A Very Brief History
Perspectives in the Study of Global Music
Sources and Research Methods
Putting Your Study of World Music to Work

PART II. IN THE PACIFIC AND ASIA
5. Music in Chuuk (Micronesia): Experiencing Music and Dance in a Sea of Islands, Brian Diettrich
Introduction
Chuuk
Musical practices
Engaging with the Sea
Engaging with Ancestral Ways
Worshipping through Music
Celebrating with Music and Dance
Participation in Global Flow
Conclusion

6. Music in China: Recalibrating Musical Heritage in a Radically Changing Society, Frederick Lau
Introduction
China
Musical Practices
Guqin, a Solo Instrumental Tradition
Jiangnan Sizhu, an Instrumental Ensemble Tradition
Musical Recalibrations across Time
In the Period of the Republic of China (1912-1949)
In the Maoist Period (1949-1976)
From 1978 into the Twenty-First Century
Contemporary Recalibration of the Guqin and Jiangnan Sizhu Traditions
"New" Traditional Music
Conclusion

7. Music in Japan: Encounters with Asian and European Traditions, Bonnie C. Wade
Introduction
Japan
Musical Developments
Gagaku: Japanese Court Music
Indigenous Traditional Musics
Western Music
Creative Contributions by Individual Musicians
Yatsuhashi Kengyo and Historic Music for the Koto
Michio Miyagi: "The Father of Modern Koto Music"
Keiko Abe, Superstar in the World of Marimba
Conclusion

8. Music in Myanmar (Burma): Expressing Commonalities and Differences, Gavin Douglas
Introduction
Myanmar
Musical Traditions
Buddhist Chant versus Secular Music
Music to Call the Nats
Musics from Historic Ethnic Bamar Court Traditions
Music in Performance
Chant in Theravada Monasteries
Music in a Pwe
Musical Responses to Authoritarianism
Conclusion

9. Music in Bali: The Sound World of a Balinese Temple Ceremony, Lisa Gold
Introduction
The History of Bali
Religious Practice in Bali
Music in Bali
Instrumental Ensembles (Gamelan) and Instruments
Temple Ceremonies (Odalan)
Gamelan Music in Temple Ceremonies
The Classical Form of Gamelan Pieces
Musical Texture in Gamelan Music
Innovations in Twentieth-Century Gamelan Gong Kebyar
Conclusion

10. Music in North India: An Enduring Classical Musical Tradition, George Ruckert
Introduction
India
Musical Ideas and Practices
Music's Honored Place in the Culture
The Teaching/Learning System (Guru-shisya parampara)
Raga: the Melodic Map
Tala: the Metric System
Tihai: A Cadential Practice
The Musical Syllable (Vocable)
Vocables in the Vocal/Dance Genre Taranaaaa
Weaving of Fixed Composition and "On the Spot" Realization
The Rise of Instrumental Music
Ali Akbar Khan Plays Rag Chandranandan on the Sarod
Excerpt 1 (Audio Example 10.1)
Excerpt 2 (Audio Example 10.6)
Excerpt 3 (Audio Example 10.7)
Excerpt 4 (Audio Example 10.8)
Excerpt 5 (Audio Example 10.9)
Visit with an Elderly Master
Conclusion

11. Music in Turkey: Contemporary Recording of Traditional Music, Eliot Bates
Introduction
"Bu Dunya Bir Pencere," A Traditional Dance Song
Beat Structure (or, Musical Meter)
Melodic mode
Contemporary Interpretations of "Bu Dunya Bir Pencere"
The Sevval Sam Recording
The Marsis Recording
Common Techniques Used on Both Recordings
Conclusion

12. Music in Egypt: Creating and Maintaining a Vibrant Islamic Presence in Day-to-Day Life, Scott Marcus
Introduction
The Arab Republic of Egypt
Musical Ideas and Practices
The Call to Prayer
Madh, a Sufi genre of Sung Religious Poetry
Intersections of Religion and Music in Popular Culture
Zaffa Bands
The Mid-Twentieth-Century Long Song
Present-day Pop Stars
Conclusion

PART III. AFRICA
13. Music in Ghana: Daagaba Xylophone Music in a Ritual Context, John Dankwa and Eric Charry
Introduction
African Xylophones
The Dagaaba Xylophone (Gyil)
Gyil Music in Dagaaba Society
Music for Recreation
Music for Funerals
Conclusion

14. Music in South Africa: Language, Race, and Nation, Gavin Steingo
Introduction
South Africa and Its Languages
South Africa in the Twentieth Century
Miriam Makeba's Early Career
The "Click Song"
Miriam Makeba's Changing Worlds, 1958-1960
Miriam Makeba's Legacy
Conclusion

PART VI. EUROPE
15. Music in Spain: Flamenco, between the Local and the Global, Susana Moreno Fernandez and Salwa El-Shawan Castelo-Branco
Introduction
Flamenco
The Expression of Intense Emotions through Participatory Performance
Flamenco Cante (song)
Tonality and Harmony
Rhythm and Meter
New Path: Nueva Flamenco
Icons of Nuevo Flamenco: Camaron de la Isla and Paco de Lucía
Conclusion

16. Music in Ireland: Historical Continuity and Community in Irish Traditional Music, Dorothea E. Hast and Stanley Scott
Introduction
History
A Session in County Clare, Ireland (June 1997)
Invitation to a Session
Sean-nos: "Old-style" Songs in Irish
Instruments in the Irish Tradition
Dance Types
Dance Tune Types
The Jig
The Reel
Emigration Songs
"The Green Fields of Canada"
"Edward Connors"
"Thousands are Sailing"
Conclusion

PART V. THE AMERICAS
17. Music in Cuba: Son and Creolization, Robin Moore
Introduction
Colonization of the Americas and the African Slave Trade
Musical Characteristics of African-Influenced Music from the Caribbean
Structure/Form
Instruments
The Organization of Time
The Cuban Son
Structure/Form of the Urban Son
Instrumentation of the Urban Son
Instrumental Parts and the Organization of Time
Improvisation
The Changing Sound of Son
Conclusion

18. Music in Brazil: Samba, A Symbol of National Identity, John Murphy
Introduction
Brazil and Its History
Early Samba
The Emergence of Urban Samba
Other Early Samba Styles
Samba Schools and Carnaval
Developments in the 1950s and 1960s
Pagode: "A Backyard Style" of Samba
Samba in Contemporary Brazilian Musical Life: Elza Soares and Samba Sujo
Conclusion

19. Music in the Southwestern United States: Tales of Tradition and Innovation in the Mariachi Borderlands, Daniel Sheehy
Introduction
Mariachi History
Mariachi Music
Tales of Innovation and Tradition
Mariachi in Education
Mariachi Reyna de Los Angeles: We're Women; We Do It!
The Mexican Son
Mariachi Arcoiris de Los Angeles: The World's First LGBTQIA+ Mariachi
Conclusion

20. Music in Native America: The Intertribal Powwow, John-Carlos Perea
Introduction
The Powwow
Music in the Social Space of the Powwow
What's Going On: Opening Sequence
Song Form, Singing Styles, and Drum Rhythm
Conclusion

Glossary
Index