World Music: Traditions and Transformations

Erscheinungsjahr 2007
ISBN: 978-0-07-241566-7
Verlag: McGraw-Hill Education - Europe

Buch, Englisch, 416 Seiten, Format (B × H): 215 mm x 251 mm, Gewicht: 779 g

From cha cha chá to jeliya and Hindustani raga to hip-hop gamelan, this exciting new text takes students on a journey through diverse musical cultures and traditions of the world. With a clear and accessible presentation style and lively and engaging writing, it is an ideal introduction to world music for non-music and music majors alike.

Autoren/Hrsg.

Bakan, Michael B.

Bakan, Michael

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikgattungen Andere zeitgenössische Musikrichtungen

Inhaltsverzeichnis

PA R T IChapter 1 What, in the World, Is Music? 1
A Point of Departure: Five Propositionsfor Exploring World Music 2

Proposition 1: The Basic Property of All Music Is Sound 2

Proposition 2: The Sounds (and Silences) That Comprisea Musical Work Are Organized in Some Way 3

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 Intentionand Perception 4

Proposition 5: The Term Music Is Inescapably Tiedto Western Culture and Its Assumptions 6

Summary 6
Key Terms 7
Study Questions 7
Discussion Questions 7
Applying What You Have Learned 7
Resources for Further Study 7

Chapter 2 How Music Lives: A Musicultural Approach 9

Culture in Music 10

Meaning in Music 11

Identity in Music 11

Societies 13

Cultures 15

Nations and Nation-States 16

Diasporas and Other Transnational Communities 17

The Individual in Music 18

Spirituality and Transcendence in Music 20

Music and Dance 21

Music in Ritual 22

Music as Commodity and the Patronage of Music 23

The Transmission of Music and Musical Knowledge 25

Production and Reception 25

Music Creation Processes 26

Music in the Process of Tradition 27

Summary 29
Key Terms 29
Study Questions 29
Discussion Questions 30
Applying What You Have Learned 30
Resources for Further Study 30

Chapter 3 How Music Works, Part I: Rhythm 31
The Four Basic Properties of Tones 32

Rhythm 32

Beat 34

Subdivision 34

Meter 35

Accent and Syncopation 39

Tempo 39

Free Rhythm 40
Summary 40
Key Terms 40
Study Questions 41
Applying What You Have Learned 41
Resources for Further Study 41

Chapter 4 How Music Works, Part II: Pitch 43

Pitch and Melody 44

Pitch and Melody in “Mary Had a Little Lamb” and a NativeAmerican Eagle Dance Song 44

Names of Pitches in Western Music 44

The Western Pitch System and the Octave 46

Common Scales in Western Music: Major, Pentatonic,Minor, and Blues 48

Modulation: Moving from One Scale and Key to Another 50

Pitch and Scales in Non-Western Musical Systems 51

Pitch, Chords, and Harmony 53

Single Chord-Based Music and Music with Chord Progressions 53

Harmonization of Melodies 53

Arpeggios (Broken Chords) 53

Other Chords, Other Harmonies 54

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 III: Dynamics, Timbre,and Instruments 57

Dynamics 58

Timbre 59

Music Instruments 62

Music Instrument Classification 63

Summary 73
Key Terms 73
Study Questions 74
Applying What You Have Learned 74
Resources for Further Study 74

Chapter 6 How Music Works, Part IV: Texture and Form 75
Single-Line Textures 76

Multiple-Part Textures 76

Form: The Designs of Musical Works 79

Repetition and Patterning 79

Forms with Contrasting Sections 82

Summary 84
Key Terms 84
Study Questions 85
Applying What You Have Learned 85
Resources for Further Study 85

PART 2Chapter 7 Interlocking Rhythms and Interlocking Worldsin Balinese Gamelan Music 87

Introduction 90

Balinese Gamelan Music in Context 90

Bali and the Republic of Indonesia 90

Religion in Bali and Indonesia 91

Gamelan in Bali and Beyond 92

The Gamelan Beleganjur: An Introduction 95

Kilitan Telu Interlocking Rhythms: A Musical Symbolof Communal Interdependence 95

Musical Guided Tour: The Gamelan Beleganjur 96

Balinese Kecak and the Kilitan Telu 97

Experiencing Balinese Interlocking, Kecak-Style 98

The Gamelan Beleganjur in Battles of Good versus Evil 99

Beleganjur Music in Hindu-Balinese Cremation Processions 99

Guided Listening Experience: Beleganjur Music Performeddu

Über Autor(innen)

Bakan, Michael
Michael B. Bakan is Professor of Ethnomusicology and Head of Ethnomusicology/World Music in the College of Music at Florida State University, where he also directs the universitys Balinese gamelan ensemble and the Music-Play Project, a program for children on the autism spectrum and their families. He has been the recipient of numerous awards and honors, including two Florida State University Undergraduate Teaching Awards (1998, 2010). His first book, Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur (University of Chicago Press, 1999), was selected to the Choice Outstanding Academic Titles list for the year 2000 and was recognized as one of the two most significant publications on Balinese music in almost half a century in The Times (London). The first edition of World Music: Traditions and Transformations (McGraw-Hill, 2007) has been adopted at more than 100 universities and colleges worldwide. Bakans many other publications encompass topics ranging from Indonesian music and world percussion to electronic music technology, early jazz history, film music, multicultural music education, and the ethnomusicology of autism. He is also the series editor of the Routledge Focus on World Music Series. As a percussionist, Bakan has performed with many renowned world music, jazz, and Western classical music artists and ensembles, including the Toronto Symphony Orchestra, the Music at Marlboro Festival Orchestra, John Cage, A. J. Racy, Phil Nimmons, I Ketut Sukarata, and the championship beleganjur groups of Batur Tengah and Tatasan Kaja in Bali, Indonesia. He is also an active composer, with traditional and experimental works for Balinese gamelan, world music/jazz fusion pieces, film scores, and modern dance compositions to his credit. Bakan has been a visiting professor or invited lecturer at numerous institutions, including Harvard, Yale, Indiana, and Boston universities; the universities of Chicago, Colorado, Illinois, Maryland, and Washington; and the Berklee College of Music. He previously served as president of the Society for Ethnomusicologys Southeast/Caribbean Chapter. He and his family live in Tallahassee, Florida.