Recorded Selections |
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viii | |
Preface |
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xii | |
The Authors |
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xvi | |
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The Music-Culture as a World of Music |
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1 | (34) |
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1 | (1) |
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2 | (3) |
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5 | (4) |
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9 | (6) |
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9 | (1) |
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10 | (3) |
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13 | (1) |
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14 | (1) |
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A Music-Culture Model: Affect, Performance, Community, and History |
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15 | (4) |
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The Four Components of a Music-Culture |
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19 | (11) |
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19 | (5) |
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Activities Involving Music |
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24 | (2) |
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26 | (2) |
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Material Culture of Music |
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28 | (2) |
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Ecological Worlds of Music |
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30 | (5) |
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32 | (1) |
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32 | (3) |
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North America/Native America |
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35 | (52) |
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35 | (11) |
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35 | (5) |
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40 | (2) |
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42 | (2) |
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Making a ``Cowhorn'' Rattle |
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44 | (2) |
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46 | (34) |
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A Yeibichai Song from the Nightway Ceremony |
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46 | (3) |
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49 | (1) |
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50 | (4) |
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Traditional Popular Music |
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54 | (1) |
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The Circle Dance Song ``Shizhane'e'' |
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54 | (2) |
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56 | (4) |
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The ``Classical'' Music of the Navajos |
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60 | (4) |
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The Life Story of a Navajo Ceremonial Practitioner |
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64 | (7) |
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The Native American Church |
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71 | (3) |
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74 | (2) |
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76 | (1) |
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76 | (1) |
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New Composers in Traditional Modes |
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77 | (2) |
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Music with Newly Created Navajo Texts and Melodies |
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79 | (1) |
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New Navajo Music with English Texts and Orchestral Accompaniment |
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79 | (1) |
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The Native American Flute Revival |
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80 | (7) |
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82 | (1) |
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83 | (1) |
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84 | (1) |
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Major Sources for Recordings |
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85 | (2) |
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Africa/Ewe, Mande, Dagbamba, Shona, BaAka |
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87 | (64) |
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Postal Workers Canceling Stamps |
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89 | (5) |
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Generalizations About African Music-Culture |
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90 | (2) |
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Musical Analysis: Toward Participation |
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92 | (2) |
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Agbekor: Music and Dance of the Ewe People |
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94 | (19) |
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94 | (2) |
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Agbekor: History and Contemporary Performance |
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96 | (4) |
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100 | (1) |
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Music of the Percussion Ensemble |
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101 | (6) |
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107 | (6) |
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Mande Jaliya: ``Lambango'' |
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113 | (9) |
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Historical and Social Background |
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114 | (1) |
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115 | (2) |
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117 | (2) |
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A Hearing of ``Lambango'' |
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119 | (3) |
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122 | (5) |
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122 | (1) |
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123 | (1) |
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Life Story: Abubakari Lunna |
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124 | (3) |
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127 | (10) |
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127 | (1) |
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128 | (3) |
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131 | (4) |
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Thomas Mapfumo and Chimurenga Music |
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135 | (2) |
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The BaAka People Singing: ``Makala'' |
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137 | (8) |
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Three Images of the Forest People |
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138 | (1) |
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139 | (3) |
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Music-Culture as an Adaptive Resource |
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142 | (3) |
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145 | (6) |
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147 | (2) |
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149 | (1) |
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149 | (2) |
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North America/Black America |
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151 | (60) |
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151 | (11) |
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162 | (6) |
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168 | (38) |
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169 | (1) |
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170 | (2) |
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Response to the Lyrics of ``Poor Boy Blues'' |
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172 | (2) |
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Autobiography and the Blues |
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174 | (6) |
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180 | (2) |
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182 | (1) |
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183 | (1) |
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A Blues Song in the Making |
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184 | (3) |
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How to Make and Play a One-Stringed Diddly-Bow |
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187 | (5) |
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Social Context and the Meaning of the Blues |
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192 | (4) |
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196 | (6) |
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202 | (4) |
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206 | (5) |
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207 | (1) |
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208 | (1) |
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208 | (1) |
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209 | (2) |
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Bosnia and Central/Southeastern Europe: Music and Musicians in Transition |
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211 | (32) |
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Bosnia: From Tradition to Destruction |
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214 | (22) |
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Music in a Muslim Highlander Village |
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215 | (6) |
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Music of Rural and Urban Lowlands Muslims |
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221 | (4) |
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Popular Music Styles: ``Newly Composed Folk Music'' and Rock |
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225 | (3) |
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Mensur Hatic: Versatile Musical Traveler |
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228 | (2) |
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Flory Jagoda: Keeper of the Sephardic Jewish Tradition of Bosnia |
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230 | (2) |
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232 | (4) |
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Bulgaria: Another Approach to Musical Change |
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236 | (3) |
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239 | (4) |
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240 | (1) |
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240 | (1) |
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241 | (2) |
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243 | (36) |
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The Environment of Indian Musics |
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247 | (8) |
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History, Culture, Politics |
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247 | (2) |
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249 | (6) |
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Karnataka Sangeeta, the Classical Music of South India |
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255 | (18) |
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257 | (2) |
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The Ensemble: Musical Texture |
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259 | (2) |
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261 | (3) |
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264 | (1) |
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265 | (2) |
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A Carnatic Music Performance |
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267 | (2) |
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269 | (1) |
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270 | (1) |
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270 | (2) |
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272 | (1) |
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The Drum Solo: Tani Avartanam |
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272 | (1) |
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Indian Music and the West |
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273 | (6) |
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275 | (1) |
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Additional Reading and Viewing |
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275 | (1) |
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275 | (2) |
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Major Sources for Recordings |
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277 | (2) |
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279 | (52) |
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281 | (33) |
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282 | (5) |
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287 | (1) |
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288 | (1) |
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Gamelan Performance Contexts |
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289 | (2) |
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Gamelan Music: A Javanese Gendhing in Performance |
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291 | (7) |
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298 | (1) |
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Performing Your Own Gamelan Music |
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299 | (1) |
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A Javanese Gendhing in Soft-Playing Style |
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299 | (1) |
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300 | (2) |
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A Close Examination of ``Ladrang Wilujeng'' |
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302 | (5) |
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Biography of Ki Nartosabdho, a Gamelan Musician, Composer, and Puppeteer |
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307 | (5) |
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Gamelan Music and Shadow Puppetry |
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312 | (2) |
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314 | (2) |
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316 | (3) |
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319 | (12) |
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319 | (2) |
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Responses to Globalization |
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321 | (5) |
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326 | (1) |
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326 | (1) |
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327 | (2) |
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329 | (2) |
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331 | (54) |
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Listening Habits of Contemporary Japanese |
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333 | (1) |
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General Characteristics of Japanese Traditional Music |
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334 | (4) |
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334 | (1) |
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335 | (1) |
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336 | (1) |
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336 | (1) |
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337 | (1) |
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The Shakuhachi (Bamboo Flute) |
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338 | (6) |
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344 | (1) |
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The Kouta (Short Song) and Shamisen (Lute) |
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345 | (7) |
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Gidayu-bushi (Music of the Puppet Theater) |
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352 | (4) |
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356 | (5) |
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Matsuri-bayashi (Festival Music) |
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361 | (8) |
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364 | (2) |
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Biography of Ueno Mitsuyuki |
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366 | (3) |
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369 | (12) |
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370 | (4) |
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374 | (6) |
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380 | (1) |
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380 | (1) |
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380 | (1) |
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380 | (1) |
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381 | (4) |
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382 | (1) |
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383 | (1) |
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383 | (1) |
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384 | (1) |
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385 | (62) |
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387 | (1) |
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388 | (7) |
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388 | (4) |
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392 | (1) |
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The Front Lines of Social Change |
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393 | (2) |
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395 | (5) |
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The Quichua of the Northern Andes of Ecuador |
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400 | (20) |
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The Musical Tradition: Sanjuan |
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403 | (9) |
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Sanjuan and Cotacachi Quichua Lifeways |
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412 | (3) |
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Walking in Sanjuan: The Vital-Domain Metaphor |
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415 | (2) |
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417 | (3) |
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The Andean Ensemble Phenomenon |
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420 | (6) |
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426 | (6) |
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The Career Dilemma of Don Cesar Muquinche |
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432 | (6) |
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African-Ecuadorian Music of the Chota River Valley |
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438 | (2) |
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440 | (7) |
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441 | (2) |
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443 | (2) |
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445 | (1) |
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446 | (1) |
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Discovering and Documenting a World of Music |
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447 | (28) |
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Music in Our Own Backyards |
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447 | (10) |
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449 | (1) |
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450 | (1) |
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451 | (1) |
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451 | (1) |
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452 | (2) |
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454 | (1) |
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454 | (1) |
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455 | (2) |
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Doing Musical Ethnography |
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457 | (18) |
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Selecting a Subject: Some Practical Suggestions |
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457 | (2) |
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459 | (14) |
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473 | (1) |
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474 | (1) |
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474 | (1) |
Credits |
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475 | (2) |
Index |
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477 | |