Worlds of Music is a unique introduction to ethnomusicology, the ideal text with which to experience and understand the meanings of music in the lives of diverse human communities. Writing about cultures they have studied at first hand, the authors describe and analyze the indigenous musics of Africa, North and South America, Eastern Europe, India, Indonesia, and Japan. They also show how ethnomusicologists "get inside" a culture to document its music. Free from excessive jargon and assuming no formal musical background, Worlds of Music conveys the excitement of ethnomusicology by focusing in depth on the music of a small number of representative groups; looks at music both on its own terms and as a human activity in diverse historical, social, and cultural contexts; features fascinating biographies and oral histories of musicians in diverse cultures; includes many original photographs, drawings, and transcriptions of musical examples; and encourages active student involvement by showing how a beginner may document, play, and even build the instruments used in the music of another culture.
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1. The Music-Culture as a World of Music. 2. North America/Native America. 3. Africa/Ewe, Mande, Dagbamba, Shona, BaAka. 4. North America/Black America. 5. Europe/Central and Southeastern Regions. 6. India/South India. 7. Asia/Indonesia. 8. East Asia/China, Taiwan, Singapore, Oversees Chinese. 9. Latin America/Chile, Bolivia, Ecuador, Peru. 10. Music of the Arab World. 11. Discovering and Documenting a World of Music.About the Author:
Timothy J. Cooley is Professor of Ethnomusicology at the University of California, Santa Barbara, where he teaches courses in Polish and American vernacular, and folk, and popular music, as well as music and sports, and music and tourism. He also is affiliated faculty with the university's Global and International Studies Program. He earned a Master's degree in Music History at Northwestern University, and received his Ph.D. in Ethnomusicology at Brown University, where he studied with Jeff Todd Titon. His book MAKING MUSIC IN THE POLISH TATRAS: TOURISTS, ETHNOGRAPHERS, AND MOUNTAIN MUSICIANS won the 2006 Orbis Prize for Polish Studies, awarded by the American Association for the Advancement of Slavic Studies. He enjoys playing Polish mountain fiddle music, American old-time banjo, and singing in choirs. A revised second edition of his book SHADOWS IN THE FIELD: NEW PERSPECTIVES FOR FIELDWORK IN ETHNOMUSICOLOGY, edited with Gregory F. Barz, was published in 2008. Cooley served as the editor of ETHNOMUSICOLOGY, the journal of the Society for Ethnomusicology. His most recent book, SURFING ABOUT MUSIC (2014) considers how surfers from around the world musically express their ideas about surfing and the surfing communities, and how surfing as a sport and lifestyle is represented in popular culture.
David Locke received a Ph.D. in ethnomusicology in 1978 from Wesleyan University, where he studied with David McAllester, Mark Slobin, and Gen’ichi Tsuge. At Wesleyan, his teachers of traditional African music included Abraham Adzinyah and Freeman Donkor. He conducted doctoral dissertation fieldwork in Ghana from 1975 to 1977 under the supervision of Professor J. H. K. Nketia. In Ghana, his teachers and research associates included Godwin Agbeli, Gideon Foli Alorwoyie, and Abubakari Lunna. He has published numerous books and articles on African music and regularly performs the repertories of music and dance about which he writes. He teaches in the Music Department of Tufts University, where he also serves as a faculty advisor to the Tufts-in-Ghana Foreign Study Program and member of the steering committee of the Africana Studies Program. His recent projects include an oral history and musical documentation of dance-drumming from the Dagbamba people, and an in-depth musical documentation of Agbadza, an idiom of Ewe music. He is active in the Society for Ethnomusicology and has served as the president of its Northeast Chapter. He founded the Agbekor Drum and Dance Society, a community-based performance group dedicated to the study of traditional Ghanaian music, and the Samanyanga Mbira Club, a community-based performance group dedicated to the study of Shona mbira music. Study of Akan traditional music-culture is Locke's most recent focus.
David P. McAllester received his Ph.D. in anthropology from Columbia University, where he studied with George Herzog. A student of American Indian music since 1938, he undertook fieldwork among the Comanches, Hopis, Apaches, Navajos, Penobscots and Passamaquoddies. He was the author of such classic works in ethnomusicology as PEYOTE MUSIC, ENEMY WAY MUSIC, MYTH OF THE GREAT STAR CHANT and NAVAJO BLESSINGWAY SINGER (with co-author Charlotte Frisbie). He was one of the founders of the Society for Ethnomusicology, and he served as its president and the editor of its journal, ETHNOMUSICOLOGY. Professor Emeritus of Anthropology and Music at Wesleyan University, he passed away in 2006.
Anne K. Rasmussen is Professor of Music and Ethnomusicology and the Bickers Professor of Middle Eastern Studies at the College of William and Mary, where she also directs the Middle Eastern Music Ensemble. Her research interests include music of the Arab and Islamic world; music and multiculturalism in the United States; music patronage and politics; issues of orientalism, nationalism, and gender in music; fieldwork; music performance; and the ethnographic method. Rasmussen received a Ph.D. in ethnomusicology from the University of California, Los Angeles, where she studied with A. J. Racy, Timothy Rice, and Nazir Jairazbhoy. Gerard Béhague and Scott Marcus are also among her influential teachers. Rasmussen is author of Women, the Recited Qur’an, and Islamic Music in Indonesia (2010); coeditor with David Harnish of Divine Inspirations: Music and Islam in Indonesia (2011), coeditor with Kip Lornell of The Music of Multicultural America (1997, 2015); and editor of a special issue of the world of music on “The Music of Oman” (2012). She is the author of articles and book chapters in numerous publications and has produced four CD compact disc recordings. Winner of the Jaap Kunst Prize for best article in published in 2000, she also received the Merriam Prize honorable mention for her 2010 book from the Society for Ethnomusicology (SEM). Rasmussen has served that society twice as a board member and was elected SEM president in 2014.
David B. Reck earned a B.A. in music at the University of Houston; a Masters of Music at the University of Texas; and his doctorate degree from Wesleyan University. In the 1960s, he was active in the new music scene in New York City with performances of his compositions at Town Hall, Carnegie Hall, the Museum of Modern Art, and at festivals throughout Europe. With a grant from the Rockefeller Foundation, he enrolled in the College of Carnatic Music (Madras, India) in 1968 and began a lifetime of study of South Indian classical music in the Karaikudi tradition of veena. An accomplished veena player in the Karaikudi tradition, he has concertized on three continents. A former Guggenheim Fellow, he has served on numerous committees for the Guggenheim Foundation, the Broadcast Music, Inc. annual composition competition, the Fulbright Scholarship Committee, and the National Endowment for the Arts. At Amherst College he initiated courses in Asian music and culture, film, ethnomusicology, classical and popular music and culture, J.S. Bach, the Beatles, world music composition, modernism, and songwriting, along with establishing a pioneering world music concert series. Publications include Music of the Whole Earth, and "Musical Instruments: Southern Area" in The Garland Encyclopedia of World Music: South Asia: The Indian Subcontinent, plus numerous articles on South India's classical music and on the influence of India's music on popular and classical music in the U.S. and Europe.
John M. Schechter is Professor Emeritus of Music (Ethnomusicology and Music Theory), at the University of California, Santa Cruz. He received a Ph.D. in ethnomusicology from the University of Texas at Austin, where he studied Latin American ethnomusicology with Gerard Béhague; folklore with Américo Paredes; Andean anthropology with Richard Schaedel; and Quechua with Louisa Stark and Guillermo Delgado-P. Beginning in 1986, he created?and subsequently directed until 2000?the U. C. Santa Cruz Taki ?an and Voces Latin American Ensembles. With Guillermo Delgado-P., Schechter is coeditor of Quechua Verbal Artistry: The Inscription of Andean Voices/Arte Expresivo Quechua: La Inscripción de Voces Andinas (2004), a volume dedicated to Quechua song text, narrative, poetry, dialogue, myth, and riddle. He is general editor of, and a contributing author to, Music in Latin American Culture: Regional Traditions (1999), a volume examining music-culture traditions in distinct regions of Latin America. He authored The Indispensable Harp: Historical Development, Modern Roles, Configurations, and Performance Practices in Ecuador and Latin America (1992). Schechter’s chapter on Víctor Jara appeared in the 2011 volume Popular Music and Human Rights: Volume II: World Music, edited by Ian Peddie. His other publications have explored formulaic expression in Ecuadorian Quichua sanjuán, and the ethnography, cultural history, and artistic depictions of the Latin American/Iberian child’s wake music ritual. Schechter currently serves on the international advisory board of the MUSIKE Project, an ethnomusicological, theme-based journal published under the auspices of the SPANDA Foundation.
Jonathan P. J. Stock received a Ph.D. in ethnomusicology at the Queen’s University of Belfast, where he studied with Rembrandt Wolpert, Martin Stokes, and John Blacking. His field research has been funded by the British Council, the China State Education Commission, the United Kingdom’s Arts and Humanities Research Council, the British Academy, and Taiwan’s National Endowment for the Arts. It has been carried out in several parts of China, Taiwan, and England, and centered primarily on understanding the transformation of folk traditions in the modern and contemporary worlds. He is the author of two academic books on Chinese music, as well as the multivolume textbook, World Sound Matters: An Anthology of Music from Around the World. He is active as an editor, currently coediting the journal Ethnomusicology Forum. His current research focus is the music of the Bunun people in Taiwan, but he has also written recently on the history of Chinese music and on the use of world music in science fiction. Formerly the chair of the British Forum for Ethnomusicology and now an executive board member of the International Council for Traditional Music, he founded the ethnomusicology program at the University of Sheffield in 1998 and now serves as Professor and Head of the School of Music and Theatre, University College Cork, Ireland.
R. Anderson Sutton received a Ph.D. in musicology from the University of Michigan, where he studied with Judith Becker and William Malm. He was introduced to Javanese music while an undergraduate at Wesleyan University, and he made it the focus of his Master’s study at the University of Hawai?i at M?noa, where he studied gamelan with Hardja Susilo. On numerous occasions since 1973 he has conducted field research in Indonesia, with grants from the East-West Center, Fulbright-Hays, the Social Science Research Council, the National Endowment for the Humanities, the Wenner-Gren Foundation, and the American Philosophical Society. He is the author of Traditions of Gamelan Music in Java, Variation in Central Javanese Gamelan Music, Calling Back the Spirit: Music, Dance, and Cultural Politics in Lowland South Sulawesi, and numerous articles on Javanese music. His current research concerns music and media in Indonesia and South Korea. Active as a gamelan musician since 1971, he has performed with several professional groups in Indonesia and directed numerous performances in the United States. He served as the first vice president and book review editor for the Society for Ethnomusicology, and was a member of the Working Committee on Performing Arts for the Festival of Indonesia (1990–1992). From 1982 to 2013, he taught at the University of Wisconsin–Madison, where he was Professor of Music and served three terms as Director of the Center for Southeast Asian Studies. He is now Dean of the School of Pacific and Asian Studies and Assistant Vice Chancellor for International and Exchange Programs at the University of University of Hawai?i at M?noa.
Jeff Todd Titon is Professor of Music, Emeritus, at Brown University, where he directed the Ph.D. program in ethnomusicology from 1986 to 2013. He received a Ph.D. in American Studies from the University of Minnesota, where he studied ethnomusicology with Alan Kagan, cultural anthropology with Pertti Pelto, and musicology with Johannes Riedel. He founded the ethnomusicology program at Tufts University, where he taught from 1971 to 1986. From 1990 to 1995 he served as the editor of Ethnomusicology, the journal of the Society for Ethnomusicology. He has done ethnographic fieldwork in North America on religious folk music, blues music, and old-time fiddling, with support from the National Endowment for the Arts and the National Endowment for the Humanities. For two years, he was the guitarist in the Lazy Bill Lucas Blues Band, a group that appeared at the 1970 Ann Arbor Blues Festival. He founded and directed an old-time, Appalachian, string-band ethnomusicology ensemble at Tufts (1981–1986) and then at Brown (1986–2013). He is the author or editor of eight books, including Early Downhome Blues, which won the ASCAP–Deems Taylor Award, Give Me This Mountain, Powerhouse for God, and the Oxford Handbook of Applied Ethnomusicology. A documentary photographer and filmmaker as well as author, he is considered a pioneer in applied ethnomusicology, phenomenological ethnography, and ecomusicology. His most recent research may be tracked on his blog at sustainablemusic.blogspot.com.
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