Table Of Content2
World Music
3
World Music
A Global Journey
Concise edition
Terry E. Miller
Kent State University
and
Andrew Shahriari
Kent State University
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Concise edition published 2015
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© 2015 Taylor & Francis
The right of Terry E. Miller and Andrew Shahriari to be identified as authors of this work has been asserted by them in
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Library of Congress Cataloging in Publication Data
Miller, Terry E., author.
World music : a global journey / Terry E. Miller and Andrew Shahriari. — Concise edition.
pages cm
Includes index.
1. World music—History and criticism. I. Shahriari, Andrew C., author.
II. Title.
ML3545.M54 2015
780.9—dc23 2013049215
ISBN: 978-0-415-71780-9 (pbk)
ISBN: 978-0-415-71781-6 (pback pack)
ISBN: 978-1-315-87107-3 (ebk)
ISBN: 978-1-315-87106-6 (ebk pack)*
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provided.
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Contents
Preface
Scope
Organization
Listening Guides
Structure of Each Listening Guide
Website and Package
Acknowledgments
1 Before the Trip Begins: Fundamental Issues
What is Music?
Music: Universal Language or Culturally Specific Activity?
Beware of Labels
Knowing the World’s Musics
Resources for the Study of the World’s Musics
Reference Works
Video
Audio Recordings
Journals
Questions to Consider
2 Aural Analysis: Listening to the World’s Musics
How to Listen to World Music
“Talking” about Music
Timbre and Medium
Vocal Timbre
Instrumental Timbre
Aerophones: Flutes, Reeds, and Trumpets
Chordophones: Lutes and Zithers
Idiophones: Plucked, Struck, and Shaken
Membranophones
Summary
Pitch
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Tuning System
Scale
Interval
Range
Melody
Melodic Contour
Ornamentation
Text Setting
Rhythm
Beat and Tempo
Accent and Meter
Rhythmic Density
Phonic Structure
Dynamics
Form
Need to Know: Fundamentals of Music
Questions to Consider
3 Cultural Considerations: Beyond the Sounds Themselves
Cultural Knowledge
Value Systems and Hierarchies
Music and Identity
Use versus Function
Music and Spirituality
Music and Ethics
Music and the Environment
New Theoretical Perspectives
Music Technologies and Media
Music and the Arts
Transmission and Pedagogy
Notation Systems and the Creation of Music
Exchange and Adaptation
Questions to Consider
4 Oceania: Australia, Hawaii, Kiribati
Background Preparation
Planning the Itinerary
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Arrival: Australia
Site 1: Australian Aboriginal Song with Didjeridu
Arrival: Hawaii
Explore More: Hawaiian Steel Guitar and Ukulele
Site 2: Hawaiian Drum-Dance Chant
Arrival: Kiribati
Site 3: Group Song for bino (sitting dance) from Kiribati
Questions to Consider
5 South Asia: India, Pakistan
Background Preparation
Planning the Itinerary
Arrival: North India
Site 1: Hindustani (Instrumental) Raga
Need to Know: Fundamentals of Indian Classical (Hindustani) Music
Arrival: South India
Site 2: Carnatic Classical (Vocal) Kriti
Explore More: Indian Filmi Git (Film Song)
Arrival: Pakistan
Site 3: Qawwali (Sufi Devotional Song)
Questions to Consider
6 Southeast Asia: Vietnam, Thailand, Laos and Northeast Thailand, Indonesia
(Java)
Background Preparation
Planning the Itinerary
Arrival: Vietnam
Site 1: Nhac Tai Tu Amateur Chamber Music
Arrival: Thailand
Site 2: Classical Piphat Music
Arrival: Laos and Northeast Thailand
Site 3: Lam Klawn Repartee Singing
Arrival: Indonesia (Java)
Site 4: Javanese Court Gamelan
Questions to Consider
7 East Asia: China, Japan, Tibet
Background Preparation
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Planning the Itinerary
Arrival: China
Site 1: The Guqin (Seven-String “Ancient” Zither)
Site 2: Jiangnan Sizhu (“Silk and Bamboo”) Ensemble from Shanghai
Site 3: Beijing Opera (Jingju)
Arrival: Japan
Site 4: Gagaku Court Music
Explore More: Taiko
Arrival: Tibet
Site 5: Tibetan Buddhist Ritual
Questions to Consider
8 The Middle East: Islam and the Arab World, Iran, Egypt, Judaism
Background Preparation
Planning the Itinerary
Arrival: Islam and the Arab World
Site 1: Islamic Adhan, “Call to Prayer”
Arrival: Iran
Site 2: Dastgah for Santur and Voice
Arrival: Egypt
Site 3: Takht Instrumental Ensemble
Arrival: Judaism
Site 4: Jewish Liturgical Cantillation
Questions to Consider
9 Europe: Spain, Russia, Scotland, Ireland, Bulgaria
Background Preparation
“Classical” versus “Folk”
Planning the Itinerary
Arrival: Spain
Site 1: Flamenco
Arrival: Russia
Site 2: Balalaika Ensemble
Arrival: Scotland
Site 3: Highland Bagpipes
Arrival: Ireland
Site 4: Uilleann Bagpipes
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Arrival: Bulgaria
Site 5: Bulgarian Women’s Chorus
Questions to Consider
10 Sub-Saharan Africa: Ghana, Nigeria, Zimbabwe, The Republic of South Africa
Background Preparation
Planning the Itinerary
Arrival: Ghana
Site 1: Polyrhythmic Instrumental Ensemble
Site 2: “Talking Drums”
Arrival: Nigeria
Site 3: Jùjú Popular Music
Arrival: Zimbabwe
Site 4: Mbira dza Vadzimu
Arrival: The Republic of South Africa
Site 5: Mbube
Questions to Consider
11 The Caribbean: Jamaica, Trinidad and Tobago, Cuba
Background Preparation
Planning the Itinerary
Arrival: Jamaica
Site 1: Reggae
Arrival: Trinidad and Tobago
Site 2: Calypso
Site 3: Steel Band (Pan)
Arrival: Cuba
Site 4: Cuban Son
Questions to Consider
12 South America and Mexico: Peru, Argentina, Brazil, Mexico
Background Preparation
Planning the Itinerary
Arrival: Peru
Site 1: Sikuri (Panpipe) Ensemble
Arrival: Argentina
Site 2: Tango
Arrival: Brazil
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