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Foreword | p. xi |
Preface | p. xiii |
CD Track List | p. xvii |
Thinking about Music | p. 1 |
People | p. 1 |
Music Makers | p. 1 |
Listeners | p. 2 |
Music | p. 3 |
In Terms of Sound | p. 3 |
Calling Something "Music" | p. 3 |
Musical Values | p. 6 |
Meaning | p. 10 |
Music and Textual Meaning | p. 10 |
Music as Text | p. 14 |
Use | p. 15 |
Transmission | p. 16 |
Oral and Aural Transmision | p. 17 |
Written Transmission | p. 19 |
Thinking about Instruments | p. 27 |
Instruments as Objects | p. 28 |
Ideas about Types of Instruments | p. 28 |
Ideas about Particular Instruments | p. 38 |
Spiritual Associations | p. 38 |
Associations of Gender and Sexuality | p. 39 |
Cultural Status | p. 40 |
Aesthetic Value | p. 41 |
Item of Technology | p. 42 |
Timbre and Aesthetics of Sound | p. 43 |
Instruments in Music | p. 46 |
Instrumental Capacity | p. 46 |
Ideas about Ensemble | p. 49 |
Heterogeneous and Homogeneous Sound Ideals | p. 49 |
Musical Roles | p. 53 |
Thinking about Time | p. 56 |
Rhythm | p. 57 |
Pulse | p. 57 |
Irregular Durations | p. 58 |
Rhythm for the Text Alone | p. 59 |
Organizing Time into Units | p. 59 |
Duple and Triple Meters | p. 59 |
Simple and Compound Meters | p. 62 |
Additive Meters | p. 62 |
South Indian Tala | p. 64 |
Southeast Asian Colotomic Structure | p. 66 |
North Indian Tala | p. 68 |
Middle Eastern Rhythmic Modes | p. 69 |
Korean Changdan | p. 71 |
African Polyrhythm | p. 73 |
Music in the African Diaspora | p. 75 |
Speed | p. 76 |
Thinking about Pitch | p. 81 |
Pitch | p. 81 |
Pitch Names | p. 82 |
Syllables | p. 82 |
Numbers | p. 83 |
Letters | p. 83 |
Setting the Pitch | p. 83 |
Who Sets the Pitch | p. 83 |
Pitch Placement | p. 85 |
Thinking Horizontally | p. 87 |
Intervals | p. 87 |
Naming Intervals | p. 88 |
Microtones | p. 90 |
Scales | p. 91 |
The Chromatic Scale | p. 91 |
Diatonic Scales | p. 93 |
The "Oriental" Scale | p. 94 |
Number of Pitches in an Octave | p. 94 |
Pitch Functions | p. 95 |
Mode | p. 96 |
Thinking Vertically | p. 98 |
Tone Clusters | p. 98 |
Naming Vertical Intervals | p. 99 |
Dissonance and Consonance | p. 99 |
Functional Harmony | p. 100 |
Thinking Horizontally and Vertically | p. 103 |
Performing One Melody | p. 103 |
Solo and in Unison | p. 103 |
Interlocking Parts | p. 104 |
Rounds | p. 104 |
Heterophony | p. 105 |
Performing One Melody with Another Part | p. 106 |
Melody and Drone | p. 106 |
Homophony | p. 106 |
Performing Multiple Melodies | p. 106 |
Polyphony | p. 106 |
Melody and Ostinato | p. 107 |
Thinking about Structure | p. 108 |
Improvising and Composing | p. 108 |
Putting Something Significant First | p. 111 |
North Indian Instrumental Form | p. 111 |
Sonata Form | p. 112 |
Telling the Story | p. 113 |
Music for the Moment | p. 113 |
Part-Counterpart | p. 114 |
Contrasting Instrumentation | p. 114 |
Through-composed Music | p. 115 |
Strophic Form | p. 116 |
Responding to the Context | p. 118 |
Expectation for Audience-Performer Interaction | p. 118 |
The Need for Intra-ensemble Interaction | p. 119 |
The Ritual Context | p. 120 |
A Series of Changdan | p. 120 |
Call and Response | p. 122 |
Music and Movement | p. 122 |
Coming to the end | p. 124 |
Aesthetic choice and intellectual play | p. 125 |
Contrasting Rhythmic Modes | p. 125 |
Contrasting Melodic Modes | p. 126 |
Social Values | p. 126 |
Thinking about Issues | p. 128 |
Music and Culture Contact | p. 130 |
A Focus on Influences | p. 130 |
A Focus on Boundaries | p. 131 |
Gender | p. 131 |
The National Community | p. 133 |
Other Groups | p. 138 |
Authenticity | p. 140 |
Transcending Boundaries | p. 145 |
The Mass Media | p. 147 |
Transnationalization | p. 148 |
The Local | p. 149 |
Thinking about Fieldwork | p. 152 |
Picking a Project | p. 153 |
Planning the Project | p. 154 |
Doing the Project | p. 155 |
Finishing the Project | p. 157 |
Glossary of Musical Terms | p. 158 |
References | p. 166 |
Resources | p. 170 |
Index | p. 173 |
Table of Contents provided by Ingram. All Rights Reserved. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.