Teaching Music Globally & Thinking Musically Experiencing Music, Expressing Culture Package: Includes 2 books, 1 CD

by Campbell, Patricia Shehan; Wade, Bonnie C.

• ISBN13: 9780195171433
• ISBN10: 0195171438
• Format: Package
• Copyright: 2004-01-15
• Publisher: Oxford University Press

Summary

Developed in conjunction with Thinking Musically and the culture case studies in the Global Music Series, Teaching Music Globally provides teachers and students of music education with ideas and techniques for engaging their students in the study of the world's musical cultures. Offering alarge selection of exercises and activities of varying difficulty, this text is a guide for teachers of elementary through university level students--in band, choir, general music, orchestra, and any other school music classes--who seek to establish a comprehensive musical understanding for studentsliving in a global era. Teaching Music Globally is packaged with Thinking Musically, which provides the conceptual foundation for exploring music around the world. Thinking Musically discusses the importance of musical instruments, describing their significance in a culture's folklore, religion, and history, andexamines how fundamental elements of music--including rhythm, pitch, and form--vary in different musical traditions. The 80-minute audio CD packaged with Thinking Musically is also referenced in Teaching Music Globally. Teaching Music Globally and the CD give readers the opportunity to experiencesteel drum music from Trinidad, Irish jigs and reels, an ensemble piece for Peruvian panpipes, excerpts of Mexican mariachi music, gamelan music from Bali and Java, and choral pieces from Bulgaria, South Africa, the Pacific Islands, and the African-American experience. The book and CD also includeNavajo social songs, an Egyptian maqam for string ensemble, a medieval European ronda, Carmen's Habanera, and percussion pieces from Brazil, China, Ghana, Japan, Liberia, and Puerto Rico. The CD selections provide the audio component for the numerous and varied experiences incorporated throughoutthe text. These "attentive," "engaged," and "enactive" listening, participatory, and performance activities are resources for shaping the musical education of students of all ages. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. Extensive culture-specific suggestions for participatory activities, class and take-home projects, worksheets, and many additional resources have been developed by music education specialists to accompanyeach culture case study and are available at this website.

Author Biography

Patricia Shehan Campbell is Donald E. Peterson Professor of Music at the University of Washington, where she teaches courses at the interface of ethnomusicology and education

Table of Contents

Foreword	p. xiii
Preface	p. xv
CD Track List for the Accompanying Volume, Thinking Musically	p. xxiii
Cultures, Courses, and Classrooms	p. 1
Surround-Sound	p. 1
Those Who Can, Teach	p. 3
Learning Styles of the World's Musicians	p. 6
Learning Styles of Students in Classrooms	p. 7
Oral/Aural Techniques	p. 9
Curricular Infusions of the World's Musics	p. 12
Sample Course Schedules	p. 14
20-Session School Unit on Music as a Global Phenomenon	p. 15
30-Session All-Level Survey of "Big Cultures"	p. 16
Exploratory Middle School Music-Culture Modules	p. 17
Secondary School Ensemble Sessions	p. 19
Nonstandard Secondary School "Academic" Music Courses	p. 21
Nonstandard Secondary School Music Ensembles	p. 22
University World Music-Culture Courses	p. 22
Teacher Education Methods Courses	p. 24
World Music Pedagogy	p. 26
A Pathway Ahead	p. 27
Problems to Probe	p. 29
A Sound Awareness of Music	p. 30
Discovering the Splendors of Sound	p. 32
Getting the Focus on Music and Culture	p. 36
Opening the Ear I: Rhythm and Instruments	p. 40
Opening the Ear II: Pitch and Form	p. 46
Local and Global Identities	p. 52
Problems to Probe	p. 53
Learning through Attentive Listening	p. 54
"Listen-to-Learn" Phases	p. 54
Attentive Listening Experiences	p. 55
Listening from Near and Far	p. 89
Problems to Probe	p. 90
Learning through Engaged Listening	p. 91
Participatory Consciousness	p. 91
Engaged Listening Experiences	p. 93
Engaging the Disengaged	p. 123
Problems to Probe	p. 123
Performance as Enactive Listening	p. 125
Listening as "Means" and Method	p. 125
Enactive Listening Experiences I: Straight from the CD	p. 128
Enactive Listening Experiences II: In the Style of the CD	p. 155
The Enactive Act of Listening	p. 189
Problems to Probe	p. 190
Creating "World Music"	p. 191
Creating, Re-creating, and Conserving	p. 192
Extending What's Already There	p. 194
Extending "Astiagbeko"	p. 194
Extending "All for Freedom"	p. 195
Extending "Music of the Kiembra Xylophone Orchestra"	p. 195
Full-Fledged Composing and Improvising	p. 196
Techniques for Creating "World Music"	p. 198
Music's Artistic Inspirations	p. 210
Worlds of Creative Music	p. 212
Problems to Probe	p. 212
Music, Cultural Context, and Curricular Integration	p. 214
Music-as-Music	p. 215
Music-as-Culture	p. 216
Music in Context	p. 217
Music, Integrated	p. 223
Ethnomusicological Issues, Considered	p. 232
Global-Local Interests	p. 232
Acculturation	p. 233
Gender 1	p. 235
Gender 2	p. 235
Nationalism and Musical Identity	p. 236
Putting It All together	p. 237
Problems to Probe	p. 239
Resources	p. 240
Index	p. 249
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