Worlds of Music: An Introduction to the Music of the World's Peoples, Shorter Version

כריכה קדמית
This shorter version of the best-selling WORLDS OF MUSIC provides much of the authoritative coverage of the comprehensive version in a format that’s accessible to students without any background or training in music. Using a case-study approach, the text presents in-depth explorations of music of several cultures from around the world. The authors, all ethnomusicologists working in their fields of expertise, base their discussions of music-cultures on their own fieldwork, and give students a true sense of both the music and culture that created it. General editor, Jeff Todd Titon, has written the text’s opening chapter that introduces students to ethnomusicology and relates each chapter’s music heard on the accompanying CDs to the fundamentals of music in a worldwide context. The text concludes with a chapter that invites students to participate by undertaking a fieldwork research project that increases a student’s understanding of music in daily life. The supplementary three-CD set works hand in hand with the authors’ prose, providing students with access to a wide range of music-cultures and include authentic recordings from the authors’ fieldwork. Leading off is the long-standing jewel in the WORLDS OF MUSIC crown -- James Koetting’s magnificent recording of postal workers canceling stamps at the University of Ghana post office. A Western-sounding hymn tune performed against African rhythms, this piece, more that any other, lets the student hear contrasting music-cultures.
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מה אומרים אנשים - כתיבת ביקורת

לא מצאנו ביקורות במקומות הרגילים

מהדורות אחרות - הצג הכל

מידע על המחבר (2009)

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

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 the Ph.D. in ethnomusicology from Wesleyan University in 1978, 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. From 1975 to 1977, he conducted doctoral dissertation fieldwork in Ghana under the supervision of Professor J.H.K. Nketia. In Ghana his teachers and research associates included Godwin Agbeli, Midawo 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 at Tufts University, where he currently serves as the director of the master's degree program in ethnomusicology and as a faculty advisor in the Tufts-in-Ghana Foreign Study Program. His current projects include an oral history and musical documentation of dance-drumming of the Dagbamba people and an in-depth musical documentation of Agbadza, an idiom of Ewe music, in collaboration with Professor Gideon Foli Alorwoyie. He is active in the Society for Ethnomusicology and has served as the president of its Northeast Chapter.

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 P. McAllester received the 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 coauthor 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.

John M. Schechter is Professor of Music (ethnomusicology and music theory) at the University of California, Santa Cruz. He received his Ph.D. in ethnomusicology from the University of Texas at Austin, where he studied ethnomusicology with Gerard Béhague, folklore with Américo Paredes, Andean anthropology with Richard Schaedel, and Quechua with Louisa Stark and Guillermo Delgado-P. From 1986 to 2000, he directed the UC Santa Cruz Taki Ñan and Voces Latin American Ensembles. With Guillermo Delgado-P., Schechter is co-editor 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. His article in this anthology, co-authored with Enrique Andrade Albuja, examines the Quechua-language rhetorical style of this gifted northern Ecuadorian highland raconteur. Schechter is general editor of, and contributing author to, MUSIC IN LATIN AMERICAN CULTURE: REGIONAL TRADITIONS (1999), a volume examining music-cultural 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). In 2005, he penned a tribute to Gerard Béhague at the scholar's untimely passing that year. Schechter's other publications have explored, among other topics, formulaic expression in Ecuadorian Quechua sanjuán, and the ethnography, cultural history, and artistic depictions of the Latin American/Iberian child's wake music-ritual. In January 2007, he was interviewed by John Summa and John Travers, co-directors of the planned documentary film, "The Power of Their Song: The Untold Story of Latin America's New Song Movement," where he addressed the songs of Víctor Jara and general characteristics of the Nueva Canción Movement. The film is scheduled for airing and distribution in fall 2007.

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.

David B. Reck received the Ph.D. in ethnomusicology from Wesleyan University, where he studied under Mark Slobin and David P. McAllester. With grants from the Guggenheim Foundation, the Rockefeller Arts Foundation, the American Institute of Indian Studies, and others, he traveled extensively in India, Mexico, and Southeast and East Asia. AA senior disciple of the legendary master musician, Mme. Ranganayaki Rajagopalan, he is an accomplished veena player and has performed widely in India, Europe, and the Americas. As a composer in the 1960s and 1970s, his works were performed at Carnegie Hall, Town Hall, Tanglewood, and at numerous international new music festivals. His publications include MUSIC OF THE WHOLE EARTH, chapters in IT WAS TWENTY YEARS AGO TODAY and articles in THE GARLAND ENCYCLOPEDIA OF WORLD MUSIC. He also has published articles on aspects of India's music, the Beatles, J.S. Bach, and cross-influences between the West and the Orient. He and his wife, photographer Carol Reck, live in Chennai. Currently he is Professor Emeritus of Asian Languages and Civilizations, and of Music, at Amherst College.

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