By Jeff Todd Titon, Timothy J. Cooley, David Locke, David P. McAllester, Anne K. Rasmussen
The bestselling WORLDS OF song, now in its 5th variation, presents authoritative, available insurance of the world's song cultures. in response to the authors' fieldwork and services, this article offers in-depth explorations of numerous song cultures from all over the world, with new chapters on China, jap Europe and the Arab international. The student-friendly, case-study method and music-culture concentration supplies scholars a real feel of either the track and the tradition that created it. also, a pretty good 4-CD set (purchased individually) encompasses a number of recordings from a number of resources, together with the authors' personal fieldwork, different ethnomusicologists' box learn, and advertisement releases.
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Extra info for Worlds of Music: An Introduction to the Music of the World's Peoples , Fifth Edition
At the same time he respects the postal workers’ idea that, in their way of thinking, it is “not quite” 7 8 CHAPTER 1 music. In other words, the workers are doing this as a part of their work, to pass the time; it is their way of being in the world as workers canceling stamps, not as singers and musicians intent on a musical performance. People in music-cultures organize sounds into musical patterns. Although the patterns vary across cultures, all music-cultures pattern sounds into something we call music.
Blues melodies also have a particular form, as do the chord changes (harmony) in blues (see Chapter 4). In the Jiangnan sizhu music of China (Chapter 8), the same music may be played twice as fast in a second section. The form of traditional Native American melodies (Chapter 2) involves the creative use of small units and variation. 5 Ladies’ String Band, c. 1910. Family photos can be a useful source of musical history, even when identifying information is unknown. Photographer unknown. 14 CHAPTER 1 form is not apparent to someone listening to the music for the first time or even the second, which is one of the reasons we pay careful attention to it.
7). The community is the group (including the performers) that carries on the traditions and norms, the social processes and activities, and the ideas of performance. By community we do not always mean a THE MUSIC-CULTURE AS A WORLD OF MUSIC group of people living close to one another. For our purposes, a community in a music-culture forms when they participate in a performance in some way—as performer, audience, composer, and so forth. We call these communities where people come together over common interests affinity groups.
Worlds of Music: An Introduction to the Music of the World's Peoples , Fifth Edition by Jeff Todd Titon, Timothy J. Cooley, David Locke, David P. McAllester, Anne K. Rasmussen