Book Description
Enhance your understanding of music technology with EXPERIENCING MUSIC TECHNOLOGY with accompanying DVD-ROM! Complete, practical, and up-to-date, this music text uses real-world software examples to give you a practical understanding of the technology without overwhelming you with the ever-changing details. You are encouraged to acquire the general skills and knowledge needed to evaluate, adapt to, and implement new technologies as they emerge. Software examples and activities found in the text and on the accompanying CD-ROM are provided to help you see the real-world relevance of what you are learning.
Customer Reviews:
(Just) a Good Reference.......2007-08-24
If you think this book will guide you throughout several projects, learning while building something, choose another title. This a textbook, and a good one. A good reference, with activities to acquire/develop your knowledge about Music and ICT.
Enjoy, but be sure it is want you are looking for.
Average customer rating:
- Thinking Musically: Experiencing Music, Expressing Culture
|
Thinking Musically: Experiencing Music, Expressing Culture (Global Music Series, 1)
Bonnie C. Wade
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback
 Ethnomusicology
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Similar Items:
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Teaching Music Globally: Experiencing Music, Expressing Culture and Thinking Musically: Experiencing Music, Expressing Culture: Package: Includes 2 books, 1 CD (Global Music Series)
-
Music in West Africa: Experiencing Music, Expressing Culture (Global Music Series)
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Music in Japan: Experiencing Music, Expressing Culture (Global Music Series)
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Music in America: Experiencing Music, Expressing Culture (Global Music Series)
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Music in Brazil: Experiencing Music, Expressing Culture Includes CD (Global Music Series)
ASIN: 0195136640 |
Book Description
Thinking Musically is the central volume in the Global Music Series. Designed for undergraduates and general readers with little or no background in music, it incorporates music from many diverse cultures--including the Americas, Asia, Africa, Oceania, and Europe--and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure--covering historical information and traditions as they relate to the present--and comes with an audio CD of musical examples discussed in the text. The case studies can be used in any combination with Thinking Musically to provide a rich exploration of world musical cultures. Visit www.oup.com/us/globalmusic for a list of case studies in the series. The website also includes instructional materials to accompany each study. Thinking Musically discusses the importance of musical instruments, describing their significance in a culture's folklore, religion, and history. It explores fundamental elements of music--including rhythm, pitch in melodic and harmonic relationships, and form--and examines how they vary in different musical traditions. The text considers the effects of cultural influences such as gender and ethnicity on the perception, interpretation, and performance of music. It also looks at how the forces of nationalism, acculturation, and westernization can affect musical traditions. Many of the musical examples are coordinated with material in the case studies. Thinking Musically includes activities designed to build critical listening and individual study skills and is packaged with an 80-minute CD that features selections from a wide variety of musical cultures. Also available: Thinking Musically and Teaching Music Globally Package (2 books + CD; ISBN 0-19-517143-8) Thinking Musically is also available in a package with Teaching Music Globally, by Patricia Shehan Campbell, a second framing volume in the Global Music Series. Essential for anyone teaching beginning students about the world's musical cultures, Teaching Music Globally describes pedagogical techniques for classes from K-12 to university level and offers a wealth of learning experiences.
Customer Reviews:
Thinking Musically: Experiencing Music, Expressing Culture.......2007-07-27
Writing such an ethnomusicological monograph is not easy. I am happy with what Thinking Musically has achieved. The CD that comes with the book helps a great deal to widen my horizen on music of all peoples.
Book Description
Music in Brazil is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. As the largest nation in Latin America, Brazil is home to some of the most celebrated music in the world. Music in Brazil covers a wide spectrum of this music, including samba, bossa nova, Tropicalia, and MPB (Musica Popular Brasileira); regional traditional and popular music; Brazilian rock, rap, and electronica; and such genres as sertaneja (similar to country-and-western music) and brega (sentimental pop). Music in Brazil is organized the themes of unity, diversity, cosmopolitanism, and verbal artistry. It shows how Brazilian music expresses the unity of the country's culture, discussing, for example, how samba plays a major part in annual Carnaval celebrations and provides a focus for nationalist sentiment. In contrast, the book also demonstrates how music represents the diversity of Brazilian culture, describing how each of Brazil's regions is home to unique genres of music, and how the audiences for various types of music reflect class distinctions. In addition, author John P. Murphy presents examples of cosmopolitan Brazilian music and emphasizes the connections between music and other aspects of Brazilian culture, especially language and gender. Enhanced by vivid illustrations and guided listening activities, this book is a captivating introduction to the music of Brazil. It is packaged with a 60-minute audio CD containing examples of the music discussed in the book, many of which are taken from the author's field recordings.
Book Description
Music in Egypt is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Egypt provides an overview of the country's rich and dynamic contemporary musical landscape. It offers an in-depth look at specific Egyptian musical traditions, paying special attention to performers and the variety of contexts in which performances occur. The book acknowledges the pervasive presence of Islam by focusing on two Muslim performance genres and by considering the age-old issue of the compatibility of music and Islam. It accomplishes the latter by incorporating the voices of many of the performers featured on the accompanying CD. The volume features a variety of musics that reflect and help to create a number of distinct regional, national, and community identities co-existing in Egypt today. Drawing on more than twenty years of extensive fieldwork, Scott L. Marcus offers detailed ethnographic documentation of seven performance traditions found in Egypt today: the call to prayer; madh, a genre of Sufi religious music; southern Egyptian mizmar folk music; early twentieth-century takht-based art music; music by the acclaimed singer Umm Kulthum, which dominated the mid-twentieth century; wedding procession music; and music by the current superstar pop singer Hakim. The book is packaged with an 80-minute audio CD containing excellent examples of each tradition. All of the examples are based in a single melodic mode--maqam rast--to best engage students with the musical form, structure, and practice of the traditions. Separate educational tracks on the CD introduce maqam rast and the variety of rhythms found in the CD examples. In addition, the CD features a special solo improvisation (taqasim) in maqam rast by UCLA professor Ali Jihad Racy, to help students better understand this particular melodic mode. Enhanced by eyewitness accounts of performances, interviews with performers, listening examples, and song lyrics that enable students to interact with the text, Music in Egypt provides a unique and hands-on introduction to the country's diverse and captivating music.
Customer Reviews:
A Superb Survey and Introduction.......2006-12-11
[Actually 4.5 stars] The quality of the various books in the Global Music Series varies, of course, as much as with the author as with the form and location of the music examined. Some such books bog down in the nuances of the particular music; others spend too much time in social and historic matters. Similarly, the accompanying CD may offer examples that are too short or too involved in demonstrating form and not the overall effect. Marcus achieves the best balance of both text and example. His writing is engaging and the historical and sociological development of Egyptian music is clearly presented. The detailed analysis of Umm Kulthum and her musical example is so exciting that one is anxious to actually hear it. The CD itself is so good that it can stand alone; 65 minutes of samples of genre pass by before the didactic section begins, which are scales of maqam and rhythmic examples. A reader/listener can learn much quickly and easily from perusing this book. It can lead to further study and appreciation of Arabic music and thereby the culture as well.
Book Description
Music in Ireland is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Ireland provides an engaging and focused introduction to Irish traditional music--types of singing, instrumental music, and dance that reflect the social values and political messages central to Irish identity. This music thrives today not only in Ireland but also in areas throughout North America, Europe, Australia, and Asia. Vividly evoking Irish sounds, instruments, and dance steps, Music in Ireland provides a springboard for the discussion of cultural and historical issues of identity, community, nationalism, emigration, transmission, and gender. Using the informal instrumental and singing session as a focal point, Dorothea E. Hast and Stanley Scott take readers into contemporary performance environments and explore many facets of the tradition, from the "craic" (good-natured fun) to performance style, repertoire, and instrumentation. Incorporating first-person accounts of performances and interviews with performers and folklorists, the authors emphasize the significant roles that people play in music-making and illuminate national and international musical trends. They also address commercialism, globalization, and cross-cultural collaboration, issues that have become increasingly important as more Irish artists enter the global marketplace through recordings, tours, and large-scale productions like Riverdance. Packaged with a 70-minute CD containing examples of the music discussed in the book, Music in Ireland features guided listening and hands-on activities that allow readers to gain experience in Irish culture by becoming active participants in the music.
Customer Reviews:
Sets the standard.......2004-09-20
This outstanding book fills a long-standing lacuna. It will immediately become the standard introductory text for Irish music, and it should remain so for the forseeable future--it's hard to imagine what could surpass it. The material is elegantly organized and very well presented. I particularly like the way that the reader is welcomed into real traditional music events; in these sections the material truly comes alive. The recorded examples are lovely.
For anyone curious about how & why Irish music sounds so.......2004-08-22
In a new volume in Oxford's Global Music Series, the subtitle `Experiencing Music, Expressing Culture' emphasises the musical force gained by Irish music from its being rooted in the local. Dorothea Hast and Stanley Scott, practitioners and scholars both, visit a seisiun at Gleesons pub in Clare near the Miltown Malbay centre of melodic pilgrimage, interview traditional singers Len Graham from Glenarm and his wife, Padraigin Ni Uallachain, from Louth, and analyze a performance held at Trinity Inn near the college in Dublin under the auspices of the Goilin Singer's Club. By concentrating on these three manifestations of the current Irish scene, emphasising in turn the instrumental, the sean-nos and song tradition, and the song as both perpetuating the tradition and welcoming the innovative, Hast and Scott provide an overview easily enjoyed in a couple of sittings along with the accompanying 28-track CD, keyed to their informative text.
Although designed for the classroom, this volume can inform anyone about the background, current context, and permutations of Irish music. I was impressed by the ease in which musicologists Hast and Scott integrate technical terms into their text designed for the rank novices like me to musical terminology. The activities allow you to learn from the CD track at specified moments in your reading, and particularly impressive I found one example. Piper Jerry O'Sullivan offers multiple versions of "Garrett Barry's Jig." The first is a stripped-down version transcribed for the beginning student. The notes simplify the melody. The second version adds ornaments. The third time through, with the use of the regulators of the instrument, adds even more intricacies. As a careful listener to the pipes, the combination of the three scores and the three takes added immeasurably to my comprehension of what, if I had been presented only with the audio tracks, would have sounded like lots of flash added to a straightforward tune.
The connection of the pub session and the repertoire with the local emerges strongly in these pages. Hast and Scott could have wandered all 32 counties and given a thumbnail rundown of famous players or notable tunes in these 150 pages. Instead, they study the etiquette, the passing on of tunes, the respect paid the elders, and the democracy of the audience and players, as all who play and sing thus gain appreciation in turn. The incident down the road or up the lane, as so many titles show, the inspiration of a particular player, and the commemoration of battles and courtships long faded remain memorialised but never mummified. The context emerges in the playing and the singing, ever-shifting but still reified. Each playing and recital changes the structure but leaves the scaffolding in place for the next builder. Eschewing the gazateer approach, the authors' choice to zero in on three locales heightens their primacy of the community within what continues to be passed on within the Irish traditional repertoire, and what is added.
After an injury of a famous musician, the authors note that within a week or so not one but two ballads had been composed about his mishap while playing at doubles. E-mail and phone only accelerate the transmission of the oral tradition, it seems. Similarly, the ability to tape performances, to sell recordings, and share by technological advances the wealth of musical variation only increases the lustre of the treasure to which musicians and singers contribute. `In each postindependence generation of Irish musicians, individuals have had to choose between the urban, upbeat high-volume allure of swing, rock and roll country and western, heavy metal, or rap and the more rural, frequently slower-paced, quieter, intimate appeal of Irish music'. (96) Now, on the other hand, musicians and singers can mix forms. While in my opinion the hybrids can be dreadful, they do expose younger listeners to the older forms.
The gamut of players and singers treated shows this heterogeneity. While any listener or player may lament who or what's been left out, you must admit that the range can certainly educate the beginner or the advanced fan of Irish music of the diversity we are lucky to hear and share now. For example: Carolan harp tunes, West Clare and Sligo fiddle, ceili bands from the 1940s, vocals from John McCormack, Joe Heaney, Andy Irvine, and Gleesons pub singers, sean-nos from Ni Uallachain and Scots-Irish song from Graham, and members of Lunasa live and in session demonstrating some of the finer points of the text, to which Hast and Scott also enrich their own musical collaborations. The text covers the history of Irish music effectively, although the influential and detrimental Dance Halls Act of 1935 in the south needed more explanation, as it weakened the ability of individuals to hold their own musical gatherings and seems to have been instigated by the Church and the Dublin government to weaken rural choices for venues. I wondered if this was part of the anti-jazz campaign undertaken by republicans in the middle of that decade, but the text offers no context. Dance tune traditions and their instruments in turn receive a few paragraphs; from this I learned of the bodhran's very recent rise in popularity and that of the uilleann pipes, both having entered the limelight only during the 60s and 70s. The decline of the harp and the ascent of the fiddle still puzzled me due to their too brief treatment here. Why the concertina became the "woman's instrument" can be traced, intriguingly, to not only its relative affordability early last century but its sale at hardware stores.
Throughout this survey, Ciaran Carson, Belfast poet-musician, from his estimable Last Night's Fun (1996), the ultimate print on Irish sound, continues to be cited. Near the end of Hast and Scott quote Carson--
'Each time the song is sung, our notions of it change, and we are changed by it. The words are old. They have been worn into shape by many ears and mouths and have been contemplated often. But every time is new because the time is new, and there is no time like now.' (116; in Hast and Scott, 135). As with the language, so the music and the native culture. All are enriched by the blow-ins and the strangers, but never is the root torn away. The nutrients from fresh winds plant themselves in the soil and the stronger creation, the hybrid, can better withstand old winds and new blasts. Or so we hope.
(Excerpted from a longer review on-line "The Harp New-Strung" from Belfast journal, The Blanket)
great overview/history of traditional Irish music.......2004-08-18
I've always enjoyed Irish music when I've had the opportunity, but I didn't have any formal knowledge about it. This book was very accessible and covered a lot of bases -- the music itself, the key instruments (the harp gets its due along with the more commonly seen fiddle and others), the relationship between Irish music and Irish history and culture, and an intro to various types of traditional Irish music. And a real sense of the Irish people and personality comes through. (Conversations with many of Ireland's leading performers are reported in the book). The accompanying CD is great: again part education, part performance. Some recently performed pieces and some fascinating recordings from decades past. Recommended.
Book Description
In this vivid musical ethnography, Timothy Rice documents and interprets the history of folk music, song, and dance in Bulgaria over a seventy-year period of dramatic change. From 1920 to 1989, Bulgaria changed from a nearly medieval village society to a Stalinist planned industrial economy to a chaotic mix of capitalist and socialist markets and cultures.
In the context of this history, Rice brings Bulgarian folk music to life by focusing on the biography of the Varimezov family, including the musician Kostadin and his wife Todora, a singer. Combining interviews with his own experiences of learning how to play, sing and dance Bulgarian folk music, Rice presents one of the most detailed accounts of traditional, aural learning processes in the ethnomusicological literature.
Using a combination of traditionally dichotomous musicological and ethnographic approaches, Rice tells the story of how individual musicians learned their tradition, how they lived it during the pre-Communist era of family farming, how the tradition changed with industrialization brought under Communism, and finally, how it flourished and evolved in the recent, unstable political climate.
This work—complete with a compact disc and numerous illustrations and musical examples—contributes not only to ethnomusicological theory and method, but also to our understanding of Slavic folklore, Eastern European anthropology, and cultural processes in Socialist states.
Customer Reviews:
Great writing.......2000-07-26
Rice makes reading an ethnography a pleasure. All ethnomusicologists seeking to undertake their own writing project ought to read this book first. His accounts about studying with Kostadin make you feel like you were there learning the gaida, too. Rice's model makes a good case for learning an instrument while conducting fieldwork. Particulary insightful is the author's interpretation of the emic/etic distinction as it relates to the ethnomusicologist.
Read this book!.......1997-10-18
If you have the slightest interest in music, Eastern Europe in transition, and intellectual thought, then you owe it to yourself to read this book. Proper obeisance is made to the academic gods - Ricoeur, Clifford, Bourdieu, Geertz, Gadamer and the rest - and the references are sincere and thoughtful. But most of all you will be enthralled by Rice's personal account of his discovery of Bulgarian music, and of the lives of a wonderful couple who perform that music and became not just his 'informants' but his friends, indeed his family. The book is personal, revelatory, and stimulating. If only all musical scholarship were this good!
Book Description
Music in North India is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. North India is home to a wealth of musical traditions composed of many different styles, genres, and practices. Music in North India provides a representative overview of this music, discussing rhythm and drumming traditions, song composition and performance styles, and melodic and rhythmic instruments. Drawing on his experience as a sarod player, vocalist, and music teacher, author George Ruckert incorporates numerous musical exercises to demonstrate important concepts. The book ranges from the chants of the ancient Vedas to modern devotional singing and from the serious and meditative rendering of raga to the concert-hall excitement of the modern sitar, sarod, and tabla. It is framed around three major topics: the devotional component of North Indian music, the idea of fixity and spontaneity in the various styles of Indian music, and the importance of the verbal syllable to the expression of the musical aesthetic in North India. Featuring vivid eyewitness accounts of performances and descriptions of interviews with performers, Music in North India examines the form, structure, and expression of North Indian music while also illuminating its profound religious and cultural significance. A 70-minute CD containing examples of the music discussed in the text is packaged with the book.
Book Description
Music in Central Java is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Central Java offers a vivid introduction to the region's musical and cultural landscape, showing how three themes--flexibility, appropriateness, and interconnectedness--characterize Javanese musical practices and traditions. Drawing on his extensive fieldwork, author Benjamin Brinner takes an in-depth look at gamelan music--a traditional musical ensemble tradition that typically features metallophones, xylophones, drums, and gongs--providing readers with a sense of what it means to be a musician performing gamelan. Building from fundamental Javanese concepts of time and melody, the book covers gamelan's instruments, musical idioms, and central interactions and also surveys contrasting performance contexts. It examines both the theatrical and musical aspects of the vibrant tradition of shadow-puppet plays (Wayang kulit) and offers a broad survey of other music found in Central Java. In addition, Music in Central Java provides an engaging portrait of a leading Javenese musician, traces musical responses to radical social, political, and cultural changes over the past century, and considers Javanese music in relation to Indonesia and the rest of the world. Enhanced by eyewitness accounts of performances, interviews with key performers, vivid illustrations, and hands-on listening activities, this book is a captivating introduction to the music of Central Java. It is packaged with a 78-minute audio CD containing examples of the music discussed in the book.
Book Description
Music in Bulgaria is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Bulgaria presents a focused introduction to the rich and varied tradition of Bulgarian music. Taking readers on a tour of the country's musical landscape, it explores ways in which Bulgaria's rural traditions affect the expression and interpretation of its music and examines how Bulgaria's history has influenced its music over many decades. The book also shows how musical traditions have been preserved and have flourished despite the social changes brought about by the post-WWII era of industrialization, modernization, and urbanization. Timothy Rice demonstrates how Bulgarian music--in addition to being an art and an entertainment--is deeply embedded in the cultural, social, economic, and political life of the country. He analyzes how this music has spread to other cultures and how it has made its mark on new forms of popular music. Brief lessons on how ethnomusicologists conduct their research are also included. Written in a lively style accessible to both students and general readers, Music in Bulgaria features vivid eyewitness accounts of performances, interviews with performers, and glossaries of Bulgarian and musical terms. Incorporating numerous listening examples and other activities that help readers learn to listen, sing, and dance to Bulgarian music, this volume is packaged with a 70-minute CD containing examples of the music discussed.
Customer Reviews:
A short but fairly detailed introduction for non-ethnographers.......2006-02-10
Timothy Rice's MUSIC IN BULGARIA, part of Oxford University Press' "Global Music" series, is a concise introduction to the world of Bulgarian musical life from peasant traditions of centuries past to the pop-folk ("chalga") combination enjoyed by modern urban listeners. Unlike Rice's earlier work on the subject, MAY IT FILL YOUR SOUL: Experiencing Bulgarian Music, this volume assumes no prior study of enthography, but a knowledge of basic music theory is vital to making the most out of it.
Rice begins with the wedding music scene, the only survival of village communal music that exists in the lives of average urban Bulgarians. Describing a wedding in Sofia, he gives a portrait of Maria Stoyanova, a player of the gaida (bagpipe) brought with a well-known band for this lavish event. He next describes a Roma wedding in a village, the next place Stoyanova was invited to perform. After this fairly substantial dive into Bulgarian music, Rice gives a more systematic tour, such as the distinctive characteristics of each region's music. The reader will learn how to tell a Shop song from Pirin singing, recognise the several most common traditional instruments, and understand the origin of various kinds of music in the agricultural calendar.
The next portion of the book deals with the impact of politics on music, explaining how folk music was sanatized by the Communist government and then exported abroad as world music. "Les Mystere des Voix Bulgares" is the most well-known example. Many American musicians and listeners have been fascinated with the sound of this state-crafted music, whether because of its interesting rhythms, its otherworldly harmonies, or (for a subset of choral fans) because its female voices can be taken as a feminist statement. However, Rice is critical of those who take some aspects of Bulgaria's music without wanting to truly understand the social and cultural background of this rich heritage. Finally, Rice describes the most recent redaction of folk music in Bulgaria, the combination of folk inspiration with modern instruments that creates the genre known as popfolk or chalga.
Throughout the book Rice gives us some neat details about the music described, including instructions for the pravo horo danced at weddings, the lyrics of famous songs, and the scores of some tunes. I must say I was frustrated by the simple level of the writing. The "Global Music" series is meant for college readers but here it seems like a high-school audience is held in mind here. Nonetheless, this is a fun and informative book, sure to entertain and enlighten English-speaking fans of Bulgarian music.
Average customer rating:
- Thinking musically the better book
|
Teaching Music Globally: Experiencing Music, Expressing Culture and Thinking Musically: Experiencing Music, Expressing Culture: Package: Includes 2 books, 1 CD (Global Music Series)
Patricia Shehan Campbell , and
Bonnie C. Wade
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback
Ethnomusicology
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Similar Items:
-
Thinking Musically: Experiencing Music, Expressing Culture (Global Music Series, 1)
-
Music in West Africa: Experiencing Music, Expressing Culture (Global Music Series)
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Lessons from the World: A Cross-Cultural Guide to Music Teaching and Learning
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Music in South India: The Karnatak Concert Tradition and Beyond: Experiencing Music, Expressing Culture (Global Music Series)
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Music in North India: Experiencing Music, Expressing Culture (Global Music Series)
ASIN: 0195171438 |
Book Description
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 a large 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 students living 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, and examines 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 experience steel 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 include Navajo 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 throughout the 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 accompany each culture case study and are available at this website.
Customer Reviews:
Thinking musically the better book.......2007-05-12
The central books in the global music series which seeks to define various world music genres in terms of pitch, rhythm, instrumentation, form, etc. The first book, Thinking Musically, is excellent as are the individual region books. Teaching music, unfortunately, provides lessons plans the consist mostly of listening and looking at scores. Not as helpful or as immaginative as they could have been. Overall, however, this a great series for musicians, music educations and anyone interested in world music. Some familiarity with basic music theory and terminology is recommended.
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- Fretboard Logic SE: The Reasoning Behind the Guitar's Unique Tuning + Chords Scales and Arpeggios Complete (The Fretboard Logic Guitar Method Parts I and II) (Fretboard Logic Guitar Method Ser)
- Georgius Agricola De re Metallica
- Grant Green: Rediscovering the Forgotten Genius of Jazz Guitar
- Guitar Total Scales Techniques and Applications: Lessons for Beginner through Professional
- He Talk Like a White Boy
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
Books Index
Books Home
Recommended Books
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- Emigrant Entrepreneurs: Shanghai Industrialists in Hong Kong
- Bugling Elk and Sleeping Grizzlies: The Who, What, and When of Yellowstone and Grand Teton National
- Hidden Mickeys, 2nd Edition : A Field Guide to Walt Disney World's Best Kept Secrets
- Accounting: Emp Spc Journal
- International Perspectives on Competence in the Workplace - Research, Policy and Practice
Technology Strategies for Music Educators
Technology Guide for Music Educators
Teaching Music With Technology
The World of Music with 3-CD set
Producing Music with Digital Performer
