Thinking Musically

Bonnie C. Wade is Professor and Chair of the Department of Music at the University of California, Berkeley. One of two general editors of the Global Music Series, she is also the author of another volume in the series, Music in Japan (OUP, 2005), in addition to numerous other titles.

FOREWORD; PREFACE; CD TRACK LIST; LETTER TO THE READERS; 1. THINKING ABOUT MUSIC; People; Music Makers; Listeners; Music; In Terms of Sound; Calling Something "Music"; Aesthetic Values in Music; Meaning; Music and Textual Meaning; Music as Text; Use; Transmission; Oral and Aural Transmission; Written Transmission; 2. THINKING ABOUT INSTRUMENTS; Instruments as Objects; Ideas about Instruments-types; Ideas about Particular Instruments; Spiritual Associations; Associations of Sexuality and Gender; Cultural Status; Aesthetic Value; Item of Technology; Item of Commodity; Timbre and Aesthetics of Sound; Instruments in Music; Instrumental Capacity; Ideas about Ensemble; Heterogenous and Homogeneous Sound Ideals; Musical Roles; 3. THINKING ABOUT TIME; Rhythm; Pulse; Irregular Durations; Rhythm for the Text Alone; Organizing Time into Units; Duple and Triple Meters; Single and Compound Meters; Asymmetrical Meters; South Indian Tala; Southeast Asian Colotomic Meter; North Indian Tala; Middle Eastern Rhythmic Modes; Korean Changdan; African Polyrhythm; Music in the African Diaspora; Speed; 4. THINKING ABOUT PITCH; Pitch; Pitch Names; Syllables; Numbers; Letters; Setting the Pitch; Who Sets the Pitch; Pitch Placement; Thinking Horizontally; Intervals; Naming Intervals; Microtones; Scales; The Chromatic Scale; Diatonic Scales; The "Oriental" Scale; Numbers of Pitches in an Octave; Pitch Functions; Mode; Thinking Vertically; Tone Clusters; Naming Vertical Intervals; Dissonance and Consonance; Functional Harmony; Thinking Horizontally and Vertically; Performing One Melody; Solo and in Unison; Interlocking Parts; Rounds; Heterophony; Performing One Melody with Another Part; Melody and drone; Homophony; Performing Multiple Melodies; Polyphony; Melody and ostinato; 5. THINKING ABOUT STRUCTURING; Improvising and Composing; Composing Persons; Putting Something Significant First; North Indian Instrumental Form; Sonata Form; Telling the Story; Music for the Moment; Contrasting Instrumentation; Through-composed Music; Strophic Form; Responding to the Context; Expectation for Audience-Performer Interaction; The Need for Intra-ensemble Interaction; Audience-performer Interaction in Storytelling; A Ritual Context; Echoes of a Ritual Practice; Call and Response; Music and Movement; Coming to the end; Aesthetic choice and intellectual play; Contrasting Rhythmic Modes; Social Values; 6. THINKING ABOUT ISSUES; Encounters and Identities; A Focus on Influences; A Focus on Boundaries; The national community; Regional identities; Gender; Multiple Identities; Authenticity; Transcending Boundaries; The Mass Media; Globalization; The Local; 7. THINKING ABOUT FIELDWORK; Picking a Project; Planning the Project; Doing the Project; Finishing the Project; Glossary of Musical Terms; References; Resources; Index