Table of Contents

PA R T IChapter 1 What, in the World, Is Music? 1
A Point of Departure: Five Propositionsfor Exploring World Music 2

Proposition 1: The Basic Property of All Music Is Sound 2

Proposition 2: The Sounds (and Silences) That Comprisea Musical Work Are Organized in Some Way 3

Proposition 3: Sounds Are Organized into Music by People;Thus, Music Is a Form of Humanly Organized Sound 4

Proposition 4: Music Is a Product of Human Intentionand Perception 4

Proposition 5: The Term Music Is Inescapably Tiedto Western Culture and Its Assumptions 6

Summary 6
Key Terms 7
Study Questions 7
Discussion Questions 7
Applying What You Have Learned 7
Resources for Further Study 7

Chapter 2 How Music Lives: A Musicultural Approach 9

Culture in Music 10

Meaning in Music 11

Identity in Music 11

Societies 13

Cultures 15

Nations and Nation-States 16

Diasporas and Other Transnational Communities 17

The Individual in Music 18

Spirituality and Transcendence in Music 20

Music and Dance 21

Music in Ritual 22

Music as Commodity and the Patronage of Music 23

The Transmission of Music and Musical Knowledge 25

Production and Reception 25

Music Creation Processes 26

Music in the Process of Tradition 27

Summary 29
Key Terms 29
Study Questions 29
Discussion Questions 30
Applying What You Have Learned 30
Resources for Further Study 30


Chapter 3 How Music Works, Part I: Rhythm 31
The Four Basic Properties of Tones 32

Rhythm 32

Beat 34

Subdivision 34

Meter 35

Accent and Syncopation 39

Tempo 39

Free Rhythm 40
Summary 40
Key Terms 40
Study Questions 41
Applying What You Have Learned 41
Resources for Further Study 41

Chapter 4 How Music Works, Part II: Pitch 43

Pitch and Melody 44

Pitch and Melody in “Mary Had a Little Lamb” and a NativeAmerican Eagle Dance Song 44

Names of Pitches in Western Music 44

The Western Pitch System and the Octave 46

Common Scales in Western Music: Major, Pentatonic,Minor, and Blues 48

Modulation: Moving from One Scale and Key to Another 50

Pitch and Scales in Non-Western Musical Systems 51

Pitch, Chords, and Harmony 53

Single Chord-Based Music and Music with Chord Progressions 53

Harmonization of Melodies 53

Arpeggios (Broken Chords) 53

Other Chords, Other Harmonies 54

Summary 54
Key Terms 55
Study Questions 55
Applying What You Have Learned 55
Resources for Further Study 55

Chapter 5 How Music Works, Part III: Dynamics, Timbre,and Instruments 57

Dynamics 58

Timbre 59

Music Instruments 62

Music Instrument Classification 63

Summary 73
Key Terms 73
Study Questions 74
Applying What You Have Learned 74
Resources for Further Study 74

Chapter 6 How Music Works, Part IV: Texture and Form 75
Single-Line Textures 76

Multiple-Part Textures 76

Form: The Designs of Musical Works 79

Repetition and Patterning 79

Forms with Contrasting Sections 82

Summary 84
Key Terms 84
Study Questions 85
Applying What You Have Learned 85
Resources for Further Study 85

PART 2Chapter 7 Interlocking Rhythms and Interlocking Worldsin Balinese Gamelan Music 87

Introduction 90

Balinese Gamelan Music in Context 90

Bali and the Republic of Indonesia 90

Religion in Bali and Indonesia 91

Gamelan in Bali and Beyond 92

The Gamelan Beleganjur: An Introduction 95

Kilitan Telu Interlocking Rhythms: A Musical Symbolof Communal Interdependence 95

Musical Guided Tour: The Gamelan Beleganjur 96

Balinese Kecak and the Kilitan Telu 97

Experiencing Balinese Interlocking, Kecak-Style 98

The Gamelan Beleganjur in Battles of Good versus Evil 99

Beleganjur Music in Hindu-Balinese Cremation Processions 99

Guided Listening Experience: Beleganjur Music Performedduring a Balinese Cremation Procession 101

Crossroads Battles and a Musical Ladder to the Upper World 102

Walking Warriors: Worldly Battlegrounds of BeleganjurMusic 103

Lomba Beleganjur: The Modern Beleganjur Contest 104

Kreasi Beleganjur: The Contest Musical Style 105

Tradition and Innovation in Kreasi Beleganjur:An Elusive Balance 106

Achieving the Elusive Balance: The Kreasi Beleganjur Musicof I Ketut Suandita 108

Guided Listening Experience: “Wira Ghorava Cakti ‘95”(Kreasi Beleganjur), by I Ketut Suandita 109

Crossing International Borders 110

Guided Listening Experience: “B.A.Ph.PET,” by Michael Bakan 111

Summary 114
Key Terms 114
Study Questions 114
Discussion Questions 115
Applying What You Have Learned 115
Resources for Further Study 115

Chapter 8 Raga, Ravi Shankar, and Intercultural Crossingsin Indian Music 117

Indian Music in Context 120

Musical Diversity and Two Great Traditions 123

The Hindustani Raga of Northern India 125

Ravi Shankar and the Maihar Gharana 126

“An Introduction to Indian Music,” by Ravi Shankar 127

The Sitar-Tambura-Tabla Trio: Instruments and Texture 128

Musical Guided Tour: “An Introduction to Indian Music” 128

Raga Defined 132

Tala: Meter and Rhythm in Raga Performance 132

How a Raga “Grows” 133

Form in Raga Performance 134

Keeping Tal with Ravi Shankar 135

Guided Listening Experience: “Raga Nat Bhairav”(Hindustani Raga), Vishwa Mohan Bhatt 138

Intercultural Crossings 141

Early Inroads: West Meets East, Improvisations, and the Musicof John Coltrane 142

Ravi Shankar, the Beatles, and the “Great Sitar Explosion” 143

A New Level: John McLaughlin and Shakti 144

Guided Listening Experience: “Joy,” Shakti 145

Trilok Gurtu: Global Fusion Artist Extraordinaire 147

Guided Listening Experience: “Living Magic,” Trilok Gurtu 148

Summary 150
Key Terms 151
Study Questions 151
Discussion Questions 151
Applying What You Have Learned 152
Resources for Further Study 152

Chapter 9 Tradition and Transformation in Irish Traditional Music 153

A Preliminary Listening Experience 156

Irish Music in Context 156

An Introduction to Irish Traditional Music 158

Traditional Irish Dance Tunes and Medleys: Two Examples 159

Musical Guided Tour: Irish Traditional Dance Tunes 160

Guided Listening Experience: “The Cuckoo’s Hornpipe,”Seamus Ennis 162

Guided Listening Experience: “The First House in Connaught/The Copper Plate Reel” (Medley), Seamus Ennis 165

The Life and Legacy of Seamus Ennis 168

Neo-Traditional Irish Music and the Irish Music Revival 170

Sean Ó’Riada and the Transformation of Irish Traditional Music 171

The Chieftains 171

Guided Listening Experience: “The Dingle Set” (Medley),The Chieftains 172

The 1970s: Second Generation of the Irish Music Revival 174

The Modern Ensemble Sound of Irish Traditional Dance Music 174

Guided Listening Experience: “The Emyvale/Ríl Gan Ainm/The Three Merry Sisters of Fate” (Medley), Altan 176

The Post-Traditional World of Irish Music: Crossing Bridgeswith Eileen Ivers 179

The Music and Life of Eileen Ivers 179

Guided Listening Experience: “Gravelwalk” (Medley),Eileen Ivers 180

Summary 183
Key Terms 183
Study Questions 183
Discussion Questions 184
Applying What You Have Learned 184
Resources for Further Study 184

Chapter 10 Musical Conversations: Communication and CollectiveExpression in West African Musics 185

African Musics in Context 188

The African Continent, Sub-Saharan Africa, and theAfrican Diaspora 188

Music, Culture, and History in Sub-Saharan Africa 189Drumming 190

Fontomfrom: An Akan Royal Drum Ensemble 191

Musical Guided Tour: Instruments and Basic Rhythmic Patternsin Fontomfrom Music 192

Guided Listening Experience: Fontomfrom(Akan Royal Drum Ensemble Music) 194

Unifying Features of Music in West Africa: Musical Africanisms 195

More Than Drumming: African Musical Diversity and the Kora 196

The Kora and Its Musicultural World 197

Mande History and Culture 198

The Jeli and the Art of Jeliya 199

Seckou Keita: Kora Master, Jeli, and Radical Royal 200

“I am not shy to sing and play the kora” 201

Guided Listening Experience: “Dounuya,” Seckou Keita 202

A Meeting of Musical Worlds: “Atlanta Kaira” 204

Guided Listening Experience: “Atlanta Kaira,” Toumani Diabate,Taj Mahal, and Ensemble 206

Angélique Kidjo: West African Collective Expressionin a Global Musical World 209

The Diva from Benin 209

Guided Listening Experience: “Okan Bale,” Angélique Kidjo 211

Summary 213
Key Terms 214
Study Questions 214
Discussion Questions 215
Applying What You Have Learned 215
Resources for Further Study 215

Chapter 11 “Oye Como Va”: Three Generations in the Life of a ClassicLatino/American Dance Tune 217

Introduction 218

“Oye Como Va” and Latin Dance Music in Context 219Latin Dance Music Defined 219

A Latino/American Phenomenon 221

Cuba, Creolization, and the Roots of Latin Dance Music 222

Afro-Cuban Roots of Latin Dance Music 222

Spanish-Cuban Roots of Latin Dance Music 224

The Danzón-Mambo 225

Enrique Jorrin and the Cuban Cha Cha Chá 225

Musical Guided Tour: Latin Percussion Rhythmsof the Cha Cha Chá 227

Mambo (Big Band Mambo) 228

Tito Puente, the Newyorican Connection, and Latino/AmericanMusic Culture in New York City 229

Guided Listening Experience: “Oye Como Va,”Tito Puente (1963) 231

New Sounds, New Times: “Oye Como Va,” the Santana Version 234

The Rise of Santana and Latin Rock 235

Guided Listening Experience: “Oye Como Va,” Santana (1970) 237

Beyond the Music: Santana, “Oye Como Va,”and Pan-Latino Identity 240

Santana’s “Oye Como Va” and Tito Puente 240
The King of Salsa 241

“Oye Como Va” and the Emergence of Pan-Latino Identity 241“Oye Como Va”: The Next Generation 243

Guided Listening Experience: “Oye Como Va,”Tito Puente Jr. (2004) 244

Tito Puente Jr.: Into the Future, Back to the Past 246

Summary 247
Key Terms 248
Study Questions 248
Discussion Question 249
Applying What You Have Learned 249
Resources for Further Study 249


Chapter 12 From Baladi to Belly Dance: Women’s Danceand Dance Rhythms in Egypt and Beyond 251

Introduction 252

Egypt: An Overview 257

Egyptian History 258

The Foundations of Egyptian Women’s Dance 260

Speculations on Ancient Roots 261

The Ghawazi Tradition 261

Witness to a Ghawazi Performance 262

Zaar: Egyptian Women’s Dance in a Healing Ritual 263

The Zaar Ritual 263

Guided Listening Experience: Traditional Zaar Rhythms,Hossam Ramzy 265

Musical Guided Tour: Demonstration of Dum andTek Drum Strokes 266

Music, Dance, Nationalism, and Mass Media Entertainmentin 20th-Century Egypt 267

The Contributions of Badiaa Masabni 268

Dance, Music, and the Egyptian Film Industry 269

Muhammad ‘Abd al-Wahhab and Samia Gamal 269

Guided Listening Experience: “Zeina,” by Muhammad‘Abd al-Wahhab (Arrangement by Hossam Ramzy) 272

The Post-Independence Era 276

Cultural Nationalism and the Baladi Folk Idealin Post-Revolutionary Egypt 277

Farida Fahmy and the Reda Troupe 278

Folk Dance Rhythms in Raqs Sharqi and Belly Dance:Fallahi and Saaidi 278

The Tabla Solo Dance 280

Tabla Solo in a Raqs Sharqi Dance Routine 281

Guided Listening Experience: “Belhadawa Walla Belshaawa?”(Tabla Solo), Hossam Ramzy 282

From Cairo to Mexico 284

Summary 285
Key Terms 286
Study Questions 286
Discussion Questions 287
Applying What You Have Learned 287
Resources for Further Study 287

Chapter 13 A Musicultural History of the Chinese Zheng 289

Introduction 292

China: An Overview 293

The Nation-State of Modern China 293

From Antiquity to the Present 294

An Introduction to the Zheng 295

Musical Guided Tour: The Zheng 297

The Zheng in Imperial China 298

The Han Dynasty Era 299

The Tang Dynasty Era 299

The Ming and Qing Dynasty Eras 302

Regional Styles: Traditional Solo Zheng Music 304

Guided Listening Experience: “Autumn Moonover the Han Palace,” Deng Haiqiong 305

Emergence and Development of the ConservatorySolo Zheng Style in Mainland China 307

Guided Listening Experience: “Return of the Fishing Boats,”by Lou Shuhua 308

Music and the Conservatory Solo Zheng Traditionin Communist China, 1949–1965 310

Guided Listening Experience: “Spring on Snowy Mountains,”by Fan Shang’e 312

The Cultural Revolution Era 314

The Rise of Deng Xiaoping and the Period of Openness 315

The Arts, the Zheng, and Musicultural Life in Post-1970s China 316

Guided Listening Experience: “Music from the Muqam,”by Zhou Ji, Shao Guangchen, and Li Mei 319

Summary 322
Key Terms 322
Study Questions 323
Discussion Questions 323
Applying What You Have Learned 324
Resources for Further Study 324Chapter 14 Climbing Jacob’s Ladder: Modern Musical Reflections of an Ancient Jewish Mystical Text

Jewish Music and Jewish Musics 328

Jewish History and the Zohar 330

Early Jewish History 330

Rabbinic Judaism, the Zohar, Kabbalah, and Reform Judaism 332

Modern Jewish History 333

Climbing Jacob’s Ladder: Musical Symbolismand the Melodious Voice in Kabbalistic Prayer 334

Guided Listening Experience: “V’amazirim” (Zoharic chant),Isaac Kataev 335

Melodic Symbolism in “We Are Climbing Jacob’s Ladder” 337

Musical Guided Tour: Melodic Contourin “We Are Climbing Jacob’s Ladder” 338

Music, the Zohar, and the Secrets of the Torah 338

Roza D’Shabbos: The Secret of the Sabbath 339

Background Information on the Zohar and Roza D’Shabbos 339

Divine Reunification and Universal Redemptionin Roza D’Shabbos 341

Pinchas Pinchik’s “Roso De Shabbos” (Roza D’Shabbos):A Tone-Poem about Holiness 342

Guided Listening Experience: “Roza DeShabbos,”Ruth Wieder Magan (after Pinchas Pinchik) 342

Ruth Wieder Magan: Dusting Off the Surfaces of Tradition 345

Zohar Remix 347

The Zohar in Zöhar’s “Ehad” 348

Guided Listening Experience: “Ehad,” Zöhar 350

Summary 352
Key Terms 353
Study Questions 353
Discussion Questions 353
Applying What You Have Learned 354
Resources for Further Study 354

Glossary 355
References Cited in the Text 365
Credits 369
Index 371

About the Author

Michael B. Bakan is Professor of Ethnomusicology and Head of Ethnomusicology/World Music in the College of Music at Florida State University, where he also directs the universitys Balinese gamelan ensemble and the Music-Play Project, a program for children on the autism spectrum and their families. He has been the recipient of numerous awards and honors, including two Florida State University Undergraduate Teaching Awards (1998, 2010). His first book, Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur (University of Chicago Press, 1999), was selected to the Choice Outstanding Academic Titles list for the year 2000 and was recognized as one of the two most significant publications on Balinese music in almost half a century in The Times (London). The first edition of World Music: Traditions and Transformations (McGraw-Hill, 2007) has been adopted at more than 100 universities and colleges worldwide. Bakans many other publications encompass topics ranging from Indonesian music and world percussion to electronic music technology, early jazz history, film music, multicultural music education, and the ethnomusicology of autism. He is also the series editor of the Routledge Focus on World Music Series. As a percussionist, Bakan has performed with many renowned world music, jazz, and Western classical music artists and ensembles, including the Toronto Symphony Orchestra, the Music at Marlboro Festival Orchestra, John Cage, A. J. Racy, Phil Nimmons, I Ketut Sukarata, and the championship beleganjur groups of Batur Tengah and Tatasan Kaja in Bali, Indonesia. He is also an active composer, with traditional and experimental works for Balinese gamelan, world music/jazz fusion pieces, film scores, and modern dance compositions to his credit. Bakan has been a visiting professor or invited lecturer at numerous institutions, including Harvard, Yale, Indiana, and Boston universities; the universities of Chicago, Colorado, Illinois, Maryland, and Washington; and the Berklee College of Music. He previously served as president of the Society for Ethnomusicologys Southeast/Caribbean Chapter. He and his family live in Tallahassee, Florida.