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Worlds of Music

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Table of Contents

1. The Music-Culture as a World of Music. 2. North America/Native America. 3. Africa/Ewe, Mande, Dagbamba, Shona, BaAka. 4. North America/Black America. 5. Europe/Central and Southeastern Regions. 6. India/South India. 7. Asia/Indonesia. 8. East Asia/China, Taiwan, Singapore, Oversees Chinese. 9. Latin America/Chile, Bolivia, Ecuador, Peru. 10. Music of the Arab World. 11. Discovering and Documenting a World of Music.

About the Author

Anne K. Rasmussen is Associate Professor of Ethnomusicology at the College of William and Mary, where she also directs a Middle Eastern Music Ensemble. She received her Ph.D. in ethnomusicology from the University of California where she studied with A. J. Racy, Timothy Rice, and Nazir Jairazbhoy. Gerard Behague and Scott Marcus also are among her influential teachers. Her first area of research is Arab music and culture in diaspora enclaves of North America, and her current project, based on two years of ethnographic research in Indonesia, concerns Islamic ritual and performance. Her book, WOMEN'S VOICES, THE RECITED QUR'AN, AND ISLAMIC MUSICAL ARTS IN INDONESIA, is forthcoming with University of California Press, and she is the contributing co-editor of MUSICS OF MULTICULTURAL AMERICA (Schirmer, 1997). Professor Rasmussen has written articles appearing in ETHNOMUSICOLOGY, ASIAN MUSIC, POPULAR MUSIC, AMERICAN MUSIC, THE WORLD OF MUSIC, THE GARLAND ENCYCLOPEDIA OF WORLD MUSIC, and the HARVARD DICTIONARY OF MUSIC; she also has produced four CD recordings documenting immigrant and community music in the United States. She is a former Fulbright senior scholar, served as the First Vice President of the Society for Ethnomusicology, and received the Phi Beta Kappa Award for Excellence in Teaching, as well as the Jaap Kunst Prize for the best article published annually in the field of ethnomusicology. David Locke received his Ph.D. in ethnomusicology from Wesleyan University in 1978, studying with David McAllester, Mark Slobin, and Gen'ichi Tsuge. At Wesleyan, he studied traditional African music under 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 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. David P. McAllester received his 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 co-author 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. David B. Reck, Professor Emeritus of Asian Languages and Civilizations and Music at Amherst College, received his Ph.D. in ethnomusicology from Wesleyan University, where he studied under Mark Slobin, David P. McAllester, and Gen'ichi Tsuge. 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. A 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. Jeff Todd Titon received his Ph.D. in American Studies from the University of Minnesota, where he studied ethnomusicology with Alan Kagan and musicology with Johannes Riedel. He has completed 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 in the 1970 Ann Arbor Blues Festival. The author or editor of seven books, including EARLY DOWNHOME BLUES (which won the ASCAP-Deems Taylor Award) and the five-volume AMERICAN MUSICAL TRADITIONS (named by Library Journal as one of the outstanding reference works of 2003), Titon is also a documentary photographer and filmmaker. In 1991, he wrote a hypertext multimedia computer program about old-time fiddler Clyde Davenport that is regarded as a model for interactive representations of people making music. 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. A Fellow of the American Folklore Society since 1986, he has been Professor of Music and the director of the Ph.D. program in ethnomusicology at Brown University. 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 Behague, folklore with Americo 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 Nan 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 INSCRIPCION 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 Behague at the scholar's untimely passing that year. Schechter's other publications have explored, among other topics, formulaic expression in Ecuadorian Quechua sanjuan, 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 Victor Jara and general characteristics of the Nueva Cancion Movement. The film is scheduled for airing and distribution in fall 2007. Jonathan P.J. Stock received his Ph.D. in ethnomusicology at the Queen's University of Belfast, where he studied with Rembrandt Wolpert, Martin Stokes, Annette Sanger, and John Blacking. His field research, funded by the British Council, China State Education Commission, the UK's Arts and Humanities Research Council, the British Academy, and Taiwan's National Endowment for the Arts, has been carried out in several parts of China, Taiwan, and England, primarily focusing on transformation of folk traditions in the modern and contemporary worlds. He is the author of two academic books on Chinese music, as well as a multi-volume educational text, WORLD SOUND MATTERS: AN ANTHOLOGY OF MUSIC FROM AROUND THE WORLD. He co-edits the journal THE WORLD OF MUSIC, published three times a year in Berlin. Aiming to spend at least one month of each year on fieldwork, his focus is the music of the Bunun people in Taiwan, but he also has written recently on the use of recordings in fieldwork, the analysis of Chinese traditional opera, the mechanics of sessions in English traditional music, and musical biography. Formerly 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 there as Professor of Ethnomusicology and Research Director of the White Rose East Asia Centre. R. Anderson Sutton received his Ph.D. in musicology from the University of Michigan, where he studied with Judith Becker and William Malm. He was introduced to Javanese music while an undergraduate at Wesleyan University, and made it the focus of his master's study at the University of Hawaii, studying gamelan with Hardja Susilo. On numerous occasions he has conducted field research in Indonesia, with grants from the East-West Center, Fulbright-Hays, Social Science Research Council, National Endowment for the Humanities, Wenner-Gren Foundation and American Philosophical Society. He is the author of TRADITIONS OF GAMELAN MUSIC IN JAVA; VARIATION IN CENTRAL JAVANESE GAMELAN MUSIC; CALLING BACK THE SPIRIT: MUSIC, DANCE, AND CULTURAL POLITICS IN LOWLAND SOUTH SULAWESI; and numerous articles on Javanese music. His current research concerns music and media in Indonesian and South Korea. Active as a gamelan musician since 1971, he has performed with several professional groups in Indonesia and directed numerous performances in the United States. He has served as the first vice president and book review editor for the Society for Ethnomusicology, and as a member of the Working Committee on Performing Arts for the Festival of Indonesia (1990-1992). He has taught at the University of Hawaii and the University of Wisconsin-Madison, where he is Professor of Music and Director of the Center for Southeast Asian Studies. Timothy J. Cooley is Associate Professor of Ethnomusicology at the University of California, Santa Barbara, where he teaches courses in Polish and American vernacular, and folk and popular music. He also is affiliated faculty with the university's Global and International Studies Program. He earned a masters 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, is being prepared for publication in 2008. Cooley is the editor of Ethnomusicology, the journal of the Society for Ethnomusicology, and serves as the Society's Southern California Chapter president. His recent research considers how surfers, especially in California, musically express their ideas about surfing and the surfing community, and how surfing as a sport and lifestyle is represented in popular culture.


1. The Music-Culture as a World of Music. 2. North America/Native America. 3. Africa/Ewe, Mande, Dagbamba, Shona, BaAka. 4. North America/Black America. 5. Europe/Central and Southeastern Regions. 6. India/South India. 7. Asia/Indonesia. 8. East Asia/China, Taiwan, Singapore, Oversees Chinese. 9. Latin America/Chile, Bolivia, Ecuador, Peru. 10. Music of the Arab World. 11. Discovering and Documenting a World of Music.

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