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Lead author Bruno Nettl. The grand-daddy of Ethnomusicology
compiled the first edition, and his name and contributions to the
field have brought the book forward several editions. Chapters are
written by established/known ethnomusicologists specializing in the
particular region, in the perhaps the most balanced attempt to get
expert authors together. Does not aim to teach students how to do
field work (like Titon), per se, or other ethnomusicological study,
and does not aim to teach music - rather, how to think about music
in world perspective and the major themes and issues that emerge
when we take the musics of the world seriously. Draws a big picture
and explains why the musics of the world matter.....the economics,
politics, and social dynamics of these sounds.
First published in 2000. Routledge is an imprint of Taylor &
Francis, an informa company.
Excursions in World Music is a comprehensive introductory textbook
to the musics of the world, creating a panoramic experience for
students by engaging the many cultures around the globe, and
highlighting the sheer diversity to be experienced in the world of
music. At the same time, the text illustrates the often profound
ways through which a deeper exploration of these many different
communities can reveal overlaps, shared horizons, and common
concerns in spite of, and because of, this very diversity. The new
eighth edition features six brand new chapters, including chapters
on Japan, Sub-Saharan Africa, China and Taiwan, Europe, Maritime
Southeast Asia, and Indigenous Peoples. General updates have been
made to other chapters, replacing visuals and updating
charts/statistics. Another major addition to the eighth edition is
the publication of a companion reader of nine short essays,
Critical Themes in World Music. The essays introduce key and
contemporary themes in ethnomusicology-gender and sexuality,
coloniality and race, technology and media, sound and space, and
more-creating a counterpoint to the area studies approach of the
textbook, a longstanding model for thinking about the musics of the
world. Instructors can use this flexible resource as a primary or
secondary path through the materials, on its own, or in concert
with the textbook, allowing for a more complete understanding that
highlights the many continuities and connections that exist between
musical communities, regardless of region. This two-book package
contains the paperback textbook and paperback reader.
Lead author Bruno Nettl. The grand-daddy of Ethnomusicology
compiled the first edition, and his name and contributions to the
field have brought the book forward several editions. Chapters are
written by established/known ethnomusicologists specializing in the
particular region, in the perhaps the most balanced attempt to get
expert authors together. Does not aim to teach students how to do
field work (like Titon), per se, or other ethnomusicological study,
and does not aim to teach music - rather, how to think about music
in world perspective and the major themes and issues that emerge
when we take the musics of the world seriously. Draws a big picture
and explains why the musics of the world matter.....the economics,
politics, and social dynamics of these sounds.
Becoming an Ethnomusicologist centers on the life and education of
the author, Bruno Nettl, a well-known ethnomusicologist. Focusing
on eleven individuals who influenced him significantly, it follows
their roles through his career from his childhood in Czechoslovakia
and his family's forced departure in 1939 to his education in the
United States and career as a scholar. These essays contribute to
an understanding of the life of Jewish and German minorities in
Bohemia through the first half of the 20th century, of pre-World
War II Prague, of the experience of intellectual and academic
refugees in the United States during and after World War II, and of
the early development of ethnomusicology as a field of study. This
work opens with the author's exploration of the careers of his
father, the well-known music historian Paul Nettl, and his mother,
Gertrud Nettl, a pianist and piano teacher. From his boyhood in
Prague, Nettl provides insights into his own evolution as a
musicologist.He discusses the rise of the discipline of
ethnomusicology, from the studies of Native American music by his
mentor George Herzog to the work of linguist C. F. Voegelin and
folklorist Stith Thompson.He also looks back on the contribution
and input of his principal consultants in his fieldwork on Native
American, Iranian, and Indian music. These essays contribute
significantly to the history of musicology, containing the
longest--to date--treatments of the contributions of the
distinguished scholars Paul Nettl and George Herzog. This work will
interest students and scholars of immigration history, Native
American culture, and the history of ethnomusicology itself.
Ballads offer one of the most fascinating and revealing records of
humankind-our deepest feelings and most profound experiences, our
laughter and joys, our troubles and sorrows. There is no battle, no
romance, no escapade, no tragedy recorded in song which is not rich
both in historical significance and in contemporary experience. A
ballad is a link with past generations, traditions, and the basic
character traits of a people, a region, or a country. The
associations formed, the recollections stirred make the study of
this form of music a rewarding experience. The first printed
collection of ballads was made in 1723-25 and entitled simply Old
Ballads. That it met with warm approval is indicated by the fact
that a third edition was published as soon as 1727. Since the
publication of that first collection, interest in the ballad and
demand for ballad texts have grown constantly. During the
eighteenth, nineteenth, and twentieth centuries, several hundred
collections were published. Many of these collections have become
classics in the field of balladry. With the publication of this
fourth and final volume of the Ancient Ballads series, the Helen
Hartness Flanders Collection took its place with the other classics
in the field. Volume IV contains child ballads 250-295 with
thirty-six versions of "The Sweet Trinity," or "The Golden Vanity,"
alone. This is representative of the completeness of the series and
reflects the years of scholarship that went into the collecting,
interviewing, scoring, and editing of the collection. With analyses
by Tristram P. Coffin and musical annotations by Bruno Netti, Helen
Hartness Flanders's work constitutes an invaluable source for the
student of the ballad, as well as those interested in the related
studies of musicology, literature, history, social sciences, and
ethnology. Ancient Ballads Traditionally Sung in New England
provides endless opportunity for both scholarly study and sheer
fascination.
Nineteen scholars from five countries explore significant issues in
the history of ethnomusicology and its methodological and
theoretical foundations, while providing a critique of the
discipline. "This is a useful and enriching collection of articles
of interest to musicologists and ethnomusicologists...The authors
manage to cover much ground, presenting fascinating insights into
the history of the discipline while also exploring new directions
in both theory and analysis...the most sweeping work of this kind
to be published since the 1960s."--L. D. Loeb, University of Utah,
for Choice
"In the Course of Performance" is the first book in decades to
illustrate and explain the practices and processes of musical
improvisation. Improvisation, by its very nature, seems to resist
interpretation or elucidation. This difficulty may account for the
very few attempts scholars have made to provide a general guide to
this elusive subject. With contributions by seventeen scholars and
improvisers, "In the Course of Performance" offers a history of
research on improvisation and an overview of the different
approaches to the topic that can be used, ranging from cognitive
study to detailed musical analysis. Such diverse genres as Italian
lyrical singing, modal jazz, Indian classical music, Javanese
gamelan, and African-American girls' singing games are examined.
The most comprehensive guide to the understanding of musical
improvisation available, "In the Course of Performance" will be
indispensable to anyone attracted to this fascinating art.
Contributors are Stephen Blum, Sau Y. Chan, Jody Cormack, Valerie
Woodring Goertzen, Lawrence Gushee, Eve Harwood, Tullia Magrini,
Peter Manuel, Ingrid Monson, Bruno Nettl, Jeff Pressing, Ali Jihad
Racy, Ronald Riddle, Stephen Slawek, Chris Smith, R. Anderson
Sutton, and T. Viswanathan.
Excursions in World Music is a comprehensive introductory textbook
to world music, creating a panoramic experience for students by
engaging the many cultures around the globe and highlighting the
sheer diversity to be experienced in the world of music. At the
same time, the text illustrates the often profound ways through
which a deeper exploration of these many different communities can
reveal overlaps, shared horizons, and common concerns in spite of
and, because of, this very diversity. The new seventh edition
introduces five brand new chapters, including chapters by three new
contributors on the Middle East, South Asia, and Korea, as well as
a new chapter on Latin America along with a new introduction
written by Timothy Rommen. General updates have been made to other
chapters, replacing visuals and updating charts/statistics.
Excursions in World Music remains a favorite among
ethnomusicologists who want students to explore the in-depth
knowledge and scholarship that animates regional studies of world
music. A companion website is available at no additional charge.
For instructors, there is a new test bank and instructor's manual.
Numerous student resources are posted, including streamed audio
tracks for most of the listening guides, interactive quizzes,
flashcards, and an interactive map with pinpoints of interest and
activities. An ancillary package of a 3-CD set of audio tracks is
available for separate purchase. PURCHASING OPTIONS Paperback:
9781138101463 Hardback: 9781138688568 eBook: 9781315619378* Print
Paperback Pack - Book and CD set: 9781138666443 Print Hardback Pack
- Book and CD set: 9781138666436 Audio CD: 9781138688032 *See
VitalSource.com for various eBook options
Ballads offer one of the most fascinating and revealing records of
humankind-their deepest feelings and most profound experiences,
their laughter and joys, their troubles and sorrows. There is no
battle, no romance, no escapade, no tragedy recorded in song which
is not rich both in historical significance and in contemporary
experience. A ballad is a link with past generations, traditions,
and the basic character traits of a people, a region, or a country.
The associations formed, the recollections stirred make the study
of this form of music a rewarding experience. Ancient Ballads
Traditionally Sung in New England is complied an edited from the
Helen Harness Flanders Ballad Collection at Middlebury College. The
texts of the ballads are printed and their tunes set exactly as the
singers gave then in the original form, with succinct and accurate
notes to reach. This rich collection contains nearly all the
traditional ballads of America, many of them in multiple versions.
Volume III contains Child ballads 95-243 from the numbered Francis
James Child Collection.
Known affectionately as "The Red Book," Bruno Nettl's The Study of
Ethnomusicology became a classic upon its original publication in
1983. Scholars and students alike have hailed it not just for its
insights but for a disarming, witty style able to engage and
entertain even casual readers while providing essential grounding
in the field. In this third edition, Nettl revises the text
throughout, adding new chapters and discussions that take into
account recent developments across the field and reflecting on how
his thinking has changed or even reversed itself during his
sixty-year career. An updated bibliography rounds out the volume. A
classroom perennial and a must-have for any scholar's bookshelf,
the third edition of The Study of Ethnomusicology introduces
Nettl's thought to a new generation.
Known affectionately as "The Red Book," Bruno Nettl's The Study of
Ethnomusicology became a classic upon its original publication in
1983. Scholars and students alike have hailed it not just for its
insights but for a disarming, witty style able to engage and
entertain even casual readers while providing essential grounding
in the field. In this third edition, Nettl revises the text
throughout, adding new chapters and discussions that take into
account recent developments across the field and reflecting on how
his thinking has changed or even reversed itself during his
sixty-year career. An updated bibliography rounds out the volume. A
classroom perennial and a must-have for any scholar's bookshelf,
the third edition of The Study of Ethnomusicology introduces
Nettl's thought to a new generation.
Folding a River, a collection of elegies, shows a pleasing range of
free-verse forms that develop themes sustained throughout: loss,
exile, myth, landscape. Kawita Kandpal's poems are explorations of
East-West cultures, taking her into an emo-mythic place not to be
found on any map. Kandpal's mood in Folding a River is melancholy,
articulated with intelligence and grace, and her phrasing can rise
to the level of proverb: "This time next year you will have evolved
into an idea." In its personal evocations of geographical and
linguistic exile from the subcontinent, centered on a lost father,
her work recalls that of Li-Young Lee, yet with a feminine
perspective often haunting in its own right: "tenderly / taking
back the mistakes of men."
A musical practice used for centuries the world over,
improvisation too often has been neglected by scholars who dismiss
it as either technically undissectible or inexplicably mysterious.
At different times and in different cultures, performing music that
is not "precomposed" has constituted an artful expression of the
performer's individuality (the Baroque); a wild, unthinking form of
expression (jazz antagonists); and the best method to train
inexperienced musicians to use their instruments (the Middle East).
This wide-ranging collection of essays considers musical
improvisation from a variety of approaches, including
ethnomusicology, education, performance, historical musicology, and
music theory. Laying the groundwork for even further research into
improvisation, the contributors of this volume delve into topics as
diverse as the creative minds of Mozart and Beethoven, the place of
improvised musics in Western and non-Western societies, and the
development of jazz as a musical and cultural phenomenon.
A musical practice used for centuries the world over,
improvisation too often has been neglected by scholars who dismiss
it as either technically undissectible or inexplicably mysterious.
At different times and in different cultures, performing music that
is not "precomposed" has constituted an artful expression of the
performer's individuality (the Baroque); a wild, unthinking form of
expression (jazz antagonists); and the best method to train
inexperienced musicians to use their instruments (the Middle East).
This wide-ranging collection of essays considers musical
improvisation from a variety of approaches, including
ethnomusicology, education, performance, historical musicology, and
music theory. Laying the groundwork for even further research into
improvisation, the contributors of this volume delve into topics as
diverse as the creative minds of Mozart and Beethoven, the place of
improvised musics in Western and non-Western societies, and the
development of jazz as a musical and cultural phenomenon.
From one of the most lauded scholars in ethnomusicology comes
this enlightening and highly personal narrative on the evolution
and current state of the field of ethnomusicology. Surveying the
field he helped establish, Bruno Nettl investigates how concepts
such as evolution, geography, and history serve as catalysts for
advancing ethnomusicological methods and perspectives. This
entertaining collection covers Nettl's scholarly interests ranging
from Native American to Mediterranean to Middle Eastern contexts
while laying out the pivotal moments of the field and conversations
with the giants of its past. Nettl moves from reflections on the
history of ethnomusicology to evaluations of the principal
organizations in the field, interspersing those broader discussions
with shorter essays focusing on neglected literature and personal
experiences.
In Following the Elephant, Bruno Nettl edits articles drawn from
fifty years of the pioneering journal Ethnomusicology. The roster
of acclaimed scholars hail from across generations, using other
works in the collection as launching points for dialogues on the
history and accomplishments of the field. Nettl divides the
collection into three sections. In the first, authors survey
ethnomusicology from perspectives that include thoughts on defining
and conceptualizing the field and its concepts. The second section
offers milestones in the literature that critique major works. The
authors look at what separates ethnomusicology from other forms of
music research and discuss foundational issues. The final section
presents scholars considering ethnomusicology--including recent
trends--from the perspective of specific, but abiding, strands of
thought. Contributors: Charlotte J. Frisbie, Mieczylaw Kolinski,
Gerhard Kubik, George List, Alan P. Merriam, Bruno Nettl, David
Pruett, Adelaida Reyes, Timothy Rice, Jesse D. Ruskin, Kay Kaufman
Shelemay, Gabriel Solis, Jeff Todd Titon, J. Lawrence Witzleben,
and Deborah Wong
In Heartland Excursions, a legendary ethnomusicologist takes the
reader along for a delightful, wide-ranging tour of his workplace.
Bruno Nettl provides an insightful, sometimes tongue-in-cheek,
always pithy ethnography of midwestern university schools of music
from a different perspective in each of four chapters, alternating
among three distinct voices: the longtime professor, the "native
informant," and the outside observer, an "ethnomusicologist from
Mars." If you've ever been to a concert or been connected to a
university with a school of music, you ll discover yourself--or
someone you know--in these pages. "In the music building you can't
tell the quick from the dead without a program."--Chapter 1, "In
the Service of the Masters" "The great ability of a violin student
whom I observed was established when his dean was persuaded to
accompany him."--Chapter 2, "Society of Musicians" "Some teachers
of music history would accuse students who listen to Elvis Presley
not only of taking time away from hearing Brahms, but also of
polluting themselves."--Chapter 3, "A Place for All Musics?" At
commencement, the graduates "were perhaps not aware that they had
just participated in an event in which the principal values of the
Western musical world . . . had been taken out of storage bins for
annual exercise."--Chapter 4, "Forays into the Repertory"
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