List of Figures
Contributors
INTRODUCTION: Analysis, Categorization, and Theory of Musics of the
WorldMichael Tenzer:
PART I, SECTIONAL PERIODICITIES: POETRY, SONG, RITUAL
1: Stephen Blum: Nava'i, A Musical Genre of Northeastern Iran
2: Donna A. Buchanan and Stuart Folse: How to Spin a Good Horo:
Melody, Mode, and Musicianship in the Composition of Bulgarian
Dance Tunes
3: Peter Manuel: Flamenco in Focus: An Analysis of a Performance of
Soleares
4: Robin Moore and Elizabeth Sayre: An Afro-Cuban Batá Piece for
Obatalá, King of the White Cloth
PART II, ISOPERIODICITY: FROM STRICT TO DISCURSIVE, WITH
VARIATIONS
5: Susanne Fürniss: Aka Polyphony: Music, Theory, Back and
Forth
6: Michael Tenzer: Oleg Tumulilingan: Layers of Time and Melody in
Balinese Music
7: R. Anderson Sutton and Roger R. Vetter: Flexing the Frame in
Javanese Gamelan Music: Playfulness in a Performance of Ladrang
Pangkur
PART III, LINEAR COMPOSITION IN PERIODIC CONTEXTS
8: Jonathan P.J. Stock: "Yang's Eight Pieces": Composing a Musical
Set-Piece in a Chinese Local Opera Tradition
9: Robert Morris: Architectonic Composition in South Indian
Classical Music: The "Navaragamalika Varnam"
10: William Benjamin: Mozart: Piano Concerto No. 17 in G Major, K.
453, Movement I
11: John Roeder: Autonomy and Dialogue in Elliott Carter's
Enchanted Preludes
Contents of the Compact Disk
Index
Michael Tenzer is a professor of music at the University of British Columbia. He is the author of Balinese Music (1991, 2nd edition 1998) and Gamelan Gong Kebyar: The Art of Twentieth Century Balinese Music (2000), which received the 34th ASCAP Deems Taylor Award and the Society for Ethnomusicology's Merriam Prize. He is also an internationally acclaimed composer in a diversity of genres.
"Analytical Studies in World Music deserves wide notice among
musicologists, ethnomusicologists, and music theorists. It opens
doors, urges a new self-awareness in the development of close
readings of individual repertory items, and both underlines and
undermines notions of difference that invariably turn up in
cross-cultural projects like this."--Kofi Agawu, Journal of the
American Musicological Society
"Written by a distinguished group of ethnomusicologists, music
historians, composers, and theorists, Tenzer's innovative
collection includes both works that exist in written scores and in
aural tradition, music precisely notated and music substantially
improvised. Each study provides unique insights into its respective
culture, and the whole, far more than the sum of its parts, looks
forward to a direction in scholarship in which all of the world's
musical
works are seen equally worthy of analytical treatment that is
sophisticated, culturally informed, and intuitively
generated."--Bruno Nettl, Professor of Music and Anthropology
Emeritus, University of
Illinois, Former President of the Society for Ethnomusicology
"Analytical Studies in World Music provides a foundation for a
truly cross-cultural branch of music theory. Its central premise is
as simple as it is startling: that musics of different cultures can
be regarded on equal terms, and that doing so deepens our
understanding not just of the pieces being studied but of music as
a whole. The book not only provides extremely useful entry points
to a remarkably broad range of music, but does so with
exemplary
scholarship: Tenzer's introduction is revolutionary in its
clear-headedness, gently and reasonably advocating a radical
reconception of the ways we categorize, teach, and ultimately think
about music in the
world today."--Evan Ziporyn, Kenan Sahin Distinguished Professor of
Music, Massachusetts Institute of Technology
"This groundbreaking collection tackles one of the most enduring
issues in ethnomusicology: the analysis of the world's so-called
non-Western musics using primarily Western theories and models. The
authors have rewarded us with imaginative analyses that are
responsive both to the sensibilities of the insiders who created
this music and to those of the outsiders who have come to know and
love it."--Ellen Koskoff, Professor of Ethnomusicology, Eastman
School of
Music, Former President of the Society for Ethnomusicology
"Tenzer's argument is clear and well informed. I have no difficulty
with my students engaging with his views.... I am confidents that
ASWM will become a recognized teaching tool. I am also in no doubt
about the excellence of the chapters as lessons in musical
analysis."--Kevin Dawe, University of Leeds
"Written by a distinguished group of ethnomusicologists, music
historians, composers, and theorists, Tenzer's innovative
collection includes both works that exist in written scores and in
aural tradition, music precisely notated and music substantially
improvised. Each study provides unique insights into its respective
culture, and the whole, far more than the sum of its parts, looks
forward to a direction in scholarship in which all of the world's
musical
works are seen equally worthy of analytical treatment that is
sophisticated, culturally informed, and intuitively
generated."--Bruno Nettl, Professor of Music and Anthropology
Emeritus, University of
Illinois, Former President of the Society for Ethnomusicology
"Analytical Studies in World Music provides a foundation for a
truly cross-cultural branch of music theory. Its central premise is
as simple as it is startling: that musics of different cultures can
be regarded on equal terms, and that doing so deepens our
understanding not just of the pieces being studied but of music as
a whole. The book not only provides extremely useful entry points
to a remarkably broad range of music, but does so with
exemplary
scholarship: Tenzer's introduction is revolutionary in its
clear-headedness, gently and reasonably advocating a radical
reconception of the ways we categorize, teach, and ultimately think
about music in the
world today."--Evan Ziporyn, Kenan Sahin Distinguished Professor of
Music, Massachusetts Institute of Technology
"This groundbreaking collection tackles one of the most enduring
issues in ethnomusicology: the analysis of the world's so-called
non-Western musics using primarily Western theories and models. The
authors have rewarded us with imaginative analyses that are
responsive both to the sensibilities of the insiders who created
this music and to those of the outsiders who have come to know and
love it."--Ellen Koskoff, Professor of Ethnomusicology, Eastman
School of
Music, Former President of the Society for Ethnomusicology
"Tenzer's argument is clear and well informed. I have no difficulty
with my students engaging with his views.... I am confidents that
ASWM will become a recognized teaching tool. I am also in no doubt
about the excellence of the chapters as lessons in musical
analysis."--Kevin Dawe, University of Leeds
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