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Acknowledgements
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xi |
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Preface
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For Whom Has This Book Been Written?
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Scope
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Organization
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How to Expand Course Coverage
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4 |
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Our Own Journey (So Far)
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Terry E. Miller
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Andrew Shahriari
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7 |
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1
Before the Trip Begins: Fundamental Issues
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11 |
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What is Music?
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11 |
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Music: Universal Language or Culturally Specific Activity
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13 |
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Beware of Labels
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14 |
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An Inside Look: Gerhard Kubik
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Knowing the World's Musics
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18 |
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The Life of an Ethnomusicologist
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21 |
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Representation: What Musics Does One Study?
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22 |
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Resources for the Study of the World's Musics
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23 |
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Questions to Consider
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25 |
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2
Aural Analysis: Listening to the World's Music
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27 |
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How to Listen to World Music
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27 |
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"Talking" about Music
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28 |
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Timbre and Medium
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29 |
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An Inside Look: Bruno Nettl
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30 |
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Vocal Timbre
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30 |
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Instrumental Timbre
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31 |
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Aerophones: Flutes, Reeds, and Trumpets
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31 |
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Chordophones: Lutes and Zithers
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32 |
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Idiophones: Plucked, Struck, and Shaken
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34 |
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Membranophones
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35 |
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Summary
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Pitch
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Tuning System
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37 |
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Scale
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Interval
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Range
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Melody
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39 |
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Melodic Contour
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Ornamentation
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49 |
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Text Setting
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49 |
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Rhythm
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41 |
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Beat and Tempo
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41 |
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Accent and Meter
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41 |
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Rhythmic Density
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41 |
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Phonic Structure
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42 |
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Dynamics
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43 |
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Form
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43 |
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Box: Fundamentals of Music
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44 |
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Questions to Consider
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45 |
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3
Cultural Considerations: Beyond the Sounds Themselves
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47 |
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Music and the Environment
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48 |
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Cultural Knowledge
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48 |
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An Inside Look: Ki Mantle Hood
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50 |
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Value Systems and Hierarchies
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51 |
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Music and Identity
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52 |
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Use versus Function
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53 |
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Music and Ritual
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53 |
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Music and Spirituality
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54 |
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Music and Ethics
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55 |
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New Theoretical Perspectives
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55 |
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Music Technologies and Media
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56 |
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Music and the Arts
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56 |
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Transmission and Pedagogy
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58 |
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Notation Systems and the Creation of Music
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59 |
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Exchange and Adaptation
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60 |
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Cultural Intersections
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61 |
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A Case Study of Istanbul, Turkey: A Lesson in Geography, History, Religions, and Musical Exchange
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62 |
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Questions to Consider
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71 |
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4
Oceania: Voices of Land and Sea
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73 |
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Background Preparation
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73 |
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Planning the Itinerary
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75 |
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Arrival: Australia
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75 |
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Site 1
Australian Aborigine Song with Didjeridu
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76 |
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An Inside Look: Amy Ku'uleialoha Stillman
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76 |
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Arrival: Papua New Guinea
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81 |
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Site 2
Susap from Papua New Guinea
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82 |
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Arrival: Hawaii
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84 |
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Site 3
Hawaiian Drum-Dance Chant
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85 |
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Arrival: Kiribati
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87 |
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Site 4
Kiribati Group Song
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88 |
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Questions to Consider
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90 |
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5
South Asia: Music With a Spiritual Dimension
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Background Preparation
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93 |
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An Inside Look: Shanti Raghavan; Aashish Khan
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96 |
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Planning the Itinerary
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98 |
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Arrival: North India
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100 |
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Site 1
Hindustani Raga
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100 |
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Site 2
Bhajan Devotional Song
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108 |
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Arrival: South India
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110 |
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Site 3
Carnatic Classical Singing (Kriti)
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110 |
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Arrival: Bangladesh
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114 |
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Site 4
Baul Song from Bangladesh
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115 |
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Box: Indian Filmi Git (Film Song)
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116 |
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Questions to Consider
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118 |
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6
Southeast Asia: A Land of Bamboo and Bronze
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121 |
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Background Preparation
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121 |
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Planning the Itinerary
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123 |
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An Inside Look: Priwan Nanongkham
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124 |
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Arrival: Vietnam
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126 |
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Site 1
Upland Bronze Gong Ensemble
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127 |
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Site 2
Tai Tu Amateur Chamber Music
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129 |
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Arrival: Thailand
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131 |
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Site 3
Classical Piphat Music
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132 |
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Box: The Ramayana
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136 |
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Arrival: Laos and Northeast Thailand
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138 |
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Site 4
Northeast Thai Lam Klawn
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138 |
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Site 5
Phleng Luk Thung from Northeast Thailand
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141 |
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Arrival: Indonesia (Java and Bali)
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143 |
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Site 6
Javanese Court Gamelan
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144 |
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Site 7
Balinese Gamelan Gong Kebyar
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146 |
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Questions to Consider
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151 |
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7
East Asia: Ancient Echoes in the Modern World
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153 |
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Background Preparation
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153 |
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An Inside Look: Luo Qin
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156 |
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Planning the Itinerary
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158 |
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Arrival: China
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159 |
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Site 1
The Qin Seven-String Zither
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162 |
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Site 2
The "Silk and Bamboo" Sizhu Ensemble
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164 |
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Site 3
Beijing Opera (Jingju)
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168 |
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Site 4
Revolutionary Beijing Opera
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171 |
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Arrival: Mongolia
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175 |
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Site 5
Mongolian Throat-Singing
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177 |
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Arrival: Korea
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178 |
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Site 6
P'ansori
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179 |
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Arrival: Japan
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182 |
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Site 7
Gagaku
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183 |
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Site 8
Kabuki Theater
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185 |
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Arrival: Tibet
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188 |
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Site 9
Tibetan Buddhist Ritual
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188 |
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Questions to Consider
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192 |
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8
The Middle East: Music in the Cradle of Great Religions
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195 |
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Background Preparation
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195 |
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An Inside Look: George Dimmitri Sawa
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198 |
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Planning the Itinerary
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199 |
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Arrival: Turkey
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200 |
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Site 1
Islamic "Call to Prayer"
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200 |
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Site 2
Arabic Modal Improvisation
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203 |
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Arrival: Iran
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207 |
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Site 3
Dastgah Shur for Santur and Voice
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208 |
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Arrival: Egypt
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211 |
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Site 4
Islamic Song with Takht Instrumental Accompaniment
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212 |
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Arrival: Sufism
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215 |
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Site 5
Dhiker Ceremony
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216 |
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Arrival: Judaism
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218 |
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Site 6
Jewish Biblical Cantillation
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219 |
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Questions to Consider
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223 |
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9
Sub-Saharan Africa: The Rhythms of Community
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225 |
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Background Preparation
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225 |
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An Inside Look: Adesanya Adeyeye; Habib Iddrisu
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225 |
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Planning the Itinerary
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231 |
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Arrival: Ghana
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231 |
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Site 1
Polyrhythmic Ensemble
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232 |
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Site 2
"Talking Drums"
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236 |
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Site 3
Palm Wine "Highlife Song"
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240 |
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Arrival: Central Africa
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241 |
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Site 4
Pygmy Music
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242 |
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Arrival: Zimbabwe
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243 |
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Site 5
Mbira Dza Vadzimu
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243 |
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Arrival: Uganda
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245 |
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Site 6
Akadinda Xylophone
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246 |
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Arrival: Senegal-Gambia
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248 |
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Site 7
Jali with Kora
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248 |
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Arrival: The Republic of South Africa
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251 |
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Site 8
Mbube Vocal Choir
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253 |
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Questions to Consider
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256 |
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10
Europe: Harmony and Hierarchy
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259 |
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Background Preparation
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259 |
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"Classical versus Folk"
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262 |
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An Inside Look: Morag MacLeod
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262 |
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Planning the Itinerary
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274 |
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Arrival: Greece
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265 |
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Site 1
Byzantine Chant
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265 |
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Arrival: Spain
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267 |
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Site 2
Flamenco
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268 |
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Arrival: Russia
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271 |
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Site 3
Balalaika
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271 |
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Arrival: Scotland
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274 |
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Site 4
Highland Bagpipes
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275 |
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Arrival: Ireland
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277 |
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Site 5
Union Bagpipes
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278 |
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Arrival: Hungary
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281 |
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Site 6
Hurdy Gurdy
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281 |
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Arrival: Bulgaria
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284 |
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Site 7
Women's Chorus
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285 |
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Questions to Consider
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287 |
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11
The Caribbean: Musical Energy of Island Peoples
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289 |
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Background Preparation
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289 |
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Planning the Itinerary
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291 |
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Arrival: Haiti
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291 |
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An Inside Look: P. Olivia Ahyoung; Ellie Mannette
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292 |
|
Site 1
Vodou Ritual
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294 |
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Arrival: Jamaica
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297 |
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Site 2
Reggae
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297 |
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Arrival: Trinidad and Tobago
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301 |
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Site 3
Calypso
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302 |
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Site 4
Steel Band
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305 |
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Arrival: The Bahamas
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308 |
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Site 5
Rhyming Spiritual
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309 |
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Arrival: Cuba
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310 |
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Site 6
Afro-Cuban-Derived Salsa
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311 |
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Arrival: The Dominican Republic
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314 |
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Site 7
Merengue
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|
315 |
|
Questions to Consider
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|
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317 |
|
12
Central and South America: New World Recipes
|
|
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|
319 |
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Background Preparation
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|
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319 |
|
Planning the Itinerary
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321 |
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Arrival: The Amazon
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322 |
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Site 1
Amazonian Indian Chant
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322 |
|
Arrival: Peru
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324 |
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Site 2
Sikuri Ensemble
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325 |
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Arrival: Argentina
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327 |
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Site 3
Tango
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327 |
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Arrival: Mexico
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330 |
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Site 4
Mariachi
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330 |
|
Arrival: Brazil
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333 |
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Site 5
Samba
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334 |
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Box: Carnival
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336 |
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Site 6
Capoeira
|
|
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|
337 |
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Questions to Consider
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|
|
|
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|
341 |
|
13
North America: Diverse Peoples, Diverse Musics
|
|
|
|
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|
343 |
|
Background Preparation
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|
|
|
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|
343 |
|
Planning the Itinerary
|
|
|
|
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|
345 |
|
An Inside Look: Hugh McGraw; Buddy MacMaster
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|
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346 |
|
Arrival: Canada
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|
|
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348 |
|
Site 1
Cape Breton Fiddling
|
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348 |
|
Arrival: The United States of America
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|
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350 |
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Site 2
Ballad-Singing
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351 |
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Site 3
Old Regular Baptist Lined Hymn
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353 |
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Site 4
Singing School Shape-Note Music
|
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356 |
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Site 5
Bluegrass
|
|
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360 |
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Site 6
African-American Spiritual
|
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364 |
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Site 7
African-American Gospel Choir
|
|
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365 |
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Site 8
Country Blues
|
|
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368 |
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Site 9
Conjunto from Texas
|
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372 |
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Site 10
Cajun Music
|
|
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|
374 |
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Arrival: Native American Reservations
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|
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376 |
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Site 11
Plains Chippewa: Rock Dance Song
|
|
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|
377 |
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Site 12
Native American Flute
|
|
|
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|
380 |
|
Box: Inuit Throat-Singing
|
|
|
|
|
|
381 |
|
Questions to Consider
|
|
|
|
|
|
384 |
|
14
Discovering Yourself Through Music
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|
|
|
|
|
387 |
|
Music and Self-Identity
|
|
|
|
|
|
387 |
|
Researching Your Musical Roots
|
|
|
|
|
|
389 |
|
An Inside Look: Nguyen Thuyet Phong
|
|
|
|
|
|
390 |
|
Disseminating your Findings
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|
|
|
|
|
393 |
|
Where to Go From Here
|
|
|
|
|
|
394 |
|
Glossary
|
|
|
|
|
|
397 |
|
Resources
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|
|
|
|
|
425 |
|
Index
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|
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|
|
|
435 |
|
Recorded Examples
|
|
|
|
|
|
453 |