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- World Music: Traditions and Transformations, 2nd Edition
- World Music: Traditions and Transformations
- michael b. bakan - world music - traditions & transformations, second edition
Through clearly focused case studies of diverse musicultural traditions, Michael Bakan illustrates the transformative life of world musics from traditional folk, ritual, and classical genres to contemporary popular and art musics, jazz, and world beat. Integral connections between particular musics and their historical, cultural, and international contexts are consistently emphasized.
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World Music: Traditions and Transformations, 2nd Edition
This is the first in what will be a series of reviews looking at the current editions of world music survey textbooks. The first edition was published in , and the current edition 2nd is from I was looking forward to reading Traditions and Transformations because I have a lot of respect.
I was looking forward to reading Traditions and Transformations because I have a lot of respect for Bakan. In particular, I enjoyed an article he co-wrote in Ethnomusicology in about his work with autistic children through music therapy playtimes.
As an applied ethnomusicologist myself, I am always happy to learn about how others are also using ethnomusicology to improve the world. So when I came to the textbook, I already had positive feelings toward Bakan, assuming that he is very likely an excellent teacher of students at a variety of levels.
Traditions and Transformations is written especially for American undergraduate students, and especially non-music majors.
I taught a world music survey to exactly this group myself for four years, and I well remember the pleasures and challenges involved.
The good: Most world music textbooks are written collaboratively by a team of ethnomusicologists, which makes sense. Certainly most of the information about musical traditions is gleaned from other sources and cited throughout the text , but this is still quite an accomplishment to have put all of this information together in a unified structure. After an initial section on the basics of music more on that later , the book features a country-by-country look at various musical traditions.
This is typical of world music textbooks and the way probably most world music survey courses are structured. Some musical traditions have come to be regarded as standard fare for intro world music surveys, and Bakan hits several of these: Bali could there ever be a world music survey without Balinese gamelan? These are all fine. The chapter on India centers on Ravi Shankar, tracing some of the dominant Indian classical traditions and their integration into the international music scene from the midth century.
That chapter ends with a section on Bollywood superstar A. Similarly, the chapter on Ireland looks at Irish traditional music standards and then moves through some popular innovations from the s to the present. But what was a pleasant surprise were the chapters on somewhat unexpected musical traditions: Latin America, Egyptian belly dance, and the Chinese zheng. Along the way, that chapter also meanders through other styles and performers.
For the teacher using this chapter, there are a lot of avenues open for movie clips and extra historical explorations that I think would be very intriguing for a class. The final chapter looks at Chinese music, primarily through the development of the zheng zither. Following a single instrument through a musical tradition is another really good way of getting into that tradition. Bakan did a decent job of navigating some very complicated history to present information about musical styles, performers, and the zheng.
The bad: There is, then, a lot to admire in Traditions and Transformations. However, I also have a number of criticisms. The first is about the introductory chapters on the fundamentals of music structure. The back cover states that these chapters have been significantly revised from the first edition, which suggests to me that Bakan received criticisms of these chapters.
He may have revised them, but there is still a long way to go before they are clear and easy for the non-musician to understand. I look forward to seeing how other textbooks handle the basics-of-music topic.
In teaching world music, there is so much that the teacher must put into each class. I can tell how engaged Bakan is with the topics he writes about, but I wonder if that comes through to the student doing assigned readings.
Also, while I understand where Bakan is coming from from an academic standpoint, and I see how he is trying to present academic information to a general audience, it sometimes comes across as clunky—an ethnomusicology professor trying so hard to be cool, relevant, engaging.
The section that made me laugh the most was the introduction to the Chinese zheng chapter, which has Bakan describing a performance at a musicology conference banquet! A difficulty with any world music textbook will be conveying the pronunciation of so many non-English words. The pronunciation guide that Bakan uses very often struck me as clumsy and odd.
Some of the words which I know how to pronounce were unclear to me in the text; have I been mispronouncing this all these years, or am I just misunderstanding the pronunciation guide? How I wish that everyone would just learn to read the IPA! This would be a good time to lead students in a discussion on what has happened to pop culture now that either encourages or as I think inhibits anything becoming a lasting phenomenon.
He talks about significant songs or performances that changed the way the world thought about a culture or style. Did it have any lasting effect on pop music? What has changed in culture that makes performances and recordings so disposable and forgettable? My final criticism of the textbook is also the biggest: the presentation.
No color pictures, and many of the black and white photos are grainy or blurry, giving the text a low-quality feel. Everything about the design and layout makes the book look twenty years older than it is. Some of the pictures are obviously staged photos of whoever happened to be at Florida State University where Bakan teaches at the time.
This sometimes feels a bit stagey and artificial. An important part of any world music textbook is the accompanying musical examples. Bakan provides an excellent array of songs and excerpts, on CDs and on the related website, to illustrate the text—and for the price McGraw-Hill charges for that CD set, it had better be very impressive indeed. Cost is certainly an issue, and I wonder how long publishers can maintain the industry of unbelievably expensive textbooks and CD sets, now that so much is available online and e-books continue to gain support in many domains.
If a teacher is going to invest so much in basing a course on a single textbook, and if students are going to pay so much to purchase the book, then it needs to be a better overall package than what this book offers. Goodreads helps you keep track of books you want to read.
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Return to Book Page. Preview — World Music by Michael B. Through clearly focused case studies of diverse musicultural traditions, Michael Bakan illustrates the transformative life of world musics from traditional folk, ritual, and classical genres to contemporary popular and art musics, jazz, and world beat.
Integral connections between particular musics and their historical, cultural, and international contexts are consistently emphasized. The text also includes a globally inclusive introduction to core elements of music and culture that makes its unique and friendly approach accessible to music majors and non-majors alike. Instructors and students can now access their course content through the Connect digital learning platform by purchasing either standalone Connect access or a bundle of print and Connect access.
McGraw-Hill Connect R is a subscription-based learning service accessible online through your personal computer or tablet. Choose this option if your instructor will require Connect to be used in the course. Your subscription to Connect includes the following: - SmartBook R - an adaptive digital version of the course textbook that personalizes your reading experience based on how well you are learning the content.
This binder-ready, loose-leaf version includes free shipping. Get A Copy. Paperback , pages. More Details Other Editions 8. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about World Music , please sign up. Lists with This Book. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of World Music: Traditions and Transformations. Oct 22, Neil R.
Coulter rated it liked it Shelves: ethnomusicology , world-music-textbooks , non-fiction. I was looking forward to reading Traditions and Transformations because I have a lot of respect This is the first in what will be a series of reviews looking at the current editions of world music survey textbooks. Reading this one for my World Music class at school Jordan Clive rated it liked it Sep 27, Katherine Norton rated it it was amazing Sep 29, Victoria Hutsler rated it really liked it Aug 06, VAN rated it it was amazing Jun 08, Ed rated it really liked it May 16, Manuel Tejada rated it it was ok Jan 08, Amanda Allman rated it really liked it May 13, Dongjie rated it it was amazing Feb 03, Heather rated it it was amazing May 05,
World Music: Traditions and Transformations
Summary: Move to the rhythm of music and culture from around the globe, presented to you in the third edition of World Music: Traditions and Transformations. Students will thrill to participate in an exciting global journey of musical and cultural discovery, exploration, and experience. Using a thoroughly modern approach to music sharing and listening, the text offers students hundreds of song selections from around the world and throughout history with a rich and unique Spotify playlist. Michael Bakan offers students an opportunity to bring a diverse world of music from traditional folk, ritual, and classical genres to contemporary popular and art musics, jazz and world beat right into their own classrooms. World Music: Traditions and Transformations appeals to both music majors and non-majors alike, by approaching the world of music in a multi-dimensional way, highlighting the connections between music and its rich cultural contexts.
This is the first in what will be a series of reviews looking at the current editions of world music survey textbooks. The first edition was published in , and the current edition 2nd is from I was looking forward to reading Traditions and Transformations because I have a lot of respect. I was looking forward to reading Traditions and Transformations because I have a lot of respect for Bakan. In particular, I enjoyed an article he co-wrote in Ethnomusicology in about his work with autistic children through music therapy playtimes.
() (continued on inside back cover) World Music Traditions and Transformations Second Edition Michael B. Bakan The Florida State University WORLD.
michael b. bakan - world music - traditions & transformations, second edition
Move to the rhythm of music and culture from around the globe, presented to you in the third edition of World Music: Traditions and Transformations. The musical talents and affinities of autistic people are widely recognized, but few have thought to ask autistic people themselves about how they make and experience music, and why it matters them that they do. Speaking for Ourselves does just th Michael B.
Instructors: choose ebook for fast access or receive a print copy. Still Have Questions? Contact your Rep s. With the McGraw Hill eBook, students can access their digital textbook on the web or go offline via the ReadAnywhere app for phones or tablets.
This book draws readers World music : traditions and transformations. Musical CD World music schema: schema:name " World music traditions and transformations.
Instructors: choose ebook for fast access or receive a print copy. Still Have Questions? Contact your Rep s.
Фонтейн поднял голову и произнес с ледяным спокойствием: - Вот мое решение. Мы не отключаемся. Мы будем ждать. Джабба открыл рот. - Но, директор, ведь это… - Риск, - прервал его Фонтейн. - Однако мы можем выиграть. - Он взял у Джаббы мобильный телефон и нажал несколько кнопок.
Если мы - охранники общества, то кто будет следить за нами, чтобы мы не стали угрозой обществу. Сьюзан покачала головой, не зная, что на это возразить. Хейл улыбнулся: - Так заканчивал Танкадо все свои письма ко. Это было его любимое изречение.
Они вступили в опасную зону: Хейл может быть где угодно. Вдали, за корпусом ТРАНСТЕКСТА, находилась их цель - Третий узел. Сьюзан молила Бога, чтобы Хейл по-прежнему был там, на полу, катаясь от боли, как побитая собака. Других слов для него у нее не. Стратмор оторвался от перил и переложил пистолет в правую руку.
В сознании Сьюзан промелькнуло все то, что она читала о приемах самозащиты. Она попыталась бороться, но тело ее не слушалось. Она точно окаменела.
Он отпустил ее и прижал ладони к лицу. Из носа у него пошла кровь. Хейл упал на колени, не опуская рук.