Book Description
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Chapter One.
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Table of Contents
"When teaching the world history survey, we all seek to find materials that will draw students in...this book effectively does that while providing insights into the world's social history."
— Journal of World History
Covering early societies, the classical, postclassical, and modern periods, and the 20th century, and blending the great advances in historical research over the past quarter century,
Experiencing World History represents an important addition to the teaching of world history.
Focusing on major issues in social history in the context of world history and divided into five chronological sections that highlight the mixture of change and continuity, the volume traces key aspects of society over time, among them gender; work and leisure; state and society; culture contact and population patterns.
Truly global in scope,
Experiencing World History includes deep coverage of all the major areas including Asia, Africa, Europe, and the Americas. A brief introduction ties the social history themes to more conventional world history coverage, and an epilogue after each of the five sections suggests overarching themes and connections.
Customer Reviews:
Where are the pictures?.......2003-09-05
I am a sophmore at a Catholic high school and this is my World History AP book. Unlike many History books that simply state facts, this book has a lot of opinions in it. Its not a typical History book, no vocab or glossary or pretty pictures, just world history from the author's point of view.
Book Description
Music in Brazil is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. As the largest nation in Latin America, Brazil is home to some of the most celebrated music in the world. Music in Brazil covers a wide spectrum of this music, including samba, bossa nova, Tropicalia, and MPB (Musica Popular Brasileira); regional traditional and popular music; Brazilian rock, rap, and electronica; and such genres as sertaneja (similar to country-and-western music) and brega (sentimental pop). Music in Brazil is organized the themes of unity, diversity, cosmopolitanism, and verbal artistry. It shows how Brazilian music expresses the unity of the country's culture, discussing, for example, how samba plays a major part in annual Carnaval celebrations and provides a focus for nationalist sentiment. In contrast, the book also demonstrates how music represents the diversity of Brazilian culture, describing how each of Brazil's regions is home to unique genres of music, and how the audiences for various types of music reflect class distinctions. In addition, author John P. Murphy presents examples of cosmopolitan Brazilian music and emphasizes the connections between music and other aspects of Brazilian culture, especially language and gender. Enhanced by vivid illustrations and guided listening activities, this book is a captivating introduction to the music of Brazil. It is packaged with a 60-minute audio CD containing examples of the music discussed in the book, many of which are taken from the author's field recordings.
Book Description
Music in Egypt is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Egypt provides an overview of the country's rich and dynamic contemporary musical landscape. It offers an in-depth look at specific Egyptian musical traditions, paying special attention to performers and the variety of contexts in which performances occur. The book acknowledges the pervasive presence of Islam by focusing on two Muslim performance genres and by considering the age-old issue of the compatibility of music and Islam. It accomplishes the latter by incorporating the voices of many of the performers featured on the accompanying CD. The volume features a variety of musics that reflect and help to create a number of distinct regional, national, and community identities co-existing in Egypt today. Drawing on more than twenty years of extensive fieldwork, Scott L. Marcus offers detailed ethnographic documentation of seven performance traditions found in Egypt today: the call to prayer; madh, a genre of Sufi religious music; southern Egyptian mizmar folk music; early twentieth-century takht-based art music; music by the acclaimed singer Umm Kulthum, which dominated the mid-twentieth century; wedding procession music; and music by the current superstar pop singer Hakim. The book is packaged with an 80-minute audio CD containing excellent examples of each tradition. All of the examples are based in a single melodic mode--maqam rast--to best engage students with the musical form, structure, and practice of the traditions. Separate educational tracks on the CD introduce maqam rast and the variety of rhythms found in the CD examples. In addition, the CD features a special solo improvisation (taqasim) in maqam rast by UCLA professor Ali Jihad Racy, to help students better understand this particular melodic mode. Enhanced by eyewitness accounts of performances, interviews with performers, listening examples, and song lyrics that enable students to interact with the text, Music in Egypt provides a unique and hands-on introduction to the country's diverse and captivating music.
Customer Reviews:
A Superb Survey and Introduction.......2006-12-11
[Actually 4.5 stars] The quality of the various books in the Global Music Series varies, of course, as much as with the author as with the form and location of the music examined. Some such books bog down in the nuances of the particular music; others spend too much time in social and historic matters. Similarly, the accompanying CD may offer examples that are too short or too involved in demonstrating form and not the overall effect. Marcus achieves the best balance of both text and example. His writing is engaging and the historical and sociological development of Egyptian music is clearly presented. The detailed analysis of Umm Kulthum and her musical example is so exciting that one is anxious to actually hear it. The CD itself is so good that it can stand alone; 65 minutes of samples of genre pass by before the didactic section begins, which are scales of maqam and rhythmic examples. A reader/listener can learn much quickly and easily from perusing this book. It can lead to further study and appreciation of Arabic music and thereby the culture as well.
Book Description
In this vivid musical ethnography, Timothy Rice documents and interprets the history of folk music, song, and dance in Bulgaria over a seventy-year period of dramatic change. From 1920 to 1989, Bulgaria changed from a nearly medieval village society to a Stalinist planned industrial economy to a chaotic mix of capitalist and socialist markets and cultures.
In the context of this history, Rice brings Bulgarian folk music to life by focusing on the biography of the Varimezov family, including the musician Kostadin and his wife Todora, a singer. Combining interviews with his own experiences of learning how to play, sing and dance Bulgarian folk music, Rice presents one of the most detailed accounts of traditional, aural learning processes in the ethnomusicological literature.
Using a combination of traditionally dichotomous musicological and ethnographic approaches, Rice tells the story of how individual musicians learned their tradition, how they lived it during the pre-Communist era of family farming, how the tradition changed with industrialization brought under Communism, and finally, how it flourished and evolved in the recent, unstable political climate.
This work—complete with a compact disc and numerous illustrations and musical examples—contributes not only to ethnomusicological theory and method, but also to our understanding of Slavic folklore, Eastern European anthropology, and cultural processes in Socialist states.
Customer Reviews:
Great writing.......2000-07-26
Rice makes reading an ethnography a pleasure. All ethnomusicologists seeking to undertake their own writing project ought to read this book first. His accounts about studying with Kostadin make you feel like you were there learning the gaida, too. Rice's model makes a good case for learning an instrument while conducting fieldwork. Particulary insightful is the author's interpretation of the emic/etic distinction as it relates to the ethnomusicologist.
Read this book!.......1997-10-18
If you have the slightest interest in music, Eastern Europe in transition, and intellectual thought, then you owe it to yourself to read this book. Proper obeisance is made to the academic gods - Ricoeur, Clifford, Bourdieu, Geertz, Gadamer and the rest - and the references are sincere and thoughtful. But most of all you will be enthralled by Rice's personal account of his discovery of Bulgarian music, and of the lives of a wonderful couple who perform that music and became not just his 'informants' but his friends, indeed his family. The book is personal, revelatory, and stimulating. If only all musical scholarship were this good!
Book Description
Music in Central Java is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Central Java offers a vivid introduction to the region's musical and cultural landscape, showing how three themes--flexibility, appropriateness, and interconnectedness--characterize Javanese musical practices and traditions. Drawing on his extensive fieldwork, author Benjamin Brinner takes an in-depth look at gamelan music--a traditional musical ensemble tradition that typically features metallophones, xylophones, drums, and gongs--providing readers with a sense of what it means to be a musician performing gamelan. Building from fundamental Javanese concepts of time and melody, the book covers gamelan's instruments, musical idioms, and central interactions and also surveys contrasting performance contexts. It examines both the theatrical and musical aspects of the vibrant tradition of shadow-puppet plays (Wayang kulit) and offers a broad survey of other music found in Central Java. In addition, Music in Central Java provides an engaging portrait of a leading Javenese musician, traces musical responses to radical social, political, and cultural changes over the past century, and considers Javanese music in relation to Indonesia and the rest of the world. Enhanced by eyewitness accounts of performances, interviews with key performers, vivid illustrations, and hands-on listening activities, this book is a captivating introduction to the music of Central Java. It is packaged with a 78-minute audio CD containing examples of the music discussed in the book.
Book Description
Music in Bulgaria is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Bulgaria presents a focused introduction to the rich and varied tradition of Bulgarian music. Taking readers on a tour of the country's musical landscape, it explores ways in which Bulgaria's rural traditions affect the expression and interpretation of its music and examines how Bulgaria's history has influenced its music over many decades. The book also shows how musical traditions have been preserved and have flourished despite the social changes brought about by the post-WWII era of industrialization, modernization, and urbanization. Timothy Rice demonstrates how Bulgarian music--in addition to being an art and an entertainment--is deeply embedded in the cultural, social, economic, and political life of the country. He analyzes how this music has spread to other cultures and how it has made its mark on new forms of popular music. Brief lessons on how ethnomusicologists conduct their research are also included. Written in a lively style accessible to both students and general readers, Music in Bulgaria features vivid eyewitness accounts of performances, interviews with performers, and glossaries of Bulgarian and musical terms. Incorporating numerous listening examples and other activities that help readers learn to listen, sing, and dance to Bulgarian music, this volume is packaged with a 70-minute CD containing examples of the music discussed.
Customer Reviews:
A short but fairly detailed introduction for non-ethnographers.......2006-02-10
Timothy Rice's MUSIC IN BULGARIA, part of Oxford University Press' "Global Music" series, is a concise introduction to the world of Bulgarian musical life from peasant traditions of centuries past to the pop-folk ("chalga") combination enjoyed by modern urban listeners. Unlike Rice's earlier work on the subject, MAY IT FILL YOUR SOUL: Experiencing Bulgarian Music, this volume assumes no prior study of enthography, but a knowledge of basic music theory is vital to making the most out of it.
Rice begins with the wedding music scene, the only survival of village communal music that exists in the lives of average urban Bulgarians. Describing a wedding in Sofia, he gives a portrait of Maria Stoyanova, a player of the gaida (bagpipe) brought with a well-known band for this lavish event. He next describes a Roma wedding in a village, the next place Stoyanova was invited to perform. After this fairly substantial dive into Bulgarian music, Rice gives a more systematic tour, such as the distinctive characteristics of each region's music. The reader will learn how to tell a Shop song from Pirin singing, recognise the several most common traditional instruments, and understand the origin of various kinds of music in the agricultural calendar.
The next portion of the book deals with the impact of politics on music, explaining how folk music was sanatized by the Communist government and then exported abroad as world music. "Les Mystere des Voix Bulgares" is the most well-known example. Many American musicians and listeners have been fascinated with the sound of this state-crafted music, whether because of its interesting rhythms, its otherworldly harmonies, or (for a subset of choral fans) because its female voices can be taken as a feminist statement. However, Rice is critical of those who take some aspects of Bulgaria's music without wanting to truly understand the social and cultural background of this rich heritage. Finally, Rice describes the most recent redaction of folk music in Bulgaria, the combination of folk inspiration with modern instruments that creates the genre known as popfolk or chalga.
Throughout the book Rice gives us some neat details about the music described, including instructions for the pravo horo danced at weddings, the lyrics of famous songs, and the scores of some tunes. I must say I was frustrated by the simple level of the writing. The "Global Music" series is meant for college readers but here it seems like a high-school audience is held in mind here. Nonetheless, this is a fun and informative book, sure to entertain and enlighten English-speaking fans of Bulgarian music.
Book Description
Music in South India is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in South India provides a vivid and focused introduction to the musical landscape of South India, discussing historical and contemporary performance, cultural history and geography, and the social organization of performance traditions. The book centers on Karnatak concert music, a unique performance practice that juxtaposes gorgeous musical compositions with many different types of improvisation. T. Viswanathan and Matthew Harp Allen first compare two types of song--bhajan, a structurally simple devotional genre, and kriti, the primary concert genre--and also analyze raga and tala, the basic elements underlying Karnatak music. They go on to examine the evolution of Karnatak music during the twentieth century, paying special attention to gender and caste and illuminating these issues through case studies and historical recordings (on the accompanying CD) of a small group of enormously influential musicians. In the final chapter, the authors move beyond Karnatak music to address other aspects of South India's rich musical environment, such as its thriving popular music scene (based on cinema music); regional traditions ranging from the sacred to the secular, many of which integrate elements from dance and drama; and contemporary composition. Featuring numerous listening activities, Music in South India is packaged with an 80-minute CD containing examples of the music discussed. The CD includes a full, uncut concert recording of a kriti performance, which shows how Karnatak musicians weave together composed and improvised elements to create extended performances.
Customer Reviews:
Enjoyable series..........2007-03-24
If you are into this region of the world and its music, world music, ethnomusicology, or music education in general, this series is a wonderful introduction to musical cultures. My professor at college is using this for a Global Music Education class/multiculturalism in music. Great model for educators.
Primer for Westerners.......2004-04-28
This book is a short introduction to the musical traditions of South India. The authors are exceptionally well-suited for writing such a volume. Viswanathan was a highly accomplished classical musician in the Carnatic tradition of South India, who taught Western music students in Wesleyan University. Allen is also a well-known Carnatic musician and educator who teaches at Wheaton College. Together, they have written a book that explains the basics of Carnatic music theory and music culture in terms that Western students can understand.
The five chapters of the book cover many types of music found in South India. The first chapter introduces the concept of song in South Indian music, with in-depth explanations of bhajans and kritis. The second chapter discusses the key elements of Carnatic theory, the raga and the tala. The third chapter explains the elements and sequencing of a Carnatic concert. The fourth chapter covers various sociological topics related to music in South India, including the differing traditional roles of women and men, recent changes in musical traditions, and musical families. The fifth chapter includes information about a variety of other topics, special features of Keralite music, cinema music, and cross-cultural collaborations. The book closes with a 5-page glossary, a selection or resources grouped by type (reading, listening, viewing, etc.), and an index. The book is amply illustrated with high quality black and white photographs of performers, instruments, and common sights of India.
A very valuable part of the book is the music CD attached to the back cover. Readers who have limited familiarity with the music can listen to samples of the items being discussed rather than simply read about them. The availability of relevant samples is noted throughout the text with a CD icon. Many samples are also accompanied by exercises described in gray boxes in the text. Technical descriptions of the pieces on the CD are kept short and concise for the text; however, more detailed descriptions can be accessed through Matthew Allen's Website at Wheaton College. In order to read the additional descriptions though, you will need to have a very up-to-date version of Adobe Acrobat Reader (I have not been able to get the pages to work using Adobe Acrobat Reader 5.0). It's too bad that this additional material couldn't have been included in some way on the CD, and it's also too bad it's only available in a very limited format instead of simple HTML or at least something older PDF readers can handle.
I found this book to provide a very clear introduction to many aspects of Carnatic music. The sections on tala, ragas, and gamakams were particularly clear to me, even as a Western reader with a limited background in Western music theory. The explanations of kritis and the elements of a Carnatic concert were also quite well done. Some of the suggested exercises, on the other hand, seemed somewhat artificial or unrealistic, particularly for readers with no prior background in Carnatic music. After reading the book through, I also came away feeling as if something were missing. Technically, the descriptions are very nicely done, but the book doesn't quite communicate the enormity of the role of music in South Indian culture, perhaps due to tight space constraints. In any case, the book would make a fine introduction to the theory and culture of Carnatic music for an ethnomusicology course, especially if the instructor modifies the exercises somewhat and adds supplemental readings about the role of music in the culture of South India.
Book Description
Music in Bali is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Bali introduces the ensemble tradition of Balinese music, reflecting cooperative aspects of the island's social organization. Drawing on many years of study with Balinese performers in the United States and extensive fieldwork in Bali, author Lisa Gold presents contemporary Balinese performance within its cultural and historical context, linking Bali's rich past to its current role in modern, globalized society. She illustrates how new compositions borrow material from earlier traditions while also allowing for individual expression and innovation in vibrant present-day culture. By describing various performances--from a temple ceremony, to a shadow puppet performance, to a masked dance drama--Music in Bali surveys a wide range of performance contexts, from the highly sacred to the secular. It looks at the interconnected layers of the Balinese musical tradition, showing how the island's music, dance, theater, and ritual are intertwined. Music in Bali is enhanced by eyewitness accounts of local performances, interviews with key performers, and vivid illustrations. Packaged with a 70-minute CD containing examples of the music discussed in the book, it features guided listening and hands-on activities that encourage readers to engage actively and critically with the music.
Book Description
Carnival Music in Trinidad is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Home to the most elaborate Carnival celebration in the Caribbean, Trinidad is the birthplace of the steelband and a hub for calypso and soca, musical genres that have been influential throughout the world. Collectively, these and other performance genres constitute the dynamic event of Carnival, which for more than a century has been an occasion for an intense exchange of ideas about society, culture, and tradition in Trinidad. Carnival Music in Trinidad examines the history and aesthetics of calypso, steelband, soca, and other genres, relating musical structure, lyrics, sound, and style to the major roles they play in Trinidadian culture. It also analyzes how the instruments, sounds, and lyrics of Carnival music provide a sense of national and ethnic identity. Author Shannon Dudley describes calypso's traditional role as a voice for the common people, acknowledging the tensions between this history and calypso's ties to modern commercial music markets. He also presents the story of the steelband--an art form born in the most downtrodden neighborhoods of Port of Spain--as both a parable of the nation's struggles and successes and as a continuous process of musical exploration. Written in a lively style accessible to both students and general readers, Carnival Music in Trinidad features vivid eyewitness accounts and illustrations of performances. The book is packaged with a 40-minute CD containing examples of the music discussed in the text.
Book Description
Mariachi Music in America is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. This unique volume provides an accessible introduction to the social, cultural, and economic conditions surrounding mariachi music in the United States. Large immigrations of Mexicans to the U.S., the power of the international recording industry, and the fluid travel of mariachi musicians between the two countries have resulted in a strong base of musical continuity across the political border. Drawing on thirty-five years of personal performance experience and on interviews with leading mariachi musicians, author Daniel Sheehy offers first-hand perspectives on the music's stylistic cornerstones, aesthetic standards, social standing, and economic life. He explains how mariachi music is simultaneously a folk music rooted in more than 150 years of tradition, a commodity governed by market considerations, and a dynamic course of activity that has been shaped and expanded by musical innovation and social meaning. The book focuses on the rising popularity of mariachi music amongst Mexican Americans--over the last twenty-five years, numerous mariachi festivals have become annual events in the U.S., a multitude of workshops and school programs have been developed, and more women have become involved in public mariachi performances. Mariachi Music in America is a captivating study that will interest students, aspiring performers, teachers, and aficionados alike. Enhanced by vivid photos and illustrations and first-hand accounts of musicians, organizers, and audiences, Mariachi Music in America is packaged with a 50-minute CD containing examples of the music discussed in the book. It also features guided listening and hands-on activities that encourage readers to engage actively and critically with the music.
Customer Reviews:
It's about time.......2006-11-16
Mariachi Music is much more than Music, it is Mexican Culture.
Every region in Mexico has it's own sound, dress and color.
These sounds and color made it's way to the U.S. via Mr. Natividad Cano. He opened the door for everyone else to continue the tradition.
It was Nati's dream for everyone to feel Mexican and to have Mariachi reach levels not even Silvestre Vargas ever dreamed.
This book helps document the history of how Mariachi Music and Mexican culture has made it's way into mainstream American society.
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- Flying Colours (Hornblower Saga)
- Founding Brothers: The Revolutionary Generation
- Getting and Spending: American and European Consumer Society in the Twentieth Century (Publications of the German Historical Institute)
- Global order: Values and power in international politics
- Good-Bye to All That: An Autobiography (Anchor Books)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
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General
| World
| History
| Subjects
| Books
World History in Documents: A Comparative Reader
The Human Web: A Bird's-Eye View of World History
The World That Trade Created: Society, Culture, And the World Economy, 1400 to the Present (Sources and Studies in World History)
Documents in World History, Volume I: From Ancient Times to 1500 (3rd Edition)
What Every American Should Know About the Rest of the World: Your Guide to Today's Hot Spots, Hot Shots and Incendiary Issues
