| Acknowledgements | xi |
| Preface | 1 |
| For Whom Has This Book Been Written? | 1 |
| Scope | 2 |
| Organization | 3 |
| How to Expand Course Coverage | 4 |
| Our Own Journey (So Far) | 5 |
| Terry E. Miller | 5 |
| Andrew Shahriari | 7 |
| 1 | Before the Trip Begins: Fundamental Issues | 11 |
| What is Music? | 11 |
| Music: Universal Language or Culturally Specific Activity | 13 |
| Beware of Labels | 14 |
| An Inside Look: Gerhard Kubik | 16 |
| Knowing the World's Musics | 18 |
| The Life of an Ethnomusicologist | 21 |
| Representation: What Musics Does One Study? | 22 |
| Resources for the Study of the World's Musics | 23 |
| Questions to Consider | 25 |
| 2 | Aural Analysis: Listening to the World's Music | 27 |
| How to Listen to World Music | 27 |
| "Talking" about Music | 28 |
| Timbre and Medium | 29 |
| An Inside Look: Bruno Nettl | 30 |
| Vocal Timbre | 30 |
| Instrumental Timbre | 31 |
| Aerophones: Flutes, Reeds, and Trumpets | 31 |
| Chordophones: Lutes and Zithers | 32 |
| Idiophones: Plucked, Struck, and Shaken | 34 |
| Membranophones | 35 |
| Summary | 36 |
| Pitch | 36 |
| Tuning System | 37 |
| Scale | 37 |
| Interval | 38 |
| Range | 39 |
| Melody | 39 |
| Melodic Contour | 39 |
| Ornamentation | 49 |
| Text Setting | 49 |
| Rhythm | 41 |
| Beat and Tempo | 41 |
| Accent and Meter | 41 |
| Rhythmic Density | 41 |
| Phonic Structure | 42 |
| Dynamics | 43 |
| Form | 43 |
| Box: Fundamentals of Music | 44 |
| Questions to Consider | 45 |
| 3 | Cultural Considerations: Beyond the Sounds Themselves | 47 |
| Music and the Environment | 48 |
| Cultural Knowledge | 48 |
| An Inside Look: Ki Mantle Hood | 50 |
| Value Systems and Hierarchies | 51 |
| Music and Identity | 52 |
| Use versus Function | 53 |
| Music and Ritual | 53 |
| Music and Spirituality | 54 |
| Music and Ethics | 55 |
| New Theoretical Perspectives | 55 |
| Music Technologies and Media | 56 |
| Music and the Arts | 56 |
| Transmission and Pedagogy | 58 |
| Notation Systems and the Creation of Music | 59 |
| Exchange and Adaptation | 60 |
| Cultural Intersections | 61 |
| A Case Study of Istanbul, Turkey: A Lesson in Geography, History, Religions, and Musical Exchange | 62 |
| Questions to Consider | 71 |
| 4 | Oceania: Voices of Land and Sea | 73 |
| Background Preparation | 73 |
| Planning the Itinerary | 75 |
| Arrival: Australia | 75 |
| Site 1 | Australian Aborigine Song with Didjeridu | 76 |
| An Inside Look: Amy Ku'uleialoha Stillman | 76 |
| Arrival: Papua New Guinea | 81 |
| Site 2 | Susap from Papua New Guinea | 82 |
| Arrival: Hawaii | 84 |
| Site 3 | Hawaiian Drum-Dance Chant | 85 |
| Arrival: Kiribati | 87 |
| Site 4 | Kiribati Group Song | 88 |
| Questions to Consider | 90 |
| 5 | South Asia: Music With a Spiritual Dimension | |
| Background Preparation | 93 |
| An Inside Look: Shanti Raghavan; Aashish Khan | 96 |
| Planning the Itinerary | 98 |
| Arrival: North India | 100 |
| Site 1 | Hindustani Raga | 100 |
| Site 2 | Bhajan Devotional Song | 108 |
| Arrival: South India | 110 |
| Site 3 | Carnatic Classical Singing (Kriti) | 110 |
| Arrival: Bangladesh | 114 |
| Site 4 | Baul Song from Bangladesh | 115 |
| Box: Indian Filmi Git (Film Song) | 116 |
| Questions to Consider | 118 |
| 6 | Southeast Asia: A Land of Bamboo and Bronze | 121 |
| Background Preparation | 121 |
| Planning the Itinerary | 123 |
| An Inside Look: Priwan Nanongkham | 124 |
| Arrival: Vietnam | 126 |
| Site 1 | Upland Bronze Gong Ensemble | 127 |
| Site 2 | Tai Tu Amateur Chamber Music | 129 |
| Arrival: Thailand | 131 |
| Site 3 | Classical Piphat Music | 132 |
| Box: The Ramayana | 136 |
| Arrival: Laos and Northeast Thailand | 138 |
| Site 4 | Northeast Thai Lam Klawn | 138 |
| Site 5 | Phleng Luk Thung from Northeast Thailand | 141 |
| Arrival: Indonesia (Java and Bali) | 143 |
| Site 6 | Javanese Court Gamelan | 144 |
| Site 7 | Balinese Gamelan Gong Kebyar | 146 |
| Questions to Consider | 151 |
| 7 | East Asia: Ancient Echoes in the Modern World | 153 |
| Background Preparation | 153 |
| An Inside Look: Luo Qin | 156 |
| Planning the Itinerary | 158 |
| Arrival: China | 159 |
| Site 1 | The Qin Seven-String Zither | 162 |
| Site 2 | The "Silk and Bamboo" Sizhu Ensemble | 164 |
| Site 3 | Beijing Opera (Jingju) | 168 |
| Site 4 | Revolutionary Beijing Opera | 171 |
| Arrival: Mongolia | 175 |
| Site 5 | Mongolian Throat-Singing | 177 |
| Arrival: Korea | 178 |
| Site 6 | P'ansori | 179 |
| Arrival: Japan | 182 |
| Site 7 | Gagaku | 183 |
| Site 8 | Kabuki Theater | 185 |
| Arrival: Tibet | 188 |
| Site 9 | Tibetan Buddhist Ritual | 188 |
| Questions to Consider | 192 |
| 8 | The Middle East: Music in the Cradle of Great Religions | 195 |
| Background Preparation | 195 |
| An Inside Look: George Dimmitri Sawa | 198 |
| Planning the Itinerary | 199 |
| Arrival: Turkey | 200 |
| Site 1 | Islamic "Call to Prayer" | 200 |
| Site 2 | Arabic Modal Improvisation | 203 |
| Arrival: Iran | 207 |
| Site 3 | Dastgah Shur for Santur and Voice | 208 |
| Arrival: Egypt | 211 |
| Site 4 | Islamic Song with Takht Instrumental Accompaniment | 212 |
| Arrival: Sufism | 215 |
| Site 5 | Dhiker Ceremony | 216 |
| Arrival: Judaism | 218 |
| Site 6 | Jewish Biblical Cantillation | 219 |
| Questions to Consider | 223 |
| 9 | Sub-Saharan Africa: The Rhythms of Community | 225 |
| Background Preparation | 225 |
| An Inside Look: Adesanya Adeyeye; Habib Iddrisu | 225 |
| Planning the Itinerary | 231 |
| Arrival: Ghana | 231 |
| Site 1 | Polyrhythmic Ensemble | 232 |
| Site 2 | "Talking Drums" | 236 |
| Site 3 | Palm Wine "Highlife Song" | 240 |
| Arrival: Central Africa | 241 |
| Site 4 | Pygmy Music | 242 |
| Arrival: Zimbabwe | 243 |
| Site 5 | Mbira Dza Vadzimu | 243 |
| Arrival: Uganda | 245 |
| Site 6 | Akadinda Xylophone | 246 |
| Arrival: Senegal-Gambia | 248 |
| Site 7 | Jali with Kora | 248 |
| Arrival: The Republic of South Africa | 251 |
| Site 8 | Mbube Vocal Choir | 253 |
| Questions to Consider | 256 |
| 10 | Europe: Harmony and Hierarchy | 259 |
| Background Preparation | 259 |
| "Classical versus Folk" | 262 |
| An Inside Look: Morag MacLeod | 262 |
| Planning the Itinerary | 274 |
| Arrival: Greece | 265 |
| Site 1 | Byzantine Chant | 265 |
| Arrival: Spain | 267 |
| Site 2 | Flamenco | 268 |
| Arrival: Russia | 271 |
| Site 3 | Balalaika | 271 |
| Arrival: Scotland | 274 |
| Site 4 | Highland Bagpipes | 275 |
| Arrival: Ireland | 277 |
| Site 5 | Union Bagpipes | 278 |
| Arrival: Hungary | 281 |
| Site 6 | Hurdy Gurdy | 281 |
| Arrival: Bulgaria | 284 |
| Site 7 | Women's Chorus | 285 |
| Questions to Consider | 287 |
| 11 | The Caribbean: Musical Energy of Island Peoples | 289 |
| Background Preparation | 289 |
| Planning the Itinerary | 291 |
| Arrival: Haiti | 291 |
| An Inside Look: P. Olivia Ahyoung; Ellie Mannette | 292 |
| Site 1 | Vodou Ritual | 294 |
| Arrival: Jamaica | 297 |
| Site 2 | Reggae | 297 |
| Arrival: Trinidad and Tobago | 301 |
| Site 3 | Calypso | 302 |
| Site 4 | Steel Band | 305 |
| Arrival: The Bahamas | 308 |
| Site 5 | Rhyming Spiritual | 309 |
| Arrival: Cuba | 310 |
| Site 6 | Afro-Cuban-Derived Salsa | 311 |
| Arrival: The Dominican Republic | 314 |
| Site 7 | Merengue | 315 |
| Questions to Consider | 317 |
| 12 | Central and South America: New World Recipes | 319 |
| Background Preparation | 319 |
| Planning the Itinerary | 321 |
| Arrival: The Amazon | 322 |
| Site 1 | Amazonian Indian Chant | 322 |
| Arrival: Peru | 324 |
| Site 2 | Sikuri Ensemble | 325 |
| Arrival: Argentina | 327 |
| Site 3 | Tango | 327 |
| Arrival: Mexico | 330 |
| Site 4 | Mariachi | 330 |
| Arrival: Brazil | 333 |
| Site 5 | Samba | 334 |
| Box: Carnival | 336 |
| Site 6 | Capoeira | 337 |
| Questions to Consider | 341 |
| 13 | North America: Diverse Peoples, Diverse Musics | 343 |
| Background Preparation | 343 |
| Planning the Itinerary | 345 |
| An Inside Look: Hugh McGraw; Buddy MacMaster | 346 |
| Arrival: Canada | 348 |
| Site 1 | Cape Breton Fiddling | 348 |
| Arrival: The United States of America | 350 |
| Site 2 | Ballad-Singing | 351 |
| Site 3 | Old Regular Baptist Lined Hymn | 353 |
| Site 4 | Singing School Shape-Note Music | 356 |
| Site 5 | Bluegrass | 360 |
| Site 6 | African-American Spiritual | 364 |
| Site 7 | African-American Gospel Choir | 365 |
| Site 8 | Country Blues | 368 |
| Site 9 | Conjunto from Texas | 372 |
| Site 10 | Cajun Music | 374 |
| Arrival: Native American Reservations | 376 |
| Site 11 | Plains Chippewa: Rock Dance Song | 377 |
| Site 12 | Native American Flute | 380 |
| Box: Inuit Throat-Singing | 381 |
| Questions to Consider | 384 |
| 14 | Discovering Yourself Through Music | 387 |
| Music and Self-Identity | 387 |
| Researching Your Musical Roots | 389 |
| An Inside Look: Nguyen Thuyet Phong | 390 |
| Disseminating your Findings | 393 |
| Where to Go From Here | 394 |
| Glossary | 397 |
| Resources | 425 |
| Index | 435 |
| Recorded Examples | 453 |