The ethnomusicology program that I began here at UC Berkeley from sits comfortably in a department of music in a College of Letters and Science. I enjoy pursuing multiple interests and seeing the big picture. I very much enjoy teaching, both undergraduates majors and non-majors, for whom I have written three textbooks—Music in India: The Classical Traditions, Thinking Musically, and Music in Japan: Experiencing Music, Expressing Culture and graduate students. And I alternate periods when I pursue primarily professorial activities with periods when I add administrative work to the mix Chair of the Department of Music , Dean of Undergraduate Advising , Chair of the Deans of the College of Letters and Science , Chair of the Group in Asian Studies, since , and now Chair of the Department of Music again. My first research was in Japanese music resulting in Tegotomono: 19th Century Koto Music, Greenwood-Praeger as a result of studying koto in Japan in , but that was followed quickly by a focus on Hindustani music as a result of travel in South Asia in
|Published (Last):||18 April 2019|
|PDF File Size:||14.66 Mb|
|ePub File Size:||9.40 Mb|
|Price:||Free* [*Free Regsitration Required]|
The ethnomusicology program that I began here at UC Berkeley from sits comfortably in a department of music in a College of Letters and Science. I enjoy pursuing multiple interests and seeing the big picture. I very much enjoy teaching, both undergraduates majors and non-majors, for whom I have written three textbooks—Music in India: The Classical Traditions, Thinking Musically, and Music in Japan: Experiencing Music, Expressing Culture and graduate students.
And I alternate periods when I pursue primarily professorial activities with periods when I add administrative work to the mix Chair of the Department of Music , Dean of Undergraduate Advising , Chair of the Deans of the College of Letters and Science , Chair of the Group in Asian Studies, since , and now Chair of the Department of Music again. My first research was in Japanese music resulting in Tegotomono: 19th Century Koto Music, Greenwood-Praeger as a result of studying koto in Japan in , but that was followed quickly by a focus on Hindustani music as a result of travel in South Asia in For the next 14 or so years I focused on historical time the 16thth centuries and on visual sources miniature paintings that depict music-making to trace the development of North Indian classical music ; Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India was published in University of Chicago Press.
I have since renewed my work in Japan, now focusing on contemporary Japanese musical culture, in a sense returning to where I started. The GMS is an innovative introduction to world music that focuses on how people make music meaningful and useful in their lives. It consists of two framing volumes one of which is Thinking Musically and 17 case study volumes on music in various countries, all focused on themes and designed for in-depth study of a particular musical culture, and each accompanied by a CD.
Thinking Musically Oxford University Press, is designed for undergraduates and general readers with little or no background in music.
It incorporates music from 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. VISIT www. It explores fundamental elements of music—rhythm, pitch in melodic and harmonic relationships, and form—and examines how they vary in different musical traditions. The text considers the effects of cultural influences such as gender and ethnicity on the perception, interpretation, and performance of music.
It also looks at how forces of nationalism, acculturation, and westernization can affect musical traditions. The book includes activities designed to build critical listening and individual study skills and is packaged with a minute CD that features selections from a wide variety of musical cultures. It is geared to the listener as well as performer.
The chapters consider the listener and the effect of music, contrasting concepts in Indian and Western classical music, classification of melody raga type, ideas about notation and notating systems, primary melody-producing instruments, contrasts of Hindustani and Western concepts of rhythm and meter tala , performance genres, and the analysis of what makes a good musician.
It is a study of the genre of North Indian Hindustani classical music which has dominated in performances by highly trained vocalists for the last two centuries. Spanning this time, it is also a cultural history, a story of generous patronage by native princes, of the loss of this patronage when courts were dissolved, and of the resilience of musicians in adjusting to the vicissitudes of contemporary artistic life. In performing khyal the singer presents a brief composition, then improvises from minutes according to certain guidelines.
One chapter of the book discusses the compositions, the modal and metric materials, and the improvisational guidelines utilized by the khyal singers. Descriptions are illustrated with musical examples in transcription in Western and in modified Indian notation and on the accompanying cassette. Because khyal was developed by master musicians employed at courts scattered throughout North India, the manner of performing it varies among different groups of musicians gharanas , so six major group traditions are considered, tracing the personal histories of singers, statements made in Indian sources about their musical styles, and considering those statements through analysis of recorded performances by leading musicians of recent decades, Also considered is individual artistic achievement, so important among musicians in the Hindustani tradition and in the development and performance of khyal.
There is an extensive bibliography and discography, as well as illustrations of khyal in performance, genealogical charts, and maps. Imaging Sound. The rich legacy of illustrated manuscripts and miniature paintings commissioned by the rulers of the Mughal Empire and their images of musical instruments, portraits of musicians, and composition of ensembles form the basis of this study of how musicians of Hindustan encountered and Indianized music from the Persian cultural sphere.
The book combines ethnomusicological and art historical methods with history and lore to present an interdisciplinary study of cultural life on the Indian subcontinent. Chapters focus on the political and cultural agendas of the great Mughals, beginning with Akbar, then follows the depictions of music-making through paintings of his successors to trace the gradual synthesis of Persian and Indian culture.
Music of the period was not notated but transmitted orally thus the wealth of visual evidence helps to reconstruct the musical life of the Mughals and its relation to the Mughal political agenda.
The images are an untapped major resource and suggest new interpretations of the history of the Mughal Empire, including original ideas about the role of patrons in the production of the arts and the role of women in Mughal court life—confirmed and complemented by written sources. The synthesis of music, literature, art, and culture deepens our knowledge of the manner in which the orally transmitted tradition of Hindustani music came to be what it is today.
The book is beautifully illustrated with more than reproductions of Mughal paintings and manuscripts. The images are the basis of a study that is fully immersed both in current intellectual debates and in three centuries of Mughal cultural life.
This book is a selective study of of honte-kaete tegotomono in 19th-century koto music. There is attention to cultural history, to text and text setting, song and song accompaniment, honte and kaete parts. The book has considerable musical analysis of the the materials and complete transcriptions of five compositions from published scores and one manuscript.
A large number of brief examples are given throughout the text to demonstrate specific points. Music in Japan Oxford University Press, offers a vivid introduction to the music of contemporary Japan, a nation in which traditional, Western, and popular music thrive side by side.
The third theme is the intertextuality of Japanese music: how familiar themes, musical sounds, and structures have been maintained and transformed across the various traditions of Japanese performing arts over time.
The book has eyewitness accounts of performances, interviews with key performers, vivid illustrations, and is accompanied by a minute CD of examples in the book. Ann Arbor: University Microfilms Ph.
Essays on Music, Dance, and Drama. Monograph Series No. The World of Music, guest editor, vol. Second Edition. Oxford University Press. Wade for the Hornbostel Opera Omnia ten volumes ; I, pp. Brill pp. Kealiinohomoku, eds. Wade Washington, D. Frisbie, ed. Detroit Information Coordinators, pp.
Guest editor of the same, special issue on India. Erdman, ed. New Delhi: Manohar. Lam, editors, The Musicological Juncture. World of Music, 2, Bonnie C. Wade, Guest Editor, pp. Stories inside Stories. Stahl, in Ethnomusicology January , pp. Music Educators Journal, October pp.
Jairazbhoy, Ethnomusicology May pp. Chaitanya Deva, Ethnomusicology, January pp. I and II, Vocal Musics. Includes a theoretical introduction to the field. Vol I: 6, B. II: A. Ram Avtar Veer. Pankaj Publications, Cambridge, in college Music Symposium pp. Amsterdam: Hotei Publishing,
Designed for undergraduates and general readers with little or no background in music, it incorporates music from many diverse cultures--including the Americas, Asia, Africa, Oceania, and Europe--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--and comes with an audio CD of musical examples discussed in the text. The case studies can be used in any combination with Thinking Musically to provide a rich exploration of world musical cultures. Visit www.
Thinking Musically : Experiencing Music, Expressing Culture
New York: Oxford University Press, Bonnie Wade made a fine contribution to the teaching of world music with this framing volume of the twenty-five-part Global Music series by Oxford University Press. In this second edition, Wade updated the book to describe trends that are affecting music worldwide, including technology and globalization. She also expanded the coverage on fieldwork and augmented the rich collection of photographs, recordings, and suggested activities. Overall, the book fulfills its stated purpose of serving as an introductory textbook to ideas and practices of world music for readers with limited or no musical background.