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Thinking Musically: Expressing Music, Experiencing Culture (Global Music Series)

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Thinking Musically is the central volume in the Global Music Series. 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 a Thinking Musically is the central volume in the Global Music Series. 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.oup.com/us/globalmusic for a list of case studies in the series. The website also includes instructional materials to accompany each study. Thinking Musically discusses the importance of musical instruments, describing their significance in a culture's folklore, religion, and history. It explores fundamental elements of music--including 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 the forces of nationalism, acculturation, and westernization can affect musical traditions. Many of the musical examples are coordinated with material in the case studies. Thinking Musically includes activities designed to build critical listening and individual study skills and is packaged with an 80-minute CD that features selections from a wide variety of musical cultures. Also available: Thinking Musically and Teaching Music Globally Package (2 books + CD; ISBN 0-19-517143-8) Thinking Musically is also available in a package with Teaching Music Globally, by Patricia Shehan Campbell, a second framing volume in the Global Music Series. Essential for anyone teaching beginning students about the world's musical cultures, Teaching Music Globally describes pedagogical techniques for classes from K-12 to university level and offers a wealth of learning experiences.


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Thinking Musically is the central volume in the Global Music Series. 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 a Thinking Musically is the central volume in the Global Music Series. 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.oup.com/us/globalmusic for a list of case studies in the series. The website also includes instructional materials to accompany each study. Thinking Musically discusses the importance of musical instruments, describing their significance in a culture's folklore, religion, and history. It explores fundamental elements of music--including 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 the forces of nationalism, acculturation, and westernization can affect musical traditions. Many of the musical examples are coordinated with material in the case studies. Thinking Musically includes activities designed to build critical listening and individual study skills and is packaged with an 80-minute CD that features selections from a wide variety of musical cultures. Also available: Thinking Musically and Teaching Music Globally Package (2 books + CD; ISBN 0-19-517143-8) Thinking Musically is also available in a package with Teaching Music Globally, by Patricia Shehan Campbell, a second framing volume in the Global Music Series. Essential for anyone teaching beginning students about the world's musical cultures, Teaching Music Globally describes pedagogical techniques for classes from K-12 to university level and offers a wealth of learning experiences.

30 review for Thinking Musically: Expressing Music, Experiencing Culture (Global Music Series)

  1. 4 out of 5

    Neil R. Coulter

    It's time to prepare for another semester of teaching. I read Thinking Musically as part of my annual revisions to a module I teach on music analysis to students who, for the most part, have very little experience playing or thinking critically about music. This is always a challenge, and I usually feel inadequate. I think I'm not alone, because when I read music survey textbooks, I find that the sections that introduce basic musical terms (scale, meter, harmony, and so forth) tend to be the wea It's time to prepare for another semester of teaching. I read Thinking Musically as part of my annual revisions to a module I teach on music analysis to students who, for the most part, have very little experience playing or thinking critically about music. This is always a challenge, and I usually feel inadequate. I think I'm not alone, because when I read music survey textbooks, I find that the sections that introduce basic musical terms (scale, meter, harmony, and so forth) tend to be the weakest parts of otherwise good books. Bonnie Wade's overview of the basics of musical structure, context, and meaning is stronger than most. She draws from examples from all over the world (usually found in other volumes of her Experiencing Music, Expressing Culture series) to illustrate her points, and it's helpful to have such a wide variety of case studies to look at, even if there isn't sufficient space in this book to really dig into any of those genres (this book is meant to be an introduction to the rest of the books in the series; the intention is that the reader/student will move from this book to one or more of the in-depth regional volumes). Along the way, Wade also includes suggestions for activities, in-class and individual, to help deepen students' understanding of concepts. Among these activities, I found several that will work really well for my classroom context. I look forward to incorporating them into my teaching this fall. The writing style in the book is fairly accessible to an undergrad-level reader, though it's sometimes rather dense with names of ethnomusicologists. All of this is completely familiar to me, but I wonder if students would get lost or bored in parts. In general, I don't think I would assign this book as reading for students in any class. I find it more useful as a teacher's guide, material that I can adapt to my own lessons and style--and that's perfectly fine, no criticism against the book. One criticism, however, is the number of typos in the book, which surprised me, given that it's the third edition. Every book has some typos, of course, but there were a few in this one that actually made the sentences very hard to understand. There's no perfect way to structure an overview like this, but Wade's framework works well. I particularly like that she always keeps the big picture in mind, rather than getting lost in the minute details (which is always a tempting pitfall in teaching this material). She always brings the reader back to the fact that music is not a thing so much as something that people do in real life.

  2. 4 out of 5

    Ietrio

    A book on everything music related, hence all aspects are badly presented.

  3. 4 out of 5

    Farida El-gueretly

    I REALLY enjoyed this book. It ranges from all aspects of ethnomusicology, from understanding music from the perspective of instruments, pitch and rhythm. It also took very thought-provoking examples from many different cultures to illustrate concepts. Its also very hands-on, accompanied by a CD that she refers to throughout the book, as well as activities for the reader. This is a manual for the ambitious to-be ethnomusicologist.

  4. 4 out of 5

    Michael Anderson

    Very nice book about the differences in how music is expressed, performed, written, and structured in various world cultures. Particularly interesting were the sections describing representations of time, pitch, rhythm, etc. Academic bent, but accessible.

  5. 4 out of 5

    Gabby

    Describes the elements of music, but takes it out of the typical euro-centric, classical music context. Prepares you for experiencing music from a variety of cultures and traditions.

  6. 5 out of 5

    Zijin

  7. 4 out of 5

    Danielle

  8. 4 out of 5

    Tom Beck

  9. 4 out of 5

    Marisa

  10. 5 out of 5

    Cade Sivertsen

  11. 5 out of 5

    Tim

  12. 5 out of 5

    Camille

  13. 5 out of 5

    Megen

  14. 4 out of 5

    Hannah

  15. 4 out of 5

    Amanda Kastner

  16. 5 out of 5

    Javier Icaza Santos

  17. 4 out of 5

    Daniel Lantigua DeJesus

  18. 5 out of 5

    Annabelle Abiang

  19. 5 out of 5

    Brianna Marie

  20. 4 out of 5

    Danielle Garrett

  21. 5 out of 5

    Eugene

  22. 4 out of 5

    Roman Filiu OReilly

  23. 5 out of 5

    Marvin

  24. 4 out of 5

    Victoria

  25. 5 out of 5

    Joe Zuech

  26. 5 out of 5

    Melanie

  27. 5 out of 5

    Grant Smaellie

  28. 4 out of 5

    Rafael Gonzalez

  29. 4 out of 5

    Nicole

  30. 5 out of 5

    Safy magdy

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