Series Foreword |
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ix | |
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Acknowledgments |
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xiii | |
Episodes |
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xiv | |
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Chapter 1 Teaching and Learning in Context |
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1 | (24) |
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Music Happens in Every Living Community |
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2 | (1) |
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Interfaces of Music With Community |
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3 | (2) |
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5 | (2) |
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Music, Diversity, and Conviviality |
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7 | (4) |
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Community Musicians and Culture-Bearers |
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11 | (2) |
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A Lens on Ethnomusicology |
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13 | (1) |
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Defining World Music Pedagogy |
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14 | (3) |
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A Pedagogical Road Map for Community-Conscious Musicians |
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17 | (5) |
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22 | (1) |
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23 | (2) |
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Chapter 2 Attentive Listening for Cultural Awakenings |
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25 | (22) |
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The Art of Listening: A Pedagogical Priority |
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27 | (2) |
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A Journey Into Attentive Listening |
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29 | (13) |
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Listening as a Gateway to Cultural Understanding |
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42 | (1) |
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Eduardo Mendonca, Brazilian "Mestre" Musician |
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43 | (2) |
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45 | (1) |
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46 | (1) |
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46 | (1) |
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Chapter 3 Participatory Musicking |
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47 | (30) |
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Participatory Musicking in Engaged and Enactive Modes |
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48 | (3) |
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Engaged Listening as Initial Musicking |
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51 | (6) |
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Enactive Listening as the Road to Performance |
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57 | (7) |
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The Flow From Engaged Listening to Enactive Listening |
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64 | (8) |
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Listening Collaboratory: Students-Teachers-Artists-Culture-Bearers |
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72 | (1) |
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Quetzal Flores, "Artivista" Activist Musician |
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72 | (3) |
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Learning by Ear: The Way of the World's Musicians |
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75 | (1) |
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75 | (1) |
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75 | (2) |
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Chapter 4 Performing World Music |
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77 | (25) |
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Performance as a Natural Human Need |
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78 | (3) |
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The Presence of WMP in Public Programs |
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81 | (3) |
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Roles, Models, and Venues for Performing World Music |
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84 | (1) |
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Performing World Music in the Community: Two Singaporean Events |
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85 | (2) |
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87 | (2) |
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Performing World Music in Schools: Two North American Events |
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89 | (3) |
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Performers Who Teach (and Connect Schools to Communities) |
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92 | (1) |
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Marisol Berrios-Miranda, Latina Musician-Educator |
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93 | (2) |
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Kedmon Mapana, Wagogo Teaching Musician of Tanzania |
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95 | (3) |
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Riduan Zalani, Global Musician With Malay Roots |
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98 | (2) |
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100 | (1) |
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101 | (1) |
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Chapter 5 Creating World Music |
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102 | (26) |
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In Pursuit of the Creative Human Impulse |
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103 | (1) |
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The Potential of Innovation by Community Artist-Musicians |
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104 | (1) |
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Creating World Music via World Music Pedagogy |
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105 | (1) |
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Episodes for Expressive Change |
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106 | (15) |
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Online Musical Communities |
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121 | (1) |
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U Win Maung, Burmese Harp Player |
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122 | (2) |
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Than Zaw Aung, Burmese Musician and Dancer |
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124 | (2) |
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Music as Creative Artistic Expression |
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126 | (1) |
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127 | (1) |
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127 | (1) |
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Chapter 6 Integrating World Music |
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128 | (30) |
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Music: Integrated and Interdisciplinary |
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129 | (2) |
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Integrating World Music via World Music Pedagogy |
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131 | (1) |
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Community Musicians as "Integrative Forces" |
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132 | (2) |
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Interdisciplinary Studies of Music as Cultural Expression |
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134 | (14) |
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Music for Active Citizenship |
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148 | (1) |
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149 | (1) |
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Music and Culture in the Hands of Community Musicians |
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150 | (1) |
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Joe Seamons, Banjoist and American Folk Musician |
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151 | (2) |
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Ben Hunter, Violinist-Fiddler and American Folk Musician |
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153 | (2) |
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Weaving Music Into Schools and Communities |
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155 | (1) |
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155 | (1) |
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156 | (2) |
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Chapter 7 Surmountable Challenges and Worthy Outcomes |
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158 | (20) |
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Successful School-Community Intersections |
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160 | (2) |
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School Music in Transition |
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162 | (1) |
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Critical Diversity-Directed Educational Movements |
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163 | (3) |
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Community Values and National Standards |
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166 | (1) |
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Music and Community, Altogether |
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167 | (1) |
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In the Thick of Community Musicians |
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168 | (1) |
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The Nexus of Ethnomusicology and (Music) Education |
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169 | (2) |
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Confronting Constructs in the Application of World Music Pedagogy |
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171 | (5) |
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Worthy Outcomes of School-Community Intersections |
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176 | (1) |
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177 | (1) |
Appendix 1 Learning Pathways |
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178 | (21) |
Appendix 2 References and Resources |
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199 | (3) |
Index |
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202 | |