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2,110,1,125,2","assigned,104,1","associate,11,1","associated,93,1,94,3,95,4,99,2,107,1,123,1,100,6,101,4,102,5,105,1,106,2,109,2,110,2,111,1,116,1,121,1","association,26,1,102,1","associations,93,1,94,1","assumptions,122,1","astor,99,1,104,1,117,1,119,1","asymmetrical,93,1,98,1,121,1","async,75,1,76,1,78,2,79,2,81,1,82,1","atlantic,119,1","atocha,10,1","atrium,94,1","attached,93,4,105,1,113,1,115,1,116,1,120,1,125,1","attachments,107,1","attah,97,1,116,1","attain,93,1","attention,98,2","attract,98,1,100,1","attracted,96,1","attraction,96,2","attributed,100,1,104,1","atumpan,94,1","au,10,3,23,1","audible,107,2,105,1,121,1,122,1","audience,100,1","audiences,98,1,101,1","audio,22,1,23,2,26,2,28,1","august,10,2","aurgasm,24,1","australia,10,2","australian,110,1","authorities,96,1","autonomous,123,1","autonomy,101,1","available,26,2","avant,128,1","avaz,10,1","away,111,1","ayala,10,2","azerbaijani,10,1","azomorod,29,1","azores,94,1","azouke,10,1","b’u,107,1","bab,23,1","babaluaye,10,2","babara,10,1","babies,115,1","babylon,101,1,106,1","bachelor,10,1","background,28,1,94,1,95,1,96,1,102,2,108,1,116,1","backgrounds,99,1,112,1","bade,10,1","baez,105,1","bag,105,3,122,2","baganna,93,1","bagpipe,22,3,95,13,105,1,106,1,109,2,116,1,119,1","bagpiper,22,2,105,1","bagpipes,95,4,107,1,105,1,106,2,109,2,116,2,119,2,121,1,122,3","bagpipesociety,22,1","bal,10,1","balfa,10,1,105,1","bali,98,5","balinese,20,1,25,1,94,1,98,9,109,2,114,1,126,1,128,1","ball,95,1","ballad,93,1,94,1,97,1,105,4,106,2,108,2,112,3","ballads,10,3,94,1,96,1,97,2","ballroom,105,2","ballrooms,99,1","balm,10,1","bals,102,1","bamboo,10,4,96,1","band,10,1,97,3,108,1,109,1,110,1,117,1,119,1,122,1","bandone,99,3,105,2,119,2","bandonean,10,2","bands,94,2,95,3,102,2","bangara,101,1","bangladesh,105,1","bangsa,20,1,25,1","banjo,105,1","bank,97,1","banned,101,1","banners,101,1","banyumas,10,1","baptist,10,1","bar,97,2,107,1,123,1,102,1,105,1,122,1","barbara,10,3","barbary,10,1","barker,10,2","barley,10,1","barrel,99,1,105,3,118,1","barrio,105,1,109,1","barrios,118,1","bars,102,1","baru,10,1,98,1","base,119,1","based,93,1,94,2,97,5,98,1,123,2,101,1,102,2,108,1,119,1,120,1,122,1","basic,110,1,111,1,122,1","basin,109,1,122,1","basis,96,1,115,1,126,1","bass,99,1,100,1,104,1,106,1,109,1","bat,100,1,105,1","bat·,123,1,108,1,112,2,118,1","bata,10,20","bato,10,1","bau,96,1","bay,109,1","bayat,10,1","bayate,10,1","bayous,111,1","beams,122,1","beans,128,2","beat,93,1,105,1","beaten,99,1","beating,105,1","beats,93,4,107,1,123,1,116,1,120,1,122,1","beauty,94,1","became,94,1,95,1,97,3,98,6,99,2,101,7,124,1,113,1","because,107,1,122,1","becky,10,2","become,96,1,98,2,100,1,101,1,105,1","becomes,119,1","becoming,97,1,125,1","beer,99,1","began,96,1,98,3,99,1,100,2,102,2","beginning,96,1,102,1,105,1,116,1","beginnings,97,1","begins,101,1","begun,104,1","behalf,97,1","behavior,102,1,106,1,122,1","behaviors,102,1","belief,97,1,100,4,101,1,124,1","beliefs,20,1,25,1,27,1,100,1,106,1,117,1","bellin,10,1","bellows,95,1,104,1,105,2,124,1,122,1","bells,10,1,116,1","belly,10,4,109,1","bemb,105,1","bembe,10,1","bending,107,1","bengal,105,1","benin,10,5","berceuse,10,1","berhanu,105,1","berkeley,98,1","berklee,94,1","bernal,10,1","bersatu,10,2","best,95,1,96,1","bethel,94,1","betty,10,1","between,93,2,94,1,96,2,97,1,98,3,99,1,123,1,101,2,102,4,104,1,105,1,106,1,108,1,109,3,112,2,114,1,116,1,119,1,121,2,122,1","beyond,11,1,94,2,95,1,99,1","bhangra,26,4,99,20,107,1,101,1,105,4,109,1","bhangramuffin,99,1,104,1,105,1","bibliography,29,1","big,10,1","billy,10,1","bimusicality,105,1","binary,117,1","binder,1,1","bintang,10,1","biphonic,93,1,107,1,100,1,105,1,111,1,114,1","bipin,94,1","biray,10,2","bird,10,2","birl,95,1,105,1","birth,97,2,101,1,104,1,111,1","birthday,94,1","blabat,10,1","black,96,1,101,2,102,1,108,1,115,1,116,1","blackfoot,117,1","blacks,101,1","bladung,10,1","blend,94,3","blending,102,1,117,1","block,94,1","blocked,96,1","blooming,98,1","blown,93,2,110,2","blowpipe,95,2,105,2,124,1,122,1","blows,93,1,105,1","blues,10,13,94,2","bme,29,1","board,93,1,102,1","boards,122,1","boats,96,1","bob,123,1,101,1,116,1","bobby,98,1","body,93,2,99,1,105,1,124,1,109,1,115,1,125,1","bohemia,99,1","bok,96,1","bolero,10,2","bolis,105,1","bollywood,26,1,94,1","bombay,94,2","bombos,105,1","bonaparte,10,1","bonaventura,10,1","bones,10,1","boogie,10,2","book,1,1,11,1,42,2,107,1,127,1","bookno,42,5","books,11,2,20,1,22,1,127,1","border,97,1,106,1","borderlands,10,6","born,96,1,98,1,99,1,123,1,102,1,104,1,105,1,109,1,125,1","boroughs,105,1","borrow,97,1,101,2","borrowed,97,1,106,1,122,1,126,1","bosco,10,1","bosnia,10,3","boston,21,2,94,19,102,1,105,1,109,1,122,1","bostonians,94,1","both,20,1,25,1,93,2,94,2,95,1,96,3,97,2,98,2,99,1,100,1,101,2,102,3,105,1,106,1,110,1,116,2,118,1,120,1","bottom,32,8,57,8,118,1","bought,106,1","bound,107,1","boundaries,94,1,96,1,100,2","boundary,98,1","bounded,110,1","bow,10,1,106,1","bowed,95,1,107,1,106,1,116,1,125,1,126,1","bowl,93,1","box,113,1","boys,105,1","br,105,1","bradley,10,1","bragg,10,1","bravos,10,1","brazil,98,1","break,105,1,111,1","breath,110,1","breathe,119,1","breathy,117,1","bridges,96,1","bridging,102,1","brief,119,2","briing,10,1","brimmed,106,1","bring,98,1,100,1","brings,102,1","britain,99,3,104,1,105,1,112,1,117,1,122,1","british,94,3,96,1,102,1,108,1,113,1,122,1","broad,102,2","broadly,126,1","broadsides,105,2,108,1","brooklyn,105,1","brothers,98,1","brought,99,1,100,1","browser,40,1,45,1,46,1,47,1,48,1,49,1,50,1,51,1,52,1,53,1,54,1","bruce,10,1","budaya,20,1,25,1","buddhist,123,1,100,2,122,1","buddy,94,1","buenos,99,2,109,1","buf,42,3","bugdu,99,1","bui,10,1","build,98,1","builders,94,1","building,10,1","built,109,1","bukharan,10,1","bullroarer,110,1","bunggridj,10,2","burgeoning,98,1","burnaby,122,1","burro,10,1","bushfire,10,1","buskers,94,1,105,1","button,102,1,105,2,119,1","buttons,104,2,106,1","buzzing,123,1","cabaret,94,1","cabarets,99,1","cabildos,100,1","cadence,106,3","cadences,106,1","cadential,106,1","cadenza,106,1","cadenzas,112,1","cai,96,1","cajun,10,5,29,2,102,20,104,2,105,1,106,1,110,3,111,1","cajunfrenchmusic,29,1","cajuns,102,8","calendar,25,1,29,1,94,1","calendars,21,1","california,96,1,98,1,119,1","call,10,2,96,2,100,1,101,1,106,3","called,93,5,95,3,96,5,97,2,100,4,101,1,102,3,105,1,111,3,116,2,118,1,119,2,121,1,122,2","calls,97,1","cambridge,128,1","came,96,1,98,1,100,1,101,1,102,4","camino,10,1","camp,94,1","campus,94,4","campuses,99,3","canada,119,1,122,1","cancionero,106,1","cane,107,1","cannot,100,1,121,1","canntaireachd,95,2,106,1,116,1","canterbury,95,1","cantor,104,2","cantu,10,1","capable,106,1","cape,94,1,119,1","capital,94,1,99,1,104,1,113,1,115,1,119,1","car,100,1","caracas,11,1","caravan,98,1","card,75,1,76,1,78,2,79,2,81,1,82,1","careers,102,1","caribbean,100,1,101,1,102,2","carlos,99,1,123,1,109,1","carman,10,1","carnatic,22,2","carol,97,1","carried,96,1,97,1","carry,93,1,101,1","case,42,1,94,3,95,3,96,4,97,4,98,3,99,3,100,3,101,3,102,3","cashi,10,1","caspian,112,1","cassette,94,1","catalog,10,200","categories,94,1,97,1,100,2,109,1","categorize,93,1","categorized,111,1","category,97,1,123,1,106,1,110,1","catholic,99,1,100,2","catholicism,100,1","causes,96,1,123,1","cd,119,1","cebada,10,1","ceilidh,95,1,106,1,112,1","ceilidhs,95,1","celebrate,96,1,97,2,111,1,122,1","celebrated,11,1,95,2,96,1","celebrates,95,1","celebration,22,1,24,1,95,2,97,1,124,1,120,1","celebrations,100,1,109,1,119,1","celebratory,108,1","celebrities,21,1","cellist,98,1,116,1","celtic,106,4,109,1","celts,106,1","cemetery,97,3","ceng,10,1","center,10,5,94,1,100,1,101,1,109,2,112,1,122,2","centered,99,1","centerpiece,101,1","centers,96,1","central,10,2,94,1,96,1,114,1,119,2,126,1","centrality,100,1","centuries,97,1,102,1,105,1,122,1,126,1","century,11,1,21,1,94,2,95,1,96,1,97,2,98,1,99,1,123,1,100,1,101,2,102,2,104,2,106,5,124,1,108,1,109,1,111,2,113,2,116,2,119,2,121,1,122,5,126,2,127,1","ceremonial,97,1,109,1","ceremonies,123,1,101,1,105,1,111,1,112,1,119,1","ceremony,10,2,97,1,101,3,105,1,110,1","certain,100,1,124,1","ch01,20,8,40,4,64,8,93,8","ch02,21,8,46,4,65,8,94,8","ch03,22,8,47,4,66,8,95,8","ch04,23,8,48,4,67,8,96,8","ch05,24,8,49,4,68,8,97,8","ch06,25,8,50,4,69,8,98,8","ch07,26,8,51,4,70,8,99,8","ch08,27,8,52,4,71,8,100,8","ch09,28,8,53,4,72,8,101,8","ch10,29,8,54,4,73,8,102,8","cha,105,2","chachach,99,1","chahargah,10,1","chain,10,1,96,1,97,1,106,1","challenge,101,1,102,1","challenged,101,2","challenges,100,1","chambelanos,95,1","chamber,10,1,94,1,96,1,106,4,108,1,113,1","champion,122,1","chance,102,1","chandrakantha,22,1","chang,106,2","change,100,1,105,1,122,1","changed,100,1","changes,94,1,98,1,100,1,102,1,104,1","changing,100,2,101,1,121,1","chango,10,3","changó,10,1","changui,10,2","channels,98,1","chant,107,1,123,1,100,19,106,2,108,3,116,1,119,2,121,1,128,1","chanter,95,1,105,2,106,2,124,1,122,1","chanting,100,1","chants,100,4,108,1,127,1","chapter,1,3,12,10,31,10,40,4,42,3,45,4,46,4,47,4,48,4,49,4,50,4,51,4,52,4,53,4,54,4,56,10,83,10,85,10","chapterno,42,8","chapters,78,4,79,4,83,1","characteristic,95,1,97,1,121,1,122,2","characteristics,29,1,93,1,119,1,122,1","characterized,93,1,98,1,99,1,107,1,114,1","characters,116,1","charro,106,2","charros,95,1","charting,102,1","chaturthi,21,1,94,2","chazir,10,1","chenier,106,1","chest,93,1","chi,96,1","chic,98,1","chicken,10,6,106,2","chico,20,1","chief,110,1,126,1","child,10,3,95,1,102,1,122,1","childnodes,77,2","children,10,1,96,1,115,1","chimes,106,1,119,1,122,1","chimta,99,1","china,96,1","chinese,23,4,96,10,98,2,116,1","chippewa,10,11","choice,1,1,96,1","choicea,42,4","choiceb,42,4","choicec,42,5","choiced,42,5","choicee,42,5","choices,95,1","choir,10,3,109,2,122,1","choirmaster,101,1","choirs,100,1","choose,9,1,136,1","choosing,9,1","chord,106,1","chordophone,10,1,124,1","chordophones,93,1,106,2,111,1,115,2,116,1,122,1,126,1,128,1","chords,123,1,104,1,111,1,125,1","choreographed,99,1,105,1","choreography,99,2,101,1","choreometrics,99,1","chorus,93,1,96,1,106,1","chosen,102,1,113,1,117,1","chris,10,1","christian,94,1,100,8,101,2,108,3,109,2,114,1,116,2,117,1,121,1,122,2,127,1,128,2","christianity,96,1,122,1","christians,94,1","christmas,97,1,100,1,108,1","chronological,95,1","church,10,1,94,2,107,1,100,9,111,1,117,1","churches,94,3","circles,97,1,102,1","circuit,101,1","circuitry,122,1","circuits,121,1","circular,99,1,104,1","circulate,102,1","cisco,10,1","city,10,2,11,1,94,6,96,3,104,2,105,1,109,1,110,1,111,2","civic,94,1","clan,116,1","claps,99,1","clapsticks,119,1","clarinet,122,1","clark,10,2","class,99,3,106,1,102,2","classes,98,1,106,1,104,1,108,1,112,1,116,1,122,1","classical,10,5,22,2,23,1,24,1,29,1,94,2,96,1,98,1,99,2,106,3,102,2,111,2,114,1,116,4,117,1,122,2,125,1,126,5","classification,20,1,93,2","classified,93,1,112,1,121,1","classify,122,1","clear,10,1,100,1,122,1","clearly,93,1,100,1,102,1","clergy,100,1","clete,10,1","clifton,106,1","close,11,1,93,1,96,1,99,1,100,1","closely,93,2,94,1,95,1,98,1,99,2,106,1,101,1,102,3,110,1,122,1","clubs,29,1,99,3,102,1,114,1","cluster,122,1","co,28,1","coast,96,1,105,1,111,1,113,1,115,1,119,1,122,1,125,1,128,1","coded,101,2,121,1","coined,116,1","colla,10,1","collaborated,98,1","collect,105,1","collection,10,3,24,1,96,1,106,2,123,1","collective,97,2,110,1,111,1","college,11,2,94,2,99,2,109,1","colleges,94,2","colonial,96,1,98,1,123,1,101,1","colonies,119,1","colony,112,1,113,1,125,1","color,93,1,106,1,101,1,102,1,120,1,128,1","colors,101,1","columbia,102,1,122,1","column,93,1,104,1,110,2,111,1,126,1","com,20,1,21,2,22,4,23,3,24,2,26,5,27,2,28,2,29,2","comanche,106,1","combination,95,1,96,1","combinations,93,2","combine,111,1","combined,95,1,96,2,99,1,100,1","combines,125,1","combining,95,1,116,1","combo,96,1","come,94,1,96,3,101,1,110,1,116,1","comes,94,1,96,1,102,1","comfortable,121,1","commemorate,94,1,101,1","commemorates,106,1,108,1,112,1","commemorating,97,1,105,1","commemoration,95,1","commentary,102,1","commented,97,1","commercial,98,1,101,1,104,1,122,1","commercials,100,1","commission,98,1","commissioned,102,1","commodification,106,1","commodity,98,1,99,1","common,94,1,95,2,99,1,100,1,102,1,105,1,122,1","commonly,124,1,121,1,126,1","commonplace,125,1","communal,102,1","communicate,95,1,99,1,100,1","communication,94,1","communion,116,1","communist,96,1","communities,94,5,95,1,96,3,99,1,100,1,102,1,109,1,110,1,118,2","community,94,4,97,1,98,1,99,1,106,2,100,2,102,2,104,1,105,1,121,1","compadre,10,1","compadres,10,1","compadrito,106,1,104,1","company,11,4,39,4,55,4","comparable,11,1","compared,94,1,97,1","comparing,93,4","compass,93,1","compay,10,2","compelling,101,1","competition,95,2,105,1","competitions,95,1,99,2,101,2,119,1","competitive,95,1,99,2,101,1,105,1,112,1","complete,97,1,119,1","complex,94,2,100,3,102,2,109,1,111,1,121,1,122,1","complexities,100,1","complexity,94,1,99,1","complicated,102,1","composed,96,1,97,4,98,1,101,1,102,1,117,2,122,2","composer,96,2,98,1,123,1,102,3,104,2,119,2,122,1,125,2,126,2,128,1","composers,23,1,25,1,94,2,99,1","composing,98,1,112,1,127,1","composite,101,1","composition,93,2,97,1,98,1,102,1,116,1,126,1","compositions,95,1,96,1,98,1,99,1","compound,93,1","compressed,123,1","comprised,100,1","computer,107,1","con,96,1","conceived,98,1","concept,93,1","concepts,106,1","concerns,96,1,108,1,116,1","concert,10,7,99,2,106,1,112,1,114,1","concerto,106,2,102,2,119,1","concerts,27,1,95,1,100,1,109,1","conclusion,94,1,95,1,96,1,97,1,98,1,100,1,101,1","concrete,109,1","concussion,106,1,112,1,119,1,121,1","conducted,110,1","conductor,106,1","confirm,39,4","confirmprogrep,55,4","conflict,96,1,97,1","conflicts,97,1,101,1","confront,100,1","congregations,100,2","congress,101,1,104,1,117,1","conical,114,1","conjunct,93,1,106,1,107,1","conjunto,10,24,106,2,108,1","conn,42,2","connected,101,1,104,1","connecting,98,2","connections,94,3,96,2,98,1,101,1","connotations,95,1","conquest,96,2","consciously,102,1","consecutive,118,1","consent,102,1","conservatory,94,1","considered,96,1,99,2,102,1","considers,102,1","consist,97,1,106,1,102,1","consisted,95,1","consisting,100,1,109,1,119,1","consists,95,1,96,1,106,1,113,1,119,1,122,1,126,1","constant,96,1","constantly,121,1","constitute,100,1","construct,99,1","constructed,95,1,107,1,102,1,110,1,122,1","construction,20,3","constructive,97,1","contact,102,1","contain,119,1","contained,122,1","contains,100,1,101,1,119,1","contemporary,96,1,105,1,110,1,112,1","content,11,1,97,2,100,1,102,1,110,1","context,94,1,99,1,123,1,110,1,115,1,116,1,122,1","contexts,20,1,94,1,96,1,100,2,101,1,114,1","contextual,102,1","continental,98,1","continually,118,1","continue,94,1,96,1,99,1","continued,97,1,98,2,101,1","continues,95,1,98,1,115,1","continuing,96,1,97,1","continuities,98,1","continuous,93,1","continuously,105,1","contour,106,4","contradictions,98,1","contrafactum,97,2,106,1","contrast,97,1,106,1,123,1,110,2,112,1,118,1,119,3,121,1,122,2","contrasting,107,1,122,1","contrasts,106,1","contribute,94,1,102,1","contributed,102,1","control,11,1,96,1","controls,123,1,122,1,125,1","controversial,123,1,100,1","controversy,96,1","conventional,97,1,106,1","conventionally,110,1","conventions,112,1","converted,96,1,107,1,122,1","convey,102,1","conveyed,100,1,101,1,122,1","cooper,11,1","coordinated,99,1","coordinating,116,1","copied,97,1","copsychus,10,1","coptic,100,1","copy,33,1,39,1,55,1,58,1","copyright,33,1,58,1,106,1","cordiroy,101,1","corduroy,101,1","core,97,1,102,1","corner,26,1","cornett,10,1","coronation,101,1","corporation,122,1","corranswer,42,6","corresponding,10,2","corrido,10,2,97,6,106,2,105,1","corridor,97,1","corridos,97,3","corruption,106,1","cortez,10,1,97,1,106,1","cosmopolitan,94,1","costumed,116,1","could,99,1","counterclockwise,99,1","countermelody,106,1","counterparts,20,1,25,1","counterpoint,94,1","countries,101,1","country,10,9,23,1,28,1,94,1,96,2,104,2,108,1,113,1,116,1,119,1,122,1","couples,99,1,121,1","course,1,1,123,1","courses,120,1","court,10,1,93,1,95,1","courtyard,104,1","cover,113,1,126,1","covering,28,1,29,1","cow,10,2,94,1","cowboy,10,3,106,1,109,1,111,2","cowboys,95,1","cps,110,1","cradle,10,1","crafts,106,1","crank,105,1","create,100,1,111,1","created,99,1,121,1","createobject,75,1,76,1,78,2,79,2,81,1,82,1","creates,106,1,116,1","creating,93,1,98,1,99,1,112,1","creation,93,1","creativity,93,1","credit,1,1","credited,106,1,127,1","credits,11,5,33,1,58,1","creek,10,1","cremo,10,2","creole,106,1,102,5,128,1","creoles,102,6,128,1","cristinita,10,1","cristobal,10,4","critical,106,1","criticism,97,1","critiqued,97,1","crofters,10,1","cross,94,2,106,1","crossbar,93,1,115,1","crossed,99,1,111,1","crosses,94,1,116,1","crossing,98,1","crossroads,10,1","crowd,97,1","crucial,100,1,101,1","ctr,77,3,78,12,79,7","cuarteto,10,2","cuba,10,7,100,2,111,1,113,1","cuban,10,25,99,1,100,2,122,1","cuisine,94,1","culinary,102,1","cult,101,1","cultivate,96,1","cultivated,99,1,106,1","cultural,94,4,95,1,96,1,98,1,99,1,106,2,123,1,100,4,102,2,110,1,111,1","culture,10,1,21,1,24,2,27,2,28,1,29,1,94,1,96,1,97,1,98,2,106,3,101,1,102,3,109,1,111,1,122,2","cultures,20,1,93,2,94,2,95,1,98,1,102,2,124,1","cummings,95,1","curahan,10,1","curt,122,1","curved,99,1","customary,121,1","customs,106,1","cut,95,1","cutting,95,1,106,1","cycle,96,2,107,1,100,1,116,1,117,1,121,1,122,1","cycles,107,1,104,1,110,1","cyclical,100,1","cylindrical,93,1,123,1","cymbal,10,1","cymbals,100,1,121,1","cynthia,10,1","cz,29,1","czech,99,1","czechs,99,1","da,96,1","dabtara,107,1,105,1,108,1","dabtaras,100,1,119,1","dada,10,1","daily,100,2","daknai,10,1","damas,95,1","dan,96,2","dance,10,8,12,1,24,1,25,1,29,1,31,1,56,1,85,1,94,5,95,3,96,2,98,5,99,21,106,2,123,1,100,1,101,13,102,1,105,5,109,4,110,7,111,2,112,1,113,3,115,3,116,2,119,4,121,2,122,3,126,3,128,1","danced,105,1","dancer,101,1","dancers,94,1,98,1,101,2,116,2,126,1","dances,10,3,23,1,95,1,98,1,99,3,101,5,102,1,105,2,109,1","dancing,95,1,99,1,105,1,110,1,111,1,118,1","dangerous,100,1","daniel,10,1","danish,94,1","dans,10,1","darabukkah,107,1","das,10,1","dastagh,10,2","dastgah,10,5","data,42,2","datafile,75,2,76,2,78,4,79,4,81,2,82,2","date,113,1","dates,95,1","dating,106,1,111,1","davakai,10,1","david,111,1","day,94,1,95,1,96,1,97,1,98,2,101,1,102,1,109,1,111,1,113,1","days,101,2,112,2","dbyangs,107,4,123,1,100,1,109,1,111,1,127,2","deal,116,1","death,95,2,97,1,116,1","decibel,93,1","deck,75,1,76,1,81,1,82,1","decline,97,1","declined,102,1","decorated,93,1","decorations,118,1","dedicate,24,1","dedicated,20,2,21,2,22,2,24,3,25,2,29,3","dedication,97,1","deep,10,3,94,1,96,1,102,1","deeper,93,1","deepest,112,1","deeply,94,1,101,1","deer,10,1","define,102,2","defined,93,1,101,1,114,1","defining,94,1","definition,9,1","degree,95,2","deities,100,1","deity,94,1,100,1","del,10,2,97,1","delaune,10,1","delete,42,2","delineated,93,1","deliverance,101,2","delivered,11,1","demolished,122,1","denominations,100,2","departure,123,1","depend,97,1,100,1","dependent,97,1","depending,116,1","depends,95,1,97,1","depths,100,1","derive,106,1,128,1","derived,99,1,123,1,100,1,111,1,116,1,122,1,126,1","derives,102,2","descend,102,1","descendant,104,1","descendants,113,1,122,1","descending,106,1,122,1","descent,93,1,94,1,102,2,122,1","describe,93,1,106,1,101,1","described,107,1,110,1,119,1,122,1","describes,95,1","describing,116,1","description,75,1,76,1,81,1,82,1","desde,10,1","design,11,1,106,1","designated,101,1","designed,98,1","designs,110,1","desired,102,1","destination,98,1","detached,119,1","detail,115,1","details,96,1","determine,42,1,126,1","determined,93,1,95,1,102,1,110,1,121,1","determines,110,2,111,1","developed,99,1,100,1,102,1,104,2,105,1,122,1","developing,123,1","development,22,1,24,1,107,1,101,1,122,1","devoted,20,1,25,1","dewey,10,1,105,1","dha,95,1","dhol,99,3,107,1","di,10,1","dialect,99,1,102,2,113,1","dialectic,102,1","dialects,109,1","díalpe,122,1","diaspora,95,1,96,8,97,1,99,2,107,1,100,8,105,1","diasporas,107,1","diaz,10,15","did,98,1,101,1","didjeridu,119,1","differ,100,1,109,1","difference,101,2","differences,96,1,98,1,109,1","different,23,1,93,2,94,2,96,2,97,1,98,1,99,1,100,3,101,3,102,1,104,2,105,1,111,1,112,1,119,4","differently,93,1,100,1,111,1","difficult,97,1,100,1","digital,107,3,108,1,122,1","digits,42,15","dignified,122,1","dim,78,5,79,5","diminished,100,1","dinner,102,1","direction,119,1","directions,119,1","directly,93,1,110,1","director,11,1,112,1,128,1","directories,22,1","directory,23,1","dirges,97,1","discography,26,1","discretely,123,1","discretion,102,1","discursive,123,1","discussed,101,1,102,1,126,1","disease,96,1","disjunct,93,1,106,1,107,1","dislocation,96,1","dispense,113,1","dispersed,98,1","display,40,1,45,1,46,1,47,1,48,1,49,1,50,1,51,1,52,1,53,1,54,1,95,1","displays,97,1,101,2","dispute,99,1","distance,93,1,97,1,112,1,119,1,121,1","distant,98,1","distinct,93,1,110,1,122,1","distinctive,93,1,94,4,99,2,106,1,100,1,102,3,122,1","distinctively,102,1","distinctiveness,93,1","distinguish,102,1","distinguished,97,1,116,1","distributed,108,1","distributing,20,1,25,1","district,105,1","diverse,98,2,122,1","diversity,94,1,96,1,111,1","divide,95,1,96,1,99,1","divided,93,1,96,1,101,1,105,1,119,1","dividing,110,1","divination,100,1","divine,100,1,127,1","divinities,100,1","division,11,1,96,1,126,1","divisions,116,1","diwali,101,1","doc,10,1","documented,106,1","documents,8,1","dodo,110,1","domdocument,75,1,76,1,78,2,79,2,81,1,82,1","dominance,99,2","dominated,102,1","domination,97,1","dominican,95,1","donations,105,1","donna,10,1","doors,118,1","dormant,121,1","dorothy,10,1","dos,110,2","dot,107,1","dotted,107,1","double,99,2,106,2,107,4,105,1,112,2,114,1,118,1,121,1","doubling,95,2","down,10,1,96,1,106,2,123,1,100,1,104,1","downfall,101,1","download,23,1,27,1","downloadable,23,1","downloadall,75,8,76,8","downloading,26,1","downloads,27,1","dowr,107,1","dozen,97,1,100,1","dramatically,102,1","draped,122,1","drawing,98,1,112,1","drawn,97,1","draws,97,1,102,3,111,1","dreadlock,101,1","dream,10,2","dreams,94,1","dress,95,2,106,1,101,1","dresses,113,1","drew,99,1,123,1","drone,93,1,107,1","drones,106,1,107,1,105,2,124,1,122,1","drug,97,1","drum,10,2,20,1,94,1,99,1,123,1,100,1,101,1,102,1,110,1,121,1","drumhead,93,1","drumming,99,1","drums,10,6,93,2,94,2,96,1,99,3,100,3,102,1,119,1,122,1","dual,101,2","duduk,93,1","due,99,1","duet,10,3","duhon,10,1","duke,29,1","dulcimer,10,1","dung,121,1","duong,96,1","duple,107,1,111,1,116,2,119,2","duration,93,1,107,1,104,1,116,1,122,1","durational,93,1","durations,107,1,110,1","during,93,1,96,1,97,2,99,1,106,3,100,2,101,1,102,1,110,1,111,1,112,1,119,2","dutch,94,1,104,2","dutchmen,10,2","duy,96,3,117,1,119,1,125,1","dvds,20,1","dýn,107,5","dynamics,93,1,107,1","ëabd,104,1,126,1","eacute,10,2","eagle,10,1","earl,10,1","early,94,7,96,1,97,1,98,1,99,3,101,2,102,1,108,1,109,1,116,2,121,1,122,2,125,1","easily,96,1","east,10,2,95,1,96,1,102,1,124,1,108,1,119,1,121,1,125,1","easter,100,1","eastern,96,1,97,1,107,1,101,1,124,1,111,1,115,1,117,1,119,1,120,1,125,1","echoes,10,3","eclectic,94,1","economic,97,1,98,1","economy,98,1","eden,96,1","edge,110,1","editing,122,1","edition,11,4,37,4,40,4,45,4,46,4,47,4,48,4,49,4,50,4,51,4,52,4,53,4,54,4,62,4","editor,11,2","edu,20,2,21,1,23,1,25,1,29,2","educated,102,1","education,11,1,102,1","effect,122,1","effects,102,3","effetah,10,1","egrave,10,1,105,1,110,1","egypt,100,1","egyptian,104,1","eichelberger,10,1","eight,106,1,116,2,118,1","eighteenth,94,1,95,1,106,4,104,1,122,2,126,2","eighth,118,1","eighties,98,1","either,93,1,102,1,105,1,110,2,116,1,121,1,122,1","elaborate,93,1,94,2,106,1,100,2,111,1,119,1,122,1","elaborated,122,1","elaborating,107,1","elaborations,118,1","electric,96,1,107,2,102,1,108,2,121,3","electricity,108,1","electromechanical,108,2,122,1","electronic,11,1,99,1,107,1,108,1,121,1,122,2","electronically,93,1","electrophones,93,1,107,1,108,2,121,1,122,1","eleggua,10,5","element,93,1,119,1","elements,94,1,96,1,99,1,102,2,117,1","elephant,10,2","elevators,116,1","elicit,95,1,96,1","elite,126,1","elizabeth,10,1","ellen,10,1","ellender,10,3","elohim,97,1","elseif,42,7","emailed,55,1","embedded,99,1","emblem,101,1","embodies,98,1,102,1","embrace,99,1","emerged,95,1,97,2,99,1,100,1,102,2,105,1,111,1,122,2,128,1","emergence,101,1","emerging,98,1,102,1","emotional,95,1,96,1,100,1","emotions,95,1,97,1,99,1","emperor,95,1,101,2,111,2,121,2","emphasis,100,1,102,1,104,1","emphasize,113,1","emphasized,97,1,99,1,105,1","empire,94,1","employees,11,2","empower,101,1","empty,102,1,114,1","emulates,106,1,107,1","enacts,99,1","enclosed,93,2,126,1","enclosing,93,1","encoded,105,1","encompasses,94,1","encompassing,101,1","encountered,97,1","encyclopedia,20,1,28,1","end,42,6,77,2,78,8,79,1,93,1,94,1,106,2,101,1,110,1,116,1,117,1,121,1","endangered,10,3","endblown,93,1,117,1","endfunction,42,1","endless,96,2","ends,93,1,106,1","enforced,101,1","engagement,122,1","engergari,108,1","england,94,1,99,1","english,26,1,94,2,95,3,104,1,105,3,108,1,109,1,116,1","enka,102,4,108,1,116,2,120,1","enoch,117,1,122,1","enormous,115,1","enormously,98,1","ensemble,10,3,95,1,98,4,106,4,99,2,102,1,108,1,109,2,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arrFiles=new Array();arrFiles[0]=new Array(1,"welcome.asp","2005-12-03","welcome.asp","","","--	This site is an online study guide that also provides music excerpts and essential information about global music. Soundscapes QuickStart Guide: Select your chapter from the menu above. Print out the chapter outline and keep it with your book or course binder. Review the Important terms using the FlashCard Machine. Take the chapter multiple choice quiz and track your results in your student Gradebook. Extra Credit – listen to the Global Jukebox for samples of music around the world.",2);arrFiles[1]=new Array(8,"search.asp","2006-05-20","search.asp","","","Please enter the keyword / topic you wish to search. The query will search documents on the Soundscapes 2nd ed. site.",1);arrFiles[2]=new Array(9,"glossary.asp","2006-02-02","glossary.asp","","","A definition will show up in this window whenever you select an important term. You can also find an important term manually by choosing a letter from the alphabetized menu below and scrolling through the glossary. Choose a letter: A - B - C - D - E - F - G - H - I - J - K - L - M N - O - P - Q - R - S - T - U - V - W X -- - Y - Z",2);arrFiles[3]=new Array(10,"jukeboxindex.asp","2005-12-23","jukeboxindex.asp","","","Track No. 1 Musics Of The Soviet Union - Smithsonian Folkways Recordings Catalog No. 40002 - More Information Song From Khomeizhi (Throat Singing) - M.C. Daknai Track No. 2 Tuva: Voices From The Center Of Asia - Smithsonian Folkways Recordings Catalog No. 40017 - More Information Excerpt From Shamanic Healing Ritual - Alexander Davakai Track No. 3 Tuva: Voices From The Center Of Asia - Smithsonian Folkways Recordings Catalog No. 40017 - More Information Ezengileer - Marzhimal Ondar Track No. 4 Tuva: Voices From The Center Of Asia - Smithsonian Folkways Recordings Catalog No. 40017 - More Information Kargiraa Artii-Sayir - Vasili Chazir Track No. 5 Tuva: Voices From The Center Of Asia - Smithsonian Folkways Recordings Catalog No. 40017 - More Information Sigit - Mergen Mongush Track No. 6 Tuva: Voices From The Center Of Asia - Smithsonian Folkways Recordings Catalog No. 40017 - More Information Wooden Jew \'s harp Track No. 7 Heartbeat 2: More Voices - Smithsonian Folkways Recordings Catalog No. 40455 - More Information Lullaby - Dorothy Whitehorse Delaune Track No. 8 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40020 - More Information Lullaby - Woman Track No. 9 Musics Of The Soviet Union - Smithsonian Folkways Recordings Catalog No. 40002 - More Information Lithuanian Lullaby - Veronika Povilioniene Track No. 10 American Piano Music By Amiram Rigai - Smithsonian Folkways Recordings Catalog No. 40803 - More Information Berceuse, Opus 47 (Cradle Song) Track No. 11 Northumberland Rant - Smithsonian Folkways Recordings Catalog No. 40473 - More Information Archie \'s Fancy / Holey Ha \'penny Track No. 12 Northumberland Rant - Smithsonian Folkways Recordings Catalog No. 40473 - More Information Keening The Wind / Alston Flower Show - Chris Ormston Track No. 13 Northumberland Rant - Smithsonian Folkways Recordings Catalog No. 40473 - More Information Murray River Jig / Roland And Cynthia Taylor / Alistair J. Sim - Willie Taylor Track No. 14 Northumberland Rant - Smithsonian Folkways Recordings Catalog No. 40473 - More Information Robertson \'s Reel / The Grand Chain - Willie Taylor Track No. 15 Northumberland Rant - Smithsonian Folkways Recordings Catalog No. 40473 - More Information Skye Crofters Track No. 16 Wood That Sings: Indian Fiddle Music Of The Americas - Smithsonian Folkways Recordings Catalog No. 40472 - More Information Jig Medley - Lee Cremo Trio Track No. 17 Wood That Sings: Indian Fiddle Music Of The Americas - Smithsonian Folkways Recordings Catalog No. 40472 - More Information Strathspey And Reel Medley - Lee Cremo Trio Track No. 18 Iowa State Fare - Smithsonian Folkways Recordings Catalog No. 40083 - More Information Henry Storhoff \'s Schottische - Foot-Notes Track No. 19 Wade In The Water Vol. 1: African American Spirituals: The Concert Tradition - Smithsonian Folkways Recordings Catalog No. 40072 - More Information Everytime I Feel The Spirit - The Florida A & M University Concert Choir Track No. 20 Wade In The Water Vol. 1: African American Spirituals: The Concert Tradition - Smithsonian Folkways Recordings Catalog No. 40072 - More Information Sometimes I Feel Like A Motherless Child - Kehembe Eichelberger Track No. 21 Wade In The Water Vol. 1: African American Spirituals: The Concert Tradition - Smithsonian Folkways Recordings Catalog No. 40072 - More Information There Is A Balm In Gilead - The Florida A & M University Concert Choir Track No. 22 Wade In The Water Vol. 1: African American Spirituals: The Concert Tradition - Smithsonian Folkways Recordings Catalog No. 40072 - More Information Wade In The Water - The Fisk Jubilee Singers Track No. 23 Wade In The Water Vol. 1: African American Spirituals: The Concert Tradition - Smithsonian Folkways Recordings Catalog No. 40072 - More Information Wade In The Water - The Howard University Chamber Choir Track No. 24 Child Ballads In America - Volume 1 - Smithsonian Folkways Recordings Catalog No. 03519 - More Information Barbary Allen Track No. 25 Mountain Music Of Kentucky - Smithsonian Folkways Recordings Catalog No. 40077 - More Information Barbara Allen - J.D. Cornett Track No. 26 The Traipsin \' Woman (American Folk Song Festival) - Smithsonian Folkways Recordings Catalog No. 02358 - More Information Barbara Ellen (Barbara Allen) Track No. 27 Roscoe Holcomb: The High Lonesome Sound - Smithsonian Folkways Recordings Catalog No. 02368 - More Information Babara Allen Blues Track No. 28 Headlines & Footnotes, A Collection Of Topical Songs - Smithsonian Folkways Recordings Catalog No. 40111 - More Information Guantanamera Track No. 29 Cuba In Washington - Smithsonian Folkways Recordings Catalog No. 40461 - More Information Guajira Guantanamera (Cuba) Track No. 30 Cuba In Washington - Smithsonian Folkways Recordings Catalog No. 40461 - More Information Guajira Guantanamera (Guajira) - Cuarteto Patria Y Compay Segundo Track No. 31 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Elephant Hunting Song Track No. 32 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Elephant-hunt Song Track No. 33 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Honey-Gathering Song Track No. 34 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40020 - More Information Woman With Bells - Ceremony For Marking Llamas, August Track No. 35 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40020 - More Information Man - Ceremony For Marking Llamas, August Track No. 36 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40020 - More Information Corresponding Song For Alpacas - Corresponding Song For Alpacas Track No. 37 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40020 - More Information Music For Alpacas - Music For Alpacas Track No. 38 Traditional Music Of Peru 2: The Mantaro Valley - Smithsonian Folkways Recordings Catalog No. 40467 - More Information Music For Agricultural Labor (For Reaping Barley): Cebada En Pampa - Nicolas Perez Track No. 39 Traditional Music Of Peru 2: The Mantaro Valley - Smithsonian Folkways Recordings Catalog No. 40467 - More Information Music For Building Houses (Song Of The Pirkansa) - Three Female Singers Track No. 40 Traditional Music Of Peru 4: Lambayeque - Smithsonian Folkways Recordings Catalog No. 40469 - More Information Call to Clear the Waterways (Peru) Track No. 41 Musics Of The Soviet Union - Smithsonian Folkways Recordings Catalog No. 40002 - More Information Azerbaijani Classical Mugam - Bayat-i Kurd Track No. 42 Musics Of The Soviet Union - Smithsonian Folkways Recordings Catalog No. 40002 - More Information North Russian Lyric Song - Singers From The Village Of Shostova Gora In Arkhangelsk Province Track No. 43 Bamboo On The Mountains: Kmhmu Highlanders From Southeast Asia And The U.S. - Smithsonian Folkways Recordings Catalog No. 40456 - More Information Briing Drum, Rbaang Gong, And Ceng Cymbal (Vietnam) Track No. 44 Bamboo On The Mountains: Kmhmu Highlanders From Southeast Asia And The U.S. - Smithsonian Folkways Recordings Catalog No. 40456 - More Information Hroong Jew \'s Harp (Vietnam) Track No. 45 Bamboo On The Mountains: Kmhmu Highlanders From Southeast Asia And The U.S. - Smithsonian Folkways Recordings Catalog No. 40456 - More Information Teum Song (Vietnam) Track No. 46 Bamboo On The Mountains: Kmhmu Highlanders From Southeast Asia And The U.S. - Smithsonian Folkways Recordings Catalog No. 40456 - More Information Tnheek Chordophone (Vietnam) Track No. 47 Horton Barker: Traditional Singer - Smithsonian Folkways Recordings Catalog No. 02348 - More Information Lord Thomas and Fair Ellender Track No. 48 Child Ballads In America - Volume 1 - Smithsonian Folkways Recordings Catalog No. 02362 - More Information Lord Thomas and Fair Ellender Track No. 49 Andrew Rowan Summers Sings, With Dulcimer - Smithsonian Folkways Recordings Catalog No. 40145 - More Information Lord Thomas And Fair Ellender Track No. 50 Mike Seeger - Old Time Country Music - Smithsonian Folkways Recordings Catalog No. - More Information Lord Thomas Track No. 51 Mike Seeger - Old Time Country Music - Smithsonian Folkways Recordings Catalog No. 02325 - More Information Fisherman \'s Luck Track No. 52 Don \'t Mourn - Organize! Songs Of Labor Songwriter Joe Hill - Smithsonian Folkways Recordings Catalog No. 40026 - More Information Joe Hill - Billy Bragg Track No. 53 Don \'t Mourn - Organize! Songs Of Labor Songwriter Joe Hill - Smithsonian Folkways Recordings Catalog No. 40026 - More Information Joe Hill - Earl Robinson Track No. 54 Don \'t Mourn - Organize! Songs Of Labor Songwriter Joe Hill - Smithsonian Folkways Recordings Catalog No. 40026 - More Information Joe Hill - Paul Robeson Track No. 55 American Favorite Ballads, Volume 3 - Pete Seeger - Smithsonian Folkways Recordings Catalog No. 02322 - More Information Irene (Goodnight Irene) Track No. 56 Lead Belly \'s Last Sessions - Smithsonian Folkways Recordings Catalog No. 40068 - More Information Irene Track No. 57 Lead Belly \'s Last Sessions - Smithsonian Folkways Recordings Catalog No. 40068 - More Information House Of The Rising Sun Track No. 58 Country Songs, Old And New - Smithsonian Folkways Recordings Catalog No. 40004 - More Information Jesse James Track No. 59 Cowboy Songs On Folkways - Smithsonian Folkways Recordings Catalog No. 40043 - More Information Jesse James (Leadbelly \'s Version) - Woody Guthrie Track No. 60 Music Of Indonesia 14: Lombok, Kalimantan, Banyumas: Little-Known Forms Of Gamelan And Wayang - Smithsonian Folkways Recordings Catalog No. 40441 - More Information Klana - Kesenian Wayang Kulit Asam Rimbun Track No. 61 Music Of Indonesia 3: Music From The Outskirts of Jakarta - Smithsonian Folkways Recordings Catalog No. 40057 - More Information Pobin Pe Pan Tau - Gambang Kromong Irama Bersatu / Mas Nona - Gambang Kromong Irama Bersatu / Lopan Track No. 62 Music Of Indonesia 8: Vocal And Instrumental From East And Central Flores - Smithsonian Folkways Recordings Catalog No. 40424 - More Information Gong Bladung Blabat Gongs And Drums - Members Of Sanggar Gaya Baru Track No. 63 Musics Of The Soviet Union - Smithsonian Folkways Recordings Catalog No. 40002 - More Information Georgian Wedding Song - Lile Song And Dance Ensemble Of The Lintekhskii House Of Culture Track No. 64 Musics Of The Soviet Union - Smithsonian Folkways Recordings Catalog No. 40002 - More Information North Russian Wedding Greeting Song From Arkhangelsk Province Track No. 65 Musics Of The Soviet Union - Smithsonian Folkways Recordings Catalog No. 40002 - More Information North Russian Wedding Lament - Evdokiia Alexandrovna Oreshkina Track No. 66 Headlines & Footnotes, A Collection Of Topical Songs - Smithsonian Folkways Recordings Catalog No. 40111 - More Information Wimoweh Track No. 67 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Agayu - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 68 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Babaluaye - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 69 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Babaluaye - San Cristobal De Regla Track No. 70 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Chango - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 71 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Dada / Agayu / Chango / Obatala Track No. 72 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Eleggua - Agrupacion Ara-Oko Bembe Ensemble Track No. 73 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Eleggua - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 74 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Eleggua - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 75 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Eleggua - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 76 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Inle - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 77 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Ochun - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 78 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Oggun - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 79 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Oggun / Ochosi / Agayu Track No. 80 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Eleggua / Oggun / Ochosi / Inle Track No. 81 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Los Ibelli - San Cristobal De Regla Track No. 82 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Obatala - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 83 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Obba - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 84 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Oricha Oco - San Cristobal De Regla Track No. 85 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Oru para Changó (Cuba) Track No. 86 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Oru Para Chango - El Nino De Atocha Track No. 87 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Osain - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 88 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Osain - San Cristobal De Regla Track No. 89 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Oya - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 90 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Yeggua - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 91 Sacred Rhythms Of Cuban Santeria - Smithsonian Folkways Recordings Catalog No. 40419 - More Information Yemaya - Conjunto De Tambores Bata De Amado Diaz Alfonso Track No. 92 Yoruba Drums From Benin, West Africa - Smithsonian Folkways Recordings Catalog No. 40440 - More Information Ajagunan - The Bata Repertoire for Shango in Sakete Track No. 93 Yoruba Drums From Benin, West Africa - Smithsonian Folkways Recordings Catalog No. 40440 - More Information Lade Lade - The Bata Repertoire for Shango in Sakete Track No. 94 Yoruba Drums From Benin, West Africa - Smithsonian Folkways Recordings Catalog No. 40440 - More Information Oba Koso - The Bata Repertoire for Shango in Sakete Track No. 95 Yoruba Drums From Benin, West Africa - Smithsonian Folkways Recordings Catalog No. 40440 - More Information Oke - The Bata Repertoire for Shango in Sakete Track No. 96 Yoruba Drums From Benin, West Africa - Smithsonian Folkways Recordings Catalog No. 40440 - More Information Omenega - The Bata Repertoire for Shango in Sakete Track No. 97 Bosnia: Echoes From An Endangered World - Smithsonian Folkways Recordings Catalog No. 40407 - More Information Excerpt From Naqshbandi Zikr Track No. 98 Bosnia: Echoes From An Endangered World - Smithsonian Folkways Recordings Catalog No. 40407 - More Information Excerpt From Qadiri Zikr Track No. 99 Bosnia: Echoes From An Endangered World - Smithsonian Folkways Recordings Catalog No. 40407 - More Information Ezan (Call To Prayer) Track No. 100 Central Asia In Forest Hills N.Y., Music Of The Bukharan Jewish Ensemble Shashmaqam - Smithsonian Folkways Recordings Catalog No. 40054 - More Information Medley Of Songs From Wedding Repertory Track No. 101 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40020 - More Information Marriage Song Compadre Punuchi Man And Woman - Village Of Colla Near Q \'eros Track No. 102 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40020 - More Information Matrimony Song - Woman Track No. 103 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40020 - More Information Palcha-Cashi-Taiki - Man And Wife Track No. 104 Mountain Music Of Peru, Volume 1 - Smithsonian Folkways Recordings Catalog No. 40002 - More Information Song Of Marriage - Young Girl In Huancavalica Track No. 105 Traditional Music Of Peru 2: The Mantaro Valley - Smithsonian Folkways Recordings Catalog No. 40467 - More Information Funeral Song (Funerary Response) - Male Singer Track No. 106 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Bachelor Duet With Lukembi Track No. 107 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Nkumbi Initiation Song Track No. 108 Iowa State Fare - Smithsonian Folkways Recordings Catalog No. 40083 - More Information Be Thou My Vision - Deer Creek Quartet Track No. 109 Deep Polka: Dance Music From The Midwest - Smithsonian Folkways Recordings Catalog No. 40088 - More Information Finn Polka - The Oulu Hotshots Track No. 110 Deep Polka: Dance Music From The Midwest - Smithsonian Folkways Recordings Catalog No. 40088 - More Information Jammin \' Polkas - The Steve Meisner Band Track No. 111 Deep Polka: Dance Music From The Midwest - Smithsonian Folkways Recordings Catalog No. 40088 - More Information Owl Polka - The Clete Bellin Orchestra Track No. 112 Clark Kessinger: Fiddler (Old-Time Country Music) - Smithsonian Folkways Recordings Catalog No. 02336 - More Information Richmond Polka Track No. 113 Iowa State Fare - Smithsonian Folkways Recordings Catalog No. 40083 - More Information Little Goose Polka - Becky & The Ivanhoe Dutchmen Track No. 114 Music Of New Mexico: Hispanic Traditions - Smithsonian Folkways Recordings Catalog No. 40409 - More Information Pecos Polka - Gregorio Ruiz, Henry Ortiz Track No. 115 Borderlands: From Conjunto To Chicken Scratch - Music Of The Rio Grande Valley Of Texas And Southern Arizona - Smithsonian Folkways Recordings Catalog No. 40418 - More Information Ali Oidak Polka - Gu-Achi Fiddlers Track No. 116 The World \'s Musical Traditions 5 - Bandonean Pure: Dances Of Uruguay - Smithsonian Folkways Recordings Catalog No. 40431 - More Information Desde El Alma Track No. 117 The World \'s Musical Traditions 5 - Bandonean Pure: Dances Of Uruguay - Smithsonian Folkways Recordings Catalog No. 40431 - More Information Sentimiento Gaucho Track No. 118 Iowa State Fare - Smithsonian Folkways Recordings Catalog No. 40083 - More Information Das Kufstein Lied - Becky & The Ivanhoe Dutchmen Track No. 119 Borderlands: From Conjunto To Chicken Scratch - Music Of The Rio Grande Valley Of Texas And Southern Arizona - Smithsonian Folkways Recordings Catalog No. 40418 - More Information Angel De Mis Anhelos - Ruben Vela Y Su Conjunto Track No. 120 Borderlands: From Conjunto To Chicken Scratch - Music Of The Rio Grande Valley Of Texas And Southern Arizona - Smithsonian Folkways Recordings Catalog No. 40418 - More Information El Saino De Donna, Texas - Los Invasores De Nuevo Leon Track No. 121 Borderlands: From Conjunto To Chicken Scratch - Music Of The Rio Grande Valley Of Texas And Southern Arizona - Smithsonian Folkways Recordings Catalog No. 40418 - More Information Mi Unico Camino - El Conjunto Bernal Track No. 122 Taquachito Nights: Conjunto Music From South Texas - Smithsonian Folkways Recordings Catalog No. 40477 - More Information El Burro Pardo - Gilberto Perez Y Sus Compadres Track No. 123 Cuba In Washington - Smithsonian Folkways Recordings Catalog No. 40461 - More Information Cristinita (Bolero) - Cuarteto Patria Y Compay Segundo Track No. 124 Cuba In Washington - Smithsonian Folkways Recordings Catalog No. 40461 - More Information Maria Guevara (Changui) - Grupo Changui De Guantanamo Track No. 125 Cuba In Washington - Smithsonian Folkways Recordings Catalog No. 40461 - More Information Yenye Mare (Yambu) - Grupo Afrocuba De Matanzas Track No. 126 Folk Music Of Washington Square - Smithsonian Folkways Recordings Catalog No. 02353 - More Information La Macarenya - John B. Carman Track No. 127 Musical Traditions Of Portugal - Smithsonian Folkways Recordings Catalog No. 40453 - More Information Fandango - Songs And Dances By Folklore Groups Track No. 128 Borderlands: From Conjunto To Chicken Scratch - Music Of The Rio Grande Valley Of Texas And Southern Arizona - Smithsonian Folkways Recordings Catalog No. 40418 - More Information Gregorio Cortez - Jesus Maya Y Timoteo Cantu Track No. 129 Borderlands: From Conjunto To Chicken Scratch - Music Of The Rio Grande Valley Of Texas And Southern Arizona - Smithsonian Folkways Recordings Catalog No. 40418 - More Information Corrido De Gerardo Gonzales - Ramon Ayala Y Los Bravos Del Norte Track No. 130 Music Of New Mexico: Hispanic Traditions - Smithsonian Folkways Recordings Catalog No. 40409 - More Information Corrido Del Daniel Fernandez - Los Reyes De Albuquerque Track No. 131 Iowa State Fare - Smithsonian Folkways Recordings Catalog No. 40083 - More Information Las Tres Mujeres - Solis And Solis Track No. 132 Mountain Music Of Kentucky - Smithsonian Folkways Recordings Catalog No. 40077 - More Information Amazing Grace - Old Baptist Church Track No. 133 Favorite Gospel Songs - Smithsonian Folkways Recordings Catalog No. 40027 - More Information Amazing Grace Track No. 134 Horton Barker: Traditional Singer - Smithsonian Folkways Recordings Catalog No. 02357 - More Information Amazing Grace Track No. 135 Iowa State Fare - Smithsonian Folkways Recordings Catalog No. 40083 - More Information Amazing Grace / God Loves You - The Matney Sisters Track No. 136 Jean Ritchie And Doc Watson At Folk City - Smithsonian Folkways Recordings Catalog No. 02358 - More Information Amazing Grace Track No. 137 Sing-A-Long - Live At Sanders Theatre, 1980 - Smithsonian Folkways Recordings Catalog No. 02362 - More Information Amazing Grace Track No. 138 The Traipsin \' Woman (American Folk Song Festival) - Smithsonian Folkways Recordings Catalog No. 02362 - More Information Amazing Grace Track No. 139 Rhythms Of Rapture: Sacred Musics Of Haitian Vodou - Smithsonian Folkways Recordings Catalog No. 40464 - More Information Azouke Legba (Dans Kanari) (Haiti) Track No. 140 Rhythms Of Rapture: Sacred Musics Of Haitian Vodou - Smithsonian Folkways Recordings Catalog No. 40464 - More Information Bade - Rara Machine Track No. 141 Rhythms Of Rapture: Sacred Musics Of Haitian Vodou - Smithsonian Folkways Recordings Catalog No. 40464 - More Information Vye Gran O (Song For Ezili) - Port-Au-Prince Zepol Track No. 142 Folk Music Of Washington Square - Smithsonian Folkways Recordings Catalog No. 02353 - More Information Hard Traveling - Bruce Allen Track No. 143 Folk Music Of Washington Square - Smithsonian Folkways Recordings Catalog No. 02353 - More Information How Long Blues - Henry Bradley Track No. 144 Lead Belly \'s Last Sessions - Smithsonian Folkways Recordings Catalog No. 02369 - More Information Jail House Blues Track No. 145 Live Duet Recordings 1963-1980: Off The Record Volume 2 - Smithsonian Folkways Recordings Catalog No. 40064 - More Information East Tennessee Blues Track No. 146 Live Duet Recordings 1963-1980: Off The Record Volume 2 - Smithsonian Folkways Recordings Catalog No. 40064 - More Information Watson \'s Blues Track No. 147 Memphis Slim: The Folkways Years 1959-1973 - Smithsonian Folkways Recordings Catalog No. 40128 - More Information Walking Blues Track No. 148 Mike Seeger - Old Time Country Music - Smithsonian Folkways Recordings Catalog No. 02325 - More Information Johnson City Blues Track No. 149 On The Road - Smithsonian Folkways Recordings Catalog No. 02369 - More Information Bones Blues Track No. 150 On The Road - Smithsonian Folkways Recordings Catalog No. 02369 - More Information Harmonica With Slaps Track No. 151 On The Road - Smithsonian Folkways Recordings Catalog No. 40068 - More Information Jail House Blues Track No. 152 On The Road - Smithsonian Folkways Recordings Catalog No. 02369 - More Information Slap Blues Track No. 153 Clark Kessinger: Fiddler (Old-Time Country Music) - Smithsonian Folkways Recordings Catalog No. 02336 - More Information Poca River Blues Track No. 154 Mike Seeger - Old Time Country Music - Smithsonian Folkways Recordings Catalog No. 02325 - More Information Worried Blues Track No. 155 Mississippi \'s Big Joe Williams And His Nine String Guitar - Smithsonian Folkways Recordings Catalog No. 40052 - More Information Kings Highway Blues Track No. 156 Classical Music Of Iran, The Dastgah Systems - Smithsonian Folkways Recordings Catalog No. 40039 - More Information Avaz Of Bayate Esfahan - Mohamod Heydari Track No. 157 Classical Music Of Iran, The Dastgah Systems - Smithsonian Folkways Recordings Catalog No. 40039 - More Information Dastagh Of Chahargah - Houshang Zarif Track No. 158 Classical Music Of Iran, The Dastgah Systems - Smithsonian Folkways Recordings Catalog No. 40039 - More Information Dastagh Of Homayoun - Hassan Kassayi Track No. 159 Classical Music Of Iran, The Dastgah Systems - Smithsonian Folkways Recordings Catalog No. 40039 - More Information Dastgah Of Segah - Ali Tajvidi, Nasser Effetah, Hossein Fakhtei Track No. 160 Crossroads: Southern Routes - Music Of The American South - Smithsonian Folkways Recordings Catalog No. 40080 - More Information 15 Ans / 15 Years - Les Quatre Vieux Garcons Featuring Dewey Balfa Track No. 161 American Roots Collection - Smithsonian Folkways Recordings Catalog No. 40062 - More Information Lafayette - Lucinda Williams Track No. 162 Cajun Social Music - Smithsonian Folkways Recordings Catalog No. 40006 - More Information Bosco Stomp Track No. 163 Cajun Social Music - Smithsonian Folkways Recordings Catalog No. 40006 - More Information Featuring Nathan Abshire, Mark Savoy, Hector Duhon and Others Track No. 164 Cajun Social Music - Smithsonian Folkways Recordings Catalog No. 40006 - More Information J \'etais au bal hier au soir Track No. 165 Cajun Social Music - Smithsonian Folkways Recordings Catalog No. 40006 - More Information Mamou Two-Step Track No. 166 Cajun Social Music - Smithsonian Folkways Recordings Catalog No. 40006 - More Information Osson Two-Step Track No. 167 Cowboy Songs On Folkways - Smithsonian Folkways Recordings Catalog No. 40043 - More Information Cow Cow Yicky Yicky Yea - Lead Belly Track No. 168 Songs To Grow On, Volume 3: This Land Is My Land: American Work Songs - Smithsonian Folkways Recordings Catalog No. 07027 - More Information Whoopie Ti Yi Yo Track No. 169 Cowboy Songs On Folkways - Smithsonian Folkways Recordings Catalog No. 40043 - More Information Whoopie-Ti-Yi-Yo - Woody Guthrie And Cisco Houston Track No. 170 Heartbeat: Voices Of First Nations Women - Smithsonian Folkways Recordings Catalog No. 40415 - More Information Hallelujah - Betty Mae Jumper Track No. 171 Heartbeat: Voices Of First Nations Women - Smithsonian Folkways Recordings Catalog No. 40415 - More Information World War II Honor Song Track No. 172 Iowa State Fare - Smithsonian Folkways Recordings Catalog No. 40083 - More Information Love Song - Everett Kapayou Track No. 173 Iowa State Fare - Smithsonian Folkways Recordings Catalog No. 40083 - More Information Round Dance Song - Everett Kapayou Track No. 174 Plains Chippewa/Metis Music From Turtle Mountain - Smithsonian Folkways Recordings Catalog No. 40411 - More Information Go Homing Song - Pembina Chippewa Singers Track No. 175 Plains Chippewa/Metis Music From Turtle Mountain - Smithsonian Folkways Recordings Catalog No. 40411 - More Information Many Eagle Set Sun Dance Song - Pembina Chippewa Singers Track No. 176 Plains Chippewa/Metis Music From Turtle Mountain - Smithsonian Folkways Recordings Catalog No. 40411 - More Information New Grass Dance Song - Pembina Chippewa Singers Track No. 177 Plains Chippewa/Metis Music From Turtle Mountain - Smithsonian Folkways Recordings Catalog No. 40411 - More Information Rock Dance Song - Pembina Chippewa Singers Track No. 178 Plains Chippewa/Metis Music From Turtle Mountain - Smithsonian Folkways Recordings Catalog No. 40411 - More Information Soldier \'s Honor Song - Pembina Chippewa Singers Track No. 179 The Mississippi: River Of Song, A Musical Journey Down The Mississippi - Smithsonian Folkways Recordings Catalog No. 40086 - More Information Powwow Song - Chippewa Nation Track No. 180 Music Of Indonesia 2: Indonesian Popular Music - Smithsonian Folkways Recordings Catalog No. 40056 - More Information Curahan Hati - Grup Tanjidor Kembang Ros Track No. 181 Music Of Indonesia 2: Indonesian Popular Music - Smithsonian Folkways Recordings Catalog No. 40056 - More Information Hidup Di Bui - Gambang Kromong Slendang Track No. 182 Music Of Indonesia 2: Indonesian Popular Music - Smithsonian Folkways Recordings Catalog No. 40056 - More Information Putri Gunung - Orkes Kroncong Bintang Track No. 183 Puerto Rican Music In Hawai \'i - Smithsonian Folkways Recordings Catalog No. 40014 - More Information Vals - George Ayala, Bonaventura Van Torres, Leroy Joseph Pinero Track No. 184 Puerto Rican Music In Hawai \'i - Smithsonian Folkways Recordings Catalog No. 40014 - More Information Hawaiian Song Performed As Bolero: Pua \'Olena - The Latin Gentlemen Track No. 185 Latin American Children \'s Game Songs Recorded In Puerto Rico And Mexico By Henrietta Yurchenco - Smithsonian Folkways Recordings Catalog No. ASCH751 - More Information A la vibora de la mar/Serpent Of The Sea Track No. 186 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Lukembi (Mbuti) Track No. 187 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Musical Bow Track No. 188 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Musical Sticks Track No. 189 Mbuti Pygmies Of The Ituri Rainforest - Smithsonian Folkways Recordings Catalog No. 40401 - More Information Slit-gong Signalling Track No. 190 Memphis Slim: The Folkways Years 1959-1973 - Smithsonian Folkways Recordings Catalog No. 40128 - More Information Joggie Boogie Track No. 191 Memphis Slim: The Folkways Years 1959-1973 - Smithsonian Folkways Recordings Catalog No. 40128 - More Information Pinetop \'s Boogie Woogie Track No. 192 Mike Seeger - Old Time Country Music - Smithsonian Folkways Recordings Catalog No. 02325 - More Information Bonaparte \'s Retreat Track No. 193 Mike Seeger - Old Time Country Music - Smithsonian Folkways Recordings Catalog No. 02325 - More Information Rollin \' On Track No. 194 Musical Traditions Of St. Lucia, West Indies - Smithsonian Folkways Recordings Catalog No. 40416 - More Information Jwé Pòté: Ki Bèl Bato (St. Lucia) Track No. 195 Dream Songs And Healing Sounds In The Rainforests Of Malaysia - Smithsonian Folkways Recordings Catalog No. 40417 - More Information Biray Bird - Magpie Robin, Copsychus Saularis Track No. 196 Dream Songs And Healing Sounds In The Rainforests Of Malaysia - Smithsonian Folkways Recordings Catalog No. 40417 - More Information Metal Mouthharp, Biray Bird - Penghulu Senang A/L Long Track No. 197 Rhythms Of Life, Songs Of Wisdom: Akan Music From Ghana, West Africa - Smithsonian Folkways Recordings Catalog No. 40463 - More Information Talking Drum - Elizabeth Kumi, Joseph Manu Track No. 198 The World \'s Musical Traditions Vol. 4: Bunggridj-bunggridj: Wangga Songs By Alan Maralung, Northern Australia - Smithsonian Folkways Recordings Catalog No. 40430 - More Information Bushfire (Australia) Track No. 199 Royal Court Music Of Thailand - Smithsonian Folkways Recordings Catalog No. 40413 - More Information Sounds Of The Surf Overture Track No. 200 Indeterminancy - Smithsonian Folkways Recordings Catalog No. 40804 - More Information Track 3",93);arrFiles[4]=new Array(11,"credits.htm","2005-12-23"," :: Welcome to Soundscapes - Second Edition :: ","","","SITE CREDITS Special Thanks to	Kay Kaufman Shelemay, Harvard University Site Content	Thomas George Caracas Garcia, Ph.D., Miami University Recording Excerpts	Smithsonian Folkways Recordings Book Editor	Peter Lesser, W. W. Norton & Company, Inc. Site Editor	Steven S. Hoge, Associate Director	Norton Electronic Media Site Production and Design:	Soni Web Graphics About Norton:	W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Margaret D. Norton first published lectures delivered at the People \'s Institute, the adult education division of New York City \'s Cooper Union. The Nortons soon expanded their program beyond the Institute, publishing books by celebrated academics from America and abroad. By mid-century, the two major pillars of Norton \'s publishing program-trade books and college texts-were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today - with a staff of 400 and a comparable number of trade, college, and professional titles published each year - W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Close this Page",1);arrFiles[5]=new Array(12,"links/index.asp","2005-11-24","index.asp","","","Introduction - What is a Soundscape Chapter 1 - Sound: The Materials of Music Chapter 2 - Setting: The Study of Local Music Chapter 3 - Significance: Music \'s meaning in Everyday Life Chapter 4 - Music and Migration Chapter 5 - Music and Memory Chapter 6 - Music, Mobility and the Marketplace Chapter 7 - Music and Dance Chapter 8 - Music and Worship Chapter 9 - Music and Politics Chapter 10 - Music and Identity",7);arrFiles[6]=new Array(20,"links/ch01.asp","2006-05-05","ch01.asp","","","http://www.gamelan.org	American Gamelan Institute Web site devoted to publishing, recording, distributing, and providing information on all aspects of Indonesian performing arts and their international counterparts. http://www.seasite.niu.edu/Indonesian/Budaya_Bangsa/Gamelan/ Main_Page/main_page.htm	Web site dedicated to the history, function, and beliefs of both the Balinese and Javanese gamelan . http://www.toucans.net/Gallery/aboutPan.html	Web site about steel drum history, construction, and resources. http://www.shakuhachi.com/	Web site about Shakuhachi history, construction, sheet music recordings, DVDs, and books. http://www.si.umich.edu/chico/instrument/	Instrument Encyclopedia dedicated to organology, showing instruments from many cultures and performance contexts, including information about instrument construction and a section using the Sachs-Hornbostel classification system.",2);arrFiles[7]=new Array(21,"links/ch02.asp","2006-05-05","ch02.asp","","","http://en.wikipedia.org/wiki/Music_of_Ghana	Site dedicated to Ghanaian music including information on highlife, popular music of the 20 th century, folk music, and additional links. http://www.swaminarayan.org/festivals/ganeshchaturthi/	Explanation of the Ganesh Chaturthi festival including a photo gallery and sound files. http://www.sscnet.ucla.edu/southasia/Culture/Music/film.html	Site dedicated to Indian film music. http://www.indiafm.com/	Indian film Web site, including news features, reviews, information about celebrities, and music. http://www.boston.com/ae/music/	Boston arts and entertainment Web site with event calendars and reviews.",2);arrFiles[8]=new Array(22,"links/ch03.asp","2006-05-05","ch03.asp","","","http://www.carnatic.com/	Site dedicated to South Indian classical music, including history, ragas, instruments, books, articles, and organizations. http://chandrakantha.com/articles/indian_music/carnatic_sangeet.html	Site about the history, theory, and development of South Indian classical music, including audio and video files, and additional links. http://www.quinceaneralocation.com/historyofthequinceanera/index.html	Site dedicated to the Quinceañera , including the history of the celebration, how to plan a Quinceañera , and other resources. http://www.bagpiper.com/	Site about bagpipe history that also includes information about bagpipe events, a photo gallery, news, and bagpiper directories. http://www.bagpipesociety.org.uk/	Bagpipe Society Web site, with a newsletter, shop, events updates, membership information, and links.",2);arrFiles[9]=new Array(23,"links/ch04.asp","2006-05-05","ch04.asp","","","http://www.ibiblio.org/chinese-music/	An online Chinese music archive, with history, genres, anthologies, audio files, and links. http://www.arts.utas.edu.au/tongtao/chinese_music.html	Web site with links to Chinese classical, folk music, urban, and post-revolution music. http://www.al-bab.com/arab/music/music.htm	Arab music Web site with links about traditional dances and instruments, articles, music samples, music overviews by country, information on different genres, and many links. http://www.negrospirituals.com/	African American spirituals site, including history, singers, songs, composers, and links. http://www.indianchild.com/Music/download_Vietnamese_songs_music.htm	A directory of Vietnamese music, including downloadable songs, other audio files, and links.",2);arrFiles[10]=new Array(24,"links/ch05.asp","2006-05-05","ch05.asp","","","http://www.alegria.org/mxother.html	A collection of Web resources about Mexican dance, music, art and culture. http://en.wikipedia.org/wiki/Music_of_Mexico	A Web site of Mexican music, including folk, classical, and popular music traditions. http://www.gumbopages.com/neworleans.html	A site dedicate to the music, culture, and food of New Orleans. http://aurgasm.us/2005/09/music-of-new-orleans.html	A site dedicated to the music of New Orleans, including historical recordings, web logs, radio stations, and other links. http://www.jmi.org.uk/	The official site of Jewish Music Institute, a group dedicated to the celebration, preservation, and development of Jewish music. The site includes articles, a newsletter, history and links. http://www.haruth.com/JewishMusic.htm	A site dedicated to various Jewish musical traditions.",2);arrFiles[11]=new Array(25,"links/ch06.asp","2006-05-05","ch06.asp","","","http://www.huapala.org/	Site dedicated to Hawaiian music, including sound files and music history, as well as information on instruments, dance steps, and composers. http://www.hawaiimusicmuseum.org/	Web site of the Hawaiian Music Hall of Fame including news, history, a photo gallery and links. http://www.gamelan.org	American Gamelan Institute Web site devoted to publishing, recording, distributing, and providing information on all aspects of Indonesian performing arts and their international counterparts. http://www.seasite.niu.edu/Indonesian/Budaya_Bangsa/Gamelan/ Main_Page/main_page.htm	Web site dedicated to the history, function, and beliefs of both the Balinese and Javanese gamelan . http://www.silkroadproject.org/	Home page of the Silk Road Project with an overview of the project, a calendar of events, music, and links.",2);arrFiles[12]=new Array(26,"links/ch07.asp","2006-05-05","ch07.asp","","","http://www.bhangra.com/ Bhangra music Web site with music available for downloading, news, reviews, artist profiles and a Bollywood Corner. http://www.indianmelody.com/bhangra.htm	Indian music site with information on various genres, including bhangra , with links and audio files. http://www.www.internationalpolka.com/	International Polka Association Web site with news, events, hall of fame, history, video, and links. http://www.polkamaniac.com/	Polka Maniac, a web site with events, photos, videos, audio files and links. http://www.todotango.com/english/main.html	Tango history, artists, stories, and music are available on this website, which also includes links, musical scores, and a tango discography.",2);arrFiles[13]=new Array(27,"links/ch08.asp","2006-05-05","ch08.asp","","","http://www.tibet.org/Culture/Music/	Web site about Tibetan music, including links, history, and information about Tibetan culture. http://www.musictibet.com/	Tibetan music Web site with information about Tibetan concerts worldwide, music files to download, a photo gallery, news, and links. http://en.wikipedia.org/wiki/Santeria	Site about Santeria history, beliefs, rituals and links. http://www.orishanet.org/santeria.html	What is Santería? This page explains the importance to Santaría of orishas and rhythms, and it also includes news, articles, songs, and links. http://en.wikipedia.org/wiki/Music_of_Ethiopia	The history of the music of Ethiopia with links. http://www.ethiopianow.com/music/	Ethiopian music Web site with news, forum, downloads, and links.",2);arrFiles[14]=new Array(28,"links/ch09.asp","2006-05-05","ch09.asp","","","http://www.music.org.za/	Web site with articles about popular South African recording artists, a photo gallery, news, and events in South African music. http://www.africanmusic.org/home.html	Encyclopedia of African music with links arranged by country. http://en.wikipedia.org/wiki/Reggae	Web site with information on the origins and styles of reggae, the social issues that shape the music, reggae festivals held worldwide, sample sound files, and links. http://www.reggaenews.co.uk/	Reggae Web site with information on events and artists, audio files, an online store, and additional links. http://www.reggaefusion.com/	Jamaican music site covering various genres and including artist profiles, musical events, lyrics, and background on Jamaican culture. http://www.hanksville.org/NAresources/indices/NAmusic.html	Web site of Native American music resources including works by several new artists. http://www.nativeculturelinks.com/music.html	Web index of links to many types of native music organizations and performers, including a number of links to Native American music resources.",2);arrFiles[15]=new Array(29,"links/ch10.asp","2006-05-05","ch10.asp","","","http://www.duke.edu/~azomorod/persian2.html	Web site dedicated to Persian (Iranian) classical music, with history, characteristics of the music, traditional instruments, and bibliography. http://www.iranian.com/music.html	Iranian music Web site, including covering various genres, and including photos and links. http://www.karaokescene.com/	Online magazine about karaoke including information on karaoke clubs, a photo gallery, events calendar, karaoke history, and links. http://www.bme.jhu.edu/~jrice/cz.html	Web site dedicated to Cajun and Zydeco music and dance throughout the world. http://www.cajunfrenchmusic.org/	Web site dedicated to the promotion and preservation of Cajun music and culture including music history, a hall of fame, and links.",2);arrFiles[16]=new Array(31,"quiz/index.asp","2005-12-23","index.asp","","","Introduction - What is a Soundscape -- Chapter 1 - Sound: The Materials of Music Chapter 2 - Setting: The Study of Local Music Chapter 3 - Significance: Music \'s meaning in Everyday Life Chapter 4 - Music and Migration Chapter 5 - Music and Memory Chapter 6 - Music, Mobility and the Marketplace Chapter 7 - Music and Dance Chapter 8 - Music and Worship Chapter 9 - Music and Politics Chapter 10 - Music and Identity",7);arrFiles[17]=new Array(32,"quiz/bottom.asp","2005-11-15","bottom.asp","","","",1);arrFiles[18]=new Array(33,"quiz/homefooter.asp","2005-12-23","homefooter.asp","","","Copyright 2006 © W. W. Norton | Credits | Site Feedback | Technical Support | Print This Page",1);arrFiles[19]=new Array(34,"quiz/homeheader.asp","2005-11-22","homeheader.asp","","","",1);arrFiles[20]=new Array(35,"quiz/homejukebox.asp","2005-12-23","homejukebox.asp","","","-- World Music Quiz JukeBox Index",1);arrFiles[21]=new Array(36,"quiz/homeleftnav.asp","2005-12-23","homeleftnav.asp","","",".asp .asp .asp .asp .asp .asp \') .asp .asp",2);arrFiles[22]=new Array(37,"quiz/top.asp","2005-12-23"," :: Welcome to Soundscapes - Second Edition :: ","","","",1);arrFiles[23]=new Array(38,"quiz/homeleftnav1.asp","2005-12-02","homeleftnav1.asp","","","",2);arrFiles[24]=new Array(39,"quiz/confirm.htm","2006-05-01","W. W. Norton & Company | Inventing America, 2 ed.","","","Your answers have been sent to your professor \'s Gradebook. A copy has been mailed to you at the address you specified, as well.",1);arrFiles[25]=new Array(40,"quiz/ch01.asp","2005-12-23","Welcome to Soundscapes - Second Edition: Chapter 1","","","This page requires a browser that can display frames.",5);arrFiles[26]=new Array(41,"quiz/lower.htm","2005-11-24","Lower Frames","","","",1);arrFiles[27]=new Array(42,"quiz/QuestionLoader.asp","2005-01-17","QuestionLoader.asp","","","0 then	pos=InstrRev(d.name,.htm)	if pos 0 then	Digits=1 \'Determine the chapter number	if IsNumeric(mid(d.name,pos-2,1)) then Digits=2	ChapterNo=Mid(d.name,pos-Digits,Digits)	if Digits=1 then ChapterNo=0 & ChapterNo \'Execute function to load this file	LoadFile BookNo, ChapterNo, d.name	response.write Loaded & d.name &	end if	end if	next	response.endFunction LoadFile (BookNo,ChapterNo, FileName) \'Delete existing questions in case this is a reload	sql=Delete * from Questions where Book_No= & BookNo & and Chapter_No= \' & ChapterNo & \'	Conn.execute sql	r=1 \'Load the file into a text variable and then into an array	set rs=fs.openTextFile(server.mappath(.) & \\ & FileName )	ArrBuf=split(rs.readall,vbcrlf )	Question=	CorrAnswer=	ChoiceA=	ChoiceB=	ChoiceC=	ChoiceD=	ChoiceE=	Review= \'Start parsing the array and loading data into variables	for i=0 to ubound(Arrbuf)-1	Buf=ArrBuf(i)	if mid(Buf,1,1)=q then	ArrSides=Split(Buf,=)	LeftSide=Trim(ArrSides(0))	RightSide=Trim(replace(ArrSides(1),;,))	RightSide=replace(RightSide,,)	Digits=1	if IsNumeric(Mid(LeftSide,3,1)) then Digits=2	if len(LeftSide)= Digits+1 then	SavePrevious	Question=RightSide	elseif mid(LeftSide,2+Digits, 6)= answer then	CorrAnswer=RightSide	elseif mid(LeftSide,2+Digits, 6)= review then	Review=RightSide	elseif mid(LeftSide,2+Digits, 2)=a then	ChoiceA=RightSide	elseif mid(LeftSide,2+Digits, 2)=b then	ChoiceB=RightSide	elseif mid(LeftSide,2+Digits, 2)=c then	ChoiceC=RightSide	elseif mid(LeftSide,2+Digits, 2)=d then	ChoiceD=RightSide	elseif mid(LeftSide,2+Digits, 2)=e then	ChoiceE=RightSide	end if	end if	next	SavePrevious	response.write Successfully added & r-1 & questions, end FunctionFunction SavePrevious \'Save data	if Trim(CorrAnswer) and Trim(Question) then	Question=Question & & a. & ChoiceA	Question=Question& & b. & ChoiceB	if ChoiceC then Question=Question & & c. & ChoiceC	if ChoiceD then Question=Question & & d. & ChoiceD	if ChoiceE then Question=Question & & e. & ChoiceE	Question=Question & Feedback: & Review	Question=FixField(Question)	sql=Insert Into Questions(Book_No,Chapter_No,Question_no,Question_Id,Question,CorrAnswer) values (	sql=sql & BookNo & ,	sql=	sql & \' & ChapterNo & \',	sql=sql & r & ,	sql=sql & \' & BookNo & . & ChapterNo & . & r & \',	sql=sql & \' & Question & \',	sql=sql & \' & CorrAnswer & \')	conn.execute sql	CorrAnswer=	Question=	ChoiceA=	ChoiceB=	ChoiceC=	ChoiceD=	ChoiceE=	r=r+1	end ifend Function%",3);arrFiles[28]=new Array(43,"quiz/upper.htm","2006-05-08","Upper Frame","","","",1);arrFiles[29]=new Array(44,"quiz/upper2.htm","2006-05-08","Upper Frame","","","",1);arrFiles[30]=new Array(45,"quiz/intro.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter Introduction","","","This page requires a browser that can display frames.",5);arrFiles[31]=new Array(46,"quiz/ch02.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 2","","","This page requires a browser that can display frames.",5);arrFiles[32]=new Array(47,"quiz/ch03.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 3","","","This page requires a browser that can display frames.",4);arrFiles[33]=new Array(48,"quiz/ch04.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 4","","","This page requires a browser that can display frames.",5);arrFiles[34]=new Array(49,"quiz/ch05.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 5","","","This page requires a browser that can display frames.",5);arrFiles[35]=new Array(50,"quiz/ch06.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 6","","","This page requires a browser that can display frames.",5);arrFiles[36]=new Array(51,"quiz/ch07.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 7","","","This page requires a browser that can display frames.",5);arrFiles[37]=new Array(52,"quiz/ch08.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 8","","","This page requires a browser that can display frames.",4);arrFiles[38]=new Array(53,"quiz/ch09.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 9","","","This page requires a browser that can display frames.",5);arrFiles[39]=new Array(54,"quiz/ch10.asp","2006-05-08","Welcome to Soundscapes - Second Edition: Chapter 10","","","This page requires a browser that can display frames.",4);arrFiles[40]=new Array(55,"quiz/ConfirmProgRep.htm","2006-05-01","W. W. Norton & Company | Inventing America, 2 ed.","","","Your answers have been emailed to your professor. A copy has been mailed to you at the address you specified, as well.",1);arrFiles[41]=new Array(56,"flashcards/index.asp","2005-12-03","index.asp","","","Introduction - What is a Soundscape Chapter 1 - Sound: The Materials of Music Chapter 2 - Setting: The Study of Local Music Chapter 3 - Significance: Music \'s meaning in Everyday Life Chapter 4 - Music and Migration Chapter 5 - Music and Memory Chapter 6 - Music, Mobility and the Marketplace Chapter 7 - Music and Dance Chapter 8 - Music and Worship Chapter 9 - Music and Politics Chapter 10 - Music and Identity",7);arrFiles[42]=new Array(57,"flashcards/bottom.asp","2005-11-15","bottom.asp","","","",1);arrFiles[43]=new Array(58,"flashcards/homefooter.asp","2005-12-23","homefooter.asp","","","Copyright 2006 © W. W. Norton | Credits | Site Feedback | Technical Support | Print This Page",1);arrFiles[44]=new Array(59,"flashcards/homeheader.asp","2005-11-22","homeheader.asp","","","",1);arrFiles[45]=new Array(60,"flashcards/homejukebox.asp","2005-12-23","homejukebox.asp","","","-- World Music Quiz JukeBox Index",1);arrFiles[46]=new Array(61,"flashcards/homeleftnav.asp","2005-12-23","homeleftnav.asp","","",".asp .asp .asp .asp .asp .asp \') .asp .asp",2);arrFiles[47]=new Array(62,"flashcards/top.asp","2005-12-23"," :: Welcome to Soundscapes - Second Edition :: ","","","",1);arrFiles[48]=new Array(63,"flashcards/intro.asp","2006-05-06","intro.asp","","","Random Shuffle",1);arrFiles[49]=new Array(64,"flashcards/ch01.asp","2006-02-03","ch01.asp","","","Random Shuffle",1);arrFiles[50]=new Array(65,"flashcards/ch02.asp","2006-02-03","ch02.asp","","","Random Shuffle",1);arrFiles[51]=new Array(66,"flashcards/ch03.asp","2006-02-03","ch03.asp","","","Random Shuffle",1);arrFiles[52]=new Array(67,"flashcards/ch04.asp","2006-02-03","ch04.asp","","","Random Shuffle",1);arrFiles[53]=new Array(68,"flashcards/ch05.asp","2006-02-03","ch05.asp","","","Random Shuffle",1);arrFiles[54]=new Array(69,"flashcards/ch06.asp","2006-02-03","ch06.asp","","","Random Shuffle",1);arrFiles[55]=new Array(70,"flashcards/ch07.asp","2006-02-03","ch07.asp","","","Random Shuffle",1);arrFiles[56]=new Array(71,"flashcards/ch08.asp","2006-02-03","ch08.asp","","","Random Shuffle",1);arrFiles[57]=new Array(72,"flashcards/ch09.asp","2006-02-03","ch09.asp","","","Random Shuffle",1);arrFiles[58]=new Array(73,"flashcards/ch10.asp","2006-02-03","ch10.asp","","","Random Shuffle",1);arrFiles[59]=new Array(74,"flashcards/homeleftnav1.asp","2005-12-02","homeleftnav1.asp","","","",2);arrFiles[60]=new Array(75,"flashcards/downloadall.asp","2005-07-16","downloadall.asp","","","0 and x.name=filearr(1) then	datafile= x.name	set xmlobj = createObject(MSXML2.DOMDocument)	xmlobj.async=false	xmlobj.preserveWhiteSpace=false	xmlobj.load(server.mappath(flash/ & trim(datafile)))	set nodes = xmlobj.getelementsbytagname(card)	set nodeschap = xmlobj.getelementsbytagname(deck)%	Title	Description	Reference",1);arrFiles[61]=new Array(76,"flashcards/downloadall_shuffle.asp","2005-07-16","downloadall_shuffle.asp","","","0 then	datafile= x.name	set xmlobj = createObject(MSXML2.DOMDocument)	xmlobj.async=false	xmlobj.preserveWhiteSpace=false	xmlobj.load(server.mappath(flash/ & trim(datafile)))	set nodes = xmlobj.getelementsbytagname(card)	set nodeschap = xmlobj.getelementsbytagname(deck)%	Title	Description	Reference",1);arrFiles[62]=new Array(77,"flashcards/getCards.asp","2005-07-16","getCards.asp","","","for each i in xmldom.childNodes.item(1).childNodes	for j = 0 to ubound(removedarray)-1	removedelement=(removedarray(j)-1)	if ctr=removedelement then	removed=removed & removedelement & ,	flag=t	end if	next	if not flag=t then	newxml=newxml & i.xml	else	flag=f	end if	ctr=ctr+1	next	application(removed)=removed	newxml=newxml &	session(newxml)=newxml	response.write newxml	set xmldom=nothing%",1);arrFiles[63]=new Array(78,"flashcards/getdata.asp","2005-07-16","getdata.asp","","","if not isArray(session(shuffeldata)) then	for i = 0 to ubound(chapters)	datafile= tindall_shi_ch_ & trim(chapters(i)) & .xml	set xmlobj = createObject(MSXML2.DOMDocument)	xmlobj.async=false	xmlobj.preserveWhiteSpace=false	xmlobj.load(server.mappath(flash/ & trim(datafile)))	set nodes = xmlobj.getelementsbytagname(card)	for j = 0 to nodes.length-1 \'response.write nodes(j).xml	ctr=ctr+1	redim preserve arrElements(ctr)	next	next	ctr=0	for i = 0 to ubound(chapters)	datafile= tindall_shi_ch_ & trim(chapters(i)) & .xml	set xmlobj = createObject(MSXML2.DOMDocument)	xmlobj.async=false	xmlobj.preserveWhiteSpace=false	xmlobj.load(server.mappath(flash/ & trim(datafile)))	set nodes = xmlobj.getelementsbytagname(card)	for j = 0 to nodes.length-1 \'response.write nodes(j).xml	arrElements(ctr)=nodes(j).xml	ctr=ctr+1	next	next	else	if isArray(session(shuffeldata)) then \'response.write ubound(session(shuffeldata))	redim preserve arrElements(ubound(session(shuffeldata)))	for i = 0 to ubound(session(shuffeldata))	arrElements(i)=session(shuffeldata)(i)	next	end if \'arrElements=session(shuffeldata)	end if \'if not isArray(session(shuffeldata)) then \'	Redim Preserve arrNewElements(ubound(arrElements)) \'else \'	Redim Preserve arrNewElements(ubound(session(shuffeldata))-ubound(removedarray)) \'end if	ctr=0	flag=f	for i = 0 to ubound(arrElements)	if isarray(removedarray) then	for j = 0 to ubound(removedarray)-1	removedelement=removedarray(j)-1	if i=removedelement then	flag=t	end if	next	end if	if not flag=t then	Redim Preserve arrNewElements(ctr)	arrNewElements(ctr)=arrElements(i)	ctr=ctr+1	flag=f	else	flag=f	end if	next	ArrayShuffle arrNewElements	for i = 0 to ubound(arrNewElements)	response.write arrNewElements(i)	next	session(shuffeldata)=arrNewElements	response.write	response.end	Sub ArrayShuffle(arr)	Dim index	Dim newIndex	Dim firstIndex	Dim itemCount	Dim tmpValue	firstIndex = LBound(arr)	itemCount = UBound(arr) - LBound(arr) + 1 Randomize	For index = UBound(arr) To LBound(arr) + 1 Step -1 \' evaluate a random index from LBound to INDEX	newIndex = firstIndex + Int(Rnd * itemCount) \' swap the two items	tmpValue = arr(index)	arr(index) = arr(newIndex)	arr(newIndex) = tmpValue \' prepare for next iteration	itemCount = itemCount - 1	Next	End Sub%",2);arrFiles[64]=new Array(79,"flashcards/getdata1.asp","2005-07-16","getdata1.asp","","","for i = 0 to ubound(chapters)	datafile= tindall_shi_ch_ & trim(chapters(i)) & .xml	set xmlobj = createObject(MSXML2.DOMDocument)	xmlobj.async=false	xmlobj.preserveWhiteSpace=false	xmlobj.load(server.mappath(flash/ & trim(datafile)))	set nodes = xmlobj.getelementsbytagname(card)	for j = 0 to nodes.length-1 \'response.write nodes(j).xml	ctr=ctr+1	redim preserve arrElements(ctr)	next	next	ctr=0	for i = 0 to ubound(chapters)	datafile= tindall_shi_ch_ & trim(chapters(i)) & .xml	set xmlobj = createObject(MSXML2.DOMDocument)	xmlobj.async=false	xmlobj.preserveWhiteSpace=false	xmlobj.load(server.mappath(flash/ & trim(datafile)))	set nodes = xmlobj.getelementsbytagname(card)	for j = 0 to nodes.length-1 \'response.write nodes(j).xml	ctr=ctr+1	arrElements(ctr)=nodes(j).xml	next	next	ArrayShuffle arrElements	for i = 0 to ubound(arrElements)-1	response.write arrElements(i)	next	response.write	Sub ArrayShuffle(arr)	Dim index	Dim newIndex	Dim firstIndex	Dim itemCount	Dim tmpValue	firstIndex = LBound(arr)	itemCount = UBound(arr) - LBound(arr) + 1 Randomize	For index = UBound(arr) To LBound(arr) + 1 Step -1 \' evaluate a random index from LBound to INDEX	newIndex = firstIndex + Int(Rnd * itemCount) \' swap the two items	tmpValue = arr(index)	arr(index) = arr(newIndex)	arr(newIndex) = tmpValue \' prepare for next iteration	itemCount = itemCount - 1	Next	End Sub%",1);arrFiles[65]=new Array(80,"flashcards/logout.asp","2005-07-16","logout.asp","","","",1);arrFiles[66]=new Array(81,"flashcards/printall.asp","2005-07-16","printall.asp","","","0 and x.name=filearr(1) then	datafile= x.name	set xmlobj = createObject(MSXML2.DOMDocument)	xmlobj.async=false	xmlobj.preserveWhiteSpace=false	xmlobj.load(server.mappath(flash/ & trim(datafile)))	set nodes = xmlobj.getelementsbytagname(card)	set nodeschap = xmlobj.getelementsbytagname(deck)% Title Description Reference",1);arrFiles[67]=new Array(82,"flashcards/printall_shuffle.asp","2005-07-16","printall_shuffle.asp","","","0 then	datafile= x.name	set xmlobj = createObject(MSXML2.DOMDocument)	xmlobj.async=false	xmlobj.preserveWhiteSpace=false	xmlobj.load(server.mappath(flash/ & trim(datafile)))	set nodes = xmlobj.getelementsbytagname(card)	set nodeschap = xmlobj.getelementsbytagname(deck)% Title Description Reference",1);arrFiles[68]=new Array(83,"flashcards/shuffle.asp","2006-02-03","shuffle.asp","","","Select the Chapters: Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10",2);arrFiles[69]=new Array(84,"flashcards/shuffle1.asp","2006-02-03","shuffle1.asp","","","Random Shuffle",1);arrFiles[70]=new Array(85,"outlines/index.asp","2005-11-24","index.asp","","","Introduction - What is a Soundscape Chapter 1 - Sound: The Materials of Music Chapter 2 - Setting: The Study of Local Music Chapter 3 - Significance: Music \'s meaning in Everyday Life Chapter 4 - Music and Migration Chapter 5 - Music and Memory Chapter 6 - Music, Mobility and the Marketplace Chapter 7 - Music and Dance Chapter 8 - Music and Worship Chapter 9 - Music and Politics Chapter 10 - Music and Identity",7);arrFiles[71]=new Array(93,"outlines/ch01.asp","2006-02-03","ch01.asp","","","WHAT IS MUSIC? Silence is more often than not a relative concept Music can be defined as organized sound that is meaningful to people within a given time and place. Closely related music cultures can also categorize the same sounds differently Inuit katajjaq, a vocal game. CHARACTERISTICS OF SOUND Quality: distinctiveness of a particular voice or instrument, also called tone color or timbre . Sound Sources: The Voice Vibrato: a purposeful vibration of the tone straight tone: a sound with little or no vibrato raspy: used to describe a singing voice that is rough or gruff in quality chest voice: produces a low, powerful, throaty vocal production; this vocal quality is often heard in rock music head voice: produces a light, high sound, known in European music as falsetto nasal quality: quality produced by using the sinuses and mask of the face as sound resonators Sound Sources: Instruments Gamelan: large Indonesian instrumental ensembles steel drums: Trinidad, instruments made from modified oil drums, known as pans shakuhachi: Japanese flute associated with court and Zen monks May be closely identified with either men or women. Are markers of ethnic and national identity can attain even deeper associations ( Armenian duduk ) Instruments often carry prestige or status related to their historical roles in society (Ethiopian baganna) The Study and Classification of Musical Instruments Organology: the study of musical instruments Sachs-Hornbostel system: four-part classification system based on the means by which instruments produce sound (fifth later added) Idiophones: self-sounding instruments; the material of which they are made is set into vibration Chordophones: sound source is one or more vibrating strings Lutes: neck and body parallel to the strings. Harp: instrument that has a sound board to which strings are attached at an angle. Lyre: two distinctive arms and crossbar running between them to which the strings are attached. Zither: instrument with a flat body to which strings are attached parallel. Aerophones: Instruments in which h an enclosed column of air vibrates to produce sound. Have an opening or mouthpiece through which the player blows air. Endblown: blown through a hole (mouthpiece) at the end Transverse: blown through a hole on the side Free reeds have enclosed reeds through which air is pushed. Free aerophones act directly on surrounding air without enclosing it. Membranophones: are characterized by a membrane (drumhead) stretched across one or both ends of the instrument. Classified by: Shape: cylindrical, bowl ( kettle ), hourglass or goblet How membranes are attached (glued, tacked, laced, etc.) Ways in which sound is made (hands or sticks) Electrophones: instruments whose sound is produced or modified electronically. Intensity: - the loudness or softness of a sound volume or dynamics May be measured by a decibel meter forte and piano: loud and soft, repsectively Pitch: the relative highness or lowness of a sound, determined by frequency Hearing and Comparing Pitch Systems and Scales The overall compass of pitches from highest to lowest is called range . The distance between pitches is called intervals The order of ascent and descent is called a scale Raga mode pentatonic scale Melody and Processes of Ornamentation Melody: organize pitches into meaningful units Conjunct: close and regular intervals in a stepwise pattern Disjunct: melody moves mainly in larger intervals Melodies can be decorated or ornamented Melodies are made up of phrases Duration: the time element of music Pulse: a regular beat, like a heartbeat Rhythms: patterns arising from different combinations of beats Tempo: the music \'s rate of speed Hearing and Comparing Rhythmic Systems Meter: hierarchical durational system divided in measures. Simple: 2, 3 or 4 beats per measure Compound: 6, 9 or 12 beats per measure Syncopation: adding or subtracting beats from an on-going regular meter Many cultures use irregular or asymmetrical patterns Some music is so flexible in rhythm it is called free rhythm . LISTENING FOR MUSICAL TEXTURE AND FORM Hearing and Comparing Textures Texture is the vertical structure of music Monophony: individual voice or instrument is performing alone ( solo ), or when more than one voice or instrument are singing or playing the exact same melody Biphonic: two distinct lines, the lower sustaining a continuous pitch ( drone ) while the other performs a more elaborate melody above it. Homophony: melody is supported by other vocal or instrumental parts, all of which move along in roughly the same rhythm. Polyphony: Combinations of more than one voice/instrument Polyrhythms: several rhythmic patterns played simultaneously Heterophony: several voices and/or instruments that perform very similar, but slightly different melodies and rhythms at the same time. Hearing and Comparing Forms Form: the shape or structure of music Strophic: structure that follows clearly delineated textual verses or strophes Refrain: verses alternate with a recurring chorus; repeats both the same music the same text Ballad Sama \'i PROCESSES OF MUSICAL CREATIVITY: COMPOSITION, PERFORMANCE, IMPROVISATION Composition: process of creating music Improvisation: spontaneous creation of music during performance",9);arrFiles[72]=new Array(94,"outlines/ch02.asp","2006-05-05","ch02.asp","","","INTRODUCTION: SETTING THE STAGE Setting encompasses multiple contexts. Soundscapes within several urban settings Most communities are complex environments. CASE STUDY: ACCRA, GHANA Hearing Highlife in Accra Highlife is a musical style. The name comes from the 1920s. Bands playing popular tunes Unites several streams of the Ghanaian musical past sea shanties military bands piano music and church hymns Central to Ghanaian life Multicultural Accra Location makes it a magnet for cultural exchange. British Empire English is the official language. Settlements by the Ga people in the fifteenth century Portuguese were the first Europeans. Followed by the Dutch, Danish, and English Ga ethnic community lent distinctive cuisine and traditional music. Homowo Festival mocking hunger Various other festivals Elaborate funerals Expensive, can tax the resources of a family Voluntary funeral associations: Milo Mianoewo. Three-day affair Agbadza dance Popular social dance performed by men and women Agbadza rhythms are, for many listeners, the most familiar aspects of the music. Drums and their music are linked to other Ghanaian ethnic groups. Atumpan: a drum associated with the Akan people Are also talking drums used in the past for communication Ghanaian Christian Music A substantial amount of music-making in Accra occurs within the context of organized religious life. Churches on virtually every block The music unites Western musical influences with Ewe rhythmic complexity. Many churches in Accra hold healing rituals. The Kwabenya Prayer Camp of the Bethel Prayer Ministry International Church Songs, accompanied by instruments, are the main venue through which healing is accomplished. Accra \'s Global Connections The complex blend of local and international give the city \'s music a distinctive, cosmopolitan flavor. Many different musics heard on Ghanaian radio. Accra maintains an active cassette culture. A number of musical ensembles reinforce national identity. Blend of traditional and international summed up in composers J. H. Kwabena Nketia Fuses the sounds and styles of traditional Akan music with an European musical idiom Cow Lane Sextet CASE STUDY: MUMBAI, INDIA The Ganesh Chaturthi Festival Hindu Ganesh Chaturthi festival leads off the pan-Indian festival season every fall. Hindus are the majority, but there are many Muslims and Christians. Community-wide festival promoting solidarity and independence from the British Marks the birthday of Lord Ganesh, a popular Hindu deity Music of Mumbai \'s Ethnic Communities The Koli community, who were the first residents of the area, continue to be a presence in Mumbai. Mumbai is home to musical traditions transplanted through migration. Many gurus migrated around independence. The four Jhaveri sisters were important dancers. Studied with guru Bipin Singh Made subtle changes to dance style North Indian classical music is also actively represented in Mumbai. European classical music has exerted an influence since British arrival. National Center for the Performing Arts Bombay Chamber Orchestra Film Music Film music is everywhere in Mumbai. Indian film industry mushroomed: Bollywood Mass-marketed films known as masala movies Stereotyped, romantic plots with elaborate song and dance interludes throughout Films used the Hindi and Urdu languages of Northern India. Urdu language song genre, the ghazal , most influential Accompanied by sarangi the tabla Popular music from abroad and the transnational music industry have deeply influenced Indian film music. Beyond Film Some film composers have moved beyond the boundaries of film. A. R. Rahman and musical theater Eclectic musical background. Bombay Dreams CASE STUDY: BOSTON, MASSACHUSETTS, US Why Boston? Boston provides both a long history and exceptional ethnic, institutional, and musical diversity. Boston provides a stimulating counterpoint to Accra and Mumbai. Many Boston neighborhoods are also home to different socioeconomic and ethnic groups. Former minorities within the city \'s longtime mainly Euro-American population became a majority. Multicultural mixture of peoples has transformed the South End. What Elements Make Up Boston \'s Musical Life? The Boston Globe has a weekly musical calendar; provides a starting place for mapping musical Boston. Genre categories for musical events include Pop and Rock; Folk, World, and Country; Jazz, Blues and Cabaret, etc. Early music Where and When Is Music Performed? Many music cultures are associated with specific places and times. Symphony Hall Many other well-known performance spaces Churches Neighborhoods provide venues for many musical events. Indoor and outdoor phenomena Buskers in Harvard Square City streets also provide a venue for special music events. City Hall Boston Common and Public Garden Who Makes the Music? Irish Immigration since the eighteenth century Pubs, civic and cultural events Boston College \'s Gaelic Roots Festival each summer Narrative songs, known as ballads, commemorate important events and memorable individuals. The Ballad of Buddy McClean Simple and repetitive melody Portuguese Mostly from Cape Verde Islands and the Azores A musical form popular with Bostonians of Portuguese descent is the fado . Closely associated with the Portuguese capital, Lisbon. Fado is sometimes compared to the blues. Portuguese Americans hear the fado largely through recordings imported from Portugal. Amália Rodrigues is thought to have personified the fado . Ethiopians One of the newest immigrant communities Gala party and feast mounted by Boston \'s Ethiopian community each September in honor of their New Year. City Hall atrium Blend Western with Ethiopian dance, the esskesta Festive occasions are opportunities for immigrants both to come together and to reminisce. Poignant song, Hagerei , recalls the beauty of Ethiopia and expresses the singer \'s homesickness. Uses pentatonic melody based on Ethiopian mode tizita Other communities contribute as well. Japanese music Swiss-based yodeling is popular. Boston \'s Defining Musical Communities Campus music Many colleges and universities New England Conservatory and Berklee College of Music Each campus is a city with its own distinctive soundscape. Tufts University \'s Balinese gamelan MIT \'s Javanese gamelan Gamelan as a symbol of Indonesian identity Popular throughout the world Folk music Traditional folk music and folk music revival Boston \'s importance in the folk music world Boston \'s long liberal tradition and its many colleges made it a magnet for singer-songwriters. Over two hundred venues for live folk music performance in the Boston area MTA Song Early Music Boston provided all the ingredients that allowed early music to flourish. Magnet for professional musicians Many instrument builders Many early music professionals are interested in cross-cultural musical styles. Connections between early music and cross-cultural musical styles can be found in their roots and performance practices. Boston \'s Distinctive Musical Profile All three of Boston \'s major music cultures—campus music, folk music, and early music—are local as well as international, with deep roots in Boston as well as connections to other places. The campus music scene is the most heterogeneous. The folk music revival is the most unified. Early music frequently crosses over to folk and ethnic. University town par excellence CONCLUSION",14);arrFiles[73]=new Array(95,"outlines/ch03.asp","2006-05-05","ch03.asp","","","INTRODUCTION Significance: music is able to elicit many ideas and emotions at the same time. Meaning shapes our perceptions of music \'s importance in our lives in three ways: Accessible for an evening or through the media Sound can also signify entities or ideas within a soundscape. Musical sound can also communicate specific meanings within individual cultures or subcultures. Importance is determined by the understanding of a given music \'s meaning. CASE STUDY: MEANING IN SOUTH INDIAN RAGA Ragas are the Indian system for organizing melodies. May be associated with the time of day or the season of the year Each raga also has emotional connotations within an aesthetic system known as rasa . Raga nilambari is closely associated with lullabies. Can best be represented in Indian sargam notation. Sa, Re, Ga, Ma, Pa, Dha, Ni Each scale degree within a raga is termed a svara A scale degree is combined with a type of ornament called a gamaka . The Tamil word for lullaby is talattu, or tongue rocking. Vocables, araro ariraro , symbolize the motion of rocking a child. Raga nilambari is mostly used as a lullaby CASE STUDY: THE QUINCEAÑERA La quinceañera , celebrated in Latino communities, marks the passage of a teenage girl into adulthood. Celebrates a chronological passage while acknowledging a particular cultural or ethnic identity and religious affiliation. Celebrated with a party or ball A group of female and male friends acts as a court of honor (damas and chambelanos). Urban Mexican American women are more likely to perceive the quinceañera less as an initiation into adulthood than as a symbol of historical limitations on women and their choices in society The music for the celebration depends in part on whether the family is of Mexican, Puerto Rican, Dominican, or of another specific background. Mexican American Often hire live mariachi bands for the celebration Mariachi is a Mexican instrumental ensemble combining trumpets with plucked and bowed instruments of various types. Common in Mexico and the southwestern United States Mariachi musicians often dress like charros , the traditional Mexican horsemen or cowboys. CASE STUDY: BAGPIPE MUSIC The bagpipe is a wind instrument with an air reservoir squeezed under one arm, a blowpipe, and one or more sounding pipes fitted with. The history of the bagpipe extends well beyond its Scottish and Irish roots. Archeological evidence of bagpipes in the ancient Middle East The first known mention of a bagpipe (then called the utricularius ) dates back to the reign of the Roman emperor Nero,. Scottish bagpipe mentioned in the prologue of The Canterbury Tales. Sound The instrument most widely played today in Irish and Scottish bagpipe bands is the Scottish highland bagpipe. Uses characteristic bagpipe ornaments called grace notes or gracings The term cutting refers to the insertion of grace notes to literally cut or divide a sustained sound. Doubling describes a group of several grace notes. A birl is a one type of doubling. Grips are several rapid grace notes in the lower part of the chanter \'s range. Ireland has its own pìob mhór or great pipes. Smaller than the Scottish highland pipes Uses bellows rather than a blowpipe Also known as the uilleann or union pipes. In Ireland both highland (outdoor) and uilleann (indoor) pipes are played. Only Scottish-style pìob mhór are allowed in international competitions. Canntaireachd is a vocal style that imitates the pipes. Voice uses vocables to indicate bagpipe melodies and their gracings. There were several systems of canntaireachd . Setting Death and commemoration Bagpipes have been linked symbolically with warfare and death since 1549. Piobaireachd (pibroch) is a repertory of compositions that emerged through the family of pipers, the MacCrimmons. Consists of: The air , or melody with extended variations Termed ground in English, is always slow and longer than a march or dance tune Bagpipes have been associated with English imperialism. Traditional dress, the kilt Heard throughout the English diaspora Entertainment and dance Today the pipes are still heard at ceilidhs , festive gatherings that include music, socializing, and dancing. Rooted in public dances that flourished in the eighteenth century First consisted of a reel , a dance played by the bagpipe in combination with a strathspey . The term ceilidh now refers to any social-musical event associated with Scottish or Irish traditions. Competition and concerts Occasions of competition and public display have long been an important part of the history of piping. William Cummings Competitive performances featuring several bagpipe bands became common. The bagpipe thus sustains a large musical repertory rooted in its history in Scotland and Ireland, but has also traveled widely over the last. Significance Many meanings have accumulated over time, inspired by the pipes \' presence in a range of settings. Bagpipe music continues to accrue new layers of significance. The 1979 film The Onion Field provides a fine example of the multiple meanings of the bagpipes, as constructed through the lens of literature and film. CONCLUSION",9);arrFiles[74]=new Array(96,"outlines/ch04.asp","2006-05-05","ch04.asp","","","INTRODUCTION Music is important to the migration process for several reasons. Music is portable. The presence of numerous transplanted musical traditions in a single place can have a variety of outcomes. VOLUNTARY MIGRATION Voluntary migration is the movement of people into a new region by choice, motivated by an attraction to the new locale Each wave of migration to North America has had its musical impact. British immigrants, beginning in the seventeenth century, carried ballads with them. They settled in the mountains of what is now Virginia and Kentucky. Two important transmission processes for music oral transmission: music is passed along from person to person through performance written transmission: music is passed along from person to person in the form of written sources Case Study: The Chinese Migration Chinese immigration, which began around 1850, was largely voluntary—motivated in part by the attraction that the United States held for many. Some Chinese immigrants called the United States Jinshan , meaning gold mountain. First immigrants were attracted by the California gold rush. Later immigrants came to work on the transcontinental railroad. Episodic immigration history Many considered themselves temporary residents in the United States. Hoped to make money and return home Since 1960, most Chinese immigrants have come to settle permanently. The song Ng Bok Lai Jinshan (Uncle Ng Comes to the Gold Mountain) traces and recounts details of the Chinese immigration process through music. Traditional southeastern genre called muk \'yu (muyu) . Muyu are both transmitted orally and written down in songbooks. Muyu can be sung by men or women and are performed on a variety of occasions, both public and private. Muyu texts tell of the concerns of everyday life. Written muyu have a fixed form. Singer adds vocables in performance. Chinese operas Since 1990, the performance of Chinese opera has experienced a renaissance in New York City. Chinese operas are now more regularly performed in New York City than anywhere in China. The performance of music across boundaries of homeland and diaspora can at times become the source of controversy. The Peony Pavilion , a classical Chinese opera, was composed by Tang Xianzu in 1598. The US performance was blocked by Chinese authorities. Case Study: Arab Migration from the Middle East Waves of immigration 1870s, entrepreneurial Eden Migration after dislocation by the Arab-Israeli conflict Chain migration Constant flow of new immigrants kept connections to the homeland alive. Hanan Harouni, a Lebanese singer who settled in New York City. Sings mawwal , a traditional Arabic form that alternates sections in free and regular rhythms. The form is set in a contemporary Arab musical mode called huzam . A variety of musical styles—including music popular in Middle Eastern nightclubs—have been innovated by Arab Americans. Arab Americans maintain close ties to their homelands, and many of these connections are reaffirmed and symbolized through song. Lebanese singer Fairuz (Nuhad Haddad) in Las Vegas Used traditional instruments such as the ud Combined traditional Lebanese instruments with Western instruments such as the violin FORCED MIGRATION Case Study: African Forced Migrations Two causes of forced migration—conquest and slavery—continue to reverberate in the background of American life and musical styles. Conquest, the westward expansion across North America, is celebrated in US popular culture. Forced movement of millions of Africans through the slave trade Native American populations severely reduced through warfare and disease Many important musical repertories show traces of the painful experiences of African Americans during the slave era that followed their forced movement to the US. Among the most influential of these repertories is the black spiritual. Musical expression of slaves converted to Christianity The first collection of spirituals was published under the title Slave Songs of the United States. From oral tradition; originally sung in unison Later sung in call and response form. Fisk University Jubilee Singers traveled internationally and included spirituals in their public performances. Folk singers learned spirituals through oral transmission as well as from early recordings. Case Study: The Vietnamese Migration The history of the present-day Vietnamese diaspora had its roots long ago. French missionaries and French colonial control Ho Chi Minh and the Communist North Division into North and South in 1954 American presence and the Vietnam War Many Vietnamese forced to immigrate with the fall of Saigon Later waves of Vietnamese refugees fled mainly in small boats and makeshift rafts. Seventy percent immigrated to the United States, particularly the Gulf Coast and Texas. Vietnamese diaspora communities in large urban centers have also hosted large popular musical events called da vu meaning night dance. These growing Vietnamese communities actively cultivate their music traditions. Occasional visiting troupes of musicians from Vietnam also travel to diaspora communities. The sound of Vietnamese instruments is often intended to elicit a strong emotional response as well. Dan nguyet lute The dan bau , a monochord instrument Consists of a single string, a resonating chamber, and a small bamboo shaft Can render a wide variety of sounds, even an imitation of the human voice. Pham Duy remains the best-known Vietnamese composer in the diaspora. THE NATIONAL ROAD SONG CYCLE Pham Duy \'s Con Duong Cai Quan (The National Road: A Voyage through Vietnam) is a song cycle incorporating several different streams of musical influence. Tells of a traveler \'s journey through Vietnam from North to South. Texts celebrate the cultural diversity and regional differences in the country and trace aspects of its history. Hybrid musical language with both Vietnamese and Western elements Called tan nhac , this style combined Western instruments and Vietnamese lyrics. Nineteen songs divided into three sections North Central Vietnam South Vietnam Sound Song Come to Hue for solo female voice Pentatonic scale The harmony supports the pentatonic sound. Song Who is Walking on the Endless Road for chorus and soloist In pentatonic scale, in three sections Combination of the word ho (pronounced haw), which means to raise the voice, joined with vocables Call and response Setting Pham Duy \'s compositions, like most Vietnamese musics, provide a basis for reinterpretation, easily adapting to different performance contexts. Come to Hue Amateur singer and pianist Popular dance music presented by a local family combo with electric guitars, keyboards, drums, and singer Who is Walking on the Endless Road Arranged for synthesizer and performed in a symphonic version Bridges the gap between Vietnamese immigrants and their children born in the diaspora Significance The National Road has a powerful significance for the composer and evoked a deep response from Vietnamese of the diaspora. Intended as a musical realization of a unified, independent Vietnam, survives only abroad as an important musical symbol of the continuing divide between Vietnamese in their home country and those in the diaspora. CONCLUSION",12);arrFiles[75]=new Array(97,"outlines/ch05.asp","2006-05-05","ch05.asp","","","INTRODUCTION Musical transmission is dependent on processes of remembering. Song texts and melodies can remind us of people, places, and events. Through repeated performances over time and in different settings, music draws on a partly subconscious bank of memories, sometimes triggering long forgotten recollections and emotions. The physical processes involved in musicmaking calls on what has been termed habit memory. When we participate in or hear a musical performance, we experience a	feeling similar to that in which a memory was first generated. The study of musical transmission requires us to think about the processes of remembering. Musicmaking depends on both individual and shared, or collective, memories. REMEMBERING THROUGH MUSIC Case Study: The Corrido The Mexican corrido (ballad) displays the ability of music to evoke memories of particular places, people, and events. In the corridor , as in most other ballads, memories are carried primarily in the text. The melody supports that text and helps the singer recall it during a performance. The corrido first emerged in the second half of the nineteenth century as a song genre shaped by intercultural conflict. Influenced by conflicts between Mexicans and Americans in the Mexican/US border region Became a medium through which Mexicans and Mexican Americans were able to respond forcefully to American domination Corridos of the late nineteenth and early twentieth centuries focused on the actions of important individuals recounted in the hero corrido . The corrido Gregorio Cortez is a famous example of this	repertory. Portrayal of larger-than-life Mexican figures Important to Texan Mexicans Genre entered a period of decline and transformation	in the 1910s and 1920s. The texts about heroes were replaced with what have been termed	victim corridos . Emerged in the 1930s just as Mexican American society was becoming part of a more urban, Americanized culture. Used song to inspire their own community to take collective	action on the victims \' behalf. New revolutionary corrido repertory arose that commented on social and economic hardships. Critiqued the political situation in the 1990s So-called narco-corridos, or drug ballads, are also popular. Compared to gangsta rap Widely performed by popular groups such as Los Tigres del Norte Intended as constructive criticism, not praise Many of the songs speak of the difficult lives of Mexican immigrants to the United States. COMMEMORATING THROUGH MUSIC Case Study: The Jazz Funeral Marks the death of a musician or, occasionally, some other person of note Louis Satchmo Armstrong had two funerals. A conventional ceremony near his home in Queens, New York Old-fashioned jazz funeral in New Orleans Features a jazz band, which improvises on both the melody and accompanying parts of popular songs Features hymns (sacred songs for worship) and dirges (slow instrumental laments) Music played during the return from the cemetery is a fast, lively repertory, in accordance with African American belief that the funeral is not only a farewell, but also a celebration of the person \'s life and a time for rejoicing. Onlookers join the second line, a crowd that follows behind the band and the mourners as they	process through the streets. Once the band is a respectful distance from cemetery, it plays lively marches or popular tunes that contrast with the solemn hymns played on the way to the cemetery. RECONCILING MEMORIES THROUGH MUSIC Case Study: The Syrian Jewish Pizmon Music can sustain memories that seem at odds with the present-day	settings within which the music is transmitted. Pizmon literally means adoration or praise. Most of these hymns consist of Hebrew texts set to	melodies borrowed from Middle Eastern Arab music. Syrian Jews have continued to sing these hymns and have also composed new pizmonim . The Sound of the pizmon The pizmon tradition had its beginnings in the late Middle Ages. Contrafactum is the use of a preexisting melody with new text. Most pizmonim borrow tunes from Arab songs, and are based on the Arab musical system, maqam The core of Arab music Each maqam is a category of melodies that share pitch, content, range, and characteristic ornament. There are at least a dozen important categories of maqamat , each distinguished by its pitch content and ornaments. Scales based on tetrachords Syrian Jews prescribe one maqam to be emphasized each week. Selected pizmonim and important prayers are sung in the weekly maqam . Maqam nahawand from the late nineteenth century has	remained popular into the present time. Sounds similar to the minor scale of Western music Western notation helped standardize maqam Pizmon Attah El Kabbir represents an interesting case study of musical transmission. Pizmon melody maintains a three-part form, the muwashshah Has an improvised layali that establishes the maqam of the subsequent song Maqam ajam is very similar to the Western major scale. Resembles Western melodies Not based on Arab sources The Settings of pizmon performance Most used to celebrate birth, bar mitzvah, wedding, etc. New pizmon composed for birth If a given pizmon became popular, it would be performed at subsequent events and enter chain of musical transmission. Important setting for pizmon transmission is a Sabbath afternoon songfest called the Sebet Plays a major role in Syrian ceremonial and social life Transplanted through migration Includes only unaccompanied pizmonim sung in Hebrew Pizmon are also performed at parties known as haflah that celebrate special occasions such as anniversaries. Songs from which the pizmon melodies have been taken, complete with their Arabic language texts Instrumental accompaniment. Musical sources for diaspora pizmonim Pizmon melodies have been drawn from many sources, including from music traditions Syrian Jews encountered in their new homelands. Mifalot Elohim became a popular pizmon . Based on the Christmas carol O Tannenbaum Rarely sung in Syrian Jewish circles Maqam ajam, even though not an Arab source Continuing Use of Arab Melodies Pizmon depend most heavily on the Arab musical tradition for their inspiration. Pizmon Ramah Evarai was composed for the bar mitzvah. Also used for the dedication of a newly copied Torah scroll Based on the Arab song The Wheat Song Very popular since its composition in 1946 for a movie Composed by Muhammad Abd al-Wahhab, who is known as an innovator Contrafactum text in Hebrew has many hidden meanings. CONCLUSION",11);arrFiles[76]=new Array(98,"outlines/ch06.asp","2006-05-05","ch06.asp","","","INTRODUCTION Global forces shape present-day musical transmission and performance. New settings for musical performance have opened new channels of musical transmission. The juxtaposition of musical traditions within the same settings has also resulted in exchanges between musicians who did not formerly interact. All micromusics can be situated within three interacting and overlapping levels. Subculture: includes local, personal, familial, occupational, and community networks Interculture: subcultures \' influence on each other through economic or commercial connections, proximity, or affinity Superculture: shaped by the power of the state and by the national and global economy TRAVEL AND TOURISM Case Study: The Hawaiian Sound The exhibition and sale of music as part of tourism became a lucrative industry long before that time in many places. Sounds of the steel guitar and ukulele, as well as the swaying movements of the hula dance, became inseparable from the burgeoning Pacific tourist trade. These sounds and sights came to signify Hawaii. The foremost performers responsible for the global marketing of Hawaiian music were not native Hawaiians. The Moe family spent virtually all of their adult lives abroad. Born in Samoa; moved to Hawaii at an early age The brothers split up into separate ensembles. Signed in 1941 by the impresario Felix Mendelssohn The group became quite well known in Europe and Asia. Mendelssohn promoted the Pulu Moe ensemble vigorously, marketing them as foreign and exotic. Tau Moe family continued to tour, and returned to Hawaii in their eighties. Since the 1970s, Hawaii has seen a resurgence of interest in its indigenous music and hula dance traditions. Hula is popular internationally as well. There are approximately forty hula schools in Holland, more than six hundred in Mexico, and about one thousand in Japan. Hawaiian music and hula have become enormously popular among young Japanese women. Today ukulele lessons are aired on Japanese television. Hawaiian music is found internationally in surprising locales. Hula and ukulele workshops and classes are held throughout the US. Hawaii-based dance groups focus entirely on the hula. Many of those abroad in the continental United States teach, perform, and maintain multiple Polynesian dances. The wide array of internationally dispersed Hawaiian music and dance traditions testifies to the impact of tourism on music. INTERCULTURAL TRANSMISSION AND BOUNDARY CROSSING Case Study: New Music for Balinese Gamelan Gamelan internationally supported Indonesian government to represent their indigenous musical traditions abroad. Gamelan has influenced many. Inspiring some to build their own newly designed gamelan and to write compositions for them Inspiring new composition for the traditional ensemble Gong kebyar style was performed by a new gamelan ensemble. New Balinese gamelan began to attract national and international attention. Balinese dancers and musicians performed to great acclaim at the 1931 International Colonial Exposition in Paris. Bali became a chic tourist destination. Bali became the fashion in many distant places. Following Indonesian independence in 1945, Balinese culture was pushed to the fore as an international symbol of Indonesia. A gamelan gong kebyar was installed at the Presidential Palace in Bali. Music also continued to play a powerful role in the internal Balinese political process. In the 1960s, the institutional settings for transmission of gamelan gong kebyar music were altered. Government-sponsored schools for music, dance, shadow puppetry, and visual arts were established in Bali. Schools \' staffs included increasing numbers of Balinese musicians who had received some of their training abroad. The music continues to be multidimensional and embodies the contradictions, continuities, and instability of twentieth-century Balinese history. One well-known Balinese composer at work today is I Nyoman Windha. First made his reputation as an accomplished ugal player Began composing in 1983 Produced numerous works well known both in Bali and abroad Traveled often between Indonesia, the United States, and Germany. In 2003, Windha moved to California. Worked closely with Gamelan Sekar Jaya Kembang Pencak was composed by Windha. Pencak is a type of martial arts from Indonesia, and kembang means blooming. Musical genre: kreasi baru Characterized by diverse ingredients Unstable and asymmetrical sections Quick changes of textures and tempi Windha joined Berkeley \'s gamelan, Sekar Jaya , for a year-long residency. Met Evan Ziporyn Kembang Pencak became the model for a new piece titled Kekembangan . Highlights differences between Balinese and American musical systems and ways of hearing Substitutes a saxophone quartet for the male singers MUSIC AS ART AND COMMODITY Case Study: Traveling the Silk Road The Silk Road \'s new settings The historical Silk Road provides an extraordinary tale of the extensive movement of people and music. Smithsonian Folklife Festival in 2002: The Silk Road: Connecting Cultures, Creating Trust. Conceived by the renowned cellist Yo-Yo Ma. Launched The Silk Road Project to study the historical and present-day flow of culture and ideas along the trans-Eurasian trade routes Hopes to plant the seeds of new artistic and cultural growth Yo-Yo Ma provides a model for musical mobility. Has collaborated with other classical musicians. Performs with musicians well established in other musical styles. Hush with Bobby McFerrin Grammy for Soul of the Tango Obrigado, Brazil Connecting Silk Road sounds and significances The Silk Road Project can be seen as emerging from Ma \'s own expanding interests in different musical traditions. Ma himself has become an active force in initiating musical transmission. Project began its life as a global musical initiative drawing heavily on subcultural and intercultural musical resources. Important goal of the Silk Road project was to bring attention to diverse music traditions from places along the historical Silk Road. Many musicians known to international audiences Chinese musician Wu Man, a virtuoso player on the Chinese plucked lute, the pipa Already established on the global musical scene Ma has worked actively to both commission and perform music. The Silk Road Ensemble The Silk Road: A Musical Caravan CONCLUSION",11);arrFiles[77]=new Array(99,"outlines/ch07.asp","2006-05-05","ch07.asp","","","INTRODUCTION Like music, dance exists in time and space. Dance its musical accompaniment it are so closely joined that both are often known by the same name. Dance almost always makes a statement about its time and place, and about the people who are performing it. Dances can reflect and express a range of emotions. Dance enacts the most important values of a soundscape and serves to communicate and reinforce these ideas. Dance ethnologists specialize in dance studies Choreometrics allows for measurement of many types of movement. HEARING AND FEELING THE DANCE Case Study: Moving through Time and Space with Bhangra Bhangra is a dance tradition that originated in the Punjab region of India, and is now associated with South Asian diaspora communities in Great Britain and North America. Originally referred to the rhythms played by the dhol drums Two-headed drum beaten with curved sticks Each head has a distinctive sound. Giddha: closely related dance for Punjabi women, accompanied by hand-claps rather than drums The dhol rhythm, jhummar , originated in Punjab. Other instruments were used with the dhol drums. Bugdu: a monochord Algoza: a double flute Chimta: an idiophone Bhangra in the diaspora Bhangra might have remained a regional harvest dance had many Punjabis not migrated to Britain in the early 1950s. By the 1960s, bhangra provided a context in which South Asian youths could affirm their cultural identities in a positive way. By the late 1970s, a number of amateur Punjabi groups were performing traditional bhangra at community events. By the early 1990s, bhangra styles had emerged in Great Britain and abroad, and had crossed over into the mainstream. In North America, bhangra performance spread to schools and college campuses. Many campuses now have bhangra clubs. Many students view participation in bhangra as a way to construct a relationship with the traditions of their Punjabi-born parents. Competitive bhangra retains traces of the music, text, and choreography of the Punjabi dance and drumming. Movements of the competitive bhangra dance are much more tightly coordinated than its Punjabi predecessors. Gender segregation into male and female teams performing bhangra and giddha respectively, is common. Many bhangra styles, including rock bhangra , house bhangra , and bhangramuffin , have used new technologies and sampling combined with acoustic instruments. Aao Nachiye was a bhangra hit of the mid-1990s performed by the Sangeet Group. Use of synthesizers and electronic manipulations Retains a number of traditional elements In recent years Bhangra has moved well beyond college campuses to enter the professional Indipop scene. Bhangra has also been performed regularly at clubs in England and in urban North America. Bhangra and hip-hop are partners in creating new hybrid styles. Case Study: The Polka Originated among the Czech-speaking people of Bohemia The polka first appeared in Prague in 1837. Origin of name uncertain It is a dance style in double time performed by couples and cultivated in urban ballrooms. By 1844, the polka was also known in the United States. A large number of Czechs migrated to the Midwest and Texas. Polish and German immigrants also performed the Polka. Popular among Mexicans and Mexican Americans. The accordion was associated with the polka. The polka dance is characterized internationally by its distinctive step. Beer Barrel Polka is one of the most famous early-twentieth-century polkas. Became a landmark polka largely due to its international appearance on jukeboxes Brought the polka to working class people of a wide variety of ethnic backgrounds Reinforced its popularity among Mexican Americans Polkas continue to be widely performed at weddings and have even been played during the Roman Catholic Mass. Milwaukee, Wisconsin is considered the Polka capital of the United States. In 1994, Wisconsin officially named the polka its state dance. DANCE STYLES AND THEIR MULTIPLE MEANINGS Case Study: The Tango Sound and steps The tango \'s musical foundation is a quadruple meter strongly emphasized in the bass. Uses habanera rhythm, named after the Cuban rhythm from which it was derived Circular dance with steps that progress counterclockwise Includes a number of standard motions Some steps are also used in Latin dances such as the chachachá and rumba. Played by the orquesta típical Piano, violin, and bandoneón Eventually became larger ensembles Around 1910, tango dances began to be sung with texts. The singer most responsible for the internationalization of the tango was Carlos Gardel. He was a major force in popularizing the tango in Paris and in Argentina. Tango \'s popularity spread through nightclub performances and recordings, radio, and film. Tango lyrics drew on the lunfardo , a lower-class dialect of Buenos Aires. Organ grinders ( organitos ) also played tangos throughout the streets. Migration of the tango to Europe insured its upward mobility in Argentina. Buenos Aires followed Paris \'s lead in welcoming the tango to upper-class cabarets and theatres. New sounds for the concert hall Astor Piazzolla created a purely instrumental new tango, one not intended for dancing, but for the concert hall. Retained the sound of the bandoneón -centered tango ensemble while expanding the rhythmic and harmonic complexity of the music Reshaped its sound to span the divide between popular and classical music New tango ensemble includes several bandoneón s, strings, and percussion instruments, as well as piano. European classical composers such as Igor Stravinsky had incorporated the tango into their compositions. As the tango spread, different dance styles developed, Argentine style: performed in a close embrace International style: simpler than the Argentine tango, and is highly choreographed for competitions American style: a social dance, although it is used for competitions as well Significance The significance of the tango remains a source of dispute in Argentina. Themes of overt sexuality and male dominance are embedded in the choreography of the dance. Body language incorporates and perpetuates notions of masculine dominance. As the tango spread, it was considered exotic and was exploited as a commodity. Holds great significance for its many aficionados who are enthralled with the grace and rhythm of the dance There are tango clubs throughout the world, including in Argentina, Germany, and Japan.",11);arrFiles[78]=new Array(100,"outlines/ch08.asp","2006-05-05","ch08.asp","","","INTRODUCTION Public celebrations of religious belief have provided important settings for musical performance. Rituals may extend well the boundaries of religious belief. Ritual, sacred service, liturgy, and liturgical order are terms used interchangeably to refer to public acts of worship. Rituals tend to share a common structure. Incorporate a symbolic process or change of state Three stages of a cultural ritual: separation, transition, and incorporation Music often provides clear markers of the stages in a rite of passage. A ritual guides its participants through time in special ways. Music and movement can be crucial to expressing what cannot be conveyed through words. The ability of ritual to evoke a strong emotional and physical response is shaped through different means in different soundscapes. There is no single musical pathway to transcendence. The ritual process can also have very different outcomes. THE CENTRALITY OF CHANT Case Study: Tibetan Buddhist Chant Chant may sound simple, but its musical surface can mask extraordinary depths of meaning. Tibetan Buddhist chant provides an example of such complex significance. Performing chant is instrumental in moving the singer through the ritual process to a transformed state. Ritual meditation text ( sadhana ) evokes the sacred and helps the monk visualize and unite with the deity. The biphonic vocal style of the monks includes a low fundamental in the bass as well as a harmonic high above it. Sound is actually two harmonics, the fifth and the tenth. The fundamental slowly rises and falls throughout the Mahakala ritual. Elaborate ritual comprised of sustained sections of chant ( dbyangs ) Accompanied by cymbals, drums, and horns The Tantra voice referring to its use to sound rituals associated with Tantric belief and philosophy. The rol mo musical repertory has shown that it contains a complex mathematical organization of rhythmic structures. Rhythmic complexities require training and experience to perform and perceive. The rhythms are not metered, cyclical, or irregular. Chant has occasionally been presented in public performance Chant has also been performed in recent years to gain political and financial support for Tibetans exiled from their homeland. It has been used in a range of popular contexts including car commercials on television. THE CHANGING CONTEXTS OF RITUAL PERFORMANCE Case Study: Santería Afro-Cuban religion derived from West African beliefs, language, and practices that were transplanted to the Caribbean and combined with some aspects of Catholicism. Large numbers of Africans were imported in a final wave of slavery as late as the mid-ninteenth century. African slaves in Cuba managed to create social institutions that perpetuated and transformed the traditions they had brought with them. Cabildos are organizations established in Cuba by Africans who had shared roots in the same African linguistic and cultural group. They were increasingly regulated by the Cuban government over time. Legal restriction in 1888 Practiced informally and in secret Worshipped orishas or santos which joined African deities with Catholic saints Each was associated with particular herbs and plants, and further associated with its own chants, drum rhythms, and dance movements. Complex rituals sought to help practitioners achieve divination and trance states. The goal of Santería worship is to establish a relationship with the orishas. Animal sacrifices made in hopes of obtaining help from the orishas with the problems of daily life. Worshipers of the orishas came to be called santeros . Within the rituals of Santería, batá drums summon the orishas at certain times. Santero or santera will be possessed or mounted by an orisha . Possession is regarded as dangerous for those who are not spiritually developed. Chanting has long been an important part of the Santería rituals. Chants were almost always performed in call-and-response style. A chant is identified with a particular orisha . Chants differ in their content and function. Their power is to communicate with the divinities—to bring down the orishas . As the Santería belief system was adopted throughout the diaspora, some of its Catholic practices were abandoned. Emphasis was placed instead on the rituals associated with its African roots. New performance settings arose, with some practitioners taking the controversial step of opening formerly secret rituals to the public. Case Study: Ethiopian Christian Chant The Ethiopian Christian Orthodox Church One of the oldest Christian denominations in the world Close relations with the Coptic Church of Egypt. Church stood at the center of Ethiopian religious life and the political and cultural life of the people. Overthrow of Haile Selassie diminished the status of the church. Forced millions to leave Ethiopia Ethiopians established diaspora communities Ethiopian chant in its historical homeland Ethiopian Christian chant is called zema . Attributed in traditional Ethiopian sources to the divine inspiration of Saint Yared Transmitted primarily through oral tradition System of musical notation helps sustain musical and liturgical transmission. Elaborate chant performance the ritual called the Hymnary. Performed before the Mass on Sundays and during festivals Includes nearly two dozen types of chants Sound Three categories of melody associated with the Trinity Ge \'ez symbolically linked with God the Father The most often performed of all three categories Not associated with any single occasion Araray symbolizes Jesus, the Son. Often used for daily morning services \'Ezl represents the Holy Spirit Used mainly for Holy Week and Easter Yome fesseha kone in Ge \'ez mode Sung as part of the Ethiopian ritual for Christmas Involves distinctive vocal slides called rekrekk In the liturgical setting, this chant is preceded by the singing of hallelujah. Plainchant style antiphonal style This chant can help us understand the extent to which pitch is perceived differently across cultural boundaries. Ethiopian notational sign (melekket) represents a short melody. The melekket is the smallest musical unit transmitted by Ethiopian church musicians. Several melodies linked together constitute a phrase of the chant. Dabtaras do not hear the chant as consisting of a series of individual pitches. Learn entire chant as performed in ritual Practice by repeating short phrases after the teacher Accompanied by sistra, small idiophones Named patterns of three, four and five Repetitions accompanied by kebaro drums Ethiopian chant in its North American diaspora Ethiopian Christian Orthodox Church has established itself outside Ethiopia after revolution of the 1970s. Many urban areas support several Ethiopian congregations. Most of these congregations lack their own meeting spaces and depend on the generosity of other Christian denominations. Challenges confront Ethiopians of the diaspora seeking to sustain their religious and musical practice in North America. Ethiopian Americans have established both community organizations and extensive social networks. Difficult to gather the necessary funds to sustain even a modest Ethiopian Christian ritual cycle Severe shortage of qualified clergy Places the Ethiopian church \'s music traditions at particular risk in the diaspora The impact on liturgical music of changing settings at home and abroad Church music has clearly changed in the diaspora. The regular performance of the Hymnary is mounted only on special occasions. In some instances, Hymnary is not performed during diaspora church services at all. Presented at concerts for the Ethiopian community on holidays These events can attract a sizable audience. Other changes within the rituals have taken place as well. Women began to participate. Youth choirs began to sing hymns before and after Mass. A new style of sacred musical has emerged. Sunday schools opened a pathway for women to become active in Ethiopian Christian worship. New hymns have proven very popular. Sacred music remains a vital part of the life in the Ethiopian diaspora. CONCLUSION",14);arrFiles[79]=new Array(101,"outlines/ch09.asp","2006-05-05","ch09.asp","","","INTRODUCTION Music has always been an integral part of formal displays of political power. It has traditionally conveyed both national identity and official ideologies through symbolic acts, such as the singing of a national anthem. Important to recognize the difference between open and coded political messages Musical displays of power, or public transcripts, often affirm and perpetuate an existing power structure. Hidden transcripts may be used to describe musical performances and repertories through metaphorical or coded terms. Music is crucial in understanding and interpreting how power is enforced as well as how it is challenged. Music can empower people within a particular setting while being used and transformed in very different contexts MUSICS OF POWER AND RESISTANCE Case Study: The Birth of a National Anthem Music can challenge inequitable power relations. Nkosi Sikel \' iAfrika originated as a Christian hymn and was transformed into a musical emblem of political resistance. In the 1990s, it became a respected national anthem. Melody was composed by a choirmaster and teacher at a Methodist mission school near Johannesburg, South Africa. The text is sung in several different South African languages. Deeply influenced by Western music and harmony Became associated with the African National Congress (ANC) Nelson Mandela was its leader for much of the late twentieth century. ANC was banned by the South African government as subversive. With Mandela \'s release and subsequent presidency, the nation needed a new anthem. For a time, The Call of South Africa and Nkosi Sikelel \' iAfrika were designated as dual national anthems Nkosi Sikelel \' iAfrika was viewed as an anthem of freedom and independence throughout Africa. Became the official national anthem of countries such as Tanzania and Zambia South African government later approved a single, composite national anthem. Over the years, Nkosi Sikelel \' iAfrika has continued to accrue multiple layers of meaning: As a Christian hymn As a song of resistance As an integral part of the new South African national anthem Case Study: Reggae Ras Tafari became Emperor Haile Selassie of Ethiopia in 1930. Became a widely known and compelling figure to many people of color in North America and the Caribbean His government \'s autonomy was challenged by the Italian invasion in 1935. Provided a symbol for the Rastafarian political/religious movement Became closely associated with the musical style known as reggae Rastafarian movement had its philosophical roots in the 1920s and the Back to Africa movement. Belief that a black king in Africa would mean deliverance for all black people Coronation of Ras Tafari as Haile Selassie was interpreted as the fulfillment of these prophecies. In the West Indies, an outcome of these events was the formation of groups supporting the Ethiopian emperor. Heralded the downfall of Babylon, and an end to colonial rule Promised deliverance of oppressed blacks Rastafarianism provided fertile ground for the development of powerful rituals and symbols. Green, yellow, and red, the colors of the Ethiopian flag were adopted by Rastafarians. Dreadlock hairstyles Use of mind-altering substances At first, no single musical style was associated with Rastafarianism. By the early 1960s, a predecessor of reggae called ska was popular. Based on an indigenous Jamaican rhythm Ska was followed in the mid-1960s by rock steady. Slower tempo Texts discussed freedom and equality In 1968, reggae came on the scene Its name was taken from the song Do the Reggay. Defined early on as encompassing poverty, suffering, Rastafari, everything in the ghetto. Regular Rhythm is essential to the Rastafarian reggae tradition: riddim . Some riddims are named, such as cordiroy (corduroy), bangara (from bhangra ) , or diwali , (a Hindu festival). Reggae musicians have taken strong political stands through their music. Internationally, Bob Marley has become the musician most widely associated with reggae and other Jamaican musics. Reggae has maintained its status as music of political resistance through various transformations on the international stage. Reggae entered mass culture through recordings. Led an increasingly dual life as both a cult and commercial music The 1990s also saw the emergence of new kinds of localized reggae styles such as reggaeton . Case Study: The Shoshone Powwow The setting of Shoshone Indian Days The first Native American powwow was held in the late nineteenth century. Algonquian word pawwaw means healing ceremony By 1900, the word was applied to any type of Native American gathering. The modern intertribal powwow has its origins in 1920s Oklahoma. Large, intertribal powwows became increasingly widespread over the years. Today, the number of North American powwows is estimated at more than two thousand per year. The Eastern Shoshone Indian Days festival is part of the increasingly well-established powwow circuit. The powwow takes place in the town of Fort Washakie, Wyoming. Wooden arbor is the focus of powwow activities. Center of arbor is reserved for dancers. During the evening hours, the powwow dance competitions are held. Participants come from throughout the West. Features multiple drum groups that take turns accompanying the dancers Competitive dances are usually divided into separate traditional and fancy styles. Fancy and Traditional War Dances for men Main difference between the styles is that there are added spins and twirls in the choreography of the Fancy War Dance. Women originally did not dance the War Dance, but they do today. The traditional dances have lost some of their popularity. Fancy War and Fancy Shawl Dances are popular with young people. Jingle Dress Dance is popular. The focus of most modern powwows is the dance competitions The Flag Song \'s sound and significance Every powwow begins with a grand entry Veterans carry in the American flag, the state flag, and banners of the Veterans of Foreign Wars. Flag presentation is accompanied the Flag Song. Solemn ceremony Shoshone repertory contains many Flag Songs. Native American flag ceremony replaces the national anthem with Native American song. New Flag Songs commemorate the different military conflicts in which Native Americans have served. Honoring warriors in song: the War Dance War Dance Songs make an overt political statement. Warrior-fighter has given way to the warrior-dancer. Present-day War Dances mimic traditional military movements. Motions sustain the War Dance \'s historical connections to the Wolf Dance. War Dance is also connected to nature. The War Dance Song is the centerpiece of the powwow. Shoshone singers often borrow songs from other groups. Sometime borrow from non-Native American sources The changing settings of powwow music The music of the powwow has also shifted to new settings. Half-time at football games Rodeos and other ceremonies Reaching new audiences through mass media American Indian Dance Theatre CONCLUSION",12);arrFiles[80]=new Array(102,"outlines/ch10.asp","2006-05-05","ch10.asp","","","INTRODUCTION Among the many elements that define our identities are ethnicity, race, class, gender, and religious orientation. National or regional heritage, language group, political affiliation, and occupation may also contribute. Identity is almost always constructed in relation to groups that we either wish to be part of or seek to distinguish ourselves from. Identities are complex formations that rarely stay static. Today many music traditions remain closely associated with communities that share background and history. Many aspects of ethnic identity are shaped by descent; others are determined by consent and consciously chosen through affiliations. Musical styles that symbolize identity maintain strong links with the past or with an original homeland. A challenge in charting identity in the twenty-first century, and its expression through music, is the increasing separation of identity from place. Geographic location is one of many important contextual factors that may define a soundscape. EXPRESSING INDIVIDUAL AND GROUP IDENTITIES THROUGH MUSIC Case Study: The Music of a Persian Composer Reza Vali was born in Iran in 1952. As a child, he was not educated in the techniques of Persian music. Grew up schooled in the Western classical music tradition. Vali \'s knowledge of Western musical instruments and styles was acquired at home in West Asia. Further developed during his education in Europe Settled in the United States Interest in indigenous Persian music began when he was a teenager in Iran. His early involvement in it focused on ethnomusicological work. Not focused on transmitting or performing traditional styles A flexible approach is need to think about a soundscape \'s setting and aspects of sound and performance. Vali \'s flute concerto brings together multiple elements from the composer \'s background and musical experience. Commissioned by the Boston Modern Orchestra Project and first performed on February 13, 1998. Substantial Iranian musical influence Soloist hums while playing the Western flute. Sound resembles the Persian ney Instrument of antiquity Western instrument with Persian influence through unusual flute effects Composer started experimenting with effects in 1987. Effects including polyphony. Influenced by both Persian classical and folk music as well as by Persian visual arts. Flute concerto may sound random or improvisatory, but very little is left to chance or to the discretion of the musicians. Flute player is given explicit instructions about how to produce the desired sound. The composition also includes instructions to other instrumentalists. Vali clearly draws inspiration from Persian music while representing in sound the complex identity of a Persian expatriate. His work \'s commentary on the dialectic between Western and world musics transcends issues of individual and community Considers broad questions regarding the role of music as it seeks to convey intercultural identities Reza Vali \'s music provides an example of informed musical synthesis. Case Study: The Multiple Meanings of Karaoke Karaoke (empty orchestra) originated in 1972 at a snack bar in Kobe, Japan. Technologically mediated musical performance Spread throughout Japan and Asia, later internationally Karaoke has been discussed by scholars on several levels: As a performance medium grounded in new technologies As a setting-specific musical genre As a ritualized form of musical behavior Karaoke is closely associated with particular social settings. Originally popular in bars and night clubs; substituted for live performance Also had an active life at dinner parties and in private homes In Japan, both social and musical behaviors associated with karaoke are quite formalized and patterned. Rules for karaoke performance circulate formally in karaoke journals. Popular list of seven taboos in karaoke Rules are intended to help regulate gender hierarchies and politeness in public space. Additional hidden rules as well. Karaoke draws on the traditional Japanese value of kata (patterned form) Pervades many Japanese arts. expressive forms are composed of precise, named patterns. Form is here considered to be more important than original content. The kata principle as manifested in an historical musical style is found in the kabuki theatre. Kata guides everything. Kata shapes musical expression. Kata provides the aesthetic framework for repeating a well-known pattern, an aesthetic that reverberates through karaoke. Karaoke also draws on a long tradition in Japan of communal, public singing. One Japanese popular song genre, called enka , is particularly associated with karaoke . Enka is based on stylized formulas. The karaoke singer of enka must reproduce the song \'s words and music and imitate the original singer \'s style. Enka highlights shared values and forges group identity karaoke has deep roots in traditional Japanese values and maintains a broad-based popularity in Japan supported by an active karaoke culture. The karaoke performance derives its significance from intimate settings. Karaoke first spread throughout East Asia. Changes were introduced as it was adopted in different national settings. Others worldwide have adapted karaoke to a variety of settings. Case Study: Multiple Identities in Cajun and Zydeco Music The French heritage of Creoles and Cajuns Creoles and Cajuns share the same language and the same geographical region. Both traditions trace their roots to the French-speaking people who arrived in Louisiana between the sixteenth and seventeenth centuries. Creoles are a heterogeneous group of people who are of mixed French, Spanish, and African or Afro-Caribbean descent. Cajuns arrived later, beginning in 1755. Cajuns descend from a more homogeneous community of French refugees who lived in Acadia. Expelled by the British The name Cajun derives from the French adjective acadien , meaning a person from Acadia. Present-day musical style most closely associated with Creole identity—zydeco music—emerged only in the mid-twentieth century. Setting: musics of place Cajuns sustained their French traditions and language, which increasingly, came into contact with a number of other peoples and cultures. Gave rise to a rich, distinctive culture—and musical style. The culture and the music, along with the people themselves, came to be known as Cajun. Cajuns contributed to other well-known American musical styles. Ensembles consist of accordion, fiddle, guitar, triangle, and drums. Fiddle traveled with the Acadians. Accordion was introduced by German immigrants. Electric guitars and drum sets were incorporated into Cajun bands. Emphasis in many Cajun songs is on the sound of the words. Cajun French has declined dramatically. Cajun song was one of the few means of preserving the special Cajun French dialect. The button accordion is at the heart of the Cajun sound. The association of Cajun music with dance has played an important part in keeping Cajun music alive. Sound and significance: singing ethnicity, race, and class Historically, Cajun and Creole cultures have had much in common. Poor Creoles of color and Cajun whites worked side by side in the same fields. Prolonged period of cultural exchange between the groups resulted in culinary and linguistic blending. Cajun dialect of French took on distinctive local features. Cajun and Creole musicians even played together. Cajuns and Creoles extend to their names for the very places they jointly inhabit. Complicated musical, racial, and cultural interactions emerged including, after World War II, a distinctively Creole music that came to be called zydeco. Zydeco has interacted with other African American and Caribbean traditions. Zydeco was at first influenced by Cajun music; later zydeco began to influence Cajun musicians more strongly. Zydeco uses the same core ensemble as Cajun music. Part of zydeco \'s distinctive sound came from a found instrument: a steel washboard or rub board. In black Creole society, as well as in Cajun circles, music flourished in bals de maison (house dances). Zydeco \'s kings and queens The use of the titles king and queen comes from Joe Falcon, who called himself the Famous Columbia Record King. Zydeco kings ruled this male-dominated tradition. Very few women were able to make careers as zydeco musicians. Ida Guillory is an exception among zydeco musicians. Queen Ida \'s musical style embodies all the hallmarks of zydeco. Virtuo accordion player Raising voices together: uniting Cajun and zydeco Interaction between Cajuns and Creoles is once again emerging. New bands are now bridging the racial and musical gap.",14);arrFiles[81]=new Array(104,"glossary/a.asp","2006-05-05","a.asp","","","A 440 : The sound that is produced when a string or air column vibrates at 440 cycles per second is assigned the pitch value A. Western orchestras tune to A 440. Acadian : French settlers from Acadia (later named Nova Scotia) who were exiled to Louisiana. See also Cajun . accent : Stressing a pitch through different types of emphasis, including increased intensity , changes in range or by lengthening duration . accompaniment : Instrumental support for a foregrounded melody or solo instrument. accordion : A free aerophone with reeds hidden within two rectangular headboards connected by a folding bellows. Keys or buttons on the right-hand side play melody , while buttons on the left play bass chords . acoustics : The science explaining the nature of sound . acrostic : A word spelled by reading down the first letters of the lines of a poem. Addis Ababa : The capital of Ethiopia . aerophones : Instruments which sound through the vibration of air. One of the five main classes of instruments in the Sachs-Hornbostel system , subdivided into trumpets and horns, pipes ( flutes and reeds ), and free aerophones . African National Congress (ANC) : The South African organization, headed by Nelson Mandela, which led the fight against apartheid. Afrikaaner : A descendant of the Dutch settlers of South Africa . Afrikaans : A South African language developed from nineteenth-century Dutch. air : A slow and long main theme, also known as a tune or ground. See also allrd urlar . air and variations : A musical form where a main theme is repeated with different alterations to its melody , harmony , rhythm , etc. al-Wahhab, Muhammad ëAbd : Famous Egyptian composer and player of the ëud . Aleppo : The second largest city in Syria; historical home of the Syrian Jewish community. Allons_É_Lafayette Allons ý Lafayette : Recorded in 1928 as the first commercial Cajun ethnic recording . allrd urlar : A Gaelic term for the ground or melody that is used as the theme in a pibroch . Amazing Grace : A popular hymn , the text of which is attributed to the eighteenth-century English evangelist and former slave trader, John Newton. See also New Britain . Amharic : A Semitic language, Amharic is the official language of Ethiopia . antiphonal : A performance practice which involves alternating between two or more singers or players who may be separated from each other spatially. Apache Indian : Stage name of Steve Kapur, the singer who developed the bhangramuffin style. arbor :The circular structure surrounding the courtyard where the powwow is held. Argentina : Country in southern South America. Birth-country of Astor Piazzolla . See also compadrito , gaucho , organ grinder and tango . articulation : The manner in which a note is begun or finished. See also slide . Ashear, Cantor Moses : An Aleppo -born cantor and composer of pizmonim who immigrated to New York City in 1912.",7);arrFiles[82]=new Array(105,"glossary/b.asp","2006-05-05","b.asp","","","Baez, Joan : An American political folk singer born in 1941 whose songs focus on non-violence and social change. bagpipes : An aerophone with one or more drones and a chanter which are all attached to an air reservoir (the bag) allowing for uninterrupted sound production. The bag is filled continuously either by mouth through a blowpipe or by a set of bellows. Balfa, Dewey : Famous Cajun fiddler. ballad : A song genre commemorating important events and memorable individuals usually with a strophic form . Examples include broadsides , the corrido , the English ballad and the Irish ballad . ballroom dance : Partnered, structured dances which are danced for both recreation and competition. Some of the more common ballroom dances are the Foxtrot, Tango ,Waltz , Cha Cha, Rumba, Salsa and Swing. bandoneûn : A button accordion , associated with the tango . banjo : A plucked lute with a long neck, predominately metal strings and a shallow single-headed membranophone as its body. Bar Mitzvah : The religious ceremony that marks the formal passage of Jewish boys to adulthood at age thirteen. barrel organ : A small, portable organ with a crank which turns a barrel on which notes are encoded with pins. The turning pins trigger individual pipes to sound. The player of a barrel organ is typically called an organ grinder . barrio : A Spanish term for an urban district or suburb. batá : Double-headed membranophones usually played in sets of three (the Iy·, the Itûtole and the Okonkolo) in Santerìa ceremonies. beat : An individual pulse . beating tones : Acoustical phenomenon perceived as a shimmering quality when two slightly different pitches are played at the same time. bellows shaking : An accordion technique which results in an intensified tremolo or vibrato . Bembè : A traditional Santerìa religious feast. Bengal : A region of South-Asia that today is divided between Bangladesh and northeastern India. Berhanu Makonnen : A great Ethiopian musician who is a dabtara , priest and teacher of zema . bhangra : A dance that has its origins in the Punjab region of north India and Pakistan. Modern bhangra is a tightly choreographed group dance, with pronounced leg and shoulder movements and occasional waving of arms high overhead. Bhangra has become a popular competitive dance in the Asian diaspora. bhangramuffin : A style developed by singer Apache Indian for his amalgam of bhangra , reggae , hip-hop and Anglo-American pop. bimusicality : Mantle Hoodís 1960 proposal that scholars be equally proficient in performing the musical traditions they research as they are in their native musical traditions. biphonic singing : A singing technique of Inner Asian origin where two tones (the fundamental and an emphasized overtone ) are made audible simultaneously by a single singer. Also known as harmonic singing. See khoomii . birl : An onomatopoeic reference to a quick ornamental figure of two adjacent pitches in bagpipe music . blowpipe : The pipe through which a bagpiper blows to fill the bag which feeds air to the drones and chanter . bolis : Short solo phrases, traditionally sung without accompaniment at the beginning of punjabi songs. bombos : Peruvian membranophones . Boston : A seaport on the coast of Massachusetts founded in 1630. Br-Asian : The Asian community in Britain. break-dancing : The dance form which emerged from the hip-hop movement. broadsides : English and American narrative poems of the 16th to 19th centuries which were printed on one side of a page. They generally addressed contemporary events and personalities. See also English ballad . Brooklyn : One of the five boroughs of New York City. buskers : Public street performers who collect donations from passers-by. button accordion : See bandoneûn.",8);arrFiles[83]=new Array(106,"glossary/c.asp","2006-05-05","c.asp","","","ca hue : Vietnamese chamber music . cadence : A melodic or harmonic figure that creates a sense of repose or resolution. Cadences typically occur at the end of a phrase or piece. In the middle of this excerpt a verse ends with a cadence during the text ìand I with Thee one. cadential : See cadence . cadenza : An elaborate solo that sounds improvisatory and is traditionally played near the end of a concerto movement. Cajun : A corruption of the term Acadian , referring both to the French-speaking people forced to migrate from Nova Scotia to Louisiana in the eighteenth century, and to their cultural life. call and response : A performance practice in which a leader makes a musical statementand another performer (or group of performers) responds with a musical answer. The_Call_of_South_Africa The Call of South Africa : Afrikaans song that was previously the South African national anthem . cancionero : A Spanish term for a collection of lyric poems, which sometimes include music . canntaireachd : See mouth music . ceilidh : A social or musical event dating back to the eighteenth century and associated with Celtic traditions. Celtic : Referring to the culture of the Celts. Celtic roots remain in the Scottish Highlands , the Isle of Man and in Ireland . The native Celtic language is Gaelic . chain migration : A process of migration in which immigrants follow a network of extended personal and familial networks to a particular community. chamber music : Western classical music written for a small ensemble . Performances of such music often occur in more intimate performing venues than concert halls. chamber orchestra : A small orchestra popular in eighteenth-century Western Europe. The largest chamber music ensemble . Changû : The saint ( orisha ) of virility and strength in the Santerìa tradition. changó : A Korean double-headed hourglass membranophone . chant : A general term for musical settings of sacred texts. Chant Down Babylon : Rastafarian phrase of resistance. chanter : The pipe on a set of bagpipes on which a melody can be played. The chanter on the Scottish Highland bagpipes has eight finger holes, is normally capable of nine notes and has a double reed which contrasts in sound quality with the single reeds of the drones. charro : Mexican cowboy dress which is closely associated with the mariachi identity, charro consists of a ìsombrero (wide-brimmed hat), a short jacket, a large bow tie and tight trousers with rows of ìbotonaduras (shiny buttons). Chenier, King Clifton : Famous zydeco accordionist who is also credited with the design of the rubboard . chicken dance : Shoshone War dance which emulates the behavior of the sage chicken. chimes : See palm harmonics . chord : A set of three or more pitches sounding simultaneously. chordophones : Instruments with strings which may be plucked or bowed. One of the five main classes of instruments in the Sachs-Hornbostel system , chordophones are subdivided into zithers , lutes , lyres and harps . chorus : A large ensemble of singers performing together, sometimes under the guidance of a conductor. Also another word for refrain . classical : In music , ìclassical is used to describe a cultivated or esoteric musical tradition. Also refers more specifically to Western classical music . Comanche : A Native American community in Oklahoma, separated from the Shoshone nation during eighteenth-century forced migrations. commodification : The transformation into a product which is bought and sold. compadrito : A type of urban gaucho who was at once Don Juan and pimp. concerto : Music written for orchestra and a solo instrument. concussion idiophones : A sub-class of idiophones which consist of instruments which are struck, often in pairs. conjunct motion : Stepwise melodic movement using small intervals. See also disjunct motion . conjunto : A distinctive style of accordion music popular among Mexican-Americans in border areas since the 1930s.The conjunto ensemble included an accordion , guitar , bass and percussion. contour : Contour refers to the shape of a phrase or section of music , generally as understood through the way its pitches move. The pitches of an ascending contour go up, while those of a descending contour go down. contrafactum : A song in which new text is set to a borrowed, pre-existing melody . conventional signs : A special category of Ethiopian notational signs that do not derive from the Geëez syllabary. copyright : The legal protection of intellectual property. corrido : A type of ballad particularly popular in Mexico which commemorates important historical events and memorable individuals in Mexican and Mexican-American history. The songs are usually strophic in structure. Cortez, Gregorio : Turn-of-the-century fugitive whose life is documented in a famous corrido ballad . countermelody : A melodic contrast to the main melody or tune, played at the same time. Creole : Term applied to French-speaking people of color in Louisiana who share folklore, foodways and zydeco music . critical listening : Focused listening. cross-cultural : A practice or term that applies to more than one culture . culture : The collection of beliefs, concepts, arts, crafts, skills, ideas, customs and practices held jointly by a particular group of people during a particular period of time. cutting : The insertion of grace notes between two notes of the same pitch in bagpipe melodies .",11);arrFiles[84]=new Array(107,"glossary/d.asp","2006-05-05","d.asp","","","dýn b’u : Vietnamese zither with a pitch-bending bar. dýn ken : Vietnamese double reed aerophone . dýn nguyet : Vietnamese moon-shaped, long-necked lute with two strings. dýn nhi : Vietnamese two-stringed, bowed lute . dýn tranh : Vietnamese sixteen-string zither . dabtara : Ethiopian church musicians who are also scribes and healers. darabukkah : A Middle Eastern membranophone with an hour-glass shape. dbyangs : A type of biphonic Tibetan chant characterized by sustained notes in a low register and audible harmonics . dbyangs-yig : Literally ìwritten account of the song, a dbyangs-yig is a song book of Tibetan dbyangs . development : In general, the process of elaborating or varying a theme . More specifically the middle, contrasting section in Western sonata form . dhol : The double-headed South Asian membranophone associated with bhangra . diaspora : A people living outside their historic homeland in two or more places and who maintain memories of attachments to their place of origin. Diasporas often arise from situations of forced migration or exile. digital electronic instruments : Electrophones , such as the digital synthesizer , in which a specialized computer emulates acoustic patterns. These digital simulations are converted into electric oscillations which are then amplified and transformed into audible vibrations by electric speakers. disjunct motion : Melodic motion by leaps, using large intervals. See also conjunct motion . dotted rhythm : The pairing of a long and short rhythm, as in iambic meter. It is so named because a dot represents the rhythm in Western notation. double reed : A reed which is constructed from two thin strips of cane bound together so that they vibrate against each other. An example of a double reed instrument is the oboe. dowr : (Literally ìbit, period or cycle.) Rhythmic cycles in medieval Persian music. drones : Pipes without any finger holes on a set of bagpipes which produce a steady single tone. A drone produces its sound with a single reed . duple meter : A grouping ( measure ) of two beats . duration : The manner in which music organizes time. Durations can be described in terms of rhythm , pulse and meter . dynamics : The intensity of a musical event.",5);arrFiles[85]=new Array(108,"glossary/e.asp","2006-05-05","e.asp","","","early music : Music of the European past, as well as its twentieth-century revivals. electromechanical instruments : Electrophones , such as the Hawaiian steel guitar , whose vibrations are produced mechanically and transformed into electric oscillations which are amplified and reproduced by electric speakers. electrophones : Instruments which produce sound using electricity. One of the five main classes of instruments in the Sachs-Hornbostel system , subdivided into electromechanical instruments , radioelectric instruments and more recently digital electronic instruments . engergari : A group of celebratory Ethiopian Christian chants , one of which is the Christmas chant , Yome fesseha kone . English ballad : A ballad which commemorates important historical events and memorable individuals in British history; often based on texts from broadsides . enka : An important genre of popular song with melodramatic themes of love used in Japanese karaoke . ensemble : A group of instruments or musicians who perform together. Some examples are the bat· , chamber music , conjunto , gamelan , mariachi , pipe band and Western orchestra ensembles. There are innumerable performing ensembles such as Ladysmith Black Mambazo and the Moe Family . Ethiopia : A country in the horn of East Africa. See also dabtara , Geëez and zema . Ethiopian Christian chant : The music of the Ethiopian Christian liturgy . See also chant ( zema ). ethnic recording : Targeted for a particular subgroup united by shared national, linguistic, racial, and/or religious background (Gronow 1992: 12), ethnic recordings were distributed in the U.S. on 78 RPM records between 1900 and 1950. ethnomusicology : A field of study that joins the concerns and methods of anthropology with the study of music . ezengileer : Literally, stirrup, a type of khoomii which has a rhythmic pulsing said to reflect its roots in being sung while riding a horse.",4);arrFiles[86]=new Array(109,"glossary/g.asp","2006-05-05","g.asp","","","Gaelic : The language associated with Celtic culture. Its three modern dialects are Irish Gaelic, Manx and Scots Gaelic. gamelan : A large Indonesian ensemble consisting mainly of metallophones . Gamelans differ in their instruments and musical systems, with substantial differences between Javanese and Balinese gamelan. Gardel, Carlos : An early twentieth-century singer who internationalized the tango by moving it from the barrio of Buenos Aires to Paris. Garvey, Marcus : Jamaican founder of the Back to Africa movement in the late 1920s. gaucho : The Argentinian equivalent of a cowboy. Ge \'ez : The most important of three categories of mode in Ethiopian Christian ritual music . Also the name of the Ethiopian Christian liturgical language. genre : A type or kind. ghost dance religion : Indigenous Native American religion with associated ceremonial dances. giddha : A dance performed by Punjabi women and equivalent to the all-male bhangra . glide : A slide between pitches. glissando : A musical gesture which entails sliding from one pitch to another. gong kebyar : The Balinese gamelan most often heard in modern concerts, known particularly for its shimmering sound and interlocking parts ( kotekan ). Government Center : Built in 1963 on what was previously known as Scollay Square , Government Center is a complex that includes Boston City Hall and a large multi-functional, concrete plaza which hosts celebrations important to varied ethnic communities. grace notes : The addition of one or more notes in slight anticipation of the main pitch . gracing : The practice of inserting grace notes into bagpipe melodies . grass dance : Womanís dance in present-day powwow named after the fringed regalia worn in performance. Great Basin : Inland region of the western United States between theSierra Nevada and the Wasatch Mountains where the Shoshone originated. Great Highland Bagpipes : See Scottish Highland bagpipes . grips : A quick ornamental figure of two non-adjacent pitches which serve as grace notes in bagpipe music . ground : An English term for the slow moving air or melody that is used as the theme in a set of variations. Guillory, Queen Ida : Bay Area zydeco singer, songwriter, accordionist and band leader born in South Louisiana. guitar : A plucked lute which generally has a hollow resonating body with waisted sides. Members of the guitar family include the guitarrûn , Hawaiian steel guitar , ukulele and the vihuela . guitarrûn : A large, plucked four- or five-string bass lute with an expanded belly. A key instrument in the mariachi ensemble . Gyuto Tantric Choir : A choir of Tibetan monks from the Gyuto Tantric College in India who sing dbyangs .",6);arrFiles[87]=new Array(110,"glossary/f.asp","2006-05-05","f.asp","","","fado : Literally fate, a song genre closely associated with Lisbon and popular within Portuguese expatriate communities. Fairuz : Famous Lebanese singer who performs with instrumental ensembles of both Arab and Western instruments. fais-dodo : A Cajun term meaning dance music as well as the dance halls where such music is performed. Falcon, Joe : Famous Cajun accordionist (1900-1965). falsetto : A special high register above the normal male singing range . fancy shawl dance : A more recent and virtuosic Shawl dance performed by Native American women. fancy war dance : A more recent and virtuosic War dance performed by Native American men. fasola : See shape-note . fiddle : A name used for the violin in the context of a wide range of Euro-American folk and vernacular musics. fieldwork : Research conducted while living among the people one is studying. figures : A stereotyped motion that is part of a given dance such as the dos-a-dos in square dancing or the polka-step (one-two-three-hop). Filè : A contemporary band that includes Cajun and zydeco musicians. fixed form : A musical form in which aspects of its content are predetermined. fixed tuning : The singing or playing of music at a pitch level determined in reference to a standard, fixed frequency . One example is A 440 for Western orchestra tuning. Contrast with relative tuning . flag song : A Native American song performed during the powwow Flag Ceremony to honor the American flag. flute : Aerophones , such as the ney , which are generally tubular and whose air column is set into vibration by dividing the breath of the player against a sharp edge. Flutes can be vertical (end blown) or transverse (blown through a side-hole). folk music : A category conventionally applied to styles of music transmitted by oral tradition and maintained in collective memory by a group of people. Generally associated with non-professionals and often regarded as the cultural property of a group of people bounded by national, social, or ethnic identity, folk music is often referred to as traditional music or vernacular music. form : The structure of a musical piece as established by its qualities , pitches , durations and intensities . Musical forms are typically constructed of distinct sections that are either repeated or are used to provide contrast with what has come before. Some basic formal designs include air and variations , sonata form and strophic form . frame drum : A membranophone with a skin stretched over a round frame, such as the tambourine or Tibetan rnga . free aerophones : Aerophones which act directly on the surrounding air. Examples include the Australian bullroarer and the reeds in an accordion . free rhythm : Rhythm can be described as free when it is not organized around a regular pulse . frequency : An acoustical term referring to the number of vibrations occurring per second in a vibrating string or column of air. Generally measured either in cycles per second [cps] or in Hertz [Hz] and kilohertz [kHz]. Perception of frequency determines pitch . friction idiophones : Idiophones which sound through an object rubbing its surface. Ft. Washakie : The main city of the Wind River Shoshone reservation, named after Chief Washakie . fundamental : The lowest tone in a harmonic series , also referred to as the first harmonic or first partial, which determines the perceived pitch of a sound.",7);arrFiles[88]=new Array(111,"glossary/h.asp","2006-05-05","h.asp","","","habaòera : A song and dance form in slow duple meter dating from nineteenth-century Cuba. haflah : A party held among Syrian Jews to celebrate a special occasion such as an anniversary. Held any day except for the Sabbath, these parties generally feature a professional vocalist who sings popular Arabic songs with accompaniment . Haile Selassie, Emperor : The Ethiopian emperor who was known by Rastafarians by his birth name, Ras Tafari. See also reggae . Hanan : Lebanese singer who immigrated to New York in the 1940s. harmonic series : See harmonics . harmonic singing : See biphonic singing . harmonic texture : See harmony . harmonics : The series of simple vibrations which combine to create a complex pitched sound. Also called the harmonic series. The lowest or first harmonic, called the fundamental , determines the basic pitch of the sound. The remaining harmonics, called overtones , influence the the soundís perceived quality . Harmonics are also referred to as partials. They are inherently present in the sounding of any kind of string or air column. harmony : The collective sound of a series of chords , serving as a support to a melody . The term also refers to an intricate set of rules that govern the progression of sound in Western classical music . harps : Chordophones whose strings run at an angle away from the soundboard. Harps are sub-categorized by shape, playing position and tunings . Hawaiian steel guitar : See steel guitar . Hebrew : The Semitic language used in Jewish prayers and spoken in modern Israel. heterophony : A musical texture where two or more parts are playing almost the same thing at almost the same time; often the parts are ornamented differently. Heterophony is often found in Middle Eastern musical traditions, but can be heard in many traditions where musicians improvise together on the same melody . Hip and Tiyo : A French-derived Cajun cowboy refrain which Alan Lomax postulates may have inspired the cowboy song Hipiyaye, Tipiyayo. hip-hop : The cultural movement associated with African-American urban culture of the 1970s that emerged at once in the graphic arts (graffiti), dance (break-dancing) and music (rap). ho : A Vietnamese work song. homophony : A musical texture , as in the Western hymn , where the parts perform different pitches but move in the same rhythm . See also polyphony . Houston : A modern, southwestern city and fourth largest city in the United States by the late twentieth century. Rooted in the Gulf Coast landscape crossed by bayous, Houston has a growing ethnic diversity which is reflected in its musical life. Hykes, David : Performer of semi-improvised vocal music who draws on khoomii , dbyangs and North Indian classical singing. hymn : A sacred, strophic vocal genre which is sung homophonically during ceremonies of worship. Hymnary : The most elaborate musical rite of the Ethiopian church performed before the Mass on Sundays and festivals.",6);arrFiles[89]=new Array(112,"glossary/i.asp","2006-05-05","i.asp","","","idiophones : Instruments which can be set into vibration in their natural state. One of the five main classes of instruments in the Sachs-Hornbostel system , idiophones are further classified as: concussion idiophones , struck idiophones , stamped idiophones , stamping idiophones , shaken idiophones , scraped idiophones , plucked idiophones , or friction idiophones . impresario : A manager of performers or a director of a concert series. improvisation : The process of composing music as it is performed, while drawing on conventions of pre-existing patterns and styles. Among the many examples of improvisation are cadenzas , jazz riffs and layali . Indian Days : Annual Native American gatherings which feature social and competitive events during the days and powwow ceremonies in the evenings. Indonesia : A southeast Asian republic and former colony of the Netherlands. Inner Asia : The environs of the great steppes, with Mongolia and Tuva as its center. instrumental : Music that is produced on instruments, whether as soloists or as parts of a larger group. intensity : The perceived loudness or softness of a sound . interculture : Mark Slobinís term for the sphere of interaction of musical subcultures . Contrast with subculture and superculture . interlocking parts : Instrumental or vocal parts where silences in one part occur simultaneously with sound in another, creating the sense of a single musical line. See also kotekan . intertribal : An event or dance in Native American tradition that incorporates people of different tribal backgrounds. interval : The distance between two pitches . Iran : Formerly known as Persia, Iran is a republic located in southwestern Asia between the Persian Gulf and the Caspian Sea. See also Persian (Iranian) music . Ireland : A large island to the west of Great Britain. See also ballad , ceilidh and Uilleann pipes . Irish ballad : A ballad which commemorates important historical events and memorable individuals from the Irish past while referringto contemporary political subjects. Itûtele : The middle-sized double-headed membranophone in the bat· ensemble . Iy· : The largest and deepest of the double-headed membranophones in the bat· ensemble .",5);arrFiles[90]=new Array(113,"glossary/j.asp","2006-05-05","j.asp","","","Jamaica : An island in the West Indies, south of Cuba, Jamaica is a former British colony which became an independent country in 1962. jazz funeral : See New Orleans jazz funeral . Jewís harp : A plucked idiophone which consists of a metal tongue attached to a frame held in the mouth. The tongue of the Jewís harp is plucked while the mouth provides a resonating chamber which can be shaped to emphasize particular harmonics using techniques similar to khoomii . jig : Lively dance tunes popular in Ireland and among Irish Americans, some of which date back to the sixteenth century. jingle dance : Womanís dance in present-day powwow named after metal ìjingles which cover festive powwow dresses. Judeo-Spanish songs : Songs transmitted through oral tradition by descendants of late sixteenth-century Jewish exiles from Spain (ìSephardic Jews) in a Judeo-Spanish dialect. juke box : Machines that dispense and play recorded songs chosen from a list of well-known offerings of the time. Juneau : The capital of Alaska, a frontier town and seaport on Alaskaís southeast coast.",3);arrFiles[91]=new Array(114,"glossary/k.asp","2006-05-05","k.asp","","","Kapur, Steve : See Apache Indian . karaoke : Literally empty orchestra, live singing (usually into a microphone) accompanied by a recording of the particular song. Karaoke can be performed in restaurants, clubs, or private homes. kargyraa : A style of khoomii which is characterized by singing text in a low register . kata : Japanese aesthetic principal, literally translated as patterned form kebaro : Ethiopian Christian double-headed conical membranophone . key : The relationship between pitches in Western classical music as defined by a central pitch and related harmonies . keyboard accordion : An accordion which has a keyboard on the melodic headboard. khoomii : Tuvan biphonic throat-singing which originated in rural Inner Asian contexts and is now heard worldwide in concert halls. Types of khoomii include sygyt , kargyraa and ezengileer . kotekan : An Indonesian term for the interlocking parts that make up Balinese gamelan music .",3);arrFiles[92]=new Array(115,"glossary/l.asp","2006-05-05","l.asp","","","Labanotation : Rudolf Labanís system of dance notation which uses ideograms to represent dance motion in great detail. Ladysmith Black Mambazo : Famous South African vocal ensemble that continues to spread the mbube musical form . lahan : The term for tune in Arab music theory, and for the melody to which a Middle Eastern Jewish pizmon is sung. lament : A song of mourning. ìThe Lark : See Hibari Misora . layali : In Arab vocal music , an improvisation that introduces a song and which serves to establish the maqam used in the rest of the piece. les haricots : See Zydeco . Liguria : A region along the northwestern Italian coast. Lisbon : The capital of Portugal . liturgy : The context of a religious ritual . Lomax, Alan : Ethnomusicologist who recorded an enormous number of American folk songs with his father, John Lomax and later launched the ìcantometrics and ìchoreometrics projects to study the meaning of music and dance on a worldwide basis. lullaby : A song sung to babies and small children to help them fall asleep. lutes : Chordophones with strings stretched along a neck and body, such as the ëud , ukulele and guitar lyres : Chordophones whose strings are stretched over a soundboard and attached to a crossbar which spans the top of a yoke.",3);arrFiles[93]=new Array(116,"glossary/m.asp","2006-05-05","m.asp","","","Ma, Yo-Yo : Accomplished and versatile American cellist who often crosses between soundscapes. The Macarena : A mid-1990s dance fad and song of the same name. MacCrimmons : The hereditary Great Highland Bagpipe pipers to Clan MacLeod on the Isle of Skye who are are said to have invented pibroch and canntaireachd . major mode : A particular set of eight notes in Western classical music . See major scale . major scale : The scale of pitches in the major mode possessing the following interval relationships from lowest to highest: two whole tones , one semitone , three whole tones and one semitone . maqam : (pl. maqamat) The system governing pitch and melody in Arab music . See also maqam ajam and maqam nahawand . maqam ajam : An important maqam which sounds similar to the Western major mode . Pizmon Mi Zot is set in maqam ajam. maqam nahawand : An important maqam which sounds similar the Western minor mode . Pizmon Attah El Kabbir is set in maqam ajam. march : A piece in duple meter with a quick pace suitable for accompanying and coordinating a group of people marching. mariachi : A term applied to both a Mexican instrumental ensemble combining plucked and bowed chordophones including the guitarrûn , vihuela and violin with trumpets , and to the musicians within the group. Marley, Bob : A Jamaican reggae musician who, since his death in 1981, has come to be internationally associated with reggae and other Jamaican musics . Mass : The section of the Christian liturgy when Communion is given. The Maytals : A Jamaican ensemble which, with Frederick ìToots Hibbert, coined the term reggae in their 1968 song titled Do The Reggay . mbube : An early twentieth-century South African vocal genre popularized in early recordings and spread internationally as The Lion Sleeps Tonight and more recently by Ladysmith Black Mambazo . Features falsetto and Western-style harmony . measure : The unit of time in Western music and musical notation in which one cycle of the meter takes place. melekket : The notational symbols in Ethiopian Christian chant , derived from Ge \'ez language characters, each representing a short melodic fragment. melismatic text setting : A text setting in which each syllable of text is sung to two or more pitches . melody : A sequence of pitches that have a beginning, middle and end. Often called a tune and heard in the foreground of music . membranophones : Instruments whose sound is produced by a membrane stretched over an opening. One of the five main classes of instruments in the Sachs-Hornbostel system , membranophones are distinguished by their material, shape, the number of skins (or heads), the way the skins are fastened, the playing position and the manner of playing. Mendelssohn, Felix : International impresario who, in the 1940s, managed musicians of the Moe Family . metallophones : Struck idiophones made of metal. meter : A term describing the regular pulse of much of Western classical music and its divisions into regular groupings of two, three, four and six beats . For examples of meters see the entries for duple meter , triple meter , and quadruple meter . minor mode : A mode of eight notes in Western classical music . See minor scale . minor scale : The scale of pitches in the minor mode possessing the following interval relationships from lowest to highest: one whole tone , one semitone , two whole tones , one semitone and two whole tones . Misora, Hibari : The late, revered enka music singer known as ìthe Queen of Enka and ìthe Lark. mode : A flexible term that may refer, depending on the context, to a musical system or a particular scale of pitches . Examples of modes are geëez , major mode , minor mode and tizita . One system of modes is called maqam . modulation : The process by which music moves from one key or scale type to another. Moe Family : Hawaiian musicians on ukulele and Hawaiian steel guitar who performed outside Hawaii for much of the twentieth century. morris dancers : English country dancers costumed in white, with bells attached to pads strapped to their legs, who dance to the music of the fiddle , bagpipes , or penny whistle. mouth music : Vocal music (ìcanntaireachd) that imitates the sound of the bagpipes . movement : A large section of a musical composition typically separated from other such sections by a pause. mukíyu : A genre of traditional Chinese vocal music which can vary in length. Myukíyu texts deal with the concerns of everyday life and are performed by either men or women in both public and private. music : The purposeful organization of the quality , pitch , duration and intensity of sound . musical ethnography : The process of identifying a musical scene and studying the soundscape of which it is a part. See also participant-observation and fieldwork . muwashah : A classical Arab vocal form which has a regular rhythm and rhyme scheme and a tripartite form . muzak : Programmed, recorded music which creates sonic background environments in public spaces such as elevators, shopping malls and restaurants.",12);arrFiles[94]=new Array(117,"glossary/n.asp","2006-05-05","n.asp","","","nasal quality : A vocal or instrumental quality which sounds like it is produced through the nose. national anthem : A song officially chosen as a symbol of a nation. The National Road: Journey Through Vietnam : Song cycle composed by Pham Duy . Native American Church : A religion formed out of a blending of indigenous Native American beliefs with Christian elements. nduah : Literally tail, nduah is a Blackfoot Indian term that refers to a short section added to the end of a song. New Britain : The melody to which Amazing_Grace Amazing Grace is sung. New Orleans jazz funeral : A special kind of funeral marking the passing of a musician that includes a procession with a jazz band. New Tango : A tango expressly for listening innovated by Astor Piazzolla . ney : A Middle Eastern endblown flute with a breathy quality to its sound. Nkosi Sikelelí iAfrika : Hymn and anthem of the African National Congress and now part of the new South African national anthem . Composed in 1897 by Enoch Sontonga . no rae pang : Literally ìsong room, a Korean style of karaoke performed with a small group of friends in a private rented room. ìNo rae pang also refers to the room where the karaoke takes place. non-Western : A binary opposition used as a synonym for styles outside the Western classical music arena. An increasingly problematic term in an increasingly transnational world. notation : The representation of musical sound in written form. note : A single pitch , or the representation of a single pitch in musical notation .",4);arrFiles[95]=new Array(118,"glossary/o.asp","2006-05-05","o.asp","","","octave : A term referring to both the eight consecutive notes that make up a major or minor scale and the interval spanning the first through the eighth notes of any such scale. The frequency of the pitch of the top note of an octave is exactly twice that of the bottom note of the octave. Okonkolo : The smallest of the double-headed membranophones in the bat· ensemble . oral tradition : Tradition preserved in people ís minds through singing or speech; in contrast to written tradition, recorded on a page through writing or notation . orchestra : A large Western instrumental ensemble . See Western orchestra . organ grinder : Itinerant street musician who plays a small portable barrel organ . In Argentinian barrios , organ grinders played tangos ; in Italy and in the Italian immigrant communities, they played folk songs and were often accompanied by a dancing monkey. Organ grinders are also called ìorganitos in Spanish-speaking communities. organitos : The Spanish word for organ grinders . orisha : Saint in the Santerìa tradition. ornaments : Melodic, rhythmic and timbral elaborations or decorations such as gracings , rekrek , grace notes , etc. ostinato : A short musical pattern which is continually repeated. outdoor style : A vocal or instrumental style with substantial intensity or penetrating tone quality, originally meant to be performed out of doors. overtones : The harmonics above the fundamental . see Example .",4);arrFiles[96]=new Array(119,"glossary/p.asp","2006-05-05","p.asp","","","pÏob mhûr : Literally ìgreat pipes, the Gaelic name for the Scottish Highland bagpipes . palm harmonics : Overtones produced on the steel guitar by flattening strings with the palm of the hand. Also called chimes. panoptic mode : Viewing an event or performance form a distance, from a detached vantage point (Kirshenblatt-Gimblett 1991:413). Contrast with panoramic mode . panoramic mode : Viewing an event or performance from within a setting in which the spectator enters (Kirshenblatt-Gimblett 1991:413). Contrast with panoptic mode . parallel motion : Different parts moving in the same direction at the same time; a type of homophony . part : The melodic line of a particular voice or instrument. This example has three parts: voice, didjeridu (aerophone), and clapsticks (concussion idiophones). partials : Another term for harmonics . participant-observation : The process used to study a living tradition during fieldwork . pawwaw : Nineteenth-century Algonquin word for powwow . pentatonic scale : A scale that contains only five pitches , as well as the music that is based on such scales. Pentatonic scales may contain intervals of different sizes; in Western music , pentatonic scales can have intervals a whole tone or a semitone apart. performance practice : The manner in which music is interpreted and performed. Persian (Iranian) music : Reza Vali incorporates various characteristics of Persian music into his Concerto for Flute and Orchestra . Pham Duy : The famous Vietnamese composer who lives today in California. phrase : A brief section of music , analogous to a phrase of language, that sounds somewhat complete in itself, while not self-sufficient. One phrase may be separated from the next by a brief pause, as if to allow the singer or player a moment in which to breathe. Piazzolla, Astor : Argentinian tango composer and bandoneûn; player, 1921-1992. pibroch : A genre of solo bagpipe music which consists of a set of elaborate variations on a theme, called the allrd urlar . piobaireachd : See pibroch . pipe band : A military-style marching and performing ensemble consisting of Scottish Highland bagpipes and drums. pitch : The vibration frequency of the fundamental of the harmonic series is perceived by most listeners as the pitch of a sound . pizmon : (pl. pizmonim) Hymns with sacred Hebrew texts and popular Arabic melodies sung by Middle Eastern Jews. plainchant : See chant . Plains : Region of western-central North America extending from Texas north to southern Alberta, Canada and for approximately 400 miles east from the base of the Rocky Mountains. plainsong : See chant . plectrum : (pl. plectra) A piece of a hard material such as horn, shell or plastic used to pluck a stringed instrument. plucked idiophones : Idiophones which have plucked metal tongues such as the Jewís harp . Norton CD: Mbira: [Norton Media Manager:Media Library:Instrument, Folk:kalimba.jpg] polka : A fast dance in duple meter which originated in central Europe in the middle of the nineteenth century. polka-step : The polka dance step: usually described as a heel-and-toe half step performed in duple meter . polyphonic texture : A texture which features polyphony . polyphony : A musical texture where the parts move in different directions from each other and at different points in time. Contrast with homophony . Portugal : A country in southwestern Europe, on the Atlantic. Its capital is Lisbon. Among its colonies were the Cape Verde Islands off of the western coast of northern Africa. powwow : Native American social gatherings that feature ceremonies, celebrations and dance competitions. prayer staff : Staff on which dabtaras lean when performing the Ethiopian liturgy and which becomes an idiophone pounded on the floor during dance. pulse : A single, regular element that underlies most music and against which rhythm is organized. Punjab : Formerly a state of India, the Punjab region was divided in 1947 between India and Pakistan. push button accordion : See bandoneûn; . ìpush-ups : Insider term used by the Shoshone and other Native Americans to indicate thenumber of times a song is repeated.",9);arrFiles[97]=new Array(120,"glossary/q.asp","2006-05-05","q.asp","","","qanun : Middle Eastern trapezoidal zither with twenty-six courses of three string, played polyphonically with plectra attached to the index fingers of both hands. quadruple meter : Rhythmic organization based on groupings ( measures ) of four beats . quality : The color of a sound , arising from acoustical properties of the harmonic series . ìThe Queen of Enka : See Hibari Misora . QuinceaÒera : A traditional Latino celebration marking the passage of fifteen-year-old girls into adulthood.",2);arrFiles[98]=new Array(121,"glossary/r.asp","2006-05-05","r.asp","","","radioelectric instruments : Electrophones , such as the analog synthesizer , in which the oscillations of electric circuits are amplified and transformed into audible vibrations by electric speakers. Radioelectric instruments are commonly referred to as ìanalog electronic instruments as the electric oscillations are ìanalogous to the acoustic vibrations created by the speaker. rag-dung : Tibetan trumpet ( aerophone ). range : The distance between the highest and lowest pitches that can be sung or played by a voice or instrument. rap : The genre of musical expression which arose out of the hip-hop movement. Ras Tafari : See Emperor Haile Selassie . Rastafarianism : A religious movement that originated in Jamaica, venerating the Ethiopian Emperor Haile Selassie (ìRas Tafari). reed : A thin strip of wood, metal or plastic, which is fixed at one end and free on the other. It produces sound when set into vibration by moving air. Reeds may be classified as single reeds and double reeds and instruments which use reeds to make their sound are called ìreed instruments. reel : A genre of Scottish and Irish dance music typically played by the bagpipes . A couples dance, the reel originated in Scotland as early as the sixteenth century. See also strathspey . refrain : A fixed stanza of text and music which recurs between the verses of a strophic song. refugee : A person who is forced to migrate and who cannot return to his or her homeland. reggae : A style of urban Jamaican popular music that originated among the Rastafarians of Jamaica in the 1960s. register : A subset of the range of a voice or instrument. rekrek : The vocal slides characteristic of the geëez mode in Ethiopian Christian chant . relative tuning : The singing or playing of music at a pitch level determined by what is comfortable to the singer or instrumentalist. Contrast with fixed tuning . revival : A formerly dormant tradition which is re-invigorated through its reintroduction or reinvention (not necessarily by its community of origin). rhythm : The temporal relationships within music . rhythmic cycle : An asymmetrical repeating rhythmic sequence which may be subdivided in complex and constantly changing ways. Prominent examples are the rhythmic systems from South Asia and the Middle East. ridim : Insider term for the various marked rhythmic properties of reggae in which are coded much of the subversiveness of the Rastafarian subculture and its associated soundscape. rite : A prescribed or customary act or observance. ritual : Either an established set of rites or the observance of such a set of rites . rnga : Tibetan frame drum . rol-mo : Tibetan cymbals ( concussion idiophones ). ru : A Vietnamese lullaby. rubboard : A scraped idiophone made of metal used in the Zydeco tradition.",6);arrFiles[99]=new Array(122,"glossary/s.asp","2006-05-05","s.asp","","","Sachs-Hornbostel system : A system used to classify musical instruments, named in honor of scholars Curt Sachs and Erich von Hornbostel, who developed the system. The five main classes of instruments are: aerophones , chordophones , electrophones , idiophones , and membranophones . sacred service : The performance of liturgy . sadhana : A Tibetan Buddhist ritual meditation text. Santa Lucia : Eighteenth-century Neapolitan song popular in Lower Manhattanís Little Italy. Its melody was borrowed for the pizmon Mi Zot . Santa Margherita Ligure Voci DíAlpe : A turn-of-the-twenty-first century Ligurian all-male amateur choir. Santerìa : A syncretic Afro-Cuban religious and musical practice later transplanted to other places in North America. saxophone : A Western European single reed aerophone made of metal. scale : A series of pitches set forth in ascending or descending order. See major scale , minor scale and pentatonic scale . Scollay Square : A commercial and social center in Boston demolished in the early 1960s to make space for the new Government Center complex. Scotland : The northern half of Great Britain and adjoining islands including the Isle of Skye . Scottish Highland bagpipes : The large Scottish outdoor bagpipes which have three drones , a nine-note chanter and a bag filled by mouth through a blowpipe . Scottish Highlands : The mountainous region in northern Scotland . scraped idiophones : Idiophones , such as the rubboard , which vibrate as a result of a hand-held tool scraping the notched surface of the idiophone . Sebet : A Sabbath-afternoon songfest of unaccompanied pizmonim held among Syrian Jews in North America to celebrate a special occasion such as a bar mitzvah, an engagement, a wedding or the arrival of a new child. seconds : Singing an octave or two above another singer in the Shoshone tradition. semitone : The smallest interval in Western classical music . There are twelve semitones (Also called half steps) in the Western octave . Sephardic : A term which refers to descendants of Spanish Jews who were forced into exile in 1492. setting : The context of musical performance, ranging from the structure of the performing space to the behavior of those present. SFX Entertainment : A corporation which manages a large and diverse portfolio of artists and owns and/or operates the largest network of performance facilities in the United States. shaken idiophones : Idiophones , such as the Ethiopian sistrum , which have sounding parts which strike together when the instrument is shaken. shape-note : Also called fasola, a particular kind of nineteenth-century musical notation of American hymns where the shape of the note indicates the pitch it represents. shawl dance : A dignified traditional dance performed by Native American women with shawls draped over their arms. See also Fancy Shawl dance . Shoshone : A Great Basin people who migrated to the Plains , some settling in the later nineteenth century on the Wind River Reservation in Wyoming. significance : The range of meanings conveyed to musicians and listeners by musical sound and its setting . sikus : Andean panpipes ( aerophone ). Simon Fraser University : A University in Burnaby, British Columbia named after a nineteenth-century explorer of western Canada who was of Scottish descent. Known for its world-champion pipe band . single reed : A reed which is constructed from a single thin vibrating strip. Examples of single reed instruments include aerophone such as the accordion , saxophone and the clarinet. sistra (senasel) : [sing. sistrum] Ethiopian Christian shaken idiophones . Skye, Isle of : An island off of the northwestern coast of Scotland . Home to the MacCrimmons . slide : A motion linking pitches . Characteristic technique of the Hawaiian steel guitar . See also glide and rekrek . smallpipes : Bagpipes , such as the Irish Uilleann pipes , with a low sound intensity which are usually played indoors. The bag is generally filled by a bellows rather than by mouth. sojourner : A person who migrates with the intent to stay for a while and then to return home. solo : Literally alone, in Italian, solo refers to musical sound that is produced by only one singer or instrumentalist, either individually or with the accompaniment of a larger ensemble . sonata form : A Western classical music form which consists of an exposition in which themes are presented, a contrasting development section where the themes are elaborated upon and a recapitulation where the main themes return. song cycle : Songs that are composed or performed as a set, sometimes because they have texts by the same poet or are written as a unit by the composer. Sontonga, Enoch Mankayi : The evangelist from the Xhosa people who composed the South African hymn, Nkosi Sikelelí iAfrika in 1897. sound : Vibrations in frequencies of the audible spectrum (from 20Hz to 20kHz). Musical vibrations can be produced by the human voice, by instruments, or by electronic resources. Sound can be described in acoustical terms as having four basic characteristics: quality , pitch , duration and intensity . soundscape : The distinctive settings , sounds and significances of a musical culture . soundscape cluster : Closely-related soundscapes that share sounds , settings and significances . South Africa : The country in southern-most Africa. spiritual : A genre which emerged from the musical expression of slaves converted to New World Christianity in the eighteenth and nineteenth centuries. stamped idiophones : Idiophones that are stamped on, suchas pits, boards, pots, beams, mortars or slit-drums. stamping idiophones : Idiophones which are hit on the ground in a vertical motion, such as sticks, tubes or gourds. steel guitar : An electromechanical instrument derived from the guitar, usually played flat like a zither . Characteristic sounds of the steel guitar include a pronounced vibrato , slides and palm harmonics or chimes. See also Moe Family . strathspey : A kind of reel which is slower and has more elaborate melodies and ornaments than a simple reel . strophic form : A form in which subsequent verses of text are set to the same melody. Strophic form can include a refrain which recurs between the verses . struck idiophones : Idiophones such as the triangle which are struck by a hand-held tool such as a stick. subculture : People who share a common identity and related practice whether based on ethnicity, religion, language, or generation, that is perceived as distinct from the predominant culture in a given society. Contrast with interculture and superculture . Sunday School Songs : A repertory of Ethiopian Christian hymns which emerged in the early 1990s with texts primarily in Amharic instead of Ge \'ez . superculture : Mark Slobinís term for the sphere of musical interaction which involves the power of the state and international industries as well as the assumptions and expectations they generate. Contrast with subculture and interculture . sygyt : A type of khoomii which is sung in a high register with clear overtones that sound like whistling. syllabic text setting : A text setting in which each syllable of text is sung to one pitch. syncopation : A rhythmic effect which provides an unexpected accent, often by temporarily unsettling the meter through a change in the established pattern of stressed and unstressed beats . synthesizer : While technically referring to any radioelectric instrument or digital electronic instrument , a modern synthesizer is generally self-contained with a performance interface, sound editing controls and sound generation circuitry.",16);arrFiles[100]=new Array(123,"glossary/t.asp","2006-05-05","t.asp","","","Taboush, Rabbi Raphael : Syrian Jewish composer of nineteenth-century Aleppo . tail : See nduah . tan nhac : A Westernized Vietnamese popular song tradition of the French colonial period that used Western instruments, Vietnamese lyrics and occasionally, drew on Vietnamese folk melodies . tango : An Argentinian -derived style of song and dance. tempo : The speed of the pulse . Tet : Vietnamese New Year. text setting : The way in which a text is sung or set to music . See syllabic text setting and melismatic text setting . texture : The manner in which simultaneous musical sounds interrelate. theme : A short melody which is prominently stated and then recurs throughout the course of a piece of music . throat-singing : See khoomii . The Thrush : See Carlos Gardel . Tibetan Buddhist chant : See dbyangs . tizita : A category of tuning and melody based on a pentatonic scale widely used in secular music from the Ethiopian highlands. tonal music : Music in which a single pitch and its associated harmonies serve as the point of departure and return. toque : The rhythmic patterns played by the bat· drum in Santerìa ceremonies. Tosh, Peter : Born as Winston Hubert McIntosh (1944-1987), one of the most controversial musicians involved in developing reggaeís musical and political profile. Bob Marleyís partner in The Wailers. transcription : The writing down of music in notation . tremolo : A regular fluctuation or trembling of the sound, produced by shaking the hand which controls the intensity on instruments or by manipulating the vocal chords. triangle : A small triangular struck idiophone made of solid cylindrical metal struck with a metal bar. triple meter : A rhythmic organization based on groupings ( measures ) of three beats . trumpet : An aerophone in which a buzzing of the playerís compressed lips causes the air in the instrument to vibrate. tshig : Tibetan term for sung syllables with discursive meaning. Contrast with vocables . tuning : (1) The act of adjusting the frequencies produced by one or more instruments so that they sound at the same pitch (2) Any ordered collection of intervals whose members are organized around a system understood as discretely logical in a given cultural context. Tuva : An autonomous Russian republic located in Inner Asia between Siberia and Mongolia. See also khoomii .",6);arrFiles[101]=new Array(124,"glossary/u.asp","2006-05-05","u.asp","","","\'ud : Middle Eastern plucked five-string lute which has a short neck and a large body with a rounded back. Uilleann pipes : Irish smallpipes which features three drones , a keyed chanter , and a bellows instead of a blowpipe . ukulele : A small four-stringed Hawaiian chordophone that became popular in the twentieth century. ullulation : Onomatopoeic term for the vocal sound of joy or celebration commonly produced by women in Africa and the Middle East. Union pipes : See Uilleann pipes . unison : Two or more performers playing or singing exactly the same pitch at the same time. universalism : The belief that certain musical traditions or practices are found in all cultures .",2);arrFiles[102]=new Array(125,"glossary/v.asp","2006-05-05","v.asp","","","Vali, Reza : A composer born in Iran who lives in Pittsburgh and combines aspects of Western classical music and Persian music . Vander, Judith : An ethnomusicologist and composer who studies the music of Shoshone women. vernacular music : Music linked to the commonplace aspects of life. See also folk music . verse : A variable strophe of text which is sung to a fixed, repeating melody in a strophic song. vibrato : A regular fluctuation of the pitch , produced by shaking the hand which controls the pitch on instruments or by manipulating the vocal chords. Vietnam : A former French colony located on the east coast of the Indochinese peninsula, homeland of Pham Duy and the subject of his The National Road: Journey Through Vietnam vihuela : A small, strummed folk guitar . A key instrument in the mariachi ensemble . violin : A small bowed lute with a hollow wooden body and a solid neck to which the fingerboard is attached. It has a wide range of relatively high pitches , often plays the melody in Western ensembles ranging from mariachi music to orchestral ensembles and has spread worldwide becoming a standard instrument in Middle Eastern and South Indian musics. See also fiddle . vocables : A polite word for ìnonsense syllables. vocal : Music produced by the human voice. vocal style : A particular, idiosyncratic manner of singing which features particular tone qualities , articulations or uses of vibrato . vocalise : Untexted vocal music . The Voice of the Turtle : A vocal and instrumental early music ensemble which specializes in Judeo-Spanish songs .",4);arrFiles[103]=new Array(126,"glossary/w.asp","2006-05-05","w.asp","","","war dance : A Native American dance performed by men. See fancy war dance . Washakie, Chief : The leader who established the Shoshone Wind River Reservation . See also Ft. Washakie . washboard : See rubboard . The Weavers : A 1950s folk music group that helped internationalize the folk music revival. Western classical music : The varied musical styles and practices derived from elite European and American musics of the eighteenth and nineteenth centuries. See also classical . Western harmonic system : See harmony . Western music : Most broadly, music which is found in the Western hemisphere ó and thus by the twenty-first century, all of the musics discussed in Soundscapes. However, Western music is often used as a synonym for musics of Euro-American origins, especially Western classical music . Western orchestra : The major instrumental ensemble of Western classical music from the late eighteenth century to the present. Commonly consists of bowed chordophones with the addition of aerophones , idiophones and membranophones . The_Wheat Song The Wheat Song : A famous film song by composer ëAbd al-Wahhab, the melody of which is borrowed for pizmon Ramah Everai. whole tone : The interval made of two semitones in Western classical music . There are six whole tones in an octave . Wimoweh : Prototypical mbube song as transformed in Western popular and folk music . wind instruments : Aerophones such as trumpets , flutes and reeds which rely on the vibration of an enclosed column of air to determine their pitch and quality . Wind River Reservation : The Shoshone reservation founded in 1868 and located near Landers in central Wyoming. Wind River Shoshone : The division of the Shoshone Nation living in the Wind River Reservation . Windha, Nyoman : Balinese composer of Kembang Pencak for gamelan , male dancers and singer. Evan Ziporyn used Kembang Pencak as the basis for his 1990 composition, Kekembangan. World Music : A cover term for a variety of musical styles from around the globe, increasingly referring to world pop.",5);arrFiles[104]=new Array(127,"glossary/y.asp","2006-05-05","y.asp","","","yang-yig : A song book of Tibetan dbyangs . See also dbyangs-yig . Yared, Saint : An Ethiopian holyman of the seventh century credited with inventing the Ethiopian Christian musical system under divine inspiration, composing chants and organizing them into service books.",1);arrFiles[105]=new Array(128,"glossary/z.asp","2006-05-05","z.asp","","","zema : Ethiopian Christian chant : the music of the Ethiopian Christian liturgy . Ziporyn, Evan : Composer and performer of avant-garde music and long-time director of the Balinese gamelan ensemble in residence at the Massachusetts Institute of Technology in Cambridge, Massachusetts. zithers : Chordophones without a neck or yoke and whose strings are stretched parallel to the soundboard. zydeco : Dance music that emerged in the 1950s among the Creoles of the Gulf coast. The name ìzydeco is said to derive from a French expression, les haricots (literally, ìthe beans), alluding to a metaphor popular among Creole peoples of color that ìthe beans are not salty, that is, they are unflavored by expensive salted meat.",2);arrFiles[106]=new Array(136,"glossary/glossary_nav.asp","2006-02-02","glossary_nav.asp","","","Choose a letter: A - B - C - D - E - F - G - H - I - J - K - L - M N - O - P - Q - R - S - T - U - V - W X -- - Y - Z",1);