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Music in Our World, by Gary White, David Stuart, Elyn Aviva
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Music in Our World is the first text in music appreciation completely devoted to the study of music elements and to investing students with active listening skills.
The text examines each musical element from a number of angles - completely integrating world music throughout the discussion. The three chapters on Melody, for example, cite the work of Hildegard of Bingen, Ravi Shankar, and Giacomo Puccini.
This unique, elements-based approach engages students in actively listening to the broadest range of music available for music appreciation.
- Sales Rank: #461928 in Books
- Published on: 2001-01-01
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x .60" w x 7.50" l, 1.39 pounds
- Binding: Paperback
- 416 pages
About the Author
Gary White holds a Ph.D. in Music Composition from Michigan State University. At his retirement in 1994 he was Distinguished Professor of Music at Iowa State University, where he developed and administered the music theory curriculum and established the electronic and computer music studio. For a number of years he was also in charge of music listening courses for the general student at Iowa State. Dr. White is the composer of over fifty published musical compositions and the author of Music First! (a music fundamentals textbook) and Instrumental Arranging (a textbook for orchestration and arranging), both published by McGraw-Hill. He has been awarded the U.C. Berkeley Medal by the University of California at Berkeley, was named a National Arts Associate by Sigma Alpha Iota, and has held a MacDowell Colony Fellowship. His compositions have won many prizes and awards, including the Toon van Balkom Prize and the Shenandoah/Percussion Plus Prize.
David Stuart is Associate Professor of Music at Iowa State University and principal trombonist of the Des Moines Symphony Orchestra. He received his DMA in trombone pedagogy and performance from the University of Iowa and studied at the Akademie fur Musik und darstellende Kunst in Vienna, Austria. Dr. Stuart teaches the low brass studio at Iowa State University, the undergraduate non-major listening course, and a course on the history of rock ’n’ roll. Iowa State named him an Outstanding Teacher at the Introductory Level in 1999. He is currently pursuing research on the influence of Celtic folk music n recent popular music. Dr. Stuart has articles in the International Trombone Association Journal, National Associations of College Wind and Percussion Teachers, The School Muscian, and several publications for the Yamaha Corporation. He is the editor of an Italian baroque chamber music series published by Nova Music, London. Dr. Stuart is a Yamaha performing Artist.
Elyn Aviva is an anthropologist as well as a professional writer and editor. She earned a Ph.D. in Cultural Anthropology from Princeton University and a Master of Divinity degree from Iliff School of Theology. She has been a tribal planner for the Kickapoo Tribe of Kansas, worked as the editor an international high-technology newsletter, taught religious studies, and publised a book on the Camino de Santiago, a 1000-year-old pilgrimage road across northern Spain. Dr. Aviva has a long-standing interest in comparative religion and has published articles in various national magazines on labyrinths, pilgrimage, sacred sites in Europe, and the reinvention of tradition. She is an avid listener to musics from all parts of the world and enjoys exploring their cultural context.
Most helpful customer reviews
6 of 11 people found the following review helpful.
No soundscape!
By Renate Fernandez
Anticipating a lecture on Gregorian chant by Randel, the new president of the University of Chicago, I approached our newly acquired copy of MUSIC IN OUR WORLD through its index. Turning to the indicated pages I saw how Gregorian was discussed in the set of pages overlapping with Hildegard of Bingen. Of course I wanted to hear the contrast between the two musics. Alas! the CD meant to accompany the text was, according to the what we learned from Amazon, NOT YET AVAILABLE. Yet we knew from other sources that the disc had already been produced. Our searches by other routes led always to dead ends. Thus, when attending our president's lecture, I had only the words without any sound in my ears. Curiously, he also offered no samples of the music. Apparently words rather than notes are sufficient for the musical cognoscenti. Would Amazon or the book's publisher please make it EASY for the would-be-customer --who is neither professor nor student of music-- to find the CD meant to accompany the text? Renate Fernandez P.S. I've just learned that what I'm hoping to hear is catalogued as COMPACT DISC SET FOR USE WITH MUSIC IN OUR WORLD by Stuart-White. Again, another curiosity, its authorship is reversed. No matter, I shall soon be able to hear it. I very much like the book's combination of text, illustrations and caption, and boxes. The illustration of textures and melodies on page 113 has me puzzled, however. The absence of words or syllables under the line illustrating Monophonic texture fails to clarify how the line accords or fails to accord with the word. You can see by my comments that there is a potential readership/listenership outside of the circle of pros that is eager to accede simultaneously to MUSIC IN OUR WORLD.
1 of 1 people found the following review helpful.
Good with the bad
By hhistory
Good: textbook engages form AND context. Attempts to combine multiplicity of legitimate approaches to music, reflecting postmod. emphasis on culture and function rather than just form, theory and "greats" from Western tradition. Appropriate length for course of likely nonmajors and 100 level.
Bad: sloppy transitions - very choppy, unbalanced shifts between formal components and the situating of those components into a cultural setting. Ex.: Ch. 4: What is the point of discussing meter with Klezmer? Both musical examples are in simple time (duple and quadruple) and don't uniquely demonstrate anything - a Britney Spears song could suffice in this context. Basically, it is a poorly written attempt at getting away from the dated music appreciation model. Maybe it could work with supplemental materials?
Also, $60 bucks for a new copy? It hasn't even been updated to a new edition.
So, looking for a book that isn't obsessed with the Western classical tradition? Start here, but don't settle with this book.
0 of 0 people found the following review helpful.
Good encompassing book, good variety of tracks
By Zamo
I used this book for a beginners music class and I was happy the way they explained the basic concepts and how they laid them out by chapter. The tracks involved a good variety of music in the world(duh the title) and had some good tid bits of information concerning history, art, influence etc.
book didn't come with tracks but I still got it for a good price, and more importantly I learned about music and I wasn't bored while doing it(except for the extremely long concertos, sonatas etc.)
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