The musical ear : oral tradition in the USA
著者
書誌事項
The musical ear : oral tradition in the USA
(SEMPRE studies in the psychology of music)
Ashgate, 2011, c2010
- : pbk
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Bibliography: p. [169]-188
Includes index
内容説明・目次
内容説明
The Musical Ear: Oral Tradition in the USA provides a wide-ranging look at the role played by music that is passed on orally without the use of notation, in the folk, popular and art musics of North America. Professor McLucas argues that without the broad underlying oral repertoire of folk music, many musical styles - from that of the eighteenth-century singing schools to the minstrel tunes of Foster, the orchestral music of Copland and the jazz compositions of Armstrong and Ellington - would not possess their distinctive rhythmic and melodic content. Without the strong processes of oral tradition - its ability to communicate effectively to a particular ethnic or social group - American popular music would be much less multi-dimensional and vital. And without the idea that every man and woman has a voice and is entitled to sing (or play), the more elitist view of European music might be stronger than the participatory model appropriate to a democracy. Found within the many oral traditions of the United States are common elements that apply to all human cultures. These elements are connected with the human mind, the limits of memory, the power of organization and the urge toward creativity. In order to study the process and to find the common elements, McLucas provides an overview of recent research on the brain and memory in order to help the reader understand the inner workings of oral tradition. This book is in part a reaction to recent comprehensive histories of American music that focus on written art and popular music and do not do justice to either the prevalence of oral tradition or to its pervasive influence on American music. It is this imbalance that the book redresses. Includes an accompanying CD.
目次
- Contents: Introduction
- The oral process and 'roots' music
- Interlude 1: the brain, memory, and oral tradition
- Oral tradition in American popular music
- Interlude 2: oral tradition, and creativity
- The interaction of oral and written in American music history
- Interlude 3: interactions of written and oral/aural traditions in the human brain
- Oral tradition in the lives of ordinary people
- Interlude 4: the mental musical capacities of ordinary humans and the intersection of meaning, emotion, and memory
- Conclusions
- Appendixes
- Selected bibliography
- Index
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