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Freebern, Charles L., 1934 THE MUSIC OF INDIA, CHINA, JAPAN AND OCEANIA: A SOURCE BOOK FOR TEACHERS Item Type text; Dissertation-Reproduction (electronic) Authors Freebern, Charles L., 1934- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 06:04:40 Link to Item http://hdl.handle.net/10150/290233 This dissertation has been microfilmed exactly as received 70-6670 FREEBERN, Charles L., 1934- IHE MUSIC OF INDIA, CHINA/JAPAN AND OCEANIA: A SOURCE BOOK FOR TEACHERS. [Appendix "Pronounciation Tape Recording" available for consultation at University of Arizona Library]. University of Arizona, A. Mus.D., 1969 Music University Microfilms, Inc., Ann Arbor, Michigan CHARLES L. FREEBERN 1970 ALL RIGHTS RESERVED • a • 111 THE MUSIC OP INDIA, CHINA, JAPAN AND OCEANIA: A SOURCE BOOK FOR TEACHERS by Charles L. Freebern A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 THE UNIVERSITY OF ARIZONA. GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Charles L, Freebern entitled THE MUSIC OF INDIA, CHINA, JAPAN AND OCEANIA: A SOURCE BOOK FOR TEACHERS be accepted as fulfilling the dissertation requirement of the degree of Doctor of Musical Arts &• 7?)• as. in? Dissertation Director fca^e After inspection of the final copy of the dissertation, the following members of the Final Examination Connnittee concur in its approval and recommend its acceptance:" _ ^O^tLUA ^ AtrK. 3-7 f -i-nf !<*£<>, i CJ _ * This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination. The inclusion of this sheet bound into the library fcopy of the dissertation is evidence of satisfactory performance at the final examination. STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allow­ able without special permission, provided that accurate, acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu­ script in whole or in part may be granted by the copyright holder. SIGNED: ACKNOWLEDGMENTS The writer is indebted to many persons who gave guidance and assistance in the preparation of this disser­ tation. Consultation with Miss Barbara Smith, Professor of Ethnomusicology at the University of Hawaii, was most helpful in establishing certain guidelines around which this study is structured. Professor Smith also made availa­ ble materials in the University of Hawaii Music Library. The assistance of Professors Samuel Fain, Robert McBride, Lloyd VIeldy and John McEldowney in the preparation of the final manuscript is gratefully acknowledged. The greatest debt was incurred to the writer's advisor and dissertation director, Dr. 0. M. Hartsell. His total commitment to the purpose and content of this document supplied a large meas­ ure of inspiration for the writer. The gratitude of the writer can only be partially set forth in these few words. A special word of appreciation is extended to the writer's wife, Susan, for her preparation of the line draw­ ings which add so much to the study. Her encouragement and forbearance helped to make this study a reality. Finally, to my children, who were so understanding and encouraging during the preparation of this manuscript, the writer is truly grateful. iv TABLE OP CONTENTS Page LIST OP ILLUSTRATIONS Viii ABSTRACT . ix 3.p INTRODUCTION ...... 1 g, INDIA 9 Geography and Economy 10 History o....ooe.... 12 Art and Architecture „ , . « . 13 Literature 15 Music of India . 16 Definition of Terms 17 Musical Instruments o....... 21 String Instruments 22 Wind Instruments .... ... 27 Percussion Instruments ...... 28 Music Genres and Performance Practices . 31 Theater and Dance Music ...... 33 J Polk Music 34 Vocal Music . 35 Resource Materials .... 0 ... 37 Books and Articles 37 Recordings 40 Films and Filmstrips 0 . 4l 3, CHINA . 43 Oeography and Economy . 44 History ...... o..... 45 Architecture and Art . 46 Drama and Literature »••..«• . 48 Chinese Music 49 The System of Lus 49 v vi TABLE OP CONTENTS—Continued Page Musical Instruments 51 Stone .......oo.. 52 Metal • o . 52 Silk 54 Bamboo ....•o.o.oo 58 Wood ..••<>•. .o.o. 60 Skin . o . 60 Gourd o«*o..o..oo 6l Earth 63 ' Music Genres and Performance Practices 0 • 63 Chinese Opera 65 Resource Materials •••••o.o 68 Books and Articles . 0 . « 68 Recordings 0 70 Films . 71 4. JAPAN 72 Geography and Economy „ • „ « o • 73 History . 74 Architecture and Art 0 . o . 0 . 75 Drama and Literature o.o.o... 77 Japanese Music o.o.oo.ooo 80 Musical Instruments « 82 String Instruments . 0 <> • • . 82 Wind Instruments 0 . o 89 Percussion Instruments , „ „ . 92 Music Genres and Performance Practices „ 0 96 Shinto Music 96 Buddhist Music .o^.o./o. 99 Gagaku Music 100 Nohgaku Music .00.00.«» 102 Kabuki Music 104 Modern Music 000. 106 Resource Materials .00.0.0. 107 Books and Articles . o . e . 108 Recordings 110 Films and Filmstrips Ill vii TABLE OP CONTENTS—Continued Page 5. OCEANIA . 113 Hawaii . 114 Musical Instruments . 0 • . 115 ; Music Genres and Performance Practices 122 New Zealand .......o.. 125 Maori Culture and Music 127 Other Oceanic Cultures . „ • • • . • 129 New Guinea . 130 Fiji Islands 131 Samoa 132 Tonga Islands 133 Resource Materials ... 134 Books and Articles 134 Recordings 136 Films . -. o 137 6. SUMMARY AND PROSPECTS FOR THE FUTURE ... 139 APPENDIX A 144 Word Lists and Instructions for Using the Tape Recording ..... ... 144 Indian Terms 146 Chinese Terms 148 Japanese Terms 151 Oceanic Terms 155 APPENDIX B 157 Resource Addresses 157 APPENDIX C. 160 Basic Music Series Used in American Schools 160 LIST OF SELECTED REFERENCES l6l PRONUNCIATION TAPE RECORDING (BOXED) LIST OF ILLUSTRATIONS Page Figure 1. Sitar o o • 24 2. Sarangl . 26 3. Tab la 29 4. Baya 30 5. Mridanga ••• •••• 32 6. Erh-hslen 57 7. Sheng . • • • • 62 8. Shamisen ••••• 83 9. Koto 85 10. Biwa and plectrum • ••••••••• 88 11. Ko-tsuzuml 94 12. Nose flute 119 vlll ABSTRACT The musics of Asian and Oceanic cultures can and should be an integral part of the education of young Americans. With few exceptions, however, colleges and universities are not providing music educators with the pre-service or in-service experiences which would enable them to include non-Western musics in their instructional endeavors in the public schools. One of the priorities in music education today and for the future is to challenge traditional instructional practices as they apply to the exclusive use of Western art music literature in the schools. Western art music has dominated the traditional music education curriculum. It is time for the fulcrum to be shifted to include other musics. Study opportunities in the musics of other cul­ tures can provide an interesting and rewarding experience as a part of the individual1s over-all education in music at all instructional levels. The study of.non-Western musics has been an area of specialization almost exclusively reserved for the ethnomusicologist. If a.music curriculum with a broader cultural base is to be developed, such an achievement must be initiated by music'educators interested in the music of other cultures. Both ethnomusicologists and music educators have much to gain from a continuing dialogue which might result in appropriate pilot projects such as the dissemina­ tion of ethnomusicological research already completed or the preparation of unpublished ethnic materials in a form suit­ able for use in the schools. The purposes of this dissertation are to provide a source book incorporating succinct information regarding the cultural development of India, China, Japan and Oceania,, to present facts concerning the music of these cultures and to suggest materials which are currently available for indi­ vidual self-study and enrichment. This document is not intended as a definitive ethnomusicological study of the cultures cited. Instead, it is an overview which might serve as a guide and resource for classroom use. The reader will find this dissertation organized into six chapters. Chapter One stresses the need for the study of non-Western musics and outlines the plan of pre­ sentation. Chapter Two deals with the music of India. It begins with concise historical data and a geographical set­ ting for this country and gives attention also to art, architecture, drama and literature in order to establish a cultural framework for studying the music of India® Chap­ ters Three and Four give similar information regarding China and Japan respectively. Chapter Five is devoted to selected Oceanic cultures including Hawaii, New Zealand, New Guinea, xi Fiji, Samoa and Tonga. Each chapter dealing with a specific culture contains a list of resource materials which can be used to augment this study. Recordings, films and film- strips which might enhance the individual's self-study of these musical cultures are also listed. A tape recording was prepared as a special aid for pronouncing the foreign terms found in each chapter. Native speakers were used in making the tape in order to insure accurate pronunciation." Finally, Chapter Six contains a summary and empha­ sizes the desirability of continued research in the musics of non-Western cultures. It suggests that these musics can best become an integral part of American music education through the cooperative efforts of music educators and eth- nomusicologists.
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