Thought and Play in Musical Rhythm
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Through the analysis and comparison of diverse repertoires, performance practices, and theories, Thought and Play in Musical Rhythm responds to the critical need for developing richer ways of describing rhythm in all its complexity. Focusing on tensions between the general and the culturally specific, the book considers musics from Africa and Asia, as well as jazz, popular music, and "new music" of the late 20th century.

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Produktbeschreibung
Through the analysis and comparison of diverse repertoires, performance practices, and theories, Thought and Play in Musical Rhythm responds to the critical need for developing richer ways of describing rhythm in all its complexity. Focusing on tensions between the general and the culturally specific, the book considers musics from Africa and Asia, as well as jazz, popular music, and "new music" of the late 20th century.
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Autorenporträt
Richard K. Wolf, Professor of Music and South Asian Studies at Harvard University, has been conducting ethnomusicological research on the musical traditions of South Asia for more than thirty years. A performer on the South Indian vina as well as a scholar, he is the author of The Black Cow's Footprint: Time, Space, and Music in the Lives of the Kotas of South India (2005) and The Voice in the Drum: Music, Language and Emotion in Islamicate South Asia (2014), editor of Theorizing the local: Music, practice and experience in south Asia and beyond (2009), and (with Frank Heidemann) The bison and the horn: Indigeneity, performance, and the state of India (2014). He is also General Editor of the series Ethnomusicology Translations, published by the Society for Ethnomusicology. Christopher Hasty is Walter W. Naumburg Professor of Music at Harvard University where he teaches music theory. His research centers on time and musical rhythm. Stephen Blum taught courses and supervised research on a wide range of topics at four institutions from 1969 through 2016. He was founding director of an MFA program in "Musicology of Contemporary Cultures" at York University (1977-87) and initiated a doctoral program in ethnomusicology at the CUNY Graduate Center in 1988. His publications include studies of sung poetry in Iran and survey articles on such topics as composition, improvisation, analysis of musical style, historiography of music in North America, and musical knowledge in the early centuries of Islam. He is an Honorary Member of the Society for Ethnomusicology.