Global Musics

• 10.6: Liam Hynes-Tawa, “Japanese Tetrachordal Theory in Settings Old and New” - Introduces a fourth-based framework for pitch analysis in contrast to more familiar octave-based ones, demonstrating both how it can be helpful for the Japanese folk music for which it was designed, and for other music in more modern genres; suitable for students learning about scales and modes, as a way of expanding how those categories can be conceptualized and used.

• 9.5: Yi-Cheng Daniel Wu, “Poetry and Musical Organization in JIA Guoping’s The Wind Sounds in the Sky (2002)” - shows how JIA Guoping derives his rhythmic structure from aspects of Chinese poetry; suitable for post-tonal music theory courses, discussions of text-music relations, and classes exploring cultural exchange

• 7.5: Adem Merter Birson, “Understanding Turkish Classical Makam: Identifying Modes Through Characteristic Melodies” – shows how melodic formulas underlie makam melodies, and how these formulas were obscured by the adaptation of the repertoire to Western staff notation

• 6.5: Aaron Carter-Ényì and Quintina Carter-Ényì, “Melodic Language and Linguistic Melodies: Text Setting in Ìgbò” – explores how tonal languages interact with text setting; discusses how missionaries failed to produce idiomatic translations of hymn tunes because they did not translate linguistic tones correctly

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