Whose Music?: A Sociology of Musical Languages

aesthetic Afro-American Afro-American musical analysis articulation assumptions audience basic blues Chapter chord chromatic scale classical concept consciousness context creative criteria criticism cultural action derived Diagram dialectic discussion encoded epistemology example existence explicit externalisation fact fifth fourth fundamental groups harmonic series Head of Music hence HYPOMIXOLYDIAN ideology implicit important industrial world sense instruments interval jazz legitimation major mass culture meaning medieval music melody Meyer minor scales minor third modal modes music teaching Musica Enchiriadis musical experience musical language musicians nature octave organisation organum particular pentatonic scale pentatonic structure pentatonicism phonetic literacy pitch-classes pitches plainchant polyphony pop music popular possible pre-literate musics pupils radical reality reference relation relationships rhythm rock music semitone shape social social-intellectual structure society sociology sound specific symbols teachers tempered scale tetrachord theory tonality tone tradition Trevor Wishart verbal whilst words writing about music