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In examining the status of music in the cross-cultural encounter, this chapter focuses on Captain Cook's second voyage (1772-5) and the role played by Burney's son James and the German naturalist Georg Forster in transcribing and commenting on Polynesian music. It shows that the discovery of part singing in New Zealand and Tonga conflicted with Rousseauvian assertions about polyphony as an exclusively European invention. Music scholars like Charles Burney, Johann Nicolaus Forkel, Eduard Hanslick, and August Wilhelm Ambros subsequently played down the polyphonic and affective character of Polynesian music so as to uphold theories about music's universal progress and its hierarchical ordering. The chapter argues that this move, and others like it, had lasting implications for the development of western musicology and ethnomusicology, which would come to be predicated on a series of radical distinctions between the European and non-European. Where Orpheus had once signified the harmonizing powers of music, he would now be transformed into a cautionary tale about musical difference and the dangers of music's instrumentality.

This chapter examines the acquisition by children of musical knowledge in selected environments, with attention to the role of music within their society, and the means of transmission that are traditionally practised by adults in the process of passing on musical repertoire and techniques, behaviours, and values. In exploring global practices of children's learning of music, and through music their learning of social mores, reference are made to the cultural underpinnings of children's own playful repertoire, as well as to their musical heritage of adult-influenced culture in which they are schooled. The discussion draws attention to cases of music learning engagements among children and youth in Ireland, Japan, the Philippines, Thailand, within North American First Nations circumstances, and in a selection of societies spread across eastern and western Africa.

This chapter examines the idea of genre as it applies to jazz by focusing on the output of Atlantic Records' jazz division. Under the stewardship of two men, Nesuhi Ertegun and Joel Dorn, Atlantic Jazz came to signify not a particular approach, but rather a wide variety of artists, styles, and sounds. After tracing a general a history of Atlantic's jazz output from the 1940s to the 1970s, the essay focuses on Rufus Harley. Signed to the label by Joel Dorn, Harley recorded four albums for Atlantic in the 1960s, playing saxophone, flute, and bagpipes, although it was on the last of these that he was best known. While few critics saw Harley as little more than a gimmick, his career can be seen as emblematic as the ways that Atlantic's jazz defies easy categorization; further examination of Atlantic wind players Rahsaan Ronald Kirk and Yusef Lateef amplify this discussion. The chapter ends by questioning the current work on jazz and genre and positing some possible new paths for research.

This chapter examines the redefinition of Galician folk music in a global context and its role in the construction of a modern Galician cultural identity. Since the late 1970s the recovery of the Galician musical and cultural heritage has gone hand in hand with innovation, transformation and hybridization. Thus, somewhat paradoxically, one of the key cultural expressions of modern Galician identity, reflected in the distinctness and richness of its traditional music, is a result of a complex process of hybridization: the merging of the old and the new, the rural and the urban, the local and the global, such as the merging of Galician folk with Pan-Celtic music.Case studies of Carlos Núñez, Milladoiro, Luar na Lubre, Emilio Cao, Cristina Pato, Uxía Senlle, and Mercedes Peón.

The chapter outlines the role of trumpets, drums and fifes in military units in the eighteenth and nineteenth centuries. It explains their signalling functions and their wider role in rituals. There is also a discussion of the printed literature for these instruments, including the didactic literature. The role of the bagpipe in kilted regiments is also discussed more briefly.