Nelson Higher Education

Higher Education

Worlds of Music, Shorter Version, 4th Edition

  • Jeff Todd Titon (General Editor)
  • Timothy J. Cooley (co-author)
  • David Locke (co-author)
  • Anne K. Rasmussen (co-author)
  • David B. Reck (co-author)
  • Christopher A. Scales (co-author)
  • John M. Schechter (co-author)
  • Jonathan P.J. Stock (co-author)
  • R. Anderson Sutton (co-author)
  • ISBN-10: 1337101494
  • ISBN-13: 9781337101493
  • 422 Pages | Paperback
  • Previous Editions: 2010, 2005, 2001
  • COPYRIGHT: 2018 Published
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About the Product

This shorter version of the bestselling WORLDS OF MUSIC provides much of the authoritative coverage of the comprehensive version in a format that's accessible to students without any background or training in music. Using a case-study approach, the text presents in-depth explorations of music from several cultures around the world. The authors, all working ethnomusicologists, base their discussions of music-cultures on their own fieldwork and give students a true sense of both the music and culture that created it. Editor Jeff Todd Titon’s opening chapter introduces students to ethnomusicology and relates each chapter's music to the fundamentals of music in a worldwide context, while the final chapter invites students to undertake a fieldwork research project that increases their understanding of music in daily life. Authentic recordings from the authors' fieldwork are keyed to the text and available online, giving students access to a wide range of music-cultures.


  • Each chapter begins with a brief survey of music in a large geographical area and then follows with a case study that explores in depth the music of a representative culture.

  • The book presents unmatched authority and scholarship from ethnomusicologists who write for the student coming fresh to the musics of the world.

  • Much of the music is from the authors' own fieldwork, and all is chosen with an eye to the selection that best introduces the student to a culture's music.

  • Outstanding musician biographies and autobiographies add an experiential dimension to a given music-culture.

  • Listening guides, salient feature boxes, study questions, and a pronunciation glossary of important terms help the student hear the music, understand the culture, and remember the material.


"An excellent introductory textbook to world music for non-music majors."
— Sarah Moody, San Diego Christian College

About the Author

Jeff Todd Titon (General Editor)

Jeff Todd Titon is Professor of Music, Emeritus, at Brown University, where he directed the Ph.D. program in ethnomusicology from 1986 to 2013. He received a Ph.D. in American Studies from the University of Minnesota, where he studied ethnomusicology with Alan Kagan, cultural anthropology with Pertti Pelto, and musicology with Johannes Riedel. He founded the ethnomusicology program at Tufts University, where he taught from 1971 to 1986. From 1990 to 1995 he served as the editor of Ethnomusicology, the journal of the Society for Ethnomusicology. He has done ethnographic fieldwork in North America on religious folk music, blues music, and old-time fiddling, with support from the National Endowment for the Arts and the National Endowment for the Humanities. For two years, he was the guitarist in the Lazy Bill Lucas Blues Band, a group that appeared at the 1970 Ann Arbor Blues Festival. He founded and directed an old-time, Appalachian, string-band ethnomusicology ensemble at Tufts (1981–1986) and then at Brown (1986–2013). He is the author or editor of eight books, including Early Downhome Blues, which won the ASCAP–Deems Taylor Award, Give Me This Mountain, Powerhouse for God, and the Oxford Handbook of Applied Ethnomusicology. A documentary photographer and filmmaker as well as author, he is considered a pioneer in applied ethnomusicology, phenomenological ethnography, and ecomusicology. His most recent research may be tracked on his blog at

Timothy J. Cooley (co-author)

Timothy J. Cooley is Professor of Ethnomusicology at the University of California, Santa Barbara, where he teaches courses in Polish and American vernacular, and folk, and popular music, as well as music and sports, and music and tourism. He also is affiliated faculty with the university's Global and International Studies Program. He earned a Master's degree in Music History at Northwestern University, and received his Ph.D. in Ethnomusicology at Brown University, where he studied with Jeff Todd Titon. His book MAKING MUSIC IN THE POLISH TATRAS: TOURISTS, ETHNOGRAPHERS, AND MOUNTAIN MUSICIANS won the 2006 Orbis Prize for Polish Studies, awarded by the American Association for the Advancement of Slavic Studies. He enjoys playing Polish mountain fiddle music, American old-time banjo, and singing in choirs. A revised second edition of his book SHADOWS IN THE FIELD: NEW PERSPECTIVES FOR FIELDWORK IN ETHNOMUSICOLOGY, edited with Gregory F. Barz, was published in 2008. Cooley served as the editor of ETHNOMUSICOLOGY, the journal of the Society for Ethnomusicology. His most recent book, SURFING ABOUT MUSIC (2014) considers how surfers from around the world musically express their ideas about surfing and the surfing communities, and how surfing as a sport and lifestyle is represented in popular culture.

David Locke (co-author)

David Locke received a Ph.D. in ethnomusicology in 1978 from Wesleyan University, where he studied with David McAllester, Mark Slobin, and Gen’ichi Tsuge. At Wesleyan, his teachers of traditional African music included Abraham Adzinyah and Freeman Donkor. He conducted doctoral dissertation fieldwork in Ghana from 1975 to 1977 under the supervision of Professor J. H. K. Nketia. In Ghana, his teachers and research associates included Godwin Agbeli, Gideon Foli Alorwoyie, and Abubakari Lunna. He has published numerous books and articles on African music and regularly performs the repertories of music and dance about which he writes. He teaches in the Music Department of Tufts University, where he also serves as a faculty advisor to the Tufts-in-Ghana Foreign Study Program and member of the steering committee of the Africana Studies Program. His recent projects include an oral history and musical documentation of dance-drumming from the Dagbamba people, and an in-depth musical documentation of Agbadza, an idiom of Ewe music. He is active in the Society for Ethnomusicology and has served as the president of its Northeast Chapter. He founded the Agbekor Drum and Dance Society, a community-based performance group dedicated to the study of traditional Ghanaian music, and the Samanyanga Mbira Club, a community-based performance group dedicated to the study of Shona mbira music. Study of Akan traditional music-culture is Locke's most recent focus.

Anne K. Rasmussen (co-author)

Anne K. Rasmussen is Professor of Music and Ethnomusicology and the Bickers Professor of Middle Eastern Studies at the College of William and Mary, where she also directs the Middle Eastern Music Ensemble. Her research interests include music of the Arab and Islamic world; music and multiculturalism in the United States; music patronage and politics; issues of orientalism, nationalism, and gender in music; fieldwork; music performance; and the ethnographic method. Rasmussen received a Ph.D. in ethnomusicology from the University of California, Los Angeles, where she studied with A. J. Racy, Timothy Rice, and Nazir Jairazbhoy. Gerard Béhague and Scott Marcus are also among her influential teachers. Rasmussen is author of Women, the Recited Qur’an, and Islamic Music in Indonesia (2010); coeditor with David Harnish of Divine Inspirations: Music and Islam in Indonesia (2011), coeditor with Kip Lornell of The Music of Multicultural America (1997, 2015); and editor of a special issue of the world of music on “The Music of Oman” (2012). She is the author of articles and book chapters in numerous publications and has produced four CD compact disc recordings. Winner of the Jaap Kunst Prize for best article in published in 2000, she also received the Merriam Prize honorable mention for her 2010 book from the Society for Ethnomusicology (SEM). Rasmussen has served that society twice as a board member and was elected SEM president in 2014.

David B. Reck (co-author)

David B. Reck earned a B.A. in music at the University of Houston; a Masters of Music at the University of Texas; and his doctorate degree from Wesleyan University. In the 1960s, he was active in the new music scene in New York City with performances of his compositions at Town Hall, Carnegie Hall, the Museum of Modern Art, and at festivals throughout Europe. With a grant from the Rockefeller Foundation, he enrolled in the College of Carnatic Music (Madras, India) in 1968 and began a lifetime of study of South Indian classical music in the Karaikudi tradition of veena. An accomplished veena player in the Karaikudi tradition, he has concertized on three continents. A former Guggenheim Fellow, he has served on numerous committees for the Guggenheim Foundation, the Broadcast Music, Inc. annual composition competition, the Fulbright Scholarship Committee, and the National Endowment for the Arts. At Amherst College he initiated courses in Asian music and culture, film, ethnomusicology, classical and popular music and culture, J.S. Bach, the Beatles, world music composition, modernism, and songwriting, along with establishing a pioneering world music concert series. Publications include Music of the Whole Earth, and "Musical Instruments: Southern Area" in The Garland Encyclopedia of World Music: South Asia: The Indian Subcontinent, plus numerous articles on South India's classical music and on the influence of India's music on popular and classical music in the U.S. and Europe.

Christopher A. Scales (co-author)

Christopher A. Scales is an Associate Professor of Ethnomusicology in the Residential College in the Arts and Humanities at Michigan State University, where he is also affiliated with the American Indian Studies Program. He teaches courses on North American indigenous music, southern Appalachian music, music and technology, intellectual and cultural property, and the North American popular music industry. He received his Ph.D. from the University of Illinois at Urbana–Champaign, where he studied with Bruno Nettl, Thomas Turino, Donna Buchanan, Charles Capwell, and Lawrence Gushee. His book Recording Culture: Powwow Music and the Aboriginal Recording Industry on the Northern Plains (Duke University Press, 2012) focuses on contemporary Northern powwow culture and musical creation both on the powwow grounds and in Aboriginal recording studios, specifically engaging the effects of technology and mass mediation on powwow performance aesthetics. His research has also appeared in Ethnomusicology, the world of music, the Canadian University Music Review, and several edited volumes. Professor Scales has been active collaborating with Native musicians and has produced, recorded, or performed on several powwow and “Contemporary Native music” CD projects for Arbor Records and War Pony Records, independent record labels specializing in North American Aboriginal music. His current research focuses on Native American popular music and, in particular, the influence of Red Power politics on Native musicians during the 1960s and 1970s. An active musician, he regularly performs southern Appalachian music in the East Lansing area on fiddle, guitar, banjo, and mandolin, as well as Shona mbira music from Zimbabwe, playing mbira dzavadzimu.

John M. Schechter (co-author)

John M. Schechter is Professor Emeritus of Music (Ethnomusicology and Music Theory), at the University of California, Santa Cruz. He received a Ph.D. in ethnomusicology from the University of Texas at Austin, where he studied Latin American ethnomusicology with Gerard Béhague; folklore with Américo Paredes; Andean anthropology with Richard Schaedel; and Quechua with Louisa Stark and Guillermo Delgado-P. Beginning in 1986, he created—and subsequently directed until 2000—the U. C. Santa Cruz Taki ñan and Voces Latin American Ensembles. With Guillermo Delgado-P., Schechter is coeditor of Quechua Verbal Artistry: The Inscription of Andean Voices/Arte Expresivo Quechua: La Inscripción de Voces Andinas (2004), a volume dedicated to Quechua song text, narrative, poetry, dialogue, myth, and riddle. He is general editor of, and a contributing author to, Music in Latin American Culture: Regional Traditions (1999), a volume examining music-culture traditions in distinct regions of Latin America. He authored The Indispensable Harp: Historical Development, Modern Roles, Configurations, and Performance Practices in Ecuador and Latin America (1992). Schechter’s chapter on Víctor Jara appeared in the 2011 volume Popular Music and Human Rights: Volume II: World Music, edited by Ian Peddie. His other publications have explored formulaic expression in Ecuadorian Quichua sanjuán, and the ethnography, cultural history, and artistic depictions of the Latin American/Iberian child’s wake music ritual. Schechter currently serves on the international advisory board of the MUSIKE Project, an ethnomusicological, theme-based journal published under the auspices of the SPANDA Foundation.

Jonathan P.J. Stock (co-author)

Jonathan P. J. Stock received a Ph.D. in ethnomusicology at the Queen’s University of Belfast, where he studied with Rembrandt Wolpert, Martin Stokes, and John Blacking. His field research has been funded by the British Council, the China State Education Commission, the United Kingdom’s Arts and Humanities Research Council, the British Academy, and Taiwan’s National Endowment for the Arts. It has been carried out in several parts of China, Taiwan, and England, and centered primarily on understanding the transformation of folk traditions in the modern and contemporary worlds. He is the author of two academic books on Chinese music, as well as the multivolume textbook, World Sound Matters: An Anthology of Music from Around the World. He is active as an editor, currently coediting the journal Ethnomusicology Forum. His current research focus is the music of the Bunun people in Taiwan, but he has also written recently on the history of Chinese music and on the use of world music in science fiction. Formerly the chair of the British Forum for Ethnomusicology and now an executive board member of the International Council for Traditional Music, he founded the ethnomusicology program at the University of Sheffield in 1998 and now serves as Professor and Head of the School of Music and Theatre, University College Cork, Ireland.

R. Anderson Sutton (co-author)

R. Anderson Sutton received a Ph.D. in musicology from the University of Michigan, where he studied with Judith Becker and William Malm. He was introduced to Javanese music while an undergraduate at Wesleyan University, and he made it the focus of his Master’s study at the University of Hawaiʻi at Mānoa, where he studied gamelan with Hardja Susilo. On numerous occasions since 1973 he has conducted field research in Indonesia, with grants from the East-West Center, Fulbright-Hays, the Social Science Research Council, the National Endowment for the Humanities, the Wenner-Gren Foundation, and the American Philosophical Society. He is the author of Traditions of Gamelan Music in Java, Variation in Central Javanese Gamelan Music, Calling Back the Spirit: Music, Dance, and Cultural Politics in Lowland South Sulawesi, and numerous articles on Javanese music. His current research concerns music and media in Indonesia and South Korea. Active as a gamelan musician since 1971, he has performed with several professional groups in Indonesia and directed numerous performances in the United States. He served as the first vice president and book review editor for the Society for Ethnomusicology, and was a member of the Working Committee on Performing Arts for the Festival of Indonesia (1990–1992). From 1982 to 2013, he taught at the University of Wisconsin–Madison, where he was Professor of Music and served three terms as Director of the Center for Southeast Asian Studies. He is now Dean of the School of Pacific and Asian Studies and Assistant Vice Chancellor for International and Exchange Programs at the University of University of Hawaiʻi at Mānoa.

Table of Contents

The Soundscape. The Music-Culture. What is Music? Structure in Music. A Music-Culture Performance Model. The Four Components of a Music-Culture. Ecological and Sustainable Worlds of Music. Study Questions. Resources.
Tribal Musics. Intertribal Music. Native American Popular Music. Study Questions. Resources.
Postal Workers Canceling Stamps. Agbekor: Music and Dance of the Ewe People. A Drummer of Dagbon. Shona Mbira Music. Fela and Afrobeat. The BaAka People Singing "Makala". Conclusion as Discussion. Study Questions. Resources.
Music of Worship. Music of Work. Music of Play. Blues. A Few Final Words. Study Questions. Resources.
Social and Political Organization. The Sounds of European Music. Case Study: Podhale, Polish Tatra Region. European Regional Musics on the Global Stage: Two Case Studies. Reinterpreting Europe. Study Questions. Resources.
History, Culture and Music. Many Musics. Classical Music. The Sound World. Indian Music and the West. Study Questions. Resources.
Central Java. Bali. North Sumatra. Indonesian Popular Music. Study Questions. Resources.
A Cross-Section of Chinese Music. Folk Song. Instrumental Ensemble Traditions. Opera Traditions. Solo Instrumental Traditions. Religious Traditions. Popular Music. Chinese Music/World Music? Study Questions. Resources.
Chilean Nueva Canción. Bolivian K'antu. The Quichua of the Northern Andes of Ecuador. The Andean Ensemble Phenomenon: Going Abroad. Afro-Peruvian Music: A Landó. Study Questions. Resources.
"Arabia". The Takht Ensemble. Religion and Music in the Arab World. Music in History/Music as History. The Maghrib. The Music of Celebration: Communal Music Making at a Wedding in Morocco. Homeland and Diaspora: An Unexpected Reaction. From Diaspora to Globalization.: Ofra Haza and World Beat. Study Questions. Resources.
Music in Our Own Backyards. Doing Musical Ethnography.

New to this edition

  • Chapter 2 (North America/Native America) by Christopher Scales, replaces the former chapter by the late David McAllester yet retains some of its classic features.
  • Revisions to Chapter 3 (Africa) include a new section on "Fela and Afrobeat."
  • Two new sections appear in Chapter 4 (North America/Black America): one contrasting an early African American blues recording by Ma Rainey (a new musical example) with a typical popular music recording from the same period; the other, "Blues in the New Millennium," discussing Americana music and the music of James "Super Chikan" Johnson.
  • Revisions to Chapter 6 (Asia/South India) include a new discussion of Vedic chant; a new section, "Religion and Music in South India," discussing a major genre of music, the bhajan; another new section, "A Piece from the Dance Tradition: 'Krishna Nee Begane Baro'"; and a revised and updated section, "Pop Music."
  • Changes to Chapter 7 (Asia/Indonesia) include a revised Introduction that compares Javanese musical examples, and a new section, "Gigi: Indonesian Rock Music."
  • Changes to Chapter 10 (The Arab World) include a revised section, "Wedding Traditions of the Eastern Mediterranean Arab World (The Levant)," which discusses how poetry, music, and dance have helped catalyze social protest and resistance in the Arab World.
  • MindTap -- a fully online, highly personalized learning experience -- can accompany this text. MindTap combines student learning tools like readings, multimedia, activities, and assessments into a singular Learning Path that guides students through their course. Instructors can personalize the experience by customizing authoritative Cengage Learning content and learning tools with their own content in the Learning Path via apps that integrate with the MindTap framework. The MindTap reader, full text of the print, introduces concepts and provides context and depth. The robust functionality allows learners to take notes, highlight text, and even find a definition with the Merriam-Webster MindApp.


All supplements have been updated in coordination with the Main title.
Please see Main title page for new to this edition information.

Instructor Supplements

Instructor's Website, Shorter  (ISBN-10: 1337101583 | ISBN-13: 9781337101585)

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Cengage Testing, powered by Cognero® Instant Access, Shorter  (ISBN-10: 1337101567 | ISBN-13: 9781337101561)

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MindTap Music, 1 term (6 months) Instant Access for Titon's Worlds of Music, Shorter Version  (ISBN-10: 1337101516 | ISBN-13: 9781337101516)

MindTap Music for Titon's Worlds of Music, Shorter Version, 4th Edition, is the digital learning solution that powers students from memorization to mastery. It gives you complete control of your course—to provide engaging content, to challenge every individual, and to build their confidence. Empower students to accelerate their progress with MindTap. MindTap: Powered by You. MindTap gives you complete ownership of your content and learning experience. Customize the interactive syllabi, emphasize the most important topics, and add your own material or notes in the eBook. The outcome-driven application helps you challenge every student, build their confidence, and empower them to be unstoppable.

Student Supplements

MindTap Music, 1 term (6 months) Instant Access for Titon's Worlds of Music, Shorter Version  (ISBN-10: 1337101516 | ISBN-13: 9781337101516)

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