IE533 Industrial Applications of Statistics Homework #3

IE533: Industrial Applications of Statistics
Homework #3
Due: 3:00 PM 18 February 2020 via Gradescope
Purpose: Practice using software to perform Kruskal-Wallis
test, Random Effects ANOVA, and
Randomized Complete Block Design analysis.
Output: Please address the following items in a report (word
doc or PDF) no longer than 4
pages. Succinctness and orderly formatting are prized and
rewarded (0.5 Points).
1. (1.25 Points) Use the data set provided on Blackboard (HW 3
Problem 1) to perform an
ANOVA, check the assumptions and indicate if there is any
reason to do a
nonparametric test (include plot supporting your decision).
Regardless of your decision,
fit a Kruskal-Wallis test to the data. Include the ANOVA table
and the Kruskal-Wallis
output. What do you conclude about the impact of storage
medium on tastiness with
respect to the output and assumption checks?
2. (1.25 Point) Generate a data set to mimic the location tag

experiment from lecture. Use
the following generating distributions to draw 20 observations
for each of three
locations:
Location1 ~ ��(�� = 3.2)
Location2 ~ ��(�� = 5.2)
Location3 ~ ��(�� = 11.5)
Perform a Mixed Effects Model with a single random effect
(location) for the number of
items of your brand purchased. Include the ANOVA table, what
is your conclusion about
the impact of location on the number of buys? What is the value
of the Intra-Class
Correlation coefficient from your model? What is the variance
estimate for location
effect? Why is the Standard Error of the location variance so
large?
3. (0.5 Point) Use the data set provided on Blackboard (HW 3
Data Problem 3) to analyze
the Randomized Complete Block design as in lecture. Include
the ANOVA table, what do
you conclude about the impact of tire tread on noise level?
4. (0.5 Point) Using the data from problem 3, check your
assumption about no interaction.
Include the interaction plot and comment on if the assumption
appears to hold.

5. (0.5 Point) Refit your model form #3 without trailer batch
(ignore the blocking variable).
Include your ANOVA table, what has changed in your ANOVA
table due to failure to
account for the blocking variable?
6. (0.5 Point) Delete observations 17-20 so that an entire trailer
batch is lost. Fit a general
linear model to the data. Include your ANOVA table, what has
changed in your ANOVA
table due to the missing value?
7. (0.25 Points – Optional) Identify a published experiment
(journal article, white paper,
blog, etc.) that uses a randomized complete block design to
generate their data. Include
a citation/link/DOI to the study and name the blocking variable
that was used.
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NetworkMusic: Its Language, History, and Culture
(14 reviews)
Douglas Cohen, CUNY Brooklyn College
Copyright Year:
2015
Publisher:
CUNY Academic Works
Language:
English
Formats AvailablePDF
Conditions of Use
Attribution-NonCommercial-ShareAlike
CC BY-NC-SA
Reviews
Learn more about reviews.

Reviewed by Elizabeth Macy, Assistant Professor of
Ethnomusicology, Metropolitan State University of Denver on
9/4/20
The overall text provides very basic, introductory context for an
introduction to music. The goals are broad and comprehensive,
but the actual breadth feels limited (and the text is quite short).
Some of the sections are more comprehensive than...
read more
Reviewed by Elizabeth Macy, Assistant Professor of
Ethnomusicology, Metropolitan State University of Denver on
9/4/20
Comprehensiveness
rating:
3
see less
The overall text provides very basic, introductory context for an
introduction to music. The goals are broad and comprehensive,
but the actual breadth feels limited (and the text is quite short).
Some of the sections are more comprehensive than others, with
a final chapter on "World Music" feeling tacked on.
Content Accuracy
rating:
4

The information contained within this text is generally accurate
and error-free, though there is definitely a demonstrated
Western bias.
Relevance/Longevity
rating:
3
The text has been updated (most recently in 2014), but
discussions of popular music and more contemporary composers
end in the 1990s.
Clarity
rating:
4
The text is relatively clear and accessible overall.
Consistency
rating:
3
The individual sections vary greatly in terms of consistency,
with some chapters providing explicit explanations of
terminology and musical examples, while others are lacking in
details.

Modularity
rating:
5
This text could be easily adapted and divided for a variety of
purposes.
Organization/Structure/Flow
rating:
4
The organization is clear, though I wonder why the musician
biographies at the end (roughly one third of the text) weren't
integrated into the text itself.
Interface
rating:
3
The text is easy to navigate, as it is simply a PDF document.
Images are clear, though they are unlabeled and need contextual
clues.
Grammatical Errors
rating:
5
No noted grammatical errors.

Cultural Relevance
rating:
3
While the text embraces an introduction to music from a broad
stance (and sections are devoted to American vernacular music,
rock, rap, jazz, and world music), the approach gives rather
surface-level information on music outside the Western cannon.
It isn't culturally insensitive, but rather lacks depth.
Reviewed by Paul Dube, Adjunct Faculty Visual and Media
Arts, Bunker Hill Community College on 6/10/20
Music: Its Language, History, and Culture provides a
comprehensive review of the development of musical genres
through the ages from early periods through the classical,
baroque, romantic, folk, jazz and hip hop eras with historical
references in...
read more
Reviewed by Paul Dube, Adjunct Faculty Visual and Media
Arts, Bunker Hill Community College on 6/10/20
Comprehensiveness

rating:
5
see less
Music: Its Language, History, and Culture provides a
comprehensive review of the development of musical genres
through the ages from early periods through the classical,
baroque, romantic, folk, jazz and hip hop eras with historical
references in each era to provide a better understanding of
cultural timeframes.
Content Accuracy
rating:
5
This text is well research and accurate in it's description of
musical styles, providing a basis in musical theory such as time
signatures, diatonic scales, and thematic development without
being too technical. It is readable for the novice delving into
music appreciation for the first time, but dense enough to attract
the accomplished musician. Chapters provide historical context
without opinion as to validity of musical style or cultural
acceptance.
Relevance/Longevity
rating:
5
Music: It's Language History and Culture separates musical
genres by historical timelines up to the present day and can
therefore be added to and updated without having to edit

previous content.
Clarity
rating:
5
Text content is well written and informative without being too
technical, but the content and historic references would be more
entertaining with the inclusion of more imagery. Each chapter
opening provides only one visual image to set the tone of the
genre-historic images of noted composers, musicians and
cultural figures would provide more comparative context.
Consistency
rating:
5
The book's format and presentation of matter is consistent
throughout and can therefore be easily researched and
referenced by the reader.
Modularity
rating:
5
Each chapter is easily readable and follows on the style and
presentation of previous chapters with good flow and narrative.
The reader can pick and choose a genre or style to study without
have read all previous sections for a complete understanding of

a musical style or theoretical study, such as counterpoint,
percussive effects, etc.
rating:
5
All topics covered are presented in a consistent fashion without
deviance from presentation. Historical references are clear and
the inclusion of brief composer's biographies and a glossary or
musical terms provides benefit to the reader when completing
research.
Interface
rating:
5
Each section is easy to navigate and research without the
inclusion of the use of too much technical jargon or sub texts.
Grammatical Errors
rating:
5
The text contains no grammatical errors and is well written with
good punctuation.
Cultural Relevance
rating:

5
Each musical genre studied is respectful of the cultural norms
of the time without providing judgement as to tastes, ethnicities
or geographical regions.
Comments
As stated previously, the graphic style of the book is a bit dry
and would be greatly benefitted by the inclusion of more
imagery to entertain the reader and keep him or her focused on
the content. Other than that, it is very readable and I enjoyed it
enormously.
Reviewed by Jonathan Harvey, Assistant Professor, Fitchburg
State University on 6/1/20
It is difficult to assess the comprehensiveness of this text as a
whole, because it seems to be four differently-functioning texts
that were later compiled. The first three chapters are quite
thorough, although one could quibble about categories...
read more
Reviewed by Jonathan Harvey, Assistant Professor, Fitchburg
State University on 6/1/20

Comprehensiveness
rating:
3
see less
It is difficult to assess the comprehensiveness of this text as a
whole, because it seems to be four differently-functioning texts
that were later compiled. The first three chapters are quite
thorough, although one could quibble about categories (for
example, “rhythm” and “meter” are discussed as separate
characteristics, but “scale” is only considered under the heading
of “pitch”) and definitions (for example, “chorus” is defined as
“twenty or more singers grouped in soprano, alto, tenor, and
bass sections,” which is very precise but inaccurate), and the
bias is unmistakably Western European. Chapters 4 and 5 are a
breakneck race through Western art music history, with
summary prose sketches of each period followed by lists of
historical events, figures, and genres. These seem to function as
a study guide or a review for students with previous thorough
knowledge of the material. Chapters 6, 7, and 8 are well-
organized discussions of genres outside of the Western art
music tradition, but they are quite brief (although longer than
the earlier Western period sections), and sometimes don’t do
what they say they will (for example, the introduction to
Chapter 8 states that it will discuss music of “Africa, India,
Indonesia, and the Caribbean,” and then proceeds to also
address music from China, Argentina, and Eastern Europe).
Finally, the appendices include a long list of musician
biographies, only two of which might be considered non-
Western, and the glossary. There is no index (not as much of a
problem with a searchable PDF).
Content Accuracy
rating:
4

The information is generally accurate, but partial. There is a
broad bias toward Western traditions, which is to be expected
from a course like this, although the course objectives in the
introduction do not make that explicit.
Relevance/Longevity
rating:
4
Very little after the 1990s is discussed, although the most recent
publication date is 2014.
Clarity
rating:
3
The prose is generally understandable, although there is often
significant missing context. It would seem to be a difficult read
for anyone who isn’t already familiar with the subject matter.
Consistency
rating:
1
This book seems to be four differently-functioning texts that
were later compiled. The first is a prose discussion of music

“fundamentals” (Chapters 1-3). The second is a study guide for
Western art music history (Chapters 4-5). The third is a prose
discussion of several musics outside of the Western art
tradition, variously divided by geography, chronology, or genre
(Chapters 6-8). The fourth and final section is a long list of
musician biographies and musical term definitions (Appendices
1 and 2).
Modularity
rating:
5
This text could absolutely be divided without any trouble - that
actually seems to be the original context, since different
sections of the book function very differently from each other.
rating:
3
The topics proceed as one would expect in an introductory
appreciation course like this one. The internal organization of
each topic is less logical - sometimes genre based, sometimes
chronologically based, and sometimes geographically based.
Interface
rating:
2
There are no technical display failures, but the visual layout

consists solely of large blocks of text, with one photographic
image per chapter. Not a varied or engaging interface.
Grammatical Errors
rating:
5
There are no significant grammatical errors.
Cultural Relevance
rating:
4
The inclusion of vernacular and international music discussion
leads to more discussion of musicians from underrepresented
groups, and there don’t seem to be any overtly offensive
passages.
Comments
This text could function as a very effective review tool or study
guide. It could also be excerpted as supplemental readings. I
would have a hard time using it as the textbook in an
introductory music appreciation course, which seems to be the
intent.
Reviewed by Christopher Cook, Lecturer in Music, Oakland
City University on 1/29/20

The book is fairly comprehensive, but its length is relatively
short. This keeps the text from diving too deep into any one
topic well enough to be considered comprehensive.
read more
Reviewed by Christopher Cook, Lecturer in Music, Oakland
City University on 1/29/20
Comprehensiveness
rating:
3
see less
The book is fairly comprehensive, but its length is relatively
short. This keeps the text from diving too deep into any one
topic well enough to be considered comprehensive.
Content Accuracy
rating:
5
I noticed no errors in accuracy.
Relevance/Longevity
rating:
3

There are large sections of music history that occurred in the
last 20 years, in many genres, which are not covered at all.
While earlier sections of music history are covered, as well as
information from areas around the world, the currency of the
information keeps a relevance score low.
Clarity
rating:
4
This text isn't too dry, which can be an issue with some music
history texts. Rather, it felt pretty reasonable, with information
presented alongside terms in an easy-to-read, flowing style.
Consistency
rating:
5
I saw no issues with consistency in this text.
Modularity
rating:
4
I believe portions of this text can easily be divided into smaller
sections. However, the beginning of the text throws so many
terms at the reader all together that it would be difficult to go

through those besides doing it all at once. Later sections resolve
this issue.
rating:
5
I saw no issue with the organization of the text. All topics flow
logically from one to another.
Interface
rating:
4
There were a few blank pages between a couple chapters. I
would have thought the extra page separating chapters was
intentional, but I don't believe it was uniform throughout the
text.
Grammatical Errors
rating:
5
I noticed no glaring grammatical errors.
Cultural Relevance
rating:
4

The book does a good job at trying to present the information
from as broad a perspective as possible. However, the book
doesn't describe itself as a Western Music History text, but its
inclusion of large sections such as the Renaissance, the
Baroque, Classical, and Romantic periods, and overall slant
toward European music history can't quite keep it as broad as it
seems to wish.
Comments
I think this text would be an excellent supplemental material
text for a course. However, as a main text, I believe it falls
short. I do not believe it contains enough information in great
enough detail to warrant an entire semester's course.
Reviewed by Tony Oliver, Associate Professor, Augustana
College on 7/31/19
The goals for the text, as stated in the introduction and implied
by the table of contents, are comprehensive and ambitious for
an appreciation-type text; however, at only 64 pages for the
main body of the text, and with very few examples, the...
read more
Reviewed by Tony Oliver, Associate Professor, Augustana
College on 7/31/19

Comprehensiveness
rating:
3
see less
The goals for the text, as stated in the introduction and implied
by the table of contents, are comprehensive and ambitious for
an appreciation-type text; however, at only 64 pages for the
main body of the text, and with very few examples, the ability
to deliver much depth is limited.
This lack of depth makes it feel like reading an outline or notes
that someone has taken during lectures on the subjects
presented. The broad strokes are there and it could be a great
refresher or study guide for someone who already knows the
material, but any examples and further context that might make
it come alive for the reader new to the material have been
stripped away.
One would need to add many, many examples to reinforce the
concepts and people introduced in the text. If you like the
flexibility to add a lot of your own material in addition to the
text, this might be useful. If you need things complete with a lot
of built-in examples, this book wouldn’t be for you. It would be
difficult for the text to stand on its own for the average college-
level general education student. Perhaps in its original context
at Brooklyn College, the text was used by several sections of
the same course, with each teacher able to add examples and
further discussion to the basic text.
It contains a glossary of basic music terms and no index.
Content Accuracy

rating:
3
There are likely to be fine details where some would quibble,
but all of the broader, basic information would fall within the
spectrum of “correct.” Because of the summary nature of the
writing with few or no examples, it sometimes isn’t that things
are inaccurate, but rather that it seems like things are missing or
simplified in order to keep things pared down. This can be okay
if everyone knows what is going on and a little risky if they
don’t.
One glaring issue is the lack of documentation for any of the
quotations in the biographical sketches. The rest of the book
similarly lacks documentation or bibliography, but there we are
at least dealing with stock information for the most part—it’s a
textbook. But in this cut-and-paste age, I worry that students
using the sketches would learn bad habits from what is modeled.
(I had to lower my score from a four to a three because of this.)
Relevance/Longevity
rating:
3
The main text was written in 2006 with updates in 2007, 2008,
and 2014, and there don’t appear to be any topics where the
substantive discussions go past the mid 1990s. For example, the
discussion of “rock-and-roll” stops in the 1960s with a trailing
sentence letting us know that there were later developments.
Similarly, the discussion of jazz stops in the 1980s, and the
discussions of rap, R&B, and world music stop in the 1990s.

This isn’t atypical for textbooks, which have a lag time in
publication, but don’t expect discussions of the latest, greatest
happenings within these areas. The text tends to focus on
origins, and one would need to supplement a lot if recent trends
were important. The chapters on musical elements and Western
art music are a little more timeless.
Clarity
rating:
4
Generally clear with some technical terms here and there that
could be explained better by example or more in-depth writing
than by having to look them up in the glossary.
Consistency
rating:
2
There is a big difference between chapters in tone and
substance. They are unbalanced. For example, we have the first
three chapters (elements, instruments, performance traditions)
that read like normal prose with complete, if basic, discussions
of the topics at hand. We then move to “outline mode” when we
hit European and American art music. We get relatively brief
and broad introductory paragraphs of each time period
(Medieval, Renaissance, Baroque, etc.) followed by shopping
lists—no details or examples—of events, places, musical
developments, and people. Then when we get to chapters on
American vernacular music, jazz, and world music, things
dramatically slow down again with more depth to the prose.

Modularity
rating:
5
Although brief, the individual segments of the book can stand
on their own without needing to refer to other sections of the
book. The sections could be assigned as individual units. The
individual chapters could also serve as supplemental,
alternative, or study-guide material for an existing course
instead of serving as core texts. (The latter is how I would
likely use the material in the book.)
rating:
4
The presentation of topics follows a reasonable plan and anyone
who is familiar with appreciation-type courses will be able to
navigate what is a fairly traditional method of organization. The
only oddity here is the appendix of musician biographies at the
end of the book. At thirty pages, it is roughly a third(!) of the
entire book. I really like that it mixes the people without regard
to time periods or styles—one finds Mozart next to Presley—
and I enjoyed the sketches, but I’m not sure what one does with
it.
Interface
rating:
3

If one is looking for plain text without examples or interactive
features, then this would rate a five (5), because that is all it is.
It is a PDF with clean and readable text. If one is looking for
lots of color images, examples, interactive links, and other
similar features, then this would rate a one (1). Given those two
extremes, I’ve averaged it out to a three (3).
Grammatical Errors
rating:
5
The prose is fine in terms of grammar. It is readable.
Cultural Relevance
rating:
4
On the plus side, by giving a large amount of space to rock, rap,
jazz, and world music, it elevates discussions of vernacular
music and world music, which tend to include more discussions
about persons of color, to the same level as discussions of
Western European derived art music, which do not. However,
the text is so spare overall in this book that any substantive
discussion of the various cultures presented isn’t possible.
Everything is overview without many details. There isn’t a
problem so much with a lack of cultural sensitivity as there is
with a lack of cultural depth. As I’ve stated elsewhere, one
could add many examples to give context and content to support
the text, and maybe this is the intent.

Comments
My overall reaction to this book is that it comes down to what
you need this textbook to do for you. If you need something
very pared down to act as a scaffolding that you then add a lot
of your own material to, it is short and flexible enough for you
to do that. If you need something with everything wrapped up
and complete that could stand on its own without much needed
from you, then you won’t be happy with it.
Reviewed by Austin Okigbo, Associate Professor, CU Boulder
on 7/1/19
Ideas of the subject are covered, albeit without enough on non-
western cultures. The text may be useful for introduction to
musical styles and ideas, but not for world music.
read more
Reviewed by Austin Okigbo, Associate Professor, CU Boulder
on 7/1/19
Comprehensiveness
rating:
3
see less
Ideas of the subject are covered, albeit without enough on non-
western cultures. The text may be useful for introduc tion to

musical styles and ideas, but not for world music.
Content Accuracy
rating:
3
Although the title of the text bespeaks of the general ideas
about music, it privileged music of Western Europe and the
United States. Information on other non-western music are
scanty, and often did not add to knew knowledge about those
other cultures.
Relevance/Longevity
rating:
3
The content is mostly direct, and simple. I would say accurate
in regards to American and Western European traditions.
However, the author relied on old information that are
erroneous with regards to African music. E.g. "Western idea of
sitting silently while a performance is taking place is an
anathema
to these traditions." This is a misleading sweeping statement
about music in West Africa.
Clarity
rating:
4

It serves well for a high school introduction to musical styles
and ideas; I am not so sure it fits as a college textbook.
Consistency
rating:
4
The text is clear enough and used simple language.
Modularity
rating:
4
The text is easy to adapt.
rating:
4
They are logical enough and clear.
Interface
rating:
5
Images and diagrams are original and clear.

Grammatical Errors
rating:
5
No grammatical errors noted.
Cultural Relevance
rating:
3
The text is neutral at least overtly on cultural sensitivities,
however, the use of sweeping and biased statements that are
based on old ethnomusicolgical conjectures such as that
Africans privilege rhythm over melody and harmony where the
reverse is the case in the west shows lack of understanding on
the history of racial ideology that informed that claim when
Eric von Hornbostel first stated in early 20th century.
Reviewed by Cynthia Blough-Retana, Lecturer in Music,
Oakland City University on 1/9/19
The text covers all areas of the subject, but not in as much
detail as I would want in a primary course text. I do, however,
think this text would provide enough material to be used as a
secondary reference text.
read more

Reviewed by Cynthia Blough-Retana, Lecturer in Music,
Oakland City University on 1/9/19
Comprehensiveness
rating:
4
see less
The text covers all areas of the subject, but not in as much
detail as I would want in a primary course text. I do, however,
think this text would provide enough material to be used as a
secondary reference text.
Content Accuracy
rating:
5
This text is accurate.
Relevance/Longevity
rating:
4
I believe this text can be easily updated. It tends toward many
lists and biographies, to which material can easily be added.

Clarity
rating:
4
The text is written with clearly accessible language. Chapters
provide easily understandable composition, some almost to the
point of seeming to be meant for a younger reader.
Consistency
rating:
3
The text is not consistent in its framework. Some chapters are
lengthy, yet meaningful. Other chapters afford only a brief
overview, not allowing the reader more than a glimpse into the
subject matter.
Modularity
rating:
4
The text is easily divisible so as to be read in small sections.
rating:
3
For the most part, the text topics are presented in an organized

fashion. I do not think the long lists that appear throughout the
book are necessary. Some of the items in the lists do not even
follow the topics.
Interface
rating:
5
The text is free of display issues and, as a result, is extremely
easy to navigate.
Grammatical Errors
rating:
5
I found no grammatical errors.
Cultural Relevance
rating:
5
The text is inclusive and free of examples that would be
insensitive or offensive to any race or ethnicity.
Comments
I would not use this text as the primary textbook for any of the
courses I teach. I would, however, recommend it as a very good
supplemental reading source.

Reviewed by Dawn Farmer, Assistant Professor, Augustana
College on 11/9/18
With a title including the words "language, history, and
culture," one might expect to have the text focus on those
points. With this text, however, the authors fail to adequately
address that content. For example, there are only two
paragraphs on...
read more
Reviewed by Dawn Farmer, Assistant Professor, Augustana
College on 11/9/18
Comprehensiveness
rating:
3
see less
With a title including the words "language, history, and
culture," one might expect to have the text focus on those
points. With this text, however, the authors fail to adequately
address that content. For example, there are only two
paragraphs on the Romantic Era, and there is a much longer list
of important (non-music) Romantic Era figures. Major
components of content for a Music Appreciation course are
glossed over.

Content Accuracy
rating:
3
I do not think the book is inaccurate. I do think it is missing
some important details about significant musical figures and
events.
Relevance/Longevity
rating:
4
The text could be updated, yes. Content is shallow, but up to
date.
Clarity
rating:
3
Different authors have different tone. While not cumbersome, I
did not find the theory-related chapters to be as clear as I would
desire in a text like this. There is too much given to the student
in a distilled manner, with no chance to develop more than a
cursory and temporary understanding.
Consistency
rating:

3
For most of the chapters pertaining to musical eras, the
framework is similar. The other chapters, however, have more
substantial content. The chapters on American Vernacular
Music, Jazz, and World Music have significantly more content
and more detail. The subchapter on "Old School Rap," for
instance, is longer than the section on the Romantic Era. While
I have respect for those who teach vernacular music, one would
think this text would be more equitable for all time periods, and
it is not.
Modularity
rating:
5
I do like this part of the text - I might use the "chapter" on
Romantic Era as a pre-reader for more in-depth study. Also, the
Jazz chapter is longer and more detailed than most Music
Appreciation texts allow, and I would use this as a way to
expand on another text. I like the possibilities this text has in
pieces, just not as one single whole or solo text use.
rating:
5
The chronological order of time periods followed by other
topics makes sense.
Interface

rating:
5
The text is easy to navigate and scroll through. I do not like the
font, personally, but I had no issues navigating the document or
finding my way through the text.
Grammatical Errors
rating:
5
I did not find any errors.
Cultural Relevance
rating:
5
I do appreciate that the text highlights music from different
parts of the world and spends time describing and explaining
those musics. It is not cursory and is respectful to those
cultures.
Comments
Depending on what the focal point of a Music Appreciation
course is, this book may cover information you would like to
use. It seems to be quite limited in actual detail regarding the
history of Western art music, but does cover the bases of
multiple other musics.

Reviewed by Michelle Lucia-Ingle, Music Instructor, Northland
Community and Technical College on 8/2/18
The text covers all areas and ideas of the subject, but because of
the enormity of the subject, each area is shortened. The entire
book is only 110 pages of a survey of music, including
classical, American vernacular, jazz and world music.There...
read more
Reviewed by Michelle Lucia-Ingle, Music Instructor, Northland
Community and Technical College on 8/2/18
Comprehensiveness
rating:
3
see less
The text covers all areas and ideas of the subject, but because of
the enormity of the subject, each area is shortened. The entire
book is only 110 pages of a survey of music, including
classical, American vernacular, jazz and world music.There are
too many types of music spanning a large period of time to
discuss much detail. The book does contain a comprehensive
and helpful glossary featuring common musical terms.
Content Accuracy

rating:
5
I found the book to be very accurate in the content, error-free
and unbiased. The author presented the facts in a easy to
understand and readable format.
Relevance/Longevity
rating:
5
This text will not be obsolete because much of the information
is historical. Of course, as time goes on and music continues to
evolve, additional updates will be necessary to stay current. The
text is arranged in such a way in chronological order that
updates will be relatively easy and straightforward to
implement. I believe continued updates to the book will help it
remain relevant and usable for music survey type classes.
Clarity
rating:
5
The book's clarity is good. The author explains musical terms in
a clear and concise manner with examples that help
understanding and makes the technical terminology easy to
grasp. Adequate context is also given historically and the prose
is lucid and interesting to read.

Consistency
rating:
5
The book is consistent and every chapter is set-up in the same
manner. After the genre of music is presented, historic context
is presented which includes non-musical events from all over
the world. This helps to put into perspective where the music
fits into world history. After that, milestones in music are
presented, which highlight the most important musical events or
creations during the time. Musical genres are then featured. And
finally, major figures in music and other historical figures are
given. This consistent format helps to keep the information
organized and to make the broader connections between music,
history and culture all over the world.
Modularity
rating:
5
The text is easily and readily divisible into small reading
sections. Assignments, lectures and discussions could be easily
created within the subheadings. A couple of the chapters could
even be taught in a different order without disruption to the
student.
rating:
4

The organization, structure and flow of the book are good.
Music seems to lend itself to organization. Most music survey
books start with fundamentals and then proceed in a
chronological order. This makes sense because the music
evolves and builds on the previous periods. I have two small
suggestions in this area. First, the classical/art music from 1900
until the present is lumped into one chapter, which I have seen
in many music survey books. Now that we have entered the 21st
century, I believe a new chapter starting in 2000 would be
better. There is too much music and too many changes for it all
to be in one chapter. Second, the author places the Musician
Biographies at the end of the book right before the Glossary.
All musicians are lumped together here - Bach, Bessie Smith,
Bob Dylan, etc. It's a bit weird. I believe it would be more
helpful if a Musician Biographies section was added at the end
of each chapter. This way the students can be familiar with
them within their genre or time period.
Interface
rating:
5
The interface of the book is straightforward and accurate. The
images are in the correct spots and add to the reading and
understanding of the text. They are also clear of any distortion.
Grammatical Errors
rating:
5
There were no grammatical errors that I saw. The text flowed in
an understandable manner.

Cultural Relevance
rating:
5
The cultural relevance of the book was not insensitive or
offensive in any way. The author was respectful of the
cultures,races and ethnicities that were referred to throughout
the text. There are so many cultures covered in this text and
they are discussed with dignity with respect to their musical
contributions.
Comments
I believe this book would be an excellent resource for a general
music survey class at the collegiate level.
Reviewed by Jeffery Hutchins, Artist/Teacher, Virginia Tech on
5/21/18
This book aims to be quite comprehensive but is far too broad
and general in its scope, with quite shallow chapters and
arduous lists. While it was designed for a specific course, it
would difficult to use this text in another setting as is and...
read more
Reviewed by Jeffery Hutchins, Artist/Teacher, Virginia Tech on

5/21/18
Comprehensiveness
rating:
2
see less
This book aims to be quite comprehensive but is far too broad
and general in its scope, with quite shallow chapters and
arduous lists. While it was designed for a specific course, it
would difficult to use this text in another setting as is and
would require significant supplemental material to be effective
in any sort of basic survey course.
Content Accuracy
rating:
4
This text is accurate, yet brief, and seems to be error free.
Relevance/Longevity
rating:
3
The text is up-to-date with historical informati on, and given the
way the material is divided would be very easy to update over
time. Given the brief nature of the material, any expansion
would be a welcomed addition.

Clarity
rating:
3
This book is clear in its prose, but the formatting makes it
difficult to read as each page is filled with nothing but text.
Additional graphics would allow for better understanding of the
material.
Consistency
rating:
3
The book seems quite consistent in both format and material
within chapters, however the material in the appendix would be
better integrated into the chapters themselves.
Modularity
rating:
1
Given the brief nature of the text, this would be very difficult to
use modularly. The chapter on European and American Art
Music since 1900, for example, is two pages of prose, followed
by four pages of lists only. This would not suffice on its own at
all.

rating:
3
The material is well organized, yet brief and very general. The
formatting is not great and would be better with incorporated
graphics or pictures to enhance the material.
Interface
rating:
1
There is no interface with this book. Given the short nature of
the work, any links or pictures would definitely improve the
quality of this work.
Grammatical Errors
rating:
5
The prose is well written and grammatically accurate.
Cultural Relevance
rating:
2
This book is inclusive of various kinds of music from around
the world, but is far to short to be inclusive in any meaningful
way. There is nothing offensive.

Comments
This book would be very difficult to use for any other class
except the one for which it was created without significant
additional material or revision.
Reviewed by Christopher Witulski, Instructor of
Ethnomusicology, Bowling Green State University on 2/1/18
Deciding what goes into a music history class or textbook is a
great struggle. This book is a cursory approach to many topics
and, at roughly 100 pages, could serve as a starting point for a
music appreciation course. The chapters on musical...
read more
Reviewed by Christopher Witulski, Instructor of
Ethnomusicology, Bowling Green State University on 2/1/18
Comprehensiveness
rating:
2
see less
Deciding what goes into a music history class or textbook is a
great struggle. This book is a cursory approach to many topics
and, at roughly 100 pages, could serve as a starting point for a
music appreciation course. The chapters on musical elements at

the outset may be sufficient to support a class lecture or series
of activities, but on their own (without examples) they may
remain abstract. The waveform images certainly aid in this,
however. I would worry about using it for online courses (which
do not appear to be the goal of this reader) because of the lack
of engagement with terminology once it is introduced. The
discussion of rhythm and meter, for example, could prove to be
so brief as to cause more confusion than they alleviate without
in-class examples or, at least, specific references to listening
from a playlist. (The use of written poetry makes an effort here,
but forces a student to imagine rhythm and meter in a purely
linguistic sense, for example.)
Within the historical chapters, brief outlines are followed by
listings of important dates, both musical and otherwise. These
do not always appear within the narrative, leaving the student or
teacher to discern their relevance within the authors' described
musical history. Genre listings and major historical figures
appear within this listing as well, though they are formatted and
read much like a glossary. Contemporary alternative textbooks
focus on these narratives, wrapping the arts and history of a
period into the musical innovations of the time while this reader
appears to act as a reference point for students, though wi thout
the types of references that could prove more useful. In this
sense, the text operates more as a study guide.
The move to non-classical genres appears to lean more readily
on the authors' interests, or perhaps the course content. A
chapter on "American vernacular music" covers "folk music,"
ballads, African American sacred forms, the blues, rock and
roll, and rap. These sections are roughly one page each, though
the rap section is split into two halves (old and new school).
Here the timeline and figure listings are gone, though I imagine
that students would benefit from placing American musical
history within a social, economic, and political context.

A chapter on world music is similarly brief, with single pages
addressing full regions and continents. Not unlike working
through centuries within paragraphs, these have a tendency to
overview (and flatten) deep individual styles under strident
generalizations. The authors note this, mentioning the "vast
range of musical practices found throughout" Africa, for
example. Again, this may serve a live course well but would not
effectively stand on its own as a comprehensive textbook. Each
world region is covered in three to six paragraphs, though a
segment on carnival in Brooklyn leaves the reader interested in
how a book like this (an open textbook) could effectively
localize a music appreciation class for a specific course in a
specific place.
The narrative history concludes after 64 of the book's 100
pages. The remaining section is a listing of musical biographies.
These range in length and depth but focus on major historical
computers (Bach, Beethoven, etc.) and jazz performers
(Coltrane, Armstrong, Ellington). There are occasional popular
and world musicians mixed in as well (Shankar, Dylan). These
appear to work in conjunction with the chapters as a reference
for students to flip back and forth between. The final pages
include a glossary.
Content Accuracy
rating:
4
The book is largely accurate, though general. There are few (if
any) citations to further reading for students or lecturers who
are interested in stepping beyond the page-length discussions of
musical eras or genres.

Relevance/Longevity
rating:
3
The book is relevant and clear with sections on issues like
music technology and globalization. Expansion would be a
welcome addition that would help improve the relevance outside
of its role as a reader for a specific class and allow it to stand
on its own as a textbook.
Clarity
rating:
3
The brief overviews that comprise most of this text make for
quick, clear reading. The lack of detail, however, can make
certain leaps or generalizations more opaque.
Consistency
rating:
2
The text is largely consistent within chapters, though the
treatment of western classical eras and more contemporary
genres are quite different. It feels like two different twenty page

introductory papers.
Modularity
rating:
2
The brevity really prevents any significant modularity. With
European history covered in twenty pages, reading for an
individual period (on the Middle Ages, for instance) would only
take a student a few minutes.
rating:
2
The organizational logic is clear, just brief. Musician
biographies might better serve the book within the chapters and
narratives instead of (or in addition to) timelines would help to
tell the history.
Interface
rating:
2
There is little "interface" other than the text, lists, and a photo
at the opening of individual chapters. The study guide-like
formatting of the classical music chapters could help or hinder

readers, depending on how they are used in conjunction with the
lectures.
Grammatical Errors
rating:
5
The material is well written.
Cultural Relevance
rating:
3
The authors work to incorporate world music into a general
music history text. The chapter on instruments, for example,
includes examples from outside of the Western classical or
American popular music traditions. The chapter on world music,
however, is quite superficial.
Reviewed by Dorothy Bryant, Associate Professor, Ohio
University on 2/1/18
Covering music history requires a subjective selection of
artifacts that represent the time period, genres, cultural context

and significant composers and performers. This collection of
essays is not comprehensive but does touch upon the stated...
read more
Reviewed by Dorothy Bryant, Associate Professor, Ohio
University on 2/1/18
Comprehensiveness
rating:
4
see less
Covering music history requires a subjective selection of
artifacts that represent the time period, genres, cultural context
and significant composers and performers. This collection of
essays is not comprehensive but does touch upon the stated
objectives of the work. A glossary is included.
Content Accuracy
rating:
3
I agree with another reviewer, Lew Jones: “The book is general
enough that it is hard to find large-scale errors, but there are
many small errors and potentially confusing moments. To give
just a few examples: * The first phrase of “Jingle Bells” does
not end with a half cadence (though the second one does), and a
contratenor (not contra tenor) is not the same as a countertenor
(not counter tenor). * It is fair to say that the fact that the

modern flute is made of metal but classified as a woodwind
instrument, but it’s confusing to leave that statement without
explaining that there are in fact historical reasons for that
classification—without that, the reader is left wondering why
such a classification error exists.” The appendix includes
several biographies that should have sources documented
Relevance/Longevity
rating:
4
The text is segmented so would be easy to update. The
historical aspect would not need to be updated while more
contemporary information may need to be enhanced or modified
to represent changing times.
Clarity
rating:
3
This text requires that the reader have basic understanding of
music and history in order to comfortably read through the
information. Due to this, readers may not consistently have
adequate context for the information.
Consistency
rating:

5
The collection is consistent with use of terminology. Music
terms are in bold and preceded or followed by a brief
explanation.
Modularity
rating:
3
The topics are treated separately so could be used in sections to
enrich another course in music appreciation. However, some
topics may need additional text to provide complete treatment
of the topic.
rating:
3
The organization does not flow or seem logical. Chapter Four
has a short paragraph related for each historical period; then
contains 5 lists: Historic Context, Milestones in Music, Musical
Genres, Major Figures in Music, and Other Historic Figures.
The Historic Context sections have a plethora of listed items,
some of which have little relevance to music. Examples:
“Pineapples imported into Europe, 1514.” “Coffee introduced
to Europe 1517.” “Tobacco planted in Virginia, 1812.” The
Other Historic Figures section also has an extensive list for
each time period, many of them listed would not be relevant to
music.

Interface
rating:
3
The navigation layout is confusing. Example: Handel’s
biography does not mention The Messiah but the work is
mentioned in other sections of the text. For example: A
performance of The Messiah is listed in the “Milestones in
Music” in the Baroque and Classical time periods.
Grammatical Errors
rating:
5
I found no grammatical errors
Cultural Relevance
rating:
4
I would say that, in general, cultural relevance was met. One
omission was Hildegard van Bingen as a female composer in the
Renaissance. I consider her a significant early female
composers and leader in the Catholic Church. The text does
address the cultural reasons for a lack of women as composers
in Clara Schumann’s biography.

Comments
This collection of essays was clearly designed for a specific
course and would not serve as a textbook for my classes. Parts
of it could be used to supplement or enhance information.
Reviewed by Lew (Lewton) Jones, PT Faculty, Portland
Community College on 6/20/17
This book is a timeline of terminology, historical facts, and
music genres. It reads like several books albeit four authors. By
the time the glossary shows up the reader has traveled through
different periods such as The Renaissance, The Baroque...
read more
Reviewed by Lew (Lewton) Jones, PT Faculty, Portland
Community College on 6/20/17
Comprehensiveness
rating:
3
see less
This book is a timeline of terminology, historical facts, and
music genres. It reads like several books albeit four authors. By
the time the glossary shows up the reader has traveled through

different periods such as The Renaissance, The Baroque or
Romantic period and modern music with a nod to Bartok and
others in the Classical movement. Initially the book talks about
audiology, linguistic phonics and electronic sound.. It 's
comprehensiveness is in its peripheral narrative and its
bibliographies after chapters end. You can buy a dictionary type
glossary at book stores better than at the end of this book
however. The composers of high merit mentioned seems to be
historically bias. The Beatles are never mentioned , jazz great
Chet Baker or Bill Evans, Jimi Hendrix, The Doors etc As a
beginner's book Music:Its Language, History and Culture
works.One of the best chapters is on the American Vernacular A
strange line from the book however is: "The sentimental and
tragic themes of Anglo American ballads, along with the high-
pitched, "whiney" vocal style, have survived and flourished in
20th century popular country music."
Religion and its roots in Blues , Classical and Jazz is delved
into but Jazz gets most of the ink. The idiosyncratic nature of
composers like Duke Ellington and Beethoven are nice novelties
to explore. I found the book a little fragmented and seemed to
rely on here say as much as historical truth.
Content Accuracy
rating:
4
The accuracy about language, audiology and historical influence
is accurate. The need to express music and how it was invented
to fit each period was well researched. The footnotes are
accurate. It leans towards certain players as vanguards of a
certain sound but really misses people like Les Paul, Chet
Atkins, Robert Johnson, Lightning Hopkins to name a few. For
a freshman who is curious about music there is an accuracy to
details regards ensembles, instrument choice and World Music

which pentatonic scales versus diatonic. Knowing this and
information on syncopation and how modern music came to be
is an accurate description of the human timeline regarding
sounds and how form came to be. I thought doing a biopic of
Handel and never mentioning his most famous religious piece
"The Messiah" was a red flag regarding accuracy.
Relevance/Longevity
rating:
3
The fact that this is a historical narrative keeps it open to
addition or a second improved pressing. THe second book could
address many musicians not mentioned and could talk about the
business side of music and the bands who maintained quality
despite being commercialized. The freezing of time can be a
problem for the book's relevance because Jazz has moved far
away from the icons they gush over. The generalization of
music as genre, nativity and intentional posturing is out of step
with Rapp, Punk, Electronica. The book is a bit old timey in its
clarion call to the arts.
Clarity
rating:
4
The explanations of sound waves and pitch was easy to
understand. The stories about the composers was good human
history and its clarity to the common vernacular. It explained
how many of the greats improvisers and not magicians. A young

reader interested in the arts should find this book inspirational
by merit of its organized trajectory. Using bold print before
explaining terms like Wave Form makes it clear rather than
obscure.
Consistency
rating:
3
The first half of the book was very consistent while the World
Music and Appendix/ Biography sections could have been more
concise. To never mention Reggae after going on about Calypso
was not consistent with the terminology and framework is one
example.
Modularity
rating:
4
The use of four writers make for groups of four in a classroom
to explore the ideas. Math people will like the chapters on
sound, while humanities people should enjoy the stories of the
composers and their artistic drive that echoes on the timeline
that leads up to their moment of fame and epiphany. World
Music should create inclusion for those who are not in the
western lexicon and its sounds and life expressions.
rating:
5

In regards to organization the book basically looks like four
manuscripts glued together to make a book. The topic is very
dense and if it was a graduate class would need a book just for
annotation. Luckily for the writers this is appropriate for early
college students.
Interface
rating:
3
The historical context lists really should be in the back rather
than after the chapters due to their very long lists.
Its good to let chapters flow easily for comprehension.
Grammatical Errors
rating:
5
I saw no grammatical erors.
Cultural Relevance
rating:
4
The World Music chapter and the discussion of primordial
sounds gave this book a cultural relevance. The PC correct need
to patronize or exoticize other cultures actually was a little odd.
Music is a very opinionated forum if you start declaring who the
real genius's were etc. The idea that John Cage was so profound

and never mention Derrida, James Joyce or DuChamp made the
book seem a little naive at times.
Comments
The book is excellent for history buffs and curious beginners.
Reviewed by Alice Clark, Professor of Music History, Loyola
University New Orleans on 6/20/17
The title and table of contents of this book appear to be
comprehensive, but much of the contents are far too abbreviated
to fulfill that goal. It might well be able to write a book of this
type in just over 100 pages (really only 64 if the...
read more
Reviewed by Alice Clark, Professor of Music History, Loyola
University New Orleans on 6/20/17
Comprehensiveness
rating:
3
see less
The title and table of contents of this book appear to be
comprehensive, but much of the contents are far too abbreviated
to fulfill that goal. It might well be able to write a book of this

type in just over 100 pages (really only 64 if the appendices are
pushed aside), but this to my mind is not that book.
The historical chapters consist of only a few paragraphs for
each style period (which makes it hard to get beyond sweeping
generalizations), followed by long lists of people and events
(mostly outside of music—for the ninteenth-century section,
nineteen “major figures in music” are listed, and over sixty
“other historic figures”). Not a single piece of music is
discussed, or even named. A separate chapter is given for
western art music since 1900, where two pieces of music are
mentioned (one a nineteenth-century symphony), but even here
a page-long list of “major figures in music” (which is balanced
mostly toward jazz, blues, folk, and rock musicians) is dwarfed
by longer lists of “historic context” and “other historic figures.”
The chapters on “American vernacular music” and jazz are more
substantial, but if they are the true focus of the book, then
arguably too much space is given to the opening chapters. Why
bother with a cursory discussion of the history of western art
music, or its instruments and ensembles, if that is the case?
The world music chapter returns to the cursory discussions of
the western art music chapters. Nearly two pages are given to
Africa, with a list of generally shared elements (such as the
importance of music and dance), but no actual examples.
Similarly brief discussions are given to the music of northern
and southern India, Indonesia, and China. The Caribbean
receives more attention, with some discussion of specific genres
of music from Puerto Rico and Trinidad (including Trinidadian
music in Brooklyn). The chapter ends with a brief discussion of
music in South America, a separate section on the Argentinian
tango, and Klezmer music.
A large appendix (over 30 pages, so over 25% of the entire
book) gives musician biographies, and a short glossary defines

terms, but neither is connected to the text. I don’t understand
why terms like “ritornello” or “tutti” need to be defined in a
text that gives no examples of baroque music.
I don’t see a good audience for this book; certainly it is not a
book I could use even as a skeletal foundation for any class I
teach, either for majors or non-majors. The level of information
it would take to make this book make sense for someone who
didn’t already know the material would be equal to that required
without it, so the book is of no help whatsoever.
Content Accuracy
rating:
3
The book is general enough that it is hard to find large-scale
errors, but there are many small errors and potentially confusing
moments. To give just a few examples:
* The first phrase of “Jingle Bells” does not end with a half
cadence (though the second one does), and a contratenor (not
contra tenor) is not the same as a countertenor (not counter
tenor).
* It is fair to say that the fact that the modern flute is made of
metal but classified as a woodwind instrument, but it’s
confusing to leave that statement without explaining that there
are in fact historical reasons for that classification—without
that, the reader is left wondering why such a classification error
exists.
* The so-called “Heiligenstadt Testament,” a letter Beethoven
wrote to his brothers in 1802 when he realized his growing
deafness would not get better, was not a will.

I am also troubled by the fact that the biographies in the
appendix include substantial quotations for which no source is
given. This encourages students not to cite sources in their own
work.
Relevance/Longevity
rating:
2
The excessively cursory nature of much of this book makes it
difficult to use. If the focus is on “American vernacular” music
and jazz, then much of the rest is not relevant, while even those
sections are too telegraphic to be useful.
As I've said elsewhere, I don't see how I could use this text in
any class I teach. The amount of work it would take to make
the book make sense to a reader who did not already know the
subject would be the same as that required without the book--
which means it effectively serves no purpose. It's not so much
that what is here is truly bad, as that it is not helpful.
Clarity
rating:
3
What prose there is is not bad on the whole, but it’s too sketchy
to be clear to a reader who doesn’t already know the topic.
The lists of dates in the historical chapters are not always in

chronological order, and there are catch-all categories with wide
date spans (such as the “establishment of major European
cities” in the medieval section, which goes from c. 450 to c.
1250), which makes them very difficult to use.
Consistency
rating:
2
Much of the opening chapters are entirely focused on western
music (such as the introduction of the elements of music, save
only a mention of the pentatonic scale), including a section on
“western categories of instruments” with no mention of other
instruments, which makes it seem out of place when, for
instance, the gamelan is brought in as an example of an
ensemble. This is followed by the historical chapters, again
focused on western art music but so cursory as to make them
appear insignificant.
It becomes clear that “American vernacular music” and jazz are
the real interest, but that makes the opening sections make less
sense—and the final chapter on world music again doesn’t seem
to fit the true focus.
Modularity
rating:
3
The book is suitably modular, but the modules are often too
cursory to be helpful.

rating:
3
The basic organization is typical (elements, western art music,
jazz and popular music, world music), but they are not well
balanced. It would be more effective if it were better focused
on the apparent true interest, which is jazz and popular music,
preceded with a chapter (or set of chapters) on the elements of
music that is better focused toward the true goal.
Opening with physics rather than music I expect is offputting to
many students; the material is adequate, but I think it would
work better to draw in the reader with music, then provide the
physical explanations. I also find that opening chapter out of
balance: half a page on rhythm (treating rhythm and meter as
different elements, not meter as one aspect of rhythm), followed
by slightly more on pitch (which seems to include harmony,
though the term appears as part of texture), melody, and texture.
That means the entire discussion of the elements of music gets
about 3-1/2 pages, which I think even music majors would find
too telegraphic, unless they already knew the material (and
therefore did not need the book at all).
Interface
rating:
1
The potential problems created by pictures and links in an
electronic text are not an excuse not to have them. This book
has no links, and no pictures beyond those opening chapters—
even when specific instruments are introduced. After the
opening section on physics, there are no diagrams or figures,

only plain text. That would be difficult to justify for a print
book on music; for one that lives on the internet, it is
unacceptable.
Grammatical Errors
rating:
4
The writing is generally decent.
Cultural Relevance
rating:
3
The book does not include any examples of cultural
insensitivity. By trying to do too much in too little space,
however, it does not give sufficient value to any culture.
Comments
I think this book is simply trying to do too much in too little
space. A book on US vernacular musics, with an appropriately
pitched elements section, would have room to discuss specific
styles and examples, and it appears this author would be able to
do such a thing. In this form, however, I don’t think it works—
certainly it could not work for any class I teach.
Table of Contents
Introduction
Chapter 1: Elements of Sound and Music
Chapter 2: Musical Instruments and Ensembles

Chapter 3: Composer, Performer, Audience
Chapter 4: European Art Music: Middle Ages through
Romantic
Chapter 5: European and American Art Music since
1900
Chapter 6: American Vernacular Music
Chapter 7: Jazz
Chapter 8: World Music
Appendix 1: Musician Biographies
Appendix 2: Glossary
About the Book
Welcome to Music 1300, Music: Its Language History, and
Culture. The course has a numberof interrelated objectives:
1. To introduce you to works representative of a variety of
music traditions.These include the repertoires of Western
Europe from the Middle Agesthrough the present; of the United
States, including art music, jazz, folk, rock, musical theater;
and from at least two non-Western world areas (Africa, Asia,
Latin America, the Caribbean, the Middle East, Indian
subcontinent).
2. To enable you to speak and write about the features of
the music you study,employing vocabulary and concepts of
melody, rhythm, harmony, texture, timbre,and form used by
musicians.
3. To explore with you the historic, social, and cultural
contexts and the role of class, ethnicity, and gender in the
creation and performance of music,including practices of
improvisation and the implications of oral andnotated
transmission.
4. To acquaint you with the sources of musical sounds—

instruments and voices fromdifferent cultures, found sounds,
electronically generated sounds; basic principlesthat determine
pitch and timbre.
5. To examine the influence of technology, mass media,
globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and
explanations of musical terms and concepts,short essays on
subjects related to music as a creative performing art,
biographical sketchesof major figures in music, and historical
and cultural background information on music fromdifferent
periods and places.
About the ContributorsAuthor
Douglas Cohen is an intermedia composer and often
collaborator with film, performance and folk artists. He was an
early advocate for digital media on the Internet. He organized
the NewMusNet Conference of Arts Wire with Pauline Oliveros
and later was arts wire systems coordinator.
Cohen is a specialist in American experimental music and
pays particular attention to the work of John Cage, Morton
Feldman and Pauline Oliveros. He co-created and produced the
evening=length intermedia work imusicircus at Experimental
Intermedia in New York and LACE Gallery in Los Angeles
(later with the California EAR Unit at the L.A. County Museum
of Art) as City Circus events for the John Cage exhibition
Rolywholyover a Circus.
He received a bachelor of fine arts and a master of fine
arts from the California Institute of the Arts, and a doctorate
from the State University of New York at Buffalo.
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