Adapting, Transcribing and Arr

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ADAPTING, TRANSCRIBING A N D ARRANGING
WORLD MUSIC
FOR WESTERN INSTRUMENTAL PERFORMANCE
by
A rnold Bruce Bieber
D issertation Com m ittee:

Professor H arold F. Abeles, Sponsor
Professor Lenore Pogonow ski
A pproved by the Com m ittee on the Degree of D octor of Education
Date m 1 1997____________
Subm itted in partial fulfillm ent of the

requirem ents for the Degree of D octor of Education in
Teachers College, C olum bia U niversity
1997
UMI Number: 9810953
Copyright 1997 by
Bieber, Arnold Bruce
All rights reserved.
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ABSTRACT
ADAPTING, TRANSCRIBING AND ARRANGING WORLD MUSIC FOR
WESTERN INSTRUMENTAL PERFORMANCE
A rnold Bruce Bieber
As educators a n d m usic educational organizations increasingly make
m ulticultural m usic education a priority, m any new resources have become
available w hich ad d ress non-W estem or world music issues in the classroom.
Yet a review of these m aterials reveals a nearly exclusive focus on general or
choral m usic education. W orld m usic instrum ental perform ance literature
currently available to m usicians or music students is scarce an d often presents
prettified, inauthentic arrangem ents calculated to be palatable to the
sensibilities of the W estern audience and m usician.
This dissertation reports on the process of adapting, transcribing and
arranging w orld m usic for perform ance on W estern instrum entation. It
presents a fram ew ork a n d recom m ends guidelines for those interested in
w riting authentic w orld m usic perform ance literature for the stu d en t or
professional m usician.
A fter listening to over 400 indigenous recordings, the following four
w orld m usic com positions w ere selected for transcribing and arranging, and
are presented w ithin th eir particular cultural, stylistic an d historical context:
"The Farewell" (China), originally perform ed on an ancient ocarina, is
arranged for solo flute. The Balinese gam elan perform ance of "L ente" is
arranged for percussion ensem ble. "K antus de A pacheta," perform ed by
Q uechuan m usicians from the Bolivian A ndes, is arranged for concert band.
"Ikobi," a gathering song, perform ed by Pygm y w om en from the Ituri rain
forest in central Africa, is arranged for string orchestra and percussion.
A cassette recording of each arrangem ent accom panies this dissertation.
W hile not setting d o w n universal rules or guidelines, the dissertation
does recom m end approaches for the w orld m usic arranger. It also addresses
issues of authenticity, pedagogy, w orld m usic education rationales, ethical
considerations, copyright, rhythm ic, tim brel and harm onic ad aptatio n , voice
leading, orchestration an d style, as well as the lim itations an d difficulties
encountered and the com prom ises m ade in the course of the arrangin g
process.
Each new piece of w orld m usic presents its ow n unique m usical and
cultural issues. This stu d y concludes th at w hen approached w ith
im agination, respect and insight, the arranger can create a w ork w hich is
capable of heightening o u r aw areness of the differences and sim ilarities
am ong the w orld's m usical cultures.
\
3
f
D edication
This w ork is dedicated, w ith love a n d appreciation, to m y wife
M arianne, w ho affectionately su p p o rted m y efforts, keeping m e o n track in
spite of m orn in g sickness, a m ove to the other side o f the w orld and the birth
of o u r so n Joshua Benjamin, b o m on D ecem ber 25,1997.
4
A ck n o w led g m en ts
T hanks to m y sponsor, Professor H arold F. Abeles, w ho w isely advised
m e th ro u g h o u t the process of researching an d w ritin g this dissertation.
T hanks to Professor Lenore Pogonow ski for h e r su p p o rt and guidance.
T hanks to Fred Carl and Jane R. Slavin for their encouragem ent, help
a n d friendship.
Thanks to flutist Raphi Bar-Lev for perform ing m any takes of "The
Farew ell" u n til it w as just right.
T hanks to Dr. D ankar S haarm an for sp en d in g m uch tim e w ith m e on
the in tern et, sh arin g his know ledge o f Balinese gam elan m usic.
Finally, a special thank y o u to all m y friends an d family, w ho gave m e
so m u ch enthusiastic su p p o rt d u rin g the w riting o f this dissertation.
i
5
Table of Contents
D edication........................................................................................................................... 3
A cknow ledgm ents............................................................................................................ 4
Table of C ontents............................................................................................................... 5
List of Figures....................................................................................................................10
List of Tables...................................................................................................................... 11
Chapter I
INTRODUCTION...................................................................................................... 12
Problem S ta te m en t............................................................................................. 13
Purpose of Study.................................................................................................. 14
A u th e n tic ity ......................................................................................................... 14
D efin itio n s.............................................................................................................16
Related L iterature................................................................................................ 18
W orld M usic E ducation Rationales................................................................19
Social R ationale............................................................................................. 20
M usical R atio n ale .........................................................................................21
Global R ationale............................................................................................ 23
Student P reference.............................................................................................. 24
W orld M usic in the Instrum ental M usic P ro g ra m ....................................25
A rranging...............................................................................................................29
S u m m a ry .............................................................................................................. 30
6
C hapter II
METHOD A N D PROCEDURE................................................................................ 31
C riteria for Choosing A p p ro p riate W orld M usic Com positions for
A rra n g in g ...............................................................................................................3 3
Selected W orld Music C o m p o sitio n s............................................................ 3 4
C hapter HI
CH IN A - "THE FAREWELL" - ARRANGED FOR SOLO FLUTE.................36
X u n .......................................................................................................................... 36
"The Farew ell"..................................................................................................... 39
M elodic Im plications.................................................................................... 40
Choice o f Instrum entation ..........................................................................41
M eter an d Phrasing....................................................................................... 41
Technical Playing L evel............................................................................... 42
C hapter IV
INDONESIA/BALI - "LENTE" -
ARRANGED FOR PERCUSSION ENSEMBLE.................................................. 44
G a m e la n .................................................................................................................45
Balinese G am elan..........................................................................................47
"L en te"....................................................................................................................48
In s tru m e n ta tio n .............................................................................................49
T uning and R h y th m .................................................................................... 51
M elody Line.....................................................................................................51
In n er Voice and "B ass"................................................................................ 52
7
Technical Playing Level.................................................. .53
C h ap ter V
BOLIVIA - "KANTUS DE APACHETA" -
ARRANGED FOR CONCERT B A N D ..................................... .55
"K antus d e A pacheta"................ .......................................... 56
P a n p ip e s.................................................................................... 56
T uning, Scale a n d T exture............................................. 59
A rranging "K antus de A pacheta"....................................... 60
C hapter VI
MBUTI OF CENTRAL AFRICA - "QCOBI" -
ARRANGED FOR STRING ORCHESTRA A N D CONGA. 64
M buti M u sic............................................................................. 65
Jean-Pierre H a lle t.................................................................... 66
T ranscribing "Ik o b i"............................................................... 67
A rranging "Ik o b i"................................................................... 71
C hapter VII
APPROACHES TO ARRANGING WORLD M U SIC .......... 74
C hoosing A Piece.............................................................. . 75
T ranscribing............................................................................... 76
T u n in g .................................................................................. 77
T exture a n d R hythm ........................................................ 78
A rra n g in g ................................................................................... 79
O rch estratio n ...................................................................... 80
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8
Key an d R an g e ............................................ .81
Technical P laying L evel............................ 82
T em po, D ynam ics a n d O ther M arkings 82
MIDI a n d C o m p u te r Softw are................ 83
C opyright C onsiderations .................. 84
L im ita tio n s......................................................... . 86
C hapter VIE
SU M M A R Y ............................................................... 87
Four W orld M usic A rra n g e m e n ts............... 88
C ultural C ontexts a n d A uthenticity............. 89
Pedagogical C onsiderations............................. 94
A u ral L e a rn in g ............................................ 96
C o n clu sio n ........................................................... 99
B ibliography....................................................................
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9
A ppendix A. C onductor's Score "The Farew ell"......................................110
A ppendix B. C onductor's Score "L ente"................................................... 112
A ppendix C. C onductor's Score "Kantus de A pacheta"........................ 132
A ppendix D. C onductor's Score "Ikobi".................................................... 139
A ppendix E. D iscography ................................................................... 148
A ppendix F. Cassette tape:
"The Farew ell" Perform ed by Rafi Bar-Lev.............Track 1
"Lente" MIDI perform ance Track 2
"K antus d e A pacheta" MIDI perform ance Track 3
"Ikobi" MIDI perform ance Track 4
10
List of Figures
Figure 1 U ndecorated_W histle an d Vessel Flutes from the Shaanxi p r o v in r e
dating ca. 4000 B.C.......................................................................................... 38
Figure 2 "The Farew ell" pentatonic scale w ith grace notes in parenthesis 40
Figure 3 Slendro Scale................................................................................................... 46
Figure 4 Pelog Scale.........................................................................................................46
Figure 5 "Lente" Scale.................................................................................................. 51
Figure 6 Parallel M otion "L ente".................................................................... 52
Figure 7 Exam ple of P hukuna T uning:
Left: Seven-tube Area, Right: Six-tube Ira.................................................57
Figure 8 T uning o f Full T hirteen-tube P hukuna................................................. 58
Figure 9 Parallel M otion in "K u tirim u n ap aq "............................................ 60
Figure 10 Parallel M otion in "K antus de A pacheta"............................................. 60
Figure 11 O riginal Pentatonic Scale in "K antus de A pacheta"............................61
Figure 12 P entatonic Scale used in A rrangem ent in "Kan tu s d e A pacheta" ..61
Figure 13 O riginal and A ltered Scale from "Ikobi"................................................ 6 8
Figure 14 Call an d Response in "Ikobi".....................................................................69
Figure 15 L eader's V ariations in "Ikobi"...................................................................70
11
List of Tables
Table 1 Instrum ents of the Luogo Ensem ble............... 28
Table 2 W orld m usic p erfo rm ances arran g ed for this dissertation....................35
Table 3 O riginal S elu n d in g Instrum ents a n d W estern Instrum ents used in
A rran g em en t o f "L ente"................................................................................. 50
Table 4 M IPJ-Equipineiit-aBd-SpftârejBged m this B isssrtatio n ......................84
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C hapter I
INTRODUCTION
[0 ]ne m ust go b e y o n d one's present self, th ro u g h sounds

encountered, to a self n o t y e t know n (Reimer, 1991, p. 5).
M usic educators h av e stressed the im portance o f m ulticultural m usic
ed u catio n for decades. "A s early as the 1920s, interest in a b ro ad er
m u lticu ltu ral curriculum a p p e a re d in professional literature a n d school
m usic series" (A nderson, 1992, p. 52). A n exam ination o f related journals an d
books over the p a st 30 years reveals a grow ing interest in the area of
m u lticu ltu ral m usic edu catio n (Volk, 1993). In the sum m er of 1966, Egon
K raus, the secretary-general o f the International Society for M usic E ducation
(ISME) stated:
The confrontation o f the cultures is the destiny of o u r tim es,

a n d the bringing a b o u t of this confrontation in a m eaningful
m an n e r is the great cultural-political task of o u r century. We,
the m usic educators, can contribute significantly" (as cited in
Volk, 1993, p. 137).
A 1990 m ulticultural m usic education sym posium sponsored b y M usic
E ducators N ational Conference (MENC), the Society for Ethnom usicology,
and the Sm ithsonian Institu tio n passed a series of resolutions, includ in g one
to "seek to in su re that m ulticu ltu ral approaches to teaching m usic w ill be
13
incorporated into every elem entary and secondary school m usic curriculum "
(A nderson, 1991, p. 33).
Problem S tatem ent
As educators and m usic educational organizations such as MENC have
m ade m ulticultural music education a prio rity , m an y new resources have
increasingly becom e available, addressing w o rld m usic issues in the
classroom . (A nderson and Cam pbell, 1989, p. 3). A n exam ination of these
m aterials how ever, reveals a nearly exclusive focus on general or choral
m usic education. W orld m usic perform ance literature currently available to
m usicians o r to instrum ental m usic educators a n d stu d en ts is lim ited (Volk,
1995), and little has been w ritten about w o rld m usic issues w ithin the context
of the in strum ental music program .
T hat this has occurred is understandable. C reating approaches for the
stu d y of non-W estem musical cultures in the general m usic classroom, using
videos, recordings, singing an d perform ing, w hile challenging, is far less
com plex a task th a n attem pting to authentically a d a p t an d arrange w orld
m usic for stu d e n t m usicians, ensem bles, b an d or orchestra. The arranger
m ust contend w ith the inherent cultural, stylistic, idiom atic and technical
lim itations of W estern instrum entation — a m ajor obstacle to adapting w orld
m usic for instrum ental ensem bles. Sim ply p u t, the flute is not the Japanese
shakuhachi o r the Peruvian panpipe; the violin is n o t the Indonesian rebabt
I 14
or the Chinese erhu; the gu itar is not the Indian sitar; a n d the piano is not the
C aribbean steel dru m .
Empg.se of Study
This dissertation reports o n the process o f adapting, transcribing and
arranging w orld m usic for perform ance on W estern in strum entation. It
presents a fram ew ork a n d recom m ends guidelines for those interested in
w riting authentic w orld m usic perform ance literature for the stu d e n t or
professional m usician. This stu d y includes w o rld m usic arrangem ents for
solo flute, percussion ensem ble, concert band and strin g orchestra, transcribed
and arranged by the author, w ith an accom panying cassette recording of each
piece, perform ed b y either live m usician o r via MIDI.
A u thenticity
The term authentic in m usic can be interpreted in m an y w ays. For
exam ple, to players of classical m usic, authenticity refers to the perform ance
of M edieval, Renaissance, Baroque or Classical era m usic o n period
instrum ents w ith "correct" ornam entation in the style o f the tim e. It is
therefore im portant to discuss the w ord's m eaning a n d its im plications
w ithin the context o f this dissertation early on.
To som e, a w orld m usic perform ance o r com position could only be
regarded as authentic w h en perform ed by indigenous m usicians w ith in the
15
context of their particular native culture, w hile others m ig h t accept as
authentic, those sam e indigenous m usicians perform ing on a concert stage o r
recorded on tape o r CD. W hen teaching a b o u t w orld m usic, m any edu cato rs
consider it essential to present authentic m aterial to th e stu d en t, p lacin g die
m usic w ith in its p ro p er social, spiritual a n d aesthetic context. Seeger (1995)
differentiates betw een the term s authentic, an d traditional m usic:
[I]t is im portant to distinguish m usic th at w as historically

identified w ith a com m unity (traditional) from m usic th at has
been introduced (nontraditional, y e t authentic), possibly th ro u g h
m issionization o r m ilitary enforcem ent (p. 18).
V olk an d Spector (1995) identify exam ples of w o rld m usic perform ance
literature for b an d , chorus and string orchestra by level of authenticity. Four
categories w hich sp a n tw o extrem es are em ployed to define the param eters of
authenticity. C ategory I encom passes "[pjieces w hose only connection to the
authentic m usic of another culture is in its title" (p. 29). C ategory II includes
pieces th a t "incorporate m elodies from o th er cultures" (p. 29), b u t essentially
utilize W estern harm onies. C ategory HI covers com positions b y com posers
such as Z oltan Kodaly, Bela Bartok an d Percy G rainger, w h o attem pt to
authentically rep resen t a particular non-W estem culture.
T hese com positions often include the use o f traditional

p ercu ssio n instrum ents o r accurate in stru m en tal substitutions,
and som etim es include the harm onic stru ctu re a n d tim bres
from th at culture (p. 29-30).
C ategory IV encom passes original w orld m usic com positions "by com posers
from the culture," or authentic arrangem ents of an original w orld m usic
piece (p. 30).
16
A rrangem ents co n ta in in g no n -W estem tunes, h arm o n ized an d
orchestrated so as n o t to displease o u r W estern sensibilities, exist in
abundance. Far few er a u th en tic w orld m usic arrangem ents are a v a ila b le to
the professional o r s tu d e n t m usician. Even so, there is no su b stitu te for the
original indigenous p erfo rm an ce, a n d the w o rld m usic a rran g em en t sh o u ld
not be considered a su rro g a te for the original m usic.
I define an authentic world music arrangement, as one th a t adheres
closely to the original perfo rm an ce in term s of pitch, harm ony, texture,
counterpoint an d rh y th m . L ater, I m ake a fu rth er distinction in reference to
tim bre betw een, authentic arrangements w ith like instruments an d
authentic arrangements w ith dissimilar instrum ents (see C u ltu ra l C ontexts
and A uthenticity in the last chapter.)
D efin itio n s
Various term s o r labels have been applied to describe an ed u catio n that
"enables one to function effectively in m ultiple m usic cultures" (Volk, 1993,
p. 139). To som e, the term m ulticultural education im plies, th a t the p u rp o se
of teaching students a b o u t diverse cultures, is to address the specific
nationalities represented in the classroom , a n d n o t to expose stu d e n ts from
any culture o r ethnic b ack g ro u n d to the rich diversity o f cultures represented
globally. As C am pbell (1992) p o in ts out, w hile the term m ulticultural is often
used by educators, "som e teachers find the term unacceptable as it im plies an
ethnically (utilitarian-based) rath e r th an a globally focused curriculum th a t is
17
driven by m usicoaesthetic goals" (p. 27). R eim er (1993), argues th at the term
m ulticultural is n o t an accurate description o f the Am erican m usical scene
because it,
glosses over the fact that there exists a n identifiable

A m erican culture, rooted in W estern traditions yet enhanced by
all the m an y w orld traditions th at give the particular flavor and
distinctiveness to this nation (p. 2 2 ).1
Instead R eim er suggests the term "m ultim usical culture" to describe the
A m erican m usical m osaic (p. 22).
A lthough it is likely that lim itations could be found in any term used
to describe the m usic of diverse cultures, for the purposes of this dissertation,
the term s world music, m ulticultural m usic, music o f other cultures, global
music a n d non-W estem music, w ill be used interchangeably. W ithin the
context o f music education these term s w ill refer to teaching about
traditional, classical, p o p u lar or folk m usic of various non-W estem cultures.
The w o rd arranging, as used in the title a n d throughout this
dissertation, conform s to the definition of th e m usical term arrangement as it
appears in The New Harvard Dictionary o f Music:
The a d ap tatio n of a com position for a m edium different

from that for w hich it was originally com posed, usually w ith the
intention of preserving the essentials o f th e m usical substance
{Arrangement, 1986, p. 53).
A com m on definition of the term transcription is the "adaptatio n of a
com position for a m ed iu m other than its o rig in al on e" {New Harvard,
"Transcription"), e.g., a cello suite by J. S. Bach rew ritten for lute or guitar.
1 One may argue whether American culture is mainly "rooted in Western tradition."
18
Transcription in this dissertation will refer to the conveying o f a m usical
perform ance th ro u g h notatio n o r "[t]he reduction o f m usic from live or
recorded so u n d to w ritten notation (New Harvard, "T ranscription").
Belated Literature
Prior to the 1960's (and in m any instances to th e p resen t tim e), students
in the U nited States received an exclusively E urocentric m usic education
(Volk, 1993, p. 138), w hich focused on European classical m usic com posed by
white males to the exclusion of other groups (N avarro, 1989). As A nderson
and Cam pbell (1989) p o in t out, this occurred in spite o f A m erica's m ulti
ethnic heritage:
D espite the presence of native A m erican In d ian s long before

(as well as during) the form ative years of the republic, an d the
waves of im m igrants from Asia, Latin A m erica, a n d E urope th at
have come to this country since the 1840s, the k-12 m usic
curriculum has seldom reflected the ethnic d iversity of
A m erican society (p. viii ).2
The T anglew ood Sym posium , w hich took place in th e su m m er of 1967,
is regarded by m an y m usic educators as a w atershed e v en t th at began the
contem porary m o v em en t to prom ote m ulticultural m usic ed u catio n in
American Schools (Reim er, 1993, p. 21; A nderson and C am pbell, 1989, p. viii).
At th at m usic ed u ca to rs’ conference, anthropologist a n d ethnom usicologist
David McAllester posed the question: "H ow [...] can w e go o n thinking of
2 Anderson and Campbell's omission in this passage of the African influence on

American music is apparently unintentional, in view of their extensive treatment of
African music.
’m usic’ as w estern European m usic, to the exclusion of the infinitely varied
form s of m usical expression in o th er p arts of the w o rld " (as d te d in Volk,
1993, p. 141)? The rise of the "m ulticultural im perative" in m usic education
d u rin g the p a st few decades has been highlighted by a num ber of scholars a n d
organizations (Volk, 1993; A nderson, 1992; Gam ble, 1983). O ver the last 25
years m usic educational organizations such as, M ENC, the College M usic
Society, the N ational Association o f State Boards of Education (NASBE) an d
the N ational Association of Schools of M usic (NASM) have stressed the
im portance of m ulticultural m usic education (A nderson, 1992). O ther
respected organizations such as th e Society for E thnom usicology an d the
International Society for M usic E ducation "have strongly endorsed the stu d y
of w orld m usics at all levels of instruction" (A nderson and C am pbell, 1989, p.
3).
W orld M usic E ducation R ationales
An exam ination of the literatu re d ealin g w ith m ulticultural m usic
education reveals num erous and v aried rationales p u t forw ard b y educators
for teaching w orld m usic in o u r schools. W hile som e argue against a
m u lticultural education generally (Bullivant, 1981), little opposition is
a p p aren t in music educational literature.
G onzo (1993) addresses the varied opinions am ong educators
concerning m ulticultural education an d identifies a nu m b er of cam ps w ith
diverse perspectives. The "C ultural Pluralists" believe that the heritage of all
I
20
ethnic groups m ust be ad d ressed a n d included in the classroom . "Teachers in
this educational setting develop th eir students’ know ledge, skills, a n d habits
m indful of the value of the learners' cultural diversity" (p. 50). The "A nti
racists" view m ulticulturalism as a w a y to help eradicate racist attitu d es (such
as stereotyping and prejudice) in the curriculum an d classroom (p. 50). To
the "G lobalists," a m u lticultural curriculum encourages "a stu d e n t's ethnic
p rid e together w ith an appreciation for other nations an d c u ltu res" (p. 51).
The "A ssim ilationists," o n th e o th er h a n d , are opposed to th e v ery concept of
m ulticultural education. "A ssim ilationists expect ethnic g ro u p s to give u p
th eir cultural heritage an d accept th e 'A nglo-Am erican' life-style" (p. 50),
v iew in g m ulticulturalism as a possible th reat to "A m erican c u ltu re"
(Bullivant, 1981, p. 6 ).
As the interest in m u lticu ltu ral education continues to increase,
educators and scholars in gro w in g num bers are discussing a n d debating,
th ro u g h books, journals an d lectures, the rationales a n d lim itations o f
m ulticu ltu ral m usic education. F ung (1995) identifies v ario u s w riters,
p hilosophers, ethnom usicologists an d m usic educators w hose ideas fall
w ith in "three m ajor rationales - social, m usical, and global - for teaching
w orld m usics in the U nited States" (p. 37).
Social R ationale
The "social rationale" refers to th e students' grow th in cultu ral
aw areness and tolerance th ro u g h the stu d y of w orld music. Som e educators
21
believe th at the inclusion of world m usic in the curriculum supports stu d en t
socialization am ong peers of other cultures, religions or ethnic groups:
M ulticultural education develops the u n d e rstan d in g that

there are m any different b u t equally valid form s of m usical and
artistic expression and encourages students to develop a broad
perspective based on understanding, tolerance, a n d respect for a
variety o f opinions and approaches (A nderson an d Cam pbell,
1989, p. 1).
Gam ble (1983) considers the m ulticultural approach to be a w ay for
educators to help students "deepen their o w n cu ltu ral identities," allow ing
them to "gain a better understanding of the identities of other students as
w ell" (p. 40). Conversely, Bullivant (1981) is concerned th at "teaching all
children about cultural differences in their societies m ay reinforce and n o t
reduce their sense of distinctiveness" (p. 6 ). Schm id (1992) stresses the
im portance of w orld m usic perform ances by stu d e n t ensem bles as a w ay to
enhance concert program m ing and at the sam e tim e develop links w ith new
segm ents of the school com m unity (p. 41). M cA llester considers w orld m usic
education to have the potential for "prom oting h u m a n understanding, an d
tolerance for racial and cultural differences" (as cited in A nderson, 1991, p. 31).
M usical Rationale
The "m usical rationale" justifies m ulticu ltu ral m usic education as a
vehicle for the stu d en t to gain a deeper u n d e rstan d in g of non-W estem and
W estern m usical concepts through w orld m usic stu d y , listening and
perform ance. "W orld m usics provide stu d en ts w ith valid alternatives w ith
1
f
22
which they m ay view the basic elem ents of m usic" (Gamble, 1983, p. 40).
Gamble m aintains that stu d en ts w ho are "truly educated m usically" are those
w ho are exposed to the "com m on elem ents" o f w orld and W estern m usics (p.
40).
The "com m on elem ents ap p ro ach " highlights m usical com ponents
th at m ost cultures share (i.e. pitch, tim bre, dynam ics, rhythm , harm ony,
polyphony, etc.). Trimillos (1972) points o u t th at the m usic of any culture,
"m anipulates the sam e basic elem ents - pitch, tim bre, tim e, sim ultaneity,
sequence, and form " (p. 91).
Gamble (1983) suggests ad ap tin g the "MMCP Synthesis" philosophy
w hich utilizes the "spiral curriculum " in its approach to teaching the basic
elements of music, as a startin g p o in t for teaching about w orld m usic (pp. 40-
41). Goodkin (1994) believes th a t a stu d e n t’s appreciation of m usic's
expressive nature is enhanced w h en exposed to w orld m usic (p. 43).
To Dodds (1983), w orld m usic stu d y is a w ay for the student to increase
aesthetic musical perceptions, to enlarge the musical vocabulary and to g ain a
broader understanding of "th e influences of nonindigenous m usic on
tw entieth-century com posers..." (pp. 33-34). A nderson and C am pbell (1989)
believe that a w orld m usic edu catio n expands the students'
palette of m usical experiences [...] as they come to realize the

astounding variety of sonic events w orldw ide. A n early
exposure to a large arra y o f m usical sounds is im portant in
helping students becom e receptive to all types of m usic
expression" (p. 4).
W orld m usic in the classroom is also considered b y m any as a vehicle
for teaching students about new m usical concepts, structures an d term inology
n o t applicable to W estern E uropean m usic, thus encouraging greater m usical
flexibility o r "polym usicality" (A nderson and C am pbell, p . 4).
Reim er (1993) believes th at th e role o f m usic ed u catio n is to help m ake
stu d en ts "m usically literate" o r m usically aw are on "three cultural levels".
The first level o r "national level," encom passes an u n d e rstan d in g a n d
appreciation o f W estern m usical traditions, i.e. E uropean "art" m usic. T he
second level involves the student's exploration of the m usic of her ow n
ancestral ethnic heritage, reaching beyond the national boundaries o f the
place of birth. The th ird or "cross cu ltural level," involves the stu d e n t's
developm ent of a literacy in diverse m usical cultures in ad d itio n to th e o n e
she o r he grew up w ith (p. 23).
G lobal Rationale
The "global rationale" refers to the students' expanded w orld v iew a n d
the ability to see th at each culture is a p a rt o f "the larger h u m an com m unity
w ith sim ilar basic needs and aspirations" (Palmer, 1975, p. 118). Some
educators perceive the global rationale as a m isplaced an d utopian
justification for w orld m usic study. The rationale of developing "cultu ral
identity" or "w orld peace through m usical u nderstanding [...] w ere deem ed
unrealistic in a 1975 stu d y by Palm er" (as d te d in C am pbell, 1992, p. 27). O n
the o th er hand, D odds (1983) believes th a t w orld m usic education can affect
24
global consciousness and help a stu d e n t "develop tolerance a n d respect,
leading to a n attitu d e that, it is h o p ed , w ill find expression in their
relationship w ith people of other races, cultures, a n d geographic areas" (p. 34).
Schm id (1992) believes that, " [i]n stru m en tal program s that m ove to w a rd
cultural diversity w ill be better e q u ip p e d to m eet the needs of stu d e n ts in the
rapidly changing w orld of this final decade o f the tw entieth century" (p. 44).
M ulticultural Perspectives in M usic Education, edited b y A n d e rso n an d
Cam pbell (1989), is a collection of teaching resources, lesson plan s a n d
creative teaching strategies covering m an y diverse m usical cultures
th roughout the w orld. It stresses the im portance of u n d erstan d in g " th e
perspectives of people from every p a rt o f the globe" a n d view s stu d e n t
perform ances of such music as experiences "th at enliven classroom s tu d y " (p.
viii).
The continuous grow th of the im m ig ran t population in the U n ited
States from 1607 in Jam estow n to the presen t, is one of m any rationales for
w orld m usic education given by A n d erso n an d Cam pbell. T hey m ain tain
that d u e to this expansive cultural div ersity "curricula in all subject areas are
being designed to encourage the b ro ad est w orld perspectives" (p. 3).
S tu d en t Preference
In a research study of 26 sixth-grade stu d en ts in a m idw estem K-8
parochial school, Shehan (1985) exam ined w h eth er "perform ance-oriented
instruction in unfam iliar non-W estem m usic" affected stu d e n t p referen ce
i
i
25
tow ard a particular m usical genre and w hether "preference from taught
pieces of an unfam iliar genre" affected the preference for u n tau g h t pieces in
the sam e genre (p. 151). Students participated in five w eekly 35 m inute
sessions, in w hich they listened to, sang an d perform ed on recorders and
percussion instrum ents "folk songs from four ethnic regions" (p. 153): Africa,
India, Japan and Latin America. The stu d y revealed a significant increase in
preference for the taught pieces, but no preferential increase for untau g h t
pieces in the sam e genre. Shehan concludes th at m usic educators should n o t
expect th at the "stu d y of one representative piece from a style w ill im pact
upon interest in other stylistical pieces" (p. 156). Future w orld m usic
preference studies m ight consider expanding on this stu d y 's lim ited
instructional tim e span and duration, (i.e. 35 m inutes p er w eek for 5 weeks)
and condensing the w ide variety of m aterial taught, to exam ine how these
variables m ight influence stu d en t preference.
W orld M usic in the Instrum ental M usic Program
D espite the availability of a w ide variety of w orld m usic resources for
general and choral m usic education, there is a scarcity of literature treating
w orld m usic in the instrum ental m usic program . A nd w hile a sem inal
resource for m usic educators, Multicultural Perspectives in M usic Education,
does stress the im portance o f perform ance as a vehicle for the student to
"becom e actively involved in discovering h ow m usics of various cultures are
constructed" (A nderson and Cam pbell, 1989, p. 6), it neither refers to the
26
arrangem ent of w orld m usic for W estern instrum entation, n o r addresses a
w orld m usic perspective for school band or orchestra.
A nderson (1992), touches on the issue of w orld m usic in the
instrum ental m usic program , recom m ending th at educators provide
perform ance opportunities "giving stu d en ts hands-on experiences w ith
music m aking, still considered by m any to be one of the best m eans for
learning about other m usics" (p. 55). H e points o u t that although som e m usic
directors do provide w orld m usic perform ance opportunities for their
students, up until the presen t tim e there has n o t been a "system atic
approach" developed to address this issue. A nderson and C am pbell (1989)
consider one o f the best w ays for students to learn about the structure of
various w orld musics is th ro u g h an "experiential approach to learning.
T hrough perform ance, stu d en ts becom e actively involved in discovering
how m usics of various cultures are constructed" (p. 6).
A n article entitled "Circling the Globe: M ulticultural Resources"
(Tucker, 1992), while an excellent source of m aterial for the general m usic or
chorus teacher, does n o t include any w orld m usic perform ance literature for
band or orchestra. A n exam ination of the "W orld M usic Press" (Tucker, 1995)
and "W est M usic" (1996) catalogues, alth o u g h rich w ith non-W estem m usic
resources for the general m usic and choral teacher, presents no instrum ental
music literature beyond O rff instrum ent arrangem ents. Tucker, the publisher
and Editor-in-Chief of W orld M usic Press, rem arked in a telephone interview
that she h a d come across few authentic instrum ental w orld m usic
arrangem ents other th an for Orff instrum ents (J. C. Tucker, personal
com m unication, Jan u ary 1996).
"The Lion's Roar" (H an and Cam pbell, 1992) is a resource for teaching
abo ut C hinese percussion m usic of the L uogu E nsem ble, including historical
background, analyses, lesson plans and notated arrangem ents for stud en t
perform ance. T he book includes an accom panying a u d io tape w ith
instructions and recorded perform ances. There a re som e parts scored for a
w oodw ind in stru m en t such as flute, clarinet o r saxophone, as well as
arrangem ents for W estern percussion instrum ents, all of w hich are intended
to approxim ate o r extend the original Chinese in stru m e n tal tim bre. The
authors believe th a t students having the o p p o rtu n ity to perform w orld m usic
arrangem ents m ay be better equipped to u n d e rstan d and appreciate the music
of other cultures, and th at such arrangem ents "illustrate the possibilities of
W estern classroom adaptation" (p. 1). The book includes a table of original
C hinese in stru m en ts w ith "Classroom S ubstitution" instrum ents (see Table
1).
28
Table 1
Lnsiruments o L th e Luogo Ensem ble (K uo-H uang and Cam pbell, 1992)
In stru m e n t Playing T echnique C lassroom
C h in ese/E n g lish nam e S u b stitu tio n
D aluo/large g o n g strike w ith p a d d e d m allet large gong
(or large cymbal)
X iaoluo/sm all g o n g strike: p a d d ed or sm all gong
u n p a d d e d m allet o r th in (or sm aller cymbal)
piece of w ood
D i/flu te blow (and finger) recorder, saxophone,
clarinet, flute, tin
w histle, o r o th er w in d
in s tru m e n t
A w eb p a g e on the Internet entitled Multicultural M usic Education, A
World o f Music: M ulticultural Selections fo r Band, lists 20 w o rld m usic b a n d
arrangem ents in clu d in g com poser, level of difficulty and publisher, w ith o u t
editorial com m ent regarding m usicality o r authenticity (Svob an d M cCulley,
[n.d.]).
Recently, a few articles have app eared w hich deal w ith w orld m usic for
the school b an d o r orchestral program . Schm id (1992) in a n article entitled,
"W orld M usic in th e Instrum ental Program ," recom m ends a series of
practical steps the m usic director can take to integrate w orld m usic in the
29
instrum ental m usic program , including: expanding concert program s to
include international them es, com paring perform ances of W estern to non-
W estem m usic, im itating m usical styles, scales o r rhythm s from other
cultures d u rin g w arm -ups, com paring m usical ornam ents such as trills from
different cultures, alternating betw een vocalizing a n d instrum ental playing,
building a w orld m usic library of printed m usic, read in g and listening
resources, com paring sim ilar instrum ents of different cultures and expanding
the w orld m usic repertoire of percussionists. W hile the article does provide a
sm all list o f w orld m usic perform ance literature for b a n d o r orchestra, these
selections are n o t evaluated for quality or authenticity. Indeed, the issue of
authenticity is n o t even addressed.
A rranging
W hile there are a num ber of texts on arranging m usic, there appears to
be no w ork w hich specifically deals w ith arranging w o rld m usic for W estern
instrum entation, school band or orchestra. W hite (1992) identifies several
necessary skills, in addition to creativity and im agination, for producing a
convincing arrangem ent, including "neat and readable scores and parts,"
know ledge o f instrum ental idiom atic usage such as, range, tim bre,
instrum ental com binations and transposition an d "the technical lim itations
of younger m usicians" (p. xiii). Nestico (1993) highlights several "m ental and
musical considerations" (p. 4) the arranger should be aw are of including
know ing w ho the listening audience will be, w hy a piece is being arranged,
30
continuity," "clarity" and form, selecting the p ro p er key and tem po, using
pro p er notation and paying attention to detail (pp. 4-6). Stycos (1994) advises
the school band arranger to be aw are of each instrum ent's "strengths an d
w eaknesses that go beyond the lim itations of stu d en t m usicians" (p. 42), an d
the im portance of choosing the right key for the ensem ble (p. 41).
S u m m ary
A lthough the m ove aw ay from a Eurocentric m usic education h as only
recently occurred, m ulticultural m usic is gradually becom ing a fundam ental
an d requisite com ponent of the A m erican curriculum . In the course of
increased discussion and debate su rro u n d in g m ulticultural education an d
w orld m usic, a new lexicon has em erged including term s such as world
m usic, m ulticultural music, m u ltim u sica l, music o f other cultures, global
m usic and non-Western music. R ationales for m u lticu ltu ral m usic
ed ucation have been categorized as social, musical an d global, w hile the
various cam ps have been labeled Cultural Pluralist, Globalist, Anti-racist and
Assim ilationist. W hile substantial literature and resources concerning w o rld
m usic education is available for choral and general m usic education, little has
been w ritten specifically about w orld m usic in the instrum ental m usic
program . M any music educators and ethnom usicologists su p p o rt stu d e n t
perform ance of w orld music, if these arrangem ents are "authentic" a n d
respectful of the culture from w hich they originated.
31
C hapter II
M ETHOD AND PROCEDURE
A fter listening to o v er 400 w orld m usic perform ances from com pact
disc, cassette tape and record, I have selected four w orld m usic pieces, each
from a different culture, a n d presen t each w ith in its particular cultural,
stylistic a n d historical context. The criteria for choosing a com position w as
based u p o n several factors, including; adaptability, tuning system ,
instrum entation, harm onic, m elodic, stru ctu ral, textural an d rhythm ic
organization, and com plexity. W orld m usic com positions th at diverged
considerably from W estern practice, tonal system or structure, o r th a t w ere
too com plex for stu d en t m usicians to perform , w ere avoided.
Each of the four com positions have been transcribed a n d arran g ed for
secondary school m usicians (junior high or h igh school), u niversity stu d e n t
m usicians, as well as, professional m usicians. The w orld m usic perform ances
are transcribed and arranged for:
1) Solo instrum ent (flute)
2) Cham ber ensem ble (percussion)
3) Band (w oodw inds, brass an d percussion)
4) String orchestra (violin, viola, cello, double bass an d percussion)
i
32
Choice of in strum entation for the arrangem ents ap p earin g in this
dissertation is based u p o n the structure of stan d ard school ensem bles (i.e.
b an d an d orchestra) a n d o n the idiom atic im plications o f the chosen
com positions. For exam ple, a piece perform ed o n the A frican kora m ight
suggest the harp o r the guitar, another m ight suggest a strin g quartet, while
another m ight im ply a brass quintet o r m ixed string a n d w in d ensemble.
One chapter is d evoted to each com position and reports on the process
of transcribing and arranging, including a discussion o f su ch issues as
harm onic and rhythm ic adaptation, instrum ental, tim brel a n d stylistic
considerations, an d the com prom ises, lim itations an d difficulties
en co u n tered .
In as m uch as the transcriptions are u sed as a fram ew ork for arranging,
they have not been ethnographically transcribed, (w here e v ery nuance of a
given perform ance, no m atter how subtle, is scrupulously notated), as th at
approach w ould inject unnecessary com plexity to the process. The arranged
versions differ from the transcribed versions d u e to the u se of W estern
instrum entation a n d /o r d u e to the technical lim itation of th e stu d en t
p erfo rm er.
The chapter on strategies an d recom m endations attem pts to shed som e
light on the process of arranging w orld m usic for stu d e n t instrum entalists.
A lthough it is possible to m ake statem ents about m ethodology and approach
helpful to others attem pting a w orld m usic arrangem ent, th e scope of this
dissertation, (lim ited to four arrangem ents of four different m usical cultures),
33
cannot set d o w n "universal" rules or guidelines applicable to arrangin g every
w orld m usic com position. As each musical culture, instru m en tatio n an d
perform ance is unique, the arranger m ust arrive a t distinct solutions for each
w orld m usic com position. H ow ever, based on the author's experiences as a
com poser an d through this study, basic guidelines and approaches for w orld
m usic arranging are suggested.
It is hoped th at the m usic educator and arranger w ill be encouraged by
this process a n d w ill find the m ethodology set forth in this d issertatio n a n aid
in arranging w orld m usic for stu d e n t or professional instrum entalists an d
ensem bles.
Criteria for C hoosing A ppro p riateJV o rld Music Com position s for A rrangin g
There are th o u san d s o f recorded examples of w orld m usic
com positions com m ercially available on record, cassette tape o r CD form at.
(See A ppendix E for a selected discography.) The m usic e d u c a to r/a rra n g e r
interested in ad ap tin g a particular piece for student perform ance shou ld learn
as m uch as possible ab o u t a particular music and culture th ro u g h books,
journals, lectures, speaking w ith ethnom usicologists as w ell as, th ro u g h the
internet (G risw old, 1994).
"W hen w orking w ith m usic from another culture in an y form , careful
listening to the m usic from th at culture is a necessary first step" (Volk an d
Spector, 1995, p. 29). It is essential to get the sound of a particular genre in
one’s ear before attem p tin g an arrangem ent. Volk and Spector stress the
i
34
im portance of hearing "the original m usical style before attem pting to
reproduce it in any form " (p. 29).
Before em barking upon an arrangem ent, o n e m u st ascertain w h eth er a
recording represents an "authentic" m usical c u rre n t w ithin a given culture
through the publisher, record com pany, original sources, scholarly journals
or review s.
To Seeger the religious m usic of any cu lture "should probably rem ain
o u t of the realm of school perform ances" (p. 23). This p o in t of view m ay be
too broad to be of practical use. W hen should religious m usic be excluded
from public perform ance? Do the same ethnom usicologists object to a non
religious perform ance of Bach's B-minor Mass o r S aint M athew 's Passion?
W hy then is non-W estern m usic held to a different standard? If any culture,
non-W estem o r W estern, has articulated a pro h ib itio n o n the perform ance of
a religious piece outside of its intended context, it w o u ld then seem
reasonable to respect those wishes.
Selected W orld Music C om positions
The w orld m usic perform ances listed in Table 2 have been selected and
will be presented in detail in subsequent chapters.
T able 2
W orid m usic perform ances arranged for this d issertation (see A ppendix E for
a selected discography)
C o u n try C h in a Indonesia B olivia Africa
C om position: "T he "Lente" "K antus de "Ikobi"
Farew ell" A pacheta"
CD Title: C h in a 's Voices of Echoes of the
Music O f Bali F o rg o tten Forest
H eritage W o rld s
Perform er(s): Liang M ing- B alinese K a n tu s M buti
Y ueh m usicians E nsem ble W om en
O riginal X un G am elan P anpipes, Vocal an d
In stru m e n ta tio n : S e lu n d in g p e rc u ssio n p ercu ssio n
A rranged f o r Solo Flute Percussion B and S tring
Ensem ble O rchestra
and
Percussion
36
C hapter HI
C H IN A - "THE FAREWELL" - ARRANGED FOR SOLO FLUTE
C hina’s m usical history w hich dates back at least 5000 years, rivals the
W est in its richness and diversity. C hina’s ancient past, encom passing a
m u ltitu d e o f languages, cultures a n d ethnic groups, is reflected in the m any
m usical styles, genres an d m usical instru m en ts found there. Chinese m usic
history can be dated as far back as to the 27th C entury B.C., Legendary Period
to the 16th C entury B.C., Xias Dynasty (M. Liang, 1985, p. 34). M usical artifacts,
aerophones and idiophones, d a tin g back to the Pre-Shang D ynasty, ca. 5000-
4000 B.C. (M. Liang, 1985, p. 43), attest to C hina's long m usical history. W ith
each succeeding generation and conquering dynasty, new m usical aesthetics
and styles em erged. M usic has alw ays been central to Chinese culture, d a y to
d ay existence, religious cerem ony and political life. M. Liang (1985) points o u t
that: "M usic in Chinese culture is n o t an isolated phenom enon, b u t rath er a
contextual phenom enon broadly related to all aspects of living" (p. 11).
X un
O f particular interest to this stu d y are the "clay vessel flutes or
ocarinas" (M. Liang, 1985, p. 46) called hsiin, hsuin (Liang n.d.) or m ore
com m only xun (M. Liang, 1985, p. 270, Shen, 1991, pp. 2-3). This chapter
37
describes th e process of fashioning an arrangem ent for solo flute based on a
perform ance o n the xun by Dr. Liang Ming-Yue. The earliest know n xun
were p rim arily from the Yangshao culture ca. 4000 B.C. (M. Liang, 1985, p. 46)
Later u n earth ed xun have been dated to the Shang D ynasty (ca. 1 6 th -llth
C enturies B.C.). A lthough the early xun, w hose surfaces w ere undecorated
(see Figure 1 ), w ere probably folk instrum ents n o t used for ritual purposes (p.
46), the later discovered xun w ere often used in a n "official ritual capacity
rather th an folk...." (p. 51). The xun, w hich appears throughout m ost of
China's history, from the Pre-Shang D ynasty to th e C onfucian Tem ple of the
Spring an d A u tu m n Period (770-476 B.C.) to the T ang D ynasty (pp. 618-907) to
present d a y C hina an d T aiw an, is considered to be one of the oldest know n
Chinese instrum ents (M. Liang, 1985, p. 96, p. 160; Shen 1991, p. 73).
Figure 1
.U od ecorated W histle .and V essel Flutes from the Shaanxi province dating ca.
4000 B.C. (M. Liang, 1985, p. 45)
The excavated xun have been found to be constructed of a variety of
m aterials an d shapes, b u t they are m ost often "m ade of clay or porcelain in
the shape of a goose egg or m ound w ith the blow ing hole on the top an d
usually five or six finger holes on the sides" (M. Liang, 1985, p. 270). The xun
played in "The Farewell" has six holes, "one a t the apex to blow through,
three in front, and tw o in back. W hen it is played, it is held firmly in both
hands" (Liang, n.d.).
39
"The Farew ell"
"The Farew ell," an 8th C entury Tang D ynasty folk song from N o rth ern
China, is based o n a poem from the sam e p eriod (M. Liang, 1985, p. 17).
H istorically, Chinese m usic often uses poetry, im agery or tales as a basis for
the m usic's structure and expression. This com positional approach w o u ld be
called pro g ram m usic in the W est an d includes th e use of sym bolism from
nature o r the telling of a tale or historical event (M. Liang, 1985, p. 17). This
perform ance of "The Farew ell," from the CD China's Instrumental Heritage,
is "a m usical setting of the fam ous ch ’i-chueh (28-word o r character) poem by
W ang W ei (699-759) called Yang-kuan son tieh or Wei-ch'eng ch’u (Three
repetitions at Yangkuan or The song o f Wei-ch’eng)" (Liang, 1991). The
following is a n English translation o f the poem:
(H ere in) W ei-ch 'en g /th e m orning rain

w ets d o w n the light d u st
and
tu rn s afresh the green, green, w illow s in the inn
Bottom s up, once again, please
W estw ard beyond Yang-kuan
th ere w ill be
n o m ore
old friends. (Liang, 1991)
Yang-kuan refers to the w est gate of the T 'ang Dynasty. The com poser
of "The Farew ell" is not know n, b u t "the m usic w as originally com posed for
the sixteen strin g zither, the cheng or zheng" (Liang, n.d.).
40
Melodic Im plications
The range of the en tire piece is w ithin one octave, from m id d le C to
one octave above m iddle C (see A ppendix A). "The Farew ell" m ight be
considered to be in the M ixolydian o r "heptatonic" (Shen, 1991, p. 3) m ode, if
the approxim ate pitches o f E and B-flat, which are used sparingly an d alw ays
as grace notes are included. H ow ever, as these ornam ents seem to a p p ear
incidentally, this com position takes o n m ore of a pentatonic quality—C, D, F,
G, A to m y ears. A lthough the xun is n o t a W estern tu n e d in stru m en t, the
pitches played on the x u n in the perform ance by L iang M ing-Y ueh are
approxim ate to the scale in Figure 2.
Figure 2
"The F a re w e ir pentatonic scale w ith grace notes in p aren th esis.
Shen (1991) points o u t th a t the unearthing of the x u n led to the
discovery of "the earliest m usical interval docum ented in h u m a n h isto ry " (p.
2), the m inor third. This connection w ith the m inor th ird com es th ro u g h
clearly w hen listening to "The Farew ell" and exam ining the arran g em en t in
A ppendix A. In this perform ance w e hear repeated ascending a n d descending
m ovem ent betw een D an d F, F an d A and A and C, as in m easures 3, 6, 7, 8,
41
23, 36 an d 37. A ccording to Shen, the frequency of m inor 3 rd an d m inor 6
intervals in Chinese m usic "m asks the sem itones, a n d as a resu lt the scale
becomes unclear to the W estern ear."
Choice o f In stru m en tatio n
D ue to the range, th e airy quality of the instrum ent a n d the lack of
tonguing, it has been said th a t the xun's tim bre possesses a "n atu ral an d m ost
h um an tone" (Shen, 1991, p. 73). In o rder to closely im itate the tim bre an d
overall feeling conveyed b y the xun in "The Farew ell," I chose the transverse
flute to be played in the sam e range as the original perform ance for this
arrangem ent. A lthough this constitutes the flute's low est ran g e, it should be
possible for an advanced stu d e n t to perform this arrangem ent accurately an d
expressively. The perfo rm er is instructed not to tongue th e notes, to use an
"airy so u n d " and to p lay all trills from the m ain note u p one w hole step, as in
the original perform ance.
M eter and Phrasing
A fter listening to a recording o f "The Farew ell" several tim es, one
(with a W estern m usical sensibility) is struck b y the lack of d e a r or overriding
m eter. I therefore chose to allow the m eter to change as im plied by the
original perform ance a n d d id n o t use tim e signatures for these m eter
changes. The hope is th a t the stu d e n t schooled in W estern d a ssic a l m usic,
42
will perform the arrangem ent m ore freely w ith o u t unduly stressing one beat
over another, sim ply because it happens to begin a new measure.
A lthough there is no overriding sense of m eter or weak and strong
beats, I perceived distinct if irregular phrasing, m ostly slurred, through o u t the
piece, hi this arrangem ent each phrase is placed w ithin a m easure, so th at the
notated arrangem ent reflects the phrasing of the perform ance. A dditionally, I
have given this arrangem ent the tem po m arking molto rubato, in o rd er to
alter "the relationship am ong w ritten note-values...m aking the established
pulse flexible by accelerating an d slow ing d o w n the tem po" (New Harvard,
"Rubato"). It is hoped that a perform ance of this arrangem ent w ill take on an
im provised quality, while the phrasing is perform ed accurately. A lthough
there is no overriding m eter, and phrases of differing lengths perm eate the
piece, a sense of continuity is realized through recurring grace notes an d the
exact repetition of them atic m aterial: for exam ple, com pare m easures 5-6 to
20-21 and 12-13 to 29-30 in A ppendix A.
Technical Playing Level
After transcribing "The Farewell," I w as struck by how the
transcription, w ith little adjustm ent, w o u ld stan d o n its ow n as a com plete
arrangem ent. The only change from the original transcription to the
arrangem ent w as to use grace notes and trills instead of notating their "exact"
rhythm s. This approach gives the player greater flexibility in perform ing
these ornam ents, allow ing for a m ore fluid o r n atu ral performance.
The tw o areas o f som e technical difficulty are the low range for the
flute (dow n to m iddle C) a n d som e com plex rhythm s, as in m easures 14-16
and especially in m easures 34-39. None-the-less, the difficulty level o f this
piece should n o t p resent m ajor problem s for an advanced flute student. As
w ith all perform ances of w o rld m usic arrangem ents, the perform er is u rg ed
to explore the cultural context of the m usic and to listen to the original
recording several tim es, u n til com fortable w ith the sound, style an d genre of
the com position.
44
C h ap ter IV
INDONESIA/BALI - "LENTE" - ARRANGED FOR PERCUSSION ENSEMBLE
M any sources refer to Indonesia as a country rich in cultural diversity,
especially in the perform ing arts (Sutton, 1992, p . 266). This country,
com posed of m ore th an 3000 islands, has one o f the m ost ethnically diverse
p opulations in the w orld (Groliers, 1995). T h roughout its long history m any
cultures have im pacted on Indonesia's artistic bounty. S outhern Chinese
m igrated to this area from about 2500 B.C.; the H in d u an d B uddhist religions
w ere b ro u g h t to the islands by traders d u rin g the era o f the R om an empire;
and Islamic religion and culture w as b ro u g h t b y Arab traders d u rin g the
fourteenth century A.D. (Lindsay, 1992, p. 4). D uring the tw entieth century
Indonesia w as a D utch colony until it becam e a n in d ep en d en t country, the
Republic of Indonesia, in 1949. Despite th e m an y o utside influences on its
culture, including a huge influx of tourists over the p a st few decades,
Indonesians have m anaged to keep their trad itio n al a rt form s intact to a large
degree. A prim e exam ple of this ability to m aintain cultural tradition is
gam elan.
i
G am elan
Gam elan does n o t refer to one particular instrum ent, b u t to the
traditional Indonesian orchestra, v arying in nu m b er from a few instrum ents
to a large ensemble of as m an y as 75 instrum ents (M alm, 1996, p. 43). The
w ord gam elan is rooted in th e Javanese w ord gamel w hich m eans
"blacksm ith’s ham m er" (Lindsay, 1992, p. 10). Instrum ents of a gamelan
consist of h a m m er/m allet stru c k instrum ents so m ew h at sim ilar to the
W estern vibraphone or glockenspiel, tim ed kettle-like instrum ents and
tu n ed and untuned gongs. Sutton (1992) characterizes Javanese Gam elan
instrum ents as "Knobbed G ong Instrum ents," "M etal Keyed Instrum ents,"
"O ther Melodic Instrum ents" an d "D rum s" (pp. 271-274). These instrum ents,
categorized as Loud-Playing an d Soft-Playing (Sutton, 1992, Lindsay, 1992), are
m ost often m ade of bronze, b u t are also m ade of iron, especially in Bali.
G am elan m usic uses tw o basic tu n in g system s o r scales, o n occasion
perform ed sim ultaneously. The pitches of these scales can only be
approxim ated in W estern m usic notation. The slendro scale or m ode has 5
pitches plus the octave (see Figure 3). The pelog scale h as 7 pitches plus the
octave (see Figure 4).
46
Figure 3
Slendro Scale (Lindsay, 1992, p. 39)
Figure 4
Pelog Scale (Lindsay, 1992, p. 39)
[-— 1 -------- ' R

w
0----------
---------- J ___
--------- 0 _ :: a
F - -1 ’
1 2(-t) 3( -) 4( -) 5 7(+) I
A lthough the above scales are stan d ard in gam elan m usic, each
ensem ble is tuned relatively to itself an d w ould n o t necessarily be in tune
w ith another ensemble (Sutton, 1992, p. 275). The Pelog scale is rarely
perform ed in its entirety, instead the pitches are subdivided creating tw o
distinct pentatonic scales.
4 above the p i t c h , b e l o w the pitch.
47
Balinese G am elan
Unlike the inhabitants of Java and m ost o f Indonesia, the religions
beliefs of the Balinese are a m ixture of B uddhism and H induism , "resem bling
that w hich flourished in Java prio r to the sp read o f Islam (ca. 15th-16th
centuries A.D.)" (Sutton, 1992, p. 304). W hile Indonesia, as m entioned earlier,
is a country rich in cultural diversity, the island o f Bali is a
paradise of the arts. A lm ost every villager in this rural

island is a m usician, singer, dalang, dancer, sculptor, painter, or
actor. In m any areas m ore G am elan p e r h e ad o f the population
are to be found than anyw here else in Indonesia. A nyone w ho
w alks through a Balinese village in the evening is bou n d to hear
a G am elan perform ing or rehearsing. (Kartom i, 1983, p. 126)
A lthough there are m any sim ilarities betw een the Javanese an d
Balinese gam elan, Balinese gam elan com positions a n d perform ance practices
are unique. W hereas in Java there are, w h at m ig h t be called, standardized
gam elan orchestras, in Bali the gam elan ensem ble varies w idely, depending
on the region.
N otation. R hythm an d M eter
A num ber of notational system s w ere created for gam elan, beginning
in the late nineteenth century, b u t these system s are n o t typically used for
perform ance or com positional purposes. T raditionally gam elan m usicians
learn to play by rote, repeating patterns over and over until the piece is
learned. N otation is used as a shorthand for recalling the m ain them e or
m elody of w hich a com position is based o r as a m eans of safe keeping of
gam elan repertoire to be stored in "palace libraries" (Lindsay, 1992, p. 42). A
48
w idely u sed form of notation, "cipher notatio n " uses num erals to rep resen t
the steps o f a scale.
A lth o u g h there is no tim e signature as understood in W estern m usic,
gam elan m usic does contain a sense o f p h rasin g a n d recurring stro n g an d
w eak beats. The sense of phasing and m eter is, to a large extent, created by a
"p u n ctu a tin g " in stru m en t like the gong ageng o r another low er pitch ed
in stru m en t w hich w ill sound to m ark the e n d o f a phrase. N on-pitched
in stru m en ts like d ru m s or hand cym bals (ceng-ceng) w ill often cond u ct
tem po a n d tem po changes (Sutton, 1992, p. 281; Lindsay, 1992, p. 50). A n
im p o rtan t aspect of Balinese gam elan m usic is characterized b y com plex
interlocking rhythm s, distributed am ong the various m usicians, creating a
hocketing5 effect (M alm, 1996, p. 57).
"L ente"
I h av e transcribed and arranged the com position "Lente" as it ap p ears
on the com pact disc The Gamelan Music o f Bali (H oshikaw a, 1991). A
trad itio n al Balinese orchestra called gamelan selunding from the V illage of
T enganan perform s the piece. The village of T enganan, is k now n as th e
hom e of th e p re-H in du Balinese aboriginals called Bali A ga (E. R. Bar kin,
personal com m unication, January 26,1997). As S haarm an describes it,
"Lente" is one am ong m any pieces for selunding w hich accom pany ritu al
dances by the un m arried village girls" (personal com m unication, Jan u ary 27,
1997). C om positions perform ed by gam elan selonding "m usically em braces
49
certain ritual acts (of which d ancing is m erely one type)" (Shaarm an, personal
com m unication, January 27, 1997). Balinese legend has it th at the gam elan
selunding arrived from the sea to the island o f Bali as a gift of the gods
(H oshikaw a, 1991).
In stru m e n ta tio n
After listening to "L ente" several tim es over a period of 3 o r 4 days, I
discerned 4 distinct lines or voices and chose, based on the original
instrum entation, to arrange the piece for percussion ensem ble (3
glockenspiel, 1 vibraphone and 1 sm all h an d cymbals). Table 3 delineates the
original selunding instrum ents, th eir description, function and the W estern
instrum ents used as substitutes in this arrangem ent (See "L ente"
arrangem ent in A ppendix B).
I
50
Table 3
O riginal Selunding Instrum ents and W estern Instrum ents used in
A rrangem ent of "Lente"
(Shaarm an, personal com m unication, January 27, 1997)
O riginal D escription A rranged fo r
In stru m e n t
gangsa m elody G lockenspiel
E ight iron slabs or keys
suspended over a w ooden trough
gucekan a cco m p an im en t G lockenspiel
2 "half instrum ents"
4 iron keys 1,2,3,4 and
4 iron keys 5,6,7,8
suspended over a w ooden trough
gebyog p u n c tu a tin g in stru m en t V ibraphone
ceng-ceng han d cymbals sm all h a n d
regulates tem po cymbals
51
T uning and R hythm
There w ere a nu m b er of issues th at had to be considered before
attem pting to actually notate "Lente". The tw o m ain areas o f difficulty were
deciphering the com plex hocket rhythm s an d choosing W estern, equ al
tem peram ent pitches to approxim ate the original gam elan tuning. By
com paring the pitches from the recording to the pitches o f a piano, I derived
the pentatonic scale in Figure 5.
Figure 5
"Lente" Scale
Ljgfcjl
f# = \
— -■
M elody Line
U pon transcribing the m elody line, I noticed w h a t seem ed to be
another instrum ent playing parallel a perfect fourth h igher to the m elody.
After several m ore careful listenings, including the slow ing d o w n of a taped
version to half speed, I realized that I was, in fact, h earin g a prom inen t
overtone or harm onic a fifth above the fundam ental an d n o t an additional
instrum ent. Since this sonic aspect of the m elody w as so apparent, to the
point of sounding like a distinct instrum ent, I chose to notate it for a separate
glockenspiel a perfect 4th higher (See Figure 6).
52
Figure 6
Parallel M otion "Lente"

— i-----------------------------
a a
-1-------------------- 1— — il
Melody
P bu ' U 1 1 '1 *==E=i
? ^
Overtone > * * U P IB m
= U . fU fI r1 i r Tt f r
Inner Voice and "Bass"
The inner voice w ith its repetitive eighth note configuration
accom panying the m elody th ro u g h o u t the piece w as difficult to transcribe
d u e in large p a rt to the hocketing effect m entioned earlier. T hat is: W hat
app eared as one inner voice w as in fact 2 o r 4 paired players perform ing an
interlocking rhythm . This is also tru e o f the m elody. In an e-m ail
conversation w ith Dr. D ankar S haarm an, ethnom usicologist and Balinese
gam elan researcher, I m entioned the difficulty I w as having in clearly h earin g
and n o tatin g the inner lines of "L ente,"
I am h av in g greater difficulty w ith the com position's inner

lines. It is difficult to tell w h e th e r there are one or tw o
perform ers playing and exactly w h a t they are playing. A lthough
I know th a t each gam elan is different, could you shed som e light
on h o w m any perform ers w o u ld be playing each p a rt an d how
they fit together? (A. B. Bieber, personal conversation, January
1997)
53
Dr. Shaarm an replies:
Yes, the "in n er lines" are the m ost difficult p a rt in catching

by h earing alone, a t least if one doesn’t p lay the m usic oneself.
There w ill alw ays be p aired players, tw o, four, six, playing
interlockingly, so to sp eak beat and off-beat. (Shaarm an,
personal com m unication, January 27, 1997)
Despite this obstacle, I attem pted to transcribe as accurately as possible
the inner lines. E ven th o u g h one player is perform ing o n th e beat a n d the
other off the beat, I chose to arrange both the m elody for o n e player, an d the
inner lines for one p layer, to lim it the technical difficulty. W estern
perform ers, especially m usic students no t schooled in gam elan perform ance,
w ould, I believe, have g reater difficulty in creating a convincing perform ance
p laying such a piece interlockingly. A dditionally, as D r. S haarm an
m entioned, it is very difficult to hear the inner lines if "one doesn’t p lay the
m usic oneself" (Shaarm an, personal com m unication, Jan u ary 27, 1997). My
approach w as to arrange w h a t I actually heard as accurately as possible.
I chose th e v ib rap h o n e as the lower voice a n d p u n c tu a tin g instru m en t
because of the in stru m en t's ability to sustain pitches w ith vibrato, quite like
the so u n d of the gebyog.
Technical Playing Level
Each in d iv id u al line of the "Lente" arrangem ent is n o t beyond the
abilities of a m oderate to advanced high school percussionist. The greatest
difficulty players w ill h av e w ith this arrangem ent is staying together as an
ensem ble w hen accelerandos an d ritardandos occur. If three glockenspiel are
no t available, the arrangem ent should w ork w ell w ith oth er mallet
instrum ents such as m arim ba or xylophone o r even w ith a piano.
A dditionally, it w ould be possible for an advanced p lay er to perform lines 1
an d 2 sim ultaneously, if necessary.
\ 55
C h ap ter V
BOLIVIA - "KANTUS DE APACHETA" -

ARRANGED FOR CONCERT BAND
South Am erica is a n ethnically diverse continent w ith an ancient, rich

and varied musical tradition. Its peoples can be broadly categorized into 5
distinct groups:
1. descendants o f the original N ative A m ericans, com m only

called Indians;
2. peoples of A frican descent, m ainly from W estern and
C entral Africa;
3. peoples of E uropean descent, m ainly Spanish and
Portuguese, b u t also French, D utch, Italian, British, and
others;
4. peoples of A sian descent, m ainly Chinese, Japanese,
Indians, and Javanese;
5. peoples w ho are m ixtures of any o f these groups.
(Olsen and A hyoung, 1989, p. 79)
The Q uechuan people w ho live an d w ork, m ostly as farm ers an d
peasants, along the A ndean m ountains in Peru, Ecuador and Bolivia are said
to be the descendants of the ancient Incas (Blumenfeld, 1993, p. 22). T hey
speak Quechua, adopted by the Incas as their official language (Schechter,
1992, p. 383), an d m ake up ab o u t 30 percent of the total Bolivian population
(Grollier 1995), about 3 m illion people.
56
f
C a n t u s de A pacheta"
The com position a n d arrangem ent p resen ted here, entitled "K antus de
A pacheta," is perform ed in various versions b y the Q uechua people
th roughout the A n d ean m ountains. This ch ap ter focuses o n the version
appearing on the CD Voices o f Forgotten Worlds p erform ed by 21 Q u ech u an
m usicians living in the Bolivian A ndes. The piece is traditionally perform ed
during the "Fiesta de la V irgen del C arm en," o r "Feast of O ur Lady of M ount
Carmel." The title of the piece "refers to the custom o f building sm all stone
altars, appetites, a t particular intersections a n d pass crossings," constructed as
a protection for long journeys o r to give th an k s (Blum enfeld, 1993, p . 24).
Panpipes
The prin cip al instrum ent in m any o f th e A n d ean ensem bles is the
bam boo p a n p ip e , k now n as phukuna in Q u ech u an o r zamporia in Spanish.
Ensembles or Tropas use p h u k u n as of v arying sizes a n d tunings b u t o f
sim ilar construction, as w ell as, transverse a n d recorder like flutes. O ne also
finds a "large double-headed dru m , called wankara " an d a triangle, called
ch'inisku (Schechter, 1992, p. 384). A ll o f these instrum ents can be h e ard in
the perform ance o f "K antus de A pacheta". A s w e have seen w ith gam elan
music in the previous chapter, this m usic too is often perform ed in hocketing
fashion.
There are generally tw o sets o f panpipes, em bodying the m ale and
female principal. T he ira (male) consisting o f 7 pipes tu n ed in th ird s, serves
as the "leader" and the area (female) consisting of 6 p ip es tu n ed in thirds,
serves as the "follow er" (Schechter, 1992, p. 385). Figure 7 depicts the
construction a n d tu n in g o f the Q uichua p anpipe of the N o rth ern A ndes of
Ecuador. N otice th at, p u t together, the tw o instrum ents can p lay a stepwise
scale, sim ilar to E m in o r, b u t from D below the treble clef staff to B above the
staff.
Figure 7
Example o f P hukuna T u n in g :
Left: Seven-tube Area. Right: Six-tube Ira. (Schechter, 1992, p. 387)
I
58
A lthough usually played in hocketing fashion, by two o r m ore players,
the tw o sets can be com bined an d played as one instrum ent by one perform er
as in Figure 8.
Figure 8
T uning o f Full T hirteen-tube P h u k u n a (Schechter, 1992, p. 388)
59
Tuning. Scale an d T exture
In researching the background of the com position "K antus de
A pacheta," I cam e across a n analysis of another version of the sam e
com position e n title d , Kutirimunapaq "w hich m eans, roughly, in the
Quechua language, "So th at w e can return" (Schechter, 1992, p. 387). This
com position of th e Kallawaya people, w ho live in th e Bolivian A ndes near
the Peruvian b o rd er is sim ilar b u t not identical to th e perform ance of
"Kantus de A pacheta." Differences betw een the tw o perform ances lie firstly,
in the "key signature." Schechter derives an F#, C#, G # an d D# key signature
from "K utirim unapaq" w hereas the key th at I derive from "K antus de
A pacheta" is F# a n d C#. This discrepancy is probably d u e to the relative
tunings of p an p ip es from different regions of the A ndes. Secondly, although
both pieces have accom panying panpipes a n d flutes p lay in g in parallel
octaves and fifths, the arrangem ent of the parallel lines differ.
"K utirim unapaq" is played hom ophonically in the follow ing o rd er from top
to bottom ; m elody, parallel fifth and octave. "K antus d e A pacheta" is also
played hom ophonically b u t in a slightly different o rd e r from top to bottom;
m elody, octave a n d perfect fifth (compare Figure 9 to 10).
60
F igure 9
Parallel M otion in "K utirim unapaq" (Schechter, 1992, p. 384)
Figure 10
Parallel M otion in "Kantus de A pacheta"
Even th o u g h the rhythm s, tu n in g a n d instrum ental ranges are n o t identical,
the overall effect of the two perform ances, to m y ears, are quite sim ilar.
A rrangin g "K antus de A pacheta"
As this piece is perform ed w ith w in d instrum ents an d percussion, I
chose to arrange "K antus de A pacheta" for a typical sm all to m edium size
high school concert band (see score in appendix C). In addition to flute an d
piccolo, I chose to include brass in strum ents (trum pet, trom bone an d tuba)
and single reed instrum ents (clarinet, alto saxophone and tenor saxophone)
in the arrangem ent. Even though they do n o t m atch the flute-like tim bres of
61
the traditional Q uechua ensem ble, I chose to include them because th ey are
typically found in the sta n d ard school b and configuration. The goal here is to
p ro d u c e an accurate ren d itio n of the original perform ance w ith the
u n d e rstan d in g th a t a n ensem ble such as b an d o r strin g orchestra does n o t
c o n tain an authentic g ro u p in g sim ilar to th e original instrum ents.
A lthough I transcribed this perform ance of "K antus De A pacheta" to a
pentatonic scale w ith an F# an d C# (see Figure 11), the arrangem ent
transposes the "key" to a pentatonic scale beginning o n "G ". This allow s for
g reater control o f range, fitting the technical lim itations o f a h ig h school band
stu d en t, (see Figure 12 and score in A ppendix C).
Figure 11
O riginal Pentatonic S c a le in /'K a n tu s de A pacheta"
__m_
f H i ------------------- m
“- J F— —
Figure 12
P entatonic Scale used in Arrangem ent in "K antus de A pacheta"
- - - ::: m
~ :-------------- , p ---------------------
F # = j f ---------------------
r — \ ..................... = i
A lthough transposing the key to the "G " p entatonic scale h elp ed
reduce extrem ity in range, it w as still necessary for m e to bring a n occasional
m usical line d o w n o r u p a n octave m id-m elody so th a t the line rem ain ed
62
w ith in a playable range for the m usician (see, for exam ple, the trum pet p a rt
in A ppendix C).
A nother decision I h ad to m ake w as w h eth er o r n o t to em ploy changes
in in stru m en tal color a t different points of the perform ance. For exam ple, I
could have h a d the w oodw inds introduce one section and brass another. O r I
could h ave chosen to com bine different tim bres a t different points of the
com position. I chose, instead, to have all instrum ents play continuously a n d
sim ultaneously, as this comes closest to the feel o f th e original perform ance.
As the low er brass instrum ents do not have the agility of the up p er
w oo d w in d an d brass instrum ents and are close in range to the bass drum ,
they perform the sam e rhythm as the bass d ru m o n one drone pitch, "G".
The instrum ents are arranged in alternating o rd er (m elody, perfect 5th
below , octave below), m irroring the original perform ance. As the CD fades in
at the beginning and fades o u t a t the end of the piece, I chose to use the
in tro d u ctio n an d en d in g found on the recording of "Kutirimunapaq" in this
arrangem ent. The m eter I selected is one beat p e r m easure, so as not to favor
or unnecessarily accent any particular beat in the perform ance. Schechter
uses the sam e approach in his transcription of "Kutirimunapaq" (see Figure
9).
A s all p arts in this arrangem ent play the sam e com plex rhythm s
sim ultaneously, except for percussion an d low er brass, the stu d e n t perform er
and the ensem ble as a w hole should find it easier to m aster. A high school
player of m oderate ability should n o t have great difficulty in perform ing
"K antus De Apacheta" accurately.
64
C h ap ter VI
MBUTI OF CENTRAL AFRICA - "DCOBI" -

ARRANGED FOR STRING ORCHESTRA A N D CON GA
The M buti, the "physically sm all people" p opularly know n as Pygm ies
(Hallet, n.d.) are tho u g h t to have d w elt in the Ituri rain forest in central Z aire
and beyond for m ore th an 5000 years. Some believe them to be the "first
m odem m en" (Blumenfeld, 1995, p. 4) o r "the first inhabitants of A frica"
(Turnbull 1983, 2). The earliest reference to the Pygm ies dates from 2500 B.C.,
w hen an Egyptian expedition exploring the Ituri Forest encountered a singing
and dancing "people of the trees" (Turnbull, 1983, p. 2). A p yram id text refers
to the M buti as "the little m en from the land of the trees an d spirits at the foot
o f the m ountains of the m oon" (Blumenfeld, 1995, p. 23). A nthropologists
such as C olin T urnbull and Jean-Pierre H allet w ho lived w ith the M buti for
years at a tim e, describe the M buti people as "stealthy h u n ters," "good n a tu re d
and happy" (Turnbull, 1983, p. 1-3), "highly expressive," "m oral,"
"enlightened" and spiritual (Hallet, n.d.). There are currently ab o u t 40,000
M buti living in the Ituri rain forest region (Turino, 1992, p. 173).
The pygm ies are prim arily a nom adic him ter-gatherer society, living in
tem porary huts for a m onth a t a tim e, m oving from one area o f the forest to
the next in search of fresh gam e o r vegetation (Turnbull, 1983, p . 1). The
M buti w ay of life has been described as egalitarian, in th at there is no one
65
suprem e bo d y o r individual who rules. The co m m unity as a w hole m akes
im p o rtan t decisions, solving "problem s am ong them selves b y a r g u in g
relentlessly until a com prom ise is reached" (T urnbull, 1983, p . 2). T urino
(1992) believes th a t the lack of private p roperty, cooperative living an d a
strong sen se o f com m unity greatly influences th e M b u ti m usical culture (p.
173).
Mbuti M usic
A lth o u g h the M buti do use instrum ents su ch as end-blow n flutes a n d
w histles, a w o o d e n tru m p e t called molimo trum pet, rh y th m sticks, rattles
and d ru m s, vocal m usic is central to the M buti "rep erto ire" (Turino, 1992, p.
173). It is curious th a t there is limited use of p o e try o r text in M buti m usic in
com parison to o th er A frican vocal musical cultures (T urino, 1992, p. 175).
Verse used in Pygm y m usic is generally brief such as "th e forest is good"
(Turino, 1992, p. 175), o r "the forest was p ro d u cin g g o ld " (Blumenfeld, 1995, p.
23).
A typical characteristic of Mbuti vocal m usic is call and response a n d
hocketting. Typically different members of the g ro u p take tu rn s as leader a n d
chorus m em b er d u rin g a perform ance (Turino, 1992, p. 174). Lomax sees th e
Pygm y cooperative approach to music as a sym bol o f the egalitarian P ygm y
lifestyle (as cited in Slobin & Titon, 1992).
M usic, like m ost social activities in Pygm y life, is perform ed in
different situations by m en and w om en separately, o r b y m en and w om en
66
together. A lthough there are certain cerem onies a n d other activities th at are
gender specific am ong the Mbuti, (for exam ple, m en are considered the
hunters and w om en the gatherers), w om en a n d children do participate in
m any activities w ith m en including net-hunting.
N et-hunting, like m ost aspects of p y g m y life, is a com m unal

affair, w ith m ale fam ily m em bers strin g in g th eir nets together in
a large sem icircle and the w om en an d ch ild ren beating the brush
to scare gam e into them . The catch is sh ared (Turino, 1992, p.
173).
Tean-Pierre H allet
The perform ance of "Ikobi," that I arran g ed for this dissertation, w as
recorded by Jean-Pierre H allet in the Ituri Forest. In the 1930's, Hallet, "the
son of a fam ous Belgian painter A ndre H allet, w as raised in the Belgian
Congo and grew u p w ith the Efe Pygmies on the ed g e of the Ituri Forest"
(Blum enfeld, 1995, p. 21). From January of 1957 H allet lived w ith the Efe
Pygm ies for tw o years, teaching them m ath, reading, w riting and agricultural
techniques, eating their food and partaking in th eir ritual. Eventually he w as
accepted "as an adopted m em ber of the Efe Pygm y society" (Hallet, n.d.).
A t the tu rn of the tw entieth century there w ere a n estim ated 75,000
M buti living in the Ituri forest. That num ber h as d w in d led considerably d u e
to the destruction of m ost of the rain forest. H allet, the head of The Pygmy
Fund, has w orked tirelessly to save the rem aining 4000 Efe Pygm ies of Zaire
from extinction (Blumenfeld, 1995, p. 22). H allet's long relationship w ith the
Efe Pygm ies has given him a deep u nderstanding of these kind-hearted
67
people. In a Christian Science Monitor article, entitled "Saving The L ittle
Giants," Stew art McBride, quotes the follow ing statem ent from Jean-Pierre
Hallet:
The po p u lar definition of a Pygm y is a little dw arf h iding

b ehind trees shooting poison darts a t passing natives. They are
th o u g h t to be im m oral, cannibalistic, fierce a n d w ild. N othing
could be farther from the truth.
They live in h arm ony w ith their environm ent and each
other. They d o n 't lie, cheat, steal o r kill. U nlike other tribes,
there is no crim e in a Pygm y village, because there is no m aterial
greed. I call them "little giants," an d if the rest o f the w orld lived
like the Pygm y w e 'd be in m uch better shape, (as cited in
Blum enfeld, 1995, p. 22)
Transcribing "Ikobi"
"Ikobi" is a gathering song perform ed by M buti w om en "custom arily
sung before or after the gathering is done" (Blumenfeld, 1995, p. 29). The
perform ance is characterized by a repetitive call and response w ith subtle
variations (see Figures 14 and 15). The variations do n o t occur in the ch o ru s
but w ith the leader's repeated m otive, each tim e slightly different th a n the
previous one (see Figure 15).
The com position is based on a pentatonic scale w hich approxim ates
these pitches: C, D#, F#, G#, A# and C. I chose to arrange the piece a h a lf step
lower, doing aw ay w ith all flats or sharps (See Figure 13), m aking it easier for
a student perform er to m aster.
68
Figure 13
O riginal and A ltered Scale from "Ikobi"
Original scale
IT
' j|o
$
Altered scale XE
3E
$ xr
The m eter of the piece approxim ates 4 /4 w ith the chorus singing 2
m easures and the leader singing 2 m easures and one half beat. The leader
alw ays begins exactly w here the chorus ends (see Figure 14).
i
69
Figure 14
C all and R esponse in "Ikobi"
Leader
d fc : ■ =
= =■=■■' - - - * -■? p
i jfc-L---------:
k f c e " " ----v £_f d r p mfmt *—■
" tP U i ____ ~ •- i
> ■ lF=^
1
'J
Chorus :=p=f JjTT «:
.u---- *«
^ 'J J J—
■
:4=F = -y
R =g\z *U'
^ J J _K
V
L eader
S0.~ .. ->
..—~—
- —P—J
^ -K T
J ' t— r
f 1 V
-A =R= *— ■—j-~~•q
J—J— =—#
tl J
A
3
Chorus ---------------------------------------- 1
tJ
3
\ ± --------^ = 4 -------------------------1
70
Figure 15
L eader's V ariations in "Ikobi"
1
J? f ft - > -
C :---------- » -
f m -J* --=p ----- j $
>
V
1-------------- - n i
p if j i # J J J ,4 m y $ -‘ ■— ■ — • — J V J
------------- i.M J • m 9
^3 ^
There w ere four m ain obstacles to accurately transcribing this perform ance.
1. The intonation h a d to be adjusted to approxim ate W estern tuning.
2. The vocal lines are in very d o se harm ony m aking it difficult to isolate
each line.
3. The recording, w hile of good quality, is done in the field (Ituri Forest)
and not in a studio.
4. The tem po is qu ite rapid, m aking it difficult to pick o u t the
interlocking rhythm s.
5. The recording fades in at the beginning and o u t at the end .
6. A single d ru m p a rt can be faintly h eard in the background.
i
I
71
In o rd er to m ore accurately hear the rhythm s and harm onies, I tap ed
the perform ance and played it back several tim es at half-speed. This
technique allow s the listener to discern th e vocal entrances and in d iv id u al
lines w ith greater ease. Even w ith this technique, I am sure that som e
m usical inform ation was not perceptible to me. As slow ing dow n the
recording creates a loss of clarity, I listened to th e recording in the original and
at half-speed alternately in an attem pt to piece together all the m usical
elem ents accurately.
A rranging "Ikobi"
The arrangem ent of "Ikobi" for string orchestra and conga represents a
greater stretch in orchestration com pared to the three other arrangem ents in
this dissertation. W hile the instrum entation u sed in the other arrangem ents
share som e tim brel qualities w ith the original instrum ents (i.e. aerophones
w ith aerophones), this arrangem ent utilizes instrum ents w ith little sim ilarity
to the original perform ance (i.e. vocal w ith string instrum ents). I chose this
approach in o rd er to explore how a m ore d istan t instrum entation w ould
affect a n arrangem ent.
The arrangem ent is orchestrated for string orchestra: violin 1, violin 2,
viola, cello, double bass and conga. In keeping w ith the call and response
style of the M buti, each instrum ental section except for double bass and conga
have a solo counterpart. For exam ple, w h en the cellos are playing as a
section, they perform the part of the M buti chorus. W hen the solo cello is
72
playing, it perform s the p a rt of the leader (see "Ikobi" score in A ppendix D).
This approach, it is hoped, creates a textural contrast sim ilar to th a t of the
original perform ance. There are no dynam ic m arkings in the score so th at
the perform ers w ill have m ore freedom to allow the texture of the m usic to
dictate the dynam ics. A natural dynam ic contrast occurs betw een the solo
players a n d the various sections.
A nother departure from the original perform ance, is the use of greater
ranges in o rd er for the instrum ents to play w ithin their tessitura. For
exam ple, in m easure 15 (see A ppendix D) the solo violin 1 plays the leader's
p art a n octave higher th an the original perform ance or in m easure 11 the solo
cello perform s the leader's p a rt and octave low er than the original
perform ance. To create greater variety of tim bre and texture, each tim e w e
hear the call and response, a different configuration of instrum ents play.
A lthough the conga p a rt is w ritten o u t note for note, it is hoped th a t the
player w ould use the p art as a base in w hich to im provise, n o t straying too far
from the score. The technical level of this arrangem ent is well w ithin the
perform ing abilities of a high school string orchestra.
A lthough this arrangem ent of "Ikobi" stays true to the original pitches,
rhythm s and harm onies, it is clear that a new piece em erges from the strin g
orchestra instrum entation, rem iniscent of the original b u t unique in its o w n
right (listen to the MIDI perform ance o n the accom panying cassette, track 4).
O ne can debate w hether or not this is a positive or negative outcom e. H ie
possible im plications of this approach w ill be discussed in the sum m ary
chapter.
74
C h ap ter VII
APPROACHES TO ARRANGING WORLD MUSIC
A rranging w o rld m usic authentically for W estern in strum entatio n
presents m any in h eren t rew ards an d obstacles. Obviously, non-W estem
m usic is not created o r perform ed w ith W estern instrum entation in m ind.
In m any cultures, m usic h as a very different p urpose to W estern concert
music. Therefore, w h e n one arranges w orld m usic for a concert setting,
w hether it be in an educational institution or a public concert hall, the m usic
is perform ed o utside of the original intended context. It is therefore, the
w orld m usic arran g er's responsibility, to capture as accurately as possible, the
rhythm s, tunings, harm onies and expression of the original perform ance
w ithin the lim itations o f W estern instrum entation.
U pon m aking an arrangem ent of a w orld m usic perform ance, one
m ust m ake m usical choices an d com prom ises. These can only be properly
m ade if the arran g er is fam iliar, not only w ith the particular perform ance, b u t
w ith the perform ance practice of the style and the historical an d cultural
context in w hich the m usic is perform ed. The better the arranger
understands a n d is fam iliar w ith a piece of w orld music, the greater the
chance of an authentic arrangem ent. W hat follows is a brief guide to w orld
m usic arranging based on the experience of arranging four w orld m usic
perform ances for this dissertation.
C hoosing A Piece
T here are hundreds, if n o t thousands of w o rld m usic recordings
com m ercially available x(See selected D iscography, A ppendix E.). H ow does
one choose a w ork to transcribe and arrange? Sim ply listen to as m uch m usic
as possible, and w hen som ething grabs your attention, listen to it m any m ore
times. A fter y o u have familiarized yourself w ith the piece and have decided
that you w ould like to arrange it, you m ust then decide w hether it is practical
to arrange.
I have come across m any w orld m usic perform ances that I enjoy, b u t
could n o t authentically arrangem ent. If the m usic bears little relationship to
any aspect of W estern music, it is difficult to translate that perform ance for
W estern instrum entation. For exam ple, an In d ian sitar com position w hich
uses a com plex m icrotonal scale could and is perform ed o n some W estern
instrum ents such as the violin, b u t does it represent a practical choice for the
arranger? O ne also comes across m any perform ances th at are so unique to
the individual perform er, that it w ould not be possible to accurately transcribe
or arrange the perform ance convincingly. Avoid arranging pieces th at are so
com plicated as to require a major sim plification o r change. Drastic alterations
of a com position can result in a piece w hich bears little relationship to the
76
original composition. G enerally, such pieces are better left on CD o r to the
original perform ers.
W orld m usic com positions suitable for arranging:
1. are well recorded, m aking it is easier to hear all aspects of the m usic.
2. use tunings th at can be approxim ated w ith W estern intonation.
3. use instrum entation th a t bears som e relationship to W estern
instrum ents in tuning a n d tim bre. (i.e. Gam elan to v ibraphon e o r
ocarina to flute)
W orld m usic com positions less suitable for arranging:
1. feature a virtuosic perform ance th a t only a handful of players m ig h t be
able to m aster.
2. are pieces th at are rhythm ically o r harm onically "overly" com plex.
3. are poorly recorded.
4. contain tunings w ith little relationship to W estern intonation.
Iranscrihiog
After becom ing well acquainted w ith a w orld m usic com position, the
first step tow ards a successful arran g em en t is to transcribe the perform ance.
The purpose of transcribing a perform ance before attem pting to arrang e it, is
for the arranger to have an accurate a n d com plete fram ew ork from w h ich to
w ork. Ellingson (1992) recom m ends th a t the transcriber listen to the m usic
repeatedly, and th at a transcription should no t be executed in one sittin g (146).
U sing a good sound system an d headphones w ill prove invaluable in this
77
!
endeavor. C om ing back to a piece on several occasions can give the listener a
different perspective o f the m usic and m ight reveal additional m usical
inform ation n o t previously noticed. It is recom m ended th a t the novice
transcriber begin w ith sim pler m aterial th a t does n o t contain com plicated
harm ony, counterpoint or com plex rhythm s (Ellingson, 1992, p . 146).
A lthough it is useful to have the instrum entation in m in d w hile
transcribing, it is better n o t to arrange as you transcribe, as this w o u ld be a
distraction from accurately notating a perform ance. H ow detailed sh o u ld the
transcription be? Should every cough o r stutter be jotted dow n? I d o n 't
believe th at it is necessary to p roduce an ethnom usicological transcription,
w here every nuance, no m atter how subtle, is taken dow n in o rd e r to create
a n authentic arrangem ent3. Since the arranger is w riting for W estern
instrum ents, die transcription sh o u ld rem ain, for the m ost p a rt, w ith in the
context of traditional W estern notation. If there are techniques em plo y ed
w ithin a perform ance that are crucial to the essence of a com position a n d th at
a perform er could reasonably be expected to play, such as note b e n d in g , this
could an d should be notated in the transcription.
T u n in g
It will often be necessary to approxim ate die tuning of a w o rld m usic
piece to W estern intonation w h en arranging. U nless you h a p p en to have
3There is much debate among ethnomusicologists about the best way to notate a
transcription. (Ellingson 1992, 110-152)
78
perfect pitch, I w ould suggest the piano as a tool. The transcriber will have to
m ake subjective decisions as to the tuning of certain pitches. For exam ple, if a
pitch is tuned in betw een tw o half steps, the tran scrib er/ arranger m u st decide
on an approxim ate tu n in g based o n the m usical context of the pitch and m ust
finally rely on his o r h e r perceptions and judgm ent. It is often helpful to
decide on a scale o r m ode th a t one considers the piece to be based on, while
m aintaining a flexible ap p ro ach to possible "deviations" to the scale.
T exture and R hythm
Music th at has a hom ophonic o r polyphonic texture can be difficult to
transcribe, especially if the harm onies are close a n d rhythm ically complex. If
a perform ance has a texture of tw o or m ore voices, use a separate staff for each
voice and percussion line w hen transcribing. It is best to w ork w ith the outer
lines first, as they are generally easier to pick out, an d then w ork o n the inner
lines.
Sometimes the harm onies are so close th at it is very difficult to
perceive separate m usical lines. O ne technique th at I have em ployed is to
tape the perform ance o n a variable speed tape deck and slow d o w n the tape to
half speed upon p lay back. This enables the listener to hear the m usic a t half
the tem po and a n octave low er, m aking it som ew hat easier to hear
individual parts. This technique can also be useful w hen attem pting to
transcribe complex rhythm s, as they too w ill play back at half speed. In
general, the m ore frequently one listens to a perform ance from different
79
perspectives, the m ore musical inform ation one perceives. Listening to the
m usic throu gh speakers and through headphones, a t h alf speed and at
norm al speed an d a t different volumes w ill afford the arranger a varied aural
v iew p o in t.
Arranging
A fter the piece has been satisfactorily transcribed, a full score should be
p repared for the arrangem ent. The transcription provides the arranger w ith
the fram ew ork to write. If the transcription w as produced w ith a different
staff for each voice, as recom mended, the arranger w ill find it easy to prepare
a blank score w ith the correct num ber of m easures an d staffs.
A n arrangem ent can attem pt to accurately represent a w o rld music
perform ance an d to match as closely as possible the tim bre of the w orld music
instrum ents, as is the case w ith "The Farewell" and "Lente". The arranger
m ay also choose to explore the expressive nature of the W estern instrum ents
th at do not m atch the original perform ance, while m aintaining a n accurate
presentation o f the rhythm s, pitches, harm onies a n d texture o f the original
perform ance, as w as done w ith "Kantus de A pacheta" an d especially w ith
"Ikobi".
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O rchestration
H ow does one choose instrum entation for a w orld m usic
arrangem ent? Start by considering the instrum ental im plications o f the
perform ance. For exam ple, the first piece that w as transcribed in this
dissertation, "The Farew ell," w as from a perform ance played on a n ancient
C hinese ocarina, the xun. A logical choice of instrum entation here is the
flute, a n aerophone in stru m en t w ith a sim ilar em bouchure. The second
piece in this study, "Lente," is perform ed on gam elan instrum ents w hich
suggests to me their W estern cousins, glockenspiel, m arim ba or vibraphone.
The piano too m ight be a choice, as it too uses striking ham m ers to produce
pitches.
If you are allow ing the original w orld m usic perform ance to suggest
the instrum entation, set aside one staff for each instrum ental voice in the
score. This approach allows the arran g er to create a com position th a t truly
m irrors the original perform ance, albeit from a W estern bias. For exam ple,
there are three voices and percussion in the perform ance a n d transcription of
the Balinese com position "Lente." The score reflects th at structure an d each
W estern instrum ent w as chosen to m irro r each voice in the gam elan.
Som etim es an arranger is req u ired to w rite for a particular instru m en t
or set o f instrum ents—a band teacher, for exam ple, m ight like to arrange
m usic for his or her band or a n arranger is com m issioned to w rite for a
p articular ensem ble. "K antus d e A pacheta" and "Ikobi" w ere arranged w ith
such a situation in m ind.
W hen arranging for instrum ents n o t directly related to those u sed in
the original perform ance, the overall character of the piece w ill change.
None-the-less, if the arranger rem ains faithful to the original perform ance
and does n o t a d d prettified W estern harm onies or new p arts to "fill o u t" the
perform ance, an arrangem ent can be created th a t accurately reflects the
original.
A rranging the Pygm y perform ance "Ikobi" for string orchestra w as a
particular challenge, because the original perform ance w as by a fem ale chorus
singing in the rain forest. A lthough the arrangem ent rem ains tru e to the
transcription in term s of pitch, rh y th m a n d harm ony, the extrem e tim bral
shift drastically alters the sense of the original vocal perform ance. It seem s
that such a tim bral shift in orchestration creates a w ork th at is not
im m ediately com parable to the original. I w o u ld still m aintain th a t th e string
student perform ing in a n ensem ble, can learn m uch ab o u t the stru ctu re,
rhythm a n d harm ony of the original M buti m usic th ro u g h p erfo rm in g such
an arrangem ent.
Key and Range
W hen w riting for particular instrum ents, it is im portant to b e aw are of
the instrum ental range and tessitura of each line. A lthough n o t alw ay s a
practical choice, if possible, the arrangem ent should stay close to the original
"key" of the com position. If, for exam ple, a w orld m usic com position
intended for school band is transcribed w ith a key signature of tw o o r m ore
I
82
sharps, the key should be altered in o rd er to m ake it accessible to the average
band stu d en t. It is better, however, to stay close to the o rig in a l key, as a large
departure from the key could change the overall character o f the com position.
O n occasion, the arranger m ight p u rposefully w rite a piece n o t in the
instrum ent's tessitura o r ideal range, in o rd er to produce a particular effect.
For exam ple, "T he Farew ell's" arrangem ent is intentionally w ritten a t the
very b ottom of the flute's range.
Technical P laying Level
The arran g er m u st alw ays consider the age gro u p a n d technical playing
ability of the perform er. W hen arranging a com position, it is possible to
sim plify the original transcription so th at it is ap p ro p riate for a particular
ensem ble, as long as the character of the original perform ance is n o t lost.
How and w h a t to sim plify is a subjective decision th at w ill differ from piece
to piece. O ne m u st also decide w hether a p articular nuance n o tated in the
transcription is a fundam ental characteristic of the style an d piece or a
nonessential aspect o f the perform ance.
Tempo. D ynam ics and O ther M arkings
The arra n g er should ascribe tem po, dynam ics a n d o th er m arkings to a
piece to the extent th at they reflect the essence of the com position. M arkings
should be u sed to reflect the original com position. It is ap propriate to utilize
accelerandos an d dim inuendos in a piece such as "L ente" w hen the original
83
perform ance has such tem po changes. The arrangem ent o f "The Farew ell"
contains the m arking molto rubato as a w ay of reflecting the im provisational
character, shifting tem pos and lack of steady beat in the original perform ance.
If a perform ance does not have changes in dynam ics or tem po, these
m arkings should no t be ad d ed to the arrangem ent.
M IDI and C om puter Software
M usical Instrum ent Digital Interface (MIDI) equipm ent an d softw are
can be a useful tool to the arranger. The MIDI equipm ent an d softw are listed
in Table 4 w as used for this dissertation. A lthough an arranger does n o t need
anything m ore than paper, pencil an d audio equipm ent to arrange a
com position, a synthesizer and M IDI equipm ent an d software are tools th at
can prove very helpful. G enerally, using a good notation program such as
Finale, enables the arranger to produce a professional score and parts quickly.
A dditionally, a sequencing pro g ram such as Perform er enables the arranger to
h ear a facsimile perform ance of th e arrangem ent w ithout having to h ire an
entire orchestra.
84
Table 4
MIDI .Equipm ent a n d Softw are used in this Dissertation
M acintosh 5200 com puter
Studio Plus Two MIDI box
Ensoniq KT76 W eighted A ction S ynthesizer/C ontroller
R oland JV-880 Synthesizer M odule
Finale 3.0 N otation Softw are (Coda Music)
Perform er 4.2 Sequencing Software
(M ark of the U nicom )
The accom panying cassette tape contains MIDI perform ances of each
arrangem ent, except "The Farew ell," (perform ed by Rafi Bar-Lev) a n d w as
produced on the above equipm ent. A lthough a taped perform ance on
acoustic instrum ents for all the arrangem ents w ould have been preferable, it
w as not practical to assem ble the m usicians necessary to perform each piece.
The tape w as created to p resent an electronic rendering of w h a t a n acoustic
perform ance m ight so u n d like.
Cppyright.ConsideratiQps
A lthough a lengthy discussion about copyright law is beyond the scope
of this dissertation, copyright law is an im portant issue to the arranger. It is
clear that one m ay n o t w rite an arrangem ent of a copyrighted com position or
perform ance w ith o u t first receiving perm ission from the copyright ow ner.
[I]f an arrangem ent is m ade of a copyrighted w o rk w ith o u t
the au thorization o f the copyright ow ner, th e arrangem ent
w o u ld be a n unauthorized derivative w o rk an d therefore a n
infringem ent o f the copyright... CMusic Publishing and You!,
1991, p. 13)
W ho ow ns a w o rld m usic com position? O ften su ch recordings are
tap e d on location a n d are traditional com positions w ith o u t k n o w n authors.
The answ er is n o t clear cut. A lthough there is no q u estio n th a t th e recording
com pany o w n the rights to the recording, it rem ains legally am biguous as to
w ho actually ow ns the rights to these pieces o f m usic. I contend th at in as
m uch as these traditional works are often ancient a n d / o r anonym ous, they
are w ithin the public dom ain. A lthough perm ission to arrange w as requested
for all the com positions from the various record com panies, to d a te only
Lyrichord Discs Inc. has responded in reference to 'T h e Farew ell." Their
response does agree w ith m y contention regarding pub lic dom ain.
The song th at y o u requested licensing rig h ts to o n LYCD 792

"China's Instrumental Heritage" is n o t licensable b y L yrichord
Discs. The song is over seventy-five years o ld , a n d therefore falls
u n d e r the category of "public dom ain." L yrichord ow ns the
rights to o u r p articular recording of the song "T he Farew ell" b u t
not the trad itio n al m usic itself. (M.W. W ei, p e rso n al
com m unication, June 19, 1997).
To be on the safe side, I recom m end th a t the arran g er alw ays q u ery the
recording com panies as to w ho ow ns the rights to th e w o rld m usic
com position an d ask for perm ission should it be necessary.
86
L im itations
A n arran g em en t of a w orld m usic perform ance for W estern
in stru m en tatio n is n o t the sam e as an authentic w o rld m usic perform ance
and sh o u ld n o t be represented as such. As soon as the m usic is taken o u t of
its original context an d perform ed on other instrum ents, it ceases to be
"authentic." N one the less, a n authentic arran g em en t can be a valuable
addition to the W estern repertoire and to m usicians a n d m usic students. It is
im practical and unlikely th at a m usic stu d en t w o u ld h ave a n opportu n ity to
stu d y a n d perform on original instrum ents such as the x u n o r gam elan. It is
possible a n d practical for the school band or orchestra stu d e n t to perform an
authentic arran g em en t on an instrum ent th at he o r she is studying. The
experience o f perform ing such an arrangem ent can give the m usician and
audience in sig h t into a particular w orld m usic com position and its culture.
1
87
C hapter VLH
SUM M ARY
W hile it is a virtual truism th at "m usic is the universal language," in
practice, the m usic of other cultures is frequently difficult to understand an d
appreciate. Slobin and Titon narrate the follow ing story:
A fam ous m usician from the O rient w as b rought to a

E uropean sym phony concert approxim ately one h u n d red fifty
years ago. A lthough he was a virtuoso m usician in his ow n
country, he h ad n ev er heard a perform ance o f W estern music.
The story goes th at after the concert he w as asked h ow he liked
it. "Very w ell," he replied. N ot satisfied w ith this answ er, his
hosts asked (through an interpreter) w h a t p a rt h e liked best.
"The first part," he said. "Oh, you enjoyed the first m ovem ent?"
"N o, before that!"
To the stranger, the best p art of the perform ance was the
tuning-up period. It w as music to him , a n d w ho w as to say
otherw ise? His hosts. (Slobin a n d Titon, 1992, p. 1)
M usic is, how ever, a "universal phenom enon"; there is no know n
culture that has n o t produced som e form of m usic (Slobin & Titon, 1992, p. 1).
M ost m usic educators agree on the im portance o f studying w orld m usic in
the classroom. Certainly, listening to w orld m usic helps the student to
appreciate the m usic of oth er cultures, b u t perform ance of a w orld m usic
arrangem ent w hich closely approxim ates the original can give one a unique
perspective an d appreciation of these com positions.
i
88
Four W orld. M usic A rrangem ents
The procedures used in arranging the fo u r w orld m usic com positions
in this dissertation, and the guidelines th at h ave been derived from the
experience, are n o t ironclad rules, b u t suggestions based o n experience- The
experience of w orking on one piece in this dissertation has led sequentially to
the next level o f technical challenge.
"The Farew ell" allows for the closest connection betw een the original
perform ance a n d the arrangem ent. This is possible, to a g reat extent, because
the original is perform ed on a solo instrum ent, the xun. There is less
difficulty in follow ing the m usical line, as there are no additional voices to be
concerned about. The challenge here is to capture the tim bre, expression an d
the irregular m eter and rhythm s of the original perform ance.
In "Lente," the perform ance is in a regular m eter, b u t w ith a
polyphonic texture m ore difficult to analyze. A m ajor im pedim ent is the
close harm onies, the hocketing effect (m aking it difficult to perceive w hich
player is perform ing w hich line) and the closeness of tim bral color. N one the
less, the arrangem ent still m irrors the original instrum entation, p ro d u cin g a
perform ance sim ilar to the original in tim bre an d texture.
The arrangem ent of "K antus de A pacheta" explores the process of
arranging for som ew hat dissim ilar instrum ents. A lthough aerophones are
still used in the arrangem ent, these include reed and brass instrum ents,
w hich are n o t sim ilar in tone color to the p anpipes of the original
89
perform ance. A nother d ep artu re from the original, is th e u se of low er brass
instrum ents to im itate the bass d ru m by playing repeatedly on a single deep
pitch. The key an d ranges w ere altered to fit the instru m en tatio n of the
ensem ble. A lthough additional voices w ere ad d ed to accom m odate the
various b an d instrum ents, no n ew pitch o r harm onic m aterial w as a d d e d to
the arrangem ent.
"Ikobi" took the arranging process one final step further. The
in strum entation is q uite unlike the original vocal perform ance, creating a
new environm ent for the com position. The scoring o f "Ikobi" m irrors the
original perform ance w ith its call an d response texture, w ith a solo string
in stru m en t p erform ing the call a n d the various strin g sections perform ing
the response. The texture and affect created by the arran g em en t is distinct
from the original, firstly because of the com pletely different tim bre of the
strings and secondly because various sections or soloists a p p e a r o n different
m usical lines each tim e w e hear the call a n d response.
C u ltu ral C ontexts and A uthenticity
T hroughout this stu d y , I have m ade a distinction b e tw een an authentic
w o rld m usic performance a n d a n authentic w orld m usic arrangement. A n
authentic w orld m usic perform ance is played by indigenous m usicians (or by
m usicians w ell versed w ith the m usic and instrum ental techniques o f an
indigenous culture) o n indigenous instrum ents. A n a u th en tic w o rld m usic
90
a rran g em en t is an accurate m usical a d ap tatio n of a n authentic non-W estem
perform ance p erfo rm ed on W estern instru m en ts.
It is clear th a t a W estern style concert perform ance o f a w orld m usic
com position takes the m usic o u t of its in ten d ed cultural context. H ow ever a
concert perform ance o f a Bach chorale o r a M ass by Palestrina, also rem oves
the m usic from its original intended context, th e church.
W orld m usic arrangem ents rehearsed a n d perform ed in concert, I
contend, h a v e g re a t educational and aesthetic value. W hen perform ing a
w orld m usic arrangem ent, the m usician p u ts herself "in the shoes" of the
indigenous perform er. To the extent th at the p erform er is playing an accurate
ad aptation, sh e is contending w ith som e o f the sam e m usical issues th at the
indigenous p erfo rm er m u st face.
C am pbell (1992) believes that students sh o u ld be presented w ith w orld
m usic recordings th a t "provide authentic so u n d s and styles th at represent the
culture" (p. 28), an d com plains about m usic teachers m aking the "m istake" of
"playing N ig erian songs on the piano, stru m m in g autoharp chords to
accom pany Jap an 's 'Sakura,' o r arranging a N ativ e A m erican song for
xylophones" (p. 26). To W aterm an (1995), it is im p o rtan t to p resent the m usic
of N igeria in a respectful m anner, avoiding stereotypes an d w ithin the p ro p er
cultural context (p. 39). Volk an d Spector stress the im portance of providing
students w ith original recordings of arranged w orks before they are
perform ed (p. 29).
91
W riters and perform ers of w orld m usic arrangem ents sho u ld rem ain
cognizant that the m usic being perform ed is a n adaptation, a n d th at a true
authentic perform ance w ould only be possible on original instrum ents.
Seeger (1995), recom m ends th at
[pjerform ances of m usical arrangem ents should be

acknow ledged as such, and arrangers should state th at th ey are
approxim ating b u t not actually duplicating the perform ances (p.
23).
He further suggests including text translations w hen available, a n d exposing
perform ers "at som e p o in t to the ’authentic' perform ance o f the piece or
genre" (p. 23). A lthough attending a live perform ance is preferable, this can
m ost easily be accom plished by playing a recording or video for students, thus
allow ing them to com pare their perform ed arrangem ent to a n original
perform ance.
Miller (1994), a n expert on Thai m usic, acknowledges th a t there is no
Thai perform ance literature available for band o r orchestra, b u t suggests that:
[trad itio n al m elodies be played on O rff xylophones,

particularly if the bars are 'doctored u p ’ w ith m odeling clay to
m atch the Thai tu n in g system of seven equidistant pitches
w ithin the octave (p. 22).
W aterm an (1995), an authority on sub-Saharan A frican m usic in
general and the m usic o f the Yoruba people of N igeria in particular, cautions
against perform ing arrangem ents th at lose the essence of a p articu lar culture
by d ilu tin g the m usic w ith W esternized stylization and harm onies. W hen
asked, "Is the authenticity of a m usical perform ance an issue in Yoruba
92
culture? Should it be for m usic teachers and their students?" W aterm an
responds:
People som etim es argue ab o u t w hich perform ers o r types of

m usic are really 'deep Y oruba/ ’a u th en tic/ a n d 'traditional' an d
w hich are not. For m usic teachers, the issue is an im p o rtan t one
as well. Does a given choral arrangem ent of a Yoruba so n g bear
an y relationship to traditional Y oruba singing, or is it sim ply
a n o th e r grind'-em -out' SATB arran g em en t incorporating a
vaguely African m elody (p. 42)?
To W aterm an, the issue o f authentic perform ance is n o t about creating
a perfect im itation of a given piece o f m usic. As he puts it, "it’s h ard to know
w hat a 'perfect' im itation w o u ld be, anyw ay" (p. 42). W aterm an believes th at
it is im p o rtan t for students to experience the com bination of perform ance,
(even o f an im perfect arrangem ent), an d listening to authentic recordings o r
live perform ances. This gives the stu d e n t the opportunity to b e actively
involved in the m usic an d to com pare it w ith the source.
The com bination o f inform ed listening (hearing a style and

thinking about how it's p u t together) w ith m im esis (learning
th ro u g h imitation) is a pow erful one. These techniques should
com plem ent one another (p. 42).
Som e m ight raise the concern th a t the w orld m usic arran g er is
unethically tam pering w ith o th er cultures o r com m itting "an act of cultural
im perialism ." Such an attitude, I contend, is patronizing. Should one also be
concerned about o u r culture's ability to w ithstand the influences of non-
W estem cultures? Should w e regard the m usic of non-W estem cultures as
sacrosanct m useum pieces, unaffected by internal or external change — in
other w o rds, dead?
93
Even before the advent o f the radio o r electronic recording equipm ent,
there w as great interplay and "cross-pollination" of m usical ideas. M usic and
the arts are dynam ic form s of expression a n d cannot rem ain stagnant even
w ith in the sam e village. For exam ple, Z oltan K odaly discusses the changing
m usical culture of a single village in E astern E urope over 85 years ago:
Folk tradition is not to be th o u g h t o f as one uniform

hom ogeneous whole. It varies fundam entally according to age,
social and m aterial conditions, education, district, and gender.
A round 1910 a sharp enough difference existed betw een the song
repertories of the three m ain ages o f life. The m iddle-aged and
elderly people in the village n o t only d id n o t sing the songs of
the y o ung people, b u t generally d id n o t know them . Still less
did the young people know th e songs of the older generation, (as
cited in Slobin and Titon, 1992, p. 13)
A lthough all the pieces in this dissertation have been accurately
transcribed, an d the arrangem ents d o n o t greatly diverge structurally or
harm onically from the original perform ances, there are tw o variables w hich
do change, especially in the latter tw o arrangem ents ("K antus De A pacheta"
and "Ikobi") —orchestration and tim bre. This dram atic change can be h e ard
m ost clearly in "Ikobi," to the p o in t th a t the listener m ight not recognize the
original perform ance in the arrangem ent.
Broadly speaking, the first tw o arrangem ents can be categorized as
authentic arrangem ents w ith like in stru m en ts a n d the last tw o arrangem ents
can be categorized as authentic arran g em en ts w ith dissimilar instrum ents.
All four arrangem ents are labeled authentic, because the pitches,
counterpoint an d harm onies have n o t been altered a n d no new pitch or
94
rhythm ic m aterial has been ad d ed . Beyond this point, I w o u ld argue th a t a
w ork ceases to be an au th en tic w orld m usic arrangem ent.
A lthough a rran g in g a w o rld m usic perform ance for o th e r instrum ents
can alter the essential character of the original piece, I w o u ld arg u e th a t this is
a necessary com prom ise if w e are to perform a n d hear w orld m usic
com positions on W estern in stru m en ts.
It is not possible to transfer th e intended purpose of th e w orld m usic
perform ance. By spotlig h tin g an d isolating the m usic from its context, w e
autom atically lose an essence. We cannot, for exam ple, replicate th e M buti
w om en singing their gath erin g songs in the forest. Once th eir m usic is
perform ed in a concert hall, even b y the sam e M buti w om en, it is
decontextualized. P erhaps b y p ointing out the gap betw een th e original
context and the concert perform ance, the stu d en t m ight b e tter u n d e rsta n d the
original perform ance and its purpose.
P edagogicaLConsiderations
A lthough the in stru m en tal m usic educator can achieve m an y
pedagogical objectives th ro u g h the perform ance o f authentic w o rld m usic
arrangem ents, the rehearsal a n d perform ance of such arrangem ents sh o u ld
be view ed as a com ponent o f a larger exploration into the m usic o f non-
W estem cultures. L im iting stu d e n ts to the perform ance of one isolated piece
of w o rld m usic, w ith o u t fu rth e r exam ination of th at m usical cu ltu re, w ill
lim it the student's ability to fully grasp the expressive language an d the social
95
context o f the m usic. In order for the stu d e n t to have a accurate frame of
reference, he should be exposed to the original perform ance as often as
possible.
In o rd er to perform w ell w ithin an ensem ble, the stu d en t
instrum entalist m u st carefully listen to all sections a n d determ ine how his
perform ance w ill fit in w ith the rest of the ensem ble. From this vantage
point, th e m usic's structure an d expressive m ean in g can becom e m ore
tran sp aren t to the student. The m usic ed u cato r is in the position of helping
the stu d e n t com pare the ensem ble perform ance of a w orld m usic
arrangem ent w ith the original. Students hav e a n op p o rtu n ity to exam ine
sim ilarities in rhythm , pitch, tim bre, texture a n d stru ctu re betw een the
indigenous perform ance and the w orld m usic arrangem ent.
In o rd er for the student to begin to u n d e rstan d a m usical culture
holistically, his exploration should include a stu d y o f the society, art, religion,
geography and history of a people. O ften the m usical context of a w orld
m usic perform ance w ill be quite different from th at w hich the student has
experienced. Students need to u nderstand an d appreciate w hy, w hen and
how a p articu lar m usic is perform ed. For exam ple, the M buti w om en of
central Africa are singing "Ikobi" in the context of the rain forest, as a
com m em oration of gathering food for the com m unity and n o t for the
purpose of concertizing, for m oney or applause. H ow does this com pare to
the m usical norm s the stu d en t experiences in W estern society?
96
In the process of exploring non-W es tern musical cultures, it m ay be
possible for the m usic director to link or integrate curricular objectives w ith
other subject areas in a school, such as the social studies, history o r art. For
example, joint projects can be produced w ith the a rt dep artm en t, w here
students create studies based o n the a rt form s of non-W estem cultures. Such
works can be exhibited in conjunction w ith a w orld m usic concert
perform ance.
W hen pro g ram m in g concerts containing w orld m usic arrangem ents,
Schmid (1992), suggests using them es, such as: " 'dance fo rm s/ 'seasons of the
y e ar/ 'celebrations o f the life cycle—birth, lullabies, love songs, m arriage,
fu nerals/ 'cultures in y o u r com m unity' o r 'n atu re them es'" (p. 42). Students
can be involved in w ritin g liner notes for the program w hich describe the
musical culture studied in class. Before or after the piece is perform ed, the
original perform ance on CD or tape can be played for the audience.
Aural Learning
W hile m usic n o tatio n holds a central position in the s tu d y and
perform ance of W estern a rt m usic, C am pbell (1991) points out, th a t in m any
non-W estem cultures, (including those discussed in this dissertation)
97
au ral learning is the principal—and som etim es the only—w ay

m usic is learned. L earning by listening to m aster m usicians an d
teachers is com m on am ong G hanian d ru m m ers, In d ian sitarists,
E uropean fiddlers an d pipers, African-A m erican gospel singers,
perform ers o f the L asokaen (m outh organ). Japanese shamisen
players, A n d ean harpists, rock guitarists, m em bers o f the
Javanese gamelan orchestra, Caribbean steel d rum m ers, a n d jazz
m usicians, (p. 103)
A lthough the W estern stu d en t m usician is n o t often in the position to
study the sitar o r gam elan by listening to and im itating a m aster m usician, it
is possible for him to approxim ate the practice o f a u ra l learning th ro u g h
im provisation a n d p erform ing by heart. The four w o rld m usic com positions
arranged in this dissertation, for example, are based o n different pentatonic
scales. Students can m em orize these scales and create th eir ow n im provised
perform ances, im itating the original indigenous perform ance. The unique
rhythm ic structure an d patterns of a style such as gam elan o r the m usic o f the
A ndes can also be exam ined an d im provised u p o n , incorporating the
m em orized pentatonic scale. The National S tandards For A rts E ducation
stresses the im portance of im provisation, suggesting that: "Students
im provise rhythm ic an d m elodic variations o n g iven pentatonic m elodies..."
(Blakeslee, 1994, p. 60).
Furtherm ore, alth o u g h students w ould m ost likely learn an d perform
a w orld m usic arran g em en t w ith notation, an en tire piece can be m em orized
by the ensem ble, thus allow ing students to perform u n h in d ered by note
reading. This approach enables the student m usician to experience a w o rld
m usic perform ance in closer approxim ation to the indigenous m usician's
experience.
98
Cam pbell (1991) presents a num ber of aural learning strategies for the
m usic educator K - 12 a n d beyond in her inform ative book Lessons From The
World, w hich can be a d a p te d by the instrum ental m usic teacher, w h en
teaching a w orld m usic arrangem ent, h i reference to band a n d orchestra, she
recom m ends a "R epertoire by Rote" approach.
Rote im itation is em ployed as students echo the m elodic

patterns an d phrases o f the teacher's choice, first by singing and
then by playing th eir instrum ents. A m usical vocabulary
evolves an d an a u ra l aw areness is solidified through a process
that dism isses no tation, a t least tem porarily, while it exercises
the e ar (p. 267).
A nother teaching strateg y for instrum ental ensem bles p resen ted by
Cam pbell, is entitled "Part-by-Part Perform ance" (p. 268). This approach helps
the student "develop a sense of inner hearing, as well as a conscientiousness
in following the score" (p. 268). In this situation, individual stu d e n ts or
sections are cued by the director to perform their p art of a w orld m usic
com position in sequence. The violin section, for exam ple, m ig h t b eg in the
piece, followed b y the flutes in sixteen m easures, followed by the cellos in ten
m easures etc. (p. 268). Such an exercise w ould be perform ed after the
ensem ble had m astered the com position by heart enabling stu d en ts to better
understand how the m usic is structured.
Schmid (1992) also discusses the aural approach to in strum ental w orld
m usic study.
The o ra l/a u ra l traditions of m any non-W estem cultures

offer a w ealth of techniques th at can enhance the m usicianship
of your b an d or orchestral students. Im agine w orking w ith
ensem ble players w h o w ere trained to 'h e a r' the m usic before
they played it or w ho could play anything they heard (p. 43).
99
Schm id recom m ends that students are given the op p o rtu n ity to
"vocalize tonal an d rhythm ic patterns before playing them " (p. 43) — a m usic
learning ap p ro ach com m on in m any non-W estem cultures. These p attern s
can be extracted from the w orld m usic arrangem ent th a t the ensem ble is
currently stu d y in g a n d playing.
The pedagogical strategies m entioned here are general suggestions th at
can be enhanced and varied by the m usic educator. Such strategies n o t only
afford the stu d e n t greater insight into a non-W estem m usical culture, b u t can
help him becom e a su p erio r m usician in the process. Perform ing w orld
music arrangem ents give the student the o p p o rtu n ity to com pare m usical
styles, rhythm , form , tim bre and instrum ents, th u s affording the stu d e n t the
opportunity to discover a m usical w orld beyond W estern m usical styles an d
concepts.
Condysign
Even though, all know n civilizations have created a n d perform ed
music, m any cultures do n o t have a w ord for m usic (Slobin an d Titon, 1992,
p. 1). We m u st acknow ledge that a m usical com prom ise is m ade w hen
arranging a w orld m usic perform ance. O n the o th er h an d , such
arrangem ents can serve to illum inate fascinating a n d com pelling aspects of
the original perform ance, broadening the W estern m usical repertoire and
i
100
enhancing a n d enriching o u r ow n m usical conceptions. As A nderson (1983)
states:
O nce the barriers to learning another m usic are su rm o u n ted

th ro u g h perform ing a n d listening intelligently to th a t m usic, a
n ew flexibility, involving cognitive, psychom otor, a n d affective
areas, develops. This flexibility then makes it possible for one to
perform and listen to additional new m usics w ith increased
perceptiveness an d ease.
Each piece chosen for this dissertation w as intended to be used as an
exploration o f a different aspect of w orld m usic arranging. The experience of
arranging four pieces from four different cultural contexts, h as given m e
greater insight into this m usic an d has enabled m e to m ake som e
generalizations and present som e guidelines about the process an d
procedures of w orld m usic arranging.
Each new piece of w o rld m usic presents its ow n u n iq u e m usical and
cultural issues. W hen approached w ith im agination, respect a n d insight, the
arranger can create a w ork w hich is capable of heightening o u r aw areness of
the differences and sim ilarities am ong the w orld's m usical cultures.
101
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A nderson, W. M., & C am pbell, P. S. (Eds.). (1989). Teaching m usic from a
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C onference.
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110
A ppendix A
T h e F a re w e ll
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Appendix B
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i n * " 'g p ~ ' ' p * ,
-f
glk. 2 ■"T1— ~~c
----------- e
L f
glk. 3 J t h m . r - ~ ' f P W _T 0 > 1*- M f1 > ~ r - » r .

r e - f # ^ f 7k f ^ - i^ P [ f 1
79
*
v ib .
' sRTTu' - - - - - - - - - i t i = i = — -:
----------------:---------— — F - - " t i 1 ■ :------h -
79
cym . ............................... 1 - ks \S vy \y \y \y \/
J □ Q [_ [ '[ i l t t r c r
82 , mmm
glk. 1
iJ? U j f T 1 - m m m =?■ *-
1
1
1-
:ri ~~ J m I
^S>jg
. i ...........................
>
glk. 2 =.F. ^ ,. Fp ; j •J-i___________ m —

F
■ = ^
p p F p p Fi
glk. 3
fr r £B 3£ Sja
82
9 ------------------------
----------r*r*------------------------
vib.
82
cym . «.« n r f r r
-0— r t r r r r r r r r r r r r T T i
©Bieber 1997
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glk. I
85, _
glk. 2 r = ^ f =p=^:
»• p- =■JJ^lT—f-i-f B i»
y t= U J
r —
, 85
glk. 3
£% r , f> v--(-• -- W ^Ti-- — ;■
85
■r- - -■ ---------- i-cr~
(
vib.
t-------------
",
85
iu
n v-v/ 1w J L/V
j / WV
/ \/
cym .
t n irJ □ □
88 , accel.
glk. 1
--- a ^ : .-JVJ-
#ra-«.
HF* 88 ,
#-#-•-
glk. 2
y ' r - =■ =^=
88 , - =
bHr T to -^“HFV3f.1 «>«
glk. 3
D* kf-1
k:jt.r8 ~ ___T<} . .
88 «r
vib.
88
cym .
-9— rrrr -rrrrterrrrr-rr-rr‘- rrrrrr
©Bieber 1997
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or. .
_________
^ J - , iJ
glk. 1
- S p 1 r N = -»• • ■^ ■ - * ~------2-A« *f - A■t ---------------------
mJ - •J Tj h r I« H i
f
glk. 2 — * = r : .ir : — *---- f - z f l p 9 r f

■k£ f c = E = ± f = - » y r L y i
m f
91 ,
glk. 3 l b s : "i .: :: ■ ■ jg - ■ - ^ V f —
1
91 a ^ ----------- m — ^
vib. —zr — - - - - - - - - - - - - - -- -- -- -- -- -- 1
f
cym . n . \/
IU Q J □ iC T L T L T L T L f j l t m
J y L
94 , A Tem po
glk. 1 ' iP
4= <r
w /
= P h c : [-1— —
" ,; > r r r r — W TV— IT - - -
glk. 2 # ¥ f y + — fcrjl
mp
■ -■ ^
glk. 3 4 * f = t == P y= f -e fu :: c 7 ~Mmz : m
m ~z.Tr~A — 1—
t t y f b t f 1
m £ _ -----------
94 « -8 — . . . _ .c L . . ..........................
vib. -J-*\
94 ^ «/
cym .
■fl------------ rr r rrr r r -rrrf I T f f f r rrrrrr
mf
©Bieber 1997
128
glk. I -j---------
"•......... *J-4 ^ f1-r 1
97 ,
glk. 2
JS) *■7-Z- f 0J ] f 0 z -------- f-5— r ri ___
i-— - Lf1t = ^ iM-a

glk. 3 -fj mr-pd I ^r-*—>-*--- !
^ p tf1
97 0=-------------- p
-a -------- —
vib.
97
cym . .n \/ VV.v uuvu1•w
fu '. v y ^v,vvy :^ V
/V/V
/V
/w\/ 1
rj LfLTLT |j LI [
100, .. _. . . .-
m
glk. 1
—
:— J-JTL-- -a
^
Tfî
sU=?y
100. m
glk. 2 A f -r—_fJr« -f
[y 1 - w P =
100,
glk. 3
f t ., . • m■4 T1i—■■■ - ■■»” -ftr- ^
100
vib.
---------- r-49s----- :------ T ------- --------- ------- s
=
100 ji 7
cvm .
■fl— rrr r tm t ci*-jx-p*—jxi*-p<jx—rrrrrrrr
©Bieber 1997
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glk. 1 J * * ^ r l h i j= r f H . r^ i i
~ J *l a ^ ^ * iii s v - * — *
103 ,
glk. 2 :£ V t - > --p g -i» r — r - * — -
-ti/'P -C r * w k /i p p = ~ r-~ r *|
103 ,
glk. 3 f A f f - p p f 1 w w WF f P
I K r u 1
m rr r
103
.........- ...................
r=- - - - - - - - - - - - - - - p ---------- 1
vib.
:: :- - - - - :- - - - -
103
cym . __ ______i
iu y □ L r U ' [ J L f U L J 1 L T D 1_ j l J 1
106 ,
glk. 1 f A f t .M _ — M .. z ^ r f f+ = jF n:
----------J ■ 4 =3E
106 ,
glk. 2 k- f =e - ¥* - +« - = # F > .1f JT • • %■-dr. — f c- -= - t =
rc J
106 ,
glk. 3
d H h u -.t: i f a F a f i - l w-~ ::W- m W m
. r u m . t f t j H
106
vib. n - " " - - - - - - - —- - - i1
106
cym .
-B — r -m m f t cr rrrr r r 4 r r r tr r r H
©Bieber 1997
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109 , accel.
glk. 1 J -T H . J ~ 3 jr . ? m
P *
109 ,
glk. 2
a^r=:: ^ rJ ' ~ Cj*l*
109
A
glk. 3
t)
109
EfEr^Cj-i%Cj nirj q j j \
H.
vib.
109
cym.
f X -X X~X
u u u u
112
molto rit.
glk. 1
/\
«3
I
H
112
glk. 2
I
112
A
glk. 3
i
i 3C =Z =3E =H
c)
112
vib. H
112
cym. X - iX-X X X --X -X x -x x -x

U
/
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r\
o
gik.2 m
115
glk. 3
4 ~tr ~
115
=S-
vib.
115
-f*— *-
cym .
f o ■£
©Bieber 1997
132
Appendix C
C onductor Score Kantus De Apacheta

Performance Time - 3:00
for Concen Band
Molto Ruboto
Flute/Oboe
P ic c o lo ( 8 v a ) m m
Bb Clarinets — i— —
Alto Saxophone z :\ --
Tenor Saxophone
Trumpets
Trombone/ Baritone 9 « |> , -I----- — -

/ »z\i :4 ------------
Tuba r k — 1-------
1 1 / I d i - A -— r J
cel.
ac
In 1
0' XT
Triangle '
LI
Molto Rubmo Utp r r r r r C J' O '
B a s s Drum
,1 f t- - - t - M T — 1T Ir - 1r — 1T rr-lrr-lttH
I rH
O B ie b e r 1 9 9 7
133
Tempo
Rs70b7Picc.
Bb CIs.
A. Sax.
T. Sax.
%
Tpis.
TbnVBar.
Tb.
Tgl
Bs Drm
B ^S S GBSB3 B SD r Cr T T -*cr
Rs70b7Picc. ^ £ j ? f r r i e r - .r
mm
Bb CIs.
mm m m
A. Sax.
i m
m m r-—w m
T. Sax.
mm m
Tpts. m m m m
TbnTBar.
Tb.
i m
Tgl
r r r r r r r err r
Bs Dmi
r r r r r r r tr r r O B ie b e r 1 9 9 7
134
FlsVObVPicc.
Bb CIs.
A. Sax.
T. Sax.
Tpts.
M f W
TbnVBar.
m f
Tb.
nn i
» /
Tgl
r nr r 1 7 T. r r r r nr
M f
ITT r r r nr
Bs Drm
1 r 'c r 'r .J r ,
41
FlsVObVPicc.
ill
P m
Bb CIs.
m
A. Sax.
©
T. Sax.
* j £ P :.E m
Tpts.
TbnVBar.
m
Tb.
#- j-* i i
Tgl
fr
r r err r tr r
Bs Drm
r r nr r r r r nr r O B ie b e r 1 9 9 7
135
ty o Coda
A . Sax.
T .S o x .
Tpts.
mf
Tb.
Tgl
Bs Dim
■—«—_ ■_K
__
FlsVObVPicc. 33=-
\m m m
f4^
•- r rf—p—=F=r |-f m- - PP • PFffl p=ft=
\ r . J - F fat.: ■R>-
f l —-—P.pp.
=& = Lfi-J.
Bb CIs.
y -u - J. J J
t
A. Sax.
jh- f r -f-f- TrI' “P^—TT=3=F
■■L— JL ■-
=y=
T. Sax. p-p-- rp# ■ i» p p nvrj^ j
■ V l=R=
r*- • “ mJ- ■= ^ =«»*-■—
——P — *-■
Tpts. =CI.Jf
R= ,^ v" . • ■ # ■7 <*■J «* J --J—J— -----P*
= d = = u^=
TbnVBar. F: r
L'T-fe L i= i=
Tb.
Tgl
r u r cr r r r cr r cr
Bs Drm
r r r r r r r r r cr O B ie b e r 1 9 9 7
136
A. Sax.
m m
T. Sax.
TbnTBar.
Tb.
Tgl
Bs Drm
B1 I 2
Bb CIs.
A. Sax.
T. Sax.
Tpts.
Tb.
O B ie b e r 1 9 9 7
137
a!Coda
DS.alCola
B bCls.
A. Sax.
T. Sax.
Tpts.
DS.alCola
TbnVBar.
Tb.
D.S. al Coda
Tgl
al Co la
Molto Rubalo
101
Bb CIs.
A. Sax.
T. Sax.
TbnVBar.
Coda<|^
Tb.
Molto R
Coda mp acce
Bs Drm
O B ie b e r 1 9 9 7
111
Bb CIs.
A. Sax.
T. Sax.
TbnVBar.
Tb.
Tgl
rrrrtrrrrrrrrrrr
Bs Drm
rrrrlrrrrlrrrrlrrrr
O B ie b e r 1 9 9 7
139
Appendix D
Conductor Score Dcobi
Performance Time - 2:00
for String Orchestra
t A llegro *=120
Arranged by Arnold Bieber
Violin 1
mf
Violin 2
$ mf
Viola lf S f o Tr ~ r mf
i y
a m0 0 a 3^.
Cello
KT~
Bass
Conga
....
Vln. 1 ::: - 3 = ....
'
c
a—
Vln.2 ^ # « a - ---------- 0 ^ - 0 —4 i - 2-
\J
*
Via. b 0 » » • ---------- m - '- m - m
r > M y i- 2-
u r t o ^ ± = = 4
4
*): 1 = ■ : - 1 0 r T T
r n S » - 5T
Vcl. :7 :
■ M - W l
4
Bs. » E i : ! p — — 1-------- — 5f ■ , *■ . . - n c
■- ......................... » J - 0 - 0 --j~ .---------- 0 '- 0 -* ■ » - » - J - J i J = y
4 \j
Cga. yy . ' / / / j .y y y >

U £ £ f T m [7
j n n r a n B j i
©Bieber 1997
7
VIn. I
|y - f
m 0 i :: := 5
V ln .2 - i f ? f l =
1 - f e -------------------------------------- 0 0- -*-0-i •f
-
l _ w _ i -------------
r-trr
► = -J J = ^ =
■ ?
Via. ----------------------------- 1--------- r— -\~w~w-0-0 m---------- m-

r e -
7
— ------------------------------------- ^ m r-: - p i
Vcl. — *— *— = -p -
------------------------------------------------------------------------------* - —4 — £ — i —
- -
7
Bs. q : - :
r -■ ■
7
- -
■ 3
----------------------------------------------------r T " ' " " — 1-------------F\
1 3^ J J .
—
Cga. ttyy > y«/ > y / > v J

u (j y g g g g g 'g g L
i
f
t= [ = =
J [J O ff
r 4 ° ._ P r a _ r . -f< L
VIn. I 1 ~ f :
---------------------------- I—
9 J &
■ l t _ r r ? r & _ A . i =
V ln .2
---- 1
..................... - - - ^
P J — F Z -\- --- •
Via.
15 J J -U ■ T U I
«V • 0f F F * r If '
p ..
V cl. = T - Uf .f r - - =- ^ Mf t = l
f---------
i
Bs. * J10: r n r * r— a — s H — — h - ------------------------------ 1

10 ^
Cga. /•*jr/ >f f f *4I t* s J
j j
iu m
I B B sm^ B S Sm^ E MB 8 B uB B S i i i i a m = J L J Ll : H r
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r - f l -------
VIn. 1 a 4 . —— * ------- * ------- s r f
♦—
j" Q j* ^
i^ - f i - r- ■- t^ b _
1
13
VIn. 2 f - 1*-' j t i ----------1

.m ! r . : f a r :*■ r t—j j -
. . . ^
7---
13
Via. r f - f * p • ■ — -p - p - p ■*" r r?
zzssa: — * ' m m 7. _
- 4 — -- V ----------- u -------- *-
13
Vcl.
13
7 - -m = k j
Bs. —^ _ . 7 _____ J.
« r % —
................................... u > ■“
13
Cga.
u
=
r
a
17
b b
r r
u LLi H f L L t r 1 l U d y a U u
' 1 1 7 1 ( 1 1 71
[U P
_______ > _ _
VIn. 1 = f = - * — -* — w — ~
-I— 4 — 4 — tr Jr ->
Vln.2 t f =
—
nn . : :: y "
p t= y
y*i
119 - ----------— V T t f ■ . ---------- p - -p ~ . •#
F - y - 'N
~
Via. •L -2 -
— r -------
16 • •
• •
Vcl. f r> -"" _ c

-JC2
■ = ■ :£ =
" 4 i» *
r > " - f " ' p : } -------
:; I:
;i
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16
• • • • t ... . ,
Bs.
^ ------
-------------------------------- —
16
ti= u =
4
p i - .- it::K =
r - - * z4 = l
n a / / / > l / / / / /y /y y //. y*<r/ / / / v >•/ y / y > J

' u [[; W L T
* j ** * * *
Cga.
r U
r r r r
/II
■
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I
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19
k&J::. J j = f = f ^ = F = ^ !L;— *-------*-------*---=>

__
-------
VIn. 1
Z=R---J---? - 3 J 1
i J
1
VIn. 2 n fJ J5- 3 - 3 T f F - | - ------
--------------•*- # y * ■ J-
19
--------------------- ** y
V ia.
Id z = : ffiE ? f P1
19
V cl. y :—"
— " •< » » *
7
'' U ^"
19
B s. y 4a trf -■ •m
19
Cga. n
w/ y y y y ..
j j j j
r *jr r f f
* *4 y y«y y«/ y«/ y«/ 4*4 j s s j >J J J J+4 J * J*4 * * * * * a
^ y j LsffjTp
IU
22
•4
^z^:.==: —I:,:::
VIn. I
■TO ' + + *-*■-^ A = = =
V ln .2 T T fZ T
•f ----------------
n
Via. *■-
2 2 F* :» f _
V cl.
^ Uj r ^ «f r
_j——---------------
• jj —
o—
22 ----------------
-----------------
-y-F-- A --------
B s. 7_
----------------
22
n yyyyy/ yvyy y«y y y yvy y«yyy 7 ir /i i / i i \f\\i
Cga.
iu g/gggg/
M W f l f l M i UbUy^y UJ
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25
-------z-
VIn. I
r-Q- -0 0
—r r --------r--------r\—P~P------ ♦ =jE^
—y- -
mm 1 - ==,
VIn. 2 k&r-T:£ f jr---------kL

Pi-U w f./r
u -Ji-L fa—a 71 - =
-------------------- i~\
"SJ ■■ ■ ------
25
---- ^V... t ------1
.— ------>—a------
--------- ■_
Via.
15 ± :»= :j : ^ — = - U - ------- -*~0—0---- ■---- m’r—
-fa»«<j------1 0------
T------------ ------------
25 0L-
Vcl.
_ T-JTT
i—T. T . ------ — £-----------------------------
25
Bs.
r<c):o~> 'p V "
_ ./_
~
— - —3z:--:::
~-------------- ------------
-0 0
25
. __
Si - - - - - - :■- -----------
Cga. / >•<yyyyî /•/ yyyyyy y« yyy >•/ .
™c y c iM iD u E i
28
F * = = = = = = f= ^
VIn. I
^ w.
.. _ . $-------
. ^5L7..
..1
28
VIn. 2 "(S
7î----
J-J *"D f>'~£—
*-■#---aJ-7--^ t---11■- 3vf-lF-M
--J LT-T
J. .1U-.y.. * l
k £ j= 1
28
Via.
115. ^ j — Qf [ pl[J:.U::L^=^d
28
V cl.
-^5------- -------- 0-0 P *-+^_^zE=E-gL.g_r- ^
Y ................. *U-EH
28
-9 5--------------f #fri
Bs.
r28 ■ JCJCJ-r
Cga. •/
l I r r r r r r r r r r rr r r M
r rr /«■ f <*J J*JJ J
SB b^yU BBS U U S y p g lM M V
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31
-fl-
VIn. 1
%
A
V ln .2
% A
Via. I
31
V cl.
worn.
31
ETC
Bs.
31
Cga.
0 fW r
VIn. 1
V ln .2
Via.
V cl.
Bs.
Cga.
©Bieber 1997
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37
VIn. 1 i l - n n i = = = -5 - ^
--------- 0 ^ 0 0 • ■* j «-
*
s - F '-
j
— -----------------1
u
37
A
- -*> - T— l - ' P
V ln .2 S( m
t - 4* —
- ' - «£_ , , I r j ■ j 1g q - r l i
* ------- ------d ------J
u
37
Via. B g - : :■ / --------------1
- - U — *• = £ % » *= - - h ---------------------------------
J * ------------
37 « . a f i £ « .•
V cl. --------- •f
7 ™
_ . . . . ^
37
Bs. OS 1 1 ~ ^ 1
. ___
37
Cga. II / / / y _/j' ’f r f %2 f f f r r r j r^r rr pr r r«

11 r •fr r r r r r r fffffi rr rrr
L U u y y * ■ ■■■ ■ ■ ■ 1m m J u i u k m i 1
Jr *■ ~ — — t—
VIn. 1
--------- - 7 -J ■# J — ■ - * -0---------- j p *—
40
.. _ __ [— 1
V ln .2 t f = f l = ■ ■
— ^ * ------ £ ------ 2 - , - - „ J
, L ^
=5i
± - — =e - _ ^ . ; r ^ ^
Via.
J & r-a ^ a :a :« - _ .a ^ r a 9a-
u
40
... ____ ....................... 0
O ; = - b* ^ ^
V cl. ------------------ ---- r---- ---- ----
$ J 3
- - - - - - - ...............................................&
40
B s.
r
- 9 * --------------------------------------- " s n r
40
f f --------- r a • f t T~ ^ ------
11 yyyyyyyy W y y y y* y yt^ r%fXrrrrr^ Jr
utpttjJjfli||J
Cga. y [III f f rr • f ry f'r^f'r^r
y y y y y f/ fAt i r/ f/ f/f/f i/•!
)
= y L J ^ t r 2 = W
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43
Vln. 1 n = fr
I =JJ
V ln. 2 £ ................ - - q r r c_r r

----L
bbJ
----------------1
------------------*—■
T ................ .......................L
43
Via. = :------ ------------------

I *i 3 £ £ E J : f 'P i
43
P-------
V cl. ""t---------}------ *-------*r ~ f ~
._ .■ —£------ r f ------ '
43
:: : : : i . E - L
Bs. _ .7 . . .
------------------ '
43
Cga. n y*f y y y y y y
ry y y y*i y J S J *4 J 4 J J SS /•/ /y* /y* ^
■ i m . m O T a j
----- . —1*\-----
V ln. 1 7— r r r
fc = 3 £
* =
N N p ^ f # = £ = f l f *
V ln. 2 "■*
—
-^£3
-
r i— j
L__.
—■ ;
SJ
46
V ia. i:=_
= r =‘• sNa . .7.
46
i i i i i ' :rL •*
V cl. J- “ :T.
46
Bs. =F3= *----

5-----
f - - J--
46
Cga. n y«/ yy / / / / /•/ y*/ y >y»i y«/ yyy yyyy« j jjjj* ywyyyyyyA y yy« y-
u
= ; F =
=
©Bieber 1997
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V ia. 1 73 = = i H ^ —
— J -e 3- -e
V ln. 2 r t r - > ^ ^
7»
V
= ^ r = * i
t 1
1.
1.
v.
1
1
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1
Via. T :F T l:C f ? i-i_

-------
49
— (P-r- * — — I*—
O ; 0 # P » > • ------- : e = : i = e = » - ^ - i - ^ u
i>
V cl.
--- -------- LhJ— r—m t
--------
t
49
<
j : - | j 0 f f m- 1
B s. T-
- / --------—
— Lm—. :— m -
- E - L U -
49
Cga. n
52
UMLfBm m / y«) * / y y y / J+4 / / y y
r ^ i
zLi w y y
n i ^ - — — i
Vln. 1 j . . . . . .
--------------------------- = .
f — ----------------------------------------- -
V ln. 2 L - ... — _ _ -— — — ~ - - —.
----------------------------- 1
= r
52
V "™ ----------- =1
Via. 7
1 5 'i i ---------------------------------------------- l ----------------------------- 1
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V cl. “ 9 s"
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a1arcor
yy y < *fss ^
!
1
^Reproduced with perm issionof the copyright owner. Further reproduction prohibited without permission.
A ppendix E
Selected Discography
CD Title Catalog Number

African Mbira: Music of the Shona N onesuch Explorer Series H-72043
People of Rhodesia
A frican R hythm s & Instrum ents Lyrichord 7339
African Tribal Music & Dances Bescol 328
All the Best from India M adacy Records 54
All the Best from Japan M adacy Records 55
B uddhist D rum s, Bells & C hants Lyrichord 7200
C hina's Instrum ental H eritage Lyrichord 792
Classical M usic of India N onesuch Explorer Series H-72014
C loud Dance Songs of San Juan Pueblo Indian H ouse 1102
Echoes of the Forest: Music o f the Ellipsis A rts 4020

C entral African Pygmies
Four C om ers of the W orld Rykodisc 10103-06
G agaku, The Im perial C ourt M usic of Lyrichord 7126

Japan
G am elan M usic of Bali, The King Record Co. BQCC 5126
Global Celebration Ellipsis A rts 3230
Global M editation Ellipsis A rts 3210
Japanese Koto Music Lyrichord 7131
Japanese M asters of the Shakuhachi Lyrichord 7176
Secret M useum of M ankind Vol. I, The Yazoo 7004
Secret M useum of M ankind Vol. n . The Yazoo 7005
Secret M useum o f M ankind Vol. II, The Yazoo 7006
Traditional M usic o f P eru Folkways 4456
Voices of Forgotten W orlds Ellipses A rts 4040
I

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INFORMATION TO USERS

The quality of this reproduction is dependent upon the quality of the

Oversize materials (e.g., maps, drawings, charts) are reproduced by

Photographs included in the original manuscript have been reproduced

A rnold Bruce Bieber

D issertation Com m ittee:

A pproved by the Com m ittee on the Degree of D octor of Education

Subm itted in partial fulfillm ent of the

UMI Microform 9810953

This microform edition is protected against unauthorized

ADAPTING, TRANSCRIBING AND ARRANGING WORLD MUSIC FOR

WESTERN INSTRUMENTAL PERFORMANCE

A rnold Bruce Bieber

As educators a n d m usic educational organizations increasingly make

m ulticultural m usic education a priority, m any new resources have become

Yet a review of these m aterials reveals a nearly exclusive focus on general or

currently available to m usicians or music students is scarce an d often presents

prettified, inauthentic arrangem ents calculated to be palatable to the

sensibilities of the W estern audience and m usician.

This dissertation reports on the process of adapting, transcribing and

arranging w orld m usic for perform ance on W estern instrum entation. It

presents a fram ew ork a n d recom m ends guidelines for those interested in

A fter listening to over 400 indigenous recordings, the following four

are presented w ithin th eir particular cultural, stylistic an d historical context:

arranged for percussion ensem ble. "K antus de A pacheta," perform ed by

"Ikobi," a gathering song, perform ed by Pygm y w om en from the Ituri rain

forest in central Africa, is arranged for string orchestra and percussion.

A cassette recording of each arrangem ent accom panies this dissertation.

W hile not setting d o w n universal rules or guidelines, the dissertation

issues of authenticity, pedagogy, w orld m usic education rationales, ethical

leading, orchestration an d style, as well as the lim itations an d difficulties

cultural issues. This stu d y concludes th at w hen approached w ith

capable of heightening o u r aw areness of the differences and sim ilarities

am ong the w orld's m usical cultures.

This w ork is dedicated, w ith love a n d appreciation, to m y wife

M arianne, w ho affectionately su p p o rted m y efforts, keeping m e o n track in

of o u r so n Joshua Benjamin, b o m on D ecem ber 25,1997.

T hanks to m y sponsor, Professor H arold F. Abeles, w ho w isely advised

m e th ro u g h o u t the process of researching an d w ritin g this dissertation.

T hanks to Professor Lenore Pogonow ski for h e r su p p o rt and guidance.

Farew ell" u n til it w as just right.

T hanks to Dr. D ankar S haarm an for sp en d in g m uch tim e w ith m e on

Finally, a special thank y o u to all m y friends an d family, w ho gave m e

so m u ch enthusiastic su p p o rt d u rin g the w riting o f this dissertation.

A cknow ledgm ents............................................................................................................ 4

A u th e n tic ity ......................................................................................................... 14

D efin itio n s.............................................................................................................16

W orld M usic E ducation Rationales................................................................19

M usical R atio n ale .........................................................................................21

W orld M usic in the Instrum ental M usic P ro g ra m ....................................25

C riteria for Choosing A p p ro p riate W orld M usic Com positions for

Selected W orld Music C o m p o sitio n s............................................................ 3 4

CH IN A - "THE FAREWELL" - ARRANGED FOR SOLO FLUTE.................36

"The Farew ell"..................................................................................................... 39

Choice o f Instrum entation ..........................................................................41

Technical Playing L evel............................................................................... 42

ARRANGED FOR PERCUSSION ENSEMBLE.................................................. 44

In s tru m e n ta tio n .............................................................................................49

T uning and R h y th m .................................................................................... 51

In n er Voice and "B ass"................................................................................ 52

Technical Playing Level.................................................. .53

BOLIVIA - "KANTUS DE APACHETA" -

ARRANGED FOR CONCERT B A N D ..................................... .55

"K antus d e A pacheta"................ .......................................... 56