The Wellsprings of Music

One / Thoughts and Methods.- I. Preliminaries.- II. The advent of the ethnomusicologist.- III. The ethnomusicologist’s workshop.- IV. The question of origin.- Two / Early Music.- V. The oldest music: tumbling strains.- VI. The oldest music: one-step melodies.- VII. Conservatism and magic.- VIII. Vocal mannerisms.- IX. Instruments.- X. Rhythm and form III.- Three / On the Way.- Growth, personality, art.- Four / The Fate of Secondal and Tertial Patterns.- The widening nucleus — “ triadic and fanfare melodies” — tonal anatomy and physiology — chains — double, triple, quadruple, quintuple and sextuple thirds — skeletons and infixes — pentatonism and heptatonism — German chorale dialect — Landino third — four-line notation — six-five patterns — triadic octaves.- Five / The Fate of Quartal and Quintal Patterns.- Disjunction and conjunction — quartal chains — chains of fifths — hybrids — modulation — culture chance once more.- Six / Centric Melodies Gregorian tenor melodies — the concept of mesè.- Seven / Polyphony.- Vertical and horizontal — distribution — isochronous conductus — parallels — drones — grounds — alternation and canon — Stimmtausch- heterophony.- Eight / Cross- or Polyrhythm.- Independent accompaniment — hemiola — “ syncopation ” Afro-Indian concordances.- Nine / Professional Music and Musical Systems.- Semi-professionals and professionals — bards — minstrelsy — segregation and discrimination — professional waiters — musical vocabularies — pitch syllables — concomitant method of learning.- Ten / ‘Progress’?.- The fading theory of evolution — culture graft — progress — evidences against progress — our gain is our loss.- A note on Bibliography.- Index of Names.