So You Want to Sing World Music: A Guide for Performers

ONLINE RESOURCES:

Chapters 2-4  Chapter 5  Chapters 6-7  Chapters 8-9  Chapters 10-11  Chapter 12

Chapters 13-14  Chapters 15-16  Chapters 17-18  Chapters 19-20  Chapters 21-23

Chapter 1 – Singing the Music of the World (Matthew Hoch)

Ethnomusicology and World Music:

• Ethnomusicology (study of traditional music)
• World Music (global popular music)
• Society for Ethnomusicology (SEM)

Viewing the World through a Western Lens

• Alan Lomax and Cantometrics
• “The Magic Wand of Ethnomusicology”
• Analytical Approaches to World Music
• Analytical Studies in World Music
• Analytical and Cross-Cultural Studies in World Music

The Americas

• Indigenous Music of North America
• The United States and Canada: Listening Selections
• The Caribbean: Listening Selections
• Latin America: Listening Selections

Europe

• General Character of European Folk Music
• Western Europe and the Nordic Countries: Listening Selections
• Eastern Europe and the Baltics: Listening Selections 

The Middle East

• Arabic Music
• Music of the Middle East
• The Middle East: Listening Selections

Africa

• Music of Africa
• Sub-Saharan African Music Traditions
• Rhythm in Sub-Saharan Africa
• Music of South Africa
• Africa: Listening Selections

Asia

• Music of India
• Music of China
• South and Central Asia: Listening Selections
• Balinese Monkey Dance (Kecak)

Australia and Oceania

• Music of Australia
• Oceania and the Pacific Islands: Listening Selections

Education and Integration: World Music Pedagogy

• Smithsonian Folkways Certificate Course in World Music Pedagogy
• Smithsonian Folkways Tools for Teaching
• Smithsonian Folkways World Music Pedagogy Video (2017)
• Routledge World Music Pedagogy Series

Further Resources

• Worlds of Music: An Introduction to the Music of the World’s Peoples
• Excursions in World Music
• World Music: A Global Journey
• Music of the Peoples of the World
• World Music: Traditions and Transformations
• Soundscapes: Exploring Music in a Changing World
• World Music: A Very Short Introduction
• Ethnomusicology: A Very Short Introduction
• Oxford University Press Global Music Series
• The Cambridge History of World Music
• UNESCO Collection of Traditional Music
• Smithsonian Folkways Recordings

Chapter 2 – Singing and Voice Science (Scott McCoy)

• Your Voice: An Inside View
• National Association of Teachers of Singing (NATS)
• National Center for Voice and Speech (NCVS)
• The Voice Foundation (TVF)

Chapter 3 – Vocal Health and World Music Singer (Wendy LeBorgne)

• The Vocal Athlete
• The Vocal Athlete: Application and Technique for the Hybrid Singer
• Visualizations for Singers
• Power Performance for Singers: Transcending the Barriers
• Supplemental Bibliography

Chapter 4 – Using Audio Enhancement Technology (Matthew Edwards)

Equipment Manufacturers:

• Shure
• Sennheiser
• M-Audio
• Fostex
• Behringer
• Bose
• TC-Helicon

Recommended Equipment:

• SM58 Microphone (with on/off switch)
• Behringer Eurolive B212XL
• TC-Helicon Voice Live Play Vocal Effects Processor
• 10-Foot XLR Cable

Comparisons of Singers (on and off mic):

• Broadway Singers
• Rock Singers

Tutorials:

• Microphone Tips
• Equalization Tutorial
• Setting Input Levels on a Soundboard

Trade Publications:

• Sound on Sound
• Mix

Chapter 5 – Native American Vocal Music: Tohono O’odham Songs (Erin E. Bauer)

Examples of Eastern Woodlands Songs:

• Iroquois Alligator Dance
• Ojibwe Traditional Drumming
• Choctaw/Chickasaw Revival
• Muscogee (Creek) Hymnal Singing
• Seminole Snake Song

Examples of Plains Songs:

• Blackfoot War Song
• Blackfoot Warrior Dancer
• Sioux Grass Dance Song
• Northern Arapaho Sun Dance Song
• Kiowa Peyote Ritual Song
• Comanche War Dance
• Ho-Chunk (Winnebago) Service Songs
• Meskwaki (Fox) Drum Song

Examples of Great Basin Songs:

• Shoshone Circle Dance Song
• Paiute Ceremonial Song
• Southern Ute Bear Dancers

Examples of Southwest Songs:

• Zuni Buffalo Dance Song
• Navajo/Diné Healing Song
• Navajo/Diné Woman Stands Shining
• Apache War Dance
• Heartbeat of the Quechan Nation
• Akimel O’odham (Pima) Social Dance

Examples of Northwest Coast Songs:

• We Are Nuu-chah-nulth
• Nuu-chah-nulth Wawmeesh Memorial Song
• Makah Canoe Dance
• Tlingit, Haida, and Tsimshian Drumming
• Haida Song and Dance Performance
• Tsimshian Traditional Dancers

Examples of Arctic Songs:

• Inuit Traditional Music
• Inuit Throat-Singing
• Tanya Tagaq
• Tlicho (Dogrib) Traditional Drumming
• Gwich’in (Kutchin) Fiddle Music
• Tlingit Music: Past, Present, and Future
• A Tlingit Song
• Tlingit Salmon Dance

Examples of Tohono O’odham Songs:

• Tohono O’odham Running Song
• Tohono O’odham Creator Song
• Tohono O’odham Traditional Singing and Dancing
• Tohono O’odham Traditional Dance
• Tohono O’odham Youth Council
• Man in the Maze (short documentary)

Examples of Tohono O’odham Waila Music:

• Tucson Waila Festival
• Tohono O’odham Nation Fair
• Tohono O’odham Waila Project
• Waila! Making the People Happy (Documentary)

Examples of WithOut Rezervation (WOR)

• WOR: “Mascot”
• WOR: “Are You Ready for WOR?”
• WOR: “Was He a Fool?”

Chapter 6 – Mexico’s Mariachi Vocal Tradition (Juanita Ulloa)

• Mariachi Cobre: “Estrellita”
• Jorge Negrete: “Mexico lindo y querido”
• Lucha Reyes: Song Selections in Bravío Style
• Josefina “Cha Cha” Aguilar: “Atotonilco”
• Josefina “Cha Cha” Aguilar: “La borrachita”
• Linda Ronstadt: “Conciones de mi padre”
• Aída Cuevas: “El pastor”
• Flor de Toloache: “Dulces recuerdos”
• Mariachi Divas: “I Will Always Love You”
• Tomás Méndez: “Cucurrucucú paloma”
• Selena: “Siempre hace frío”
• Linda Ronstadt: “Siempre hace frío”
• Juanita Ulloa: “Corazón de chapulín” (example of head voice for women)
• Miguel Aceves Mejía: “El pastor” (example of falsetto for men)
• Javier Solis: “Sus mejores canciones” (bolero)

Chapter 7 – Popular Music in Brazil: Bossa Nova and Other Genres (Suely Mesquita)

On Brazilian Music and Culture:

• Música Brasileira from A to Z
• Brazil: Sounds and Colours
• Musica Brasiliensis: A Brazilian Folly by Daniella Thompson
• Tropicália: A Project of Ana de Oliveira

Learning Brazilian Music:

• O Passo Institute
• Pronunciation in Portuguese

Samba:

• Moyseis Marques: “Disritmia” 
• Clara Nunes: “Jogo de Angola” 

Bossa Nova:

• Elis Regina and Tom Jobim: “Águas de março”
• João Gilberto: “Tim tim por tim tim”

MPB:

• Elis Regina: “O bêbado e a equilibrista”
• Monica Salmaso: “Beatriz” 
• Djavan: “Capim”

Northeastern:

• Novos Baianos: “O samba da minha terra”
• Zeca Baleiro: “Vô imbolá”
• Alceu Valença: “Na Primeira Manhã”

B-Rock:

• Cassia Eller: “Partido alto” 

Brazilian Funk:

• Ludmila: “Cheguei”
• Claudinho e Buchecha: “Só love”

Brazilian Rap:

• Sabotage: “Um bom lugar” 
• Racionais MC's: “Diário de um detento” 
• Gabriel o Pensador: “Linhas tortas” 
• Criolo: “Subirusdoistiozin” 

Chapter 8 – Irish Traditional Song: Style, Practice, Context (Joyce & Costello)

Selected Online Archives:

• The Joe Heaney Archive (Cartlanna Sheosaimh Uí Éanaí)
• Folk Music Society of Ireland
• Inishowen Song Project (Irish Traditional Music Archive)
• Irish National Folklore Collection  
• Song of the Isles
• TG4 Sean Nós Archive
• Tobar an Dualchais
• Irish Traditional Ballad Index
• University College Dublin Folklore Collection
• Singers and Songs of County Clare (Carroll Mackensie Collection)

Regional Styles:

• Donegal 1
• Donegal 2
• Connemara
• Connemara/Meath
• Kerry 1
• Kerry 2
• Cork 1
• Cork 2
• Waterford 1
• Waterford 2

Neutral Vocal Embouchure:

• Seamus Begley
• Eoghan & Saileog Ó Ceannabháin
• Darach Ó Catháin
• Nell Ní Chróinín

Head versus Chest Voice:

• Barry Gleeson
• Caitríona Ní Cheannabháin
• Eoiní Ó Suilleabháin & Nell Ní Chróinín

Nasalization/Throat:

• Brian Danny Minnie Ó Domhnaill
• Seán Keane
• Ronnie Drew
• Brian O'Hairt

Stressed Voice Production:

• Stiofán Ó Cualáin
• Micheál Ó Confhaola
• Éamon Ó Donnchadha

Melismatic Ornamentation:

• Ciaran Ó Con Cheanainn
• Doimnic Mac Giolla Bhríde
• Iarla O Lionaird
• Caitlín Maude

Western Art Style:

• Máire Ní Scolaí

Macaronic Song:

• One Morning in June
• By the Dawning of Day
• There’s a Home by the Range on the Moor
• Conla, Dear, Don’t Come Any Nearer Me

Ballads:

• Amhrán na hEascainne (example of a child ballad in Irish – No. 12)
• Streets of Derry (example of a localized child ballad – No. 95)
• Tamlin (example of a child ballad similar in Ireland to other areas)
• Dublin in the Rare Auld Times (example of an urban ballad)
• Well Below the Valley (John Reilly)

Chapter 9 – Celtic and Celtic Pop (Elizabeth Blades)

Historic Roots and Rise in Popularity:

• The Clancy Brothers and Tommy Makem: “Will You Go Lassie Go”
• The Irish Rovers: “The Unicorn Song”
• Battlefield Band: “The Yew Tree”
• Jean Redpath: “Annie Laurie”
• The Bothy Band: “Do You Love an Apple”
• Cherish the Ladies & Don Stiffe: “The Christmas Letter”
• Capercaillie: “Rann Na Mona”
• Fiona Ritchie: The Thistle and Shamrock
• Clannad: Theme from Harry’s Game
• Clannad: "I Will Find You" (from The Last of the Mohicans)
• Karen Matheson: “Ailein Dunn” (from Rob Roy)
• Lisa Gerrard: “Now We Are Free” (from Gladiator)
• Enya: “May It Be” (from The Lord of the Rings)

Dance and Songs:

• Traditional Gaelic Waulking Song
• Waulking Song Recreated on Outlander
• Puirt a Beul
• Cerrd Dant

Vocal Styles:

• Aine Minogue: “Between the World”
• Lynn Hilary: “Cloudsong” (from Riverdance)
• Dougie Mclean: “Caledonia”
• The High Kings: “The Wild Rover”
• Loreena McKennitt: “The Bonny Swans”
• Celtic Woman: “The Parting Glass”

Chapter 10 – Exploring and Performing Lithuanian Sutartinės (Sarah J. Bartolome)

Musical Examples and Video from Chapter:

• Dvejinė: “Mano vainkikas, judabra” (score) (audio)
• Trejinė: “Lylio lelijo” (score) (field recording) (audio 1) (audio 2)
• Keturinė: “Dūno upē, lylio”  (score) (audio 1) (audio 2)
• Translations: (download PDF here)
• VIDEO: Sutartinės: Lithuanian Multipart Songs (2010)

Traditional Sutartinės (additional listening examples):

• Keturinė: “Tu gervela, dai čiūto” (score) (audio)
• Trejinė: “Kas tar teka par dvarelį?” (score) (field recording) (audio)
• Trejinė: “Lioj liepa” (score) (field recording) (audio)

Sutartinės in Contemporary Musical Forms:

• Keturinė: “Dūno upē, lylio” (score) (audio)
• Trejinė: “Lioj lylia, kā, gervela” (score) (audio)
• Guoda Isado: “Čiūto, tūto” (club sutartinė)

Sutartinė Web Resources:

• Sutartinės by Zeononas Slaviūnas (ebook)
• Anthology of Lithuanian Ethnoculture
• Trys Keturiose Tracks
• Lithuanian National Culture Center

Chapter 11 – Exploring Folk Polyphony through Georgian Songs (Matthew E. Knight)

Introduction and History:

• Trio songs by ensemble “Shalva Chemo” and others
• “Chakrulo” by ensemble “Basiani”
• “Mirangula” (song named after a hero) by Chamgeliani sisters
• Soviet-era choir singing an Imeretian song with “big choral sound”

Ethnographic Context:

• “Orovela” by Leila Lagashvili, sung while gathering grapes
• “Jguragish” (hymn) by villagers in Svaneti
• A “Mravalzhamier” sung by some friends at the table

Vocal Style, Intonation, and Challenges:

• “Mravalzhamier” by academic-style ensemble “Georgian Voices”
• A different “Mravalzhamier” by authentic-style ensemble “Sakhioba”
• Audio examples of some ejective consonants

East Georgian Songs:

• Kakheti: "Zamtari” (winter) by ensemble “Lashari”
• Kartli: "Gogo govo shavtvala” (girl with black eyes) by Gonashvili & ensemble “Rustavi”
• Panduri: Medley of East Georgian mountain songs with panduri by Gogochuri sisters

West Georgian Songs:

• Imereti: "Tskhenosnuri” by Princeton University Georgian Choir
• “Samegrelo: "Chela” (bull-driver's song with chonguri)
• Samegrelo: "Harira” by ensemble “Didgori”
• Guria: "Chven Mshvidoba” (peace be to us) by trio from village Makvaneti
• Guria: "Khasanbegura” (Ottoman general song with yodeling) by ensemble “Anchiskhati”
• Guria: "Alipasha” (Turkish general song with yodeling) by ensemble “Adilei”
• Guria: 1960s TV recording of “Shemokmedura Naduri” work song
• Ach’ara: Some Ach'aran songs with bagpipe accompaniment by ensemble “Anchiskhati”
• Svaneti & Rach’a: "Lile" (hymn to the sun) by ensemble “Riho”

Liturgical Music:

• “Tsmindao Ghmerto” (Holy God) during liturgy by multiple ensembles

Text Box:

• Full concert by Rustavi Ensemble, with dancers
• “Mtiebi” ensemble in “ethnographic theater” concert
• “Anchiskhati” ensemble chanting the liturgy at Anchiskhati Basilica
• Three West Georgian songs by ensemble “Anchiskhati”

Other Polyphonies:

• Russia & Ukraine: Dimitri Pokrovsky Ensemble in 1970s
• Russia & Ukraine: Cossack choir concert
• Bulgaria & Balkans: "Kuzum Elenke" (“Dear Elene”) by Trio Bulgarka in 1989
• Bulgaria & Balkans: UNESCO introduction to village polyphony of Shoplouk region
• Albania & Epirus: 2015 recording of men's polyphonic singing
• Corsica: Half-hour concert by trio in an old chapel
• Corsica: Men singing paghjella in a bar
• Sardinia: "Tenores di Bitti" talk about cantu a tenore, demonstrate how parts fit together
• Sardinia: "Su Cuncordu Lussurzesu" singing “Miserere”

Chapter 12 – Egyptian Vocal Music (Laura Lohman)

Elements of Egyptian Vocal Music:

• Melodic modes (maqāmāt), with music notation and audio clips   
• Table of rhythms (īqā‘āt), with music notation and audio clips
• Takht instruments, description
• Takht instruments, video demonstration 
• Taqsim on the ‘ūd, maqām nahawand

Arabic Pronunciation and Islamic Vocal Performance:

• Introduction to the Pronunciation of Arabic 
• Arabic Phonemic Inventory
• IPA and Transliteration Chart of Arabic Consonants
• Quranic Recitation, Shaykh Abdulbasit Abdusamad
• Hisham Abbas: “The 99 Names of God,” with transliteration and translation
• Abu al-Hasan ash-Shadhili, overview
• Yā Shādhilī
• Shaykh Mustafa Gamāl: Mulid Sayyida Zaynab

Traditional Music:

• Songs of an Egyptian Peasant, with transliteration, English translation, and commentary
• Musicians of the Nile
• Metqal: “Bus ‘ala el-Halawa”
• Hegazy Metkal, “Bus ‘ala al-Halawa”
• Hamza al-Din: “Helalisa”
• Jerry Can Band
• “Yā Banāt Iskandariya,” performance with transliteration and translation
• Muhammad al-Bakkar biography
• “Māmā Zamānha Gāya”
• “Māmā Zamānha Gāya,” transliteration and translation
• “Zahab al-Layla”
• “Zahab al-Layla,” transliteration and translation
• Shadia: “Al-Hinna Yā Hinna”
• “Ah Yā Zayn”
• “Ah Yā Zayn,” sheet music with transliteration and translation

Classic Singers of the Twentieth Century:

• Muhammad ibn Abd al-Wahhab: “Kān Ajmal Yawm,” performed on Star Academy
• Muhammad ibn Abd al-Wahhab: “Ya msafer wahhdak,” with translation
• Muhammad ibn Abd al-Wahhab: “Lama Inta Nawi,” covered by Ala Azzam
• Sheet music for ‘Abd al-Wahhāb songs
• Umm Kulthum song list
• “Ghannī Lī Shwayya Shwayya,” film clip
• “Ghannī Lī Shwayya Shwayya,” transliterated lyrics and translation
• Muhammad ibn Abd al-Wahhab: “Inta ‘Umrī,” concert performance by Umm Kulthūm
• Muhammad ibn Abd al-Wahhab: “Inta ‘Umrī,” transliterated lyrics and translation
• Riad Al Sunbati, “al-Atlāl,” concert performance by Umm Kulthūm
• Sheet music for Umm Kulthum songs

Popular Music in the Mass Media:

• Hakim: “al-Salāmu Alaykum”
• Hakim: “al-Salāmu Alaykum,” transliterated lyrics and translation
• Hakim: “Ifred Mathalan”
• Hakim: “Ifred Mathalan,” transliterated lyrics and translation 
• Shereen Abdo

Chapter 13 – Avaz: The Art of Persian Traditional Singing (Behzad Namazi)

• Abdollah Davami: “Bahar-e Delkash”
• Gholamhossein Banan: “Ey Iran”
• Mohammad Reza Shajarian: “Morgh-e Sahar”
• Shahram Nazeri: Gol-e Sadbarg
• Homayoun Shajarian: “Chera Rafti?”
• Homayoun Shajarian: “Ba Man Sanama”
• Bamdad Falahati: “Saz-o avaz”
• Akbar Golpayegani: Tahrir (traditional vocal technique)
• Rastak Ensemble: “Biu Barimesh”
• Hossein Hamedanian: “Mobarak Baad”
• Viguen: “Mahtab”
• Moein: “Man Az Rah Omadam”
• Mohsen Namjoo: “Sanama”
• Darya Davdar: “Mah Pishanoo”
• Chaartaar: “Dar Hasrate Maah” 
• See this PDF for more information about these selections.

Chapter 14 – Choral Singing in South Africa (Michael Barrett)

• Musical Example #1: Gezanger and Liederwysies
• Musical Example #2: Polyrhythms
• Musical Example #3: Call-and-Response
• Musical Example #4: Black Singers Singing a European Classical Work
• Musical Example #5: White Singers Singing a Traditional African Song
• Musical Example #6: Zulu War Song and Dance
• Musical Example #7: Zulu Chant Warriors Chanting
• Musical Example #8: “Mbube” (Isicathamiya)
• Musical Example #9: “Qongqothwane,” or “The Click Song”
• Musical Example #10: Umngqokolo (Ngqoko Village)
• Musical Example #11: Traditional Songs with Western Instruments
• Musical Example #12: Lesiba (Blown Mouthbow)
• Musical Example #13: Sesotho Song
• Musical Example #14: Dance by Basotho Women and Traditional Healer
• Musical Example #15: Monyanyako
• Musical Example #16: Afrikaans Music
• Musical Example #17: Peter Louis Van Dijk: "Horizons”
• Musical Example #18: arr. Barrett and Schmitt: “Indodana”
• Musical Example #19: Hendrik Hofmeyr: "Thula Babana"
• Musical Example #20: Koapeng and Williams: “Khutso”
• Musical Example #21: Xhosa Click Tutorial

Chapter 15 – Istibili: Singing and Learning South African Folk Song (Sarah-Jane Gibson)

Historical Overview:

• Nkosi Sikelel'i Afrika

Features of Isitibili, Vocal Style, and Movement:

• Varsity Sing Competition: “Thixo Onothando”
• Varsity Sing: Isitibili
• “Bawo Thixo Somandla”
• Nelson Mandela Dancing

Learning and Understanding the Text:

• Kids Commute - Young Voices Week (background and audio to Pikoko)
• Peacock Song Reinvented by Nhlengelo Caregivers
• Teaching Pikoko: Call-and-Response Exercise
• Drakensberg Boys Choir Singing Pikoko (using "jazz hands")
• ALApella Singing Pikoko (changing movements throughout the song)

Musical Resources:

• Raising the Bar: Traditional South African Choral Music
• Singing in the African-American Tradition
• Freedom Is Coming: Song of Protest and Praise from South Africa
• Choral Folk Songs from South Africa
• Bantu Choral Folk Songs
• Songs from South Africa
• Sing Africa Sing
• Soweto Gospel Choir
• South African Folk Song (author’s website)

Chapter 16 – An Introduction to Hindustani Vocal Music (Marged Trumper)

• Tamboura Tuning
• Hindustani Scale
• Kharaj Practice
• Palṭās in dhrupad
• Palṭās in khyāl
• Ornamentation
• Explanation of rāga yaman
• Ālāp in dagar Style (rāga asāvrī)
• Dhrupad in dagar Style (composition)
• Dhrupad in darbhanga Style
• Dhrupad Recital with dhamār (composition)
• Dhrupad Style sādrā
• Khyāl Recital (with use of swarmaṇḑal psaltery)
• Baṛā khyāl
• Drut khyāl
• Tarānā
• Fayaz Khan: agra ghāranā
• Bade Ghulam Ali Khan: patiala gharānā
• Jaipur gharānā
• Kirana gharānā
• Thumrī with Dance Sung with Movements
• Fast ṭhumrī
• Slow ṭhumrī from Benares
• Punjabi ṭhumrī
• Tappā
• Composition and Notation

Chapter 17 – Peking Opera (Po-wei Weng)

Chinese Pinyin System:

• Pinyin Chart with audio from Yabla site

Peking Opera Vocal Music:

• Xipi Yuanban (西皮原板) – Laosheng role (beginning at 1’03”)
• Xipi Yuanban (西皮原板) – Qingyi role (from beginning through 2’30")
• Xipi Manban (西皮慢板) – Laosheng role
• Xipi Liushui (西皮流水) – Qingyi role
• Xipi Daoban connects to manban, erliu and liushuiban (西皮導板-慢板-二六-流水-散板) – Qingyi role (beginning to 1’47,” daoban; 1’47” to 6’51” manban; 7’00” to 10’08” erliu; 10’08” to 11’52,” liushui; 12’00” to the end, sanban)
• Xipi Daoban connects to yuanban, kuaiban, and sanban (西皮導板-原板-快板-散板) – Wenjing role (beginning to 0’54,” daoban; 0’58” to 3’16,” yuanban; 3’29” to 4’22” kuaiban; last phrase, sanban)
• Erhuang Daoban connects to huilong, and yuanban (二黃導板-迴龍-原板) – Laosheng role: (beginning through 1’37” yuanban; 2’58’ to 3’22” huilong; 4’00” to the end, yaunban)
• Erhuang Yuanban (二黃原板) – Wenjing, Laosheng, and Qingyi roles
• Erhuang Manban connects to erhuang yuanban (二黃慢板接原板)
• Laosheng role (beginning through 7’44,” manban; 7’53” to the end, yuanban)

Chapter 18 – Overtone Singing around the Globe (Rollin Rachele)

• Laryngeal Movements of Throat Singing
• Seven Styles of Overtone Singing (Tuvan Throat Singing)
• Overtone Music Network
• Anthology of Mongolian Xöömii
• Dissertation by Johanni Curtet
• The Song of Harmonics (DER Documentary)
• Arthur Miles: “Lonesome Cowboy”
• Blind Willie Johnson: “Dark Was the Night”
• Overtone Singing: Physics and Metaphysics of Harmonics in East and West
• Nestor Kornblum Singing Overtones
• Xhosa Overtone Singing
• Umngqokolo (Ngqoko Village)
• Ngokoko Singing (F–G Fluctuation)

Chapter 19 – World Music in a Choral Setting (Stefanie Cash)

Musical Examples:

• Thomas Tallis: “If Ye Love Me” (Tallis Scholars)
• Veljo Tormis: “Raua needmine” (State Choir of Latvia)
• Ethan Sperry: “Dwijavanthi” (Martin HS Chamber Singers)
• Mxolisi Matyila, arr. Nyamezele: “Bawo Thixo Somandla” (Cape Town Youth Choir)

Professional Organizations:

• American Choral Directors Association (ACDA)
• National Association for Music Education (NAfME)
• International Society for Music Education (ISME)

Other Documents:

• Stefanie Cash: “World Music Benefits, Barriers, and Basic Pedagogy”
• MENC National Standards for Arts Education (1994)
• NAfME National Standards for Arts Education (2014)

Publishers:

• JW Pepper & Son
• Earthsongs
• Musica Russica
• Musica Baltica
• Hal Leonard
• Santa Barbara Music Publishing 
• MPA List of United States Publishers

Chapter 20 – Traditional Arabic Music and the Western Song Recital (Feryal Qudourah)

• Urdu Qasida: “Lab pe aati hai dua”
• Adhan: Muslim Call to Prayer
• Umm Kulthum: “Enta Omri”
• Umm Kulthum: “Al Atlal”
• Mohammad Abdel Wahab: Various Songs
• Fairouz: Sahrat el Hob
• Fairouz: Mais el Reem
• Ahlam: Arab Idol Performance
• Hans Werner Henze: Fatumas Klage (from Sechs Gesänge)
• Francisco Mignone: Sete líricas sobre poemas de Omar Khayyán
• Fairouz: “Ya Ana”
• Fairouz: “Nehna Wel Amar Jeeran”
• Fairouz: “Habaytak Bisayf”
• “Lamma Bada Yatathanna” (choral version)
• John Tavener: Akhmatova Songs
• Iyad Kanaan: Composer YouTube Page
• Francisco Javier Jáuregui: “The Religion of Love”
• Francisco Javier Jáuregui: "The Religion of Love" (alternate version) 
• Tsippi Fleischer: The Coffin with Its Lid Remote (from Girl-Butterfly-Girl)

Chapter 21 – Vocal Versatility in Bel Canto Style (Sperry & Goetze)

Singing in Chest Register

• The Rustavi Choir: “Odoya”
• Alexandra Youth Choir: “Ayo, Ayo” 
• Alexandra Youth Choir: “Baba Baxolele”

Higher Laryngeal Position

• Cosmic Voices from Bulgaria: “Kaval Sviri”
• Tokyo Gakuso: “Shomya”

Minimized/Horizontal Pharyngeal Space

• Kishore Kumar: “Aaj Na Jane Pagal Manwa”
• Salamat Sadikova: “Suyuu Jazi”
• Pan Lingxin: “Feng Yang Hua Gu”

Nasality

• Cosmic Voices from Bulgaria: “Kaval Sviri”
• Valerie Naranjo: “Ute Sun Song”
• Jiamila: “Avaguli”
• Yang Songshan: “Wo Ai Gu Xiang”

Bleating

• Ala-Tan-Chi-Chi-Ge: “A Brown Eagle”

Yodeling

• Shona Mbira Performer: “Dande”

Overtone Singing

• Fedor Tau: “Steppe Kargiraa”
• Fedor Tau: “Khöömei”

All of the Above

• Black Lodge Singers: “Ha-Cha”

Further Reading

• The Cambridge Companion to Choral Music

Chapter 22 – Musical Rhythms to Learn, Love, and Share (Patricia Shehan Campbell)

• Smithsonian Folkways Certificate Course in World Music Pedagogy
• Smithsonian Folkways Tools for Teaching
• Smithsonian Folkways World Music Pedagogy Video (2017)

Chapter 23 – Voice Pedagogy: Imagining a Global Future (Matthew Hoch)

• Voice and Speech Trainers Association (VASTA)
• International Congress of Voice Teachers (ICVT)
• Sumiyabazriin Zagd-Ochir: “Four Mountains” (traditional Mongolian song)
• International Federation for Choral Music (IFCM)
• International Society for Music Education (ISME)
• First International Music Festival at AUS in the United Arab Emirates
• Sufi Night with Ayman Tayseer