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World Music

2
 World Music

A Global Journey

Fourth Edition

Terry E. Miller
Kent State University

and

Andrew Shahriari
Kent State University

3
Fourth edition published 2017
by Routledge
711 Third Avenue, New York, NY 10017

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2017 Taylor & Francis

The right of Terry E. Miller and Andrew Shahriari to be identified as authors of this
work has been asserted by them in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in
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Trademark notice: Product or corporate names may be trademarks or registered

trademarks, and are used only for identification and explanation without intent to
infringe.

Third edition published by Routledge 2012

Library of Congress Cataloging in Publication Data

Names: Miller, Terry E., author. | Shahriari, Andrew C., author.
Title: World music: a global journey / Terry E. Miller and Andrew Shahriari.
Description: Fourth edition. | New York ; London : Routledge, 2017. | "2017 | Includes
index.
Identifiers: LCCN 2016010412 | ISBN 9781138911314 (paperback) | ISBN 9781138911277
(paperback + CD) | ISBN 9781138911284 (hardback + CD)
Subjects: LCSH: World music—History and criticism.
Classification: LCC ML3545 .M54 2017 | DDC 780.9—dc23
LC record available at http://lccn.loc.gov/2016010412

ISBN: 978-1-138-91131-4 (pbk)

ISBN: 978-1-138-91127-7 (pbk pack)
ISBN: 978-1-138-91128-4 (hbk pack)
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4
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Cover image credits (clockwise from top left) for paperback edition: A dance scene
typical of Indian film with actress singing a filmi song (testing/Shutterstock.com); Yari
Yari men play the kundu goblet drum and dance in Papua New Guinea (Michele
Westmorland/Corbis Documentary/Getty Images); King Sunny Adé (Jack
Vartoogian/FrontRowPhotos); Japanese taiko drummer (Manuel
Fernandes/Shutterstock.com); The Chinese pipa, played by Yang Jin (Courtesy of Kent
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5
Contents
Preface

Scope
Organization
The Fourth Edition
Listening Guides

Structure of Each Listening Guide

How Instructors Can Expand Course Coverage

Website
Our Own Journey (Thus Far)

Terry E. Miller
Andrew Shahriari

Acknowledgments
1 Before the Trip Begins: Fundamental Issues

What is Music?
Music: Universal Language or Culturally Specific Activity?
Beware of Labels
An Inside Look: Terence Liu
An Inside Look: Nguyen Thuyet Phong
Knowing the World's Musics
The Life of an Ethnomusicologist
Representation: What Musics Does One Study?
Resources for the Study of the World's Musics

Reference Works
Video
Audio Recordings
Journals

Questions to Consider

2 Aural Analysis: Listening to the World's Musics

How to Listen to World Music

"Talking" about Music

6
 Timbre and Medium

Vocal Timbre
Instrumental Timbre

Aerophones: Flutes, Reeds, and Trumpets

Chordophones: Lutes and Zithers
Idiophones: Plucked, Struck, and Shaken
Membranophones
Summary

Pitch

Tuning System
Scale
Interval
Range
Melody

Melodic Contour
Ornamentation
Text Setting

Rhythm

Beat and Tempo

Accent and Meter
Rhythmic Density

Phonic Structure
Dynamics
An Inside Look: Bruno Nettl
Form
Need to Know: Fundamentals of Music
Questions to Consider

3 Cultural Considerations: Beyond the Sounds Themselves

Cultural Knowledge
An Inside Look: Judith Becker
Value Systems and Hierarchies
Music and Identity
Use versus Function
Music and Spirituality

7
 Music and Ethics
Music and the Environment
New Theoretical Perspectives
Music Technologies and Media
Music and the Arts
Transmission and Pedagogy
Notation Systems and the Creation of Music
Exchange and Adaptation
Cultural Intersections
A Case Study of Istanbul, Turkey: A Lesson in Geography, History,
Religions, and Musical Exchange
Questions to Consider

4 Oceania: Australia, Papua New Guinea, Hawai'i, Kiribati

Background Preparation
Planning the Itinerary
Arrival: Australia

Site 1: Australian Aboriginal Song with Didjeridu

Arrival: Papua New Guinea

Site 2: Susap (lamellophone) from Papua New Guinea

Explore More: Singsings of Papua New Guinea

Arrival: Hawai'i
An Inside Look: Amy Ku'uleialoha Stillman
Explore More: Hawai'ian Steel Guitar and Ukulele

Site 3: Hawai'ian Drum-Dance Chant

Dance: Tongan Dance

Arrival: Kiribati

Site 4: Group Song for bino (sitting dance) from Kiribati

Questions to Consider

5 South Asia: India, Pakistan

Background Preparation
An Inside Look: K. S. Resmi
An Inside Look: Aashish Khan
Planning the Itinerary

8
 Arrival: North India

Site 1: Hindustani (Instrumental) Raga

Need to Know: Fundamentals of Indian Classical (Hindustani) Music

Arrival: South India

Site 2: Carnatic Classical (Vocal) Kriti

Explore More: Kathakali

Site 3: Hindu Bhajan Devotional Song

Explore More: Indian Filmi Git (Film Song)

Arrival: Pakistan

Site 4: Qawwali (Sufi Devotional Song)

Explore More: Bhangra

Questions to Consider

6 Southeast Asia: Vietnam, Thailand, Laos and Northeast Thailand,

Indonesia (Java and Bali)

Background Preparation
Planning the Itinerary
An Inside Look: Sumarsam
Arrival: Vietnam

Site 1: Vietnamese Central Highlands Bronze Gong

Ensemble
Site 2: Nhac Tai Tu Amateur Chamber Music

Arrival: Thailand
An Inside Look: Priwan Nanongkham

Site 3: Classical Piphat Music

Dance: Thai Classical Dance

Arrival: Laos and Northeast Thailand
Explore More: The Ramayana

Site 4: Lam Klawn Repartee Singing

Site 5: Luk Thung Popular Song

9
 Arrival: Indonesia (Java and Bali)

Site 6: Javanese Court Gamelan

Site 7: Balinese Gamelan Gong Kebyar

Explore More: Kecak—The Balinese "Monkey Chant"

Questions to Consider

7 East Asia: China, Mongolia, Korea, Japan, Tibet

Background Preparation
An Inside Look: Luo Qin
An Inside Look: Masayo Ishigure
Planning the Itinerary
Arrival: China

Site 1: The Guqin (Seven-String "Ancient" Zither)

Site 2: Jiangnan Sizhu ("Silk and Bamboo") Ensemble from
Shanghai
Site 3: Beijing Opera (Jingju)
Site 4: Chuida Wind and Percussion Ensemble

Explore More: Popular Music in East Asia

Arrival: Mongolia

Site 5: Mongolian Urtïn Duu (Long Song) with Khöömei

(Overtone or "Throat" Singing)

Arrival: Korea

Site 6: P'ansori Narrative

Arrival: Japan

Site 7: Gagaku Court Music

Explore More: Komuso

Dance: Japanese Music and Dance

Site 8: Kabuki Theater

Explore More: Taiko

Arrival: Tibet

Site 9: Tibetan Buddhist Ritual

10
 Questions to Consider

8 The Middle East: Islam and the Arab World, Iran, Egypt, Sufism, Judaism

Background Preparation
Planning the Itinerary
An Inside Look: George Dimitri Sawa
Arrival: Islam and the Arabic World

Site 1: Islamic Adhan, "Call to Prayer"

Site 2: Arabic Taqasim for Ud and Buzuq

Arrival: Iran

Site 3: Dastgah for Santur and Voice

Arrival: Egypt

Site 4: Takht Instrumental Ensemble

Arrival: Sufism

Site 5: Sufi Dhikr Ceremony

Arrival: Judaism

Site 6: Jewish Shofar and Liturgical Cantillation

Questions to Consider

9 Europe: Greece, Spain, Russia, Scotland, Ireland, Hungary, Bulgaria

Background Preparation
"Classical" versus "Folk"
Planning the Itinerary
Arrival: Greece

Site 1: Creek Orthodox (Byzantine) Chant

Arrival: Spain

Site 2: Flamenco

Dance: Flamenco Dance

Arrival: Russia

11
 Site 3: Balalaika Ensemble

Arrival: Scotland
An Inside Look: Mick Moloney
An Inside Look: Walter Mahovlich

Site 4: Highland Bagpipes

Arrival: Ireland

Site 5: Uilleann Bagpipes

Arrival: Hungary

Site 6: Tekerölant (Hurdy Gurdy)

Arrival: Bulgaria

Site 7: Bulgarian Women's Chorus

Questions to Consider

10 Sub-Saharan Africa: Ghana, Nigeria, Central Africa, Zimbabwe,

Uganda, Senegal, The Republic of South Africa

Background Preparation
Planning the Itinerary
An Inside Look: Adesanya Adeyeye
An Inside Look: Habib Iddrisu
Arrival: Ghana

Site 1: Polyrhythmic Recreational Ensemble

Dance: West Africa

Site 2: "Talking Drums"

Arrival: Nigeria

Site 3: Jùjú Popular Music

Arrival: Central Africa

Site 4: Mbuti Pygmy Music from the Democratic Republic

of the Congo

12
 Arrival: Zimbabwe

Site 5: Mbira Dza Vadzimu

Arrival: Uganda

Site 6: Akadinda

Arrival: Senegal-Gambia

Site 7: Jali with Kora

Arrival: The Republic of South Africa

Site 8: Mbube

Explore More: Ladysmith Black Mambazo

Questions to Consider

11 The Caribbean: Haiti, Jamaica, Trinidad and Tobago, Puerto Rico, Cuba,
The Dominican Republic

Background Preparation
Planning the Itinerary
Arrival: Haiti

Site 1: Vodou Ritual from Haiti

Arrival: Jamaica

Site 2: Reggae

Arrival: Trinidad and Tobago

Site 3: Calypso

Explore More: Soca

An Inside Look: Olivia Ahyoung
An Inside Look: Ellie Mannette

Site 4: Steel Band (Pan)

Arrival: Puerto Rico

Site 5: Puerto Rican Plena

13
 Arrival: Cuba

Site 6: Cuban Son

Dance: Caribbean—Trinidad, Haiti, Latin America

Arrival: The Dominican Republic

Site 7: Merengue

Questions to Consider

12 South America and Mexico: The Amazon Rainforest, Peru, Argentina,

Brazil, Mexico

Background Preparation
Planning the Itinerary
An Inside Look: Martin Pereira Algarita
Arrival: The Amazon Rainforest

Site 1: Amazonian Chant

Arrival: Peru

Site 2: Sikuri (Panpipe) Ensemble

Arrival: Argentina

Site 3: Tango

Arrival: Brazil

Site 4: Samba

Explore More: Carnival

Site 5: Capoeira Music

An Inside Look: Gilbert Valez

Arrival: Mexico

Site 6: Mariachi

Questions to Consider

13 Canada and the United States

14
 Background Preparation
Planning the Itinerary
An Inside Look: Natalie MacMaster
Arrival: Canada

Site 1: Cape Breton Fiddling

Arrival: The United States of America

Site 2: Ballad-Singing
Site 3: Old Regular Baptist Lined Hymn

An Inside Look: Hugh McGraw

Site 4: Singing School Shape-Note Music

Dance: American Folk—Square Dance

Site 5: Bluegrass
Site 6: African-American Spiritual
Site 7: African-American Gospel Choir
Site 8: Country Blues
Site 9: "Nuyorican" Salsa

Dance: Ballroom Dance

Site 10: Cajun Music

Arrival: Native American Reservations

Site 11: Plains Indian Dance Song

Site 12: Native American Flute

Explore More: Inuit Throat-Singing

Questions to Consider

Glossary
Resources for Further Study
Index
Recorded Examples

15
Preface
This textbook is inspired by a class we taught (and Andrew continues to teach) at Kent
State University for many years, “Music as a World Phenomenon.” In the mid-1990s,
when the university established a requirement for cultural diversity classes, the course
was a natural fit and enrollment exploded overnight. Fifty students a semester turned
into over 500 within a few years. Dissatisfied with the introductory world music
textbooks available at the time, we set out to write one that would serve this greater
number of students, few of whom had formal music training. Its success has encouraged
the class to grow to nearly 1500 students per semester and is one of the most popular
courses on campus. Other universities have experienced similar growth in their world
music surveys. The online version of the class at Kent State, which accommodates nearly
500 students, remains full, and the textbook with its accompanying interactive website
has proven an invaluable resource, especially for those students. We hope this fourth
edition of World Music: A Global Journey will encourage the same enthusiasm in both
instructors and students for teaching and learning about the world and its music, as it
has for us at Kent State.

16
Scope

Anyone who attempts a book such as this must settle on answers to a few questions:

• Breadth or depth? You cannot have both, unless you want a tome that could hold
down your loose papers through a hurricane. We have chosen breadth. While
we recognize the impossibility of doing justice to all the world’s notable and
interesting musics, we also feel that doing what you can is better than doing
nothing. The second major question is:
• Geographical or topical organization? As ethnomusicologists we are tempted to
organize our studies topically, in order to explore such issues as identity, gender,
representation, meaning, globalization, and so on, but we have found that this
approach leaves most students in a state of geographical disorientation. While
such a plan would make it easier to discuss many of the issues at stake in
“cultural diversity” courses, it would make it difficult to communicate a
coherent view of the music of a given area. Thus, we have chosen a
geographical organization. A third question is:
• Should the concentration be on music as sound or music as culture? The study of
world musics is the focus of a discipline known as Ethnomusicology, which
seeks to understand both music and its cultural associations. This field of
scholarly research has long had a fascination with the anthropological aspects of
the music studied—what we used to call “the context”—but some of our field’s
critics have noted a growing reluctance to discuss musical sound at all,
complaining that ethnomusicologists do “everything but the music.” Others scoff
at ethnomusicology as eth-NO-MUSIC-ology. We have striven for a balanced
approach, choosing first to emphasize music as sound because we realize that
many of the instructors using this book are situated in music departments and
are naturally inclined to focus on music as sound. However, we also include
important cultural aspects, allowing teachers using this book to choose which to
emphasize.

17
Organization

Travel is the central metaphor of the book, in part because that is often how the authors
experienced the music we present. After three introductory chapters in which we discuss
the elements of music, we present ten chapters on specific geographical areas, be they a
continent (e.g., Europe) or a subcontinent (e.g., South Asia). As with any major trip,
preparation is necessary before a specific area can be considered in depth.
“Background Preparation” provides the big picture giving the general lay of the land,
some of an area’s history, and raising certain issues related to music-making in the
region. We then give an overview of music the region has to offer before landing in a
particular country or area. Here we review the background information pertinent to this
particular place and give the reader some feel for the locale’s history and culture.
After this, we begin visiting our individual “Sites.” These are the audio tracks and
discussions we have chosen to represent the area—though you should always bear in
mind that we have omitted many others of equal significance. As with travel, so with
music: we simply cannot visit every interesting place. Hopefully, you can return to some
areas later and experience more on your own. Each Site is explored in three steps.

1. “First Impressions”—In this section we attempt to convey the impressions and

associations the music might inspire in a first-time listener. These are
necessarily subjective and intended to encourage readers to consider their own
first impressions in comparison to ours.
2. “Aural Analysis”—Here we focus on the site in terms of musical sound,
discussing whatever is most relevant. This could include the medium
(instruments and/or voices) and any of the prominent musical elements that
distinguish an example.
3. “Cultural Considerations”—The final section is where relevant cultural matters
are raised. These are the “contexts” and “issues” that have differentiated
ethnomusicology from most other music disciplines.

This process can serve as a framework for exploring an infinite array of world music
traditions. Instructors may wish to bring in some examples, based on their own focus
and experience, as a supplement to the materials provided here.

18
The Fourth Edition

Following the release of the first edition in late 2005, we were gratified so many of our
colleagues in schools of all sizes and missions adopted World Music: A Global Journey
and found it useful. Although we feel fortunate that so many chose this book over the
increasing number of other choices, we continually think about how we can improve it.
Hopefully, the fourth edition offers many of the improvements suggested by users along
with those originating with the authors.

• New Sites

Plena from Puerto Rico replaces the site of rhyming spirituals from the Bahamas Chuida from China replaces
Revolutionary Opera from China Gagaku from Japan has returned from the second edition, and replaces the
sankyoku site

The former (third edition) sites have been moved to the textbook website.

• Updated “Inside Look” features: Many of the musicians and scholars featured
have revised their entries. While some of the earlier writers have been rotated
off, we welcome a number of new and distinguished people to this feature: Dr.
Terence Liu (public ethnomusicology), K. S. Resni (South Indian classical singer),
Dr. Sumarsam (Indonesian gamelan master and professor), Dr. Mick Moloney
(internationally renowned singer of Irish music, folklorist, ethnomusicologist,
National Heritage Award fellow), Walter Mahovlich (comprehensive performer
of Eastern European music), Natalie MacMaster (pre-eminent Canadian fiddler,
niece of the late Buddy MacMaster featured in the first through third editions),
Gilbert Velez (Mariachi master musician, scholar, and “father” of the Mariachi
movement in the United States).
• New photos: As we try to do with each new edition, there are many new
photographs throughout the book drawn from our own field research and others
in the field, as well as professional stock footage archives with an eye for
fieldwork-oriented images that complement our original list of figures.
• New “Dance” boxes: A new feature we are excited to include are essays focusing
on world dance, which in many cultures is inseparable from musical activity.
Our introductions to ballroom, flamenco, Thai classical, Ghanaian, American
folk, and Japanese dance will hopefully be well-received, such that we can add
features on other world dance traditions in future editions. The articles were
written by specialists in the areas they discuss, which has the benefit of offering
experiential perspective on their particular dances.
• One less chapter: Chapter 14: “Discovering Yourself Through Music” and “On
Your Own Time” suggested resources have been removed from the hard-copy

19
 textbook and placed on the textbook website. After much deliberation, we
decided this would benefit students in that the fewer pages would help keep the
cost of the book down and the practicality of including web resources was better
suited for the website than the book itself. We also learned that many
instructors did not utilize these resources with great frequency, but they are still
available to those readers and instructors who encourage such self-exploration
as part of their world music study.
• Additional Resources: These have been updated to include more recent
publications and online resources.
• Instructors’ Resources: These have been revisited to include new presentations,
exam questions, class time activities, and a more integrated website that can be
used to expand course coverage.
• Interactive Listening Guides: More of these have been incorporated on the
website so that students can listen to streamed music at specific prompts.

20
Listening Guides

The purpose of the Listening Guides is to encourage active listening, rather than passive
listening. Many students find they lack experience in listening actively to music. The
music washes over them as a complete sound without much thought toward the details.
Most everyone does this on a daily basis, such as listening to the car radio, walking
through a mall, waiting in a doctor’s office, or even while attending a concert. They
passively “absorb” the sound without really thinking about it.
Active listening requires more than just your ears. You must focus on individual
elements in the music in order to understand a variety of features, such as its
organization or its rhythmic/ melodic elements, its correlation to movement in
dance/theater, the sound as a manifestation of emotional/spiritual expression, etc. Such
intentional listening promotes a greater appreciation of the music, which will hopefully
make it more appealing, if only from an intellectual perspective.
Each listening guide focuses on key features of the example that help you identify the
timbre of different instruments, important melodic and/or rhythmic elements, as well as
aspects of form and variations in dynamics, if applicable. Every guide begins with an
introduction to the specific example, that is, track title, chapter and site number, etc.,
followed by a description of the sound elements (vocal and instrumental) heard. The
time outline indicates the minutes/seconds (0’00”) of each “Listening Focus” item
described. (These time codes may vary slightly according to the device you are using to
play the example.) The guide concludes with the source for the example and an “Ethno-
Challenge,” (short for Ethnomusicology Challenge).
The Listening Guides will help you with the “Aural Analysis” section of the readings.
Our recommendation is:

1. Listen first through the entire example without the guide, just to get a “First
Impression” without concern over the details of the music. Compare your first
impressions with those we have offered.
2. Read the “Aural Analysis” for the example.
3. Listen again with the guide and take note of each “Listening Focus” description.
You may have to start/stop and rewind the example several times to hear each
item. That’s a good thing! It means you are actively listening to the music. If
you get through the entire example without stopping once, this probably
means you have returned to passive listening.
4. Listen through the entire example again after you feel confident that you have
heard and understood all of the “Listening Focus” items. You will find you are
hearing the music with a keener sense of its details. That gong sound missed
before will now “jump out” at you, or you may find yourself humming the

21
 basic melody or tapping out the fundamental rhythm.

To test your new perspective on the music, try playing the example for someone else and
see if he or she notices the same details before you point them out.
We also hope that the Listening Guides will assist instructors in highlighting these key
elements during lectures. To know the difference between the sound of a tabla and a
tambura, for example, the instructor may have to highlight the distinction in the
classroom. The time code references will help expedite searching for such “Listening
Focus” items during class time.
Each guide ends with a feature called the “Ethno-Challenge.” Some of these are quite
simple, while others may be quite difficult. As ethnomusicologists ourselves, we tried to
imagine an activity that would have benefited us in researching each music genre. This
may involve library research, such as hunting down a video of Beijing Opera; learning a
performance technique, such as circular breathing; or even making a musical instrument,
such as a mouth harp, etc. Instructors may have their own ideas for such challenges, but
the end-goal remains to encourage more active participation and understanding of the
music. The challenges are also meant to be fun projects for your own enjoyment or even
to present to the rest of the class.
Finally, we encourage you to add your own “Listening Focus” points to these guides.
We may have overlooked or intentionally omitted features due to their repetition within
the example or other factors, such as space considerations for the page layouts. You will
better develop your active listening skills by adding to these guides, which will
ultimately make any music you hear a more meaningful experience.

Structure of Each Listening Guide

Listening Guide CD 0.0 (0'00")

Chapter 00: Site 00 Country: Example Title

Instruments: Trumpet (aerophone), Guitar (chordophone), etc.

Voices: Male/Female

TIME LISTENING FOCUS

0'00" Example begins...

Source: World Music: A Global Journey

ETHNO-CHALLENGE (CD 0.0): Listen to each track on your textbook CDs at least
three times.

22
23
How Instructors Can Expand Course Coverage

“Teaching a textbook” is a widely and often effectively used method but also one that
raises thorny issues. The problem with any world survey is that the authors must of
necessity choose a certain set of examples and ideas based on their own thinking and
experience—but course instructors may have a different view. We suggest therefore that
teachers consider the following ideas when using this book:
Be selective. If you find that seventy music examples are too many for your class, then
select those that suit your needs. We have attempted to provide reasonably good surveys
of each area— considering the limitations of space—but for some instructors this will be
too much and for others too little.
Use our plan as a model. Just as you can exclude specific sites, you can also add your
own. These additions can be accomplished by either the professor or student. An
excellent assignment would be for students to write about a music track not selected by
us, using the three approaches employed in this book: first impressions, aural analysis,
and cultural considerations. Such exercises could become class papers or presentations as
well.
Research further on your own. Just as easily as additional sites can be researched and
written about, those presented herein can be developed by students into class
presentations that include audio examples, video/DVD clips, and even performances on
substitute instruments or the real ones. Students and teachers may locate living
representatives of a culture—or even musicians from the tradition under study—who can
come to class to discuss the culture or perform the music live.
Consider utilizing additional resources in the neighborhood or university community.
We have intentionally focused on pathways available via the Internet, but you might
also consider some other areas of investigation, such as libraries and museums.

• Libraries. Most libraries, both public and those associated with colleges and
universities, have collections of recordings and video materials. Anyone wishing
to venture beyond this book might do so in places as diverse as one’s local
public library to world-class collections in places such as Indiana University’s
Archives of Traditional Music in Bloomington, Indiana, to the Library of
Congress’s American Folklife Center in Washington, DC. Similar collections can
be found in Canada and Europe.
• Museums. Many large cities have excellent museums devoted to local history,
culture, or general anthropology of the world. These often include displays of
musical instruments, dioramas that include musical activity, and sometimes
sound resources. A few have major collections of musical instruments, including
the Metropolitan Museum of Art in New York City, The National Music

24
 Museum in Vermillion, South Dakota, and the Musical Instrument Museum in
Phoenix, Arizona.
• Internet. The Internet offers virtually unlimited possibilities for exploration. Two
sites relative to this book dominate: YouTube and iTunes. iTunes (and other
similar sites) offer many kinds of music for paid download. These sites can be
searched by genre, title, or artist; what kinds of music are offered will change
constantly. YouTube similarly offers a nearly bottomless series of free video
clips of most forms of music, dance, and theater known in the world. Searches of
the Internet will also turn up many other kinds of information and resources.
One of them is Wikipedia, a free, online encyclopedia. While many of the
articles discovered (in numerous languages, too) are quite fine, users must
remember that these entries are not peer-reviewed, and their reliability varies
widely since anyone (including you) can write and post entries.

25
Website — www.routledge.com/cw/miller4e

The website is vital to World Music: A Global Journey. At Kent State, the book is used
for an online course, so the website has been crafted to be adaptable for all kinds of
teaching situations, with audio and visual elements and numerous teaching and learning
tools:

For the student

• Flashcards of vocabulary words

• Additional articles and regional sites from previous editions of the textbook
• Practice quizzes
• Links to online videos
• Links to other suggested resources e.g., books, DVDs, websites, etc.
• Selected Listening Guides in an interactive listening guide application

For the instructor

• Downloadable classroom presentations

• Test banks, hosted in the Routledge QuestBank application
• Additional articles and Sites from previous editions of the textbook
• Suggested classroom activities and additional projects
• Select images from the book
• Author/Instructor Interactive Portal
• E-Package materials for online course development

26
Our Own Journey (Thus Far)

Neither author, of course, has been everywhere or heard every kind of music the world
has to offer. Writing this book has been a humbling experience—only fools think they
can cover the world’s musics in a single volume. Regardless of our qualms, however,
world music courses have become a normal part of the academic environment, and the
need for such introductory courses will not go away because of philosophical
reservations. If anything, the demand for them will grow. We have attempted to play to
our strengths while recognizing our limitations. In the following pages of this Preface we
engage in a kind of “truth in advertising,” by revealing some of our own personal
histories with regard to the musics of the world. Perhaps after having read of our
experiences, which we present separately, you will better understand why we wrote
what we wrote and perhaps see more clearly what your own trajectory might become in
the future.

Terry E. Miller

My first experience hearing non-Western music came during my undergraduate years at

the College of Wooster (Ohio), where I was majoring in organ performance. Ravi
Shankar, India’s most famous sitar player until his recent passing, came to the campus as
part of the Community Music Series in 1964, several years before he became famous in
his own right and as the teacher of George Harrison (member of the Beatles). After his
performance, the music majors met with Shankar, but our attempts to understand the
concept of raga were mostly unsuccessful. We simply had no conceptual framework for
understanding modal improvisation. Further, we had never seen a musician perform
seated on the floor, or encountered incense at a music event, and we also failed to
understand the significance of the tambura lute player and tabla drummer
accompanying Shankar. In those days there were virtually no world music courses
anywhere, and recordings other than those on the Folkways label were rare.
My next encounter with an “exotic” music did not come until after I had been drafted
into the U.S. Army in 1968 and sent to the Republic of Vietnam in 1969 to help fight the
war from a swivel chair in front of a Remington typewriter. As a “chairborne” soldier
working at a huge base about twenty miles from Saigon (now Ho Chi Minh City), I
could have ignored Vietnam entirely. Instead, I decided to explore Vietnamese music.
Doing so, however, required trips to Saigon. Having no official business there and no
authorization, I had to go illegally on weekends. In Saigon, I attended theatrical
performances, bought instruments and recordings, and visited the Saigon Conservatory
of Music, where my language abilities were too limited for effective communication. A

27
one-week leave to Bangkok, Thailand, in January 1970 brought me into contact with
Thai music. During my visit, I purchased a long, bamboo mouth-organ instrument called
the khaen, simply because its appearance reminded me of a pipe organ. I did not know
how significant this instrument would become for my later life.

Co-author Terry Miller (on right) with fellow soldier while serving in the United States Army in Vietnam (1969)

After returning to the United States, I enrolled in a Western Historical Musicology

graduate degree program at Indiana University. In spite of the program I was in, I
decided to write my master’s thesis on an Ohio shape-note teacher and my doctoral
dissertation on the music of northeast Thailand. With a generous grant in hand, I went
with my family to northeast Thailand in late 1972, for a fourteen-month stay during
which I researched that region’s music. The resulting dissertation completed my Ph.D.
and luckily I stumbled into a teaching position at Kent State University just as they were
starting a graduate program in ethnomusicology. I taught at Kent State until my
retirement in January 2005. Since that time I have remained actively engaged in research
and writing, and I spend about two months a year in Thailand (wisely, during the
American winter).
To make a long story short, I kept up my interest in Thailand during my tenure at
Kent, but my interests also expanded in other directions. With the help of a succession of
“native musician” graduate students, I started two ensembles, one to play traditional
Thai music, the other to play Chinese music, and I played in both from 1979 and 1987
respectively until the ensembles were disbanded in May 2005. In 1998 the Thai Ensemble
toured Thailand, performing in six cities and appearing on most television channels. The
musics of mainland Southeast Asia—Thailand, Laos, Cambodia, Vietnam, Burma, and
Malaysia—remain my core interest, with the greatest emphasis being on Thailand and
Laos. I also developed a now long-standing interest in orally transmitted hymnody in the
West, which has led to extensive and continuing fieldwork in the United States,

28
Scotland, Jamaica, Trinidad, and St. Vincent, the latter three being part of the English-
speaking Caribbean. My third area of interest has been Chinese music, and I have done
fieldwork in China itself but much more in the overseas Chinese community of
Thailand.
Lastly, I have collected material and experienced live music when possible in each
country I’ve visited. In addition to Vietnam, Thailand, and China, these include the
United Kingdom, Ireland, France, Germany, Spain, Hungary, Slovakia, Croatia, Greece,
Israel, Nepal, Japan, Korea, Burma, Malaysia, Laos, and South Africa. All of these
experiences have contributed to my bank of knowledge. Even so, they have exposed me
to only a small percentage of the world’s musics. The rest have thus far been
experienced, if at all, only vicariously through audio and video recordings or at concerts
given by resident or touring musicians. Naturally, knowledge gained through first-hand
experience goes deeper than that gained from books and CDs, but even an introductory
book like this and carefully listened-to recordings can shed some light on a corner of the
world that would otherwise remain totally unfamiliar.

29
Another random document with
no related content on Scribd:
Calthrop, 184;
of Radiolaria, 83
Calycophorae, 300 f. 305
Calymma, 79, 82
Calymma, 420
Calymmidae, 420
Calyptoblastea, 275 f.
Calyx, of Echinus esculentus, 513;
of Echinarachnius parma, 545;
of Pelmatozoa, 579;
of Crinoidea, 580, 588 f.;
of Carpoidea, 580;
of Cystoidea, 580, 598;
of Blastoidea, 580, 599;
of Holopus, 592;
of fossil Crinoidea, 595
Camerata, 595
Campanularia, 280
Campanulariidae, 280
Campascus, 52;
test of, 55
Camptolithus, 346
Camptonema, 70, 73
Canalaria, 201
Canals, "feeding," afferent, or replenishing of contractile vacuole
system in Ciliata, 14, 143, 146;
of Stylonychia, 139 f.;
of Stentor, 156
Cannopora, 283
Cannopylaea (= Phaeodaria), 76
Cannotidae, 278
Capillitium of Myxomycetes, 90 f., 92
Capnea sanguinea, 383
Capria, 321
Caravella, 308
Carbohydrates, formation of, 33
Carbon dioxide, attracts Paramecium, 23;
 excretion of, 8, 13 f.;
secreted by Arcella, etc., 53
Carchesium, 138;
feeding of, 145, 158
Carinal ossicle of Asteroidea, 436
Carlgren, 378 n.
Carmarina, 295
Carpenter, P. H., on the classification of the Crinoidea, 589
Carpenter, W. B., classification of Foraminifera, 58;
on their true nature, 62;
on their structure, 63 f.;
on Arenacea, 65 f.;
on the nervous system of Antedon rosacea, 585
Carpoidea, 580, 596 f.
Carter, on Protozoa, 45;
on Sponges, 167, 180, 208, 237 n.;
on fossil Hydrozoa, 270 n.
Caryophyllia, 386, 398
Cash, on Rhizopoda, 58 n.
Cassidulidae, 554
Cassidulina, 59
Cassiopea, 324
Cassiopeidae, 324
Castellani, on Trypanosomic fever and sleeping sickness, 120
Catabolic, catabolism, 13 f., 24
Cataclysmal metamorphosis of Dipleurula, 613
Catallacta, 89
Catostylidae, 325
Cattle, Trypanosomic diseases of, 119 f.
Caudal cirrhi, 139 f.
Caudina, 575
Caullery and Mesnil, on Actinomyxidiaceae, 98 n.
Cavernularia, 359, 364;
C. obesa, 364
Cell, 3 f.;
definition of, 3;
nutrition of, 15 f., 35 f.;
 -membrane of ovum of Sea-urchin, 7;
-wall, 3;
in Flagellates, 109, 113;
in Dinoflagellates, 130;
-boundary in Flagellates, 113;
-division, 24 f., 25, 27;
Spencerian division, 31 f.;
-unions in Volvox, 126, 127;
collar-, of Choanoflagellates, 121, 122;
of Sponges (= choanocytes), 171, 176, 186
Cellular relationship explained, 10
Cellulose, 37;
cell-wall of holophytic Flagellates, 113;
in Dinoflagellates, 130
Central blood plexus—see Heart
Central capsule, 49, 76, 77, 82, 84;
its functions in regeneration, 35;
of Collozoum inerme, 76
Centrifugal force, stimulus of, 19 f.
Centriole, 25, 27
Centripetal canals, 289
Centro-dorsal ossicle, of Crinoidea, 580;
of Antedon rosacea, 582;
of Actinometra, 588, 594;
of Atelecrinus, 594
Centrogenous (used of spicules = meeting in a common centre and
growing outwards), 76
Centropyxis, 51;
test of, 55;
C. aculeata, reproduction of, 57
Centrosome, 19, 26 f.;
of Heliozoa, 72;
(= blepharoplast) in Flagellates, 115
Centrosphere, 25 f., 27
Centrostephanus, 522, 539;
C. longispinosus, 522, 532, 539
Cephalis (= uppermost chamber of monaxonic Radiolarian shells),
83
Cephalodiscus, 617
Cephalont of Gregarines, 98
Cephalopoda, erroneous reference of Foraminifera to, 62
Cephea, 325
Cepheidae, 324
Ceratella, 263, 271;
C. fusca, 271
Ceratellidae, 271
Ceratium, 110;
habitat of, 131
Ceratosa, 211, 220
Cercomonas, 116 n., 119;
C. dujardini, gametes of, 116 n.
Cereactis (family Actiniidae, 381);
C. aurantiaca, 378
Cerianthidea, 367, 373, 377, 409
Cerianthus, 328, 366, 409;
nematocyst of, 247;
C. americanus, 411;
C. bathymetricus, 411;
C. lloydii, 411;
C. membranaceus, 370, 410, 411;
C. oligopodus, 411;
C. vogti, 411
Cestidae, 420
Cestoidea, 413, 414, 416, 420
Cestus, 420;
C. pectenalis, 420;
C. veneris, 417, 420
Chaetetidae, 346
Chalarothoraca, 71
Chalina, 217, 223
Chalk, Foraminifera, etc., in, 69 f.
Challengeridae (a family of Phaeogromia, 79);
shells, skeleton of, 84, 85
Chambered organ, of Antedon rosacea, 584;
of Pentacrinidae, 592
Chambers, of Foraminiferal shell, 62
Chapman, on Foraminifera, 58 n., 70
Charistephane, 417
Charybdea, 311, 314, 319;
C. xaymacana, 310, 319;
C. marsupialis, 319;
C. grandis, 319
Charybdeidae, 318
Cheilostomella, 59
Cheilostomellaceae, 59
Chela (a complex microsclere derived from a sigma and consisting
of a curved shaft bearing recurved processes), 234
Chemical, reactions, of protoplasm and of vacuoles, 13;
substances in solution, 19, 22 f.;
rays of spectrum in relation to plant pigments, 36 n.
Chemiotaxy, 23;
its rôle in syngamy, 34;
of Coccidians, 100
Chirodropidae, 319
Chirodropus, 319
Chironephthya, 349;
C. variabilis, 338
Chiropsalmus, 319
Chitin, 37
Chlamydomonadidae, 111, 125, 126;
brood-division of active, 115
Chlamydomonas, 111, 125 f.;
barotaxy of, 20;
conjugation of, 115 f.;
Dill on, 119 n.
Chlamydophora, 71
Chlamydophrys, 52;
C. stercorea, reproduction of, 57;
habitat of, 57 f.
Chloramoeba, 110
Chloromonadaceae, 110;
trichocysts in, 113 n.
Chlorophyll, 36 n.;
in Flagellates, 115 n.;
bodies of Euglenaceae, 124 f.
Chloroplasts (= chlorophyll bodies), of Eutreptia viridis, 124 f.
Choanocytes, 171, 176, 186, 200, 237
—see also Collar-cells
Choanoflagellata, Choanoflagellates (= Craspedomonadidae, 111),
121, 122 f.;
in relation to Sponges, 41, 171, 181
Choanophrya, 159 f., 162;
C. infundibulifera, 162
Choanosome, 170
Chondrilla, spicules of, 233
Chondrioderma, 90;
C. diffusum, 93
Chondrocladia, 216
Chondrophoridae, 301, 308
Chone, 213, 214
Choristida, 212
Chromatin, 6 f.;
function of, in cell-division, 24 f.;
of ovum of Sea-urchin, 7;
of Radiolaria, 81;
-granules, 7, 24
Chromatophore, 13, 21, 36 f., 113, 115;
of Sphaerella, 126
—see also Chromoplastid, Chlorophyll, Plastid
Chromidia, 30;
of Rhizopoda, 51;
of Foraminifera, 67 f.
Chromoplastid, 21, 36 f.;
of Zooxanthella, 86
—see also Chromatophore
Chromosomes, 25 f., 27;
functions of, 28 f.
Chromulina, 110
Chrysamoeba, 110
Chrysaora, 312, 315, 316, 323;
C. isosceles, 311, 314, 323
Chrysogorgia, 355
Chrysogorgiidae, 355 (= Dasygorgiidae, 333)
Chrysomitra, 302, 309
Chrysomonadaceae, 110;
external plasmic layer of, 113;
symbiotic, 86, 125
Chun, 197 n., 300, 307 n., 308, 414 n.
Chunella, 360, 363
Chytridieae, movements and affinities of, 114 n.;
relations of, 40, 48, 119
Cidaridae, 530, 531, 532, 533, 558
Cidaris, 533, 534;
C. (Dorocidaris) papillata, 534
Cienkowsky, on Monadineae (= Flagellates and Proteomyxa), 40, 89;
on Radiolaria, 88;
on Zooxanthella, 86;
on Cystoflagellates, 135
Cilia, 17, 18;
of Protozoa, 47;
paroral, 156 n.;
preoral, 139;
of Trichonymphidae, 123;
of Opalina, 123;
of Maupasia, 124;
of Ciliata, 141;
organs formed of combined, 138, 141, 413;
sensory, of Stylonychia, 138;
Schuberg, A., on, 141 n.
Ciliary motion, 18;
mechanism of, 18 n.
Ciliata, 18, 41, 137 f., 181;
animal nutrition, 40;
conjugation, 149 f.;
contractile vacuole, 14 f., 143;
encystment, 147 f.;
 feeding, 145;
fission, 147 f.;
form of body, 141;
galvanotaxy, 22;
infested by Suctorian parasites, 160 f.;
gut, 146;
mouth, 145;
nuclear apparatus, 144 f.;
parasitic, 152;
pharynx, 145;
pellicle, 141;
regeneration, 35, 145;
relations to Metazoa, 41;
rheotaxy, 21;
Suctoria allied to, 159;
thigmotaxy of, 20;
tubicolous, 152;
Zooxanthella symbiotic with, 125
Ciliated, buds of Suctoria, 159, 160 f., 162;
epaulette, 607
Cilioflagellata (= Dinoflagellata, given by misinterpretation of
transverse flagellum), 130.
Ciliophrys, 75 n., 89
Cilium of Noctiluca, 133
Cinachyra, 212, 215;
C. barbata, 212
Cinclides, 369
Cinetochilum, 137
Ciocalypta, 225
Cirripathes, 408;
C. spiralis, 408
Cirrus, of Crinoidea, 430, 580;
of Antedon rosacea, 581, 585;
of Rhizocrinidae, 588, 590;
of Pentacrinidae, 588, 591, 592;
of Rhizocrinus, 591;
of Comatulidae, 594;
 of Actinometra, 594;
of Antedon, 594;
development of, in A. rosacea, 620;
of fossil Crinoidea, 595
Cladocarpus, 279
Cladocora, 373, 400
Cladocoryne, 272
Cladocrinoidea, 595
Cladonema, 266, 270;
C. radiatum, 267
Cladonemidae, 270
Cladopathes, 408
Cladophiurae, 491, 494, 502
Cladorhiza, 216
Cladotyle (a rhabdus on which one actine is branched, the other
tylote or knobbed at the extremity), 222
Claparède and Lachmann on Protozoa, 45;
on Suctoria, 162
Clark—see James-Clark
Classification, of Protozoa, 48 f., 50;
of Rhizopoda, 51 f.;
of Foraminifera, 58 f.;
of Heliozoa, 70 f.;
of Radiolaria, 76 f.;
of Proteomyxa, 90;
of Sporozoa, 97;
of Flagellata, 109 f.;
of Protomastigaceae, 111;
of Volvocaceae, 111;
of Infusoria, 136;
of Ciliata, 137;
of Suctoria, 159;
of Sponges, 183 f.;
of Coelenterata, 249 f.;
of Ctenophora, 417 f.;
of Eleutherozoa, 430 f.;
of Asteroidea, 459 f.;
 of Ophiuroidea, 491 f.;
of Echinoidea, 529 f.;
of Endocyclica, 532;
of Clypeastroidea, 548 f.;
of Spatangoidea, 552;
of Holothuroidea, 567 f.;
of Pelmatozoa, 580;
of Crinoidea, 589 f.
Clathria, 225
Clathrina, 186, 221, 231;
C. blanca, larva of, 227
Clathrinidae, 185 f.
Clathrissa, 223
Clathrozoon, 277, 279;
C. wilsoni, 279
Clathrulina, 71, 73, 74
Clava, 272;
C. squamata, 263
Clavatella, 267, 270
Clavatellidae, 270
Clavidae, 272
Clavularia, 330, 334, 344;
C. viridis, 329, 337, 343 f., 344
Clavulariidae, 344
Clearing of tissues, physical explanation of, 11
Climacograptus, 282
Cliona, 219, 224
Clionidae, 218
Cloaca of Holothuria nigra, 563
Clypeaster, 548, 549
Clypeastridae (= Echinanthidae), 549
Clypeastroidea, 529, 542 f., 556, 559, 566
Clytia, 280;
C. johnstoni, 275, 280 f.
Cnidoblast, 247, 248
Cnidocil, 248
Cnidopod, 248
Cnidosac, 300
Coalescence of individual Rhizopods during bud-fission, 55
Coccidiaceae, 97, 99 f.;
relations to Trypanosoma, 120
Coccidiidae, 97, 99 f., 101
Coccidiosis, 102
Coccidium, 99 f., 101 f.;
C. cuniculi, 102;
C. lacazei, syngamy of, 101;
C. schubergi, 99 f., 101
Coccolithophora, 110
Coccolithophoridae, in Chalk, 70;
wall of, 114
Coccoliths, 83, 110, 114, 242
Coccoseridae, 346
Coccospheres, 83, 114
Cockroach, Lophomonas parasitic in gut of, 123
Codaster, 599
Codosiga, 111
Coelenterata, 243 f.;
definition, 245;
almost all immune from Gregarines, 99
Coeliac canal of Antedon rosacea, 586
Coelogorgia, 349
Coelogorgiidae, 349
Coelom (including body-cavity), 428;
of Asterias rubens, 437;
of arm of Ophiothrix fragilis, 480;
of Echinus esculentus, 516;
of Holothuria nigra, 562;
of Antedon rosacea, 585;
development of first rudiment in larva, 605;
subsequent development in Dipleurula, 608, 609;
in Asterina gibbosa, 611;
in Antedon rosacea, 618, 619
Coelomic nervous system, of Asterias rubens, 448;
of Ophiothrix fragilis, 488;
 of Echinus esculentus, 524;
of Holothuria nigra, 566;
of Antedon rosacea, 584, 585
Coeloplana, 412, 422;
C. mitsukurii, 422
Coeloplanidae, 422
Coenocyte, 30
Coenograptus, 282
Coenopsammia, 404
Coenosteum, 371, 387
Coenothecalia, 344
Cohn, Ferdinand, on cultures of Schizomycetes, etc., 44
Cold-blooded Vertebrates, as hosts of Haemosporidae, 102
Coleps, 137;
mail-like pellicle of, 141, 152;
C. hirtus, group feeding, 150
Collar, of Choanoflagellates, 121 f., 122;
of peristome of Vorticella, etc., 156
Collar-cells, in Choanoflagellates, 121 f., 122, 171, 237;
of Calcarea, 186;
of Non-Calcarea, 176, 200
—see also Choanocytes
Collencyte, 171
Colletocystophores, 320
Collida, 77 n.
Colloblasts, 414
Collodaria, 77
Colloidea, 77
Collosphaera, 77;
symbiotic Diatoms in, 86
Collosphaeridae, 85
Collozoidae, 85
Collozoum, 77;
C. inerme, 76
Collyritidae, 559
Colobocentrotus, 532, 542
Colonial, cells, 31;
 Protista, 31
Colony, 31;
of Collozoum inerme, 76;
-formation in Polycyttarian Radiolaria, 84 f.;
in Flagellata, 113;
of Choanoflagellates, 121, 122;
in Vorticellidae, 158;
of Volvocidae, 126 f.;
of Pandorina, 128 f.;
of Eudorina, 129
Colour, red, of lakes and ponds, often due to Dinoflagellata, 131
Coloured vegetal nutrition, 36 f.
Colouring matter of chromatophores of Flagellates, 115 n.
Colpidium, 137;
C. colpoda, diagram of conjugation, 149;
nuclear relations in conjugation, 151
Colpoda, 137;
C. cucullus, 153;
brood-fission in cyst, 147
Columella, 370, 385
Columnals, 619 (= Stem-ossicles, q.v.)
Columnaria, 344
Comatula = Antedon, q.v.
Comatulidae, 594
Combs of Ctenophora, 141, 412
Comitalia, 201
Commensals, of Heliozoa, 73;
of Radiolaria, 80, 86 f.;
of Infusoria, 153 f.;
—see also Zoochlorella, Zooxanthella, and Symbiosis
Comminator muscles of Aristotle's lantern, 526
Commissure of radial cords of aboral nervous system of Antedon
rosacea, 585
Compasses (or radii) of Aristotle's lantern, 526
Conant, 319
Conaria larva, 302
Conchophtheirus, 137
Conchula, 380
Confervaceae, related to green Flagellates, 48
Confervoid form of Hydrurus, 113
Conjugatae, syngamy of, compared to certain Chlamydomonads,
126
Conjugation, 33 f.;
of Rhizopoda, 54, 56 f.;
of Trichosphaerium, 54, 56 f.;
exogamous, in Foraminifera, 68 f.;
of Heliozoa, 72, 73 f.;
of Sporozoa, 95 f.;
of Lankesteria, 95 f.;
of Monocystis, 96;
of Gregarines, 97, 100;
of Stylorhynchus, 99;
bisexual, of Sarcocystis tenella, 108 n.;
of Flagellates, 115;
of Bodo saltans, 117;
of Trypanosoma, 120;
by a fertilising tube in Chlamydomonas, 125;
of Volvocaceae, 127 f.;
of Volvox, 127 f.;
isogamous and endogamous, of Stephanosphaera, 128;
in Dinoflagellates, 131 n.;
of Noctiluca, 133;
of Ciliata, 148 f.;
of Paramecium caudatum, 148;
of Colpidium colpoda, diagram, 149;
of Peritrichaceae, 151 f., 157;
of Vorticella, 157;
of Suctoria, 161;
of meganucleus in Dendrocometes, 161, 162
—see also Syngamy, Fertilisation
Conoclypeus, 558
Constancy of type in Protista, 42 f.
Conte, 292 n.
Contractile vacuole, 5, 10, 14 f.;
 of Amoeba polypodia, 5, 10;
of fresh-water and brackish Protozoa, accessory spaces and
canals, 47;
of Rhizopods, 52;
of fresh-water Allogromidiaceae, 60;
of Microgromia socialis, 60;
of Heliozoa, 71, 72, 74;
of zoospore of Clathrulina, 74;
of Myxomycetes, 92;
of Flagellata, 110, 112, 115;
of Cryptomonas, 112;
of Diplomita, 112;
of Oikomonas, 112;
of Tetramitus, 112;
of Trachelomonas, 112;
of Bodo saltans, 117;
of Choanoflagellates, 122;
absent from Opalinidae, 123;
of Euglenaceae, 125;
of Volvox, 126;
of Ciliata, 143 f.;
in fission, 147;
of Stylonychia, 139 f.
of Stentor, 156;
of Vorticella, 157;
of Suctoria, 160 f., 162
Contractility, 8, 9;
muscular mechanism of, 14 f.
Contraction, of Amoeboid cell, 16 f.
Copepoda, infested by Epistylis, 158
—see also Cyclops
Coppinia, 280;
C. arcta, 280
Coprolites, Radiolaria in, 87
Copromyxa, 90
Coral, 326, 365;
Organ-pipe, 343;
 Precious (= Red), 326, 352;
Flexible (= various Alcyonaria), 326;
Stony (= Madreporaria), 326, 384 f.;
Brain-, 401;
Black (= Gerardia, 406, and Antipatharia, 407);
-Reefs, 390 f.;
Reef-, 389 f.
Coralliidae, 335, 352;
commercial importance, 328
Corallimorphidae, 383
Corallimorphus, 383
Corallium, 333, 350, 352;
C. boshuensis 352;
C. confusum, 352;
C. elatius, 352;
C. inutile, 352;
C. japonicum, 352;
C. johnsoni, 352;
C. konojoi, 352;
C. nobile, 340 n., 341, 352;
C. pusillum, 352;
C. reginae, 352;
C. stylasteroides 352;
C. sulcatum, 352
Corbula, 276
Cordylophora, 269, 272
Cormidia, 301, 305
Cornularia, 334, 344
Cornulariidae, 344
Cornuspira, 59;
shell of, 64
Corona, of Echinus esculentus, 504, 511;
of Endocyclica, 530;
of Cidaridae, 530;
of Echinothuriidae, 530, 535;
of Temnopleurinae, 539
Coronaster, 474
Coronata, 314, 321
Cortex, 190, 191, 213;
gastral cortex, 188
Corticata, 49 n.
Corydendrium (family Tiaridae, 273);
C. parasiticum, 269
Corymorpha, 263, 265, 266, 273;
C. nutans, 273
Corymorphidae, 273
Corynactis, 372, 383;
C. viridis, 383
Coryne, 272
Corynidae, 272
Cosmiolithus, 346
Costae, 385, 387;
of Ctenophora, 413, 416 n.
Costia, 111;
C. necatrix, produces epidemics in fresh-water fish, 119
Cothurnia, 138, 158
Cotte, 218 n.
Cotton-spinner, 564
Cotylorhiza, 325
Coupled cell, 31, 33 f.;
in Flagellates, 116 f.
—see also Zygote
Covering-plates, of arms of Ophiuroidea, 491;
of arms of Crinoidea, 589;
of Hyocrinus, 589, 590;
of Rhizocrinidae, 589, 591;
of Pentacrinidae, 589;
of Antedon, 589, 594;
of Thecoidea, 596;
of Blastoidea, 599
Crambessa, 325
Crambione, 325
Craniella, 213, 213, 214;
C. cranium, 222
Craspedomonadidae, 111, 115 n., 121 f., 122;
transverse division in, 115 n.
—see also Choanoflagellata
Crescent (gametocyte of Laverania), 104 f.
Cretaceous firestone of Delitzet contains Peridinium, 132
Cribrella, 457, 462;
C. (Henricia) sanguinolenta, 462, 463;
C. laeviuscula, 462
Cribriform organs, 470
Cricket, Mole-, Lophomonas parasitic in gut of, 123
Crinoidea, 430, 580 f.;
development of, 617 f.
Crinorhiza, 212, 216
Cristellaria, 59
Crotalocrinus, 595;
C. pulcher, 595
Crustacea, small, rheotaxy of, 21
Cryptabacia, 404
Cryptogams, Higher, spermatozoa of, 38
Cryptoglena, shell of, 113
Cryptohelia, 284, 287;
C. ramosa, 285
Cryptomonadaceae, 110
Cryptomonas, 110
Cryptozonate, 454
Crystals, in isospores of Collozoum inerme, 76;
proteid, 37
Ctenocella, 357
Ctenodiscus, 458, 471
Ctenophora, 412 f.;
comb-plates of, 141
Ctenophoral plates, 141, 412
Ctenoplana, 416, 421
Ctenoplanidae, 421
Cubomedusae, 310, 316, 318 f.
Cucumaria, 573;
C. crocea, 573, 602;
 C. laevigata, 602
Cuénot, on Sporozoa, 94;
on reproduction of Monocystis, 96 n.
Culcita, 453, 472;
C. tetragona, 453
Culex, host of Haemoproteus or Proteosoma, 103;
intermediate host of a Trypanosoma, 120
Cultures, pure, 43
Cunanthidae, 296
Cunarcha, 296
Cunina, 296;
C. proboscidea, 296;
C. rhododactyla, 296
Cunoctantha, 296;
C. octonaria, 295
Cup (= theca), of Flagellates, 113;
of Salpingoeca, 122;
of Acineta, 159, 160
—see also Theca, Tube
Cupulita, 307;
C. sarsii, 304
Current, 169, 171, 234 f.;
electric, stimulus of, 19, 22;
in liquid, relation of protoplasmic movements to, 7, 19, 21
Cuticle, of Dinoflagellata, 130;
of Gregarines, 96;
of Noctiluca, 133
—see also Membrane, Pellicle
Cuticular shell of Flagellates, 113
Cuvier, 245, 246
Cuvierian organs of Holothuria nigra, 564
Cyanaea, 311, 312, 324;
C. capillata, 311, 324;
C. lamarcki, 324
Cyanaeidae, 324
Cyathaxoniidae, 394
Cyatholiths, 114