ABSTRACT
This chapter examines the analytical studies in world music, composer, theorist and ethnomusicologist Michael Tenzer astutely. A world music theory would be a response to economic and cultural transformation making it desirable for musicians to acquire competence not just passively hearing, but contemplating and integrating any music. The tension between these two concepts, the global musicianship imperative and the global musicianship dilemma, is palpable, and is in fact what has motivated the writing of this book. In fact, this dilemma requires a rethinking of what music theory really is, especially from a pedagogical standpoint. The first and most elemental of the analytical categories is Rhythm, which seems essential to a practical working definition of music since music flows out over time. It should be clear by this point that the notion of dynamic interactivity of elements is essential to understanding music analytically. Again, this is the real genius of LaRues original study.
