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.
