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First Published in 1997. The present volume contains references and descriptive annotations for 1,497 sources on North American Indian and Eskimo music. As conceived here, the subject encompasses works on dance, ritual, and other aspects of religion or culture related to music, and selected "classic" recordings have also been included. The coverage is equally broad in other respects, including writings in several different languages and spanning a chronological period from 1535 to 1995. The book is intended as a reference tool for researchers, teachers, and college students. With their needs in mind, the sources are arranged in ten sections by culture area, and the introduction includes a general history of research. Finally, there are also indices by author, tribe, and subject.
An eminent musicologist describes the various styles and forms of music of the North American Indians, examining rhythm, melodic movement, and vocal techniques of tribes from each geographic area.
Native American Music in Eastern North America is one of many case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Native American Music in Eastern North America is one of the first books to explore the contemporary musical landscape of indigenous North Americans in the north and east. It shows how performance traditions of Native North Americans have been influenced by traditional social values and cultural histories, as well as by encounters and exchanges with other indigenous groups and with newcomers from Europe and Africa. Drawing on her extensive fieldwork and on case studies from several communities--including the Iroquois, the Algonquian-speaking nations of the Atlantic seaboard, and the Inuit of the far north--author Beverley Diamond discusses intertribal celebrations, popular music projects, dance, art, and film. She also considers how technology has mediated present-day cultural communication and how traditional ideas about social roles and gender identities have been negotiated through music. Enhanced by accounts of local performances, interviews with tribal elders and First Nations performers, vivid illustrations, and hands-on listening activities, Native American Music in Eastern North America provides a captivating introduction to this under-examined topic. It is packaged with an 80-minute audio CD containing twenty-six examples of the music discussed in the book, including several rare recordings. The author has also provided a list of eighteen songs representing a wide variety of styles--from traditional Native American chants to an Inuit collaboration with Björk--that are referenced in the book and available as an iMix at www.oup.com/us/globalmusic.
This edition explores the history of musical contact, interaction, and exchange between American Indians and Euramericans, as documented in musical transcriptions, notations, and arrangements. The volume contributes to an understanding of American music that reflects our cultural reality, depicting reciprocal influences among Native Americans, scholars, composers, and educators, and illustrating consequences of those encounters for American musical life in general. Culled from a published record of over 8,000 songs, the edition contains 116 musical examples reproduced in facsimile. Included in the volume are the earliest attempts to represent tribal music in European notation, archetypal transcriptions in the scholarly literature of ethnomusicology, and recent contributions by contemporary scholars. Some of the notations shown here inspired composers in search of a distinctively American musical idiom to write works based on American Indian melodies. Others captured the imagination of American school children, whose concept of cultural and musical identity came to be linked with American Indians. Indigenous notations, the work of native scholars and educators, and recent compositions by native composers working in the classical vein also appear in this volume. As a compendium of historic materials, the edition illustrates the development of Euramerican attitudes and approaches to American Indian musics, the infusion of native musics into American musical culture, and native responses to and participation in the enterprise.
This book is a one-stop reference resource for the vast variety of musical expressions of the First Peoples' cultures of North America, both past and present. Encyclopedia of Native American Music of North America documents the surprisingly varied musical practices among North America's First Peoples, both historically and in the modern context. It supplies a detailed yet accessible and approachable overview of the substantial contributions and influence of First Peoples that can be appreciated by both native and nonnative audiences, regardless of their familiarity with musical theory. The entries address how ethnomusicologists with Native American heritage are revolutionizing approaches to the discipline, and showcase how musicians with First Peoples' heritage are influencing modern musical forms including native flute, orchestral string playing, gospel, and hip hop. The work represents a much-needed academic study of First Peoples' musical cultures—a subject that is of growing interest to Native Americans as well as nonnative students and readers.
Folding a River, a collection of elegies, shows a pleasing range of free-verse forms that develop themes sustained throughout: loss, exile, myth, landscape. Kawita Kandpal's poems are explorations of East-West cultures, taking her into an emo-mythic place not to be found on any map. Kandpal's mood in Folding a River is melancholy, articulated with intelligence and grace, and her phrasing can rise to the level of proverb: "This time next year you will have evolved into an idea." In its personal evocations of geographical and linguistic exile from the subcontinent, centered on a lost father, her work recalls that of Li-Young Lee, yet with a feminine perspective often haunting in its own right: "tenderly / taking back the mistakes of men."
This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect today’s beat, including popular music, jazz, and rock. Throughout this Fourth Edition, existing articles have been fine-tuned and new entries added so that the dictionary fully reflects current music scholarship and recent developments in musical culture. Encyclopedia-length articles by notable experts alternate with short entries for quick reference, including definitions and identifications of works and instruments. More than 220 drawings and 250 musical examples enhance the text. This is an invaluable book that no music lover can afford to be without.
This unique anthology presents a wide variety of approaches to an ethnomusicology of Inuit and Native North American musical expression. Contributors include Native and non-Native scholars who provide erudite and illuminating perspectives on aboriginal culture, incorporating both traditional practices and contemporary musical influences. Gathering scholarship on a realm of intense interest but little previous publication, this collection promises to revitalize the study of Native music in North America, an area of ethnomusicology that stands to benefit greatly from these scholars' cooperative, community-oriented methods. Contributors are T. Christopher Aplin, Tara Browner, Paula Conlon, David E. Draper, Elaine Keillor, Lucy Lafferty, Franziska von Rosen, David Samuels, Laurel Sercombe, and Judith Vander.
This paper describes the ethnographic context and analyses the structural characteristics of Bella Coola songs. Seventy-three original transcriptions which encompass a broad spectrum of Bella Coola ceremonial and non-ceremonial repertoires are included.
Explore the relationship between music and society around the world This comprehensive introductory text creates a panoramic experience for beginner students by exposing them to the many musical cultures around the globe. Each chapter opens with a musical encounter in which the author introduces a key musical culture. Through these experiences, students are introduced to key musical styles, musical instruments, and performance practices. Students are taught how to actively listen to key musical examples through detailed listening guides. The role of music in society is emphasized through chapters that focus on key world cultural groups.