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The Hopi are the westernmost group of the Pueblo Indians of the southwestern U.S. They live on a high, dry plateau in northern Arizona, and have been a sedentary, agricultural people. This study establishes the stylistic parameters of song in a particular culture. Author List determines what is meant when a Hopi person states that two or more performances are those of the same song. To what extent can speech sounds, pitches, and durational values, or the forms of which they are the constituents, differ and the performances still be considered to be those of the same song? List transcribed and compared 8 recordings of performances of a particular kachina dance song and 11 recordings of performance of a particular lullaby, made from 1903 to 1984. Illus.
Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology. The book is divided into two parts; Part One is organised by resource type in catagories of greatest concern to students and scholars. This includes handbooks and guides; encyclopedias and dictionaries; indexes and bibliographies; journals; media sources; and archives. It also offers annotated entries on the basic literature of ethnomusicological history and research. Part Two provides a list of current publications in the field that are widely used by ethnomusicologists. Multiply indexed, this book serves as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the past decades.
With Wearing the Morning Star, Brian Swann presents a collection of more than one hundred Native American songs that celebrate the rich and vibrant oral traditions of the Indigenous peoples of North America. These are songs of the earth and the sky, songs of mourning and of love, parts of ceremonies and rites and rituals. Some have familiar themes; others illuminate the complexities and differences of the Native cultures. The collection includes songs of derision and threat, ribald songs, hunting chants, and a song sung by an Inuit about the first airplane he ever saw. ø Swann has provided an authoritative introduction and notes for each selection that place the songs in their cultural contexts. He has reworked the original translations where appropriate to allow the modern reader to appreciate and enjoy these remarkable works and provides a new preface for this Bison Books edition.
Over the past century and a half, the voices and bodies of animals have been used by scientists and music experts as a benchmark for measures of natural difference. Animal Musicalities traces music's taxonomies from Darwin to digital bird guides to show how animal song has become the starting point for enduring evaluations of species, races, and cultures. By examining the influential efforts made by a small group of men and women to define human diversity in relation to animal voices, this book raises profound questions about the creation of modern human identity, and the foundations of modern humanism.
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.
Most histories of the Cherokee nation focus on its encounters with Europeans, its conflicts with the U. S. government, and its expulsion from its lands during the Trail of Tears. This work, however, traces the origins of the Cherokee people to the third century B.C.E. and follows their migrations through the Americas to their homeland in the lower Appalachian Mountains. Using a combination of DNA analysis, historical research, and classical philology, it uncovers the Jewish and Eastern Mediterranean ancestry of the Cherokee and reveals that they originally spoke Greek before adopting the Iroquoian language of their Haudenosaunee allies while the two nations dwelt together in the Ohio Valley.
Includes appendices.
In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.