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All people, in no matter what culture, must be able to place their music firmly in the context of the totality of their beliefs, experiences, and activities, for without such ties, music cannot exist. This means that there must be a body of theory connected with any music system—not necessarily a theory of the structure of music sound, although that may be present as well, but rather a theory of what music is, what it does, and how it is coordinated with the total environment, both natural and cultural, in which human beings move. The Flathead Indians of Western Montana (just over 26,000 in number as of the 2000 census) inhabit a reservation consisting of 632,516 acres of land in the Jocko and Flathead Valleys and the Camas Prairie country, which lie roughly between Evaro and Kalispell, Montana. The reservation is bounded on the east by the Mission Range, on the west by the Cabinet National Forest, on the south by the Lolo National Forest, and on the north by an arbitrary line, approximately bisecting Flathead Lake about twenty-four miles south of Kalispell. The area is one of the richest agricultural regions in Montana, and fish and game are abundant. The Flathead are engaged in stocking, timbering, and various agricultural enterprises. For the Flathead, the most important single fact about music and its relationship to the total world is its origin in the supernatural sphere. All true and proper songs, particularly in the past, owe their origin to a variety of contacts experienced by humans with beings which, though a part of this world, are superhuman and the source of both individual and tribal powers and skills. Thus a sharp distinction is drawn by the Flathead between what they call "make-up" and all other songs. Merriam's pioneering work in the relationship of ethnography and musicology remains a primary source in this field in anthropology.
The Flathead Indian Reservation in western Montana is home to the Salish, Pend d?Oreille, and Kootenai Indian people. Between 2005 and 2006 author Maggie Plummer listened to a cross-section of voices representing the tribes on the reservation and published profiles in the tribal newspaper, the Char-Koosta News. This book collects these interviews and preserves a slice of the recent history of the Flathead Reservation community.
All people, in no matter what culture, must be able to place their music firmly in the context of the totality of their beliefs, experiences, and activities, for without such ties, music cannot exist. This means that there must be a body of theory connected with any music system - not necessarily a theory of the structure of music sound, although that may be present as well, but rather a theory of what music is, what it does, and how it is coordinated with the total environment, both natural and cultural, in which human beings move.The Flathead Indians of Western Montana (just over 26,000 in number as of the 2000 census) inhabit a reservation consisting of 632,516 acres of land in the Jocko and Flathead Valleys and the Camas Prairie country, which lie roughly between Evaro and Kalispell, Montana. The reservation is bounded on the east by the Mission Range, on the west by the Cabinet National Forest, on the south by the Lolo National Forest, and on the north by an arbitrary line, approximately bisecting Flathead Lake about twenty-four miles south of Kalispell. The area is one of the richest agricultural regions in Montana, and fish and game are abundant. The Flathead are engaged in stocking, timbering, and various agricultural enterprises.For the Flathead, the most important single fact about music and its relationship to the total world is its origin in the supernatural sphere. All true and proper songs, particularly in the past, owe their origin to a variety of contacts experienced by humans with beings which, though a part of this world, are superhuman and the source of both individual and tribal powers and skills. Thus a sharp distinction is drawn by the Flathead between what they call "make-up" and all other songs. Merriam's pioneering work in the relationship of ethnography and musicology remains a primary source in this field in anthropology.
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.
The years between 1875 and 1910 saw a revolution in the economy of the Flathead Reservation, home to the Salish and Kootenai Indians. In 1875 the tribes had supported themselves through hunting—especially buffalo—and gathering. Thirty-five years later, cattle herds and farming were the foundation of their economy. Providing for the People tells the story of this transformation. Author Robert J. Bigart describes how the Salish and Kootenai tribes overcame daunting odds to maintain their independence and integrity through this dramatic transition—how, relying on their own initiatives and labor, they managed to adjust and adapt to a new political and economic order. Major changes in the Flathead Reservation economy were accompanied by the growing power of the Flathead Indian Agent. Tribal members neither sought nor desired the new order of things, but as Bigart makes clear, they never stopped fighting to maintain their economic independence and self-support. The tribes did not receive general rations and did not allow the government to take control of their food supply. Instead, most government aid was bartered in exchange for products used in running the agency. Providing for the People presents a deeply researched, finely detailed account of the economic and diplomatic strategies that distinguished the Flathead Reservation Indians at a time of overwhelming and complex challenges to Native American tribes and traditions.
The Rapid City Indian School was one of twenty-eight off-reservation boarding schools built and operated by the Bureau of Indian Affairs to prepare American Indian children for assimilation into white society. From 1898 to 1933 the "School of the Hills" housed Northern Plains Indian children--including Sioux, Northern Cheyenne, Shoshone, Arapaho, Crow, and Flathead--from elementary through middle grades. Scott Riney uses letters, archival materials, and oral histories to provide a candid view of daily life at the school as seen by students, parents, and school employees. The Rapid City Indian School, 1898-1933 offers a new perspective on the complexities of American Indian interactions with a BIA boarding school. It shows how parents and students made the best of their limited educational choices--using the school to pursue their own educational goals--and how the school linked urban Indians to both the services and the controls of reservation life.
On July 16, 1855, eighteen leaders of the Flathead, Kootenai, and Upper Pend d'Oreilles Indians signed an agreement with the United States government, ceding their title to almost all the land in western Montana and establishing the Flathead Indian Reservation. Born of confusion and disagreement, the Hell Gate Treaty is the legal basis for the modern relationship between the tribes and the federal government. In the Name of the Salish & Kootenai Nation reproduces the complete text of the Hell Gate Treaty and collects previously published documents relating to the treaty, among them the official proceedings of the treaty council, Gustavus Sohon's portraits of many of the treaty signers, and letters from the Jesuit priest, Adrian Hoecken, who was present at the treaty deliberations. These documents are presented in the hope that they will inspire further questions and research.
The definitive collection of great writings on music from ancient Greece through the twentieth century.
Why does music have such a powerful effect on our minds and bodies? It is the most mysterious and most tangible of all forms of art. Yet, Anthony Storr believes, music today is a deeply significant experience for a greater number of people than ever before. In this book, he explores why this should be so. Drawing on a wide variety of opinions, Storr argues that the patterns of music make sense of our inner experience, giving both structure and coherence to our feelings and emotions. It is because music possesses this capacity to restore our sense of personal wholeness in a culture which requires us to separate rational thought from feelings that many people find it so life-enhancing that it justifies existence.