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A report on research done by the Merriams on the Flathead Reservation during 1950.
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.
Complementing Ethnomusicology: An Introduction, this volume of studies, written by world-acknowledged authorities, places the subject of ethnomusicology in historical and geographical perspective. Part I deals with the intellectual trends that contributed to the birth of the discipline in the period before World War II. Organized by national schools of scholarship, the influence of 19th-century anthropological theories on the new field of "comparative musicology" is described. In the second half of the book, regional experts provide detailed reviews by geographical areas of the current state of ethnomusicological research.
In this highly praised and seminal work, Alan Merriam demonstrates that music is a social behavior—one worthy and available to study through the methods of anthropology. In it, he convincingly argues that ethnomusicology, by definition, cannot separate the sound-analysis of music from its cultural context of people thinking, acting, and creating. The study begins with a review of the various approaches in ethnomusicology. He then suggests a useful and simple research model: ideas about music lead to behavior related to music and this behavior results in musical sound. He explains many aspects and outcomes of this model, and the methods and techniques he suggests are useful to anyone doing field work. Further chapters provide a cross-cultural round-up of concepts about music, physical and verbal behavior related to music, the role of the musician, and the learning and composing of music. The Anthropology of Music illuminates much of interest to musicologists but to social scientists in general as well.
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.
Ethnomusicology is an academic discipline with a very broad mandate: to understand why and how human beings are musical through the study of music in all its geographical and historical diversity. Ethnomusicological scholarship, however, has been remiss in articulating such goals, methods, and theories. A renowned figure in the field, Timothy Rice is one of the few scholars to regularly address this problem. In this volume, he offers a compilation of essays drawn from across his career that finds implicit and yet largely unrecognized patterns unifying ethnomusicology over its recent history. Modeling Ethnomusicology summarizes thirty years of thinking about the field of ethnomusicology as Rice frames and reframes the content of eight of his most important essays from their original context in relation to the environment of today's ethnomusicology. Rice proposes a variety of models meant to guide students and researchers in their study of ethnomusicology. Some of these models pull together disparate strands of the field, while others propose heuristic models that generate questions for researchers as they plan and conduct their research. A new introduction to these essays reviews the history of his writing about ethnomusicology and proposes an innovative model for theorizing in ethnomusicology by ethnomusicologists. This book will be an enduring, essential text in undergraduate and graduate ethnomusicology classrooms, as well as a must-buy for established scholars in the field.
A history of American music, its diversity, and the cultural influences that helped it develop.