2019, Victoria Lindsay Levine (Editor); Dylan Robinson (Editor). Revisioning Indigenous musicology, Music and Modernity among First Peoples of North America is a collaboration between Indigenous and settler scholars from both Canada and the United States. The contributors explore the intersections between music, modernity, and Indigeneity in essays addressing topics that range from hip-hop to powwow, and television soundtracks of Native Classical and experimental music. Working from the shared premise that multiple modernities exist for Indigenous peoples, the authors seek to understand contemporary musical expression from Native perspectives and to decolonize the study of Native American/First Nations music. The essays coalesce around four main themes: innovative technology, identity formation and self-representation, political activism, and translocal musical exchange. Closely related topics include cosmopolitanism, hybridity, alliance studies, code-switching, and ontologies of sound. Featuring the work of both established and emerging scholars, the collection demonstrates the centrality of music in communicating the complex, diverse lived experience of Indigenous North Americans in the twenty-first century and brings ethnomusicology into dialogue with critical Indigenous studies."
Hip hop beats, indigenous rhymes : modernity and hip hop in indigenous North America
2018, by Kyle Mays. "Expressive culture has always been an important part of the social, political, and economic lives of Indigenous people. More recently, Indigenous people have blended expressive cultures with hip hop culture, creating new sounds, aesthetics, movements, and ways of being Indigenous. This book documents recent developments among the Indigenous hip hop generation. Meeting at the nexus of hip hop studies, Indigenous studies, and critical ethnic studies, Hip Hop Beats, Indigenous Rhymes argues that Indigenous people use hip hop culture to assert their sovereignty and challenge settler colonialism. From rapping about land and water rights from Flint to Standing Rock, to remixing “traditional” beading with hip hop aesthetics, Indigenous people are using hip hop to challenge their ongoing dispossession, disrupt racist stereotypes and images of Indigenous people, contest white supremacy and heteropatriarchy, and reconstruct ideas of a progressive masculinity. In addition, this book carefully traces the idea of authenticity; that is, the common notion that, by engaging in a Black culture, Indigenous people are losing their “traditions.” Indigenous hip hop artists navigate the muddy waters of the “politics of authenticity” by creating art that is not bound by narrow conceptions of what it means to be Indigenous; instead, they flip the notion of “tradition” and create alternative visions of what being Indigenous means today, and what that might look like going forward."
Indigenous Pop: Native American Music from Jazz to Hip Hop.
2016, Jeff Berglund (Editor); Jan Johnson (Editor); Kimberli Lee (Editor) "Popular music compels, it entertains, and it has the power to attract and move audiences. With that in mind, the editors of Indigenous Pop showcase the contributions of American Indian musicians to popular forms of music, including jazz, blues, country-western, rock and roll, reggae, punk, and hip hop. From Joe Shunatona and the United States Indian Reservation Orchestra to Jim Pepper, from Buffy Saint-Marie to Robbie Robertson, from Joy Harjo to Lila Downs, Indigenous Pop vividly addresses the importance of Native musicians and popular musical genres, establishing their origins and discussing what they represent. Arranged both chronologically and according to popular generic forms, the book gives Indigenous pop a broad new meaning. In addition to examining the transitive influences of popular music on Indigenous expressive forms, the contributors also show ways that various genres have been shaped by what some have called the "Red Roots" of American-originated musical styles. This recognition of mutual influence extends into the ways of understanding how music provides methodologies for living and survival. Each in-depth essay in the volume zeros in on a single genre and in so doing exposes the extraordinary whole of Native music. This book showcases the range of musical genres to which Native musicians have contributed and the unique ways in which their engagement advances the struggle for justice and continues age-old traditions of creative expression."
2016, by Craig Harris. "Despite centuries of suppression and oppression, American Indian music survives today as a profound cultural force. Heartbeat, Warble, and the Electric Powwow celebrates in depth the vibrant soundscape of Native North America, from the "heartbeat" of intertribal drums and "warble" of Native flutes to contemporary rock, hip-hop, and electronic music. Drawing on more than one hundred interviews with musicians, producers, ethnographers, and record-label owners, author and musician Craig Harris conjures an aural tapestry in which powwow drums and end-blown woodwinds resound alongside operatic and symphonic strains, jazz and reggae, country music, and blues. Harris begins with an exploration of the powwow, from sacred ceremonies to intertribal gatherings. He examines the traditions of the Native American flute and its revival with artists such as two-time Grammy winners R. Carlos Nakai and Mary Youngblood. Singers and songwriters, including Buffy Sainte-Marie, Keith Secola, and Joanne Shenandoah, provide insights into their music and their lives as American Indians. Harris also traces American Indian rock, reggae, punk, and pop over four decades, punctuating his survey with commentary from such artists as Tom Bee, founder of Native America's first rock band, XIT. Grammy-winner Taj Mahal recalls influential guitarist Jesse Ed Davis; ex-bandmates reflect on Rock Hall of Fame inductee Redbone; Robbie Robertson, Pura Fe, and Rita Coolidge describe how their groundbreaking 1993 album, Music for the Native Americans, evolved; and DJs A Tribe Called Red discuss their melding of archival powwow recordings into fiery dance music. The many voices and sounds that weave throughout Harris's engaging, accessible account portray a sonic landscape that defies stereotyping and continues to expand. Heartbeat, Warble, and the Electric Powwow is the story--told by those who live it--of resisting a half-millennium of cultural suppression to create new sounds while preserving old roots. Listen in! Visit this book's page on the oupress.com website for a link to the book's Spotify playlist."
Intertribal Native American Music in the United States : experiencing music, expressing culture
2014, by John-Carlos Perea. "The development of a shared musical heritage amongst the various Native American tribes reveals a history fraught with the tension of the give-and-take between cultural maintenance and new cultural creation. In Intertribal Native American Music in the United States, author John-Carlos Pereaexplores this tension and shows how traditional sounds, such as the powwow song and cedar flute, have developed into increasingly recognizable forms, like Native jazz and rock.These older sounds and their modern incarnations form the four themes around which Perea frames his discussion. First, he examines powwows - American Indian social gatherings founded upon an intertribal repertoire of music and dance - and shows how the assemblies of Northern and Southern Plains andNavajo tribes represent a singular performance encompassing disparate stories and sounds. From the relative insularity of the powwow, Perea then looks at the mainstreaming of the cedar flute and its role in introducing Native American music to broader audiences. From there, he surveys Native rockand jazz, considering their roots and their trajectories, as well as the milestone creation of the Best Native American Music GrammyRG Award in 2000. With this book, Perea offers readers the only brief text that makes clear the interconnectedness of Native American music through a lively analysis ofhow it began and where it is headed.Designed to be used as one of several short and inexpensive case study volumes in the Global Music Series, this volume is appropriate for introductory undergraduate courses in world music or ethnomusicology and for upper-level courses on Native American music and/or culture, as well as NativeAmerican Indians courses in Anthropology. The twenty-second volume in the Series, this text is based on the author's own extensive fieldwork and features interviews with performers, eyewitness accounts of performances, and vivid illustrations. The book also features listening activities that enablestudents to engage critically and actively with the text. The included 70-minute CD contains examples of music discussed in the text, and supplementary material for instructors will be available on the companion web site."
Musical Intimacies and Indigenous Imaginaries : aboriginal music and dance in public performance
2013, by Byron Dueck. "Musical Intimacies and Indigenous Imaginaries explores several styles performed in the vital aboriginal musical scene in the western Canadian province of Manitoba, focusing on fiddling, country music, Christian hymnody, and step dancing. In considering these genres and the contexts in whichthey are performed, author Byron Dueck outlines a compelling theory of musical publics, examines the complex, overlapping social orientations of contemporary musicians, and shows how music and dance play a central role in a distinctive indigenous public culture.Dueck considers a wide range of contemporary aboriginal performances and venues - urban and rural, secular and sacred, large and small. Such gatherings create opportunities for the expression of distinctive modes of northern Algonquian sociability and for the creative extension of indigenouspublicness. In examining these interstitial sites - at once places of intimate interaction and spaces oriented to imagined audiences - this volume considers how Manitoban aboriginal musicians engage with audiences both immediate and unknown; how they negotiate the possibilities mass mediationaffords; and how, in doing so, they extend and elaborate indigenous sociability.Musical Intimacies brings theories of public culture from anthropology and literary criticism into musicological and ethnomusicological discussions while introducing productive new ways of understanding North American indigenous engagement with mass mediation. It is a unique work that will appeal tostudents and scholars of popular music, musicology, music theory, anthropology, sociology, and cultural studies. It will be necessary reading for students of American ethnomusicology, First Nations and Native American studies, and Canadian music studies."
TriCollege Libraries Catalog
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RILM Abstracts of Music Literature
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Proquest Dissertations and Theses Full Text
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