Download Aboriginal Music in Contemporary Canada: Echoes and by Anna Hoefnagels PDF

By Anna Hoefnagels

First international locations, Inuit, and Métis song in Canada is dynamic and various, reflecting continuities with previous traditions and cutting edge ways to making new musical sounds. Aboriginal track in modern Canada narrates a narrative of resistance and renewal, fight and luck, as indigenous musicians in Canada negotiate who they're and who they wish to be. made out of essays, interviews, and private reflections by means of Aboriginal and non-Aboriginal musicians and students alike, the gathering highlights topics of innovation, instructing and transmission, and cultural interplay. person chapters talk about musical genres starting from renowned kinds together with state and pa to nation-specific and intertribal practices akin to powwows, in addition to hybrid performances that comprise tune with theatre and dance. As an entire, this assortment demonstrates how tune is a robust software for articulating the social demanding situations confronted by means of Aboriginal groups and a great way to verify indigenous energy and satisfaction. Juxtaposing scholarly learn with creative perform, Aboriginal tune in modern Canada celebrates and severely engages Canada's brilliant Aboriginal track scene. individuals comprise Véronique Audet (Université de Montreal), Columpa C. Bobb (Tsleil Waututh and Nlaka'pamux, Manitoba Theatre for younger People), Sadie greenback (Haudenosaunee), Annette Chrétien (Métis), Marie Clements (Métis/Dene), Walter Denny Jr. (Mi'kmaw), Gabriel Desrosiers (Ojibwa, collage of Minnesota, Morris), Beverley Diamond (Memorial University), Jimmy Dick (Cree), Byron Dueck (Royal Northern collage of Music), Klisala Harrison (University of Helsinki), Donna Lariviere (Algonquin), Charity Marsh (University of Regina), Sophie Merasty (Dene and Cree), Garry Oker (Dane-zaa), Marcia Ostashewski (Cape Breton University), Mary Piercey (Memorial University), Amber Ridington (Memorial University), Dylan Robinson (Stó:lo, college of Toronto), Christopher Scales (Michigan country University), Gilles Sioui (Wendat), Gordon E. Smith (Queen's University), Beverly Souliere (Algonquin), Janice Esther Tulk (Memorial University), Florent Vollant (Innu) and Russell Wallace (Lil'wat).

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Extra resources for Aboriginal Music in Contemporary Canada: Echoes and Exchanges

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Morrison 1996, Neuenfeldt 1996, 2002b, Patterson 1996a, Scales 1996, 1999, 2002, 2004, Tulk 2003, Valentine 2003, von Rosen 1998, Whidden 2007, and Wright-McLeod 1996). Among the identity studies, however, the foci have varied a great deal. , Baxter-Moore, Neuenfeldt, V. Morrison, Patterson, and Wright-McLeod) address Native American identity more broadly, often with an emphasis on sociopolitical issues articulated in song. Laurent Jerôme (2005) explores Atikamekw youth culture but with an emphasis on the Atikamekw’s use of the traditional drum, the teueikan.

Morrison, Patterson, and Wright-McLeod) address Native American identity more broadly, often with an emphasis on sociopolitical issues articulated in song. Laurent Jerôme (2005) explores Atikamekw youth culture but with an emphasis on the Atikamekw’s use of the traditional drum, the teueikan. Karl Neuenfeldt (1996, 2002a), whose work is usefully informed by his knowledge of both Canadian and Australian Indigenous scenes, has written about the ways that song texts articulate social issues. K. Caldwell (1999) further explore this theme.

The final chapter in this section also addresses powwows and tradition. “Aboriginal Women and the Powwow Drum: Restrictions, Teachings, and Challenges,” by Anna Hoefnagels, queries the common practices and traditional teachings associated with making powwow music. At most powwows men strike the powwow drum and lead the singing of the song, and if women are present as musicians, they are usually restricted to the role of back-up singer, entering in particular places in the songs an octave higher than the men.

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