Ethnomusicology, World Music, and Folk Music Guide

With detailed essays on the Arctic's environment, wildlife, climate, history, exploration, resources, economics, politics, indigenous cultures and languages, conservation initiatives and more, this Encyclopedia is the only major work and comprehensive reference on this vast, complex, changing, and increasingly important part of the globe. Including 305 maps. This Encyclopedia is not only an interdisciplinary work of reference for all those involved in teaching or researching Arctic issues, but a fascinating and comprehensive resource for residents of the Arctic, and all those concerned with global environmental issues, sustainability, science, and human interactions with the environment.

First Nations, Inuit, and Métis music in Canada is dynamic and diverse, reflecting continuities with earlier traditions and innovative approaches to creating new musical sounds. Aboriginal Music in Contemporary Canada narrates a story of resistance and renewal, struggle and success, as indigenous musicians in Canada negotiate who they are and who they want to be. Comprised of essays, interviews, and personal reflections by Aboriginal and non-Aboriginal musicians and scholars alike, the collection highlights themes of innovation, teaching and transmission, and cultural interaction. Individual chapters discuss musical genres ranging from popular styles including country and pop to nation-specific and intertribal practices such as powwows, as well as hybrid performances that incorporate music with theatre and dance. As a whole, this collection demonstrates how music is a powerful tool for articulating the social challenges faced by Aboriginal communities and an effective way to affirm indigenous strength and pride. Juxtaposing scholarly study with artistic practice, Aboriginal Music in Contemporary Canada celebrates and critically engages Canada's vibrant Aboriginal music scene. Contributors include Véronique Audet (Université de Montreal), Columpa C. Bobb (Tsleil Waututh and Nlaka'pamux, Manitoba Theatre for Young People), Sadie Buck (Haudenosaunee), Annette Chrétien (Métis), Marie Clements (Métis/Dene), Walter Denny Jr. (Mi'kmaw), Gabriel Desrosiers (Ojibwa, University of Minnesota, Morris), Beverley Diamond (Memorial University), Jimmy Dick (Cree), Byron Dueck (Royal Northern College 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, University of Toronto), Christopher Scales (Michigan State 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).

What does it mean to be a traditional Koryak in the modern world? How do indigenous Siberians express a culture that entails distinctive customs and traditions? For decades these people, who live on the Kamchatka Peninsula in northeastern Siberia, have been in the middle of contradictory Soviet/Russian colonial policies that celebrate cultural and ethnic difference across Russia yet seek to erase those differences. Government institutions both impose state ideologies of culture and civilization and are sites of community revitalization for indigenous Siberians. nbsp; In Living with Koryak Traditions, Alexander D. King reveals that, rather than having a single model of Koryak culture, Koryaks themselves are engaged in deep debates and conversations about what “culture” and “tradition” mean and how they are represented for native peoples, both locally and globally. To most Koryaks, tradition does not function simply as an identity marker but also helps to maintain moral communities and support vulnerable youth in dire times. Debunking an immutable view of tradition and culture, King presents a dynamic one that validates contemporary indigenous peoples’ lived experience.

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.

This study provides a comprehensive description of the rich song culture of the people in the Thule area, the Inughuit. Transcriptions and scientific processing of 134 traditional songs recorded by archaeologist and folklorist Erik Holtved in Thule in 1937 ? as well as a collection of Inughuit songs recorded in 1962 by Bent Jensen and the author ? constitute the nucleus of this work. The songs and their texts are presented and notated in full length ? including analyses of a representative stanza from each song. Based on the transcriptions, different form and melody types are revealed. Furthermore, descriptions are given of singing methods, drum construction and handling, and performing habits, as well as historical and recent data.Several other collections are notated and analyzed: recordings from Uummannaq-Upernavik in 1912, from the Copper Inuit areas in 1914?16, and from Baffin Island in the 1960s?70s. The study sheds important light on the characteristic traits of the form and melody types of the Inughuit and how these are linked to certain Inuit groups in Canada, documenting particular areas of origin and migration routes of these groups. Many of the songs are presented on the enclosed CD.