By Anna Hoefnagels
Contemporary Aboriginal track from powwow to hip hop, the folks that make it, and the problems that form it.
First international locations, Inuit, and Métis song in Canada is dynamic and numerous, reflecting continuities with prior traditions and leading edge methods to making new musical sounds. Aboriginal tune in modern Canada narrates a narrative of resistance and renewal, fight and good fortune, as indigenous musicians in Canada negotiate who they're and who they wish to be.
Comprised of essays, interviews, and private reflections through 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 well known types together with kingdom and pa to nation-specific and intertribal practices equivalent to powwows, in addition to hybrid performances that comprise tune with theatre and dance. As a complete, this assortment demonstrates how song is...
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A fruitful subset of Aboriginal music research has focused on technological change. Among the pioneering initiatives, Scales’s work on recording and mixing technologies as they are adapted to powwow and other contemporary music is particularly noteworthy. His dual skills as producer and scholar provide him with insight into studio processes. His study of the recording processes of powwow music and the differences between powwow and popular music production illustrates how local aesthetics and traditional values continue to inform production.
Collaboration, then, is not a verbal veneer that absolves anyone of individual responsibility. Several surveys of published studies of First Nations, Inuit, and Métis music in regions that today comprise Canada provide good bibliographic accounts of historical literature relevant to this anthology. 2 I offer observations about themes and styles of representation that have emerged in work by and about Canadian Aboriginal people, not with a view to demarcating any sort of national distinction but to see how specific relationships between people and places have influenced our narratives.
We are very grateful to Julie Leblanc and Anna Guigné for their assistance with the translation of French texts, to Rosalind McCanny for the preparation of the manuscript, and to Kristin Harris Walsh for creating the index. In addition, the supportive and ever efficient staff of the Music Program at Carleton University and of the Research Centre for Music, Media and Place at Memorial University were always there for us, even when not directly involved with this project. Above all, we owe our families and close colleagues thanks for accepting our distractions when academic projects have consumed our attention.
Aboriginal Music in Contemporary. Echoes and Exchanges by Anna Hoefnagels
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