Relevant bibliographies by topics / Indigenous musical arts practices

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Indigenous musical arts practices'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Indigenous musical arts practices"

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Fortin, Claude, Kate Hennessy, and Jim Bizzocchi. "Navigating the Cyber Museum: Reconstructing Indigenous Living History in A Journey into Time Immemorial." Leonardo 53, no. 1 (2020): 38–44. http://dx.doi.org/10.1162/leon_a_01545.

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This article closely examines aspects of the Virtual Museum of Canada’s website A Journey into Time Immemorial to investigate the relationship between the poetics of new media and contemporary curatorial practices in Indigenous cultural heritage. In this interactive cyber museum, detailed reconstructions of a longhouse village, engaging motion graphics and video interviews with Elders are combined to represent the historical practices of Stó:l̄-Coast Salish peoples and their enduring significance today. The objective of this research is to reflect on how computational tools and spatial design
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Lulkowska, Agata. "Decolonising Local Knowledge – Arhuaco Filmmaking as a Form of Cultural Opposition." Cuadernos de Música, Artes Visuales y Artes Escénicas 16, no. 2 (2021): 132–49. http://dx.doi.org/10.11144/javeriana.mavae16-2.dlka.

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Can filmmaking as a form of intercultural communication serve as an apparatus for selfidentification and cultural opposition to established North/West knowledge pro- duction hubs? Based on extensive fieldwork in the Sierra Nevada and detailed analysis of the Arhucao films and their production and distribution strategies, this article explores the possibility of utilising film and audio-visual communication as a way to decolonise local knowledge. Following decades of persecutions, hostility, illtreatment and cultural violence, the work of Zhigoneshi (and, later, Yosokwi) communication col- lect
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Lippit, Takuro Mizuta. "Ensembles Asia: Mapping experimental practices in music in Asia." Organised Sound 21, no. 1 (2016): 72–82. http://dx.doi.org/10.1017/s1355771815000394.

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In Western countries and in Japan, experimental practices of music have developed into larger communities that share a common musical aesthetic and language, and are generally associated with genres such as noise music, free improvisation, or experimental music. However in South East Asia, and particularly in Indonesia, these categories are of little use for finding artists making unique music. Instead, distinctly individualistic styles and a form of musical experimentalism is found at the edge of more popular genres such as punk, metal, or as a result of incorporating traditional and indigeno
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Asare, Amos Darkwe. "“SINGING THE HEALING”: THE RITUALS OF THE TWELVE APOSTLES CHURCH IN GHANA." African Music: Journal of the International Library of African Music 11, no. 1 (2019): 113–16. http://dx.doi.org/10.21504/amj.v11i1.2295.

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While many in Ghana prefer modern medical systems, others use indigenous means such as those emanating from shrines and indigenous sects. Today, many religious practices in Ghana focus a greater part of their services on healing and the general wellbeing of its members. The formation of African Indigenous Churches (AICs) has played a central role in bridging the gap between indigenous and Christian concepts of worship, healing, and wellbeing. The Twelve Apostles Church, first of the AICs in Ghana, is prominent as far as good health and the wellbeing of its members are concerned. These indigeno
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Idamoyibo, A. A. "Musical Arts and Indigenous Knowledge System: Understanding, Reproducing the Ijala Musical Genre in Yorubaland." Research Journal of Applied Sciences 6, no. 4 (2011): 244–50. http://dx.doi.org/10.3923/rjasci.2011.244.250.

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Bennett, Tony, Ben Dibley, and Michelle Kelly. "Marking Differences: Indigenous cultural tastes and practices." Continuum 32, no. 3 (2018): 308–21. http://dx.doi.org/10.1080/10304312.2018.1453466.

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Pooley, Thomas M. "Extracurricular arts: poverty, inequality and indigenous musical arts education in post-apartheid South Africa." Critical Arts 30, no. 5 (2016): 639–54. http://dx.doi.org/10.1080/02560046.2016.1262438.

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Koegel, John. "Spanish and French Mission Music in Colonial North America." Journal of the Royal Musical Association 126, no. 1 (2001): 1–53. http://dx.doi.org/10.1093/jrma/126.1.1.

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Despite the many negative aspects of European colonization endured by indigenous peoples throughout North America, music served as a powerful and positive force. This study demonstrates that musical life in the Franciscan and Jesuit missions throughout Spanish North America was fully developed, was a most important part of the evangelization process, and involved music similar to that performed in other mission areas in Spanish America. Musical life in New France and Louisiana is summarized here to show that the French operated a parallel system of musical evangelization and that the establish
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Mugovhani, N. G. "THE RELATIONSHIP BETWEEN TSHIVENDA LINGUISTIC VOCABULARY AND MUSICAL TRAJECTORIES AS ENCAPSULATED IN MIRERO, MAAMBELE AND DZITHAI." Southern African Journal for Folklore Studies 24, no. 1 (2016): 65–77. http://dx.doi.org/10.25159/1016-8427/1673.

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African societies have always had-well established oral traditions. Vhavenḓa have a great wealth of folklore, such as mirero (proverbs), maambele (idioms) and dzithai (riddles) which help portray myriad aspects of their cultural heritage. As part of indigenous knowledge system, folkloric elements such as mirero, maambele and dzithai are used as vehicles for advising, correcting, reprimanding or rebuking. They are also used in providing direction, support and guidance. Through these folkloric elements, Vhavenḓa have always had their way of expressing how they perceive the significance of their
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Ryan, Robin, Jasmin Williams, and Alison Simpson. "From the ground up: growing an Australian Aboriginal cultural festival into a live musical community." Arts and the Market 11, no. 2 (2021): 92–108. http://dx.doi.org/10.1108/aam-09-2020-0038.

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PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations
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Dissertations / Theses on the topic "Indigenous musical arts practices"

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Davhula, Mudzunga Junniah. "Malombo Musical Art in VhaVenda Indigenous Healing Practices." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/64353.

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The traditional healing practices of the Vhavenda people include one very important component, the malombo ritual healing practice. This healing practice has been conducted for centuries. It involves the use of music (including singing and the use of drums and shakers for rhythm), dance and elements of theatre performed by the person to be healed, the healer, invited malombe (community members who have been through the same ritual), as well as family members and supporters. The importance of this ritual as a healing process has long been acknowledged. Of interest in this study, however
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Kyakuwa, Julius. "Exploring African musical arts as community outreach at the University of Pretoria." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60374.

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Grothues, Nicole M. "Celebrity and the Broadway Musical: Perceptions, Practices, and Prospects for an American Art Form." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306240634.

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Pras, Amandine. "How to draw out the best musical performance: best practices for studio recording in the digital era." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110619.

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This thesis aims to identify best practices for musical recording, involving the capture of multiple takes of a musical work in studio. Digital technologies and Internet file sharing have brought the recording industry to a transitional phase in which studio professions (sound engineer and record producer) need to be reinvented. To better understand the impact of technological advances on recording production, there is a critical need to investigate studio practices and studio professional's tacit knowledge, an area that has received scant attention in the academic research. This investigation
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Devaney, Johanna. "An empirical study of the influence of musical context on intonation practices in solo singers and SATB ensembles." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103705.

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Intonation in singing is a complex phenomenon that has received only limited empirical attention in the literature to date. Previous studies have observed that singers do not conform to either equal temperament or any other fixed-intonation system. However, none of these studies have explored whether singers' intonation practices are systematically related to musical context. The main objective of this dissertation is to examine the ways in which intonation is related to musical context, in both solo singing and in one voice-per-part SATB ensembles. The intonation-related data was extracted au
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Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.

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Karnyski, Margaret A. "Ethnomedical and biomedical health care and healing practices among the Rathwa adivasi of Kadipani village, Gujarat State, India." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003050.

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Molano, Zuluaga Juan Carlos. "Damaciri y Jaury : La performatividad sonora Emberá Chamí en el resguardo indígena de San Lorenzo. Caldas (Colombia) Juan Carlos Molano Zuluaga Porto Alegre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142688.

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O resguardo indígena de San Lorenzo é um território de uns 11.618 habitantes localizado no noroeste de Caldas (Colômbia), pertencente a um subgrupo indígena da etnia Emberá Chamí. As práticas sonoro-musicais que desenvolvem cotidianamente estas pessoas indígenas são a temática central desta dissertação, desenvolvida a partir de uma etnografia norteada pela etnomusicologia. No entanto, o componente de direção e interpretação se vislumbra a partir da persistente luta política e territorial destes atores sociais onde as suas práticas sonoro-musicais evidenciam um devir sônico e corporal no territ
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Anthony, Douglas Richard. "''Acting In'': A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429801174.

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Chou, Chia-Ling, and 周家綾. "The Research of Taiwan Indigenous Musical-Dancing Groups and Culture Environments: The Cultivation Performing Arts Teams of Council of Indigenous Peoples." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/45511700649366278995.

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Books on the topic "Indigenous musical arts practices"

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Odyke, Nzewi, ed. A contemporary study of musical arts: Informed by African indigenous knowledge systems. Centre for Indigenous Instrumental African Music and Dance (Ciimda), 2007.

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Nzewi, Meki. Learning the musical arts in contemporary Africa: Derived from indigenous knowledge systems. Centre for Indigenous Instrumental African Music and Dance (Ciimda), 2005.

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United States. Congress. House. Committee on Government Operations. Information, Justice, Transportation, and Agriculture Subcommittee. Pearl Jam's antitrust complaint: Questions about concert, sports, and theater ticket handling charges and other practices : hearing before the Information, Justice, Transportation, and Agriculture Subcommittee of the Committee on Government Operations, House of Representatives, One Hundred Third Congress, second session, June 30, 1994. U.S. G.P.O., 1995.

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Wilson, Oli. Tiki Taane’s With Strings Attached: Alive & Orchestrated and postcolonial identity politics in New Zealand. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0014.

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This chapter explores how the New Zealand popular music artist Tiki Taane subverts dominant representational practices concerning New Zealand cultural identity by juxtaposing musical ensembles, one a ‘colonial’ orchestra, the other a distinctively Māori (indigenous New Zealand) kapa haka performance group, in his With Strings Attached: Alive & Orchestrated album and television documentary, released in 2014. Through this collaboration, Tiki reframes the colonial experience as an amalgam of reappropriated cultural signifiers that enraptures those that identify with colonization and colonizin
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Olsen, Dale A. The Making of World Flutes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037887.003.0002.

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All cultures have their specific ways of constructing their flutes, which fit within their particular and usually unwritten music theories, aesthetics, and practices. Folktales and mythology, like music iconography, however, offer very little reliable descriptive information about flute construction techniques or even flutes as material objects; artistic license, such as exaggeration, understatement, ambiguity, hyperbole, deception, exists in both the narrative and visual arts. To understand why cultures construct their flutes in the ways they do, the narrative arts with their use of metaphor,
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Gareiss, Nicholas. An Buachaillín Bán. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0011.

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Helen O’Shea asserts that ‘Irish’ and ‘queer’ are mutually exclusive identifications in the discourse of Irish nationalism and Irish traditional arts. If indigenous Irish cultural practices are indeed devoid of queerness, how can queer dancers working within these forms make sense of their role as both cultural exponents and sexual and gender outsiders? Embodying alterity within idioms historically touted as the representation of essentialized Irishness, how do queer Irish step dancers negotiate their queerness through a dance form historically cast so close to the heteronormative heart of rur
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US GOVERNMENT. Pearl Jam's antitrust complaint: Questions about concert, sports, and theater ticket handling charges and other practices : Hearing before the Information, ... Congress, second session, June 30, 1994. For sale by the U.S. G.P.O., Supt. of Docs, 1995.

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Kartomi, Margaret. Upstream Minangkabau. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0002.

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This chapter explores an aspect of the artistic tradition of the darék—the mystical tiger-capturing songs sung by a shaman and accompanied by his partner shaman on an oblique bamboo flute. Associated with a veneration for the ancestors and spirits of nature, the repertory of tiger-capturing songs (dendang marindu harimau, or dendang manangkok harimau) belongs to the most evocative of the traditional vocal music (dendang) of the Minangkabau highlands. As orthodox ulama do not approve of pre-Muslim tiger music and rituals, the shamans begin their performances with Muslim prayers. After providing
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Kartomi, Margaret. Connections across Sumatra. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0014.

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This concluding chapter highlights some of the connections between the traditional styles and genres of the performing arts across Sumatra, paying attention to the impact of indigenous religions and Islam as well as classification of the musical instruments and ensembles. It also considers how the musical arts are linked to myths and legends, and how myths and art forms are related to indigenous religious beliefs. Finally, it discusses Hindu myths and art forms; Muslim-associated myths and legends and art forms; Chinese myths and art forms; dances and music-dance relationships; connections bet
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Oti Rakena, Te. Community Music in the South Pacific. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.38.

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This chapter describes a community music research activity within an urban South Pacific context, and the processes used to ensure that authentic stories and new ways of knowing emerged from this interaction. The research project explored the prior learning experiences of indigenous Māori and minority Pasifika students enrolled in a faculty that teaches the disciplines associated with the creative arts and industries. The specific focus was the development of musical literacy through community music-making. By underpinning all research processes with methodologies that accommodate these popula
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Book chapters on the topic "Indigenous musical arts practices"

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Racy, A. J. "Improvisation in Arab Musical Practices." In The Routledge Handbook of Philosophy and Improvisation in the Arts. Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-36.

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Wan, Yuh-Yao. "Living Tradition: Educational Issues and Practices of Indigenous Art in Taiwan." In Landscapes: the Arts, Aesthetics, and Education. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7729-3_14.

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Nzewi, Meki. "Pertinent concepts for advancing indigenous epistemological integrity for African musical arts education." In Music Education in Africa. Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-5.

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Bates, Vincent C., Daniel J. Shevock, and Anita Prest. "Cultural Diversity, Ecodiversity, and Music Education." In The Politics of Diversity in Music Education. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_12.

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AbstractDiversity discourses in music education tend toward anthropocentrism, focusing on human cultures, identities, and institutions. In this chapter, we broaden conceptualizations of diversity in music education to include relationships between music, education, and ecology: understood as interactions among organisms and the physical environment. Diversity in music education can be realized by attending to the ongoing interrelationships of local geography, ecology, and culture, all of which contribute dynamically to local music practices. We situate our analysis within specific Indigenous North American cultures (e.g., Western Apache, Nuu-chah-nulth, Stó:lō, and Syilx) and associated perspectives and philosophies to shed light on the multiple forms of reciprocity that undergird diversity. Indigenous knowledge, in combination with new materialism and political ecology discourses, can help us come back down to earth in ways of being and becoming that are ecologically sustainable, preserving the ecodiversity that exists and grows in place, forging egalitarian relationships and a sense of communal responsibility, fostering reverence for ancestors along with nonhuman lives and topographies, and cultivating musical practices that are one with our respective ecosystems.
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Budasz, Rogério. "Foundations." In Opera in the Tropics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.003.0002.

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This chapter examines the conventions of Iberian theater with music from the mid-sixteenth to the early eighteenth century, as they surface in written sources and theatrical practices primarily related to Brazilian contexts. It presents an overview of the main theatrical genres, character types, and standard plots and the basic structure of theatrical functions, as well as the role of music in Jesuit autos and tragédias, religious oratorios, and secular comédias and entremezes. The chapter discusses the pedagogical function of musical theater in the early colonial period and the use of Latin, Spanish, Portuguese, and indigenous languages in these plays. It also examines the work of Brazil-born aficionados and playwrights in Europe and their role in the development of music-dramatic arts in Brazil and abroad.
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Munro, Hope. "Conclusions." In What She Go Do. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496807533.003.0007.

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This conclusion summarizes the book's main findings, especially the important role that women have played in the maintenance, transmission, and innovation of musical practices in Trinidad and Tobago. Changing attitudes regarding Trinidad's indigenous expressive forms—calypso, the steelband, the Carnival arts, Caribbean literature and fine art—came hand in hand with other freedoms. Shifting attitudes and norms regarding gender roles in Trinidad facilitated gender diversity in various performance contexts, as well as professional advancement for women in both artistic and social realms. The quality of life of women and their ability to earn a living has improved considerably from the independence period to the present, but various problems continue to linger, such as domestic violence, rape, human trafficking, and the exploitation of female workers. This conclusion discusses the ways in which expressive culture has helped in improving social conditions for women in Trinidad and Tobago.
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Shaw, Melanie, and Paul A. Shaw III. "Sustainable Heritage Tourism Through Gullah Geechee Musical Performance." In Indigenous Research of Land, Self, and Spirit. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3729-9.ch002.

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The Gullah Geechee people originally came to the United States as enslaved Africans from the coast of West Africa. Because of harsh conditions along the sea islands, spanning from North Carolina to Florida, the enslaved were often left to work the land while plantation owners retreated to less hostile, inland environments. As a result, many Gullah Geechee cultural, linguistic, and artistic practices remained intact. Today, there is interest in preserving these rich traditions. Because of environmental and cultural threats, preservation efforts must focus on sustainability. This qualitative, critical theory research includes interviews with musical performers from the sea islands and details their perceptions of the role music plays in sustainable heritage tourism. The researchers explored if music performance could be used to promote preservation locally, through tourism to cultural corridor sites, and globally, through touring musical acts. Participants urged caution with traditional tourism models and emphasized the role of younger generations in preserving Gullah Geechee music.
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Rios, Fernando. "Musical Dimensions of Indigenismo." In Panpipes & Ponchos. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.003.0002.

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In 1925, La Paz city residents observed Bolivia’s first centennial of political independence, with official state celebrations that in hindsight appear remarkably devoid of Bolivian nationalist exhibitions of indigenismo. Twenty-three years later, urban La Paz hosted another lavish commemoration, this time to honor the city’s 400th anniversary. But, in a clear departure from the 1925 centennial, the 1948 event included a “folklore” festival that was wholly devoted to Andean indigenous music-dance traditions, the Concurso Folklórico Indígena del Departamento. As the Concurso’s inclusion in the 1948 celebration suggests, mainstream La Paz criollo-mestizo views about the cultural value and meanings of Andean indigenous expressive practices had undergone a significant transformation in the twenty-three years following the 1925 centennial. This chapter elucidates this major shift, by exploring key developments in the paceño indigenista musical scene that transpired in the period from the 1920s to 1940s. Throughout Latin America, elite and middle-class interest in regionally distinctive music-dance expressions reached new heights in the early decades of the 20th century, as part of a quest among a varied cast of politicians, writers, and artists for local traditions that unmistakably demonstrated the nation’s cultural uniqueness. Indigenismo represented a manifestation of this phenomenon. The Bolivian variant of this nativist movement took inspiration from indigenista currents radiating from other Latin American countries, including Mexico and Argentina, but above all else from Peru.
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"Alaska Native Ways of Knowing and the Sustenance of Musical Communities in an Ailing Petrostate." In Cultural Sustainabilities, edited by Timothy J. Cooley. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0009.

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Alaskans are experiencing rapid economic, cultural, and ecological change as a result of declining oil revenue and anthropogenic climate change. This chapter compares the relative resilience of the Fairbanks Festival of Native Arts, an annual indigenous arts celebration, and the Fairbanks Symphony Orchestra, a Western art music ensemble housed at the University of Alaska Fairbanks. The Festival of Native Arts has thrived since the 1970s by sustaining Alaska Native traditions while embracing new performance ideas, a resilience strategy with deep cultural roots based in indigenous knowledge. In contrast, the Western art music ensemble's high level of specialization, cost, declining audience, and colonial legacy call its future into question, particularly when viewed from the perspective of cultural equity and the distribution of limited resources.
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Appert, Catherine M. "Producing Diaspora." In In Hip Hop Time. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190913489.003.0006.

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This chapter shows how palimpsestic practices of hip hop genre produce diasporic connections. It describes how hip hop practices of layering and sampling delink indigenous musical elements from traditional communicative norms to rework them in hip hop, where they signify rootedness and locality in ways consistent with hip hop practice in the United States. It demonstrates that this process relies on applications of hip hop time (musical meter) as being fundamentally different from indigenous music, whose local appeal is contrasted with hip hop’s global intelligibility. It outlines how hip hop concepts of flow free verbal performance from lyrical referentiality to render it a musical element. It argues that these practices of hip hop genre, in their delinking of sound and speech, reshape understandings of the relationship between commercialism and referentiality, and suggests that voice therefore should be understood to encompass artists’ agency in pursuing material gain in the face of socioeconomic struggle.
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Reports on the topic "Indigenous musical arts practices"

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Kibler, Amanda, René Pyatt, Jason Greenberg Motamedi, and Ozen Guven. Key Competencies in Linguistically and Culturally Sustaining Mentoring and Instruction for Clinically-based Grow-Your-Own Teacher Education Programs. Oregon State University, 2021. http://dx.doi.org/10.5399/osu/1147.

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Grow-Your-Own (GYO) Teacher Education programs that aim to diversify and strengthen the teacher workforce must provide high-quality learning experiences that support the success and retention of Black, Indigenous, and people of color (BIPOC) teacher candidates and bilingual teacher candidates. Such work requires a holistic and systematic approach to conceptualizing instruction and mentoring that is both linguistically and culturally sustaining. To guide this work in the Master of Arts in Teaching in Clinically Based Elementary program at Oregon State University’s College of Education, we condu
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