Relevant bibliographies by topics / Music|Performing arts|Native American studies

Contents

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

Academic literature on the topic 'Music|Performing arts|Native American studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Music|Performing arts|Native American studies"

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Whidden, Lynn. "North American Native Music." Journal of American Folklore 109, no. 432 (1996): 193. http://dx.doi.org/10.2307/541835.

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Herndon, Marcia, Susan Dyal, and Charlotte Heth. "Preserving Traditional Arts: A Toolkit for Native American Communities." Ethnomusicology 33, no. 1 (1989): 182. http://dx.doi.org/10.2307/852192.

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Farrer, Claire R. "Creation's Journey: Native American Music, 1992-1993." Journal of American Folklore 112, no. 443 (1999): 85. http://dx.doi.org/10.2307/541406.

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GOLDMAN, DIANNE L. "FORTY-FIFTH ANNUAL MEETING OF THE AMERICAN SOCIETY FOR EIGHTEENTH-CENTURY STUDIES WILLIAMSBURG, VIRGINIA, 20–22 MARCH 2014." Eighteenth Century Music 12, no. 1 (February 17, 2015): 127–30. http://dx.doi.org/10.1017/s1478570614000542.

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Often the most invigorating conferences are those which bring together many different specialties and integrate them within interdisciplinary panels. Such was the case with the Forty-Fifth Annual Meeting of the American Society for Eighteenth-Century Studies (ASECS), which took place in March in Williamsburg, Virginia. The event was enormous, with over eight hundred presenters spread among 221 panels, in addition to seven plenary sessions and other special events such as the masquerade ball hosted by the Women's Caucus. Music and other performing arts were well represented throughout the weekend; both the Society for Eighteenth-Century Music and the Mozart Society of America sponsored panels, and many papers about the arts were included in other groupings. Given the large number of papers and other events, it was impossible to attend all or even most of the offerings. However, I will give an overview of my experiences in order to convey a sense of the conference's atmosphere.
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Ketchum, Shanna. "Native American Cosmopolitan Modernism(s)." Third Text 19, no. 4 (July 2005): 357–64. http://dx.doi.org/10.1080/09528820500124354.

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Smith, Laura E. "Photography, criticism, and Native American women’s identity." Third Text 19, no. 1 (January 2005): 53–66. http://dx.doi.org/10.1080/09528820412331318569.

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HERNÁNDEZ-AVILA, INÉS. "Performing Ri(gh)t(e)s: (W)Riting the Native (In and Out of) Ceremony." Theatre Research International 35, no. 2 (May 27, 2010): 139–51. http://dx.doi.org/10.1017/s0307883310000052.

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This article considers Native American/indigenous (women's) theatre from the perspective of performing indigeneities/embodied spiritualities, in relation to ceremonial and ‘cotidian’ ri(gh)t(e)s, and the practice of personal and collective autonomy as a ri(gh)t(e). I situate my discussion within particular sites of the performance of indigeneity and the embodiment of spirituality in Chiapas, Mexico, where my research has taken me, within my own work with a performance course I created at the University of California, Davis, and within critical perspectives offered in Native American studies. I also provide some commentary on the two related gatherings that took place at the Centro Hemisférico/FOMMA, in San Cristobal de las Casas, Chiapas, August 2008, and the Actions of Transfer: Women's Performance in the Americas conference at UCLA, November 2008. Both events were co-sponsored by the Hemispheric Institute on Performance and Politics of NYU and they were announced on the UCLA website as ‘sister’ events. In August 2008, FOMMA officially became a ‘branch’ centre of the Hemispheric Institute.
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Lewis, George H. "Storm blowing from paradise: social protest and oppositional ideology in popular Hawaiian music." Popular Music 10, no. 1 (January 1991): 53–67. http://dx.doi.org/10.1017/s0261143000004311.

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In the early 1970s, in the American Island State of Hawaii, popular music began a transformation that was, to some extent, similar in form to what occurred on the American mainland ten to fifteen years earlier, when popular music first merged with the civil rights movement and then with the anti-Vietnam movement. Hawaiian popular musicians, reacting to the commercially slick music of the tourist trade and the Wai Ki Ki nightclubs, reached back to embrace the few ethnic artists still alive and performing. They searched their island past for traditional material and, as the movement consolidated, merged this material with their own pressing social and cultural concerns to create a new type of music – part contemporary, part traditional and all wrapped in a cloak of strong social protest against non-native Hawaiians who they saw as having nearly totally destroyed their culture, their selfidentity, their pride and their sacred land. As Haunai-Kay Trask (1982, p. C2), a spokesperson for the movement, put it:Any society that has experienced the kind of impact the Hawaiian culture and Hawaiian people have experienced wind up being on the bottom because they are inundated with another culture … High rises, fancy clothes, and freeways – that's what United States culture stands for. It's grotesque. They have no feeling for the fragility of life. Or flora or fauna. Part of me hates the haoles with a passion, but part of me doesn't care. They're just stupid and I want them to stay away.
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Yocom, Margaret R., Larry Evers, and Barre Toelken. "Native American Oral Traditions: Collaboration and Interpretation." Western Folklore 61, no. 2 (2002): 222. http://dx.doi.org/10.2307/1500342.

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Cusic, Don. "Music of the Counterculture Era: American History Through Music." Journal of American Culture 28, no. 1 (March 2005): 144. http://dx.doi.org/10.1111/j.1542-734x.2005.160_17.x.

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Dissertations / Theses on the topic "Music|Performing arts|Native American studies"

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Berkowitz, Adam Eric. "Finding a Place for "Cacega Ayuwipi" within the Structure of American Indian Music and Dance Traditions." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096024.

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American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclusively of percussion instruments. However, this percussion ensemble piece, Cacega Ayuwipi, does exhibit the three elements inherent to all American Indian music and dance traditions. Cacega Ayuwipi is consistent with American Indian traditions in that the audience must see the instruments, watch the movements of the percussionists, and hear the percussive expressions in order to experience the musical work in its entirety.

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Karlstrom, Sigrid. "Three Women Composers and Their Works for Viola and Piano| Marion Bauer, Miriam Gideon, and Vivian Fine and the Trajectory of Female Tradition in American Music." Thesis, University of Hartford, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10982811.

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The lives and careers of the three women composers Marion Bauer (1882-1955), Miriam Gideon (1906-1996), and Vivian Fine (1913-2000) spanned more than a century. Each wrote works for viola and piano, including Bauer's Sonata for Viola and Piano, op. 22, Gideon's Sonata for Viola and Piano, and Fine's Lieder for Viola and Piano. Together, these composers' careers encompass a number of important trends in the professional development of the twentieth century woman composer in the United States.

Women composers were hindered in their advancement and acknowledgement for a number of reasons. One of these was a lack of "female tradition", the absence of an existing community of successful women composers to look to as examples. Another was the "female affiliation complex", the idea that female professionals struggle to look toward their predecessors as models because the female tradition is devalued. First, this document will explore the lives and influences of Marion Bauer, Miriam Gideon, and Vivian Fine, aiming to contribute to a better understanding of how "female tradition" and the "female affiliation complex" affected these composers' lives. Second, each work for viola and piano will undergo theoretical analysis focusing on goal-directed linearity. Goal-directed linearity is an issue of interest to performers and will encourage a deeper understanding of the works in question, fostering their further performance and dissemination.

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Hahn, Miriam. "Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400171772.

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Joyce-Grendahl, Kathleen. "The Native American flute in the southwestern United States: Past and present." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282153.

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This document focuses upon the past and present role of the Native American flute in the Southwestern United States, with the primary emphasis being placed upon the present-day use of the flute. Through this study, I hope to provide an evaluation of the Native American flute's musical significance (past and present use, and current literature and capabilities) that will lead to its possible inclusion into the Western curriculum of collegiate music scholarship, and contribute to a greater understanding of the instrument. In addition, through the information that is generated and disclosed by this exploration, it is hoped that the Native American flute may begin to gain an overall acceptance as an instrument of cultural and musical distinction and merit, specifically within the world of collegiate music education. This document is divided into chapters dealing with past and present uses of the Native American flute. The "Introduction" states the purpose, scope, and justification for this study. Chapter 1 describes the physical characteristics of the past and present-day Native American flute. Chapter 2 deals exclusively with the past traditions and functions of the flute. For example, selected myths from various tribes that employ the Native American flute are discussed. Also in Chapter 2, the past ceremonial and non-ceremonial functions of the Native American flute are detailed. Chapter 3 deals exclusively with the flute as it is used in today's world. Here, the rise in status of the flute is illustrated by discussing four prominent performers, their recordings, and approach to flute playing. They are as follows: Kelvin Bizahaloni, R. Carlos Nakai, John Rainer, Jr., and Ward Jene Stroud. Also, three composers who are presently creating repertoire for this instrument are discussed. They are James DeMars, Gina Genova, and Jay Vosk. Chapter 4 deals with the ways in which the Native American flute can be imported into the college music curriculum. Finally, Chapter 5 summarizes the document and provides ideas for further study.
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DiPiero, Frank Daniel. "Contingent Encounters: Improvisation in Music and Everyday Life." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1553003282221435.

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Stiegler, Morgen Leigh. "African Experience on American Shores: Influence of Native American Contact on the Development of Jazz." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1244856703.

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Greco, Mitchell J. "THE EMIC AND ETIC TEACHING PERSPECTIVES OF TRADITIONAL GHANAIAN DANCE-DRUMMING: A COMPARATIVE STUDY OF GHANAIAN AND AMERICAN MUSIC COGNITION AND THE TRANSMISSION PROCESS." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398073851.

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Goecke, Norman Michael. "What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.

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Peck, RaShelle R. "Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397664120.

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Yeagle, Anna. "Bad Bitches, Jezebels, Hoes, Beasts, and Monsters: The Creative and Musical Agency of Nicki Minaj." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1374281548.

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Books on the topic "Music|Performing arts|Native American studies"

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Smoke signals: Native cinema rising. Lincoln: University of Nebraska Press, 2012.

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Finn, Julio. The bluesman: The musical heritage of Black men and women in the Americas. New York: Interlink Books, 1992.

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Finn, Julio. The bluesman: The musical heritage of black men and women in the Americas. London: Quartet Books, 1986.

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The bluesman: The musical heritage of black men and women in the Americas. London: Quartet Books, 1986.

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Busoni, Ferruccio. Indian diary: For solo piano : Four studies on motives by Native Americans. Boca Raton, Fla: Masters Music Publications, 1999.

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Performing Asian America: Race and ethnicity on the contemporary stage. Philadelphia: Temple Univ. Press, 1997.

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Listen to learn: Using American music to understand language arts and social studies (grades 5-8). San Francisco, CA: Jossey-Bass, 2004.

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Defiant itineraries: Caribbean paradigms in American dance and film. New York, NY: Palgrave Macmillan, 2015.

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S, Block Eleanor, ed. Projecting ethnicity and race: An annotated bibliography of studies on imagery in American film. Westport, Conn: Praeger, 2003.

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Four screenplays: Studies in the American screenplay. New York: Dell Pub., 1994.

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Book chapters on the topic "Music|Performing arts|Native American studies"

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Klapper, Melissa R. "A Troubled/Troubling History." In Ballet Class, 129–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.003.0006.

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Ballet has been and continues to be among the least diverse of the performing arts. Until well into the twentieth century, most African American children who wanted to take ballet class were forced to go to segregated studios, which played significant roles in local communities. African Americans also faced very limited opportunities for ballet careers. There were important exceptions who served as role models, and the creation of the Dance Theatre of Harlem in 1969 helped challenge the racist assumptions that dancers of color could not master the ballet aesthetic. A number of prominent Native American ballerinas faced less discrimination. Recent diversity initiatives are slowly improving the situation in both recreational and professional ballet.
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"7 Korean American Theater and Performing Arts: Networks of Practice and Bodies of Work." In A Companion to Korean American Studies, 150–71. BRILL, 2018. http://dx.doi.org/10.1163/9789004335332_008.

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Fiala, Michele. "Allan Vogel." In Great Oboists on Music and Musicianship, 224–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0021.

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Allan Vogel received a doctorate in music performance from Yale University. In 2016, he retired as principal oboist of the Los Angeles Chamber Orchestra, a position he held from 1974, having joined the ensemble in 1972. He is on the faculty of University of Southern California and California Institute of the Arts. In this chapter, Vogel talks about his early career, the relationship between vocal and instrumental performance, and the three national schools (American, French, and German) in which he studied. He discusses his ideas on practicing, support, current trends in music, and the application of meditation in music. He shares his two-page guide to warming up. Finally, he reminisces about his career.
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Saunders, Max. "To-Day and To-Morrow, Literature, and Modernism." In Imagined Futures, 287–336. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829454.003.0007.

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This chapter investigates the two-way traffic between To-Day and To-Morrow and modern literature and the arts. The preliminary section considers three outstanding volumes: Scheherazade; or, The Future of the English Novel (1927) by ‘John Carruthers’; Geoffrey West’s Deucalion; or, The Future of Literary Criticism (1930), which contrasts John Middleton Murry with I. A. Richards; and John Rodker’s The Future of Futurism (1926), which discusses Anglo-American literature. It argues that the series’ largely undervalues modernism, and barely attends to the visual arts or to modern music. It surveys the volumes dealing with English, poetry, drama, music, and censorship. The major section is devoted to other ways in which the series is relevant to modern and modernist literature, looking at how other writers responded to it. It turns out the series was followed by a surprising number of important literary figures. The key case studies here are Robert Graves, Aldous Huxley, Joyce, Eliot, Lewis; and Waugh.
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Kelemen, Mihaela, Martin Phillips, Deborah James, and Sue Moffat. "Performing the legacy of animative and iterative approaches to co-producing knowledge." In Valuing Interdisciplinary Collaborative Research. Policy Press, 2017. http://dx.doi.org/10.1332/policypress/9781447331605.003.0006.

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This chapter advances a distinctive conceptual framework for defining legacy, seeing it as co-produced and co-performed in relational processes and dialogical encounters between scholars and community partners, facilitated by creative methodologies of knowledge co-production. Nicolini’s (2009) idea of ‘zooming in’ serves as a theoretical anchor to co-define legacy in a pluralistic way by using five distinct yet inter-related lenses that have informed our collaborative research (i.e. Theatre Studies, American Pragmatism, Critical Theory, Deleuzian Studies and Actor Network Theory). Legacy is thus defined as ‘the reproduction and transformation of a theatre tradition for new contexts such as research’, ‘changes inideas or practices (or both)’, ‘the empowerment of individuals and groups through the intersubjective development of understandings’,‘novelty and change through repetition’, and ‘the enrolment of new actants into a network’, respectively. This chapter illustrates how legacy was co-defined, co-performed and co-evaluated with various community partners and suggest how and why our conceptualisation of legacy may appeal beyond arts and humanities subjects.
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Çetin, Derya. "Gendered Genre." In Advances in Media, Entertainment, and the Arts, 74–81. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch005.

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This chapter aims to make general assessment of melodrama and the melodramas of Yeşilçam period which was named as the golden age of the cinema between 1960-1975. In this study, the concept of genre is discussed primarily. ‘Genre' is a concept that emerged in a certain period of American film industry. During the reign of the studio system, genre films comprised the vast majority of the most popular and profitable productions and this trend has continued even after its death. Afterwards, the definition of melodrama, which develops in literature, performing arts, and cinema is made. As a social phenomenon, melodrama is linked to the development of modernity. As an aesthetic genre, it became important, at times dominant, during the nineteenth century, and it remains with us today, notably in the fixed genres of television (soap opera, westerns, and thrillers), but it also survives in some musicals and videos. Then, a general evaluation of the melodrams of the Yeşilçam period is made.
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Renfro, Evan, and Jayme Neiman Renfro. "“We'll Put a Boot in Your Ass, It's the American Way”." In Advances in Educational Marketing, Administration, and Leadership, 85–114. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4072-5.ch005.

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Since before the founding of the United States through slavery, the extermination of the native populace, war after war, regime overthrow, and more wars, popular media have been used to stir resentments and produce violent fantasies in the general citizenry that often allow for policies of actual violence to be applied against “the other.” This chapter will analyze the affective coordinates of this system in the post-9/11 context, focusing especially on how nationalist-jingoism has now triumphed in the age of the Trump Administration. Crucial interrogations addressed in this chapter include: Why are white southern/rural males particularly susceptible to popular culture induced affective violence? What are the mechanics of profit and neoliberal imperatives of this structure? What is new about the linkage of these phenomena with the first Twitter-President? In pursuing these questions, the authors will use case studies involving the popular media vectors of television, film, and music.
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Renfro, Evan, and Jayme Neiman Renfro. "“We'll Put a Boot in Your Ass, It's the American Way”." In Advances in Educational Marketing, Administration, and Leadership, 85–114. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4072-5.ch005.

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Since before the founding of the United States through slavery, the extermination of the native populace, war after war, regime overthrow, and more wars, popular media have been used to stir resentments and produce violent fantasies in the general citizenry that often allow for policies of actual violence to be applied against “the other.” This chapter will analyze the affective coordinates of this system in the post-9/11 context, focusing especially on how nationalist-jingoism has now triumphed in the age of the Trump Administration. Crucial interrogations addressed in this chapter include: Why are white southern/rural males particularly susceptible to popular culture induced affective violence? What are the mechanics of profit and neoliberal imperatives of this structure? What is new about the linkage of these phenomena with the first Twitter-President? In pursuing these questions, the authors will use case studies involving the popular media vectors of television, film, and music.
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Elliott, William S. "Significance of New Harmony, Indiana, USA, to nineteenth-century paleontological investigations of North America: Progressive education through arts and sciences." In The Evolution of Paleontological Art. Geological Society of America, 2021. http://dx.doi.org/10.1130/2021.1218(07).

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ABSTRACT William Maclure, Father of North American Geology, partnered with Robert Owen in 1825 to establish an experimental socialistic community focusing on equitable reform in New Harmony, Indiana, USA. Artists, educators, and natural scientists recruited from Philadelphia arrived on a keel boat named Philanthropist in January 1826. Upon their arrival, Maclure established the New Harmony schools using a modified Pestalozzian educational approach under the guidance of Madame Fretageot. The New Harmony schools focused on practical education through direct observation of nature as well as a curriculum involving drawing, music, science, writing, and trade skills such as carpentry, engraving, and printing. Furthermore, the integration of arts and sciences with hands-on experiences led to a productive community of natural scientists who published significant works on the conchology, geology, ichthyology, and paleontology of North America. In the mid-nineteenth century, hand-drawn illustrations were reproduced through engravings, etchings, or lithography prior to the invention of the daguerreotype process in 1839, collodion wet plate process in 1851, and flexible celluloid film in 1888. In particular, the published works of David Dale Owen demonstrate the increasing importance of evolving reproduction techniques to paleontological illustration as well as the significance of hand-drawn artistic renderings. Interestingly, the modified Pestalozzian educational approach introduced by Maclure in New Harmony has several implications for the modern classroom. For instance, recent studies suggest that drawing improves spatial reasoning skills and increases comprehension of complex scientific principles. Likewise, engaging students in the drawing of fossils delivers a meaningful learning experience in the paleontology classroom.
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Janeczko, Jeff. "Curating the Virtual Museum." In Voices of the Field, 177–200. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0011.

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Academic programs in ethnomusicology are almost exclusively oriented toward training students for tenure-track positions at research institutions and liberal arts colleges. However, the students that graduate from these institutions do not exclusively follow this singular, narrowly defined career path. Nor should they. If the field of ethnomusicology is to increase its relevance outside academe, it would do well to pay to greater attention to how it prepares its practitioners for nontraditional career paths. This chapter examines some of the themes and issues that the author has encountered as an ethnomusicologist working for a nonprofit organization focused on the preservation and dissemination of American Jewish music. In addition to outlining some of the key differences between working inside and outside academe, it argues for a view of applied (or public) ethnomusicology that bridges gaps between ethnomusicology and musicology, between the academic and the “real” world, and between the universal and the particular—with case studies illustrating specific examples from the author’s work. A discussion section considers the ubiquity of the term “curator” in the present cultural moment, and offers suggestions as to how to individuals can prepare themselves and their students for nontraditional career paths. Ultimately, it argues that the pursuit of traditional and nontraditional career paths should be complementary—rather than mutually exclusive—endeavors, and that working to bridge the perceived gap between the two will strengthen both.
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Conference papers on the topic "Music|Performing arts|Native American studies"

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De Podestá, Nathan Tejada, and Silvia Maria Pires Cabrera Berg. "New University: liberal education and arts in Brazil." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9514.

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This paper is part of an ongoing research on the issue of music education in Brazilian universities. It aims to identify educational models that structure pedagogical practice at this level of studies. It distinguishes the types of professional and human education promoted in each one of the presented models (French, German and American) as well as liberal education, identified as a global trend. Relating the current socio-cultural political and economic context with education with the support of Godwin (2015), Berg (2012) and Jansen (1999) we argue that liberal education provides a structure can favor the development of competences and skills demanded on the current conjuncture. In this frame, we will analyze, with the help of Paula (2008) and Santos & Filho (2008), the historical dynamics of Brazilian higher education and show how liberal education and post-colonial philosophy is restructuring Brazilian universities. This “new university” allows the implementation of a multicultural, multi-epistemic pedagogy that overcome fragmentary disciplinary views and renders feasible the proposition of new ways of conceiving training, studying, teaching and research in music and arts.
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