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Over time many Native American tribes have developed a shared musical culture that is prominently audible on local, national, and international stages. In Intertribal Native American Music in the United States, ethnomusicologist and GRAMMY® Award-winning musician Dr. John-Carlos Perea shows how traditional sounds, such as pow-wow and Native American flute songs, have developed in tandem with increasingly recognizable forms like Native jazz and rock. Perea provides an in-depth look at how Northern and Southern Plains pow-wow practices represent a singular performance encompassing disparate stories and sounds. The result is the only brief text that makes clear the interconnectedness of Native American music through a dynamic and thorough analysis of how it began and where it is headed.
Intertribal Native American Music in the United States is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present.
Dr. John-Carlos Perea (Mescalero Apache, Irish, German, Chicano) is Assistant Professor in the Department of American Indian Studies, College of Ethnic Studies, at San Francisco State University. He received his BA (2000) in Music from San Francisco State University and his MA and Ph.D. (2005/2009) in Music from the University of California, Berkeley. His research interests include contemporary urban American Indian musical cultures, powwow music and dance, New Age music, and the music of saxophonist Jim Pepper. Perea has recorded on sixteen albums and, in 2007, he won a Grammy (Best New Age Album [Vocal or Instrumental]) as a member of the Paul Winter Consort for pow-wow and cedar flute songs contributed to Crestone (Living Music, 2007).
Table of Contents
Foreword Preface CD Track List Music Selections available on Ping 1. Thinking about Intertribal Native American Music -Thinking about Soundings -Thinking about Time: Past, Present, and Future -Thinking about Intertribalism -Thinking about Names and Terminology -Introducing Myself: Where are you from? 2. Sounding Communities: Intertribal Pow-Wow Music -Pow-Wow Origin Stories -Pow-Wow Space -The Role of a Singer -What's Going On? -Thinking About Dancing: Four Reflections on Pow-Wow Dancing -- Michele Maas: Women's Jingle Dress -- Eddie Madril: Men's Fancy and Grass Dance -- Rulan Tangen: Women's Buckskin Dress -- Marcos Madril: Men's Northern Traditional -Thinking about Communities: Attending a Pow-Wow 3. Sounding Revitalization: Intertribal Native American Flute Music -Revisiting Names: Which Native American Flute? -Thinking about Revitalization -Native American Flute Origin Stories -Native American Flute Performers --Doc Tate Nevaquaya --Tom Mauchahty-Ware --Kevin Locke --R. Carlos Nakai --Mary Youngblood 4. Sounding Activism: Native American Popular Music and the Red Power Movement -Thinking about Alliances between Music and Activism -Red Power Origin Stories -Native American Popular Musicians of the 1960s and 1970s --Peter La Farge --Buffy Sainte-Marie --Floyd Red Crow Westerman --Redbone --XIT 5. Sounding Unexpectedness: Native American Jazz Musicians -A Brief Detour Through Rhythm on the Reservation -Unexpected Origin Stories: Native American Musicians in the Boarding School System -Native American Jazz Musicians --Mildred Bailey --Russell "Big Chief" Moore --Oscar Pettiford --Jim Pepper -Thinking about Unexpectedness 6. Epilogue: The 2012 GRAMMY Category Restructuring and Future Definitions of Intertribal Native American Music Glossary References Resources Index