Overview

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.

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9780819578624

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This stunning book explodes every iteration of the indigenous-modern dialectic. Its essays range across borders, generations, technologies, genres, politics, and identities to produce brilliant and coherent arguments that define the leading edge of indigenous sound studies.--Philip J. Deloria, author of Indians in Unexpected Places This volume provides an exciting collection of diverse, multigenerational Indigenous and settler perspectives on Indigenous musical modernities. Case studies considering multiple topics and genres are thoughtfully interwoven to provide models for continuing the much-needed work of decolonizing Native North American ethnomusicology.--Charlotte Frisbie, Professor Emerita of Anthropology, Southern Illinois University, Edwardsville In the introduction, Levine states that 'musical modernity has always been Indigenous, and Indigenous musicians have always been modern.' This statement conveys the necessity of this book, which reframes standard perspectives and approaches to Native American musical scholarship, freeing Native music from the confines of what Levine refers to as the 'traditional/contemporary binary.' Although other books have addressed this need peripherally, none have done so more directly or comprehensively. --author of Songs of Power and Prayer in the Columbia Plateau

"""This range of sounds unsettles conventional musical representations of The North. Audioreelism and Native sound worlding therefore challenge settler-colonial representations of the indigenous Arctic.""--bibliolore: The RILM Blog ""This stunning book explodes every iteration of the indigenous-modern dialectic. Its essays range across borders, generations, technologies, genres, politics, and identities to produce brilliant and coherent arguments that define the leading edge of indigenous sound studies.""--Philip J. Deloria, author of Indians in Unexpected Places ""This volume provides an exciting collection of diverse, multigenerational Indigenous and settler perspectives on Indigenous musical modernities. Case studies considering multiple topics and genres are thoughtfully interwoven to provide models for continuing the much-needed work of decolonizing Native North American ethnomusicology.""--Charlotte Frisbie, Professor Emerita of Anthropology, Southern Illinois University, Edwardsville ""Levine reframes standard perspectives and approaches to Native American musical scholarship, freeing Native music from the confines of what Levine refers to as the 'traditional/contemporary binary.' Although other books have addressed this need peripherally, none have done so more directly or comprehensively""--Chad S. Hamill, author of Songs of Power and Prayer in the Columbia Plateau"

Author Information

VICTORIA LINDSAY LEVINE is professor of music at Colorado College and is the author of Writing American Indian Music, coauthor of Choctaw Music and Dance, and co-editor of This Thing Called Music. DYLAN ROBINSON (St� lō) is the Canada Research Chair in Indigenous Arts at Queen's University and is the co-editor of Opera Indigene and Arts of Engagement.

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