DOCSLIB.ORG

Mandan and Hidatsa Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mandan and Hidatsa Music Mandan and Hidatsa Music by Frances Densmore (1867-1957) This PDF is provided by www.Flutopedia.com as part of a collection of resources for the Native American flute. The full citation for this digital copy of the original source material is provided below, as well as the specific details of the source of this reference and how it was digitized (if known). As part of the Flutopedia effort, extensive metadata (title, author, citation, etc.) has been encoded into this file. Select File/Properties in any Adobe product to view this information. You also can use text search on this document, based either on the OCR encoding done during the original digitization or during Flutopedia document preparation using the OCR facility of Adobe Acrobat 9 Pro. Based on our best efforts, we believe that providing this material from www.Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than your own personal research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of this material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/ for information on how to contact us. Citation [Densmore 1923] Frances Densmore (1867-1957). Mandan and Hidatsa Music, Smithsonian Institution, Bureau of American Ethnology, Bulletin 80, published by the United States Government Printing Office, Washington, D.C., 1923, 232 pages. Contributing source: Smithsonian Institution Libraries Digitizing sponsor: Smithsonian Institute Digitized by: Archive.org on December 12, 2009 Processed by Clint Goss [[email protected]] on Sunday, October 30, 2011 at 1:45PM EDT on host Castor SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 80 MANDAN AND HIDATSA MUSIC FRANCES WASHINGTON GOVERNMENT PRINTING OFFICE 1923 ADDITIONAL COPIES OF THIS PUBLICATION MAY BE PROCURED FROM THE SUPERINTENDENT OF DOCUMENTS GOVERNMENT PRINTING OFFICE WASHINGTON, D. C. AT 60 CENTS PER COPY PURCHASER AGREES NOT TO RESELL OR DISTRIBUTE THIS COPY FOR PROFIT.—PUB. RES. 57, APPROVED MAY U, 1922 LETTER OF TRANSMITTAL Smithsonian Institution, Bureau of American Ethnology, Washington, D. C ., December 15, 1918. Sir: I have the honor to submit herewith the accompanying manuscript, entitled " Mandan and Hidatsa Music," by Frances Dens- more, and to recommend its publication as a bulletin of the Bureau of American Ethnology. Very respectfully, J. Walter Fewkes, Chief. Dr. Charles D. Walcott, Secretm'y of the Smithsonian Institution. ; FOREWORD A phase of Indian life hitherto untouched by the present writer is shown in this work. The Mandan and Hidatsa lived in houses which were grouped in permanent villages, their environment differ- ing essentially from that of the Chippewa and Sioux in their camps or the Ute in the fastnesses of the mountains. The music of the latter tribes has been analj^zed in previous works/ and a comparative statement of results is presented in this volume. The songs of the Mandan and Hidatsa were recorded on the Fort Berthold Reservation in North Dakota during the summers of 1912 and 1915, an additional trip being made in 1918 to complete the material. This research was suggested by Dr. O. J. Libby, secre- tary of the State Historical Society of North Dakota, and the first season's work was under the auspices of that society. The subsequent work was under the auspices of the Bureau of American Ethnology. The writer desires to acknowledge the valued assistance of her two principal interpreters, Mr. James Holding Eagle, a member of the Mandan tribe, who interpreted and translated that language, and Mr. Fred Huber, who interpreted and translated the Hidatsa. Mr. Holding Eagle was bom in 1884, received liis early education at the Fort Berthold Mission of the Congregational Church, and graduated fi'om the Santee Normal Training School at Santee, Nebr. He is now engaged in missionary work among his people on the Fort Berthold Reservation, Mr. Huber went to Fort Berthold as a musician with the United States Army, and for more than 30 years spent the majority of his time among the Hidatsa. He died before the completion of the present work. Grateful acknowledgment is made of the assistance rendered by officials of the North Dakota Historical Society, also of the courtesy extended by Dr. C. L. Hall, who for more than 40 years has been a missionary of the Congregational Church on the reservation. The writer desires also to express her appreciation of the assistance cordially given by members of the staff of the Bureau of American Ethnology and the United States National Museum in their re- spective fields of research. Frances Densmorel • Chippewa Music. Bull. 45 ; Chippewa Music II, Bull. 53 ; Teton Sioux Music, Bull. 61 and Northern Ute Music, Bull. 75, Bur. Amer. Ethn. CONTENTS Page. List of songs by serial numbers xi List of songs by catalogue numbers xiv Special signs used in transcription of songs xvi Phonetic key xvii Names of singers xvii Informants wbo did not record songs xviii Proper names and other native terms xix Characterization of singers 1 Mandan 1 Hidatsa 2 Mandan and Hidatsa Indians 3 Name 3 History and characteristics 3 Dwellings and villages 4 Pottery 5 Burial customs 6 Language 6 Mytliology 6 Music 7 Musical instruments 8 Drums 8 Rattles 8 War whistles^ 9 Courting whistles 9 Flageolets 10 Dealings with the United States Government 11 Mandan and Hidatsa music 12 Introduction ^ 12 Tabulated analyses of 820 Chippewa, Sioux, Ute, Mandan, and Hidatsa songs 16 Analysis of Chippewa, Sioux, Ute, Mandan, and Hidatsa songs 26 Comparative group analyses of Mandan and Hidatsa songs 32 Graphic representation or " plots " 34 Section 1. Mandan Good Fur Robe 35 The office of Corn Priest 86 The instructions of Good Fur Robe '. 38 VII Vni CONTENTS Page. Societies organized by Good Fur Robe 39 The Goose Women Society 39 Ceremony and meeting of the Goose Women Society 40 The Black Mouth Society 47 Meeting of the Bhick Mouth Society 48 Customs 52 Singing in the gardens 52 Eagle catching 60 Origin of the custom of eagle catching 64 Legends , 80 Origin of the flageolet . 80 Origin of the Buffalo Dance Society 84 The moon and the dancers 86 The black-tailed deer 87 Folk tales 89 The turtle who went to war 89 The man who married the birds 90 The coyote and the skunk 92 Section 2. Mandan and Hidatsa Mandan women's societies 94 Skunk Society 94 Enemy Society 95 Little River Women Society 97 Origin of the Little River Women Society 97 Ceremony of the Little River Women Society 99 Mandan and Hidatsa men's societies 108 Drums, rattles, and whistles used in the societies 112 Songs of the societies 112 Stone Hammer Society of the Hidatsa _ 113 Stone Hammer Society wand 115 Stone Hammer Society songs 116 Fox Society songs 121 Young Dog Society song 129 Foolish (or Crazy) Dog Society songs 129 Dog Society songs 133 Buffalo Society songs 138 Horse Society songs 143 War songs 144 Miscellaneous songs 170 Melodic and rhythmic analysis of songs by serial numbers 178 Authorities cited 185 Index 187 ILLUSTRATIONS PLATES Page. 1. Old Dog 2 2. a, James Holding Eagle, h. Scattered Corn 2 3. a. Crow's Heart's earth lodge, h. Old Dog's log lodge 2 4. a. Entrance to earth lodge, h, Entrance to earth lodge, showing scaf- fold for drying corn 2 5. a, Frame of sweat lodge, h, Corn-drying scaffold 2 6. ff, Missouri River at Crow's Heart's landing, b, Missouri River, looking west 2 7. Dried squash , 6 8. a, Camp on Fort Berthold Reservation. 6, Scaffold burial on Fort Berthold Reservation 6 9. Hand drum, a, obverse; h, reverse, c. Foolish Dog Society rattle. (Z, " Mushroom " rattle 10 10. a. Pan playiug on whistle, b. Whistle and Dog Society rattle 10 11. Plots of Mandan and Hidatsa songs 34 12. Plots of Mandan and Hidatsa songs 34 13. a, Goose Women Society drum, b, Drumming stick used with Goose Women Society drum 40 14. a. Otter Woman, h, Bear-on-the-flat. e, Pan 40 15. a, Yellow Hair, b, Sitting Rabbit, c, Butterfly 62 " 16. a, Bone used for fastening bait in eagle catching, b, c, " Kick-ball 62 17. a, Eagle trap (filled by vegetation in foreground), b. View from eagle trap 62 18. a. Sitting Crow, b, Holding Eagle 62 19. a, Headdress worn in Buffalo Society, b, Stone Hammer Society wand and Foolish Dog Society rattle, c, Head of Stone Hammer Society wand 112 TEXT FIGtJRES 1. Whistle melody 10 2. Plots of Sioux songs compared with Mandan and Hidatsa songs 34 3. Diagram showing movements of men in ceremony of Black Mouth Society 48 4. Flageolet melody 83 5. Plot of song No. 72 141 6. Plot of song No. 92 161 IX LIST OF SONGS 1. Arranged in Order of Serial Numbers Songs of the Goose Women Society Serial No. Catalogue No. Page. 1. The Captive song 808 42 2. Song of the Goose Women Society (a) 809 43 3. "My daughter" 810 44 4. Song of the Corn Priest 812 45 5. Song of the Goose Women Society (b) 811 46 Songs of the Black Mouth Society 6. Song to the raven 861 49 7. "Earth always endures" 859 50 8. " Enemies are many " 860 50 9. Going to dance 903 51 10. Black Mouth Society song 869 52 Garden Songs 11. "Kill the blackbirds" 877 54 12. "The corn is my pleasure" 813 54 13.
Load more

Recommended publications
  • ABSTRACT Title of Thesis: RESEARCH ON
    ABSTRACT Title of Thesis: RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY May May Chiang, Master of Arts, 2008 Directed By: Professor J. Lawrence Witzleben Department of Musicology and Ethnomusicology, Chair. This thesis examines current developments in the research and discourse on music and healing. Ethnomusicology has involved extensive work on documenting traditional music and healing traditions; however, ethnomusicologists have neglected to contribute their knowledge and effort to healthcare-oriented research. Music therapy, on the other hand, has been focusing on the benefit of the patient, but rarely relates its practices to traditional music and healing traditions or non-Western music. Despite the recent establishment of the Medical Ethnomusicology Special Interest Group in the Society for Ethnomusicology and increasing awareness of world music and cultural diversity in music therapy, scholars in the two fields have not yet collaborated with each other extensively. The motivations for this thesis are: to review previous developments in research on music and healing, to find out the reasons for the changes in the research trends of the past decade, and to see possible research directions in the future. RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY By May May Chiang Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Professor J. Lawrence Witzleben, Chair Professor Robert Provine Professor Jonathan Dueck © Copyright by May May Chiang 2008 Acknowledgements I would like to show my appreciation to the ethnomusicologists and music therapists with whom I have communicated, especially to Dr.
    [Show full text]
  • Crow and Cheyenne Women| Some Differences in Their Roles As Related to Tribal History
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1969 Crow and Cheyenne women| Some differences in their roles as related to tribal history Carole Ann Clark The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Clark, Carole Ann, "Crow and Cheyenne women| Some differences in their roles as related to tribal history" (1969). Graduate Student Theses, Dissertations, & Professional Papers. 1946. https://scholarworks.umt.edu/etd/1946 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 THIS IS AN UNPUBLISHED MANUSCRIPT IN WHICH COPYRIGHT SUB­ SISTS. ANY FURTHER REPRINTING OF ITS CONTENTS MUST BE APPROVED BY THE AUTHOR. IVIANSFIELD LIBRARY UNIVERSITY OF MONTANA DATE : U-- - ~ CROW AND CHEYENNE WOMEN r SOME DIFFERENCES IN THEIR ROLES AS RELATED TO TRIBAL HISTORY by Carole Ann Clark B.A., University of Montana, 1?66 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1969 Approved by Chairman, Board of iicaminers L, 'Graduate 'School UMI Number: EP35023 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • 'Race' and Diaspora: Romani Music Making in Ostrava, Czech Republic
    Music, ‘Race’ and Diaspora: Romani Music Making in Ostrava, Czech Republic Melissa Wynne Elliott 2005 School of Oriental and African Studies University of London PhD ProQuest Number: 10731268 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731268 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis is a contribution towards an historically informed understanding of contemporary music making amongst Roma in Ostrava, Czech Republic. It also challenges, from a theoretical perspective, conceptions of relationships between music and discourses of ‘race’. My research is based on fieldwork conducted in Ostrava, between August 2003 and July 2004 and East Slovakia in July 2004, as well as archival research in Ostrava and Vienna. These fieldwork experiences compelled me to explore music and ideas of ‘race’ through discourses of diaspora in order to assist in conceptualising and interpreting Romani music making in Ostrava. The vast majority of Roma in Ostrava are post-World War II emigres or descendants of emigres from East Slovakia. In contemporary Ostrava, most Roma live on the socio­ economic margins and are most often regarded as a separate ‘race’ with a separate culture from the dominant population.
    [Show full text]
  • An Exploration of Physiological Responses to the Native American Flute
    An Exploration of Physiological Responses to the Native American Flute Eric B. Miller† and Clinton F. Goss‡ †Montclair State University, Montclair, New Jersey; Email: [email protected] ‡Westport, Connecticut; Email: [email protected] ARTICLE INFORMATION ABSTRACT Presented at ISQRMM, Athens, This pilot study explored physiological responses to playing and listening to the GA: July 26, 2013 Native American flute. Autonomic, electroencephalographic (EEG), and heart Revised: January 24, 2014 rate variability (HRV) metrics were recorded while participants (N = 15) played flutes and listened to several styles of music. Flute playing was accompanied by This work is licensed under the an 84% increase in HRV (p < .001). EEG theta (4–8 Hz) activity increased while Creative Commons Attribution- playing flutes (p = .007) and alpha (8–12 Hz) increased while playing lower- Noncommercial 3.0 license. pitched flutes (p = .009). Increase in alpha from baseline to the flute playing This work has not been peer conditions strongly correlated with experience playing Native American flutes (r reviewed. = +.700). Wide-band beta (12–25 Hz) decreased from the silence conditions when listening to solo Native American flute music (p = .013). The findings of increased HRV, increasing slow-wave rhythms, and decreased beta support the hypothesis that Native American flutes, particularly those with lower pitches, may have a role in music therapy contexts. We conclude that the Native Keywords: music therapy, American flute may merit a more prominent role in music therapy and that a Native American flute, heart rate variability (HRV), study of the effects of flute playing on clinical conditions, such as post-traumatic EEG, alpha stress disorder (PTSD), asthma, chronic obstructive pulmonary disease (COPD), hypertension, anxiety, and major depressive disorder, is warranted.
    [Show full text]
  • North American Indians: an Annotated Resource Guide for the Elementary Teacher
    DOCUMENT RESUME ED 085 156 RC 007 505 AUTHOR Anderson, Sue Ellen, Comp.; And Others TITLE North American Indians: An Annotated Resource Guide for the Elementary Teacher. INSTITUTION Arizona State Univ., Tempe. Indian Education Center. PUB DATE 72 NOTE 119p. AVAILABLE FROMCenter for Indian Education, Farmer College of Education, Arizona State University, Tempe, Arizona 85281 ($2.00) EDRS PRICE MF-$0.65 HC-$6.58 DESCRIPTORS *American Indians; *Annotated Bibliographies; Art Activities; Childrens Books; *Culture; *Elementary School Teachers; History; Languages; Music; Poetry; Reservations (Indian) ; *Resource Materials; Tribes ABSTRACT The annotated bibliography for elementary teachers contains approximately 600 listings of resources about American .Indians. The resources, which range from 1926-1972 (some are not dated), include materials prepared by Indians and non-Indians for Indian and/or non-Indian children. Sections in the bibliography are: Books for Children -- Indians of North America; Books for Children -- Indians of Arizona; Teacher Resource Books (art activities, poetry, and songs); Films; Filmstrips; Slides; Periodicals; and Records. Slides are listed by subject area. Other sources for materials are also given. (KM) U 1 OE PAIIMAtle OF HEWN 11"% EDUCATION& WELPAlte NAtiONAL INStitUtt OF tDUCAtION tin( ..Aklet F.,At Pitt'. eler 0, A, At(I ()r4 V '..t pr10,0N nu Omni...JA' WOu A. PP FA nitnp404, f 00 NONI (r , lir Pkir 4, Orr A, 4A. .04A. .r re A..04 Pro, no no, r NORTH AMERICAN INDIANS An Annotated Resource Guide for the ELEMENTARY TEACHER I I fin " fit FILMED FROM BEST AVAILABLE COPY CENTER FOR INDIAN EDUCATION College of EdOcotion Arizorio State University.: Tempe,,.monoJ COMPILED AND EDITED BY Sue Ellen Anderson Teacher, Phiteriver Elementary School Whiteriver, Arizona Vicki C.
    [Show full text]
  • The Lakota Sun Dance: a Composite View and Analysis
    Copyright © 1976 by the South Dakota State Historical Society. All Rights Reserved. The Lakota Sun Dance: A Composite View and Analysis MICHAEL E.N4EL0DY The Lakota Sun Dance is the archetypal expression of western Sioux religious belief. In a sense, the dance is the public, ritualized manifestation of an understanding of reality that was shared among the group as a whole. In the context of a cosmological society, the dance represents the people's participation in the life of the cosmos itself. In this, the Sun Dance is similar to the rituals of other cosmological societies such as the Mesopotamian New Year's Festival.' The literature on the old form of the Sun Dance varies greatly in quality. Surprisingly, there are only four major accounts of the ritual. Anthropologists seem to have been preoccupied by questions regarding diffusion. There are, however, a plethora of short articles that typically record eyewitness experiences. Besides these works there are only derivative narratives, usually based upon the work of only one of the major commentators.^ 1. This article is based upon my dissertation, "The Sacred Hoop: The Way of the Chiiicahua Apache and Teton Lakota" (Ph.D. diss.. University of Notre Dame, 1976). Much of the information in this article was acquired on a research grant provided by the dean of the College of Aits and Letters, Professor Frederick Crosson, and the chairman of the Department of Government, George Brinkley. The cosmos is a whole in that the gods are included within its bounds, there is no concept of transcendence; see Henri Frankfort, et al.
    [Show full text]
  • Vol. Xvi, Part Vii
    ANTHROPOLOGICAL PAPERS OF THE AMERICAN. MUSEUM OF NATURAL HISTORY VOL. XVI, PART VII THE SUN DANCE OF THE PLAINS INDIANS: ITS DEVELOP- MENT AND DIFFUSION BY LESLIE SPIER NENV YORK PUBLISHED BY ORDER OF THE TRUSTEES 1921 THE SUN DANCE OF THE PLAINS INDIANS: ITS DEVELOP- MENT AND DIFFUSION. BY LESLIE SPIER. 451 PREFACE. Most Plains tribes had the sun dance: in fact, it was performed by all the typical tribes except the Comanche. Since the dance has not been held for years by some tribes, viz., Dakota, Gros Ventre, Sutaio, Arikara, Hidatsa, Crow, and Kiowa, the data available for a comparative study vary widely in value. The chief sources of information outside of this volume are the accounts by G. A. Dorsey for the Arapaho, Cheyenne, and Ponca; Kroeber for the Arapaho and Gros Ventre; Curtis for the Arikara; and Lowie and Curtis for the Assiniboin. There is no published informa- tion for the Fort Hall Shoshoni, Bannock, Kutenai, or Sutaio. So far as I am aware there has been no general discussion of the sun dance. Hutton Webster in his "Secret Societies" considers it, without giving proof, an initiation ceremony. It is the aim of the present study to reconstruct the history of the sun dance and to investigate the char- acter of the factors that determined its development. By a discussion of the distribution of traits-regalia, behavior, ideas of organization, and explanatory myths-it will be shown that the ceremony among all the tribes has grown chiefly by intertribal borrowing. It will be demon- strated further that the center of development has been in the central Plains among the Arapaho, Cheyenne, and Oglala, and that the original nucleus of sun dance rites probably received its first specific character at the hands of the Arapaho and Cheyenne, or of this couple and the Village tribes.
    [Show full text]
  • The Mandan and Hidatsa Establish Missouri Valley Villages
    The North Dakota Studies Newspaper Issue One Native Peoples, First Encounter, Fur Trade 1780-1850 THE MANDAN AND HIDATSA ESTABLISH MISSOURI VALLEY VILLAGES The Mandan and Hidatsa Villages through oral tradition, began with The Year of 1730 Charred Body who lived in the Sky. He heard the bellowing of buffalo, and looking through a Over hundreds of years the Mandan people made hole in the heavens, discovered their way from the eastern woodlands of the the earth below. Liking what he Ohio River Valley to the valley of the Missouri saw, he descended to earth in the River. Divided into five bands, the Nuptadi, form of an arrow. He erected 13 the Mananar, the Nuitadi, the Istope, and the earthlodges and brought down 13 Awikaxa, the Mandan have established nine large young couples who founded the well-fortified villages along the banks of the original families. Sacred arrows Knife, Heart, and Missouri rivers. Some reports have the power to protect the tell us that the Mandan reached their present sites people from evil. as early as the year 900. Not long after the Awatixa arrived Numbering in the neighborhood of 9,000, the on the Missouri, the Awaxawi, Mandan are a Siouan-speaking people who Siouan-speaking eastern neighbors, owe their origins to First Creator and Lone left for the Missouri Valley. The Man. These two powerful spirits, the Mandan Awaxawi origin account begins believe, created the Missouri River Valley and the with the creation of the earth Hidatsa village. animals, plants, and people who live there. First by Lone Man and First Creator Creator made the hills, woods, springs, buffalo, who competed with each other deer, and antelope on the south side of the to see who could make the best Valley.
    [Show full text]
  • Western Americana
    C ATA L O G U E THREE HUNDRED SIXTY-ONE WESTERN AMERICANA WILLIAM REESE COMPANY 409 Temple Street New Haven, CT 06511 (203) 789-8081 A Note This catalogue demonstrates the wide range of our interests in the exploration, settlement, and development of the American West in the 19th century and beyond. Included herein is important visual material, from striking prints by Karl Bodmer to co Henry Warre’s iconic views of the Pacific Northwest and Kendall & Nebel’s images of the Mexican-American War. The catalogue also features works by George Catlin, including a copy of the very rare New York edition of his North American Indian Portfolio and his striking image of St. Louis in 1832. There are original works by the artists George Gibbs and Robert Riggs, as well as a watercolor of a buffalo hunt by Lord Alfred Dunmore. Several books document hunting trips in the American West, including accounts by William Tucker, Gen. William Strong, James Tuttle, C.S. Boutcher, and Albert Cordier. The explorations of Alexander Mackenzie, Zebulon Pike, and Lewis & Clark are featured along with a complete set of the Harriman Expedition to Alaska and panoramic photographs of the Southwest, demonstrating the wide range of activities throughout the West in the long 19th century. Available on request or via our website are our bulletins as well as recent catalogues 357 The Struggle for North America; 358 The Civil War; 359 The 17th Century. Recent e-lists, only available on our website, include New York Views; Pirates & Privateers; William Reese’s SIX SCORE: THE 120 BEST BOOKS ON THE CATTLE RANGE INDUSTRY; Freedom’s Symphony: The Music of America; The Hub of the Universe: Boston in the 19th Century; Boston Book Fair 2018; The War to End All Wars: The History, Literature & Images of World War One; and The Second World War.
    [Show full text]
  • UNIVERSITY of CINCINNATI August 2005 Stephanie Bruning Doctor Of
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ The Indian Character Piece for Solo Piano (ca. 1890–1920): A Historical Review of Composers and Their Works D.M.A. Document submitted to the College-Conservatory of Music, University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance August 2005 by Stephanie Bruning B.M. Drake University, Des Moines, IA, 1999 M.M. College-Conservatory of Music, University of Cincinnati, 2001 1844 Foxdale Court Crofton, MD 21114 410-721-0272 [email protected] ABSTRACT The Indianist Movement is a title many music historians use to define the surge of compositions related to or based on the music of Native Americans that took place from around 1890 to 1920. Hundreds of compositions written during this time incorporated various aspects of Indian folklore and music into Western art music. This movement resulted from many factors in our nation’s political and social history as well as a quest for a compositional voice that was uniquely American. At the same time, a wave of ethnologists began researching and studying Native Americans in an effort to document their culture. In music, the character piece was a very successful genre for composers to express themselves. It became a natural genre for composers of the Indianist Movement to explore for portraying musical themes and folklore of Native-American tribes.
    [Show full text]
  • RECENT PUBLICATIONS in MUSIC 2013 Page 1 of 154
    RECENT PUBLICATIONS IN MUSIC 2013 Page 1 of 154 RECENT PUBLICATIONS IN MUSIC 2013 Compiled and edited by Geraldine E. Ostrove and David Sommerfield This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared primarily in 2012. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in conjuction with Fontes artis musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the editor of Fontes welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS. Argentina: Estela Escalada Kenya: Santie De Jongh Austria: Thomas Leibnitz Macau SAR: Katie Lai Belgium: Johan Eeckeloo Malawi: Santie De Jongh Canada: Sean Luyk The Netherlands: Joost van Gemert China: Katie Lai New Zealand: Marilyn Portman Czech Republic: Pavel Kordik Nigeria: Santie De Jongh Denmark: Anne Ørbæk Jensen Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Serbia: Radmila Milinković Finland: Tuomas Tyyri South Africa: Santie De Jongh France: Élisabeth Missaoui Spain: José Ignacio Cano, Maria José Germany: Susanne Heim González Ribot Greece: George Boumpous, Stephanie Sweden: Kerstin Carpvik, Lena Nettelbladt Merakos Taiwan: Katie Lai Hong Kong SAR: Katie Lai Turkey: Senem Acar, Paul Alister Whitehead Hungary: SZEPESI Zsuzsanna Uganda: Santie De Jongh Ireland: Roy Stanley United Kingdom: Rupert Ridgewell Italy: Federica Biancheri United States: Matt Ertz, Lindsay Hansen. Japan: SEKINE Toshiko With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Maureen Buja, Ana Cristán, Paul Frank, Dr.
    [Show full text]
  • BORN, Western Music
    Western Music and Its Others Western Music and Its Others Difference, Representation, and Appropriation in Music EDITED BY Georgina Born and David Hesmondhalgh UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London All musical examples in this book are transcriptions by the authors of the individual chapters, unless otherwise stated in the chapters. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Western music and its others : difference, representation, and appropriation in music / edited by Georgina Born and David Hesmondhalgh. p. cm. Includes bibliographical references and index. isbn 0-520-22083-8 (cloth : alk. paper)—isbn 0-520--22084-6 (pbk. : alk. paper) 1. Music—20th century—Social aspects. I. Born, Georgina. II. Hesmondhalgh, David. ml3795.w45 2000 781.6—dc21 00-029871 Manufactured in the United States of America 09 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper). 8 For Clara and Theo (GB) and Rosa and Joe (DH) And in loving memory of George Mully (1925–1999) CONTENTS acknowledgments /ix Introduction: On Difference, Representation, and Appropriation in Music /1 I. Postcolonial Analysis and Music Studies David Hesmondhalgh and Georgina Born / 3 II. Musical Modernism, Postmodernism, and Others Georgina Born / 12 III. Othering, Hybridity, and Fusion in Transnational Popular Musics David Hesmondhalgh and Georgina Born / 21 IV. Music and the Representation/Articulation of Sociocultural Identities Georgina Born / 31 V.
    [Show full text]