Commissioned by renowned percussionist Dame Evelyn Glennie, Psathas’ Drum Dances (1993) is a standard for drum kit and piano repertoire. Each of the four movements in this work were stimulated by a certain rhythmic interaction possible between two performers. The performers gradually transition from battling for superiority to working together throughout the work as they navigate material ranging from from a loosely-written stately dance to very tight and syncopated rhythmic interaction.

This enchanting Cherokee legend comes alive through the author's vivid adaptation and striking illustrations. Children will be spellbound as they read about the distinctive lifestyle and beliefs of the Cherokee people. Full color.

Initially published in 1982 in the Smithsonian Folklife Series, Thomas Vennum's The Ojibwa Dance Drum is widely recognized as a significant ethnography of woodland Indians.-From the afterword by Rick St. Germaine

Earth Dance Drum

Using text in both English and Cree, presents the round dance, a celebration of the seasons, and describes how the dance connects the Cree people to the natural world around them.

A History of Ancient Chinese Music and Dance describes the history of music and dance in ancient China in the past five thousand years in the forms of poems, music and dance. It includes court music and dance, music and dance in drama and folk music and dance. It covers historical and professional knowledge such as music, dance, poetry and drama. The book consists of eleven chapters, from ancient times to the Ming Dynasty and the Qing Dynasty. In each chapter, there are historical background, music and dance works, people, events, and related poetry and images. The Yellow Emperor created tonality for wind instruments. Emperor Yao and Emperor Shun invented musical instruments qin and se. Duke of Zhou made system of rites and music. Apart from these, music, dance and acrobatics in the Qin Dynasty and the Han Dynasty, grand compositions in the Tang Dynasty and the Song Dynasty and music and dance in drama in the Ming Dynasty and the Qing Dynasty can all lead us to the long developing process of ancient music and dance. The book was the Project of 2003 National Tenth Five-Year Plan for Art Science in China. It was co-funded by the National Publishing Fund and “China Classics International” of the General Administration of Press and Publication.

The Dogrib Indians are one of the Dene people of Western Canadian Subarctic; they speak a language belonging to the widespread Athapaskan family, whose southern relatives include the Navajos and Apaches of the southwestern United States. This study draws on the author’s field studies from 1959 to 1974 to present an ethnographic description of Dogrib religion. The first part of the book introduces three prophets who came to prominence in the 1960s and 1970s. Though they developed from the same tradition and had the same aims, their prophetic styles contrasted dramatically with one another. Helm situates the prophetic movement in relation to tribal and Christian traditions and shows the determining importance of the prophets personalities in shaping their teachings. The second part of the book examines the traditional Dogrib concept of power (ink’on), drawing on information given over the course of the years by Vital Thomas, a religious leader who collaborated closely with Helm. This firsthand material, told in Thomas’s own words, is noteworthy for its personal perspective and for the understanding it provides of the differing sources and uses of power. This concept of power is so pervasive in daily life that it forms the key for understanding the dynamics of Dogrib culture. The book concludes with a brief autobiography related by Vital Thomas. Prophecy and Power among the Dogrib Indians is important for documenting the prophet movement among the Dene people in the late twentieth century and for situating it historically in the context of Dogrib traditional culture.