This book shares essential insights into how indigenous music has been inherited and preserved under the influence of the dominant mainstream culture in Asia and Europe. It illustrates possible ways of handing down indigenous music in countries and regions with different levels of acceptance toward indigeneity, including Taiwan, the Philippines, Malaysia, Turkey, the Czech Republic, Slovakia, the Near and Middle East, Caucasus Mountains, etc. Given its focus, the book benefits researchers who are interested in the status quo of indigenous music around the globe. The macro- and micro-perspectives used to explore related issues, problems, and concerns also benefit those interested in regional ethnomusicology.

This book shares essential insights into how indigenous music has been inherited and preserved under the influence of the dominant mainstream culture in Asia and Europe. It illustrates possible ways of handing down indigenous music in countries and regions with different levels of acceptance toward indigeneity, including Taiwan, the Philippines, Malaysia, Turkey, the Czech Republic, Slovakia, the Near and Middle East, Caucasus Mountains, etc. Given its focus, the book benefits researchers who are interested in the status quo of indigenous music around the globe. The macro- and micro-perspectives used to explore related issues, problems, and concerns also benefit those interested in regional ethnomusicology.

"This book is an interdisciplinary discussion of popular music performed and created by American Indian musicians, providing an important window into history, politics, and tribal communities as it simultaneously complements literary, historiographic, anthropological, and sociological discussions of Native culture"--Provided by publisher.

In this wide-ranging anthology, scholars offer diverse perspectives on ethnomusicology in dialogue with critical Indigenous studies. This volume 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. 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.

Five hundred years of colonization have taken an incalculable toll on the Indigenous peoples of the Americas: substance use disorders and shockingly high rates of depression, diabetes, and other chronic health conditions brought on by genocide and colonial control. With passionate logic and chillingly clear prose, author and educator Suzanne Methot uses history, human development, and her own and others’ stories to trace the roots of Indigenous cultural dislocation and community breakdown in an original and provocative examination of the long-term effects of colonization. But all is not lost. Methot also shows how we can come back from this with Indigenous ways of knowing lighting the way.

Music historian Craig Harris explores more than five hundred years of Indigenous history, religion, and cultural evolution in Rise Up! Indigenous Music in North America. More than powwow drums and wooden flutes, Indigenous music intersects with rock, blues, jazz, folk music, reggae, hip-hop, classical music, and more. Combining deep research with personal stories by nearly four dozen award-winning Indigenous musicians, Harris offers an eye-opening look at the growth of Indigenous music. Among a host of North America’s most vital Indigenous musicians, the biographical narratives include new and well-established figures such as Mildred Bailey, Louis W. Ballard, Cody Blackbird, Donna Coane (Spirit of Thunderheart), Theresa “Bear” Fox, Robbie Robertson, Buffy Sainte-Marie, Joanne Shenandoah, DJ Shub (Dan General), Maria Tallchief, John Trudell, and Fawn Wood.