| |
| |
| Foreword | |
| |
| |
| Preface | |
| |
| |
| CD Track List | |
| |
| |
| Music Selections Available on iMix | |
| |
| |
| |
| Traditions of Knowledge: Indigenous Knowledge and the Western Music School | |
| |
| |
| Names Matter! | |
| |
| |
| Writing This Book as an Encounter | |
| |
| |
| Traditional Ways of Knowing | |
| |
| |
| Traditional Indigenous Knowledge | |
| |
| |
| The Great Texts of Native American Communities as TIK? | |
| |
| |
| Language, Oral Transmission, and Worldview | |
| |
| |
| Place and Attention to the Environment | |
| |
| |
| The Inseparability of Traditional Indigenous Knowledge, Oral Transmission, and Experience | |
| |
| |
| Relationality | |
| |
| |
| What Ethnomusicology Brings to the Study | |
| |
| |
| |
| Music and Historical Encounter: Inuit Communities | |
| |
| |
| Traditional Genres of Song | |
| |
| |
| Inuit Music as Historical Record and Judicial System | |
| |
| |
| Inuit Music as Play | |
| |
| |
| New Throat Singing Encounters: Local-Global Tensions | |
| |
| |
| |
| Music and Historical Encounter: The Wabenaki and Other Eastern Algonquian Nations | |
| |
| |
| Retaining Precontact Forms of Traditional Knowledge | |
| |
| |
| Spaces Beyond Colonial Control | |
| |
| |
| Rituals of Renewal | |
| |
| |
| Narratives and Performances that Relate to Encounter | |
| |
| |
| Indigenous Uses of New Performance Traditions | |
| |
| |
| Christian Hymns | |
| |
| |
| Secular Repertoires and Contexts | |
| |
| |
| Contemporary Wabenaki Social Dance and Song Traditions | |
| |
| |
| Wabenaki Cultural Revitalization | |
| |
| |
| |
| Music and Historical Encounter: Haudenosaunee Music Culture with Occasional References to Cherokee Traditions | |
| |
| |
| Attending a "Sing" | |
| |
| |
| Introducing the Haudenosaunee | |
| |
| |
| Haudenosaunee Singers and Social Dance Songs | |
| |
| |
| Traditional Knowledge and Modernity: Contemporary Adaptations of Social Dance Songs | |
| |
| |
| Iroquois Hymns | |
| |
| |
| Traditional Knowledge and Encounter | |
| |
| |
| |
| Contemporary Intertribal and Cross-Cultural Native American Music | |
| |
| |
| Powwows in Eastern North America | |
| |
| |
| Powwow Fundamentals | |
| |
| |
| The Commodification of Powwow Music | |
| |
| |
| Contemporary Popular Music and Theater | |
| |
| |
| |
| Lee Cremo - "The Mystery Stepdancer" | |
| |
| |
| |
| Forever - "My Way" | |
| |
| |
| |
| Trurez Crew - "Why We Rhyme" | |
| |
| |
| |
| Charlie Panigoniak - "Sweet Tobacco" | |
| |
| |
| |
| Kashtin - "Akua Tuta" | |
| |
| |
| |
| Murray Porter - "1492 Who Found Who" | |
| |
| |
| |
| Ulali - "Museum Cases" | |
| |
| |
| |
| Joy Harjo - "A Post Colonial Tale" | |
| |
| |
| |
| BONES: An Aboriginal Dance Opera | |
| |
| |
| Contemporary Native American Music and Identity | |
| |
| |
| Epilogue | |
| |
| |
| Glossary | |
| |
| |
| References | |
| |
| |
| Resources | |
| |
| |
| Index | |