The Hopi are the westernmost group of the Pueblo Indians of the southwestern U.S. They live on a high, dry plateau in northern Arizona, and have been a sedentary, agricultural people. This study establishes the stylistic parameters of song in a particular culture. Author List determines what is meant when a Hopi person states that two or more performances are those of the same song. To what extent can speech sounds, pitches, and durational values, or the forms of which they are the constituents, differ and the performances still be considered to be those of the same song? List transcribed and compared 8 recordings of performances of a particular kachina dance song and 11 recordings of performance of a particular lullaby, made from 1903 to 1984. Illus.

Emory Sekaquaptewa dedicated most of his life to promoting Hopi literacy and creating written materials to strengthen the language and lifeway of his people. He understood how intimately cultural ideas are embedded in language, and by transcribing and translating early recordings of katsina songs he helped strengthen the continuity of Hopi religious thought and cultural practices. Sekaquaptewa believed that the advice contained in the katsina songs, some of which were recorded over a century ago, could be used by future generations as guideposts for navigating contemporary life. Hopi Katsina Songs contains Hopi transcriptions, English translations, and detailed commentaries of 150 katsina songs, recorded throughout the twentieth century from all three Hopi mesas, as well as twenty-five recorded by Sekaquaptewa himself. To further continue the creative process of the Hopi legacy, Sekaquaptewa included song fragments with the hope that readers would remember the songs and complete them. These features make his collection an invaluable resource for preserving and teaching Hopi language and culture.

First Published in 1997. The present volume contains references and descriptive annotations for 1,497 sources on North American Indian and Eskimo music. As conceived here, the subject encompasses works on dance, ritual, and other aspects of religion or culture related to music, and selected "classic" recordings have also been included. The coverage is equally broad in other respects, including writings in several different languages and spanning a chronological period from 1535 to 1995. The book is intended as a reference tool for researchers, teachers, and college students. With their needs in mind, the sources are arranged in ten sections by culture area, and the introduction includes a general history of research. Finally, there are also indices by author, tribe, and subject.

In this unique study of Hopi discourse, an anthropologist describes the major public forms of Hopi discourse using a Hopi typology. That is, he describes from a Hopi viewpoint the structures of narratives, songs, songpoems, and direct address forms such as oration, prayer, and conversation. In addition to categories like versification, which are comparable to the building blocks of literature in English, he looks at distinctively Hopi genre signatures and evaluative concepts. Not only does he consider the structural characteristics of each genre, but he also relates the genres to contextual and cultural factors. Examples are presented in bilingual format, and musical notation of several Hopi songs is included. Although the book will be of interest to scholars in linguistics, ethnopoetics, discourse analysis, and performance theory, the author does not assume extensive knowledge of these fields or of the Hopi language on the part of his reader. He includes a pronunciation guide, a technical glossary, and a sketch of Hopi grammar.

This book is a one-stop reference resource for the vast variety of musical expressions of the First Peoples' cultures of North America, both past and present. Encyclopedia of Native American Music of North America documents the surprisingly varied musical practices among North America's First Peoples, both historically and in the modern context. It supplies a detailed yet accessible and approachable overview of the substantial contributions and influence of First Peoples that can be appreciated by both native and nonnative audiences, regardless of their familiarity with musical theory. The entries address how ethnomusicologists with Native American heritage are revolutionizing approaches to the discipline, and showcase how musicians with First Peoples' heritage are influencing modern musical forms including native flute, orchestral string playing, gospel, and hip hop. The work represents a much-needed academic study of First Peoples' musical cultures—a subject that is of growing interest to Native Americans as well as nonnative students and readers.

This edition explores the history of musical contact, interaction, and exchange between American Indians and Euramericans, as documented in musical transcriptions, notations, and arrangements. The volume contributes to an understanding of American music that reflects our cultural reality, depicting reciprocal influences among Native Americans, scholars, composers, and educators, and illustrating consequences of those encounters for American musical life in general. Culled from a published record of over 8,000 songs, the edition contains 116 musical examples reproduced in facsimile. Included in the volume are the earliest attempts to represent tribal music in European notation, archetypal transcriptions in the scholarly literature of ethnomusicology, and recent contributions by contemporary scholars. Some of the notations shown here inspired composers in search of a distinctively American musical idiom to write works based on American Indian melodies. Others captured the imagination of American school children, whose concept of cultural and musical identity came to be linked with American Indians. Indigenous notations, the work of native scholars and educators, and recent compositions by native composers working in the classical vein also appear in this volume. As a compendium of historic materials, the edition illustrates the development of Euramerican attitudes and approaches to American Indian musics, the infusion of native musics into American musical culture, and native responses to and participation in the enterprise.

The Oxford Handbook of Musical Repatriation is a significant edited volume that critically explores issues surrounding musical repatriation, chiefly of recordings from audiovisual archives. The Handbook provides a dynamic and richly layered collection of stories and critical questions for anyone engaged or interested in repatriation or archival work. Repatriation often is overtly guided by an ethical mandate to "return" something to where it belongs, by such means as working to provide reconnection and Indigenous control and access to cultural materials. Essential as these mandates can be, this remarkable volume reveals dimensions to repatriation beyond those which can be understood as simple acts of "giving back" or returning an archive to its "homeland." Musical repatriation can entail subjective negotiations involving living subjects, intangible elements of cultural heritage, and complex histories, situated in intersecting webs of power relations and manifold other contexts. The forty-eight expert authors of this book's thirty-eight chapters engage with multifaceted aspects of musical repatriation, situating it as a concept encompassing widely ranging modes of cultural work that can be both profoundly interdisciplinary and embedded at the core of ethnographic and historical scholarship. These authors explore a rich variety of these processes' many streams, making the volume a compelling space for critical analysis of musical repatriation and its wider significance. The Handbook presents these chapters in a way that offers numerous emergent perspectives, depending on one's chosen trajectory through the volume. From retracing the paths of archived collections to exploring memory, performance, research goals, institutional power, curation, preservation, pedagogy and method, media and transmission, digital rights and access, policy and privilege, intellectual property, ideology, and the evolving institutional norms that have marked the preservation and ownership of musical archives-The Oxford Handbook of Musical Repatriation addresses these key topics and more in a deep, richly detailed, and diverse exploration.

Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology. The book is divided into two parts; Part One is organised by resource type in catagories of greatest concern to students and scholars. This includes handbooks and guides; encyclopedias and dictionaries; indexes and bibliographies; journals; media sources; and archives. It also offers annotated entries on the basic literature of ethnomusicological history and research. Part Two provides a list of current publications in the field that are widely used by ethnomusicologists. Multiply indexed, this book serves as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the past decades.

With Wearing the Morning Star, Brian Swann presents a collection of more than one hundred Native American songs that celebrate the rich and vibrant oral traditions of the Indigenous peoples of North America. These are songs of the earth and the sky, songs of mourning and of love, parts of ceremonies and rites and rituals. Some have familiar themes; others illuminate the complexities and differences of the Native cultures. The collection includes songs of derision and threat, ribald songs, hunting chants, and a song sung by an Inuit about the first airplane he ever saw. ø Swann has provided an authoritative introduction and notes for each selection that place the songs in their cultural contexts. He has reworked the original translations where appropriate to allow the modern reader to appreciate and enjoy these remarkable works and provides a new preface for this Bison Books edition.