Music and Modernity among First Peoples of North America 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. Closely 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 and brings ethnomusicology into dialogue with critical Indigenous studies.

Music and Modernity among First Peoples of North America

Arts & Photography

Levine, Victoria Lindsay

Robinson, Dylan

Music

Wesleyan University Press

Music and Modernity among First Peoples of North America (Music / Culture)

Hungry Listening: Resonant Theory for Indigenous Sound Studies (Indigenous Americas)

About the Author\nDylan Robinson is a xwélméxw (Stó:lō) writer, Canada Research Chair in Indigenous Arts, and associate professor at Queen’s University in Kingston, Ontario. He is coeditor of Arts of Engagement: Taking Aesthetic Action in and beyond the Truth and Reconciliation Commission of Canada and cocurator of Soundings, an internationally touring exhibition of Indigenous art scores.\nWInner of the Best First Book from the Native American and Indigenous Studies Association 
Winner of the Labriola Center American Indian National Book Award 
Winner of the Ann Saddlemyer Award from the Canadian Association for Theatre Research\nReimagining how we understand and write about the Indigenous listening experience\nHungry Listening is the first book to consider listening from both Indigenous and settler colonial perspectives. A critical response to what has been called the “whiteness of sound studies,” Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear” that renders silent the epistemic foundations of Indigenous song as history, law, and medicine. 
With case studies on Indigenous participation in classical music, musicals, and popular music, Hungry Listening examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, Hungry Listening offers examples of “doing sovereignty” in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence. 
Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.

Univ. of Minnesota Press

Reimagining how we understand and write about the Indigenous listening experience? Hungry Listening is the first book to consider listening from both Indigenous and settler colonial perspectives. A critical response to what has been called the "whiteness of sound studies," Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism's "tin ear" that renders silent the epistemic foundations of Indigenous song as history, law, and medicine.&nbsp; With case studies on Indigenous participation in classical music, musicals, and popular music, Hungry Listening examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, Hungry Listening offers examples of "doing sovereignty" in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence. Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.&nbsp;

Coming from a life of brokenness and abuse, Dylan came to a crossroads in his life and had to choose between going down the path set before him or to accept the hope and love of Jesus Christ. Once he experienced Jesus for the first time, he knew it was what he had always been looking for. Life didn't get easier after accepting Christ, but the purpose and fulfillment that came with living in Christ was a life he never thought was possible. This book is about how God took a broken kid, born on the wrong side of the tracks, and redeemed him in a way he never thought possible. Dylan now travels all over the country preaching about the Good News that can save their lives as well and also inspire others in their own faith. Dylan chose and continues to choose to keep moving forward and to never go back to his old life, and he believes that God desires everyone to continue to grow in their faith rather than becoming stagnant. What will you choose?

NEVER GOING BACK: THIS IS MY STORY (1)

Religion & Spirituality

Christian Books & Bibles

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Books by Robinson, Dylan

See the best price to sell, buy, or rent books by Robinson, Dylan. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Music and Modernity among First Peoples of North America

Music and Modernity among First Peoples of North America (Music / Culture)

Hungry Listening: Resonant Theory for Indigenous Sound Studies (Indigenous Americas)

Hungry Listening: Resonant Theory for Indigenous Sound Studies (Indigenous Americas)

NEVER GOING BACK: THIS IS MY STORY (1)