Download Essential Song: Three Decades of Northern Cree Music by Lynn Whidden PDF

By Lynn Whidden

Includes audio CD with over 50 Cree searching songs

Essential music: 3 many years of Northern Cree Music, a research of subarctic Cree looking songs, is the 1st precise ethnomusicology of the northern Cree of Quebec and Manitoba. the results of greater than twenty years spent within the North studying from the Cree, Lynn Whidden’s account discusses the culture of the searching songs, their meanings and origins, and their value to the quest. She additionally examines women’s songs, and strains the impression of social change—including the advent of hymns, Gospel tunes, and kingdom music—on the track traditions of those groups.

The booklet additionally explores the advent of powwow tune into the subarctic and the Crees fight to keep up their Aboriginal heritage—to discover a form of music that, just like the searching songs, can function a religious consultant and strength.

together with profiles of the hunters and their songs and observed by way of an unique audio CD of greater than fifty Cree searching songs, Essential Song makes a tremendous contribution to ethnomusicology, social background, and Aboriginal reviews.

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Additional info for Essential Song: Three Decades of Northern Cree Music

Example text

He adhered strictly to Christian doctrine, made few concessions to traditional Cree belief, and strongly discouraged the drumming and singing associated with Cree spiritual practices.

Because the shaman performed inside the little hut and was not seen, his communication with the audience was mainly through sound. The spirits, including those of animals, existed vocally for the audience, through their spoken languages. Brightman says the characters are identified by their “songs, choice of linguistic code, paralinguistic effects, and typified genres, taking the latter to refer to particular topics and styles of discourse” (2002, 172). The sound of the shaking-tent songs differs considerably from that of the hunting songs, yet in common with the hunting songs they show great individual differences in performance.

Because the shaman performed inside the little hut and was not seen, his communication with the audience was mainly through sound. The spirits, including those of animals, existed vocally for the audience, through their spoken languages. Brightman says the characters are identified by their “songs, choice of linguistic code, paralinguistic effects, and typified genres, taking the latter to refer to particular topics and styles of discourse” (2002, 172). The sound of the shaking-tent songs differs considerably from that of the hunting songs, yet in common with the hunting songs they show great individual differences in performance.

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