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"This highly theoretical work of ethnomusicology is a reclamation of Indigenous ceremonial and artistic practice arguing that the inclusion and appropriation of Indigenous performers in classical music traditions only enriches the settler nation-state. Robinson gives shape to Western musical and aesthetic practices as well as to Indigenous listening practices in order to eschew traditional (Western) forms of musical analysis. Instead, the work argues that new modes of listening and studying reception, emerging out of critical Indigenous studies, are essential to understanding Indigenous musical expression in ways that do not reify the power of the settler state"--
List of contents
Contents
Introduction
Writing Indigenous Space
1. Hungry Listening
Event Score for Guest Listening I
2.Writing about Musical Intersubjectivity
xwélalà:m, Raven Chacon’s Report
3. Contemporary Encounters Between Indigenous and Early Music
Event Score for those who hold our songs
4. Ethnographic Redress, Compositional Responsibility
Event Score for Responsibility: “qimmit katajjaq / sqwélqwel tl’ sqwmá:y”
5. Feeling Reconciliation
Event Score to Act
Acknowledgments
Conclusion
Notes
Bibliography
Index
About the author
Dylan Robinson is a xwélméxw (Stó:l¿) 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.
