Hungry listening : resonant theory for indigenous sound studies

著者

書誌事項

Hungry listening : resonant theory for indigenous sound studies

Dylan Robinson

（Indigenous Americas / Robert Warrior, Jace Weaver）

University of Minnesota Press, 2020

大学図書館所蔵 件 / 全3件

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注記

Includes bibliographical references and index

Summary: "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"-- Provided by publisher

収録内容

  • Introduction. Writing Indigenous Space
  • Hungry Listening
  • Event Score for Guest Listening I
  • Writing about Musical Intersubjectivity
  • xwélalà:m, Raven Chacon's Report
  • Contemporary Encounters Between Indigenous and Early Music
  • Event Score for Return
  • Ethnographic Redress, Compositional Responsibility
  • Event Score for Responsibility : "qimmit katajjaq / sqwélqwel tl'sqwmá:y"
  • Feeling Reconciliation
  • Event Score to Act

内容説明・目次

内容説明

WInner 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 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.  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. 

目次

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

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