By Anna Hoefnagels
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Additional info for Aboriginal Music in Contemporary Canada: Echoes and Exchanges
I don’t move it. Me, that’s who I am. (Skookum 1966, trans. Madeline Oker 2003) Although I have noted that the melody is recreated quite closely with each performance, the actual vocables used by each lead singer do have variation. 13 In practice, dreamers’ songs can be sung once through, or they can be sung many times in a row, creating a continuous structural sequence. In the case of a two-line song, for example, this can be represented as AB AB AB and so on. The number of times a song is sung depends on the social context of the performance and the singer’s preference.
19 More recently, imaginative websites have asserted, either implicitly or explicitly, the interdependence of image, sound, and verbal text. ca, two massive sites conceptualized and overseen by Elaine Keillor in collaboration with a large number of Aboriginal organizations and individuals. Overview essays, interviews with significant Aboriginal elders and musicians, photographs, and videos present an array of voices and styles of representation on these sites. 20 Like Keillor’s websites, this site is a model of consultative practice and decision making since its design and content were carefully negotiated in the community.
An emphasis on individual musicians has characterized work by many graduates of the ethnomusicology program at Brown University, where both von Rosen and Kevin Alstrup studied, the latter focusing on Rita Joe (Alstrup 2003, Smith and Alstrup 1995) and on Thomas George Poulette (Alstrup 2004, 2003). Of course, we meet individual musicians and elders in the work of many others. The representation of pop musicians is arguably cast in a different mould, one influenced by the emphases of the marketplace and the in- 20 beverley diamond dustry.
Aboriginal Music in Contemporary Canada: Echoes and Exchanges by Anna Hoefnagels