"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"--

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

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.