How to Cite
Avery, D. I. (2012). Tekeni-Two Worlds, Many Borders: A Look at Classical Native Music through Indigenous Eyes. MUSICultures, 39(1). Retrieved from https://journals.lib.unb.ca/index.php/MC/article/view/19998
Abstract
In this paper, I look at a variety of works by classical Native American composers as they apply to dichotomies of classical versus traditional, oral versus notated, Indian versus European, indigenous versus colonial, as well as the continued discussion on how scholarly research can reflect indigenous scholarship incorporating several theories and stylistic choices that several modern ethnomusicologists use as they help reclaim and reflect the indigenous viewpoint. Employing a concept of twinness taken from the Mohawk creation story as well as work on complementarity and duality by ethnomusicologists Diamond, Cronk, von Rosen and Browner, I extend the metaphor as I employ the contributions of the Delorias, Little Bear, Smith and Wilson to look at how we may negotiate the borders between indigenous and empirical scholarship, old versus new theories, and classical versus native concepts as revealed in the compositions themselves. Using fieldwork, analysis and questionnaires, this paper addresses the question of musical borders reflected in contemporary classical Native American music as I consider the work and interviews of composers Chacon (Navajo Dine), Archambault (Kichespirini), Nakai (Navajo/Ute), Davids (Mohican) , and Quincy (Choctaw). In addition, I reflexively look at my own compositions and performance experience as an ethnomusicologist, performer and composer of Mohawk descent.- The author retains copyright over the work.
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