東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Music heard deeply: Song and ethnic ...

University of Central Oklahoma., History & Geography.

FindBook

Google Book

Amazon

博客來

Music heard deeply: Song and ethnic interaction in the Cherokee Ozarks.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Music heard deeply: Song and ethnic interaction in the Cherokee Ozarks./
作者:	Castro, J. Justin.
面頁冊數:	154 p.
附註:	Adviser: Patricia Loughlin.
Contained By:	Masters Abstracts International46-06.
標題:	History, United States. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1453305
ISBN:	9780549556244

Music heard deeply: Song and ethnic interaction in the Cherokee Ozarks.
Castro, J. Justin.

Music heard deeply: Song and ethnic interaction in the Cherokee Ozarks. - 154 p.

Adviser: Patricia Loughlin.

Thesis (M.A.)--University of Central Oklahoma, 2008.

In the Cherokee Ozarks, music, song, and dance exemplified adaptations of Cherokees to new life ways, while also exhibiting the conservation of their cultural identity. Music was functional as well as entertaining; it brought people together within a community and between societies. The application of music history cannot fully demonstrate societal change, but is an insightful addition to understanding the complete cultural context of the Cherokee people and the Ozarks.

ISBN: 9780549556244Subjects--Topical Terms:

1017393
History, United States.

Music heard deeply: Song and ethnic interaction in the Cherokee Ozarks.
LDR:06167nmm 2200409 a 45 001 867158
005 20100802
008 100802s2008 ||||||||||||||||| ||eng d
020 $a 9780549556244
035 $a (UMI)AAI1453305
035 $a AAI1453305
040 $a UMI $c UMI
100 1 $a Castro, J. Justin. $3 1035867
245 1 0 $a Music heard deeply: Song and ethnic interaction in the Cherokee Ozarks.
300 $a 154 p.
500 $a Adviser: Patricia Loughlin.
500 $a Source: Masters Abstracts International, Volume: 46-06, page: 3058.
502 $a Thesis (M.A.)--University of Central Oklahoma, 2008.
520 $a In the Cherokee Ozarks, music, song, and dance exemplified adaptations of Cherokees to new life ways, while also exhibiting the conservation of their cultural identity. Music was functional as well as entertaining; it brought people together within a community and between societies. The application of music history cannot fully demonstrate societal change, but is an insightful addition to understanding the complete cultural context of the Cherokee people and the Ozarks.
520 $a Musical practices provide important insights into the interests, opinions, and beliefs of a study population. While demonstrating the role of music in historical analysis, this work also tells a narrative of the varied people and influences that shaped music and society in the Oklahoma Ozarks, from the arrival of the "Old Settler" Cherokee in 1828 to present day folk roots rockers. The 1800s is the predominant focus of this study; however, forays are made into previous and following centuries to establish origins of musical practices and the legacies that continue today.
520 $a This assemblage of essays is intended to provide a better understanding of the cultural make up of the Cherokee people and northeastern Oklahoma in general. For many years, Oklahoma historians have ignored the wealth of information music contains that folklorists have been utilizing since the 1930s. In addition to the political, economic, and educational studies already published on the region, Music Heard Deeply: Song and Ethnic Interaction in the Cherokee Ozarks helps provide a fuller summation of Cherokee Ozark history.
520 $a Chapter one is a review of literature. Academics whose works were important, whether disputed or as a foundation for my own study, are briefly examined. These authors include historians, geographers, anthropologists, and folklorists. The primary sources most utilized in this study are also presented, as well as influential theories.
520 $a Chapter two, "Historical Geography of Music Culture in the Oklahoma Ozarks," reviews the background of the varied ethnicities and musical practices of the studied realm. It briefly discusses the origins of population migrations to the Oklahoma Ozarks and how the region became a cultural interzone of artistic expression. Besides describing the instruments, songs, and genres used in the past and the legacy left behind, this essay also describes the physical geography of northeastern Oklahoma.
520 $a Chapter three reviews the song, music, and dance of the indigenous cultures that were forced into the region before and during the Trail of Tears in the late 1830s. These performing arts have been an essential component of entertainment, stories and traditions, religion and spirituality, games and sports---much of their cultural identity. The Cherokee, and to a lesser extent, the Delaware, influenced other ethnicities of the Oklahoma Ozarks, and indigenous dances are an intricate part of inter-cultural interaction, especially with other Eastern or woodland tribes.
520 $a Chapter four discusses the influence of Christian missionaries on music and song of the Oklahoma Ozarks. Among the aspects examined, are hymns, instruments, temperance songs, and play-parties. The role of religion in the music teachings at the Cherokee seminaries is briefly reviewed, as well as in local celebrations. This narrative reveals that Christian music culture was important to assimilation processes and that Christian themes became very popular in the nineteenth century. Although most of the traditions were based in Anglo-American beliefs, contributions from Cherokee and African Americans were great.
520 $a Chapter five is specifically about the African American population in the Cherokee Nation from 1850-1900. The African heritage that influenced these people as well as the surrounding culture, the role of slavery, and the cultural exhibition of freedmen and blacks that moved to the region following the Civil War are all explored. African Americans were given their own chapter because of their unique position in the early settlements of the Oklahoma Ozarks as slaves and their struggle to be incorporated into the greater community after their gained freedom. Much the same as in the other chapters, this piece emphasizes the role of music as a tool for social adaptation while at the same time being a cultural identifier.
520 $a The final chapter provides a brief account of the Cherokee fiddling tradition from 1809 to the living performers today. The instrument provides an excellent example of cross-cultural adaptation, and was/is used by all ethnicities in the Cherokee Nation, and throughout much of the world. The fiddle was an important intercultural tool used to comfort guests and a popular form of entertainment within the tribe. In the 1800s, no other instrument, excepting maybe the piano, brought together more people than the fiddle. This instrument's use helped bridge ethnic divides and should be recognized as an important and longtime art form among the Cherokee people, including intermarried whites, and freedmen. (Abstract shortened by UMI.)
590 $a School code: 0503.
650 4 $a History, United States. $3 1017393
650 4 $a Music. $3 516178
650 4 $a Native American Studies. $3 626633
690 $a 0337
690 $a 0413
690 $a 0740
710 2 $a University of Central Oklahoma. $b History & Geography. $3 1017638
773 0 $t Masters Abstracts International $g 46-06.
790 $a 0503
790 1 0 $a Brown, Kenny $e committee member
790 1 0 $a Loughlin, Patricia, $e advisor
790 1 0 $a Pool, Carolyn $e committee member
791 $a M.A.
792 $a 2008
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1453305