Monthly Archives: September 2021

Indigenous Music To Hold the Space

I am thankful for Apple Music’s compilation of Indigenous music to help me pause and reflect on the deeply moving music and the lived experience of Indigenous musicians. So many styles, genres, such moving and deep truth. Peace Be.

Truth and Reconciliation Day. 

Find these and other fabulous music on: Indigenous Now channel, Apple Music.

Tania Tagaq, “Tongues

“I don’t want your shame; it doesn’t belong to me”

Snotty Nose Rex Kids, “No Jesus Piece,” from the album Life After

“I need some shades; it gets super ugly”

“I don’t believe in no one more than I believe in me”

Jayli Wolf, “Lead me

“I won’t let you lead me”

Digging Roots, “Cut My Hair

“When they cut my hair, I feel they tryin’ to cut down my roots”

Carson Gray, “Each Moment

All of us are children beneath the shining sun

Imagine a world where every one is free

Crown Lands, “Inner Light,” from the album White Buffalo

Instrumental [thankful for the gift of deep listening]

Adrian Sutherland, “Magic Hits,” from the album, When the Magic Hits

“Must be more to life than this

standing on the sidelines

waiting for the highlights, yeah

Must be more to life than this

praying for the weekend,

waiting ’til the magic hits”

Don Amero, “My Poor Mama,” from the album, Nothing is Meaningless

“if savin’ my can was worth a million dollars

then nobody be richer than my poor mama”

N’we Jinan Artists, “Come Home,” from the album, Come Home

Love is enough

“I’ll bring you up when you’re down”

Arlette, “Midnight Mass Graves

“I wept when I heard who they found”

 

“midnight mass graves, brutal execution,

not Afganistan, Kosovo, the Nazi solution

Oh Canada, thy church’s door,

where they remain buried for a century or more”

Shawnee Kish, “Burnin’ Love,” (featuring Jamie Fine”)

you got some nerve

you think you deserve me”

iskwe & Tom Wilson, “Starless Nights

“I always like my company,

in loneliness I felt truly free

of other peoples gazes in the mirror”

Ansley Simpson, “Witness

the white pines witness what we both know is at stake

Cassidy Mann, “Election Night

it changed everything

Raymond Sewell, “Over You” (featuring Eadsé)

keep your eyes on the road,

your hands on the wheel,

and your memory a thousand miles away

Noelle, “Seasons Change

“the snow melts away, but I’m here to stay”

Rhonda Head, “500 Years

“mother shared a story,

why were they so mean”

Riley Riot, “Tchutchu,” from the album, Almst

Instrumental [electronic dance trance]

Ziibiwan, “Two-Spirited

Instrumental [atmospheric dance]

KeAloha, “Mahina

You’re in my element

Jerry Sereda, “Classic Country Couple

you and me go together like a fiddle and steel guitar

he’s the only thing about you that I’d ever change

Celeigh Cardinal, “There’s a Great Big Beautiful Tomorrow

tomorrow’s just a dream away

Brenton David, “This House

we need the firemen, before its too late,

you’re smokin’

Kyle McKearney, “Sweet Summer Rain

“If God had mercy on my heart

He’d stop sending the sweet summer rain”

The Bloodshots, “Bad Moon Rising” (cover)

“There’s a bad moon on the rise..”

Ruby Waters, “Good Recipe

you electrify my body in a way that nothing else does”

Boslen and Dro Kenji, “NIGHTFALL,” from the album, DUSK to DAWN

“you been livin’ oh so far,

I can see your open scars”

T-Rhyme, “Revitalize

“…We call Him The Creator, Grandfather…

“the saddest thing in life is wasted talent”

“we need to teach and prevent”

“revitalize”

Nimkish, “Make Me a Drink,” from the album, Damage Control

“and it ain’t what it look like,

no love but it feel right

Electric Religious, “Paralyzed

paralyzed by your own damn luck

Kinnie Star, “Runnin’ Right Beside You

“waitin’ on leadership that plays charades”

Morgan Toney, Emma Stevens, and The Shift, “Wela’lin” (Thank you)

thankful for the teachings

William Prince, “Run

Saw the need and let it take the lead in me”

Run

“though the road it narrows,

you won’t find me anywhere else til its done”

Run

“It could mean tomorrow for someone”

sunsetto, “downtown

you should come out cause I’m downtown

Tyler Ogimaa, “Feeling Amazing

my path is sacred

every moment I go all in

got my eyes on my goals

Feel Amazing

The Halluci Nation, “R.E.D.,” from the album, We Are the Halluci Nation

R.E.D”

A tribe called

I’m in

Drezus and Dakota Bear, “Circles

We more than just arrows and bows

Someone go teach ’em respect

I love my community more

*Jon Lootz, “Old Problems

like old watches, I don’t got the time

I just found my sound

“I be on my own shadow problems”

“I do not compete”

*love it

Noah Crawford, “Oh Well

[my head on his shoulder]

Ahsley Ghostkeeper, “Try Me One More Time

Who’s at my door

said the shame from yesterday

“You keep tryin’ to break me

but you cannot take me tonight”

Handsome Tiger, “Burn Babylon,” from the album, Yardman

Electronic Atmospheric Experiential

DJ Shub and GDubz, “Smoke Dance Four

Traditional Chant Remix [awesome with goosebumps]

Tracy Bone and Shawn Hogan, “Like We Never Had to Say Good-bye

“I’m lovin’ the feelin

make belivin,

like we never had to say good-bye”

A moment lasts forever when it feels like this

Joey Nowyuk, “Sikungilunga” (When I Close My Eyes”), from the Album, Tumitit

Sung in the Inuit language, from Nunavut

Nadine Gagné and the Star Nation, “All Nations

“Calling all nations this world is one”

Indian City, “Smile

I thought love would never take me alive

Indigo, “Lost in You

What a life you live,

run away and come back again.

I feel ruined

every time I tell you I’m lost in you”

Kyle McKearney, “Tough or Die

Daddy said, son, you better get tough or die

The Rez Boys, “Tennessee Whiskey

you’re a smooth Tennessee Whiskey,

a sweet strawberry wine,

as warm as a glass of brandy

and I stay stoned on your love all the time.”

C-Weed Band, “Love of the Game

“I know its not the losing or the winning”

“we’re fighting the good fight”

PIQSIQ and VILD´A, “Ovddos/Hivumuuniq

Time travel

Joshua Haulli, “Uummatinni,” from the Album, Tukimut

Inuit language from Nunavut

 

As I sign off, I listen to Aasiva (Colleen Nakashuk) singing in Inuit, and I wonder if I shall ever be so lucky to see a day when Indigenous musicians have full representation in music schools in Canada. At all levels, from leadership, to instruction, to students. We have so much to gain from embracing musicality in of its styles and genres, with all of the richness of culture.

I am writing and reflecting in Kitsilano, B.C., the unceded traditional territories of the Coast Salish People including the Musqueam, Tsleil-Waututh, and Squamish people, and the Urban Indigenous people who call this place home today.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Gender Disparity

Not long ago a student wrote a paper for me studying gender disparity in the music profession. Her project stunned me and left me shaken. I work hard to understand statistical findings, but she presented a statistic that simply took my breath away: 0 women conducting major symphony orchestras in Canada. That’s right,

Zero.

When she presented this work to the class, I felt sad. I know how devastating that non-statistic is for a young woman in musical training. For the record, Wikipedia’s list of female conductors includes one female conductor in Canada, Lisette Canton of the Ottawa Bach Choir (1). And no one else. Why is it that all over the world there are women conducting symphony orchestras, but not in Canada? I would love to be corrected here. Really. Show me I’m wrong. I would love to write a supplemental post that profiles women conductors in Canada.

This is one of those situations that I have no control over. However, what I can do is raise the profile of women who appear in my own research. This afternoon I have gathered some statistics on the women in my book (excluding me, of course).

Works cited:

13 citations of single authored works by 8 women:

Carpenter (1967) (ch. 6)
Cumming (2000) (ch. 6)
Goldin Meadow (2003) (ch. 4, ch. 5)
Monson (1996) (ch. 4, ch. 6)
Saslaw (1996) (ch. 3)
Schmalfeldt (2011) (ch. 6)
Stevens (2012) (Intro, ch. 3, ch. 6, Concl.)
Winget (2008) (ch. 4)

Multiple authored works including women as they appear in the chapters:
Introduction:
Perri 6 & Bellamy (2012)
Chaffin, Imreh, & Crawford (2002)

Chapter one:
Ginsborg & Chaffin (2011)
Chaffin, Lisboa, Logan, Begosh (2009)
Chaffin, Imreh, Crawford (2002)

Chapter 2:
Coffey & Atkinson (1996)
Ginsborg & Chaffin (2011)
Chaffin, Lisboa, Logan, Begosh (2009)
Chaffin, Imreh, Crawford (2002)
Demos, Lisboa, Begosh, Logan, Chaffin (2018)
Perri 6 & Bellamy (2012)

Chapter 5:
Perri 6 & Bellamy (2012)

Chapter 6:
Davidson & Goode (2002)
Williamon & Davidson (2002)
Zamm, Pfordresher, & Palmer (2014)
Clark & Marshall (1981)
Clark & Brennan (1991)
Clark & Krych (2003)
Loehr & Palmer (2011)

Conclusion:
Varela, Thompson, & Rosch (2016)

The performing musicians who appear in my book are not identified for privacy reasons. However, the music duo whose rehearsals I studied is gender balanced, and the orchestra whose master class series I studied had the following gender distribution:

Male: 2nd violin, bassoon, contrabassoon, trombone, bass trombone, clarinet, tuba, flute/piccolo, oboe, percussion, French horn, viola, trumpet, double bass, timpani

Female: cello, harp, cor anglais, 1st violin, harp

There you have it. Fifteen men and five women from one orchestra produced the masterclasses that were analyzed in my research. They are all fabulous musicians.

When I do research, I don’t use gender as part of the decision-making on whether or not to cite a work, or to measure how I might position myself with respect to the ideas in those works. I include research that helps me think carefully about the issues I am interested in, sometimes in agreement, sometimes in disagreement. One of the male authors I have cited quite a bit is someone whose work I disagree with often – not because I do not like him, but because the way he presents his ideas helps me articulate why I think about my topic differently than he does. However, I do notice that single authored works by men make up the bulk of the synthesized material for the conceptual framework I have designed for the study of cognition in musical activity.

Sometimes when I create a syllabus with readings for a class, I do use gender as a criteria for selecting readings because I would like to normalize female authorship for my students. Discourse studies of gender norms in scholarly positioning is worth pursuing, but that is for another post.

1. https://en.wikipedia.org/wiki/List_of_female_classical_conductors

2. The digital radio station Classic FM has some more graphs that demonstrate gender inequality in the music business: https://www.classicfm.com/discover-music/latest/gender-inequality-american-orchestras/