Cover

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pp. 1-1

Title Page, Copyright

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pp. 2-5

Contents

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pp. v-vi

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Preface

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pp. vii-xii

My first encounter with indigenous music of the Columbia Plateau region took place during a Native American music course at the University of Colorado, where I was laboring toward a PhD in ethnomusicology. I viewed the course as an opportunity to focus on music I wished to know but had for too long neglected. ...

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Acknowledgments

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pp. xiii-xiv

Only through the generosity and support of many has this singular work been possible. I have received critical guidance from exceptional teachers during this process, both within the academy and in the Columbia Plateau. ...

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Introduction

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pp. 1-10

Comprehensive studies into the relationship between song and spirituality are few. Scholars have acknowledged song as important, perhaps even integral to spiritual processes, but inquiry often ends there. While participating in the Ghost Dance, I encountered in a very direct way the use of song as a catalyst for spiritual power (Hamill 2008), ...

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1. Power and Prophecy in the Plateau

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pp. 11-24

Among religious prophetic traditions, found at the roots of many faiths throughout the world, indigenous Plateau prophecy stands out for one reason in particular: its reliance on song to relay its message and bring forth its power. Long before the influx of settlers and well into the postcontact period in the Plateau, ...

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2. Christians Answer the Call

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pp. 25-38

Upon his arrival in Coeur d’Alene country in April 1842, Fr. Pierre-Jean DeSmet was escorted to the lodge of Twisted Earth. The air within the lodge hung heavy. It had been one hundred years since Circling Raven’s vision, and there before Twisted Earth sat the fulfillment of a prophecy. ...

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3. The Old Indian Hymns

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pp. 39-62

Like the Jesuits in Paraguay, the first Blackrobes in the Columbia Plateau viewed hymns translated into Salish as lures to draw in converts who, through the pedagogy and protocols of their reductions, might be plucked from the dark recesses of their own “savage” souls. ...

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4. Song and Power

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pp. 63-84

Power, as it is understood in the context of Native ceremonies, might be defined as the energy that first passes from the spirit realm to the individual, which may then be made manifest through explicit methods spelled out in the exchange or implicitly understood within the context of a ceremony or larger cultural matrix. ...

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5. Gibson Eli: A Case Study of Song and Power

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pp. 85-102

The accounts that follow have been drawn from Tom Connolly’s written recollections and excerpts from interviews—one recorded with Gibson Eli in 1972 and others recorded by Connolly and myself. Eli’s voice and the voices of those touched by him are privileged here over my own, which serves only to emphasize, clarify, or elaborate on certain facets of the accounts for the reader. ...

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6. Medicine and Miracles

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pp. 103-134

In 1969, Mitch Michael approached Fr. Connolly with news that Gibson Eli wanted to become a Catholic. Although Eli had never attended church as a boy, his relatives on the Moses side (belonging to the band of Upper Spokan) were largely Catholic, as was his wife, Rose. ...

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7. The End and the Afterlife

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pp. 135-145

On a beautiful summer day in July 1972, Mitch and Mary Michael’s world came crashing down around them. They had just returned from White Swan on the Yakama reservation, where they were celebrating the Fourth of July with family and friends. ...

Notes

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pp. 146-153

References

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pp. 154-159

Index

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pp. 160-170

Color Plates

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pp. 186-189