INDEX
A Acadian banjo/bluegrass musicians, 194–5, 197, 201 Adler, Guido, 89–90 Africa, as influence on Black culture of 1960s–1970s, 262–6; as ancient civilization, 271, 275; and Black consciousness /pride, 262–3, 266, 273, 275, 277; as collective/pre-capitalist society, 265; and development of funk, 263–6; and history of slavery, 275 Africa, as influence on Black music of 1960s–1970s, 262–6; circular/cyclical aesthetic, 266; interlocked grooves, 263–4; naming, 265–6; repetition, 264–5; as stereotype, 263 African music: concept of, as Western invention, 95; and origins of banjo, 182–3, 192; percussive quality of, 183–4; Tracey’s recordings of, 182–3; and voice as instrument, 183. See also banjo/bluegrass music, of Nova Scotia African-American music. See Black music, and entries following Agawu, Kofi, 95 Aikio, Tiina, 215 Albanian wedding gatherings, singing and droning at, 137–8, 141 Allik, Kristi, 36, 43 Amazon region, Suyá people of, 138–9 America’s Musical Life (Crawford), 113, 123 American Anthropological Association, and etic/emic distinction, 145–6, 150–2, 155–6 American Folklife Center, 185 American Folklore Society (AFS), 185, 186, 187 American Guild of Organists (AGO), 148–9, 169 American Musicological Society, 93 American Musicspheres (book series), 124 American Organist (magazine), 148–9, 171n9 Amirault, Emory, 194–5, 197, 201 Angel Square (Crawley/Irwin), 37, 63, 65, 84 Anhalt, Istvan, 8, 21n20, 35–6 Ariadne auf Naxos (Strauss/Hofmannsthal ), 227 Asch, Michael, 138, 142n2 audience–performer interaction: at Albanian wedding gatherings, 137–8, 141; of Dene drum dance, 138, 141; of Qawwali (Sufi music), 130–7, 141; of Suyá people, 138–9, 141; at Western classical concerts, 139–41. See also Qawwali Averill, Gage, 115, 121–2 B Babiracki, Carol, 9, 14, 147 “Bacchanal Time” (Superblue), 285 Bach, Johann Sebastian, 92, 160, 163 bagpipes, Crawley composition for, 62, 77 327 Index Note: Page numbers in italics refer to illustrations and music illustrations. Balikci, Asen, 7, 20n16 Balinese music, 109–10, 111 banjo: African origins of, 182–3, 192; as factory-made, 192, 193; fifth string of, 183–4; impulse buying of, 192–3; percussive quality of, 183–4; scholarship on, 191–2; and spread of country music to Canada, 184–5; variations of, 184, 192 banjo/bluegrass music, of Nova Scotia, 181–203; Acadian influence on, 194–5; and Black musicians/tunes, 185, 190, 193, 197, 200, 201; and Doane family, 191–201; festival of, 188, 200, 203; and Loyalist/Black settlement, 185, 190, 191; material culture of, 190, 199, 201; in North American context, 201–3; in recent years, 195, 203; in Shelburne County, 187–8, 190; and U.S. musicians, 194, 201. See also Doane brothers Barbeau, Marius, 11, 113 barbershop singing, American, 121–2 Barnardo, Thomas John, and orphanages of, 63, 64 Barnardo Boy (Crawley/Helwig), 56, 63–5, 70–1n40, 83 Beckwith, John, 7, 20n9, 70n39 Berliner, Paul, 120 Best, Kelly, 10, 305 “Bev’s doodles,” 305 Bibaud, Michel, 231, 232 “Billy Wilson’s Clog” (banjo tune), 189, 199, 201–2 Black culture: African influences on, 262–6; and Black consciousness/ pride, 262–3, 266, 273, 275; as challenge to capitalist hegemony, 265; and civil rights movement, 261–2; and funk, 263–6, 269–78; and science fiction/future worlds, 274 Blacking, John, 94, 147–8, 171n6 Black music: and Nova Scotia banjo/bluegrass , 182–4; and race/racism, 11–12; study of, 116, 120, 121 Black music (early to mid-1960s): and Black capitalism, 261; and Black/ White integration, 261; and civil rights movement, 261–2; and specific sounds/groups, 261, 263, 269 Black music (mid- to late 1960s), reAfricanization of, 262–6; circular/ cyclical aesthetic of, 266; interlocked grooves of, 263–4; and rhythm over melody, 263. See also funk Black Stalin, 283 Blossom Time (Romberg), 227, 228 bluegrass music. See banjo/bluegrass music, of Nova Scotia; Doane brothers Blumer, Herbert, 102 Boas, Franz, 13, 113 Bock, Philip, 147 Bohlman, Phil, 147, 149, 172n12 Bolyer, Maurice, 195 Borduas, Paul-Émile, 256 Bowman, Rob, 9 Britten, Benjamin, 45; Let’s Make an Opera, 39; Noye’s Fludde, 33, 39; The Young Person’s Guide to the Orchestra, 39 Bronner, Simon, 184 Brown, James: and African influences, 263, 266; and Black consciousness/ pride, 262–3, 266; and commitment to performance, 266; and development of funk, 263–6; and success on R & B charts, 266; and sense of equality/community, 265–6. See also “Cold Sweat” Browner, Tara, 113; on powwow, 118 C Cage, John, 34, 42 calypso: artists...
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