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"Music and dance in Canada today are diverse and expansive, reflecting histories of travel, exchange and interpretation, and challenging conceptions of expressive culture that are bounded and static. Reflecting current trends in ethnomusicology, Contemporary Musical Expressions in Canada examines cultural continuity, disjuncture, intersection, and interplay in music and dance across the country. Essays reconsider conceptual frameworks through which cultural forms are viewed, critique policies meant to encourage crosscultural sharing, and address ways in which traditional forms of expression have changed to reflect new contexts and audiences. From North Indian kathak dance, Chinese lion dance, early Toronto hip hop, and contemporary cantor practices within the Byzantine Ukrainian Church in Canada to folk music performances in twentieth-century Quebec, Gaelic milling songs in Cape Breton, and Mennonite songs in rural Manitoba, this collection offers detailed portraits of contemporary music practices and how they engage with diverse cultural expressions and identities. At a historical moment when identity politics, multiculturalism, diversity, immigration, and border crossings are debated around the world, Contemporary Musical Expressions in Canada demonstrates the many ways that music and dance practices in Canada engage with these broader global processes."--

Folk music --- Ethnic music --- Traditional music --- Folklore --- Music --- History and criticism.

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Translating and interpreting --- Folk music --- Folk music. --- Ethnic music --- Traditional music --- Folklore --- Music

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-Ethnic music --- Traditional music --- Folk music --- History and criticism --- Folklore --- Music --- -History and criticism --- Folk music - Ireland - History and criticism

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The music and dance of the Tokelau Islands was affected by the wave of modernization which swept the Pacific following the establishment of the Western powers in the 19th Century. Although remote and isolated these tiny islands were fully involved in the recreation of their traditional music and dance style to reflect the new ideologies and technology. Yet the new form also maintains a strong sense of local identity and the ebullience and vigor of Polynesian dance, music, drumming, singing and text composition. In this study the work of local composers and the social context of performance are acknowledged, the separate elements of music, dance and poetic text are considered as they are interrelated within this form, and the history and geographical spread of the fatele to other islands. Working in the islands and in New Zealand (where the majority of Tokelauans now live) Allan Thomas also charts his growing understanding of the dance and music through more than ten years of fieldwork showing the special features that this modern form presents within studies of traditional musics.

78.37 --- Fātele (Dance) --- Folk music, Tokelauan. --- Folk dancing, Tokelauan --- Folk music --- Ethnic music --- Traditional music --- Folklore --- Music

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muziekgeschiedenis --- Music --- etnomusicologie --- Azerbaijan --- Folk music --- -Ethnic music --- Traditional music --- Folklore --- History and criticism --- -History and criticism --- Ethnic music --- 78.33.2