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Music in Canada in the Nineteenth Century

Published online by Cambridge University Press:  19 December 2014

David Gramit*
Affiliation:
University of Alberta Email: dgramit@ualberta.ca

Abstract

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Type
Introduction
Copyright
Copyright © Cambridge University Press 2014 

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References

1 See Elliott, Robin, ‘A Canadian Music Bibliography, 1996–2004’, Institute for Canadian Music Newsletter 2/3 (2004)Google Scholar, available online at http://www.utoronto.ca/icm/vol02no3.pdf (accessed 29 January 2014). Elliott's bibliography updates that provided in Morey, Carl, Music in Canada: A Research and Information Guide (New York and London: Garland, 1997)Google Scholar. Diamond, Beverley, ‘Narratives in Canadian Music History’, in Taking a Stand: Essays in Honor of John Beckwith, ed. Timothy J. McGee (Toronto: University of Toronto Press, 1995): pp. 273–305Google Scholar, remains the most extended critical examination of Canadian music historiography, although it was written before the publication of a substantial new text in the field, Keillor, Elaine, Music in Canada: Capturing Landscape and Diversity (Montreal and Kingston, ON: McGill-Queen's University Press, 2006)Google Scholar.

2 See especially Anastasia Siopsi's discussion of Greece as a margin in her ‘Introduction’, Nineteenth-Century Music Review 8 (2011): 5–7.

3 The most vehement castigation of Canada's colonial musical status is undoubtedly Schafer, R. Murray, ‘Canadian Culture: Colonial Culture’, Canadian Forum 63 (1984): 1419 Google Scholar, reprinted in Canadian Music: Issues of Hegemony and Identity, ed. Beverley Diamond and Robert Witmer (Toronto: Canadian Scholars’ Press, 1994): 221–37. But see Diamond, Beverley, ‘Canadian Reflections on Palindromes, Inversions, and Other Challenges to Ethnomusicology's Coherence’, Ethnomusicology 50/2 (2006): 324336 Google Scholar, here 325 for a more casual characterization of the colonial as a condition to be superseded. Studies situating music in Canada in relation to postcolonial studies include Post-Colonial Distances: the Study of Popular Music in Canada and Australia, ed. Beverley Diamond, Denis Crowdey and Daniel Downes (Newcastle: Cambridge Scholars Press, 2008), and Berland, Jody, ‘The Musicking Machine’ and ‘Locating Listening’, in North of Empire: Essays on the Cultural Technologies of Space (Durham, NC: Duke University Press, 2009): 155–184CrossRefGoogle Scholar and 185–209.

4 See, for instance, Gordon, Tom, ‘Found in Translation: The Inuit Voice in Moravian Music’, Newfoundland and Labrador Studies (January 2007)Google Scholar, http://journals.hil.unb.ca/index.php/NFLDS/article/view/10106/10369 (accessed 30 January 2014); Kristina Marie Guiguet, The Ideal World of Mrs. Widder's Soirée musicale: Social Identity and Musical Life in Nineteenth-Century Ontario, Cultural Studies Papers (Canadian Museum of Civilization) 77 (Gatineau, Quebec: Canadian Museum of Civilization, 2004); and Laxer, Daniel Robert, ‘The Musical Landscape of Paul Kane's Western Journey, 1845–8’, Boulder Pavement: Arts and Ideas 1/1 (2013)Google Scholar, http://www.boulderpavement.ca/issue001/the-musical-landscape/ (accessed 30 January 2014).

5 Yu, Henry, ‘The Intermittent Rhythms of the Cantonese Pacific’, in Connecting Seas and Connected Ocean Rims, ed. Donna R. Gabaccía and Dirk Hoerde (Leiden: Brill, 2011): 393414 CrossRefGoogle Scholar.

6 Diamond, , ‘Canadian Reflections’, 329 Google Scholar and 330.