Item description for Songs, Dreamings, and Ghosts: The Wangga of North Australia (Music / Culture) by Allan Marett...
Aboriginal musicians receive songs both from an eternal realm known as The Dreaming and from the ghosts of deceased ancestors. Songs, Dreamings, and Ghosts is the first book-length study of wangga, a musical and ceremonial genre of Aboriginal people of the Daly Region of Northern Australia. This work is a labor of love, the culmination of nearly 20 years of field work and research by renowned ethnomusicologist Allan Marett, and represents the only comprehensive documentation of a single major genre of Aboriginal music. With first-hand, in-depth knowledge of Northwest Australia's Aboriginal cultures, Marett provides the reader with a penetrating description and analysis of this compelling musical practice. This book makes a significant contribution to knowledge of Aboriginal studies, and provides a rare glimpse into relatively unknown traditions and cultures. It includes illustrations, musical examples, and a CD loaded with samples of this fascinating music, closely linked to the text.
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Est. Packaging Dimensions: Length: 10.1" Width: 7" Height: 1" Weight: 1.9 lbs.
Release Date Oct 31, 2005
ISBN 0819566179 ISBN13 9780819566171
Availability 0 units.
More About Allan Marett
A recognized authority on Aboriginal music and culture, ALLAN MARETT is Professor of Musicology and Director of the Centre for Music Research at the University of Sydney.
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authoritative anthropological study of Australian aboriginal music Dec 3, 2005
With nearly 20 years of research on aboriginal tribes of northwestern Australia combined with this many years of research, Marett has an exceptional knowledge of their culture. He's also a professor of musicology and director of the Centre for Music Research at the U. of Sydney. Recognizing that the music of the aborigines--known as "wangga"--rests "on cosmologies and ways of being that are radically different from those shared" by the majority of Australians and others from Western, modernized cultures, Marett nevertheless applies academic and critical methodologies, analyses, documentation, and perspectives to understand the music's enduring role in the ancient cultures as much as this is possible for outsiders. Thus one finds aborigine music put into musical scores, words of songs and chants translated into English, rhythms described, and explanations of changes in the music reflecting the tribes' contacts with modern Australian society. Part of Marett's work is recording a good part of the music before it changes completely or is lost from the inroads of modernity into the native societies. In the native ceremonies and rituals, wangga is not optional (as in some Catholic masses, for instance); and needless to say, it is a far cry from entertainment. In the Australian aboriginal cultures of the northwest region, wangga is believed to issue from the ghosts of deceased ancestors in a timeless realm. In the ceremonies and rituals, wangga is the "means whereby human singers and dancers metamorphose into...nonhuman forms" to connect with their ancestors.