Indigenous Classical

Music

Photo of Zitkála-Šá (Gertrude Simmons

Bonnin) in 1898. Zitkála-Šá was a Lakota
musician, author, and political activist.

Photo by Gertrude Kasebier (Smithsonian Institution) 

As we go through this topic
you will:
1. Learn about the history of Indigenous
musicians working within ‘classical’ music.
2. Consider some of the aesthetic and non-
aesthetic aspects of Indigenous classical
music performance.
Questions of the Week (Forum Posts)
You will answer ONE of these questions on the weekly forum

This week's unit examines Indigenous people's engagement with 'classical' music
throughout the twentieth century to the current era. How does this history of
Indigenous musical engagement with classical music shift our thinking about classical
music history in North America? 
OR
Please post a few of your thoughts on Dr. Dawn Avery’s lecture. Are there aspects of
her work that surprised you? Aspects that you found compelling? Questions that
emerged from her presentation? If possible, tie your comments to your previous
knowledge (or lack of knowledge) of Indigenous people’s working within the realm of
‘classical’ music.
Some Terminology For You to
Know
Western art music [WAM] (or ‘classical’ music): a somewhat problematic term used to refer
to music with European origins, created by specialists. The term 'art music' is often used to
distinguish music that is seen as having considerable artistic value from popular and folk
musics. I use the terms "Western art music" and "classical music" interchangeably.   

Indianist Composers: "...any American [or Canadian] who used Native American [Indigenous]
music as source material for art music on a consistent basis between 1890 and 1920. This
would include (in addition to [Edward] MacDowell and [Arthur] Farwell) Charles Cadman,
John Comfort Fillmore, Henry Gilbert, and Amy Beach, as well as such lesser-known
composers as Frederick Burton and Thurlow Lieurance" (Browner 1997: 266).
Issues to Consider/Discuss
1. Identity (How was her identity shaped?
How did she view herself?)
2. Access (To education, to cultural capital)
3. Groundbreaking activities (What she
accomplished that was new and/or
remarkable)
 The Opera Shanewis (1918)
• The opera Shanewis (1918), by Charles Wakefield
Cadman (libretto by Nelle Richmond Eberhart), was
"one of the first successful modern American
operas" (Deloria 2004: 185).
•  First opera with contemporary American setting
produced by the Metropolitan Opera (1924)
• Musically, there is a significant difference in what is
used to represent the ‘whites’ (more complex
harmonies) versus what is used to represent the
Charles Wakefield Cadman, one of the most ‘Indians’ (percussion)
well-known 'Indianist' composers.

Public domain photo (1916), by Kellmer.

Indigenous Agency and the Indianist Composer
Indigenous people sometimes worked with Indianist composers:
• Shanewis was based in part on Tsianina Redfeather Blackstone’s life
• “Spring Song of the Robin Woman” was sung to Cadman by
Blackstone
• Blackstone often toured with Cadman when he gave lectures on
Indigenous music in both the United States and Europe.

RIGHT: Tsianina Redfeather Blackstone (1917).

Photo from the Fort Worth Public Archives. Photographer unknown.
 “Native American people were involved in recording, contesting,
affirming, transforming, controlling, and performing those expectations
[of musical Indianness] in critical ways.” (Deloria 1997: 188)
Indigenous ‘Classical’ Musicians (Deloria)
Thomas Commuck (Namagansett composer, 1804–1855), Francis La Flesche (Omaha libretist, 1857–1932),  
Zitkala-Sa (Yankton Dakota violinist and composer, 1876–1938), Oyapela (Creek vocalist), Fred Cardin/Pejawah
(Miami/Quapaw violinist), William Reddie (Haida cellist), Paul Chilson (Pawnee vocalist), Robert Coon (Lakota
sousaphonist), Tsianina Redfeather (Creek vocalist, 1882–1985), Lucy Nicola (aka Princess Watawaso, Penobscot
vocalist, 1883 - 1969), Floating Cloud (vocalist), Princess Wantura (Cherokee), Daisy Maud Underwood (aka 
Princess Pakanli, Choctaw/Chickasaw vocalist and pianist), Angela Gorman Andretti, Irene Eastman (Sioux
vocalist, 1894–1918), Oskenonton (Iroquois, vocalist), Daniel Simmons (aka Chief Yowlachie, Yakama vocalist,
1891–1966), Carlisle Kawbawgam (Ojibwe, vocalist), James Garvie (Sioux, cornetist), Alex Melovidov (Inuit
violinist, 1896–19?), William Palin (Flathead violinist), Wanita Cardin (Quapaw pianist), Lemuel Childers (Osage
composer, 19?–1997), Ingram Cleveland (composer), Jack Kilpatrick (Cherokee composer, 1915–1967), Albert
Tewart (Chickasaw vocalist), Mary McClendon "Ataloa" (Chickasaw vocalist, 1885–1967), Kiutus Techumseh (aka
Herman Roberts, Yakama/Cherokee vocalist, 1896–1966)
Contemporary Indigenous Classical
Musicians
Heidi Aklaseaq Senungetuk
• In the section of her article that you were required to read, she describes her
performance of a composition by non-Indigenous composer George Rochberg
• Her program notes explain how she conceives of/understands the sounds she is
creating.

Live recording of Senungetuk

performing a selection of
Rochberg's Caprice Variations. Photo of Inupiaq violinist,
Heidi Senungetuk. 
 My role as an interpretive artist depends on compositions created by others, who may
or may not be Indigenous…In my performance of [Rochberg’s] work, I reinterpret the
titles of the movements I play, using words from Inupiaq languages in an effort to reveal
my thinking processes to the audience and thus to personalize my performances.
“Moderately fast, fantastico” becomes “Niqusaaniaq [Seal hunting]” because of the
imagery that comes to my mind while I play the movement. The element of suspense
created by silences followed by quick changes in tempo, combined with angular
melodic lines, reminds me of stories I have heard from my elders, telling me about
hunting seals on the cold winter ice, using quick, sharp motions with harpoons to
secure a food source for survival. (Senungetuk 2019, xv)
Contemporary Indigenous Classical
Musicians
Some contemporary Indigenous classical musicians. You may wish to refer to
some of these musicians when you complete your forum posts.
• Composer/cellist Dawn Avery (Mohawk): explore her website, or watch this short documentary 
• Mezzo soprano Marion Newman (Kwagiulth and Stó:lo): look through her website (includes videos) 
• Composer Raven Chacon (Navajo): read this article, or watch this video
• Composer Jerod Impichchaachaaha' Tate (Chickasaw): explore his website, or watch this video
• Violist/composer Melody McIvor (Ojibwe): look through their website (includes sound files)
• Composer Sonny-Ray Day Rider (Blackfoot): explore his website (includes sound files and films that he scored) 
• Composer Andrew Belfour (Cree): explore this webpage (includes a bio and compositions)
• Composer Elliot Britton (Métis): explore this website (bio, CV, list of works)
• Composer Barbara Croall (Odawa): read this biography
• Composer, producer, playright Spy Dénommé-Welch (Anishnaabe): read his Western University bio
• Singer and composer Deantha Edmunds (Inuk): view her website
• Flutist Jessica McMann (Cree): check out her website
• Cellist Cris Derksen (Cree): learn more about her here
• Composer and flutist Brent Michael Davids (Mohican): view his website here
Questions of the Week (Forum Posts)
This week's unit examines Indigenous people's engagement with 'classical' music
throughout the twentieth century to the current era. How does this history of
Indigenous musical engagement with classical music shift our thinking about classical
music history in North America?