CAML Review / Revue de l'ACBM (Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux)
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"The Mother of Us All": (Og)Reta McNeill, Canada's First Professional Music Librarian
Get PDFThis paper presents extensive new biographical information, assembled from newspaper articles, about Ogreta McNeill, Canada’s first professional music librarian: pianist, singer, teacher, single mother, Toronto Public Library branch director, writer and bibliographer, impresario, founder and first chair of the Canadian Music Library Association.
The early accomplishments and influences of her formative years in Victoria BC offer were fully realized in her later identity as a generous contributor to the wider musical community
Loud and Clear: A Guide to Levelled Piano Music by Women Composers in the 20th and 21st Centures - by Olivia Adams (Book)
Get PDFMúsica Tipica: Cumbia and the Rise of Musical Nationalism in Panama - By Sean Bellaviti (Book)
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Decolonized Listening in the Archive: A Study of How a Reconstruction of Archival Processes and Spaces can Contribute to Decolonizing Narratives and Listening
Get PDFIn 2019, Stó:lō writer and scholar Dylan Robinson, and Tlingit curator and artist Candice Hopkins,created Soundings: An Exhibition in Five Parts, asking Indigenous artists and musicians to reflect onhow a score can be a tool for decolonization. In response, Indigenous artists contributed scores inthe form of beadwork, graphic notation, and more, effectively challenging traditional notions ofwestern colonial music-making and performance practices. Drawing upon the exhibit Soundings, aswell as Robinson’s book Hungry Listening: Resonant Theory for Indigenous Sound Studies (2020),this paper seeks to understand how to decolonize archives in ways that impact the description,preservation, and settler experience of music created by Indigenous artists. Robinson argues that byincreasing our awareness of and acknowledging our settler colonial listening habits, listeners canengage in decolonial listening practices that can deepen our understanding of how Indigenous songfunctions in history, medicine, and law. By centreing Indigenous Traditional Knowledge andstewardship in archival settings, Indigenous musical records can be described and preservedaccording to Indigenous frameworks. I propose the use of content management systems such asMukurtu and Local Contexts, as well as reparative archival description, to centre Indigenousframeworks and Traditional Knowledge in the archive. This paper also presents three case studies todemonstrate both the problematic aspects of current mainstream archival practices, as well as howMukurtu, Local Contexts, and reparative archival description can work to centre IndigenousTraditional Knowledge and stewardship
