Michael V. Pisani. Imagining Native America in Music. New Haven, Conn.: Yale University Press. 2005. Pp. xiv, 422. $48.00
Identifieur interne : 000725 ( Istex/Corpus ); précédent : 000724; suivant : 000726Michael V. Pisani. Imagining Native America in Music. New Haven, Conn.: Yale University Press. 2005. Pp. xiv, 422. $48.00
Auteurs : Steven ConnSource :
- The American Historical Review [ 0002-8762 ] ; 2007-10.
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DOI: 10.1086/ahr.112.4.1196-a
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<p>What has Native America sounded like over the years? In broadest terms, that is the question Michael V. Pisani sets out to answer in this marvelously ambitious study. More specifically, Pisani wants to know how Native America has been represented in the musical productions of Euro-America, and his investigations cross two continents, nearly four and a half centuries, and numerous musical genres.</p>
<p>All this terrain is covered roughly chronologically, beginning in seventeenth-century Europe with the musical compositions of Jean-Baptiste Lully for Louis XIV and ending in Hollywood in 1998 with the protagonist of the film <italic>Smoke Signals</italic> singing a song about John Wayne's teeth. This big sweep is broken up into nine chapters, grouped into four sections.</p>
<p>The first two chapters focus on how Native America was musically represented in Europe during the seventeenth and eighteenth centuries. Pisani finds that depictions of noble savages and heroic warriors fascinated European audiences, and that these depictions on the popular stage, in turn, defined for Europeans “the very essence of ‘American’” (p. 74).</p>
<p>The next two chapters move us across the Atlantic and cover much of the nineteenth century. In the antebellum years, Pisani believes, musical characterizations of Native America became “crude,” centering around sensationalized versions of “war dances.” As a consequence, “music fell far behind the other arts in subtlety of expression” (p. 125). Crude though they may have been, these “war dance” performances were hugely popular in a United States busy manifesting its destiny. Pisani devotes the next chapter to <italic>Hiawatha</italic>, and we discover that this remarkable poem had an equally remarkable musical life, having commanded the attention of composers as well known as Frederick Delius and Antonín Dvo?ák, and as obscure—and ill-named—as Samuel Coleridge-Taylor.</p>
<p>The three chapters of the third section are in some ways the richest, perhaps in part because they deal with what seems to me the richest material. Covering the late nineteenth and early twentieth centuries, these chapters look at a real efflorescence of “Indianness” in American musical culture. Among the issues considered here are how the new ethnographic knowledge of Native Americans could be given musical expression, how musical “Indianness” might participate in larger debates over the definition of American nationalism at the turn of the century, and how modernist musical technique could be combined with ethnographic knowledge to create something more “authentic.” The final two chapters trot through the twentieth century with a particular focus on vaudeville and on the scores of Hollywood movies.</p>
<p>Pisani begins the book with what amounts to a finger-wagging at American historians. While there is a rich literature on how Native America has been imagined in a variety of ways, Pisani points out that this literature has ignored the role of sound in these imaginings. Music has served simply as the soundtrack to studies of literature, images, and film. Instead, Pisani argues that “music did not simply contribute to generic depictions of ‘Indians’ or ‘Indianness,’ but rather offered multiple views in which emphases shifted from century to century, from decade to decade, from work to work, and, in some cases, even within individual works” (p. 2). I am not sure Pisani has been entirely persuasive making that point, and I think most readers will find that Pisani's conclusions about music roughly mirror the analysis of scholars in other fields who have traced the representation of Indians from noble savage to anthropological subject to historical agent.</p>
<p>Still, these are small points. The bigger question Pisani raises for us is how American historians might incorporate music into our histories, given that many of us are, musically speaking, functionally illiterate. Much of this book will be a challenge for those with tin ears and no music theory. I struggled with concepts like modal melodies and pentatonic scales, but the fault is mine, not Pisani's.</p>
<p>This book also underscores the problems of books themselves when trying to wrestle with music. Pisani's analysis came alive for me when he dealt with music I already knew, but I am simply not familiar with much of the music being discussed here and so there was nothing in my head to accompany my reading. Illustrations in books serve to help us when we analyze images; does a book like this need an accompanying CD or website so that we can hear what is being discussed? I, for one, would love to hear the 1906 vaudeville hit: “You're an Indian, He's an Indian, I'm an Indian too.”</p>
<p>Pisani has done two things of real importance. He has filled in a significant lacuna in our consideration of how Native America has been portrayed in Euro-American culture, and he has challenged historians to listen to the music that has always been a part of human experience and to take it seriously.</p>
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