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Since the turn of the century, historians have focused on the diverse representations of the past, recognizing that traditional spaces (e.g., museums, statuary, and public commemorations) no longer have a monopoly on the public dissemination of history. This article explores representations of the past from an unusual place: punk rock music and the Canadian band Propagandhi (1986–present). It asks: Can we read history through punk rock? If so, what do we learn? Punks' treatment of the past should be integrated into how we evaluate public consumption of history. While Propagandhi does not create new knowledge, their music acts as an alternative historical epistemology that tracks alongside professional historians. This article explains how punks have integrated historical material similar to the aesthetics used in punk zines, fashions, and record designs. It then analyzes Propagandhi's focus on hypocrisy in punk communities through a historical framework, their perception of the early modern European epistemological origins of animal abuse, and their performance of a social history that magnifies the experiences of marginalized peoples. [ABSTRACT FROM AUTHOR]

This article explores the challenges of applying for and receiving music funding for Canadian music workers identifying as Indigenous, Black, or as a person of colour (IBPOC). Using survey data from the Canadian Live Music Association we find evidence of a racialized gap in music funding. Interviews with IBPOC music workers reveal the causes and consequences of the racial funding gap: there are limitations to worker agency wrought by gaps in knowledge of funding opportunities; perceived bias in favour of majority White-racialized music genres; and bureaucratic contradictions in funding applications that disadvantage IBPOC applicants. We argue that the conceptual tenets of racialized organizations and theories of racial inequality in cultural policy and creative organizations explain why gaps in funding persist, despite stated efforts to the contrary. We conclude by outlining a model of how music funding organizations exemplify racializing processes and offer policy implications for scholars and practitioners of arts funding. [ABSTRACT FROM AUTHOR]

In 2016, Canadian musician Gord Downie released a solo concept album titled Secret Path, which dealt with the death of Chanie Wenjack, an Anishinaabe boy who passed away after escaping an Ontario residential school in the 1960s. This album came just one year after the Final Report of the Truth and Reconciliation Commission (TRC) was published, marking a major national step in the reconciliation process. This, in combination with Downie's terminal brain cancer diagnosis that same year, gave the album a particularly heightened prominence within Canada. This paper examines Downie's album through the musicological framework of secondary musical witnessing, where Downie acts as a witness in defining the story of Chanie Wenjack. Through analyzing Downie's role as a musical witness, broader questions of Indigenous allyship are explored through the colonial lens of settler witnessing. This paper aims to explore the nuances and circumstances around Secret Path to understand its historical and cultural significance in the reconciliation movement upon its release, as well as the problems with its legacy related to Indigenous allyship when judged by modern standards as a way of demonstrating how far the reconciliation movement has progressed since 2016. [ABSTRACT FROM AUTHOR]

This paper was written to help address the tenuous status of research-creation at the University of Toronto, where I am a Doctor of Musical Arts candidate. There, I devised a "feedback saxophone" system in which I combine the tenor saxophone with various microphones and speakers to encourage and control acoustic feedback. The DMA program at U of T is classified as professional, so the premise of centering my thesis around my feedback saxophone practice was met with some healthy skepticism. This was not because it was viewed as uninteresting, but because creative practice is not typically considered a justifiable form of research in thesis writing. To therefore bolster research-creation as a legitimate form of scholarly inquiry and to build a model for my own research in music, I aim to answer two questions, insofar as they pertain to my research-creation project: (1) "How is creative practice research?" and (2) "What methods are appropriate for carrying out my creative practice as research?" In answering the first, I draw from the literature to demonstrate how research-creation is a form of knowledge generation that complements conventional modes of investigation. Following this, I examine different categories of research-creation and illustrate them on a music research "compass" to facilitate comparison and understanding. To answer the second question, I discuss two relevant research-creation methodologies and combine them to construct my own "problem-practice-exegesis" approach. I conclude by detailing how I carry out my research using this methodology. Through this work, I endeavor to provide a practical model for graduate artist-researchers who are interested in integrating their creative practices with thesis writing and to contribute to the validation of research-creation within Canadian graduate music programs and beyond. [ABSTRACT FROM AUTHOR]

This paper examines how performer decisions regarding musical pacing and expressive timing can shape the communication of affective states in a musical work, through a case study of Angst (Ho, Alice Ping Yee. 2000. Angst. Canadian Music Centre), composed by Alice Ping Yee Ho and premiered by soprano Janice Jackson. Described by Ho as a 'reaction to the myth of the inferiority of women', this work for solo soprano 'express[es] the fear and anxiety that women encounter'. Angst includes fluctuating time signatures, long-held notes of varying durations, and recurring motives that enter at unpredictable times, which, when combined, can complicate a listener's ability to discern consistent metre and/or predict future musical events. Using a video recording of Angst, I examine how Jackson's performance conveys the anxiety expressed by the protagonist. I draw on Danuta Mirka's adaptation (Mirka, Danuta. 2009. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791. Oxford: Oxford University Press) of Ray Jackendoff's parallel multiple-analysis model for determining metre (Jackendoff, Ray. 1991. "Musical Parsing and Musical Affect." Music Perception 9 (2): 199-230), David Huron's theory of musical expectation (Huron, David. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press), and Austin Patty's pacing scenarios (Patty, Austin T. 2009. "Pacing Scenarios: How Harmonic Rhythm and Melodic Pacing Influence Our Experience of Musical Climax." Music Theory Spectrum 31 (2): 325-367), and I expand on this work by discussing the affective impact of pacing. I suggest that Jackson's performance of Ho's score creates a confounding listening experience that reflects the work's themes of anxiety, fear, and realisation of power. [ABSTRACT FROM AUTHOR]

The article provides information about the Hames Sisters, a Canadian singing trio, who were featured on the CBC television program "Country Hoedown" from 1956 to 1965. Comprising Norma, Marjorie, and Jean, the sisters were accomplished musicians with a musical background spanning generations, and their harmonious performances gained them recognition as Canada's best-known female trio.

This article draws on research to evaluate the skills and traits required to be a successful music entrepreneur and Canadian musician in the face of digitalization. Theoretical and empirical studies emphasize entrepreneurship in every career. Researchers found that successful businessmen had unique skills that helped them achieve their goals faster. Creativity, timing, resource management, and opportunity awareness are connected to career success. This research explores academic entrepreneurs' best practices. Entrepreneurship is varied; therefore, the study found comparable effects and distinct conflict causes. Comparing general commercial success determinants to the skills musicians need to succeed in Canada and abroad generated four surprising findings: 1. Musicians require entrepreneurial skills. Musicians need skills to succeed and make money. 2. To capitalize on music industry digitalization, Canadian artists must strengthen their business skills. 3. Canadian artists need digital distribution and copyright skills to succeed in the internet era. 4. Entrepreneurship may be taught. Empirical research shows that entrepreneurs can learn better via experience than didactic training. These findings should support earlier research and assist policymakers develop "industry-specific" entrepreneurship tools for Canadian music practitioners. [ABSTRACT FROM AUTHOR]

Mani Ratnam's Dil Se (1998), 22 years after its release and its subsequent flop in the Indian box office, was included in Hollywood Insider's 'Master of Cinema Archive' in 2020. Its songs appeared in surprising places, including Spike Lee's Inside Man (2006), and in 2020, Canadian music artist Tesher's mashup video, 'Young Shahrukh'. Ratnam's use of fantasy-like scenes places the film and its songs in an earlier pre-2000 genre of the song sequence. Song picturizations in pre-2000 Hindi cinema, usually filmed after the song was recorded, were called 'situations' and song composition often took place around them (Morcom 31). Film songs and their picturizations functioned as the forerunners of 'non-resident' media, a term used to designate media not intended for the audience consuming it (Athique 111). In looking at the film's transnational movement, I attend to its songs' imagistic qualities and interpret 'Satrangi Re' (The Colorful One), one of the most remarked upon songs in the film, as a translation of narrative, rather than an escape from it. The film's intradiegetic movement during its transition from narrative to dream- like song sequences and its transnational circulation are marked by a resemblance between interiority and exteriority. In its transnational movement, the link between song and narrative weakens, but at the same time, brings forth new forms of visuality. Such visual presence, already at work in song sequences within their original narratives in pre-2000 Hindi cinema, is the first and preliminary movement of song picturization's transnational circulation. [ABSTRACT FROM AUTHOR]

This article illustrates the precarious position of Canadian independent musicians in the streaming era. In the first section, we articulate the sound of the Canadian music industry from above, providing a macro-level political economy, looking at multinational conglomerates, streaming technology, financialization, consolidation, and inequality. In sections two and three, we listen to the sound from below using ethnographic methods, relaying the experiences of independent musicians within an increasingly precarious industry. Based on feedback from the musicians we interviewed, we conclude by providing a series of recommendations and ideas to foster a more equitable, community-based music culture. [ABSTRACT FROM AUTHOR]

What does it mean to be punk within the Canadian music industry? This article offers a close reading of the band PUP's politics, grassroots partnerships and personal interviews to argue that they not only skew punk in genre terms, but also embody a punk ethos. Furthermore, this article will confront the ambivalent politics of punk as it becomes entangled with cultural nationalism and national identity-building through institutional arts funding and awards. If punk is about resisting the establishment, how might we reconcile PUP's reputation as a definitively 'Canadian' band with their outspokenness around issues ranging from anti-Black racism to police violence to ongoing colonialism? In what ways might PUP's leftist politics be absorbed into Canada's national identity through their receipt of institutional recognition, funding and awards? To make sense of these entanglements, we draw on Tavia Nyong'o's punk or punk'd theory, which responds to the apparent reification of queer theory and calls on scholars to cultivate a punk spirit. Following Nyong'o and other punk scholars, we ask: is PUP punk'ing the Canadian music machine? [ABSTRACT FROM AUTHOR]

This text confronts education to politics with the revelation of environmental issues from the point of view of the political philosophy of education. First, we lay the groundwork for what an epistemology of political education in democracy might be and what the latter then allows in terms of intellectual work (1). Then we try to see how this model can help us thinking of human autonomy in front of environmental issues (2). Then arises the question of the most appropriate places to think about political education in face of these issues. Here the fields of experience, informal education and individual relation to contemporary cultural productions appear as privileged. A brief illustrative study of the approach and work of the Canadian music group Les Cowboys fringants (3) shows how this type of informal educator can play an important role to provide resources and porpositions of influence for human autonomy in dealing with environmental issues within the democratic political framework. [ABSTRACT FROM AUTHOR]

The article informs on a roundtable presentation at the Society for Ethnomusicology 2020 virtual conference as of 30 October 2020. It mentions reflections on the present and future of Black, Indigenous, and people of color musicians and music scholars in ethnomusicological spaces, and the need for equity in Canadian ethnomusicology.

The article reflects on the views of the author at the Canadian Society for Traditional Music/ Society for Ethnomusicology 2020 virtual annual meeting as of 24 October 2020. It mentions ethnomusicological status quo in the ongoing crisis of the COVID-19 pandemic racial injustice, economic pain, and the climate crisis.

An introduction to the journal is presented which discusses topics within the issue including music in Canada, and ethnomusicology.