A timeline of how Native Americans/indigenous peoples have decolonized & indigenized: opera, jazz, & blues
Bibliographic record
Abstract
At the beginning of the assimilation era, Indigenous Tribes in North America were suppressed into western civilization. Suppression of Native American culture was rampant and still is. The art of music has come back with a vengeance and has helped the progression of decolonization and indigenization within many cultures, especially indigenous ones across the United States and Canada. The purpose of this thesis is to explore how Native Americans and Indigenous people have been able to decolonize and indigenize music between 1879 and present day -- specifically in genres such as opera, jazz and blues. The specific start date of the year 1879 enables us to engage and learn about the effects of missionary schools, more commonly known as boarding schools, and the effects that these schools have had on the culture and music for these communities. The activism in this paper is gauged on a scale of minimalism and maximization. These two spectrums will be explored in every genre provided and will present a preview of how native artists define the term activism and how they use or do not use it. Within indigenous activism, the terms 'Indigenization' and 'Decolonization' are vital and need to be established because some musical forms such as jazz are already decolonized in a historical sense. These forms of music stemmed from Black communities rebelling against the Westernized system that enslaved them thus forcing Black Americans to assimilate as well and adapt to new settings, create new cultures and with that new music. Decolonization can take place in European or Western forms of music such as opera and classical music. The timeline and interviews with current indigenous musicians will help show changes over time (even though timelines are a colonial or Western aspect), what being indigenous looks like in music, and how decolonization and indigenization have evolved as theories.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".