This volume includes papers by leading figures in phonetics and phonology on two topics central to phonological theory: tones and phonological features. Papers address a wide range of topics bearing on tones and features including their formal representation and phonetic foundation.

First Nations, Inuit, and Métis music in Canada is dynamic and diverse, reflecting continuities with earlier traditions and innovative approaches to creating new musical sounds. Aboriginal Music in Contemporary Canada narrates a story of resistance and renewal, struggle and success, as indigenous musicians in Canada negotiate who they are and who they want to be. Comprised of essays, interviews, and personal reflections by Aboriginal and non-Aboriginal musicians and scholars alike, the collection highlights themes of innovation, teaching and transmission, and cultural interaction. Individual chapters discuss musical genres ranging from popular styles including country and pop to nation-specific and intertribal practices such as powwows, as well as hybrid performances that incorporate music with theatre and dance. As a whole, this collection demonstrates how music is a powerful tool for articulating the social challenges faced by Aboriginal communities and an effective way to affirm indigenous strength and pride. Juxtaposing scholarly study with artistic practice, Aboriginal Music in Contemporary Canada celebrates and critically engages Canada's vibrant Aboriginal music scene. Contributors include Véronique Audet (Université de Montreal), Columpa C. Bobb (Tsleil Waututh and Nlaka'pamux, Manitoba Theatre for Young People), Sadie Buck (Haudenosaunee), Annette Chrétien (Métis), Marie Clements (Métis/Dene), Walter Denny Jr. (Mi'kmaw), Gabriel Desrosiers (Ojibwa, University of Minnesota, Morris), Beverley Diamond (Memorial University), Jimmy Dick (Cree), Byron Dueck (Royal Northern College of Music), Klisala Harrison (University of Helsinki), Donna Lariviere (Algonquin), Charity Marsh (University of Regina), Sophie Merasty (Dene and Cree), Garry Oker (Dane-zaa), Marcia Ostashewski (Cape Breton University), Mary Piercey (Memorial University), Amber Ridington (Memorial University), Dylan Robinson (Stó:lo, University of Toronto), Christopher Scales (Michigan State University), Gilles Sioui (Wendat), Gordon E. Smith (Queen's University), Beverly Souliere (Algonquin), Janice Esther Tulk (Memorial University), Florent Vollant (Innu) and Russell Wallace (Lil'wat).

The Dane-zaa people have lived in BC’s Peace River area for thousands of years. Elders documented the people’s history and worldview in oral narratives and passed them on through storytelling. Language loss, however, threatens to break the bonds of knowledge transmission. At the request of the Doig River First Nation, anthropologists Robin and Jillian Ridington present a history of the Dane-zaa people based on oral histories collected over a half century of fieldwork. These powerful stories span the full length of history, from the story of creation to the fur trade, from the arrival of missionaries to modern land claim cases. Elders document key events as they explain the very nature of the universe. The Dane-zaa were one of the last nations to experience the effects of colonialism. Where Happiness Dwells not only preserves their traditional knowledge for future generations, it also tells the inspiring story of how they learned to succeed in the modern world.

When You Sing It Now, Just Like New is a collection of essays about stories: about hearing, sharing, and recording them, and sometimes even becoming characters in them. These essays, which contextualize stories within anthropology, flow from Robin Ridington and Jillian Ridington's decades of work with the Athapaskan-speaking Dane-zaa people, who live in Canada's Peace River area. The essays in part 1 feature the Ridingtons' audio work as well as Jillian's reflections on her relationships with Dane-zaa women. The authors use a narrative style to lead the reader to an understanding of First Nations' oral and written traditions. The essays in parts 2 and 3 are more scholarly and comparative and draw on ethnographic experience. They speak to one or more theoretical issues and discuss First Nations traditions beyond the Dane-zaa, but always from within the context of shared ethnographic authority. Students of anthropology, folklore, and Native studies can hear samples of audio compositions from the Dane-zaa archive by downloading audio files from the University of Nebraska Press Web site.