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"The culmination of nearly twenty years of ethnomusicological research among the Aboriginal peoples of the Daly region of northwest Australia (Marri-tjevin and Marri-ammu), this exemplary work extends and deepens our understanding of Aboriginal traditional song, while going a long way toward closing the gap between our scant knowledge of Aboriginal musical arts and our abundant knowledge of Aboriginal painting…Allan Marett is to be congratulated for his painstaking work in doing justice to the Aboriginal songmen whose work it is to keep their ancestral world alive."―Michael Jackson, Journal of Folklore Research
"This book…deserves the widest possible attention, not just because Marett is the doyen of Australian ethnomusicologists, and this is his masterwork, but because the art form he seeks to anatomise is dying."―Nicolas Rothwell, The Australian
"Marett provides a model for how to successfully integrate social and musical analysis, not just in the Australian context, but within ethnomusicology more generally… This book is admirably concise and efficient in its distillation of an enormous amount of information into 325 pages…Songs, Dreamings, and Ghosts is one of the finest books on Australian music published to date."―Steven Knopoff, The World of Music
“an intelligent and detailed look at and attitude towards music and performance outside Western traditions that really does a magnificent job of making the subject clear…a scholarly book, but…fascinating.” ―Robert M. Tilendis, The Green Man Review
“In this brilliant and passionate book, Allan Marett reaches profound insights on Australian Aboriginal music through detailed analysis of the musical and linguistic features of many wangga songs, some of their accompanying dances, and the social and cosmological processes enacted through their performance.” (Anthony Seeger, professor of ethnomusicology, UCLA)|“It is rare to find such a detailed and developed musical analysis in a single publication. This is a major advance on other ethnomusicological studies on Indigenous Australia and will become the new standard against which to judge subsequent contributions.” (Stephen Wild, Graduate Convenor in Music, Australian National University)See all Editorial Reviews