|dc.description.abstract||The music of Haiti draws upon many sources: Haitian folk traditions, traditional Western music, and the musics of Africa. Likewise, scholarly writing about Haitian music comes from an array of disciplines including ethnomusicology, musicology, sociology, and cultural anthropology. Generally, the topics covered relate primarily to the role of music in the shaping of the history of Haiti, though scholarly analysis of pieces composed by Haitian composers and of international composers drawing upon Haitian folk traditions for inspiration exists as well. Field recordings of Haitian music, first compiled by Alan Lomax in 1936 and 1937 for the Library of Congress, are underrepresented. Though the coverage of Haitian music has increased in scope in recent years largely due to the contributions of Michael Largey (Voudo Nation, 2006) and Gage Averill (A Day for the Hunter, A Day for the Prey, 1997), a reference and research guide to the study of Haitian music has yet to be compiled.
In this thesis, I will survey the literature related to music in Haiti and extra-national music directly affected by Haitian folk traditions. Making use of both virtual and physical examples, the sources for this guide will be drawn from encyclopedic entries, theses and dissertations, articles, essays, and discographies, and is designed to provide a comprehensive look at the extant research on Haitian music.||