Ethos and Identity asks the ever-puzzling question: What is ethnicity and how is it to be explained? In a new introduction to this work, Athena Leoussi describes Epstein's response to this challenging age-old query, and demonstrates why this classic volume is of continuing importance. Originally published thirty years ago, Ethos and Identity still fascinates the twenty-first century reader. Epstein's volume explains ethnic revivals of the past century, while the new introduction discusses those that occurred after the book's original publication, such as during the collapse of the communist Eastern bloc in the 1990s. Epstein offers insight into other ethnic reawakenings, such as that experienced during the late 1960s and early 1970s after the collapse of post-colonial east Asia. Prior to this, in the late 1940s and early 1950s, following World War II and the establishment of the United Nations, it was expected that ethnic identifications would be superseded by a more modern, universalistic, rational, civic- or class-based form. This did not occur. Instead, as nations collapsed and were reborn in new forms, people continued to identify with their ethnicity in describing themselves, even when their countries, at least as they knew them, no longer existed. In short, people and their cultures live on long after political and national boundaries have disappeared and been redrawn. Epstein's decisive contribution to the understanding of ethnicity proposes a "social anthropology of affect." People incorporate the social structure of ethnicity into the makeup of their personality and, thus, self-identification. Ethos and Identity is sure to interest students of anthropology, sociology, psychoanalysis, psychology, and ethnicity.

All people, in no matter what culture, must be able to place their music firmly in the context of the totality of their beliefs, experiences, and activities, for without such ties, music cannot exist. This means that there must be a body of theory connected with any music system--not necessarily a theory of the structure of music sound, although that may be present as well, but rather a theory of what music is, what it does, and how it is coordinated with the total environment, both natural and cultural, in which human beings move. The Flathead Indians of Western Montana (just over 26,000 in number as of the 2000 census) inhabit a reservation consisting of 632,516 acres of land in the Jocko and Flathead Valleys and the Camas Prairie country, which lie roughly between Evaro and Kalispell, Montana. The reservation is bounded on the east by the Mission Range, on the west by the Cabinet National Forest, on the south by the Lolo National Forest, and on the north by an arbitrary line, approximately bisecting Flathead Lake about twenty-four miles south of Kalispell. The area is one of the richest agricultural regions in Montana, and fish and game are abundant. The Flathead are engaged in stocking, timbering, and various agricultural enterprises. For the Flathead, the most important single fact about music and its relationship to the total world is its origin in the supernatural sphere. All true and proper songs, particularly in the past, owe their origin to a variety of contacts experienced by humans with beings which, though a part of this world, are superhuman and the source of both individual and tribal powers and skills. Thus a sharp distinction is drawn by the Flathead between what they call "make-up" and all other songs. Merriam's pioneering work in the relationship of ethnography and musicology remains a primary source in this field in anthropology.

Ethos and Identity asks the ever-puzzling question: What is ethnicity and how is it to be explained? In a new introduction to this work, Athena Leoussi describes Epstein's response to this challenging age-old query, and demonstrates why this classic volume is of continuing importance.

Originally published thirty years ago, Ethos and Identity still fascinates the twenty-first century reader. Epstein's volume explains ethnic revivals of the past century, while the new introduction discusses those that occurred after the book's original publication, such as during the collapse of the communist Eastern bloc in the 1990s. Epstein offers insight into other ethnic reawakenings, such as that experienced during the late 1960s and early 1970s after the collapse of post-colonial east Asia. Prior to this, in the late 1940s and early 1950s, following World War II and the establishment of the United Nations, it was expected that ethnic identifications would be superseded by a more modern, universalistic, rational, civic- or class-based form. This did not occur. Instead, as nations collapsed and were reborn in new forms, people continued to identify with their ethnicity in describing themselves, even when their countries, at least as they knew them, no longer existed. In short, people and their cultures live on long after political and national boundaries have disappeared and been redrawn. Epstein's decisive contribution to the understanding of ethnicity proposes a "social anthropology of affect." People incorporate the social structure of ethnicity into the makeup of their personality and, thus, self-identification.

Ethos and Identity is sure to interest students of anthropology, sociology, psychoanalysis, psychology, and ethnicity.

A. L. Epstein, anthropologist, professor, and writer, held research fellowships and appointments at the Rhodes-Livingstone Institute in Lansaka, Northern Rhodesia, the University of Manchester, the Australian National University in Canberra, the University of Sussex, the Center for Advanced Study in the Behavioral Sciences at Stanford University, and the Netherlands Institute of Advanced Studies in Wessenaar.

All people, in no matter what culture, must be able to place their music firmly in the context of the totality of their beliefs, experiences, and activities, for without such ties, music cannot exist. This means that there must be a body of theory connected with any music system - not necessarily a theory of the structure of music sound, although that may be present as well, but rather a theory of what music is, what it does, and how it is coordinated with the total environment, both natural and cultural, in which human beings move.The Flathead Indians of Western Montana (just over 26,000 in number as of the 2000 census) inhabit a reservation consisting of 632,516 acres of land in the Jocko and Flathead Valleys and the Camas Prairie country, which lie roughly between Evaro and Kalispell, Montana. The reservation is bounded on the east by the Mission Range, on the west by the Cabinet National Forest, on the south by the Lolo National Forest, and on the north by an arbitrary line, approximately bisecting Flathead Lake about twenty-four miles south of Kalispell. The area is one of the richest agricultural regions in Montana, and fish and game are abundant. The Flathead are engaged in stocking, timbering, and various agricultural enterprises.For the Flathead, the most important single fact about music and its relationship to the total world is its origin in the supernatural sphere. All true and proper songs, particularly in the past, owe their origin to a variety of contacts experienced by humans with beings which, though a part of this world, are superhuman and the source of both individual and tribal powers and skills. Thus a sharp distinction is drawn by the Flathead between what they call "make-up" and all other songs. Merriam's pioneering work in the relationship of ethnography and musicology remains a primary source in this field in anthropology.