Chapter 1 Traditions of Knowledge: Indigenous Knowledge...
Transcript of Chapter 1 Traditions of Knowledge: Indigenous Knowledge...
Supplementary Materials Online Instructor’s Manual: J. Bryan Burton
Chapter 1
Traditions of Knowledge: Indigenous Knowledge and the Western Music School
Chart 1.1 Great Texts of the Haudenosaunee
Text Description/Discussion Traditional stories
Great Law of Peace
Code of Handsome Lake
Thanksgiving Address
Chart 1.2 “Traveling Song,” CD track 3 Time Basic Description/Discussion 0:04 Drum
0:06 Solo
0:13 Group
0:32 Solo
0:32
Group
0:58
Solo
1:05
Group
1:23
Solo
1:30
Group
1:48
Solo
1:55
Group
2:15
Solo
2:22
Group
2:41
Duet
2:48
Group
3:08
Solo
3:14
Group
3:32
End
Chapter 2 Musical and Historical Encounter: Inuit Communities
Chart 2.1 Regional Distinctions
Western Eastern
Thin-framed drum beaten with long willowy sticks
Larger heavy-framed drum with handle (qilaut) used in Nunavut and Nunatsiavut. The qilaut is played solo and is struck only on the frame with a thick drumstick wielded by a solo drum dancer.
Mimetic stories performed by dancers wearing decorative gloves; masks may be essential dramatic regalia.
Solo drum dancer accompanied by singing of a chorus (often women). Story danced is typically a personal narrative
Chart 2.2 “Juggling Game Song,” CD track 4
Time Basic Description/Discussion 0:00
0:05
0:09
0:13
0:17
0:25
0:30
0:35
End
Chart 2.3 “Qiarvaaqtuq,” CD track 5 and “Qimmiruluapik,” CD track 6 “Qiarvaaqtuq” “Qimmiruluapik” Text Lyrics: juxtaposition of images
vocables
Vocal timbre breathy
throaty
Vowel sounds
Region Nunavut
Nunavik
Chart 2.4 “My Mother’s Name,” CD track 8
Time Basic Description/Discussion 0:00 Introduction—drum roll—
sample of mother speaking
0:16 Steady tempo; instrumental intro
0:23 Voice: Melody A
0:34 Voice: Melody A—sample of mother’s throat singing in background.
0:56 Voice: Melody B
1:14 Transition: instrumental sounds and sampling
1:24 Voice: Melody A
1:41 Voice: Melody A—higher pitch level
1:56 Voice: Melody B
2:14 Transition: sampling plus instruments
2:23 Voice: Melody A
2:30 Voice: Melody A—higher pitch level
2:53 End
Chapter 3 Music and Historical Encounter: The Wabenaki and Other Eastern Algonquian Nations
Chart 3.1 Parallels Between Native Traditions and Christianity
Similar roles for shaman and priest Use of chant and heightened speech Use of words such as “alleluia” was similar to vocables Chants and prayers used for healing and exorcisms Special repertoires for rites of passage
Chart 3.2 “Santu’s Song,” CD track 10 Time Basic Description/Discussion Part 1
Part 2
Part 3
Part 4
Chart 3.3 Wabenaki Songs and Dances
Song/Dance Description Welcoming song
Snake dance
Trading song
Wedding song
Pine needle dance
Figure 3.1 Layers of Meaning
Chart 3.4 “Snake Dance,”CD track 11
Time Basic Description/Discussion 0:00 Drums
0:12—1:15 Alternation between solo and
group approximately every 3-4 seconds
1:15 extended group section—increasing tempo
1:30 Resume original tempo
2:45 Extended group section—increasing tempo
Chart 3.5 “I’ko,” CD track 12
Time Basic Description/Discussion 0:00 Drum
0:08 Solo voice; drum
accompaniment
0:36 Solo voice; drum accompaniment
1:05 Solo voice; drum accompaniment
1:35 Solo voice; drum accompaniment
2:06 Solo voice without meter—no drum
2:12 Add drum tremolo
Chart 3.6 “Ko’jua,” CD track 13
Time Basic Description/Discussion O:00 Brief drum intro followed
almost immediately by solo voice
0:12 Solo voice
0:20 Solo voice
0:26 Solo voice
0:34 Solo voice
0:30 Solo voice
0:40 Solo voice
0:47 Solo voice
1:02 End pattern
Chart 3.7 “Pine Cone Dance Song,” CD track 14 Time Basic Description/Discussion 0:00 Drum
0:10 Solo voice (question)
0:18 Group (answer)
0:27 Group (chorus)
0:46 Pattern repeats
1:22 Pattern repeats
1:57 Pattern repeats
2:33 Pattern repeats
3:08 Pattern repeats
3:40 Pattern repeats
4:13 Pattern repeats
4:40 Group—speeds up
Chapter 4 Music and Historical Encounter: Haudenosaunee Music Culture with
Occasional References to Cherokee Traditions
Chart 4.1 Haudenosaunee Instruments
Instrument Description Playing Technique Use/Function in Music
Water drum Section of hollowed log or, sometimes, piece of plastic pipe with tanned-skin head held in place by cloth-wrapped wooden ring; a spigot is often found on one side of the drum; drumsticks may be simply or elaborately carved and well balanced; occasionally, stick is carved with small ball that clicks or rattles inside the stick handle.
Drum is partially filled with water and head is periodically rewetted by turning the drum over—an action that temporarily lowers pitch;may also be adjusted by blowing into hole of spigot or stretching head by pushing down on ring.
Played by lead singer
Cow horn rattle
Turtle shell rattle
Chart 4.2 “Peter Cottontail,” CD track 16
Time Basic Description/Discussion 0:00 Drum and rattle
0:09 Tentative solo
0:14 Solo
0:32 Full group
0:50 “Peter Cottontail”
0:59 Return to Native language
1:09 Verse
1:27 “Peter Cottontail”
1:37 Return to Native language
1:48 Sustained unison pitch
Chart 4.3 Selected Haudenosaunee Dances
Dance Description Role/Function Standing Quiver Dance Call-and-response type of stomp
dance with no accompaniment; dancers circle counterclockwise around both stoves of longhouse; dancers move into one long single-file line and perform a gentle flat-foot jog with a slight dip to one side.
Name refers to custom where dancers propped quivers against one another by stoves at either end of the longhouse; quivers were counted to ensure that all men had returned from battle; at one time, this was first and last dance of the evening.
Moccasin Dance
Women’s Shuffle Dance
Rabbit Dance
Robin Dance
Round Dance
Smoke Dance
Unity Stomp Dance
“Borrowed” Dances
Chart 4.4 “Smoke Dance,” CD track 17
Time Basic Description/Discussion 0:00 Free rhythm in both voice and
drum
0:16 Settles into steady tempo
0:28 Repeat
0:38 Tempo speeds up
0:52-0:54 Ending drum pattern
Chart 4.5 “Rattle Dances,” CD track 18
Time Basic Description/Discussion 0:00 Unison voices and rattle
accompaniment
0:21 Harmonized
1:01 New song
1:22 Hand clapping accompaniment
1:59 New song
2:38 New song
Chart 4.6 “Rabbit Dance” and “Messenger” Comparison
“Rabbit Dance” “Messenger” Vocal timbre
Form
Instrumentation
Language
Chapter 5 Contemporary Intertribal and Cross-Cultural Native American Music
Chart 5.1 Intertribal and Local Traditions
Intertribal Local Traditions
Chart 5.2 Powwow Music Style Characteristics
Northern Style Southern Style Northeastern Style Tempo
Vocal timbre
General style
Other
Chart 5.3 Selected Powwow Dances Typically Performed in the Northeast
DANCE DESCRIPTION ORIGIN Grand Entry
Men’s Traditional Dance
Regalia: Either long belted shirt typical of Southern style or large eagle bustle to waist at back, ankle bells, porcupine hair roach, and apron Steps: basic “pat-step” with highly individual movements mimicking birds or animals or relating to stalking and hunting animals.
Possibly from hunting or war
Men’s Grass Dance
Men’s Fancy Dance
Women’s Traditional Dance
Women’s Jingle Dance
Women’s Fancy or Shawl Dance
Chart 5.4 Powwow Song Structure
Form
Vocal timbre
Vocal register
Other vocal techniques
Texts
Accompaniments
Other
Chart 5.5a “The Mystery Stepdancer,” CD track 19 Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.5b “The Mystery Stepdancer” Time Basic Description/Discussion 0:05 A: low melody, piano acc.
0:23 B: high melody, solo
0:34 B: high melody, piano acc.
0:43 A: low melody
0:55 B: high melody, solo
1:05 B: High melody, piano acc.
1:14 A: low melody, piano acc.
1:30 B: high melody, solo
1:39 B: high melody, piano acc.
1:45 A: low melody, piano acc.
1:50 Begins slightly speeding up
2:02 Final chord
Chart 5.6a “My Way,” CD track 20 Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.6b “My Way” Time Basic Description/Discussion 0:00 Introduction (Instrumental)
0:16 Verse 1
0:43 Break
0:50 Chorus
1:05 Verse 2
1:30 Break
1:37 Chorus
1:50 Extended break
2:18 Verse 3
2:44 Break
2:51 Chorus
3:15 Brief coda
Chart 5.7a “Why We Rhyme,” CD track 21
Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.7.b “Why We Rhyme”
Time Basic Description/Discussion 0:00 Introduction (piano)
0:18 Brief solo rap
0:33 Refrain (“why we rhyme”)
0:56 Solo rap
1:38 Solo rap
2:17 Refrain (“why we rhyme”)
2:38 Solo rap
3:21 Solo rap
4:01 Refrain (“why we rhyme”)
Chart 5.8a “Sweet Tobacco,” CD track 22
Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.8b “Sweet Tobacco”
Time Basic Description/Discussion 0:00 Introduction: guitar, adds
keyboard
0:12 A melody (repeats 0:24)
0:33 B melody (repeats 0:44)
0:53 Vocal effects (repeats 1:03)
1:13 B melody (repeats 1:23)
1:33 Vocal effects (1:41)
1:51 B melody (repeats 2:01, 2:10, 2:21)
2:29 Coda—ending tag
Chart 5.9a “Akua Tuta,” iMix #18
Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.9b “Akua Tuta”
Time Basic Description/Discussion 0:00 Loons over increasing
percussion
0:36 Traditional style voices—vocables; descending vocal line at end
0:45 Rock-style instrumental
0:56 Verse
1:19 Chorus
1:33 Instrumental; descending vocal line at end
1:45 Verse
2:08 Chorus
2:23 Verse variant—harmonized at end
2:52 Instrumental solo
3:19 Chorus
3:45 Background voices/drums
4:00 Spoken
4:35 Fades
4:44-4:52 Descending vocal line
Chart 5.10a “1492 Who Found Who?” CD track 23
Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.10b “1492 Who Found Who?”
Time Basic Description/Discussion 0:00 Big band style introduction
0:10 Verse
0:20 Verse
1:00 Chorus: 1492 Who found who?
1:12 Band riff based on introduction
1:17 Verse
1:42 Chorus
1:52 Solo harmonica
2:04 Solo trumpet
2:14 Band riff based on introduction
2:20 Verse
2:44 Chorus
3:12 Repeated tag
3:22 Final chord
Chart 5.11a “Museum Cases,” CD track 24 Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.11b “Museum Cases”
Time Basic Description/Discussion 0:00 Unison singing
0:26 Spoken
0:30 Singing
1:02 Triad—vocables
1:12 “Sterilized women”
1:52 Slide—“exploitation”
“Genocide”
“No guilt, no shame”
Chart 5.12a “A Postcolonial Tale,” CD track 25
Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.12b “A Postcolonial Tale”
Time Basic Description/Discussion 0:00 Introduction: powwow drums
and bells
0:11 Traditional voices
0:13 Spoken voice over traditional accompaniment
0:32 Instrumental interlude (Western popular instruments)
0:44 Soprano sax
1:14 Spoken voice
1:42 Spoken voice
1:56 Spoken voice
2:16 Spoken voice—similar text to 1:42
2:32 Spoken voice
2:54 Instrumental interlude
3:05 Spoken voice over soprano sax
3:22 Soprano sax
4:18 Powwow drums and bells
4:26 Spoken voice over drums and bells
Chart 5.13a BONES
Genre
Language(s)
Subject matter
Musical style
Arrangement
Chart 5.13b BONES
Time Basic Description/Discussion 0:04 Intro (Begin “bone game”)
0:09 Add instruments
0:15 Chant
0:22 “text”
0:28 Chant
0:34 “text”
0:41 Chant
0:43 Fades
0:50 End “bone game”
0:52 1 (begin “chorale”)
1:11 2 (text change)
1:31 3 (text change)
1:55 4 (text change)
2:09 End “chorale”