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Voices: Mixed male/female ensemble

TIME LISTENING FOCUS

0’00” Opening section in free rhythm. Two male vocalists establish tonal center and initiate the performance.

0’14” Choir enters singing in free rhythm with a monophonic structure.

0’35” Main body of performance begins with regular beat and handclaps. Note that slight variations of tempo occur throughout the performance. Singing continues with monophonic structure (A section).

0’43” Singing shifts to homophony (B section).

0’56” Monophonic singing (A).

1’06” Homophonic singing (B).

1’18” Monophonic singing (A section with variation).

1’40” Homophonic singing (B section with variation).

1’59” Previous section (B with variation) repeats.

2’16” Closing calls.

Source: “Kai e titirou e matie,” sung with clapping by men and women of Ititin Rotorua Dance Troupe, Betio Village, Tarawa Island, Kiribati; recorded by Mary Lawson Burke, 1981. Used by permission.

CD 1.4 (2’25”)

L I S T E N I N G G U I D E

ETHNO-CHALLENGE (CD 1.4): Listen repeatedly and sing along with each part of the homophonic structure (just the pitches will do). If you are able to, try to transcribe the music with Western staff notation.

MANEABA Term for a communal meetinghouse in Kiribati.

In lieu of physical combat, battles between rival clans frequently took the form of music and dance contests. Contests could involve the whole community or consist of matches between individuals. Competitors drew upon their knowledge of song to empower them-selves with offensive and defensive magic. A dancer might call on the wind to “knock over”

his enemy or conjure up a wall of dark thunderclouds to hide himself from his opponent.

Through song, powerful deities were called on for strength and disparaging insults were traded, wrapped in metaphorical phrases, intended to antagonize the rivals. For example, a deity might be called on to strike the “distant rocks” (i.e., the rival group), so that they would crumble into the ocean and be eaten by baby sharks—a request that obliquely insulted the strength of the competitors, because baby sharks were viewed as weak and harmless.

Competitions could put the dancers into an ecstatic state in which the power of the spirits would seem to work through the performers. These states were marked by labored breathing, trembling, and occasional screaming, and performers generally fainted after the spiritual power had left them.

The colonial government and Christian missionaries found the dances and their asso-ciated spiritual beliefs to be irreligious, unhealthy, and unproductive. As a result, restrictions were placed on dance activity to subdue the potential for ecstatic physical states. At the same time, church-related groups and social clubs without lineal affiliation began partici-pating in the competitions, which undermined their function as surrogate battles between lineages. The focus of the competitions shifted from an emphasis on descent groups and the supernatural powers of the participants to the artistic skills of the dancers and musicians.

Along with this shift in focus came changes in musical values. European musical practices, namely the use of harmony, became markers of superior musical performance and thus a common feature of song in Kiribati. Since achieving independence in 1979, however, Kiribati has experienced a revival of interest in traditional culture that has encouraged the performance of freely rhythmic unison singing along with the metered harmonic choral singing.

1. Why would vocal traditions predominate in Australia and Oceania?

2. How do you circular breathe? Why is this technique useful when playing certain musical instruments?

3. How do Hawaiians use music to express their unique identity within American culture?

4. Why is music important to the Australian Aborigine’s cosmology, The Dreaming?

5. How might musical instruments be used in courting practices? Does your culture have any courting rituals? If so, does music play a role in them?

6. Name some ways in which Christian missionaries have influenced traditional music in Oceania.

Questions to Consider

Visit the textbook website to find these resources for further exploration on your own.

Australia

Book: Marret, Allan. Songs, Dreamings, and Ghosts: The Wangga of North Australia. Middletown, CT:

Wesleyan University Press, 2005.

http://www.upne.com/0-8195-6617-9.html

Audio: Maralung, Alan, and Peter Manaberu. Bunggridj-Bunggridj: Wangga Songs: Northern Australia.

Smithsonian Folkways: SFW40430, 1993.

http://www.folkways.si.edu/albumdetails.aspx?itemid=2318

http://itunes.apple.com/us/album/the-worlds-musical-traditions/id81978916

Audio: Seachnasaigh, Will. Dharpa Songs of the Dreamtime. Lyrichord: LYRCD 7442, 1998.

http://lyrichord.com/dharpasongsofthedreamtime-willseachnasaigh.aspx http://itunes.apple.com/us/album/the-didjeridu-dharpa-songs/id56890650 Website: Music Australia

http://www.musicaustralia.org/apps/MA Website: Australian Music Center

http://www.australianmusiccentre.com.au/

Website: Australian Government—Music

http://www.cultureandrecreation.gov.au/articles/music/

Popular Artists: Australia

Yothu Yindi Kylie Minogue Hoodoo Gurus INXS

Papua New Guinea (Melanesia)

Audio: Bosavi: Rainforest Music from Papua New Guinea. Smithsonian Folkways: SF40487, 2001.

http://www.folkways.si.edu/albumdetails.aspx?itemid=2690

http://itunes.apple.com/us/album/bosavi-rainforest-music-from/id82375605

Book: Feld, Steven. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression.

Philadelphia: University of Pennsylvania Press, 1982.

http://music.unm.edu/faculty_staff/fac_profiles/feld.htm Website: Melanesian Music

http://www.melanesianmusic.org/

Website: National Geographic Music—Papua New Guinea

http://worldmusic.nationalgeographic.com/view/page.basic/country/content.country/papua_new_guinea _854/en_US

Internet: Popular Artists from Melanesia

George Telek Rosiloa The Wagi Brothers

Hawaii (Polynesia)

Audio: Hawaiian Drum-Dance Chants: Sounds of Power in Time. Smithsonian Folkways: SF40015, 1989.

http://www.folkways.si.edu/albumdetails.aspx?itemid=2057

http://itunes.apple.com/us/album/hawaiian-drum-dance-chants/id117733099 Video: Holo Mai Pele: The Epic Hula Myth. Dir. Catherine Tatge. PBS, 2004.

http://www.piccom.org/programs/holo-mai-pele

On Your Own Time

w w w

Website: Black Pearl Designs—Polynesian Culture http://blackpearldesigns.net/index.html Website: Hawaiian Music and Hula Archives

http://www.huapala.org/

Audio: Amy Ku’uleialoha Stillman and Daniel Ho. Ikena. Daniel Ho Creations: DHC 80078, 2010.

http://www.danielho.com/html/naikena.html http://itunes.apple.com/us/album/ikena/id288690522

Book: Elbert, Samuel H., and Noelani K. Mahoe. Na Mele O Hawai’i Nei: 101 Hawaiian Songs. Honolulu:

University of Hawaii Press, 1970.

http://www.uhpress.hawaii.edu/cart/shopcore/?db_name=uhpress&page=shop/flypage&product_id=87 8&category_id=b3e6237d1b1b3b8594488ed1c40d0dfb&PHPSESSID=64a98cce4139e1bb203f37073f 898e6e

Book: Stillman, Amy Ku’uleialoha. Sacred Hula: The Historical Hula ‘Ala’apapa. Honolulu: Bishop Museum Press, 1998.

http://173.201.252.229/press/web/detailed.php?ID=0-930897-73-0

Book: Kaeppler, Adrienne. Hula Pahu: Hawaiian Drum Dances, Volume I: Ha’a and Hula Pahu, Sacred Movements. Honolulu: Bishop Museum Press, 1993.

http://173.201.252.229/press/web/detailed.php?ID=0-930897-55-2 Website: Hawaiian Slack Key Guitar Festival

http://www.slackkeyfestival.com/

Internet: Popular Artists from Polynesia Daniel Ho

IZ (Israel Kamakawiwo´ole)

Led Kaapana (Hawaiian Slack Key Guitar and Ukulele)

Kirbati (Micronesia)

Audio: Spirit of Micronesia. Saydisc: CD-SDL 414, 1995.

http://www.saydisc.com/ (Pacific)

http://itunes.apple.com/us/album/spirit-of-micronesia/id423356983

Book: Abels, Birgit. Sounds of Articulating Identity. Tradition and Transition in the Music of Palau, Micronesia.

Berlin: Logos, 2008.

http://www.logos-verlag.de/cgi-bin/buch/isbn/1866

Book: Feinberg, Richard. Oral Traditions of Anuta: A Polynesian Outlier in the Solomon Islands. New York:

Oxford University Press, 1998.

http://www.oup.com/us/catalog/general/subject/Linguistics/SociolinguisticsAnthropologicalL/?view=usa

&ci=9780195106831

Book: Kaeppler, Adrienne. The Pacific Arts of Polynesia and Micronesia. New York: Oxford University Press, 2008.

http://www.oup.com/us/catalog/general/subject/ArtArchitecture/History/NonWestern/~~/dmlldz11c2 EmY2k9OTc4MDE5Mjg0MjM4MQ==

Website: Jane’s Oceania Home Page—Dedicated to music and culture of Oceania http://www.janeresture.com/index.htm

Website: New Micronesian Magazine http://newmicronesian.com/

Internet: Popular Artists from Micronesia Ozeky

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