Post on 28-Nov-2014
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Native America
Culture & Music
Native AmericansClass 4
Native Americans
• “Native Americans” represents a very diverse group of people with very distinct cultures
Class 4
Native Americans
• “Native Americans” represents a very diverse group of people with very distinct cultures– In spite of that, we’re going to lump them
together and focus more on their similarities, rather than their differences
Class 4
Native Americans
Native Americans
• Indigenous people of the Americas
Native Americans
• Indigenous people of the Americas– Pre-Columbian America
Native Americans
• Indigenous people of the Americas– Pre-Columbian America
• Today, Native Americans (including Native Alaskans) make up about 2% of the U.S. population
Native Americans
• Indigenous people of the Americas– Pre-Columbian America
• Today, Native Americans (including Native Alaskans) make up about 2% of the U.S. population– A minority of them still live on reservations
Native American Music
Native American Music
• Frequently monophonic
Native American Music
• Frequently monophonic– having a single unaccompanied melodic line
Native American Music
• Frequently monophonic– having a single unaccompanied melodic line
• Sometimes heterophonic
Native American Music
• Frequently monophonic– having a single unaccompanied melodic line
• Sometimes heterophonic– two or more voices (or parts) elaborate the same
melody simultaneously, often the result of improvisation.
Native American Music
• Frequently monophonic– having a single unaccompanied melodic line
• Sometimes heterophonic– two or more voices (or parts) elaborate the same
melody simultaneously, often the result of improvisation.
• Often includes drums and rattles
Native American Music
• Frequently monophonic– having a single unaccompanied melodic line
• Sometimes heterophonic– two or more voices (or parts) elaborate the same
melody simultaneously, often the result of improvisation.
• Often includes drums and rattles– Frequently worn by dancers
Native American Music
• Frequently monophonic– having a single unaccompanied melodic line
• Sometimes heterophonic– two or more voices (or parts) elaborate the same
melody simultaneously, often the result of improvisation.
• Often includes drums and rattles– Frequently worn by dancers
• Flutes are common
Native American Music
• Frequently monophonic– having a single unaccompanied melodic line
• Sometimes heterophonic– two or more voices (or parts) elaborate the same
melody simultaneously, often the result of improvisation.
• Often includes drums and rattles– Frequently worn by dancers
• Flutes are common– Usually solo
Pow-Wow
Pow-Wow
• Pow-wows are one of the predominant musical performance forms of Native American music today
Pow-Wow
• Pow-wows are one of the predominant musical performance forms of Native American music today
• Drummers sit in a circle and sing
Pow-Wow
• Pow-wows are one of the predominant musical performance forms of Native American music today
• Drummers sit in a circle and sing– Songs are about honor, war, welcoming,
homecoming, etc.
Pow-Wow
• Pow-wows are one of the predominant musical performance forms of Native American music today
• Drummers sit in a circle and sing– Songs are about honor, war, welcoming,
homecoming, etc.• Dancers wear traditional dress
Numaga Pow Wow, 2005. This pow wow is named in honor of Numaga who was a Paiute chief. Numaga led the people during the Pyramid Lake Paiute Indian War (1860.) That was the last major conflict between whites and Indian people in the west. Numaga was a Peace Chief.
The pow wow is held by the Reno Sparks Indian colony, which is made up of Paiute, Washoes and Shoshone people.
Numaga Pow Wow, 2005. This pow wow is named in honor of Numaga who was a Paiute chief. Numaga led the people during the Pyramid Lake Paiute Indian War (1860.) That was the last major conflict between whites and Indian people in the west. Numaga was a Peace Chief.
The pow wow is held by the Reno Sparks Indian colony, which is made up of Paiute, Washoes and Shoshone people.
The Men's Chicken Dance imitates the Prairie Chicken which had a special dance to attract a mate
Sioux Grass Dance Song
• War dance– Dancing warriors wore braids of grass to symbolize
slain enemies– AKA Omaha Dance, after the tribe that originated it
• Melody– A leader starts off phrases– Men predominate with women singing also– Text is “pathogenic” (arising from the emotions)
Sioux Grass Dance Song
Sioux Grass Dance Song
Listening guide p. 37
Sioux Grass Dance Song
Listening guide p. 37• Beat is steady, but there’s no real meter
Sioux Grass Dance Song
Listening guide p. 37• Beat is steady, but there’s no real meter
– To make things more confusing, the singers are moving slightly faster than the drums!
Sioux Grass Dance (CD 1:3)
• piercing falsetto• driving drumbeat separate from voice part• pitches sliding down from high to low
(portamento) at the ends of phrases• mixture of solo and group singing• text is meaningless syllables (vocables)• repeating, melodic phrases that start on high
pitches and then gradually descend to lower pitches (“high to low and back up again”).
Sioux Grass Dance (2)
• singing part.• Melody• The melody is “ornamented” by Form
(phrase structure) of the Sioux Grass dance. – Two phrases—A and B—repeat.
Sioux Grass Dance - Beat
• It has a steady beat, but does not have a regular meter.
• It has a fast tempo. Notice how the drum beat does not coincide exactly with the sharp emphases, pulsations, and glides
• It accompanies a Sioux war dance.
Vocables
• nonlexical or “meaningless” syllables • “pathogenic”—arising from emotions• “logogenic” where the text is meaningful
words.
The role of musical instruments
• drums and rattles • Instrumental ensembles such as the familiar
orchestras of the Western music-culture are unknown in traditional North American Indian music.
• In spite of the fact that their music and/or language is not written down in symbolic notation, what appear to be simpler cultures turn out to be very complicated.
Sioux Grass Dance Song
• It’s common for dancers to wear bells around their legs and their movement provides more percussion to the music
• There are competitions today for the best at this style of dancing and music making
Zuni Lullaby
Zuni Lullaby• Solo women’s voice-
Zuni Lullaby• Solo women’s voice-– recorded in 1950 by a
grandmother ( Lanaiditsa) on the Zuni reservation in western New Mexico
Zuni Lullaby• Solo women’s voice-– recorded in 1950 by a
grandmother ( Lanaiditsa) on the Zuni reservation in western New Mexico
• Translatable text (logogenic-"Word-born" music, in which the verbal text completely dominates; the melody has little or no tonal syntax independent from that of
the words. )
Zuni Lullaby• Solo women’s voice-– recorded in 1950 by a
grandmother ( Lanaiditsa) on the Zuni reservation in western New Mexico
• Translatable text (logogenic-"Word-born" music, in which the verbal text completely dominates; the melody has little or no tonal syntax independent from that of
the words. )– See page 40 for
translation
Zuni Lullaby• Solo women’s voice-– recorded in 1950 by a
grandmother ( Lanaiditsa) on the Zuni reservation in western New Mexico
• Translatable text (logogenic-"Word-born" music, in which the verbal text completely dominates; the melody has little or no tonal syntax independent from that of
the words. )– See page 40 for
translation
• Repetition with very subtle variations
Zuni Lullaby (CD 1:4)
• Logogenic syllables -- meaningful words• solo singer• no drum• free meter• repetition• no harmony• voice dominates
Zuni Lullaby Context
• Grandmother sings a lullaby to her grandchild
• affection shown by repeating phrases comparing child to cute, small animals
Lakota LullabyThe Lakota (IPA: [laˈkˣota]) (also Teton, Tetonwan) are a Native American tribe. They are part of a confederation of seven related Sioux tribes (the Oceti Sakowin or seven council fires) and speak Lakota, one of the three major dialects of the Sioux language.
Lakota Lullaby• Performed by
Robert Tree CodyThe Lakota (IPA: [laˈkˣota]) (also Teton, Tetonwan) are a Native American tribe. They are part of a confederation of seven related Sioux tribes (the Oceti Sakowin or seven council fires) and speak Lakota, one of the three major dialects of the Sioux language.
Lakota Lullaby• Performed by
Robert Tree Cody• More melodically
complexThe Lakota (IPA: [laˈkˣota]) (also Teton, Tetonwan) are a Native American tribe. They are part of a confederation of seven related Sioux tribes (the Oceti Sakowin or seven council fires) and speak Lakota, one of the three major dialects of the Sioux language.
Lakota Lullaby• Performed by
Robert Tree Cody• More melodically
complex– Wider pitch
range and more notes
The Lakota (IPA: [laˈkˣota]) (also Teton, Tetonwan) are a Native American tribe. They are part of a confederation of seven related Sioux tribes (the Oceti Sakowin or seven council fires) and speak Lakota, one of the three major dialects of the Sioux language.
Lakota Lullaby• Performed by
Robert Tree Cody• More melodically
complex– Wider pitch
range and more notes
• Repetition with subtle variations still a feature
The Lakota (IPA: [laˈkˣota]) (also Teton, Tetonwan) are a Native American tribe. They are part of a confederation of seven related Sioux tribes (the Oceti Sakowin or seven council fires) and speak Lakota, one of the three major dialects of the Sioux language.
Lakota Lullaby• Performed by
Robert Tree Cody• More melodically
complex– Wider pitch
range and more notes
• Repetition with subtle variations still a feature
The Lakota (IPA: [laˈkˣota]) (also Teton, Tetonwan) are a Native American tribe. They are part of a confederation of seven related Sioux tribes (the Oceti Sakowin or seven council fires) and speak Lakota, one of the three major dialects of the Sioux language.
.....meaning good hearted little boy, go to sleep / you are sleeping (all of) the good night ...
Iroquois Quiver Dance
Iroquois Quiver Dance
• “Gadashot”
Iroquois Quiver Dance
• “Gadashot”• Composed by Twenty
Jacobs of Quaker Bridge before 1941
Iroquois Quiver Dance
• “Gadashot”• Composed by Twenty
Jacobs of Quaker Bridge before 1941
• Utilizes a call and response pattern
Iroquois Quiver Dance
• “Gadashot”• Composed by Twenty
Jacobs of Quaker Bridge before 1941
• Utilizes a call and response pattern
• Text is humorous
Iroquois Quiver Dance
• “Gadashot”• Composed by Twenty
Jacobs of Quaker Bridge before 1941
• Utilizes a call and response pattern
• Text is humorous– See translation on page
41
Iroquois Quiver Dance (CD 1:5)
• A solo voice (the “leader”) sings a text phrase, the “call.”
• a group of voices answers, singing the “response,” “yowe hi ye ye!”
• This important texture or manner of treating a melody is common to many music-cultures throughout the world and is known as call-and-response.
Iroquois Quiver Dance
• Male singers only.• Instrumental accompaniment
– None that is obvious in this older (1942) field recording, but it is common for the dancers/singers to use rattles to accompany their singing.
Native American Flute Music
• Similar flutes are common to many different Native American tribes– They often have
similar stories about being taught how to build the flute from the woodpecker
Native American Flute
• Anasazi flutes have been excavated in Arizona dating from 620-670 AD
• They are traditionally made from bamboo or river cane, they are often made of tree woods and even plastic
• Unlike European and Asian style flutes, these flutes have two air chambers
Native American Flute
• Traditionally tuned to a minor pentatonic scale– Play the black notes on the keyboard and that’s
a minor pentatonic scale– This is a common scale in music from all over
the world
In your group, listen, reflect, discuss and analyze Sweet Lullabye in relationship to the Native American styles we discussed today pertaining to:
Sioux Grass Dance SongZuni Lullaby
Lakota LullabyIroquois Quiver Dance
Native American Flute Music
Report your conclusions to the class.
"Sweet Lullaby" is a world music/ethnic electronica song by Deep Forest which originally appeared on their eponymous album. The song is based around a traditional Baegu lullaby from the Solomon Islands called "Rorogwela", and uses a vocal sample originally recorded by ethnomusicologist Hugo Zemp in 1970 and later released by UNESCO as part of their Musical Sources collection.[1] The lyrics refer to a young orphan being comforted by his older sister despite the loss of their mother and father.[2]
(Baegu)Sasi sasi ae ko taro taro amuKo agi agi boroi tika oli oe lauTika gwao oe lau koro inomaenaI dai tabesau I tebetai nau mouriTabe ta wane initoa te ai rofia
Sasi sasi ae kwa dao mata oleRowelae e lea kwa dao mata biruI dai tabesau I tebetai nau mouri
Sasi sasi ae ko taro taro amuKo agi agi boroi tika oli oe lauTika gwao oe lau koro inomaenaI dai tabesau I tebetai nau mouri(repeat x 3) Little brother, little brother, stop crying, stop crying Though you are crying and crying, who else will carry you Who else will groom you, both of us are now orphansFrom the island of the dead, their spirit will continue to look after usJust like royalty, taken care of with all the wisdom of such a place
Little brother, little brother even in the gardens This lullaby continues to the different divisions of the garden, From the island of the dead, their spirit will continue to look after us
Little brother, little brother, stop crying, stop crying Though you are crying and crying, who else will carry you Who else will groom you, both of us are now orphansFrom the island of the dead, their spirit will continue to look after us
Music of the Navajos
Southwestern Native Americans
Class 5
Navajo People
Navajo People
• Historically living in the southwest
Navajo People
• Historically living in the southwest
• Currently the largest Native American tribe, with over 300,000 members
Navajo People
• Historically living in the southwest
• Currently the largest Native American tribe, with over 300,000 members
• They call themselves Diné, which means “the people”
Navajo People
• Historically living in the southwest
• Currently the largest Native American tribe, with over 300,000 members
• They call themselves Diné, which means “the people”– Navajo means “enemies of
the cultivated field and likely originated from an enemy tribe
Navajo Code Talkers
Navajo Code Talkers• In WWII Navajos were used as
code talkers because their language, combined with a code, completely stumped the Germans and Japanese
Navajo Code Talkers• In WWII Navajos were used as
code talkers because their language, combined with a code, completely stumped the Germans and Japanese
• They were instrumental in taking Iwo Jima, for example
Navajo Way of Life
Navajo Way of Life
• Traditionally they relied on agriculture and livestock for food and natural resources
Navajo Way of Life
• Traditionally they relied on agriculture and livestock for food and natural resources
• They are well known for their traditional baskets and wool blankets
Navajo Way of Life
• Traditionally they relied on agriculture and livestock for food and natural resources
• They are well known for their traditional baskets and wool blankets
• They also hunted
Navajo Arts and Crafts
Navajo Music
Navajo Music
• One of the strongest Native American musical cultures today
Navajo Music
• One of the strongest Native American musical cultures today
• Many Navajo musicians still perform traditional music
Navajo Music
• One of the strongest Native American musical cultures today
• Many Navajo musicians still perform traditional music– Because of how they feel about this music it is
not often recorded
Navajo Music
• One of the strongest Native American musical cultures today
• Many Navajo musicians still perform traditional music– Because of how they feel about this music it is
not often recorded• Others run the gamut of styles
Navajo Music
• One of the strongest Native American musical cultures today
• Many Navajo musicians still perform traditional music– Because of how they feel about this music it is
not often recorded• Others run the gamut of styles
– Rock, punk, blues, country, etc.
Yeibichai Song
Yeibichai Song
• Part of the Nightway Ceremony
Yeibichai Song
• Part of the Nightway Ceremony– One of the more major ceremonies
Yeibichai Song
• Part of the Nightway Ceremony– One of the more major ceremonies
• Dancers represent the ancestor deities who bring power and blessings to cure sick people
Yeibichai Song
• Part of the Nightway Ceremony– One of the more major ceremonies
• Dancers represent the ancestor deities who bring power and blessings to cure sick people
• Similar in some ways to plains Indian music, but contains some differences
Yeibichai Song
Yeibichai Song
• The “meaningless” text uses specific syllables that denote this as a Yeibichai song to the Navajo
Yeibichai Song
• The “meaningless” text uses specific syllables that denote this as a Yeibichai song to the Navajo
• Often performed by two teams who line up in two parallel lines
Yeibichai Song
• The “meaningless” text uses specific syllables that denote this as a Yeibichai song to the Navajo
• Often performed by two teams who line up in two parallel lines– Sometimes a clown
also participates
Yeibichai Song
Yeibichai Song• This dance takes place on the last night of a
nine day ceremony!
Yeibichai Song• This dance takes place on the last night of a
nine day ceremony!– Vocalized yells or shouts; male falsetto
Yeibichai Song• This dance takes place on the last night of a
nine day ceremony!– Vocalized yells or shouts; male falsetto– Rattle
Yeibichai Song• This dance takes place on the last night of a
nine day ceremony!– Vocalized yells or shouts; male falsetto– Rattle– Interweaving of repeating phrases/
motives
Yeibichai Song• This dance takes place on the last night of a
nine day ceremony!– Vocalized yells or shouts; male falsetto– Rattle– Interweaving of repeating phrases/
motives– Groups (teams) of male voice
Yeibichai Song• This dance takes place on the last night of a
nine day ceremony!– Vocalized yells or shouts; male falsetto– Rattle– Interweaving of repeating phrases/
motives– Groups (teams) of male voice– The one being sung over represents the role of
the hero in the myth reenactment
Yeibichai Song• This dance takes place on the last night of a
nine day ceremony!– Vocalized yells or shouts; male falsetto– Rattle– Interweaving of repeating phrases/
motives– Groups (teams) of male voice– The one being sung over represents the role of
the hero in the myth reenactment– Involves sandpaintings and prayers as well as the music
and dancing
Yeibichai Song• This dance takes place on the last night of a
nine day ceremony!– Vocalized yells or shouts; male falsetto– Rattle– Interweaving of repeating phrases/
motives– Groups (teams) of male voice– The one being sung over represents the role of
the hero in the myth reenactment– Involves sandpaintings and prayers as well as the music
and dancing• Follow along with the transcription on pages 44-45
Folsom Prison Blues
Folsom Prison Blues• Contrasts the traditional Navajo music
Folsom Prison Blues• Contrasts the traditional Navajo music• Johnny Cash’s country hit
Folsom Prison Blues• Contrasts the traditional Navajo music• Johnny Cash’s country hit• Performed by the Fenders
Folsom Prison Blues• Contrasts the traditional Navajo music• Johnny Cash’s country hit• Performed by the Fenders
– All Navajo country band popular in the 1960s and 1970s
Folsom Prison Blues• Contrasts the traditional Navajo music• Johnny Cash’s country hit• Performed by the Fenders
– All Navajo country band popular in the 1960s and 1970s
• The group cultivated the cowboy persona, which appealed to southwest population, including Native Americans there
Circle Dance Song
Circle Dance Song
• Shizhané’é, this circle dance song, is part of the Ndáá tradition
Circle Dance Song
• Shizhané’é, this circle dance song, is part of the Ndáá tradition– Popular traditional songs among the Navajo
Circle Dance Song
• Shizhané’é, this circle dance song, is part of the Ndáá tradition– Popular traditional songs among the Navajo
• Easier for non-Navajos to sing compared with the Yeibichai
Circle Dance Song
• Shizhané’é, this circle dance song, is part of the Ndáá tradition– Popular traditional songs among the Navajo
• Easier for non-Navajos to sing compared with the Yeibichai– No falsetto, simpler melody
Circle Dance Song
• Shizhané’é, this circle dance song, is part of the Ndáá tradition– Popular traditional songs among the Navajo
• Easier for non-Navajos to sing compared with the Yeibichai– No falsetto, simpler melody
• Contains some vocalizations, but also has translateable text
Circle Dance Song
• Shizhané’é, this circle dance song, is part of the Ndáá tradition– Popular traditional songs among the Navajo
• Easier for non-Navajos to sing compared with the Yeibichai– No falsetto, simpler melody
• Contains some vocalizations, but also has translateable text– See page 52
Ceremonial Music
Ceremonial Music
• Chants for long and elaborate religious ceremonies
Ceremonial Music
• Chants for long and elaborate religious ceremonies
• Name of the ceremony depicts the deity being devoted to or the purpose of the ritual
Ceremonial Music
• Chants for long and elaborate religious ceremonies
• Name of the ceremony depicts the deity being devoted to or the purpose of the ritual– Nightway (purifications, prayer offerings,
sandpainting)
Ceremonial Music
• Chants for long and elaborate religious ceremonies
• Name of the ceremony depicts the deity being devoted to or the purpose of the ritual– Nightway (purifications, prayer offerings,
sandpainting)– Enemyway (offering power and protection)
Ceremonial Music
• Chants for long and elaborate religious ceremonies
• Name of the ceremony depicts the deity being devoted to or the purpose of the ritual– Nightway (purifications, prayer offerings,
sandpainting)– Enemyway (offering power and protection)– Mountainway (healing ritual)
Ceremonial Music
Ceremonial Music
• At the center of these rituals is the concept of hózhòò
Ceremonial Music
• At the center of these rituals is the concept of hózhòò– Beauty, blessedness, harmony
Ceremonial Music
• At the center of these rituals is the concept of hózhòò– Beauty, blessedness, harmony
• Hózhòò must be developed and if lost, can be restored through rituals
Ceremonial Music
• At the center of these rituals is the concept of hózhòò– Beauty, blessedness, harmony
• Hózhòò must be developed and if lost, can be restored through rituals– The end of the rituals are marked by chanting,
“Conditions of harmony have been restored!”
Ceremonial Music
• At the center of these rituals is the concept of hózhòò– Beauty, blessedness, harmony
• Hózhòò must be developed and if lost, can be restored through rituals– The end of the rituals are marked by chanting,
“Conditions of harmony have been restored!”• This music is considered too sacred for public
consumption
Navajo Sacred Prayer-CD 1:9
Navajo Sacred Prayer-CD 1:9• From Shootingway ceremony
Navajo Sacred Prayer-CD 1:9• From Shootingway ceremony
– Hero story about Holy Young Man in search of power
Navajo Sacred Prayer-CD 1:9• From Shootingway ceremony
– Hero story about Holy Young Man in search of power– He travels to snake country and takes four snake wives
Navajo Sacred Prayer-CD 1:9• From Shootingway ceremony
– Hero story about Holy Young Man in search of power– He travels to snake country and takes four snake wives
• Melody is limited to only three or four notes
Navajo Sacred Prayer-CD 1:9• From Shootingway ceremony
– Hero story about Holy Young Man in search of power– He travels to snake country and takes four snake wives
• Melody is limited to only three or four notes• Musical interest provided by subtle variations
Navajo Sacred Prayer-CD 1:9• From Shootingway ceremony
– Hero story about Holy Young Man in search of power– He travels to snake country and takes four snake wives
• Melody is limited to only three or four notes• Musical interest provided by subtle variations• After a person has been treated for
snakebite at a hospital, he might undergo the traditional Shootingway ceremony to neutralize bad relations with the snake people (spirits) that caused the snake bite in the first place.
Navajo Sacred Prayer-CD 1:9• From Shootingway ceremony
– Hero story about Holy Young Man in search of power– He travels to snake country and takes four snake wives
• Melody is limited to only three or four notes• Musical interest provided by subtle variations• After a person has been treated for
snakebite at a hospital, he might undergo the traditional Shootingway ceremony to neutralize bad relations with the snake people (spirits) that caused the snake bite in the first place.
• Translation on page 58
New Navajo Music
• With the exposure to western European cultures, Navajo musicians have taken some influence and created new music with a uniquely Navajo flavor– Some still sounds like Native American music
to us, some sound more like other styles
Navajo Hymn (CD 1:10)
Navajo Hymn (CD 1:10)• For the peyote ritual• More quiet and
contemplative than the music for the big rituals held outdoors
• Uses a water drum and rattle to accompany singing
• See page 61 for transcription
Navajo Hymn (CD 1:10)• For the peyote ritual• More quiet and
contemplative than the music for the big rituals held outdoors
• Uses a water drum and rattle to accompany singing
• See page 61 for transcription
Proud Earth
• Composition by Arliene Nofchissey Williams– Called the “Navajo Nightingale”
• Utilizes some Native American musical stylistic devices– Steady and repetitive drum beat, vocables
• Utilizes European elements– String orchestra, harmonies, dynamics, etc.
• See page 64 for text
Blackfire
• Navajo musicians– Two brothers and a sister
• Combines traditional music with punk-rock and “Alter-native”
• They sometimes perform with a Native American dance troupe
Blackfire Group 1- Discuss the traditional musical elements displayed.Group 2-Discuss the contemporary musical elements displayed.Group 3-Discuss political, social and cultural elements displayed.