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


1:41 Voice: Melody A—higher pitch level

1:56 Voice: Melody B

2:14 Transition: sampling plus instruments


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



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







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


1:05 B: High melody, piano acc.

1:14 A: low melody, piano acc.


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


2:38 Solo rap

3:21 Solo rap


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)



2:09 End “chorale”

chapter 1 traditions of knowledge: indigenous knowledge

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