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.