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Introduction to World Music, SMSU1 Section Two: Native American Music.

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Presentation on theme: "Introduction to World Music, SMSU1 Section Two: Native American Music."— Presentation transcript:

1 Introduction to World Music, SMSU1 Section Two: Native American Music

2 Introduction to World Music, SMSU2 Eastern Woodlands –Eastern Sedentary in Canada –North-east and South- east in USA Plains Southwest & California Great Basin Intermountain Plateau (largely in Nevada and Utah) Northwest Coast & Far North –Western Subarctic –Arctic

3 Introduction to World Music, SMSU3 Approximately 1000 tribal units, almost as many languages, and about 60 independent language families in North America

4 Introduction to World Music, SMSU4 Music Contexts Religion Social dances Games Calendar rituals and events in the life cycle.

5 Introduction to World Music, SMSU5 Supernatural Elements Some individuals, special relationship with music Form of prayer Imparted to the humans by spirit beings –Dreams –Visitations –At the legendary time of the tribe’s origin.

6 Introduction to World Music, SMSU6 Music and Function Judged less by musical criteria More by how well it fulfilled religious and other functions (providing food, etc.) Learn through direct experience.

7 Introduction to World Music, SMSU7 Music and Dance Music and dance are closely related. Unite members with spirits of their ancestors. Circular pattern, steps, hand gestures, intricate designs on costumes or face have symbolic meaning. Dancers often sing, use rattles, sound-makers. The structures of music and dance often connected.

8 Introduction to World Music, SMSU8 Some General Characteristics For Native American Vocal Music Monophonic; singing in octaves. Vocables. Repetition. Descending contour. Melodies employ small note collections; tendency of “la” to “do”. Accompanied by percussion instruments, usually equally spaced beats.

9 Introduction to World Music, SMSU9 Much Sharing Musical boundaries fluid and permeable Powwow music, often glottal tension, pulsations on longer notes, and high-pitch or falsetto singing.

10 Introduction to World Music, SMSU10 Traditional Instruments Idiophones: rattles, stick instruments, log drums, etc. Membranophones: single-headed or double- headed drums; kettledrums, sometimes filled with water. Chordophones: almost nonexistent Aerophone: flute, made of wood, cane, and sometimes pottery.

11 Introduction to World Music, SMSU11 Similarities & Regional Differences Rhythms are usually straight and regular, or free and without meter. Melodic content of chants is “diatonic,” sung by solo or group. Music often tied to other functions.

12 Introduction to World Music, SMSU12 Southwest Region Includes Pueblo peoples such as Hopi, Zuni, and also Apache and Navajo. Navajo and Apache singers can sound tense with nasal high vocal style.

13 Introduction to World Music, SMSU13 Pueblo: vocals sound more open, relaxed, longer and complex; words about water, spirit beings, symbolism. –Hopi Entering Kiva –Badger Song

14 Introduction to World Music, SMSU14 Zuni Sunrise Song

15 Introduction to World Music, SMSU15 Modern Music Styles Ghost Dance songs. Fun 49er songs at powwows. Chicken Scratch Country, Rock & Folk songs. –Blackfoot - 80s hard rock –Joanne Shenandoah - Iroquois New Songs that define Indian-ness.

16 Introduction to World Music, SMSU16 Modern Music Styles - cont. Flute music Traditional Plains instrument (5 & 6 hole flute of cedar) and smaller Apache “spirit flute” Now used by many tribes and peoples –R. Carlos Nakai – Shaman’s Call Cedar 6-hole flute

17 Introduction to World Music, SMSU17 Powwows - Contemporary Usually Feature Intertribal Styles Most associated with Plains music; held throughout the country. Powwows in this area: usually mid-November, Native American Arts & Crafts Festival and Powwow, Ozark Empire Fairgrounds, Springfield, MO; also Southwest Missouri Indian Center, 2422 W. Division, Springfield, MO 65802, phone (417) 869-9550

18 Introduction to World Music, SMSU18 Powwows (cont.) More Secular More open; various tribes and non-Native peoples. Professional singers/composers/dancers, judged primarily by musical criteria. Secular with religious undertones; prayers often opening events.

19 Introduction to World Music, SMSU19 Pan-Tribal; with “Drum” Groups Represent many tribes and music Revolve around the ‘drum’, a group of singers seated at large bass drum. Each singer has a drum beater, play and sing in unison.

20 Introduction to World Music, SMSU20 Tribal “Drums”

21 Introduction to World Music, SMSU21 Navajo Traditions

22 Introduction to World Music, SMSU22 Navajo Way of Life Largest tribe; communities and reservations in New Mexico, Arizona, and Utah Have economic impact on region Sources of livelihood include coal, uranium, oil, natural gas, lumber; to a lesser degree farming, raising stock, weaving, and silversmithing

23 Introduction to World Music, SMSU23 General Characteristics of the Navajo Some government support for education, health care, business Costume/dress: men, Western, cowboy hats; women skirts and blouses; both wear jewelry Houses, modern stucco houses, trailer homes; some old-style circular log & earth hogans Ceremonial buildings: circular floors, domed roofs; symbolizes earth, mountaintops, sky

24 Introduction to World Music, SMSU24 History of the Dance Among the Navajo Until 1940s, dance songs from ceremonials; particularly Enemyway dance songs 1990s: recreational pastime: “song and dance” Social dancing, dancers judged on costumes and dancing skill

25 Introduction to World Music, SMSU25 We will be looking at the music in two popular ceremonial events A Yeibichai song from the Nightway ceremony The song “Shizhanee” from the Enemyway ceremony

26 Introduction to World Music, SMSU26 Yeibichai Song from the Nightway Ceremony One of the most exciting kinds of Navajo music Yeibichai (YAY-beh-chai) means “gods their grandfathers” and refers to ancestor deities who come to dance at the Nightway ceremony Masked dancers impersonate the gods They bring supernatural power and blessing to help a sick person

27 Introduction to World Music, SMSU27 Yeibichai Song (cont.) Features of the music: piercing falsetto; swoops down for more than an octave; primarily vocal music (vocables); sometimes with rattles and drums, and rarely with flutes and one-stringed fiddles; no harmonies; melodic and rhythmic sophistication

28 Introduction to World Music, SMSU28 The Singers and Dances Teams of men from a particular region, no women singers The teams compete, and best receives a gift the family hosting the event Will include costumes, masks, a clown figure

29 Introduction to World Music, SMSU29 The Ritual Dance occurs on the last night of a nine-day ritual Will include purification activities, prayer offerings, sand-painting rituals Then a reenactment of the myth on which the ceremony is based. Like a complex opera Directed by the singer who must memorize every detail; considered an intellectual and ceremonial leader

30 Introduction to World Music, SMSU30 Transcription of the Yeibichai Song

31 Introduction to World Music, SMSU31 The Circle Dance Song Shizhané’é The Ndaa dance songs are the ‘hit tunes’ of traditional Navajo life Shizhan é’é is easier to sing with not as many high falsetto sounds, or vocables Includes humorous lyrics about woman leaning against a store front

32 Introduction to World Music, SMSU32

33 Introduction to World Music, SMSU33 The Enemyway Ceremony Curing Ritual for returning to tribal life Shizhan é’é is one of the songs used in the ceremony Sickness is brought on by the ghosts of outsiders who have died Often performed for someone who has been away from home among strangers (in the Armed Forces or in the hospital)

34 Introduction to World Music, SMSU34 The Ceremony Ceremony involves two groups of participants: –Home camp –Stick receiver’s camp, the enemy, who are custodians of a stick decorated with symbols that include the Enemy Slayer, the warrior deity; and the Changing Woman, his mother

35 Introduction to World Music, SMSU35 First Night Singing and dancing at the “stick receiver’s camp” Begins with Sway songs (courtship songs but often only vocables) Then dance songs, “ladies’ choice” Then a signal song indicates change back to Sway songs, maybe all night Stop at dawn for rest and breakfast

36 Introduction to World Music, SMSU36 Second Day After rest and breakfast, gift songs “Home camp” people sing outside the main hogan of the “stick receiver’s camp” Gifts are exchanged, like war booty The “stick receiver’s camp” moves toward the “home camp” Another night of singing and dancing

37 Introduction to World Music, SMSU37 Third Day Mock battles Circle dance at the “stick receiver’s” new camp; songs like “Shizhanee” are sung The “stick receiver’s” go to the “home camp” and sing four songs that mention the name of the enemy Night of ceremonial songs (sway songs, dance songs, signal songs, sway songs)

38 Introduction to World Music, SMSU38 Fourth Day Sunrise blessing ritual, and enemy departs Then four days of rest

39 Introduction to World Music, SMSU39 Newer Navajo Music Christian hymns, some Mormon influence; evangelical Christianity –“Clinging to a Saving Hand” (CD 1:10) Native American Church (Peyote Church) –(CD 1:9) Country music –“Folsom Prison Blues” (CD 1:7) The Native-American Flute Revival New Composers in Traditional Modes

40 Introduction to World Music, SMSU40 HOMEWORK - due Monday, January 30 ASSIGNMENT 2 –Study Questions, p. 66: #1, 2 –Compare & Contrast the Sioux Grass Dance with the Navajo Yeibichai Song; how do these songs compare with the Zuni Blessing/Sunrise Song and “Shaman’s Call” that we listened to in class? Describe Fully. ONLINE QUIZ: Chapter 2


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