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 Traditional stories Description/Discussion Great Law of Peace Code of Handsome Lake Thanksgiving Address
Chart 1.2 Traveling Song, CD track 3 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 Thin-framed drum beaten with long willowy sticks Mimetic stories performed by dancers wearing decorative gloves; masks may be essential dramatic regalia. Eastern 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. 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 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 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 1:24 Voice: Melody A 1:41 Voice: Melody A higher pitch level 1:56 Voice: Melody B 2:14 Transition: sampling plus instruments 2:23 Voice: Melody A 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 Part 1 Part 2 Part 3 Part 4
Chart 3.3 Wabenaki Songs and Dances Song/Dance Welcoming song Description Snake dance Trading song Wedding song Pine needle dance Figure 3.1 Layers of Meaning
Chart 3.4 Snake Dance, CD track 11 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 0:00 Drum 0:08 Solo voice; drum accompaniment 0:36 Solo voice; drum accompaniment 1:05 Solo voice; drum accompaniment 1:35 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 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 0:00 Drum 0:10 Solo voice (question) 0:18 Group (answer) 0:27 Group (chorus) 0:46 Pattern repeats 1:22 Pattern repeats 1:57 Pattern repeats 2:33 Pattern repeats 3:08 Pattern repeats 3:40 Pattern repeats 4:13 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 Drum is partially filled Played by lead singer or, sometimes, piece of plastic pipe with tannedskin 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. 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. Cow horn rattle Turtle shell rattle
Chart 4.2 Peter Cottontail, CD track 16 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 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 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 Vocal timbre Rabbit Dance Messenger 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 Tempo Northern Style Southern Style Northeastern Style 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 Men s Grass 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 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 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 0:55 B: high melody, solo 1:05 B: High melody, piano acc. 1:14 A: low melody, piano acc. 1:30 B: high melody, solo 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 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 0:00 Introduction (piano) 0:18 Brief solo rap 0:33 Refrain ( why we rhyme ) 0:56 Solo rap 1:38 Solo rap 2:17 Refrain ( why we rhyme ) 2:38 Solo rap 3:21 Solo rap 4:01 Refrain ( why we rhyme )
Chart 5.8a Sweet Tobacco, CD track 22 Genre Language(s) Subject matter Musical style Arrangement Chart 5.8b Sweet Tobacco 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 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? 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 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 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 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) 1:31 3 (text change) 1:55 4 (text change) 2:09 End chorale