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Pueblo Music
Pueblo music includes the music of the Hopi, Zuni, Taos Pueblo, San Ildefonso, Santo Domingo, and many other Puebloan peoples, and according to Bruno Nettl features one of the most complex Native American musical styles on the continent. Characteristics include common use of hexatonic and heptatonic scales, variety of form, melodic contour, and percussive accompaniment, melodic range averaging between an octave and a twelfth, with rhythmic complexity equal to the Plains Indians musical sub-area. Nettl cites the Kachina dance songs as the most complex songs and the music of Hopi and Zuni as the most complex of the Pueblo, while Tanoan and Keresan music is simpler and intermediate between the Plains and western Pueblos. The music of the Pima and Papago is intermediary between the Plains-Pueblo and the California-Yuman music areas, with melodic movement of the Yuman, though including the rise, and the form and rhythm of the Pueblo. (Nettl 1956, p. 112-113) Work songs are f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music
Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspect of all human societies, a cultural universal. While scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into academic disciplines, criticism, philosophy, and psychology. Music may be performed or improvised using a vast range of instruments, including the human voice. In some musical contexts, a performance or composition may be to some extent improvised. For instance, in Hindustani classical music, the performer plays spontaneously while following a partially defined structure and using characteristic motifs. In modal jazz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accompaniment
Accompaniment is the musical part which provides the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music. In homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is supported by subordinate chords. In popular music and traditional music, the accompaniment parts typically provide the "beat" for the music and outline the chord progression of the song or instrumental piece. The accompaniment for a vocal melody or instrumental solo can be played by a single musician playing an instrument such as piano, pipe organ, or guitar. While any instrument can in theory be used as an accompaniment instrument, keyboard and guitar-family instruments tend to be used if there is only a single instrument, as these instruments can play chords and basslines simultaneously (chords and a bassline are easier to pla ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Native American Flute
The Native American flute is a flute that is held in front of the player, has open finger holes, and has two chambers: one for collecting the breath of the player and a second chamber which creates sound. The player breathes into one end of the flute without the need for an embouchure. A ''block'' on the outside of the instrument directs the player's breath from the first chamber—called the slow air chamber—into the second chamber—called the sound chamber. The design of a ''sound hole'' at the proximal end of the sound chamber causes air from the player's breath to vibrate. This vibration causes a steady resonance of air pressure in the sound chamber that creates sound. Native American flutes comprise a wide range of designs, sizes, and variations—far more varied than most other classes of woodwind instruments. Names The instrument is known by many names. Some of the reasons for the variety of names include: the varied uses of the instrument (e.g. courting), the wide ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Work Song
A work song is a piece of music closely connected to a form of work, either sung while conducting a task (usually to coordinate timing) or a song linked to a task which might be a connected narrative, description, or protest song. Definitions and categories Records of work songs are as old as historical records, and anthropological evidence suggests that most agrarian societies tend to have them. Most modern commentators on work songs have included both songs sung while working as well as songs about work since the two categories are seen as interconnected. Norm Cohen divided collected work songs into domestic, agricultural or pastoral, sea shanties, African-American work songs, songs and chants of direction, and street cries. Ted Gioia further divided agricultural and pastoral songs into hunting, cultivation and herding songs, and highlighted the industrial or proto-industrial songs of cloth workers (see Waulking song), factory workers, seamen, lumberjacks, cowboys and miner ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Motion
Melodic motion is the quality of movement of a melody, including nearness or farness of successive pitches or notes in a melody. This may be described as conjunct or disjunct, stepwise, skipwise or no movement, respectively. See also contrapuntal motion. In a conjunct melodic motion, the melodic phrase moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone, but no greater. In a disjunct melodic motion, the melodic phrase leaps upwards or downwards; this movement is greater than a whole tone. In popular Western music, a melodic leap of disjunct motion is often present in the chorus of a song, to distinguish it from the verses and captivate the audience. Bruno Nettl describes various types of melodic movement or contour (Nettl 1956, 51–53): *Ascending: Upwards melodic movement *Descending: Downwards melodic movement (prevalent in the New World and Australian music) *Undulating: Equal movement in both directions, using approximately the same ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Area
In anthropology and geography, a cultural region, cultural sphere, cultural area or culture area refers to a geography with one relatively homogeneous human activity or complex of activities (culture). Such activities are often associated with an ethnolinguistic group and with the territory it inhabits. Specific cultures often do not limit their geographic coverage to the borders of a nation state, or to smaller subdivisions of a state. Cultural "spheres of influence" may also overlap or form concentric structures of macrocultures encompassing smaller local cultures. Different boundaries may also be drawn depending on the particular aspect of interest, such as religion and folklore ''vs''. dress and architecture ''vs''. language. History of concept A culture area is a concept in cultural anthropology in which a geographic region and time sequence ( age area) is characterized by substantially uniform environment and culture.ee also Americas (terminology)***Caribbean ***C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pima People
The Pima (or Akimel O'odham, also spelled Akimel Oʼotham, "River People," formerly known as ''Pima'') are a group of Native Americans living in an area consisting of what is now central and southern Arizona, as well as northwestern Mexico in the states of Sonora and Chihuahua. The majority population of the two current bands of the Akimel O'odham in the United States are based in two reservations: the Keli Akimel Oʼodham on the Gila River Indian Community (GRIC) and the On'k Akimel O'odham on the Salt River Pima-Maricopa Indian Community (SRPMIC). The Akimel O'odham are closely related to the Ak-Chin O'odham, now forming the Ak-Chin Indian Community. They are also related to the Sobaipuri, whose descendants reside on the San Xavier Indian Reservation or Wa꞉k (together with the Tohono O'odham), and in the Salt River Indian Community. Together with the related Tohono O'odham ("Desert People") and the Hia C-ed O'odham ("Sand Dune People"), the Akimel O'odham form the Upp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Keres Language
Keres (), also Keresan (), is a Native American language, spoken by the Keres Pueblo people in New Mexico. Depending on the analysis, Keres is considered a small language family or a language isolate with several dialects. The varieties of each of the seven Keres pueblos are mutually intelligible with its closest neighbors. There are significant differences between the Western and Eastern groups, which are sometimes counted as separate languages. Family division In 2007, there was an estimate total of 10,670 speakers. * Eastern Keres: total of 4,580 speakers (1990 census) ** Cochiti Pueblo ''Kotyit dialect'': 600 speakers (2007) ** San Felipe Pueblo ''Katishtya dialect'': 2,340 speakers (2007) **Kewa Pueblo (formally Santo Domingo Pueblo) ''Kewa dialect'': 2,850 speakers (2007) ** Zia Pueblo ''Ts'ia dialect'': 500 speakers (2007) ** Santa Ana Pueblo ''Tamaiya dialect'': 390 speakers (2007) * Western Keres: total of 3,391 speakers (1990 census) ** Acoma Pueblo ''Áakʼu dialect' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tanoan Languages
Tanoan , also Kiowa–Tanoan or Tanoan–Kiowa, is a family of languages spoken by indigenous peoples in present-day New Mexico, Kansas, Oklahoma, and Texas. Most of the languages – Tiwa (Taos, Picuris, Southern Tiwa), Tewa, and Towa – are spoken in the Native American Pueblos of New Mexico (with one outlier in Arizona). These were the first languages collectively given the name of ''Tanoan.'' Kiowa, which is a related language, is now spoken mostly in southwestern Oklahoma. The Kiowa historically inhabited areas of modern-day Texas and Oklahoma. Languages The Tanoan language family has seven languages in four branches: Kiowa–Towa might form an intermediate branch, as might Tiwa–Tewa. Name Tanoan has long been recognized as a major family of Pueblo languages, consisting of Tiwa, Tewa, and Towa. The inclusion of Kiowa into the family was at first controversial given the cultural differences between those groups. The once-nomadic Kiowa people of the Plains are cu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kachina
A kachina (; also katchina, katcina, or katsina; Hopi: ''katsina'' , plural ''katsinim'' ) is a spirit being in the religious beliefs of the Pueblo peoples, Native American cultures located in the south-western part of the United States. In the Pueblo cultures, kachina rites are practiced by the Hopi, Zuni, Hopi-Tewa, and certain Keresan tribes, as well as in most Pueblo tribes in New Mexico. The kachina concept has three different aspects: the supernatural being, the kachina dancers, and kachina dolls (small dolls carved in the likeness of the kachina, that are given only to those who are, or will be responsible for the respectful care and well-being of the doll, such as a mother, wife, or sister). Overview Kachinas are spirits or personifications of things in the real world. These spirits are believed to visit the Hopi villages during the first half of the year. The local pantheon of kachinas varies from pueblo community to community. A kachina can represent anything in t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Motion
Melodic motion is the quality of movement of a melody, including nearness or farness of successive pitches or notes in a melody. This may be described as conjunct or disjunct, stepwise, skipwise or no movement, respectively. See also contrapuntal motion. In a conjunct melodic motion, the melodic phrase moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone, but no greater. In a disjunct melodic motion, the melodic phrase leaps upwards or downwards; this movement is greater than a whole tone. In popular Western music, a melodic leap of disjunct motion is often present in the chorus of a song, to distinguish it from the verses and captivate the audience. Bruno Nettl describes various types of melodic movement or contour (Nettl 1956, 51–53): *Ascending: Upwards melodic movement *Descending: Downwards melodic movement (prevalent in the New World and Australian music) *Undulating: Equal movement in both directions, using approximately the same ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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