A Journal of American Ethnology and Archæology: Hopi songs, by B.I. Gilman (Google eBook)

Front Cover
Jesse Walter Fewkes
Houghton, Mifflin and Company, 1908 - Hemenway Southwestern Archaeological Expedition
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Page 232 - Contributions to the History of the Southwestern Portion of the United States, in Papers of the Archaeological Institute of America, American Series, V.
Page 5 - If a scale were in his mind, even dimly, it should make itself known in a more uniform interval production and in a more impartial use Of the tones continually at hand in the fancy. The hearer seems witness to a wholly strange method of musical thought and delivery. The total complex of tone, timbre, and articulation —doubtless at...
Page 17 - ... kinds: a larger shift of about a semitone, which may affect any of the notes of a phrase, and which is illustrated in almost all of the melodies; and a smaller and less frequent shift of about a quarter tone, affecting only notes whose central position or office as starting points distinguishes them as axes or bases. The larger mutation may be spoken of as compound or simple according as the shift occurs in both senses about such a cardinal note, or moves all the notes affected in the same sense....
Page 14 - ... Polynesian singing, or at least for a great part of it. The singer's musical consciousness seems restricted to a few intervals of simplest vibration ratio approximately rendered, and to melodic sequences formed by their various analysis and synthesis and rendered with a certain loose fidelity. . . . Such exactness as the songs possess does not lie in the individual intervals which constantly vary and are often exchanged, but in the course of the melodies which sometimes coincide precisely in...
Page 66 - A Kwakiutl Indian, whose performance before a phonograph I once heard through Dr. Boas's kindness, sheepish as was his air before beginning, when once buried in his song crooned away as simply and unhesitatingly as if he had been squatting on damp stones in a circle of his mates by a British Columbia river, instead of being seated in an office amid inquisitive Americans...
Page 25 - Oilman's interest in the phonograph as a fieldwork tool was of the armchair variety: he was intrigued by the accuracy of the device because it suggested the possibility of a scientific study of comparative music. The machine raised "the hope that some proportion of the resulting close determinations of pitch might prove significant," revealing subtle "habitudes of performance" of different peoples and individuals (Oilman 1908:25).
Page 27 - ... a record of the observer's idea of what the performers of certain observed sequences of tone would have performed had their execution corresponded to their intention, or (perhaps) had their intention not wandered also from a certain norm
Page 16 - The partial change in the pitch of repeated phrases, which has already been seen to resist explanation by modulation, is the most noteworthy formal feature of this music. . . . The change is of two kinds: a larger shift of about a semitone, which may affect any of the notes of a phrase, and which is illustrated in almost all of the melodies; and a smaller and less frequent shift of about a quarter tone, affecting only notes whose central position or office as starting...
Page 3 - They strengthen the belief that aboriginal American music is a type apart, whose essential remoteness from the music of Europe and Asia may be symbolized, as it doubtless was conditioned, by the physical isolation of the Americas.
Page 8 - The step taken is no other than that separating the indicative from the imperative mood, the real from the ideal. Written music as otherwise known is not a record of occurrence but of purpose.

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