DOE Immersion Program Celebrates 20 Years
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The Pleasures and Rewards of Hawaiian Music for an 'Outsider'
12 Living in Hawai‘i: The Pleasures and Rewards of Hawaiian Music for an ‘Outsider’ Ethnomusicologist Ricardo D . Trimillos Foreword I first met Stephen Wild at the 1976 Society for Ethnomusicology meeting in Philadelphia. Since that time we have enjoyed four decades as session- hopping colleagues and pub-crawling mates. In regard to the former, most memorable was the 1987 International Council for Traditional Music meeting in Berlin, where, appropriate to our honoree, one of the conference themes was ‘Ethnomusicology at Home’. It is this aspect of Stephen’s service that I celebrate in my modest effort for this festschrift. In 2006, the journal Ethnomusicology produced its ‘50th Anniversary Commemorative Issue’, which contained the essay ‘Ethnomusicology Down Under: A Distinctive Voice in the Antipodes?’ (Wild 2006). It was an informative and at times prescriptive account of the trajectory for ethnomusicology in Australia. I found the essay a most engaging exercise in personal positioning by an author within a historical narrative, one in which personality and persona were very much in evidence. Inspired by the spirit of that essay and emboldened by its novel approach, I share 335 A DISTINCTIVE VOICE IN ThE ANTIPODES observations about ‘doing ethnomusicology’ where I live—in Honolulu, Hawai‘i. This brief and personal account deliberately draws parallels with our honoree’s experiences and activities during a long career in his ‘homeplace’ (Cuba and Hummon 1993). The pleasures of Hawaiian music in California My first encounters with Hawaiian music were not in Hawai‘i but in San Jose,1 California, locale for the first two decades of my life. -
Read Liner Notes Here
LINER NOTES Martin Pahinui Ho'olohe One of Hawaiian music‘s most gifted vocalists, John Martin Pahinui has performed with a host of top performers, including his father‘s legendary Gabby Pahinui Hawaiian Band, The Peter Moon Band, The Pahinui Brothers, Nina Kealiçiwahamana, Bill Kaiwa and slack key super group Hui Aloha (with slack key guitarists George Kuo and Dennis Kamakahi). The youngest child of Gabby Pahinui (1921-1980) and Emily Pahinui, Martin grew up surrounded by music— not only the amazing kï höçalu (slack key) in his family home but also the many other styles floating on the wind in Waimänalo, where he grew up and still lives. Like many children of famous musicians, Martin is keenly aware of a double responsibility: to honor his family‘s musical legacy and to always be himself. ―My daddy is a very big influence on all of us,‖ Martin says, ―but he always did things his own way, and he taught us to trust our own instincts too. He loved Hawaiian music but he wasn‘t afraid to change something if he felt it was the right thing to do. Some people would grumble, but he‘d say, ‗So what, some people grumble no matter what you do.‘ He always said to respect the song and the composer and the people who taught you, but never be afraid to express your own feelings when you play.‖ Recently, when the local rap group Sudden Rush asked the Pahinui family for their blessings to use a recording of Gabby‘s classic rendition of Hiçilawe, Martin supported them. -
Hawaii Stories of Change Kokua Hawaii Oral History Project
Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project by Gary T. Kubota Copyright © 2018, Stories of Change – Kokua Hawaii Oral History Project The Kokua Hawaii Oral History interviews are the property of the Kokua Hawaii Oral History Project, and are published with the permission of the interviewees for scholarly and educational purposes as determined by Kokua Hawaii Oral History Project. This material shall not be used for commercial purposes without the express written consent of the Kokua Hawaii Oral History Project. With brief quotations and proper attribution, and other uses as permitted under U.S. copyright law are allowed. Otherwise, all rights are reserved. For permission to reproduce any content, please contact Gary T. Kubota at [email protected] or Lawrence Kamakawiwoole at [email protected]. Cover photo: The cover photograph was taken by Ed Greevy at the Hawaii State Capitol in 1971. ISBN 978-0-9799467-2-1 Table of Contents Foreword by Larry Kamakawiwoole ................................... 3 George Cooper. 5 Gov. John Waihee. 9 Edwina Moanikeala Akaka ......................................... 18 Raymond Catania ................................................ 29 Lori Treschuk. 46 Mary Whang Choy ............................................... 52 Clyde Maurice Kalani Ohelo ........................................ 67 Wallace Fukunaga .............................................. -
Mana Maoli OP Redacted.Pdf
House District 2 T HE TWENTY-NINTH L EGISLATURE Log No: 2 APPLICATION FOR GRANTS Senate Dfslrict C HAPTER 42F, HAWAII REVISED STATUTES Type of Grant Request: KJ GRANT REQUEST - OPE::RAT!NG 0 GRANT R!iaues, - CAPITAL "Granl" means an award of stale funds by the legis!alure, by an approprialion to a specif:ed recipient. to support the activities of the recipient and permit the community to benefit from those activities. "Recipient" means any organization or person receiving a grant. ST!l"flc l'IHl<".tUM 1.0. '.liO, (1.. 1.::,\ n ; Hf,, \'.'ii( IF \ !'.liK'.lillW'.li): ------ I, Al'l' I.ICA,'l;"T l'.liFOllMATIO'.\': 2. C:O.'\ff,\Cl" 1'1'.llSO'.li H )ll MAl"l't'.llS l'.'iVOL\' l ~(;·n11s Al'PLIC \TIO:-<: Mana Legal Name of Requesting Organfza!:on or Individual: Mao Ii Name Keola Nakanishi _ _ Dba: Title . Ex~cutive_D irector·- Street Address: 1903 Palolo Ave, Honolulu, HI, 96816 Phone ~ .80&.295-6262 Mailing Address Mana Maoli Fax# ____ clo Jarrett Middle School E-mail [email protected] i 903 Palolo Ave Honolulu, HI 96816 3. 1'\'l'P. Of lltiS l:-<f.SS f::\"l"IT\': 6. ur.scntr'rl\'I( 'ITfU'. or Al'l'l,K A'.'.T'S IU:QL!F.~1': (3 NON PROFIT CORl>ORATION INCORPORATED IN HAWA!! 0 FOR PROFIT C ORPORATION INCORPORATED IN H AWAII The Mana Mele Project D liMiTEO LIABILITY COMPANY 0 SO!.£ PROFRIETORSHIP/ INOIV!OUAl.. OOTHER 7. Mlflli' ff or STAn: Fl!'illS IIEQl:t S"l"f.l): FISCAL YE.AR 2016 $ $151 ,855 I!. -
Kulaiwi’ by Faith Ako
Island Mele: ‘Kulaiwi’ by Faith Ako SEP. 29, 2013 | 0 COMMENTS REVIEW BY JOHN BERGER / [email protected] ‘Kulaiwi, My Beloved Homeland’ - Faith Ako (Faith Ako) Expatriate islander Faith Ako, formerly of Kahuku and currently a resident of the Bay Area, excels at doing Hawaiian standards in traditional nahenahe (soft, melodious) style. She does so here with beautiful arrangements of “Pauoa Liko Ka Lehua,” “Puamana” and “Poliahu,” and introduces three newly written songs as well. Two of the new songs are intended for folks who are fluent in ‘olelo Hawai‘i. “Na Pua O Ka La‘akea” is her “thank you” to the halau that encouraged her to record her first album. “Kawahine O Ka Po” is one of her favorite songs by avant garde kumu hula Mark Ho‘omalu. The third, “My Hawai‘i,” written by her nephew, Keenan Kanahele, is hapa-haole. It expresses the sentiments of everyone who has lived here, now lives elsewhere and misses the islands. Ako sings it with heartfelt conviction. The other English-language song on the album is a timely 50th anniversary remake of Roy Orbison’s 1963-vintage “B-side” classic, “Blue Bayou,” that shows Ako’s potential as a mainstream pop singer. Ako’s “Blue Bayou” could easily be the preview cut of an entire album of pop chart remakes. Adding Hawaiian lyrics to it, as Ako and her translator do, isn’t necessary but makes their version more than a straight remake of Orbison’s timeless song. Songs with ties to specific locations are an important and popular tradition in Hawaiian music. -
KA WAI OLA the LIVING WATER of OHA
KA WAI OLA THE LIVING WATER of OHA OFFICE of HAWAIIAN AFFAIRS • 711 Kapi‘olani Blvd., Ste. 500 • Honolulu, Hawai‘i 96813-5249 Iune (June) 2008 Leaving Hawai‘i for Los Angeles Vol. 25, No. 6 almost a decade ago to make it big in the music biz, Justin Young now adds his Plotting the Hawaiian soul to future of the stylings of Mauna Kea Colbie Caillat page 04 DHHL resumes work on stalled homes page 06 3 UH law school graduates specialize in Native Hawaiian law page 11 Combating tobacco use with cultural sensitivity page 14 Pacific arts fest! page 23 Leap of Faith page 18 www.oha.org A pensive Justin Young after a Waikïkï performance with Colbie Caillat. Photo: Blaine Fergerstrom. THE OHA MA¯ LAMA LOAN % 5.00 APR ~ LOW FIXED RATE ~ FIXED TERM for 5 YEARS ~ LOAN up to $75,000 PLUS, EARN UP TO The OHA Ma¯lama Loan Program through First Hawaiian Bank is 5,000 CASHPOINTSSM exclusively for Native Hawaiians and Native Hawaiian organizations. It can be used for tuition, home improvement, and any of your ••• When you apply and are business needs. For more information, please call 643-LOAN. To approved for the Priority RewardsSM apply, please visit fhb.com or any First Hawaiian Bank branch. Debit and Credit Cards*. Applicants must be of Native Hawaiian ancestry (birth certifi cate, OHA registry card, or Kamehameha Schools verifi cation letter will be accepted as proof) or a Native Hawaiian organization. If the applicant is a group of people organized for economic development purposes, applicant ownership must be 100% Native Hawaiian. -
Section Viii
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION VIII: ACKNOWLEDGMENTS AND ADDENDUM 1. For information about the tuning of a song that is not listed, or any other questions, you can e-mail Dancing Cat at [email protected], or write to Dancing Cat Productions, P.O. Box 4287, Santa Cruz, California, USA, 95063, attn: Dept. SKQ, and we will try to help. 2. Dancing Cat Records plans to produce more solo guitar based Slack Key recordings of the late Sonny Chillingworth, Ray Kane, the late Leonard Kwan, Keola Beamer, Led Kaapana, Cyril Pahinui, George Kuo, Ozzie Kotani, Bla Pahinui, Martin Pahinui, George Kahumoku, Jr., Moses Kahumoku, Cindy Combs, Malaki Kanahele, and Patrick Cockett, and others. Also planned are more recordings of pure duets of Slack Key guitar with acoustic steel guitar, including the late Barney Isaacs playing acoustic steel guitar duets with Slack Key guitarists George Kuo, Led Kaapana, and Cyril Pahinui; and Bob Brozman on acoustic steel with Led Kaapana and with Cyril Pahinui. 3. Mahalo nui loa (special thanks) to the following people who contributed in many various ways to make this information booklet possible: Leimomi Akana, Carlos Andrade, Haunani Apoliona, Kapono Beamer, Keola & Moanalani Beamer, Nona Beamer, Kapono Beamer, Reggie Berdon, Milan Bertosa, the late Lawrence Brown, Bob Brozman, Kiki Carmillos, Walter Carvalho, the late Sonny Chillingworth, Mahina Chillingworth, Patrick Cockett, Cindy Combs, Michael Cord, Jack DeMello, Jon DeMello, Cathy Econom, Ken Emerson, Heather Gray, the late Dave Guard, Gretchen Guard, Gary Haleamau, Uluwehi Guerrero, Keith Haugen, Tony & Robyn Hugar, the late Leland “Atta” Isaacs, Jr., the late Barney Isaacs & Cookie Isaacs, Barney Boy Isaacs, the late Winola Isaacs, Wayne Jacintho, Howard Johnston, J. -
The Transformation of the Steel Guitar from Hawaiian Folk Instrument to Popular Music Mainstay
Across the Pacific: The transformation of the steel guitar from Hawaiian folk instrument to popular music mainstay by R. Guy S. Cundell B Mus (Hons.), Grad Dip Ed A thesis submitted in fulfilment of the requirements for the degree of Master of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide April 2014 ii Table of Contents I. List of Music Examples ..................................................................................................... v II. Abstract ......................................................................................................................... vii III. Declaration .................................................................................................................. viii IV. Acknowledgements ....................................................................................................... ix V. Notes on Transcriptions and Tablature ........................................................................... x Introduction ............................................................................................................................... 1 Literature Review ...................................................................................................................... 5 Chapter 1: Origins of the Steel Guitar ....................................................................................... 9 1.1 A Mode of Performance ................................................................................................. -
[ADD in the Ording Info---HARRY's MUSIC INFO HERE and INFO
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION II: RECOMMENDED RECORDINGS AND OTHER INFORMATION (this is not meant to be a definitive recommendation site – rather, it is here as a place to begin researching the Hawaiian Slack Key guitar tradition. Other than the recordings, it may not be up to date – you can check the internet sites [section 9] for more up to date information) Table of Contents: 1. Some recommended recordings 2. Videos, DVDs & documentaries 3. Instruction videos & DVDs 4. Instruction books 5. Books & articles 6. Slack Key Guitar lessons 7. Seeing Slack Key Guitarists live 8. Hawaiian music on the radio 9. Internet sites & newsletters 10. Dancing Cat Records Slack Key Guitar mailing list ________________________________________________________________ For ordering recordings, books, and videos, you can contact: 1. Hawaiian Music Island - www.mele.com - This site sells Hawaiian music and videos and other items, and has information on upcoming Slack Key and Hawaiian music events worldwide 2. Harry’s Music Store – 3457 Wai’alae Avenue, Honolulu, Hawai’i, 96816; 808-735- 2866; fax 808-734-2951 SOME RECOMMENDED RECORDINGS (* - not available on CD) 1. Gabby Pahinui 1a. Gabby Pahinui albums: PURE GABBY (Hula Records 567) - Instrumentals and vocals accompanied by Slack Key guitar and ensemble - recorded in 1961 and issued in 1978 H:/data/skbook/Book2.doc 11/04/12 HAWAIIAN SLACK KEY, VOLUME 1-WITH GABBY PAHINUI (Waikiki Records 319) – Instrumentals and vocals accompanied by Slack Key guitar and ensemble - 1960 -
Hawaiian Recordings in the Slack Key Tunings
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION V: HAWAIIAN RECORDINGS IN THE SLACK KEY TUNINGS This section includes a list of the most important (usually) available recordings by Hawaiian Slack Key guitarists in each of the 50 tunings in the CHART OF RECORDED TUNINGS- SECTION IVa, that have had songs recorded in them (the other 12 tunings in the chart that are closely related to another tuning in the chart, bur have not had any songs recorded in them are also listed here, for continuity). The following information is listed for each tuning (the number of the tuning coincides to its number in the tuning chart on page 34). Here are some particulars about this section: 1. Artists which have recorded a particular tuning are listed alphabetically under that tuning. 2. The titles of the recordings are in all capital letters; the record label and number, indication of whether the title is out-of-print (no longer commercially available) and information on whether the Slack Key artist listed is backing up somebody else are also indicated. If the song has another title, we will indicate this within parentheses. 3. Song titles are in italics and are separated by a semi-colon. Medleys have slashes between their component songs. 4. There may be discrepancies in the spellings of some of the song titles. For reference purposes, the titles in this booklet are spelled as printed on the recordings unless there had been an obvious typographic error on the album notes. 5. If a song is played in a key other than the key of the tuning or if the guitar is tuned noticeably higher or lower than the normal pitch the tuning is in, or if the guitar is capoed to a higher pitch, this will be indicated after the song or songs. -
Slack Key Sub-Traditions
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION Ia: TECHNICAL ESSAY ON SLACK KEY SUB-TRADITIONS Table of Contents: 1. Bass patterns 2. Bass runs 3. Vamps 4. Partial chords 5. Ornaments 6. The using of different tunings - when two or more Slack Key guitarists play together 7. Playing all of the song (or a significant part of the song) in keys other than the key the tuning is in 8. Changing songs by making medleys, or by adding bridges, or by changing the melody of the song 9. Playing Marches 10. Using chord substitutions for Major chords and dominant sevenths, and minor keys These are some sub-traditions of Slack Key guitar playing: 1. The use of various bass patterns, with the thumb playing the bass notes on the lower pitched strings, and the other fingers playing the melody and/or phrases on the higher pitched strings (for normal right-hand playing). Slack Key guitar is a finger-style tradition with many tunings (as opposed to playing with a pick for rhythm guitar chords or for playing single notes, both generally just played in the Standard Tuning [E-A-D-G-B-E]). Six types of bass patterns that have been used are: (1). The popular and traditional alternating bass pattern (also called double-thumbing in Mainland America), where, for example in the G Major “Taro Patch” Tuning (D-G-D-G-B-D), the thumb plays the fifth or sixth string (depending on the chord) on beat one and beat three of the measure, and the fourth string on beat two and beat four of the measure. -
Listen but Don't Ask Question
LISTEN BUT HAWAIIAN SLACK KEY GUITAR DON’T ACROSS THE TRANSPACIFIC ASK / Kevin Fellezs / QUESTION LISTEN BUT DON’T ASK QUESTION LISTEN BUT HAWAIIAN SLACK KEY GUITAR DON’T ACROSS THE TRANSPACIFIC ASK / Kevin Fellezs / QUESTION Duke University Press DurhamDurham and London © . All rights reserved. Printed in the United States of Amer i ca on acid- free paper ∞ Designed by Courtney Leigh Baker Typeset in Arno Pro, Bell, and Trade Gothic by Westchester Publishing Services Library of Congress Cataloging- in- Publication Data Names: Fellezs, Kevin, author. Title: Listen but don’t ask question : Hawaiian slack key guitar across the Transpaci c / Kevin Fellezs. Description: Durham : Duke University Press, . | Includes bibliographical references and index. Identi ers: (print) | (ebook) | (ebook) | (hardcover : alk. paper) | (pbk. : alk. paper) Subjects: : Hawaiian guitar musicHawaii. | Hawaiian guitar musicCalifornia. | Hawaiian guitar musicJapan. | Ha- waiian guitar musicPaci c Area. | Guitar music (Slack key) Hawaii. | Guitar music (Slack key)California. | Guitar music (Slack key)Japan. | Guitar music (Slack key)Paci c Area. Classi cation: . (ebook) | . (print) | . dc record available at hps://lccn.loc.gov/ Cover art: Cyril Pahinui, . ©Marco Garcia/WireImage. Courtesy of the artist and Gey Images. For Mom and Dad I would think, rst, Hawaiian style is you listen but don’t ask question. [Go to your] favorite person [whose] style of playing you like. Don’t ask him any question. You just watch or you hear and you go home and practice. at’s the only way. Never ask question. And you have to have that in you. at’s the only wayth at’s the way I learned.