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The Hawai'i Tourism Authority
)~ ‘-1 I Hawai'i Convention Center David v. lge ,=';'7" ‘ " I “M 1801 Kalékaua Avenue, Honolulu, Hawaii 96815 Governor ‘N ' ‘ kelepona tel 808 973 2255 7' A U T H O R I T Y kalepa'i fax 808 973 2253 Chris Tatum kahua pa'a web hawaiitourismauthurityorg President and Chief Executive Officer Statement of CHRIS TATUM Hawai‘i Tourism Authority before the SENATE COMMITTEE ON WAYS AND MEANS Wednesday, April 3, 2019 10:20AM State Capitol, Conference Room #211 In consideration of HOUSE BILL NO 420 HD1 SD1 RELATING TO HAWAIIAN CULTURE. Chair Dela Cruz, Vice Chair Keith-Agaran, and members of the Senate Committee on Ways and Means: The Hawai‘i Tourism Authority (HTA) strongly supports House Bill 420 HD1 SD1, which removes the provision designating the Hawai‘i Convention Center (HCC) as the location for the operation of a Hawaiian center and museum of Hawaiian music and dance. The concept of developing a Hawaiian Center and Museum of Hawaiian Music and Dance is one that we fully support; however, the challenge has been the requirement of locating the center at the Hawai‘i Convention Center. By removing this requirement, we will then be allowed to work with the community to identify the best location for this very important facility. We humbly request your support of this measure. Thank you for the opportunity to offer testimony in support of House Bill 420 HD1 SD1. HB-420-SD-1 Submitted on: 3/29/2019 8:08:03 PM Testimony for WAM on 4/3/2019 10:20:00 AM Testifier Present at Submitted By Organization Position Hearing Kirstin Kahaloa Individual Support No Comments: April 2, 2019 Senator Donovan Dela Cruz, Chair Senator Gilbert Keith-Agaran, Vice Chair Committee on Ways and Means Conference Room 211 Hawai‘i State Capitol Honolulu, HI 96813 RE: Testimony on HB420 HD1 SD1, Relating to Hawaiian Culture Chair Dela Cruz, Vice Chair Keith-Agaran, and Committee Members: My name is Melanie Ide and I am the President and CEO of the Bishop Museum, Hawai‘i’s State Museum of Natural and Cultural History. -
Puana 'Ia Me Ka 'Oko'a: a Comparative Analysis of Hawaiian
Vol. 5 (2011), pp. 107-133 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4494 Puana ‘Ia me ka ‘Oko‘a: A Comparative Analysis of Hawaiian Language Pronunciation as Spoken and Sung Joseph Keola Donaghy University of Hawai‘i at Hilo and University of Otago, New Zealand In this paper I argue that the differences between spoken Hawaiian and vocal perfor- mance of western-influenced “traditional” Hawaiian music are representative of the linguistic diversity found within the Hawaiian language. It contains a comparative analysis of Hawaiian Language Pronunciation as Spoken and Sung, using transcriptions of recorded examples by John Kameaaloha Almeida, a native speaker of the Hawaiian language and a prominent composer, singer, and instrumentalist. It will provide a pho- nemic analysis of notable and predictable variations heard in Hawaiian language vocal performances that are not heard in spoken Hawaiian. Further, it will show that rhythmic arrangement of morae over strong beats in the musical measure is largely analogous to accent in spoken Hawaiian, with some predictable exceptions. The paper also documents how, during his vocal performance, Almeida added three non-lexical vocables not heard in spoken Hawaiian. I argue that these characteristics and variation are indicative of the linguistic diversity found within the Hawaiian language and, as such, are worthy of the same attention and scholarly scrutiny as spoken Hawaiian. The second goal of this applied research is to present the results in a manner that is accessible to practitioners of Hawaiian language performance. 1. INTRODUCTION.1 One day during my time as an undergraduate student in the Hawaiian Studies program at the University of Hawai‘i at Hilo, I was listening to a record- ing of Rev. -
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. -
Stardigio Program List
STAR digio 100 チャンネル:473 HAWAII 放送日:2004/4/12~4/18 「番組案内(4時間サイクル)」 開始時刻:4:00~8:00~12:00~16:00~20:00~24:00~ 楽曲タイトル 演奏者名 ハワイの王室ソング集 Ku'u Ipo I Ka He'e Pu'e One 山内雄喜 w/Maki Kokohi PALANI VAUGHAN Adios Ke Aloha PALANI VAUGHAN Ku'u Pua I Paoakalani 山内雄喜 w/Maki Maika'i Waipi'o PALANI VAUGHAN & THE SUNDAY MANOA Ipo Lei Manu PALANI VAUGHAN E Nihi Ka Hele PALANI VAUGHAN To Ma'i Ho'eu'eu / Liliko'i PALANI VAUGHAN Ke Ali'i Milimili PALANI VAUGHAN He Mele Lahui Hawai'i 山内雄喜 / Maki Uehara(Vocals) / Leila Uehara(Chorus) Sanoe 山内雄喜 / Maki Uehara(Vocals) / Leila Uehara(Chorus) Sweet Lei Lehua PALANI VAUGHAN & THE SUNDAY MANOA Hawai'i Pono'i JACK DE MELLO Song of the Sea JACK DE MELLO Hawaiian War Chant JACK DE MELLO Dancing Breeze JACK DE MELLO Nani Wale Lihu'e JACK DE MELLO Aloha No Au I Ko Maka JACK DE MELLO ハワイのフォスター、チャールズ・E・キング作品集 Na Lei o Hawaii HAWAII CALLS Pa'au'au Waltz THE SUNDAY MANOA Beautiful Kahana THE SUNDAY MANOA Eleu Mikimiki THE SUNDAY MANOA Kamehameha Waltz PETER MOON Mi Nei KAHAUANU LAKE TRIO Imi Au Ia 'Oe HAWAII CALLS Ke Kali Nei Au HAWAII CALLS Palolo GABBY PAHINUI Kaimana Hila HAWAII CALLS Lei Aloha Lei Makamae HAWAII CALLS He Nohea 'Oe I Ku'u Maka GABBY PAHINUI AND THE SONS OF HAWAII Lei Lokelani KAHAUANU LAKE TRIO 'Uhe'uhene LEONARD KWAN Kamehameha Waltz 山内雄喜 w/Maki Ne'e Ne'e Mai NA HOKUPA Pua Carnation The Charles "Kaipo" Miller Serenaders from the Royal Hawaiian Hotel. -
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. -
'The Role of Hawaiian Guitar in the Present Context of Hindustani
KARNATAK UNIVERSITY DHARWAD ‘The Role of Hawaiian Guitar in the Present Context of Hindustani Classical Music – A Practical Analysis’ A thesis submitted to the Karnatak University, Dharwad for the award of the degree of ‘Doctor of Philosophy’ in performing arts Research Student PRAKASH SONTAKKE Research Guide Dr. Smt. MEERA SHIVSHANKAR GUNDI Associate Professor (Retd.) MA Sangeetha & Phd P G Department of Music and Fine Arts Karnatak University, Dharwad January 2015 Sculpture depicting Lord Ganesha playing the ancient Indian slide veena CONTENTS Acknowledgments ................................................................................................................................ vi Certificate ............................................................................................................................................ ix Declaration ........................................................................................................................................... x Introduction .......................................................................................................................................... 1 1. The Hawaiian Guitar .................................................................................................................. 11 1.1. The History of the Hawaiian Guitar .................................................................................. 11 1.2. The Development of the Hawaiian Guitar as a Main Instrument ..................................... 15 1.2.1. Arrival of the Electric -
Harry's Song List
!"#$%&'!(%)"*%&'+,%-,*)"*./#0,!! Harry!s repertoire consists of literally hundreds of vocal and instrumental selections ranging from traditional Hawaiian, to Classical, to Pop Standards and Contemporary tunes covering the 1950!s to the present. Below are just a few examples of his diversity and range. 50 Years of Rock n Roll All My Loving, Blackbird, Good Day Sunshine, I Feel Fine, Lucy in the Sky, Paperback Writer, Something, The Long and Winding Road, Hooked on a Feeling, Lay Lady Lay, Like a Rolling Stone, Who'll Stop the Rain, Teach Your Children, I Can See Clearly Now, Mr. Bojangles, Crazy, A Whiter Shade of Pale, The Sound of Silence, Mustang Sally, In My Room, Mr. Tamborine Man, Horse With No Name, Here Comes the Sun, Norwegian Wood, Can't Find My Way Home, No Woman No Cry, Redemption Song, Waiting in Vain, Moonshadow, Wild World, Our House, Ziggy Stardust, Desperado, Lyin' Eyes, Take It Easy, Tequila Sunrise, Wonderful Tonight, Landslide, Some Kind of Wonderful, Doctor My Eyes, Fire & Rain, Up on the Roof, Time in a Bottle, Angel, Little Wing, The Wind Cries Mary, Imagine, Dust in the Wind, Stairway to Heaven, Nights in White Satin, Heart of Gold, Old Man, Sitting on the Dock of the Bay, Bluebird, Baby I Love Your Way, Wish You Were Here, Sailing, Paint it Black, Wild Horses, Brown Eyed Girl, Hard Luck Woman, My Love, Street of Dreams, Now & Forever, Life by the Drop, Roxanne, I Won't Back Down, Into the Great Wide Open, Kryptonite, Change the World, Tears in Heaven, Out of My Head, Time of Your Life, Runaway Train, Fields of -
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. -
<DISC 1> 01.A Kona Hema O Kalani Traditional Vocal
HULA Le’a Presents HAWAIIAN MELE CD-BOX ȊȪǟǝȮǸȮǫƶਙƮƔƛƛƳÁÁ ߅ైದ౽ƝǔƥƶࢩࡑƟƧఝຓƔཌભưƲǒ੫Տ౽ưƲƫƧ¹ ਙࢥ”ºإ ࣞ“ȊȪǟǝȮ½Ȝȧ 1001 ƝǔƧȊȪǟǝȮǸȮǫޯڀƗƶƒບƶƜාƳƒ҃ƐƟ¹ં ƶئףǚƳଵƐǓإ ǚҧౖƲۙǒŗŘ30 Ƴࢌ¹600ےƶҞ ŗŘôŖţŬÁÁ GNCP-1030 Ć31,500á୩ҤâÖĆ30,000áৎಫâ <DISC 1> 01.A Kona Hema O Kalani Traditional Vocal : Kalani Po’omaihealani 02.A Million Moons Over Hawaii Words by Billy Abrams Music by Andy Iona Long Vocal : enry Kaleialoha Allen 03.‘A ‘Oia Words & Music by John Kameaaloha Almeida Vocal : उпdžơLJ 04.A Song of Old Hawaii Words & Music by Johnny Noble & Gordon Beecher Vocal : އÐ้Гᇰ 05.Adios Ke Aloha Words & Music by Prince Leleiohoko Vocal : उпdžơLJ 06.Adventures in Paradise Words & Music by Dorcas Cochran Vocal : Kalani Po’omaihealani 07.Ahi Wela Words & Music by Lizzie Doirin & Lizzie Beckley Vocal : Takako 08.‘Ahulili Words & Music by Scott Ha'i Vocal : dzȢÓdzउҟ 09.Aia I Ka Mau’i Traditional Vocal : Takako 10.Aia I Nu’uanu Ko Lei Nani Traditional Vocal : Aloha Dalire Band 11.Aia La ‘O Pele Traditional, Mae L. Loebenstein Vocal : उпdžơLJ 12.‘Aina O Lanai Words & Music by Val Kepilino Vocal : उпdžơLJ 13.‘Aina O Molokai Words & Music by Kai Davis Vocal : ଇưƕࠃ 14.‘Akaka Falls Words & Music by Helen Perker Vocal : IWAO 15.‘Akaka Falls Words & Music by Helen Lindsey Perker Vocal : Lauloa 16.‘Ala Pikake Words & Music by Manu Boyd Vocal : उпdžơLJ 17.Alekoki Words by Kalalaua, Lunalilo Music by Lizzie Alohikea Vocal : उпdžơLJ 18.‘Alika Words & Music by Charles ka'apa Vocal : Kalani Po’omaihealani 19.Aloha E Kohala Words & Music by Robert Uluwehi Cazimero Vocal : ଇưƕࠃ 20.Aloha E Pele Traditional -
Lo Ha D Re Am
AAll oo hh aa DDrr ee aa mm April 2018 Vol. 16. Issue 1. C o n t e n t s 1. Cover photo: ‘The Perfect Spot’ by Pete Tillack 2. Contents Page 3. The Editor’s comments and usual apologies 4. Compassion in Action—Jeff Apaka 5. “ “ “ “ 6. “ “ “ “ 7. “ “ “ “ 8. “ “ “ “ 9. Hawaiian Soundies from the 1940’s by alan Morgan 10. “ “ “ “ “ “ “ 11. “ “ “ “ “ “ “ 12. Anthony Lis Analysis of Guy Cundell’s Thesis. Part Six section 2 13. “ “ “ “ “ “ “ “ “ 14. “ “ “ “ “ “ “ “ “ 15. “ “ “ “ “ “ “ “ “ 16. “ “ “ “ “ “ “ “ “ 17. “ “ “ “ “ “ “ “ “ 18. “ “ “ “ “ “ “ “ “ 19. Pioneer of the Hawaiian Guitar in England by Les Cook 20. “ “ “ “ “ “ “ “ 21. “ “ “ “ “ “ “ “ 22. The Arthur Layfield Collection by John Marsden 23. “ “ “ “ “ “ 24. “ “ “ “ “ “ 25. There’s no Steelin’ The Spotlight by Bill Wynne / Santo Farina 26. “ “ “ “ “ “ 27. “ “ “ “ “ “ 28. “ “ “ “ “ “ 29. Readers Letters 30. “ “ 31. Steel Guitar Sounds Slowly Fading away / Barney Isaacs 32. Richard Ho’opi’i / Peter Moon all enquires to :- Editorial and design:- Subscriptions:- per year Pat Henrick ‘aloha Dream’ Pat and Basil Henriques U.K: £20:00 38. Greenacre Park Honorary members :- on-line £8.00 Coton in the Elms Pat Jones (Wales.) Europe: €30:00 Swadlincote DE12 8HB Keith Grant (Portugal) on-line €10.00 Derbyshire --------------------------------- Overseas: $40:00 web address:- Hawaiian Musicologists on-line $15.00 http://www.waikiki-islanders.com John Marsden (U.K.) (U.S. dollars or equivalent) Prof. Anthony Lis (USA) All include P+P (S+H) E Mails :- [email protected] Bill Wynne (USA) ONLY STERLING CHEQUES, [email protected] Bill’s mentioned recordings or UK postal order payable to:- Phone No:- 01283 763399 can be found at his “PaT HENRICK” or Mobile No:- 07800-646-645. -
The Geographic Imaginary in Hawaiian Music Culture a Thesis Submitted to the Graduate Division of the University of Hawai'i in P
3J8° THE GEOGRAPHIC IMAGINARY IN HAWAIIAN MUSIC CULTURE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN GEOGRAPHY DECEMBER 2004 By Donna Ku'ulani Downey Thesis Committee: Brian 1. Murton, Chairperson Jonathan D. Goss Ricardo D. Trimillos © COPYRIGHT 2004, Donna Ku'ulani Downey 111 DEDICATION This work is dedicated to my father, Michael Authur Downey, known as Mike, Mick or Micky to his family and friends. Here is a photograph ofhim joyfully dancing the hula. He loved the Hawaiian Islands, his home, and the music that so sensuously represents them. He has been an inspiration to me while writing this thesis. MICHAEL AUTHUR DOWNEY 1920 - 1993 iv Acknowledgements First and foremost, I wish to express my sincere appreciation to my thesis committee; Brian Murton, Jon Goss, and Ric Trimillos. Each of you have helped in your own special way, notably contributing to my project. With your careful guidance, I have grown as a researcher and writer. Thank you for your mana'0 (thoughts, ideas, beliefs, opinions, suggestions). Thank you to Mary McDonald, my interim advisor, for lending me her copy of The Place ofMusic and to Nola Nahulu for suggesting Hilo (and Keaukaha) as a good place to research. Thank you to my mother, Theresa Wahineho'ola Wond Downey for her emotional and financial support. Working on this project was, for the most part, a solitary endeavor. I was fortunate though because I had with me, whenever I desired to listen, the sound of Hawaiian music for continual inspiration.