DOCSLIB.ORG

An Ethnomusicological Study of the Huli of the Southern Highlands, Papua New Guinea

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Ethnomusicological Study of the Huli of the Southern Highlands, Papua New Guinea ETHNOMUSKOLOOy JOURNAL OF THE SOCIETY FOR ETHNOMUSICOLOGY VOLUME XXI NUMBER 2 MAY 1977 X >:}•'-V'-i^-f^,, /•• /^'"'::^'^^">|':''4'- :^J'''^r^^ [^^ fr-"\l ^'ZA •: / I S 5;'imjy~:>^, ^:rA / ^^.^,\^^^ •>v,,vi j \4 •'^^:' i/fb.-^ ^ ''.:»--k:.'r) • \'tl •, .xXi'-.t: :'':^ta ^/t^'Ao^ ^Ck./'-':.'^- . , (\C\'\ , .< r ?-. !•,.••»' N^ ,.i" • II ^.. ''if. (,' . \ . I,\ I'll I 5 HULI LANGUAGE AND INSTRUMENTAL PERFORMANCE! Jacqueline Pugh-Kitingan I. INTRODUCTION he Hull of Papua New Guinea are an ethnic group of between sixty and T seventy thousand people, mainly distributed over the Tagali River Basin of the Southern Highlands District (see Figure 1).^ The Hull language, a tone language, is a member of the Enga-Huli-Pole-Wiru family of languages (Wurm 1961). The topography of the Hull area is largely undulating limestone country, dissected by ridges and old volcanic ranges. This allows for the easy migration of people, which produces a homogeneity of culture throughout the entire tribal area,^ The Huh cultivate extensive vegetable gardens, sweet-potato being their dietary staple. Family and kinship ties form the basis for land ownership, and there is no village or commune system. The Huli have no chieftain system of hereditary social hierarchy. A person's talents and achievements determine his wealth and influence. Married couples do not live together in the same house, but occupy separate houses on the same land. As a result of these social characteristics, the Huli tend to be very individualistic in temperament. They are a strong self-assertive people, who regard their culture as being superior to that of their neighbors. They are proud of the beauty of their homeland and are very aware of their history. This cultural pride is an important feature in their song texts, and the basic individualistic temperament of the Huli people is exemplified in their music style .^ There are two important fundamental elements in HuH musical expres­ sion. Firstly, the core or basis of most genres is language. Secondly, due to the highly individuaUstic nature of the Huli, most of their music is soloistic. There is no specific Huh word for music. If someone asks a performer to play his gawq, a small double-stringed musical bow, or his hiriyula, a bamboo jaw's harp, the expression used is "gawa la" or "hiriyula la."^ These two phrases can be roughly translated as "speak with the gawa" and "speak with the hiriyula." In playing these two instruments, the mouth is used as a resonator to modify and control sound. This technique, while producing certain "musical" elements, is used primarily to articulate words. The words produced fall into 205 ETHNOMUSICOLOGY, MAY 1977 206 Pf^PU/K NBiJ O-UiN^^ f^^ Figure 1. The Huli Area, not to scale (adapted from Glasse 1968:14). PUGH-KITINGAN: HULI LANGUAGE AND PERFORMANCE 207 verse patterns. The music of the gawa and the hiriyula thus constitute a unique instrumental/musical/poetic/linguistic phenomenon. It appears that these are the only Huli musical instruments used in this way. Another instrumental type used by the Huli is the gulupobe. This is a generic term for bundles of bamboo panpipes. A gulupobe instrument, which is played only by an initiated man, is used solely as a pastime. In contrast to the music of the gawa and the hiriyula, the articulation of words is not employed in gulupobe music. The common Huli drum is called layano tabage (layano = wood from layano tree). It is used to accompany dance and is played by groups of wigged and painted male dancers during certain rituals and pig-feasts. Neither the common tombena (high pitched) layano tabage nor its dinano (low pitched) form are used for signalling or as communication devices. The latter may accompany the medicine-magic chant of a dawa haga agali (spirit man), or it may be played by an important old man at a dance. Chant accompaniment, however, is its only connection with language and communication.^ The Huli have many different genres of vocal music. In all of these, the linguistic structure that is used in a particular performance determines the musical structure. The purpose of this study is to describe briefly the Huli musical instruments hiriyula and gawa, and to examine the way in which linguistic articulation characterizes their performance. After discussing ways of repre­ senting this musical/hnguistic phenomenon visually, two transcription methods are proposed as an analytical tool, one for each instrument respectively. II. THE HIRIYULA AND ITS PERFORMANCE The hiriyula is played by both men and women. It is made from be bindi (be = bamboo), a special variety of wild bush bamboo which only grows in red clay soil at high levels. The performer fashions the instrument from a piece of bamboo using a special stone knife called are. It is then passed through cold ashes to shine its surface. The resulting instrment is 15 to 20 centimetres long (see Figure 2). It consists of a long thin lamella, called hiriyula tauni or hiriyula tirini, framed between two large arms, called hiriyula ge or hiriyula gene. These pieces are longer than the hiriyula tauni, and may be bound together near the end of the instrument with a piece of twine or wire. This is done whenever the frame does not naturally assume the desired shape. If the hiriyula tauni is broken or cut short, its pitch may be lowered by the addition of wagaya (beeswax) to its reverse side near the free end.^ The inside edges of the hiriyula gene are as thin as the hiriyula tauni, since they are formed at the same time as the centre piece. The outer edges, however, retain the original thickness of the material. ETHNOMUSICOLOGY, MAY 1977 208 3/cye K/efc/ j^,^>»M»i%>il»;»»-***-t'iasi»«,,^^^ back. i//&k^ front uie-*'^ (h'iriyu/ot ^*) k/Q^ayq Figure 2. The structure of the hiriyula. It has been shown elsewhere that the characteristic sound of a jaw's harp is created by air turbulence produced as the lamella vibrates between the parallel arms of the instrument (Ledang 1972, Adkins 1974). The sharp edges of the hiriyula gene and the hiriyula tauni, and their close proximity, assist PUGH-KITINGAN: HULI LANGUAGE AND PERFORMANCE 209 Figure 3. Woman playing hiriyula. this turbulence phenomenon, thus enriching the instrumental timbre with upper partials. The hiriyula is held between the lips, near the free end of the hiriyula tauni. This is set in motion by jerking the twine chord or pu which is fixed to the basal end of the instrument on the short side of the node. The pu is held around the thumb and pulled in the direction of the free end of the hiriyula tauni. In this process the vibrating lamella may sometimes be touched by a taut length of pu, but the player avoids tapping his thumb against it to prevent a wooden sound. Usually the pu is jerked with the right hand while the left hand supports the other end of the instrument (see Figure 3). This may be reversed according to preference. As mentioned earUer, hiriyula performance is characterized by the articulation of words which are organized into verse patterns. According to the HuH, thoughts are formed in the "mind" which is located in a person's heart in the chest. These thoughts are carried up to the mouth in breath from the lungs, where they roll off the tongue as words. Because there are several contexts of hiriyula performance, the subject matter of the verses usually varies according to circumstances. Young people often play the hiriyula during courting activities. When the two lawini (sweethearts) meet in the bush, one may articulate verses in the presence of the other. Often when a young person is alone, hiriyula performance may be used to express love for the absent lawini. Some performers use the hiriyula 210 ETHNOMUSICOLOGY, MAY 1977 to describe past or current events. Older people may sometimes entertain younger ones with its performance. The sound of the instrument carries across quite a distance. The Huh claim that the words produced can be clearly heard as far as a quarter of a mile away from the source. Some people never learn to articulate words with the hiriyula and spend their hves producing nothing more than "twanging" noises. This level of performance is not highly valued by the Huli. Moreover, their criterion for judging a proficient performer is not whether he or she can merely articulate words in performance, but how clearly and easily the words roll off the tongue.^ III. ARTICULATING WORDS WITH THE HIRIYULA Hiriyula articulation is very similar to speech in several ways. In speech the vocal chords generate sound energy when they are activated by air from the lungs. This sound energy is modified by the shape of the oral cavity. The most important factor which distinguishes one type of speech-sound or phoneme from another is its point of articulation. In linguistics, the point of articulation is defined by the shape and position of the tongue in relation to the palate. After observing many performances and learning to play the hiriyula I found that the point of articulation for a given phoneme is the same in hiriyula arficulation as in speech. This confirms Ledang's suggesfion that phonetics may play an important role in jaw's harp performance generally (Ledang 1972:102). Hiriyula articulation differs from speech in that the sound generator is an external instrument rather than an internal organ. During performance the vocal chords are never used because the instrument provides the necessary sound energy. The Huh language is well suited to such treatment by an orally resonated instrument hke the hiriyula.
Load more

Recommended publications
  • Mission: New Guinea]
    1 Bibliography 1. L. [Letter]. Annalen van onze lieve vrouw van het heilig hart. 1896; 14: 139-140. Note: [mission: New Guinea]. 2. L., M. [Letter]. Annalen van onze lieve vrouw van het heilig hart. 1891; 9: 139, 142. Note: [mission: Inawi]. 3. L., M. [Letter]. Annalen van onze lieve vrouw van het heilig hart. 1891; 9: 203. Note: [mission: Inawi]. 4. L., M. [Letter]. Annalen van onze lieve vrouw van het heilig hart. 1891; 9: 345, 348, 359-363. Note: [mission: Inawi]. 5. La Fontaine, Jean. Descent in New Guinea: An Africanist View. In: Goody, Jack, Editor. The Character of Kinship. Cambridge: Cambridge University Press; 1973: 35-51. Note: [from lit: Kuma, Bena Bena, Chimbu, Siane, Daribi]. 6. Laade, Wolfgang. Der Jahresablauf auf den Inseln der Torrestraße. Anthropos. 1971; 66: 936-938. Note: [fw: Saibai, Dauan, Boigu]. 7. Laade, Wolfgang. Ethnographic Notes on the Murray Islanders, Torres Strait. Zeitschrift für Ethnologie. 1969; 94: 33-46. Note: [fw 1963-1965 (2 1/2 mos): Mer]. 8. Laade, Wolfgang. Examples of the Language of Saibai Island, Torres Straits. Anthropos. 1970; 65: 271-277. Note: [fw 1963-1965: Saibai]. 9. Laade, Wolfgang. Further Material on Kuiam, Legendary Hero of Mabuiag, Torres Strait Islands. Ethnos. 1969; 34: 70-96. Note: [fw: Mabuiag]. 10. Laade, Wolfgang. The Islands of Torres Strait. Bulletin of the International Committee on Urgent Anthropological and Ethnological Research. 1966; 8: 111-114. Note: [fw 1963-1965: Saibai, Dauan, Boigu]. 11. Laade, Wolfgang. Namen und Gebrauch einiger Seemuscheln und -schnecken auf den Murray Islands. Tribus. 1969; 18: 111-123. Note: [fw: Murray Is].
    [Show full text]
  • 1 the Kewa Language Revisited Karl J
    The Kewa Language Revisited Karl J. Franklin, Graduate Institute of Applied Linguistics and SIL International Abstract: My main work on the dialects of Kewa (Franklin 1968) outlined certain phonological, grammatical and cultural features that provided data to portray three main dialects (EK, WK and SK) and two subdialects (NW and SE). In this article I provide additional materials on the dialect and subdialect areas, as well as an assortment of grammatical, cultural and historical information. I also summarize the literacy and translation work that has been done on Kewa. 1. Introduction1 The Kewa language is well studied, from both a linguistic (Rule 1977, SK; Franklin 1971, WK; Franklin and Franklin (assisted by Kirapeasi) 1978, WK; and Yarapea 1992, 1993, 2001, 2004, EK) and cultural point of view (LeRoy 1985a, 1985b, WK; Josephides 1985, EK and SK; MacDonald 1991, SK; Jebens 2005, WK).2 What I add here are some details on the phonology and tone, kinship, counting, and affinities with linguistic and cultural neighbors. In this study I also bring to conclusion some additional features on the Kewa language and culture that I have noted for some time.3 2. Phonology Table 1: Kewa Phonemic Consonants4 labial coronal palatal velar voiceless oral stops t [dental] ty [fronted] (WK) voiced prenasalized b [mb] d [nd] [retroflexed] ŋg (SK, NW) stops g [backed] (WK) fricatives p [pφ] [φ/β] s [s/z] [š/ž] k [kx] [x~γ] nasals m n ñ [fronted] sonorants w l [ɭ] [retroflexed] y [fronted] r [ř~tř] [retroflexed] [d] [flapped] Prenasalized stops occur at labial, alveolar and velar points of articulation, except in WK where the velar stop is not prenasalized but is backed instead.
    [Show full text]
  • Music and Change in the Highlands of Papua New Guinea
    7. Creativity and preservation no ken wari, no ken surik don’t be concerned, don’t back away traim na wokim tasol just try and do it The previous three chapters have been concerned with illuminating the continuity of theme, text and function between Duna songs of ancestral and foreign origin, or the endogenous and the exogenous. This chapter will be concerned first with the creative process itself, as it applies to Duna song creation. Both ancestral and introduced song styles display a similar approach to composition, in particular the recycling of melodic material in songs of the same genre, and this compositional process can be seen as another form of continuity. This in turn reveals continuity in what is regarded as a key element of Duna song form: textual innovation. Consequences of this creative approach for the preservation endeavour are considered, before the chapter then turns to the views of the Duna themselves on the maintenance of their own traditions and some of the ways in which they have sought to do this.1 Continuity in creativity: ‘traim na wokim tasol’ The process of creativity is epitomised in the words of one popular song, ‘traim na wokim tasol’ (‘just try and do it’), cited above.2 One must acknowledge, however, that creativity does not start from nothing. Liep (2001:1) describes creativity as something that ‘bursts forth when elements, which were already known but apart, are brought together by inventive people in a novel way’. He goes on to define it as the process whereby ‘something new is produced through the recombination and transformation of existing cultural practices or forms’ (Liep 2001:2) and declares that ‘[e]very creative effort must emanate from familiar forms and methods of production’ (p.
    [Show full text]
  • Music and Change in the Highlands of Papua New Guinea
    Steep Slopes Music and change in the Highlands of Papua New Guinea Kirsty Gillespie Steep Slopes Music and change in the Highlands of Papua New Guinea Kirsty Gillespie THE AUSTRALIAN NATIONAL UNIVERSITY E P R E S S E P R E S S Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/steepslopes_citation.html National Library of Australia Cataloguing-in-Publication entry Author: Gillespie, Kirsty. Title: Steep slopes : music and change in the highlands of Papua New Guinea / Kirsty Gillespie. ISBN: 9781921666421 (pbk.) 9781921666438 (eBook : pdf) Notes: Includes bibliographical references. Subjects: Duna (Papua New Guinean people)--Music. Duna (Papua New Guinean people)--Social life and customs. Papua New Guinea--Music. Dewey Number: 780.956 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by Epress Printed by Griffin Press This edition © 2010 ANU E Press Contents Acknowledgments xi List of figures xiii Table of examples xv 1. Introduction 1 • Aims—1 • The geographical setting—2 • Review of the literature—5 • Theoretical orientation—7 • Methodology—10 • Fieldwork—11 • Writing style—16 • Structure—19 2. Duna ancestral music 23 • The origins of music—23 • The ‘musician’ in Duna society—25 • Duna musical structures—27 • Vocabulary: organisation of ‘music’—29 • Ipakana (‘song[s]’)—30 • Alima (‘instrument[s]’) —40 • ‘Dance’—47 • Vocabulary: genres and their verbs—50 • Language features of Duna song—52 • Kẽiyaka and repetition—52 • Metaphor—54 • Conclusion—55 v 3.
    [Show full text]
  • 1 Bibliography 1. Loader, Julian. Valley of the Dani. Paradise. 1993; 97: 37- 39, 41-42. Note: [Baliem V]. 2. Lobban, Willia
    1 Bibliography 1. Loader, Julian. Valley of the Dani. Paradise. 1993; 97: 37- 39, 41-42. Note: [Baliem V]. 2. Lobban, William D., (Compiler). A Collection of Children's Singing Games of Papua New Guinea. Boroko: Institute of Papua New Guinea Studies; 1985. 123 pp. (Oral History; v. 13(2)). Note: [colls 1974-1978: Chimbu, Southern Highlands, Eastern Highlands, Enga, Western Highlands, East Sepik, Morobe, Madang provinces]. 3. Lobo, Éric. Esprits de jungle: Irian Jaya, l'univers irréel des Papous. Paris: Romain Pages Éditions; 1999. 187, [4] pp. + Endpaper Illustrations. Note: [travels 1995: Korowai, Lahni, Dani, Yali, Una, Kopka, Kombai, Citak, Asmat]. 4. Lockwood, Victoria S.; Harding, Thomas G.; Wallace, Ben J., Editors. Contemporary Pacific Societies: Studies in Development and Change. Englewood Cliffs, NJ: Prentice-Hall, Inc.; 1993. x, 374 pp. 5. Loebèr, J. A. Jr. Bamboe-ornament van Nederlandsch N.- Guinea. Nederlandsch-Indië Oud & Nieuw. 1920; 4: 270-288, 293- 314. Note: [from museum colls: Doreh, Geelvink Bay, Merauke, Humboldt Bay, Lower Digoel, Arso, Sekar]. 6. Loebèr, J. A. Jr. Woningbouw en architectuur in Nieuw- Guinea. Nederlandsch-Indië Oud & Nieuw. 1929; 14: 8-16, 51-64, 153-158, 249-258, 412-422. Note: [from museum colls: Jamnah, Doreh, Geelvink Bay, Asé, Marind, Mimika, Kiriwina, Swart V, Koiari, Siari, Wari, Oinaké, Humboldt Bay, Lake Sentani, Seka, Bilibili, Gaile, Jentsschemangoea, Waima, Moü, Orokolo, Fly R, Rarai, Mekeo, Pari, Tobati, Koembe R]. 7. Loeffler, E. The Pleistocene Glaciation of the Saruwaged Range, Territory of New Guinea. Australian Geographer. 1971; 11: 463-472. Note: [Saruwaged Range]. 8. Loeliger, Carl. Christian Missions. In: King, David; Ranck, Stephen, Editors.
    [Show full text]
  • Library of Congress Subject Headings for the Pacific Islands
    Library of Congress Subject Headings for the Pacific Islands First compiled by Nancy Sack and Gwen Sinclair Updated by Nancy Sack Current to January 2020 Library of Congress Subject Headings for the Pacific Islands Background An inquiry from a librarian in Micronesia about how to identify subject headings for the Pacific islands highlighted the need for a list of authorized Library of Congress subject headings that are uniquely relevant to the Pacific islands or that are important to the social, economic, or cultural life of the islands. We reasoned that compiling all of the existing subject headings would reveal the extent to which additional subjects may need to be established or updated and we wish to encourage librarians in the Pacific area to contribute new and changed subject headings through the Hawai‘i/Pacific subject headings funnel, coordinated at the University of Hawai‘i at Mānoa.. We captured headings developed for the Pacific, including those for ethnic groups, World War II battles, languages, literatures, place names, traditional religions, etc. Headings for subjects important to the politics, economy, social life, and culture of the Pacific region, such as agricultural products and cultural sites, were also included. Scope Topics related to Australia, New Zealand, and Hawai‘i would predominate in our compilation had they been included. Accordingly, we focused on the Pacific islands in Melanesia, Micronesia, and Polynesia (excluding Hawai‘i and New Zealand). Island groups in other parts of the Pacific were also excluded. References to broader or related terms having no connection with the Pacific were not included. Overview This compilation is modeled on similar publications such as Music Subject Headings: Compiled from Library of Congress Subject Headings and Library of Congress Subject Headings in Jewish Studies.
    [Show full text]
  • Albert Wendt
    NEW OPEN ACCESS EDITION ENDORSED BY 30 PROMINENT SCHOLARS FROM AUSTRALIA, ENGLAND, FRANCE, BOROFSKY GUAM, NEW ZEALAND, and UNITED STATES MELANI ANAE (Senior Lecturer, University of Auckland) • BENEDICT ANDERSON (Aaron L. Binenkorb Professor Emeritus, Cornell University) • CHRIS BALLARD (Senior Fellow, REMEMBRANCE Australian National University) • ALFRED CROSBY (Professor Emeritus, University of Texas) • ROBERT DARNTON (Carl H. Pforzheimer University Professor Emeritus, Harvard Uni- versity) • NATALIE ZEMON DAVIS (Professor of Medieval Studies, University of Toronto) • THE REMEMBRANCE HONORABLE KALANI ENGLISH (Senate Majority Leader, Hawai‘i State Legislature) • PAUL - of PACIFIC PASTS GILROY (Professor, University College London) • NOELANI GOODYEAR-KA‘OPUA (Associate Professor, University of Hawai‘i) • STEPHEN GREENBLATT (John Cogan University Professor, Harvard University) • ANNE PEREZ HATTORI (Professor, University of Guam) • BRUCE HILL AN INVITATION TO REMAKE HISTORY (Radio Australia’s Pacifi c Beat Program) • CLAUDE LÉVI-STRAUSS (Collège de France, Aca- démie française) • SA’ILIEMANU LILOMAIAVA-DOKTOR (Associate Professor, University of Hawai‘i-West Oahu) • DAVID LOWENTHAL (Professor, University College, London) • GEORGE Edited by ROBERT BOROFSKY MARCUS (Chancellor’s Professor, University of California, Irvine) and PATRICIA SEED (Profes- sor, University of California, Irvine) • IAN ‘AKAHI MASTERSON (Coordinator, Windward Com- munity College) • MATT MATSUDA (Professor, Rutgers University-New Brunswick) • ALEX- ANDER MAWYER (Associate
    [Show full text]
  • Fortunes of Vernacular Literacy in the Huli Language of the Southern Highlands Province (Shp)
    Language & Linguistics in Melanesia Vol. 29 December 2011 ISSN: 0023-1959 Journal of the Linguistic Society of Papua New Guinea ISSN: 0023-1959 Vol. 29 December 2011 1 Language & Linguistics in Melanesia Vol. 29 December 2011 ISSN: 0023-1959 Proceedings of the 2011 LSPNG Conference in Ukarumpa THE (MIS)FORTUNES OF VERNACULAR LITERACY IN THE HULI LANGUAGE OF THE SOUTHERN HIGHLANDS PROVINCE (SHP) Syd Gould Evangelical Church of PNG (ECPNG) [email protected] ABSTRACT This article1 traces the historical development of vernacular literacy in the Huli language of the Southern Highlands (now Hela) Province,2 with a particular focus on the work of the Asia Pacific Christian Mission and subsequently the indigenous Evangelical Church of Papua New Guinea, though reference will be made to other NGOs in the language group. It highlights both positive and negative factors which caused both success and decline in the historical period from the introduction of vernacular literacy to the present, factors such as orthography, motivation, the place of the Huli scriptures and other printed matter, the influence of education in English and the prestige attributed to both English and Pidgin; and will conclude with a comment on the current status and prospects of vernacular literacy in the Elementary Schools. KEY WORDS: Huli language / vernacular literacy / NGOs / Missions/ APCM / ECPNG / literacy decline INTRODUCTION This article outlines the development and decline of a vernacular literacy programme in the Huli language. It delineates the three phases of development, and the fourth stage, a stage of declension. It highlights both positive and negative factors which caused both success and decline in the historical period from the commencement to the present, factors such as orthography, motivation, the place of the Huli Scriptures and other printed matter, the influence of education in English and the influence and use of Pidgin; and will conclude with a comment on the current status and prospects of vernacular literacy in the Elementary Schools.
    [Show full text]
  • Steep Slopes: Music and Change in the Highlands Of
    Steep Slopes Music and change in the Highlands of Papua New Guinea Kirsty Gillespie Steep Slopes Music and change in the Highlands of Papua New Guinea Kirsty Gillespie THE AUSTRALIAN NATIONAL UNIVERSITY E P R E S S E P R E S S Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/steepslopes_citation.html National Library of Australia Cataloguing-in-Publication entry Author: Gillespie, Kirsty. Title: Steep slopes : music and change in the highlands of Papua New Guinea / Kirsty Gillespie. ISBN: 9781921666421 (pbk.) 9781921666438 (eBook : pdf) Notes: Includes bibliographical references. Subjects: Duna (Papua New Guinean people)--Music. Duna (Papua New Guinean people)--Social life and customs. Papua New Guinea--Music. Dewey Number: 780.956 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by Epress Printed by Griffin Press This edition © 2010 ANU E Press Contents Acknowledgments xi List of figures xiii Table of examples xv 1. Introduction 1 • Aims—1 • The geographical setting—2 • Review of the literature—5 • Theoretical orientation—7 • Methodology—10 • Fieldwork—11 • Writing style—16 • Structure—19 2. Duna ancestral music 23 • The origins of music—23 • The ‘musician’ in Duna society—25 • Duna musical structures—27 • Vocabulary: organisation of ‘music’—29 • Ipakana (‘song[s]’)—30 • Alima (‘instrument[s]’) —40 • ‘Dance’—47 • Vocabulary: genres and their verbs—50 • Language features of Duna song—52 • Kẽiyaka and repetition—52 • Metaphor—54 • Conclusion—55 v 3.
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is an author's version which may differ from the publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140229 Please be advised that this information was generated on 2017-12-05 and may be subject to change. An introduction to Duna grammar Lila San Roque A thesis submitted for the degree of Doctor of Philosophy of The Australian National University September 2008 This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. Abstract This thesis is an introduction to Duna, a language spoken by approximately 25,000 people living in Southern Highlands Province in Papua New Guinea. Duna (also known as Yuna) is classified as a member of the Duna-Bogaya subgroup of the Trans New Guinea family. This study is primarily based on work with Duna speakers of the Lake Kopiago region. The thesis provides a basic treatment of phonology, describes the structure of simple sentences, and examines in detail the expression of epistemic assessment (the treatment of a proposition as representing knowledge), a semantic domain that is richly encoded by bound morphemes in the language. Chapter 1 gives background information concerning the Duna lands, people, and language situation. It also describes previous work that has been done on the language, and the nature and sources of the data used in this study.
    [Show full text]
  • Steep Slopes: Music and Change in the Highlands of Papua New Guinea
    Steep Slopes Music and change in the Highlands of Papua New Guinea Kirsty Gillespie Steep Slopes Music and change in the Highlands of Papua New Guinea Kirsty Gillespie THE AUSTRALIAN NATIONAL UNIVERSITY E P R E S S E P R E S S Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/steepslopes_citation.html National Library of Australia Cataloguing-in-Publication entry Author: Gillespie, Kirsty. Title: Steep slopes : music and change in the highlands of Papua New Guinea / Kirsty Gillespie. ISBN: 9781921666421 (pbk.) 9781921666438 (eBook : pdf) Notes: Includes bibliographical references. Subjects: Duna (Papua New Guinean people)--Music. Duna (Papua New Guinean people)--Social life and customs. Papua New Guinea--Music. Dewey Number: 780.956 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by Epress Printed by Griffin Press This edition © 2010 ANU E Press Contents Acknowledgments xi List of figures xiii Table of examples xv 1. Introduction 1 • Aims—1 • The geographical setting—2 • Review of the literature—5 • Theoretical orientation—7 • Methodology—10 • Fieldwork—11 • Writing style—16 • Structure—19 2. Duna ancestral music 23 • The origins of music—23 • The ‘musician’ in Duna society—25 • Duna musical structures—27 • Vocabulary: organisation of ‘music’—29 • Ipakana (‘song[s]’)—30 • Alima (‘instrument[s]’) —40 • ‘Dance’—47 • Vocabulary: genres and their verbs—50 • Language features of Duna song—52 • Kẽiyaka and repetition—52 • Metaphor—54 • Conclusion—55 v 3.
    [Show full text]
  • LCSH Section K
    K., Rupert (Fictitious character) Homology theory Ka nanʻʺ (Burmese people) (May Subd Geog) USE Rupert (Fictitious character : Laporte) NT Whitehead groups [DS528.2.K2] K-4 PRR 1361 (Steam locomotive) K. Tzetnik Award in Holocaust Literature UF Ka tūʺ (Burmese people) USE 1361 K4 (Steam locomotive) UF Ka-Tzetnik Award BT Ethnology—Burma K-9 (Fictitious character) (Not Subd Geog) Peras Ḳ. Tseṭniḳ ʾKa nao dialect (May Subd Geog) UF K-Nine (Fictitious character) Peras Ḳatseṭniḳ BT China—Languages K9 (Fictitious character) BT Literary prizes—Israel Hmong language K 37 (Military aircraft) K2 (Pakistan : Mountain) Ka nō (Burmese people) USE Junkers K 37 (Military aircraft) UF Dapsang (Pakistan) USE Tha noʹ (Burmese people) K 98 k (Rifle) Godwin Austen, Mount (Pakistan) Ka Rang (Southeast Asian people) USE Mauser K98k rifle Gogir Feng (Pakistan) USE Sedang (Southeast Asian people) K.A.L. Flight 007 Incident, 1983 Mount Godwin Austen (Pakistan) Ka-taw USE Korean Air Lines Incident, 1983 BT Mountains—Pakistan USE Takraw K.A. Lind Honorary Award Karakoram Range Ka Tawng Luang (Southeast Asian people) USE Moderna museets vänners skulpturpris K2 (Drug) USE Phi Tong Luang (Southeast Asian people) K.A. Linds hederspris USE Synthetic marijuana Kā Tiritiri o te Moana (N.Z.) USE Moderna museets vänners skulpturpris K3 (Pakistan and China : Mountain) USE Southern Alps/Kā Tiritiri o te Moana (N.Z.) K-ABC (Intelligence test) USE Broad Peak (Pakistan and China) Ka-Tu USE Kaufman Assessment Battery for Children K4 (Pakistan and China : Mountain) USE Kha Tahoi K-B Bridge (Palau) USE Gasherbrum II (Pakistan and China) Ka tūʺ (Burmese people) USE Koro-Babeldaod Bridge (Palau) K4 Locomotive #1361 (Steam locomotive) USE Ka nanʻʺ (Burmese people) K-BIT (Intelligence test) USE 1361 K4 (Steam locomotive) Ka-Tzetnik Award USE Kaufman Brief Intelligence Test K5 (Pakistan and China : Mountain) USE K.
    [Show full text]