Hawaii music

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Hula musicians at Festál's API (Asian Pacific Islander) Heritage Month Festival.

The Hawaii music includes many traditional and famous styles that of state-owned Hawaiian rich folk music to modern rock music and hip-hop. Hawaii's contribution to the music of the United States bears no relation to the state's small land size. Styles such as slack-key guitar are world famous and hawaiian colored music is common in Hollywood - soundtracks included. With the introduction of the Hawaiian guitar, Hawaii also made a significant contribution to the blues (delta blues, country blues), rock 'n' roll and country music .

Traditional Hawaiian folk music is a significant part of the state's musical heritage. Hawaii's indigenous people inhabited the island for centuries and received much of their musical knowledge. The music is very religious by nature and includes spoken word and dance music . Hawaiian music had a tremendous effect on the music of other Polynesian islands; the musician Peter Manuel described the influence of Hawaiian music as a "unifying factor in the development of modern Pacific music".

Music festivals and venues

Keali'i Reichel. Ninth Annual Kukahi Concert, February 12, 2005. Maui Arts & Cultural Center

Larger music festivals include the Merrie Monarch Festival , which brings together hula groups around the world, as well as a large number of other slack key and steel guitar festivals : the Big Island Slack Key Guitar Festival , the Steel Guitar Association Festival and the Gabby Pahinui / Atta Isaacs Slack Key Festival . Aloha Week , which takes place in April, is a famous tourist attraction, as is the Molokaʻi Music Festival , which is celebrated during Labor Day . There is also the Hawaii International Jazz Festival , which was founded in 1993, with celebrations in Oahu , Hawaiian , Maui and Kauai .

There are several hotels in Hawaii, many of which have afternoon or evening music; some of the more distinctive hotels include the Kahala Hilton, the Sheraton Moana Hotel, the Sheraton Waikiki, the Halekulani, Casanova's and the King Kamehameha Hotel. Larger venues for music are the University Theater , which has 600 seats, making it the largest venue on the Big Island. The largest entertainment venue and cultural exhibition center on Kaua'i is the Kauai Community College Performing Arts Center . The Neal S. Blaisdell Center Arena is the largest venue in Honolulu and one of the largest in the state - other venues for Hawaiian music on Oahu include the Waikiki Shell in Kapiʻolani Park in Waikīkī , the Kennedy Theater and Andrews Amphitheater on the University of Hawaii campus Mānoa , the Blaisdell Center Concert Hall, the Hawaiʻi Theater in central Honolulu, the Red Elephant (a performance space and recording studio in central Honolulu), the Palikū Theater on the Windward Community College campus, and the Leeward Community College Theater. The historic Lanai Theater is a cultural monument on Lānaʻi that dates back to the 1930s.

Music institutes and industry

Hawaii is home to a number of prestigious music institutes in some fields. The Honolulu Symphony Orchestra is an important part of the musical history of the state and home to the oldest orchestra in the United States west of the Rocky Mountains, was founded in 1900. The orchestra has collaborated with other local institutions, such as the Hawaii Opera Theater and the O'ahu Choral Society ’s Honolulu Symphony Chorus , which operates the Hawaii International Choral Festival .

Folk music

Hula performance at the ceremony handing over control of Kahoolawe Island to the US Navy , performed by Uncle Frank Kawaikapuokalani Hewett

Hawaiian folk music includes several different types of singing (mele) and music for highly ritualized hula dance . Traditional Hawaiian music was purposeful and used to express prayers for communication between generations and mythology, as well as to accompany games, festivals and other secular events. The Hawaiian language does not have a literal and precise translation for music , but there is a wide variety of vocabulary to precisely describe rhythms, instruments, styles and elements of voice training. Hawaiian folk music is very simple in terms of melody and rhythm , but "complex and rich" in "the poetry that accompanies mimetic dance (hula) and the subtleties of vocal styles ... even in the weakened form in which they persist today" .

The singing (mele) is typically accompanied by an ipu heke (a two- person pumpkin ) and / or pahu (a drum covered with shark skin). Some dances require dancers to use hula aids, such as ipu (simple pumpkin), ʻiliʻili ( castanets made from lava stones cut by water), ʻulī ʻulī (feathered pumpkin rattles), pūʻili (split bamboo sticks ) or kālaʻau (rhythm woods ). The older style of hula is called kahiko , while the modern version is called ʻauana . There are also religious chants called oli ; when they are accompanied by dance and drums , they are called mele hula pahu .

In the Hawaiian language prior to first contact, the word mele referred to any kind of poetic expression, although it is now translated as a piece of music . The two types of Hawaiian chant were mele oli and mele hula . The first were a cappella individual songs, while the latter was accompanied by dance music played by a group. The singers were also known as haku mele and were well trained composers and artists. Some styles of singing express feelings such as fear and affection , or soliciting a favor from another person. Other songs are for specific purposes, such as naming , (mele inoa) , prayer (mele pule) , surfing / surfing (mele he'e nalu) and genealogical recitations (mele koihonua) . Mele chants were administered with strict rules and performed in a variety of styles including the quick kepakepa and the expressed koihonua .

Music history

Hawaii's music has been documented since the late 18th century when the first haoles (non-Hawaiians) arrived on the island. From 1778 onwards a phase of acculturation began in Hawaii, with the introduction of different styles of European music, including the hymns (himeni) , which were imported by Protestant missionary choirs . Spanish-speaking cowboys from Mexico (paniolos) had an influence, particularly with the introduction of stringed instruments such as the guitar and possibly the technique of yodelling , while Portuguese immigrants brought with them the ukulele-like Braguinha .

Elizabeth Tatar divided the musical history of Hawaii into seven periods, beginning with the arrival of the Europeans and their musical culture from around 1820 to 1872. The subsequent period up to the beginning of the 20th century is characterized by the emergence of a European influenced, but still characteristic Hawaiian Stiles, while the instruments of the Europeans were scattered all over the island. The third period (after Tatar) from 1900 to approx. 1915 saw the extensive integration of Hawaiian music into American popular music with the invention of the hapa haole song, which uses the English language and only superficially makes use of local Hawaiian colors. It was at this stage that the Hawaiian record industry emerged in 1906 when the Victor Talking Machine Company made the state's first 53 recordings. From 1912 onwards, Hawaiian records began to get attention on the American mainland.

From 1915 to 1930, Hawaiian music became more and more popular worldwide, although the songs marketed as Hawaiian at the time had only fleeting references to traditional Hawaiian music. During this period, music from Tahiti and Samoa, with their faster and more complex rhythms, influenced Hawaiian music. The following era, from about 1930 to 1960, became known as the "Golden Age of Hawaiian Music," when popular styles were adopted by orchestras and big bands , and Hawaiian artists such as Lani MacIntire and Sol Hoopii became mainstream stars. In the 1960s, Hawaiian music lost its popularity under the influence of US rock, soul, and pop music. This trend reversed in the final period of Hawaiian music history, the Modern Age, which began with the Hawaiian Renaissance in the 1970s and continued with the establishment of a variety of modern music scenes in areas such as indie rock , Hawaiian hip hop, and Jawaiian .

Queen Lili'uokalani and Heinrich Berger

Queen Lili'uokalani

Queen Liliʻuokalani was the last queen in Hawaii before the Hawaiian monarchy was overthrown. She was also a musician and composer, best known as the author of " Aloha ʻOe ". Although she arranged the music for “Aloha ʻOe” herself and wrote the lyrics herself, she adopted the melody from a Croatian song called “Sidi Mara na kam studencu”.

Liliʻuokalani was one of the many members of the Hawaiian royal family with musical preferences. They were from the Prussian military bandmaster Heinrichsberger formed that on request of Kamehameha V . by the Prussian Emperor as head of the Royal Hawaiian Band . Berger was fascinated by Hawaiian folk music and collected original testimonials. However, he also brought his own musical background as a German and thus influenced the Hawaiian musicians and composers. The Hawaiians' preference for marches and waltzes can be explained by Berger's work.

Guitar innovations

Guitars could have got to Hawaii in different ways: by seafarers, missionaries or travelers from California. The most widely spread story, however, is that Mexican cowboys (vaqueros) , who were brought into the country by Kamehameha III in 1832 , introduced the instrument. Hawaii's cowboys (paniolo) used guitars in their traditional folk music. The Portuguese introduced an instrument called the Braguinha , a small, four-stringed Madeira variant of the Cavaquinho ; this instrument was the forerunner of ʻUkulele .

With the arrival of the Portuguese in the 1860s, guitars with steel strings became known and by the end of the 1880s Slack-Key (see Open Mood ) had spread to the islands. A ship called the Ravenscrag brought Portuguese field workers from Madeira to Honolulu on August 23, 1879 . Legend has it that a certain João Fernandes - later a famous musician - tried to impress the Hawaiians by playing folk music on a friend's Braguinha ; the Hawaiians would have called the instrument ʻUkulele (jumping flea) , referring to the man's fast fingers. According to other sources, the word means gift, which arrived here, or a corruption of ukeke lele ( dancing ukeke , a three-string violin bow ).

The Na Hila Hila Boys at the Seattle Tilth Harvest Festival, Wallingford, Seattle, Washington

Late 19th and early 20th centuries

In the 1880s and 1890s, King David Kalakaua strengthened Hawaiian culture while also helping to add new instruments such as the ukulele and possibly the steel guitar [See: Kanahele, George S., Hawaiian Music and Musicians , pp 367-368] . Kalakaua's successor was his sister Lili'uokalani , the composer of the famous Aloha 'Oe . During this period, Hawaiian music developed into a new style; Brass bands like the Royal Hawaiian Band played Hawaiian songs as well as popular marches and ragtime .

Around 1889 Joseph Kekuku began to slide a piece of steel over the strings of a guitar ( glissando ), with which he invented the steel guitar (kila kila); around the same time, traditional Hawaiian music was being given English lyrics - this was known as hapa haole ("half white"). Singing dominated Hawaiian music until the 20th century when instrumental music became fashionable. Modern slack-key guitar is predominantly instrumental.

From around 1895 to 1915 there was an increasing demand for Hawaiian dance bands. These were typically string quintets. In 1903 Albert Cunha composed My Waikiki Mermaid , probably the first famous hapa haole song (The first known hapa haole song, Eating of the Poi , was published in Ka Buke o na Leo Mele Hawaii ... o na Home Hawaii in Honolulu in 1888. [See Kanahele, George S., Hawaiian Music and Musicians pp 71-72]).

In 1927, the Hawaiian singer Rose Moe (1908-1999) began a tour with the show Madame Riviere's Hawaiians with her husband Tau Moe (1908-2004), a guitarist from Samoa . They recorded eight songs in Tokyo in 1929 . Rose and Tau toured for over 50 years and lived there a. a. in Germany, Lebanon and India. They even performed in Nazi Germany in 1938, it is claimed, even before Adolf Hitler . Together with their children, the Tau Moes family did a lot to spread the sounds of Hawaiian folk and Hapa haole music around the world. In 1988, the Moe family resumed the 1929 session with the help of musician and ethnomusicologist Bob Brozman .

In the 1920s, the unique Hawaiian style of jazz developed , inspired by artists from the Moana and Royal Hawaiian Hotels.

Slack key guitar

Slack-key guitar ( kī ho'alu in Hawaiian) is a style of playing in which the strings are plucked with the fingers ( finger-picking ). The strings are tuned lower (than with the classical guitar) to create an (open) tuning, e.g. B. to sound a major chord (G or C, sometimes D) or a major seventh chord. (The latter is called “wahine” mood ). A mood was invented to play a specific song or create a specific effect. Until 1960, these moods were often considered family secrets and passed down from generation to generation. During the Hawaiian Renaissance, however, the role models of Auntie Alice Namakelua , Leonard Kwan , Raymond Kane and Keola Beamer moved others to change their moods and techniques and thus possibly save the style from ruin. Playing techniques include "hammering-on", "pulling-off", "chimes" ( overtones ) and "slides". These effects often mimic the falsettos and voice breaks of Hawaiian singers.

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Remarks

  1. ↑ a b c d e f g h Unterberger, pgs. 465-473
  2. ↑ a b Manuel, pgs. 236-241
  3. ↑ cf. Merrie Monarch Festival , Merrie Monarch Festival
  4. ↑ a b History of the Hawaii International Jazz Festival (pdf)
  5. ↑ Alternative Hawaii: Big Island
  6. ↑ Alternative Hawai'i: Kuaui
  7. ↑ Alternative Hawaii Lanai
  8. ↑ http://www.honolulusymphony.com/about.php. Retrieved October 30, 2017 .
  9. ↑ ipu heke in Hawaiian Dictionaries
  10. ^ Pahu in Hawaiian Dictionaries
  11. ↑ ipu in Hawaiian Dictionaries
  12. ↑ ʻiliʻili in Hawaiian Dictionaries
  13. ↑ ʻulī ʻulī in Hawaiian Dictionaries
  14. ↑ pūʻili in Hawaiian Dictionaries
  15. ↑ kāla'au in Hawaiian Dictionaries
  16. ^ Oli in Hawaiian Dictionaries
  17. ↑ mele in Hawaiian Dictionaries
  18. ↑ haku in Hawaiian Dictionaries
  19. ^ Inoa in Hawaiian Dictionaries
  20. ↑ pule in Hawaiian Dictionaries
  21. ↑ heʻe nalu in Hawaiian Dictionaries
  22. ^ Koihonua in Hawaiian Dictionaries
  23. ↑ kepakepa in Hawaiian Dictionaries
  24. ↑ a b Tatar, Elizabeth, in George Kanahele Hawaiian Music and Musicians
  25. ↑ Harald Thon: Ki Ho-alu. Some remarks on the development of the Hawaiian Guitart. Guitar & Laute 1 (1979), pp. 28-34

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