Huli Language and Instrumental Performance

Steep Slopes: Music and change in the Highlands of Papua New Guinea

“…A doctoral thesis has been completed on the music of the Huli (Pugh-Kitingan 1981), one of the neighbouring language groups, who have been described as Duna's 'cultural kin' (Gammage 1998:91), and further work from this body of research has been published (Pugh-Kitingan 1977. Vida Chenoweth is the only ethnomusicologist to have written on the Duna; however, her observations are few and taken solely from the experience and recordings made by others (Chenoweth 1969(Chenoweth , 2000Chenoweth and Bee 1971).…”

An Ethnomusicological Discussion of Bì Té, the Chanted Tales of the Huli

“…Since those days, I have had periodic contacts with various Huli and expatriate friends from the Southern Highlands, but have not had the opportunity to return to Papua New Guinea. For reference, see Peters (1975), Pugh (1975), and Pugh-Kitingan (1977, 1979, 1980, 1981, 1982, 1984, 1986, 1992, 1998a, 1998b, 2005. Both Huli men and women are characteristically individualistic, verbose, and domineering, and gender relations may be described as ones of segregated equality.…”

“…jew's harp or jaw's harp hìriyúla-which are played by both men and womenand, to a lesser extent, two of the gùlupóbe panpipes blown by men (Pugh 1975, Pugh-Kitingan 1977, 1981, 1982, 1984. Melodic material for recounting verse played with gàwa in story:…”

Sung tales from the Papua New Guinea Highlands: Studies in form, meaning, and sociocultural context

“…At night, the house members lie around the fire on the ground or on low, sleeping ledges attached to the wall. Peters (1975), Pugh (1975), and Pugh-Kitingan (1977, 1979, 1980, 1992, 1998a, 1998b. Both Huli men and women are characteristically individualistic, verbose, and domineering, and gender relations may be described as ones of segregated equality.…”

“…jew's harp or jaw's harp hìriyúla-which are played by both men and womenand, to a lesser extent, two of the gùlupóbe panpipes blown by men (Pugh 1975, Pugh-Kitingan 1977. Melodic material for recounting verse played with gàwa in story:…”