Some Aspects of Inuit Vocal Games

Nattiez, Jean-Jacques

doi:10.2307/850655

Cited by 24 publications

(14 citation statements)

References 3 publications

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“…Ethnographic evidence from a wide diversity of hunter-gatherer and other 'traditional' cultures parallels this finding for music; many of the most important roles of music amongst Plains Indians (Nettl 1992;McAllester 1996), African Pygmies (Kisliuk 1991;Turino 1992;Ichikawa 1999), Yupik and Inuit Eskimos (Nettiez 1983;Johnston 1989) and Australian Aborigines (Breen 1994;Myers 1999) are social, interactive and integrative, and the performers themselves often see these as the most important consequences of the activity. Blacking (1995) also observes, from his studies of the Venda peoples, that performance of a musical pattern 'may announce social situations, recall certain feelings and even reinforce social values' (Blacking 1995, 39).…”

Section: Proto-music Proto-language and Social Vocalizationmentioning

confidence: 64%

Evolution of the Physiological and Neurological Capacities for Music

Morley

2002

CAJ

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Neuropsychological and developmental studies suggest human musical ability has a deep evolutionary history; but we do not find evidence of the manufacture and use of instruments, with which musical behaviours have often been assumed to be equated, until 70,000 years after the advent of Homo sapiens. This anomaly is addressed by examining the evidence from the fossil record for the evolution of the physiology and neurology required for musical behaviours, with the aim of identifying the development of the physiological and neurological capacity to produce and process melody and/or rhythm. Aural and vocal sophistication appear to have developed in tandem, beginning with full bipedalism around 1.75 million years ago, until a vocal apparatus similar to the modern was present in Homo heidelbergensis 400,000–300,000 years ago. Prosodic and structural aspects of both speech and music production and processing are lateralized in the brain in similar ways suggesting evolutionarily-shared foundations for these mechanisms.

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Section: Proto-music Proto-language and Social Vocalizationmentioning

confidence: 64%

Evolution of the Physiological and Neurological Capacities for Music

Morley

2002

CAJ

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“…Audio: Assalalaa, Baffin Land. Children game that involves singing until exhaustion of a single breath while heavily wiggling one's body (Nattiez, 1976 ). http://bit.ly/1FZ2a4J…”

Section: Genesis Of Pitchmentioning

confidence: 99%

“…5-tone arpeggio major triad as the axis of stability. Emphasis on stability probably corresponds to the message of affection characteristic for aqausiq (Nattiez, 1976 ). http://bit.ly/1HKt7hk…”

Section: Mesotonal and Multitonal Modesmentioning

confidence: 99%

Evolution of tonal organization in music mirrors symbolic representation of perceptual reality. Part-1: Prehistoric

Nikolsky¹

2015

Front. Psychol.

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This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. The evidence from music theory, ethnography, archeology, organology, anthropology, psychoacoustics, and evolutionary biology is plotted against experimental evidence. Much of the methodology for this investigation comes from studies conducted within the territory of the former USSR. To date, this methodology has remained solely confined to Russian speaking scholars. A brief overview of pitch-set theory demonstrates the need to distinguish between vertical and horizontal harmony, laying out the framework for virtual music space that operates according to the perceptual laws of tonal gravity. Brought to life by bifurcation of music and speech, tonal gravity passed through eleven discrete stages of development until the onset of tonality in the seventeenth century. Each stage presents its own method of integration of separate musical tones into an auditory-cognitive unity. The theory of “melodic intonation” is set forth as a counterpart to harmonic theory of chords. Notions of tonality, modality, key, diatonicity, chromaticism, alteration, and modulation are defined in terms of their perception, and categorized according to the way in which they have developed historically. Tonal organization in music, and perspective organization in fine arts are explained as products of the same underlying mental process. Music seems to act as a unique medium of symbolic representation of reality through the concept of pitch. Tonal organization of pitch reflects the culture of thinking, adopted as a standard within a community of music users. Tonal organization might be a naturally formed system of optimizing individual perception of reality within a social group and its immediate environment, setting conventional standards of intellectual and emotional intelligence.

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“…In the unit on Tanya Tagaq, I began by teaching students about katajjaq, a practice often translated as throat singing or throat games, found in communities across the eastern Canadian Arctic and typically enacted by two women (Cavanagh, 1976;Nattiez, 1983). Tagaq's practice is derived from katajjaq, although it is not the same thing (Nelles, 2015;Przybylski, 2016).…”

Section: Decolonization In a Popular Music Analysis Coursementioning

confidence: 99%

Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course

Attas

2019

Canadian Journal of Higher Education

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Canadian institutions of higher education are grappling with decolonization, particularly with how to move beyond decolonial and settler colonial theory and the Truth and Reconciliation Commission of Canada's Calls to Action to practical and specific strategies for meaningful change in the classroom. To that end, this paper offers a case study of a settler instructor's process of decolonization in a popular music analysis course and describes a variety of methods for decolonizing course design and classroom activities. A discussion of how to apply and adapt the author's methods for different courses, programs, and local contexts leads to critical reflection on the impact of these changes on student learning and their efficacy in terms of decolonization itself.

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Some Aspects of Inuit Vocal Games

Cited by 24 publications

References 3 publications

Evolution of the Physiological and Neurological Capacities for Music

Evolution of the Physiological and Neurological Capacities for Music

Evolution of tonal organization in music mirrors symbolic representation of perceptual reality. Part-1: Prehistoric

Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course

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