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Arnhem Land Music
Discography Search
|
| The
Art of the Didjeridu |
|
Artist/Collector:
|
Trevor
Jones |
|
Label
Information:
|
Wattle
Ethnic Series, No. 2LP - Wattle D-4 |
|
Media
Type:
|
LP |
|
Year:
|
1963 |
|
Availability:
|
Out
of print |
|
 |
| Track
Number |
Track
Title |
Track
Time |
Notes |
|
01
|
Tone
Patterns |
0:02:32 |
Didjeridu
by Trevor Jones |
|
02
|
Breathing
Techniques |
0:01:41 |
Didjeridu
by Trevor Jones |
|
03
|
Tone
Combinations |
0:01:19 |
Didjeridu
by Trevor Jones |
|
04
|
Special
Effects |
0:01:50 |
Didjeridu
by Trevor Jones |
|
05
|
Characteristic
Rhythmic Patterns |
0:04:54 |
Didjeridu
by Trevor Jones. Short examples of nine characteristic
patterns: the first four (Wadamiri, Djerag, Djedbangari,
Mulara) belong to the overall north-eastern style known
as Bunggal, and use the larger didjeridu. The next two
(Gunborg, Gunbalanya) come from the central Arnhem Land
region, near the coast, and also use the larger instrument,
and these are followed by two (Wongga, Nyindi-yindi) that
are typical of Lira style of the west, involving the smaller
tube. The final pattern (Ubar) which also makes use of
the smaller didjeridu, has traits of both western and
central styles. |
|
06
|
Solo
Didjeridu Playing |
0:08:40 |
Recorded
by Trevor Jones in Sydney and Perth of non-fully professional
players who visited these cities for conferences of various
kinds. First six solos are of the north-eastern Bunggal
class using the blown overtone, both staccato and "hooted",
croaked notes, and pulsating fundamental. The next two
songs are Wongga songs of the western Lira style, and
make use of the continuous fundamental with varied timbre
and the chordal superimposition. Finally an Ubar accompaniment,
first played and then chanted, using the special stylised
speech devised for imitating the actual sound of the instrument. |
|
07
|
North
Central Arnhem Land Corroboree |
0:00:31 |
Recorded
by Lester & Betty Hiatt, Arnhem Land 1960. Manigai, essentially
north-central in style, using the continuous accented
fundamental; in addition, however, they break the continuity
with the "hooted" overtone, a trait typical of songs from
further east. They therefore bear traces, in their didjeridu
patterns, both of the Gunborg and Gunbalanya and more
particularly of the mortuary songs of the Mulara and Ngorunngapa
types. |
|
08
|
North
Central Arnhem Land Corroboree |
0:00:44 |
Recorded
by Lester & Betty Hiatt, Arnhem Land 1960. Manigai, essentially
north-central in style, using the continuous accented
fundamental; in addition, however, they break the continuity
with the "hooted" overtone, a trait typical of songs from
further east. They therefore bear traces, in their didjeridu
patterns, both of the Gunborg and Gunbalanya and more
particularly of the mortuary songs of the Mulara and Ngorunngapa
types. |
|
09
|
Central
Arnhem Land Corroboree |
0:01:46 |
Recorded
by Lester & Betty Hiatt, Arnhem Land 1960. Borog song,
more decidedly central in style, being from the western
side of the Blyth River, and are also similar to the Gunbalanya
in their didjeridu rhythms. This one bears the unmistakable
western mark of the rhythmic use of the "hummed" chord. |
|
10
|
Central
Arnhem Land Corroboree |
0:01:48 |
Recorded
by Lester & Betty Hiatt, Arnhem Land 1960. Borog song,
more decidedly central in style, being from the western
side of the Blyth River, and are also similar to the Gunbalanya
in their didjeridu rhythms. This one is from the west
of the Liverpool River and exhibits even more clearly
than the previous, the essentially "central" use of an
evenly accented continuous fundamental with whole-tone
rise in pitch, as in the Gunborg type. |
|
11
|
Secret
Ceremonial Didjeridu (RESTRICTED) |
0:01:30 |
SECRET
Recorded by Lester & Betty Hiatt, Arnhem Land 1960. From
a secret ceremony involving Yulunggur, the Water Goanna,
in which an enormous didjeridu nearly 12 feet long represents
the spirit of Yulunggur. Because of its extraordinary
size, the sheer amount of wind needed to sound its fundamental
precludes any kind of continuous note or elaborate patterning,
and so a regular series of short, deep blasts must suffice.
The awesome sound emitted is, however, of such intrinsic
interest, being pitched on bottom C (32 cycles per second),
that the lack of rhythmic invention is unimportant in
this case. |
|
|
