Term for a percussion idiophone of Native Americans in the present-day USA. It is a plank or log stamped upon rhythmically. Planks are used in the kivas of the Pueblo Indians, in the Northwest and the Great Basin, while inverted hollowed logs are found in California. The plank or log may be placed over a shallow hole in the ground which acts as a resonator and may either be danced upon or beaten with sticks. In the Northeast a sheet of birch bark may be placed over a hole and struck with beaters, and boxes and poles are found as similar instruments in the Northwest....
J. Richard Haefer
[raven rattle; sheishoox]
Zoomorphic vessel rattle of the Tsimshian people of the North American Pacific Northwest Coast. Indigenous oral histories suggest that the concept of the ‘raven rattle’ originated with the Tsimshian, but it is also used by the Haida, Nuuchahnulth, Coast Salish, Kwakwaka’wakw, and Tlingit. The Tlingit, the most prolific carvers of the rattle, call it sheishoox, a seemingly onomatopoeic word.
The rattle is made of two hollowed sections of yellow cedar, alder, or maple wood. The outside is carved with a knife and polished with sharkskin or sandpaper. The handle is the bird’s tail. Typical dimensions are 10 cm wide and deep by 30 to 40 cm long. Small stones or buckshot are placed inside, and the two halves are sewn together with thin strips of vegetal fibre through small holes bored in the wooden pieces, one, two, or three stitches on each side. Withes bind the two halves of the handle together....
J. Richard Haefer
Generic term for drums, and specifically the frame drum, of the Tlingit and Haida peoples of Alaska. The circular frame, about 30 to 35 cm in diameter, is made from willow wood. The single head, of elk skin, is wetted and then dried around the frame. The head is tied across the back of the frame with sinew strips crossing at the centre to form a grip. It is struck with a willow stick about 30 cm long with a padded hide tip. The head is usually decorated on the outside in black, red, and green colours depicting crests symbolizing the clan of the owner. Some instruments are also decorated on the inner surface. The term gaaw may be modified with an adjective to denote other objects, for example lákt gaaw is a box drum and gaaw hít a drum house.
The lgheli is a similar instrument of the Dena’ina (Tanaina Athabascan) people of Alaska. It is not decorated and the head is of moose skin. The drumstick is padded with a small piece of sheepskin pelt....
Victoria Lindsay Levine
Vessel rattle of the Cherokee people of the southern USA. Cherokee singers make their own handheld rattles. A hollow gourd, coconut shell, or terrapin carapace is partially filled with round pebbles and drilled with small soundholes; a wooden handle about 30 cm long is inserted lengthwise through the container. The rattles may be decorated with feather pendants. Song leaders play them to support the song’s pulse and to signal changes in direction or choreography during communal dances performed at ceremonial grounds. The male song leader holds the rattle in his right hand and shakes it while singing and dancing at the head of the line of dancers. He plays a tremolo to indicate the start and end of individual songs within a longer series; during a song, he plays steady, evenly spaced beats. Similar rattles are used to accompany communal dances among the Chickasaw, Delaware, Muscogee (Creek), Seminole, Shawnee, and Yuchi (Euchee), and in the 18th century were used by the Choctaw. Each tribe has its own word for such rattles; for example, Creek, ...
J. Bryan Burton
[Goyaałé, Goyathlay, Goyahkla ]
(b New Mexico, 1829; d Fort Sill, OK, Feb 17, 1909). Native American instrument maker, singer, medicine man, prophet, and military leader. He is better known in Western history for his military leadership of Western Apache resistance to reservation life during the 1880s. Goyaałé (“One who yawns”) was given the name Geronimo after an attack on a Mexican village on St. Jerome’s day when terrified Mexican soldiers cried out “Jeronimo” appealing for help from St. Jerome. After his surrender he was held as a prisoner of war, first in St. Augustine, Florida, then in Fort Sill, Oklahoma, until his death. His celebrity was such that he often made public appearances, including at the 1904 St. Louis World’s Fair, rode in Theodore Roosevelt’s inaugural parade in 1904, and wrote an autobiography with S.M. Barrett, the Oklahoma superintendent of education.
As a medicine man (Apache: diyan), Goyaałé performed Apache sacred ceremonies and rituals that required the knowledge of a vast repertoire of traditional songs sung during the ceremonies. A number of the songs he created were collected for Natalie Curtis’s ...
revised by Thomas S. Hischak
(b New York, Dec 6, 1896; d Beverly Hills, CA, Aug 17, 1983). American lyricist. He submitted light verse to newspapers and periodicals as a student and while working at various jobs before joining his brother George Gershwin to write songs. Their first song to receive a public hearing was The Real American Folk Song, a salute to ragtime, which was introduced by Nora Bayes in Ladies First (1918). Although Gershwin collaborated with other composers (at first under the pseudonym Arthur Francis to avoid being judged by George’s reputation), his close partnership with his brother extended from 1924, when they wrote their first musical comedy, Lady be Good!, until George’s death in 1937. In addition to more than a dozen Broadway shows, including the first musical comedy to be awarded a Pulitzer Prize for drama, Of Thee I Sing (1931), they also contributed songs to a number of films. After George’s death Ira worked with a succession of composers, including Weill (...
(b Romania, 1930; d Copenhagen, 4 April 2015). Romanian-Danish ethnochoreologist. She worked as a researcher at the Institute of Ethnography and Folklore in Bucharest from 1953 to 1979. She contributed to the foundation and development of scientific research on traditional dance in Romania, where she conducted extensive fieldwork, filming dances and rituals in over 200 villages. Her main interests concerned the contextual study of dance, the analysis of dance structure, the processes of dance improvisation, and dance as an identity marker for the Roma minority group. She also investigated the way traditional symbols were manipulated in Romania for national and political power legitimation.
After 1980 she lived in Denmark, where she conducted research on topics such as continuity and change in the traditional culture of the Vlachs (a Romanian speaking ethnic minority of Serbia) living in Denmark, the Romanian healing ritual căluş, and on the theory and methods of field research in contemporary society. She was the Honorary Chairperson of the ICTM Study Group on Ethnochoreology and the leader of the Sub-Study Group on Fieldwork Theory and Methods, a Board member of Danish National Committee for ICTM, and Doctor Honoris Causa of Roehampton University, London. She had a great number of publications and a fruitful activity as a lecturer on an international level. In her last years, she worked with Margaret Beissinger and Speranța Rădulescu on the volume ...
Opera in two parts (Prelude and legend) by John Casken to a libretto by the composer with Pierre Audi; London, Almeida Theatre, 28 June 1989.
The ancient Jewish legend of the Golem describes how a saviour figure is created to protect the innocent when a community is under threat. Casken’s treatment of the legend relates its main action in flashback. In the Prelude the Maharal (baritone) remembers in old age how, many years before, he had created a golem. Accompanied by six ghostly madrigalists (the other members of the cast), he relives in his imagination the events that led to the death of his creation, while Ometh (countertenor) reminds the Maharal of his own role in the tragedy. The Legend then tells that story in five scenes. The young Maharal creates the Golem (bass-baritone) from clay on the banks of a river, although Ometh, a wounded, Promethean figure, questions his motives. As the Golem learns to talk and to perform everyday tasks, he comes into contact with the townspeople, with Stoikus (tenor), mourning the loss of his own son, and Miriam (soprano), the Maharal’s wife, whom the Golem desires. Ometh arrives and confronts the Maharal: together with the Golem he could drive evil out of the world; the Maharal angrily dismisses him. When the townspeople meet to rise up against their oppression, the Golem unwittingly interrupts them; after being taunted he kills Stoikus. He is briefly united with Ometh, but the Maharal intervenes, only to discover the murder and what his creation has done....
(b Chicago, May 30, 1909; d New York, June 13, 1986). American clarinettist, composer and bandleader.
Goodman received rudimentary musical training from 1919 at Chicago’s Kehelah Jacob Synagogue and, more importantly, two years of instruction from the classically trained clarinettist Franz Schoepp. He made his professional début in 1921. During his formative years he absorbed the music of the New Orleans musicians; he was particularly influenced by Leon Roppolo, the clarinettist with the New Orleans Rhythm Kings. In summer 1923 he met Bix Beiderbecke whose influence may be heard in Goodman’s on-the-beat attacks, careful choice of notes and across-the-bar phrasing on A Jazz Holiday (1928, Voc.) and Blue (1928, Bruns.) – especially on the latter, where Goodman played solos on both alto and baritone saxophone. In August 1925 Goodman left for Los Angeles to join Ben Pollack. Pollack’s band returned to Chicago in January 1926 and early in ...
(b Bucharest, c 1952). Israeli soprano of Romanian birth . She studied in Tel-Aviv and in Zürich, where she made her début in 1977 as the Queen of Night; in 1978 she sang the same role at Glyndebourne. Engaged with the Deutsche Oper, Berlin, from 1980, she has also sung in Hamburg, Munich, Vienna and Cologne and at La Scala. In ...