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Didjeridu

Didjeridu. Sarah Demarest Jonathan Berry. Background Information. The didjeridu originated in Australia’s northeast Arnhem Land and was originally played only in Australia’s Top End. The didjeridu is known to the Yolngu (Aboriginal) people as Yidaki

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Didjeridu

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  1. Didjeridu Sarah Demarest Jonathan Berry

  2. Background Information • The didjeridu originated in Australia’s northeast Arnhem Land and was originally played only in Australia’s Top End. • The didjeridu is known to the Yolngu (Aboriginal) people as Yidaki • Yidaki is deeply rooted in the spiritual beliefs and plays a special role in the presentation of Yolngu art, music, dance, and history.

  3. Sound

  4. Style • Physical Determinants of Style: The physics of the didjeridu and human physiology are important stylistic determinants. The Yolngu’s musical use of the didjeridu is creative although does not fully express the sounding potential of the instrument. The western Arnhem Lander’s rhythmic use of vocal resonance provides on example of didjeridu technique which is not emphasized by Yolngu players from northeast Arnhem Land.

  5. Physical Determinants of Style Continued It is also possible to play the didjeridu in ways that are not part of today’s tradition. For example, on most didjeridus, it is possible to tighten the lips while playing to blow two or more overtones above the two used by the Yolngu. Yolngu didjeridu players have developed and maintained a particular range of techniques that serves their functional and aesthetic musical needs.

  6. Performance Protocols as Determinants of Style: Some of the standard protocols of clan song performance directly influence certain aspects of didjeridu style. One of these involves the use of the blown overtone. In most clan song verses, the points where clapstick rhythmic changes take place and the point at which the instrumental parts come to a stop, are subject to the performers discretion.

  7. Ceremonial protocols as determinants of style: During lengthy public ceremonies there are times when song performance accompanies specific ritual events and less formal periods when the singing ( and dancing) is itself the main event. Both ceremonial contexts have ramifications for didjeridu style. At important junctures during ceremonies, only a narrow range of song subjects, clapstick patterns, and didjeridu styles is appropriate. For example, during the gunbar’yun ceremony, the calling out of one or more male performers of sacred names that connect the Yolngu to totematic land sites occurs. The songs that typically cumulate in the gunbar’yun are called yindi manikay (“big/important songs”)

  8. Ceremonial Protocols as Determinants of style During the less formal portions of ceremonies, there are more opportunities for didjeriduists to showcase more of their personal or contemporary styles. Portions of informal performances devoted to “newsong” verses are called yuta manikay

  9. The Basics • Drone • Single note played continuously • Note determined by length of Didjeridu • C=54”, C#=50”, D=47”, D#=43.5”, E=41”, F=39”, F#=36.5”, G=34”

  10. Additional Playing Techniques • The player can produce animal sounds during the drone • Kookaburra bird • Growl or bark of a Dingo • Hop of a Kangaroo • Croak of a toad

  11. Making the Didjeridu • Traditional • Termites hollow out branches and small tree trunks • Non-traditional • Carve out the center • Metal and Plastic tubing

  12. Economic aspect • Due to high demand of traditional eucalyptus-wood didjeridus has driven production beyond government permits

  13. Playing the Didjeridu • Circular Breathing

  14. Behavior

  15. The Basic Role of the Didjeridu • The basic role of the didjeridu is to: 1. Accompany Yolngu singers 2. Serve as a percussion instrument 3. Set time for the rhythm of songs

  16. Uses of the Didjeridu • Played for religious ceremonies • Most ceremonial customs are secret thus little is know of the rituals. • Children play for recreation (Fun Songs) • This is so they can learn the playing methods of the instrument. The Didjeridu: From Arnhem Land to Internet, Entire Book.

  17. Concept

  18. Didjeridu History • Dates back to around 40,000 & 50,000 BC • However, it is difficult to get an exact date or gain historical information regarding the didjeridu because according to the Aboriginal oral history, the instrument has always been present in Australia. • Also, the origins of the Yidaki are sacred and secret, shared only with and among the Yolngu men. As a result, these secrets (especially regarding ceremonial rituals) are not widely known. When the secrets are leaked and exposed to outsiders, the Yolngu people feel betrayed.

  19. Myths • Bur Buk Boon with fire • Yidaki • Campfire

  20. Didjeridu and Gender • In southern Australian is seen as taboo for women to play the didjeridu • Seen as a phallic symbol • Both boys and girls play the didjeridu, but girls stop playing in a few years in public. • Trends are moving away form the taboo of women playing

  21. Yothu Yindi • Most successful band that distinctively plays Aboriginal rock. • They are linked to the struggle for land rights and social injustice, as well as, harmony among blacks and whites. • As a group they have expanded the familiarity of didjeridu music, which can now also be found in Britain (U.K.) and Ireland.

  22. Music Example • Charles Reny – Didgeridoo • Since the didjeridu spiritually woven into the culture of the Yolngu people, they often mimic various animal calls through their playing. This is illustrated by this specific musical selection. “Cherish the sound, for it is the sound of Mother Earth,” is a saying based on the spiritual closeness the Yolngu people feel when playing and listening to the didjeridu.

  23. Bibliography/Sources • Reny, Charles: Charly’s Didgeridoo, {online} Available http://www.charly-didgeridoo.com/index.php3 . Nov. 02 • Various/Unknown: Didge Web, {online} Available http://www.didgeweb.com/ . Nov. 02 • Unknown: Didgeridoo, {online} Available http://www.didgeridoings.com/Tutorial/TutBodyNF.html . Nov. 02 • Unknown: The Australian and Aborigine Art Store, {online} Available http://www.aussiesound.com/start.html . Nov. 02

  24. Bibliography/Sources Continued • Unknown: History, {online} Available http://english.didgeridoo.it/ . Nov. 02 • Nettl: Excursions in World Music, pgs. 265-266. • Unknown: The Didjeridu: From Arnhem Land to Internet, Entire Book. • Unknown: World Music Volume 2, pgs. 8, 11 and 12. • Unknown: World Music, pgs. 653-662. • The information used to properly site these sources was taken from: Unknown: Citing Sources for Bibliography, {online} Availablehttp://www.holton.k12.ks.us/staff/mschulz/siting_sources_.htm. Nov. 02

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