FREE BOOKS

Author's List




PREV.   NEXT  
|<   159   160   161   162   163   164   165   166   167   168   169   170   171   172   173   174   175   176   177   178   179   180   181   182   183  
184   185   186   187   188   189   190   191   192   193   194   195   196   197   198   199   200   201   202   203   204   205   206   207   208   >>   >|  
lue for the indirect light it will shed on ancient conditions and on racial characteristics. The reaction that has taken place in Hawaii within historic times in response to the stimulus from abroad can not fail to be of [Page 139] interest in itself. There is a peculiarity of the Hawaiian speech which can not but have its effect in determining the lyric tone-quality of Hawaiian music; this is the predominance of vowel and labial sounds in the language. The phonics of Hawaiian speech, we must remember, lack the sounds represented by our alphabetic symbols _b, c_ or _s, d, f, g, j, q, x_, and _z_--a poverty for which no richness in vowel sounds can make amends. The Hawaiian speech, therefore, does not call into full play the uppermost vocal cavities to modify and strengthen, or refine, the throat and mouth tones of the speaker and to give reach and emphasis to his utterances. When he strove for dramatic and passional effect, he did not make his voice resound in the topmost cavities of the voice-trumpet, but left it to rumble and mutter low down in the throat-pipe, thus producing a feature that colors Hawaiian musical recitation. This feature, or mannerism, as it might be called, specially marks Hawaiian music of the bombastic bravura sort in modern times, imparting to it in its strife for emphasis a sensual barbaric quality. It can be described further only as a gurgling throatiness, suggestive at times of ventriloquism, as if the singer were gloating over some wild physical sensation, glutting his appetite of savagery, the meaning of which is almost as foreign to us and as primitive as are the mewing of a cat, the gurgling of an infant, and the snarl of a mother-tiger. At the very opposite pole of development from this throat-talk of the Hawaiian must we reckon the highly-specialized tones of the French speech, in which we find the nasal cavities are called upon to do their full share in modifying the voice-sounds. The vocal execution of Hawaiian music, like the recitation of much of their poetry, showed a surprising mastery of a certain
PREV.   NEXT  
|<   159   160   161   162   163   164   165   166   167   168   169   170   171   172   173   174   175   176   177   178   179   180   181   182   183  
184   185   186   187   188   189   190   191   192   193   194   195   196   197   198   199   200   201   202   203   204   205   206   207   208   >>   >|  



Top keywords:

Hawaiian

 

speech

 

sounds

 

cavities

 

throat

 

effect

 
quality
 

gurgling

 

feature

 

called


emphasis
 

recitation

 

ventriloquism

 

singer

 

throatiness

 

suggestive

 

imparting

 

specially

 
musical
 

mannerism


bombastic

 
bravura
 

modern

 

strife

 

sensual

 
producing
 

colors

 
barbaric
 

meaning

 

showed


poetry

 

reckon

 

development

 

opposite

 

highly

 

execution

 

specialized

 
French
 

surprising

 

mastery


glutting
 
appetite
 

savagery

 
modifying
 
sensation
 
physical
 

foreign

 

infant

 

mother

 

mewing