Academic literature on the topic 'Saltwater Song'

A faint early morning glow lit the horizon across the sea. Poised on the calm ocean waters, a dozen sails began their approach to shore (see Figure 1). It was just before dawn on Sunday, 22 May 2016, at Paseo de Susana Park in Hagåtña, the capital of the island of Guam (Guåhån). That morning I joined thousands of residents and international visitors for the dawn arrival of the canoes, an event that began the 12thFestival of Pacific Arts, held on the island. Some of the sea vessels were from Guam, while others had travelled north across the familiar ocean routes of the Caroline Islands from as far west as the islands of Palau and from the atoll islands of Lamotrek and Polowat (see Figure 2). The dawn event emphasized Indigenous movement, knowledge, and skill on the sea, but it also projected a means of belonging in and reconnecting to the maritime world, embodied through sounding voices and moving bodies. Cultural leader Leonard Iriarte, who holds the title of Master of Chamorro Chant, recited a welcome that was played over loudspeakers and emanated from the shore out across the incoming waves. As each sailing canoe approached the land, crewmembers sounded shell trumpets and broke out into spontaneous song and dance on the decks—rhythms that combined with those of the incoming swell below.

Les plantations de palmiers phœnix ont une grande importance socio-économique et écologique en Tunisie. Actuellement, elles contiennent près de trois millions d'arbres, qui assurent d'importants approvisionnements en bois pour l'artisanat et l'industrie du meuble. Autrefois, le palmier dattier était également utilisé comme matériau de construction. Ses médiocres propriétés technologiques ont été améliorées par l'immersion dans l'eau salée naturelle des troncs de palmiers fraîchement coupés. C’était une pratique ancestrale dans la zone du Maghreb, mais elle a disparu maintenant, et les informations sur les différents paramètres impliqués dans ce type de processus sont rares. L’objectif de cette étude est d'évaluer les propriétés technologiques principales du bois de Phoenix dactylifera L. quand il est préservé dans l'eau salée. Des échantillons de bois prélevés dans le sud de la Tunisie sur deux cultivars communs de palmier dattier (Kentichi et Deglet Noor) âgés de 40 à 50 ans, non traités et conservés par salage dans le lac Chot Djérid, ont été utilisés pour ces expériences. Les densités, les propriétés mécaniques, la résistance à la putréfaction et aux termites et la composition chimique des échantillons de bois non traités (contrôle) et traités avec l’eau salée ont été déterminés. Les résultats ont montré une augmentation significative de la densité du bois de palmier séché à l'air après immersion dans l'eau salée. Le traitement avec l'eau salée a aussi amélioré le nodule de rupture du bois de palmier phœnix perpendiculairement et parallèlement aux fibres. Les deux, le bois non traité et le bois traité avec de l'eau salée, semblent être sensibles aux agressions de termites, mais le bois de palmier traité semble être plus toxique pour les termites. Les teneurs en extraits de lignine et de cellulose étaient légèrement plus abondantes dans les échantillons témoins, alors que les hémicelluloses étaient plus abondantes dans les échantillons traités. Les analyses minéralogiques ont permis également d'expliquer l'amélioration de la performance du bois de palmier après ce processus de préservation naturelle.

David Brion Davis, Inhuman Bondage: The Rise and Fall of Slavery in the New World (Trevor Burnard)Louis Sala-Molins, Dark Side of the Light: Slavery and the French Enlightenment (R. Darrell Meadows)Stephanie E. Smallwood, Saltwater Slavery: A Middle Passage from Africa to American Diaspora (Stephen D. Behrendt)Ruben Gowricharn, Caribbean Transnationalism: Migration, Pluralization, and Social Cohesion (D. Aliss a Trotz)Vilna Francine Bashi, Survival of the Knitted: Immigrant Social Networks in a Stratified World (Riva Berleant)Dwaine E. Plaza & Frances Henry (eds.), Returning to the Source: The Final Stage of the Caribbean Migration Circuit (Karen Fog Olwig)Howard J. Wiarda, The Dutch Diaspora: The Netherlands and Its Settlements in Africa, Asia, and the Americas (Han Jordaan) J. Christopher Kovats-Bernat, Sleeping Rough in Port-au-Prince: An Ethnography of Street Children &Violence in Haiti (Catherine Benoît)Ginetta E.B. Candelario, Black Behind the Ears: Dominican Racial Identity from Museums to Beauty Shops (María Isabel Quiñones)Paul Christopher Johnson, Diaspora Conversions: Black Carib Religion and the Recovery of Africa (Sarah England)Jessica Adams, Michael P. Bibler & Cécile Accilien (eds.), Just Below South: Intercultural Performance in the Caribbean and the U.S. South (Jean Muteba Rahier)Tina K. Ramnarine, Beautiful Cosmos: Performance and Belonging in the Caribbean Diaspora (Frank J. Korom)Patricia Joan Saunders, Alien-Nation and Repatriation: Translating Identity in Anglophone Caribbean Literature (Sue N. Greene)Mildred Mortimer, Writings from the Hearth: Public, Domestic, and Imaginative Space in Francophone Women’s Fiction of Africa and the Caribbean (Jacqueline Couti)Colin Woodard, The Republic of Pirates: Being the True and Surprising Story of the Caribbean Pirates and the Man Who Brought Them Down (Sabrina Guerra Moscoso)Peter L. Drewett & Mary Hill Harris, Above Sweet Waters: Cultural and Natural Change at Port St. Charles, Barbados, c. 1750 BC – AD 1850 (Frederick H. Smith)Reinaldo Funes Monzote, From Rainforest to Cane Field in Cuba: An Environmental History since 1492 (Bonham C. Richardson)Jean Besson & Janet Momsen (eds.), Caribbean Land and Development Revisited (Michaeline A. Crichlow)César J. Ayala & Rafael Bernabe, Puerto Rico in the American Century: A History since 1898 (Juan José Baldrich)Mindie Lazarus-Black, Everyday Harm: Domestic Violence, Court Rites, and Cultures of Reconciliation (Brackette F. Williams)Learie B. Luke, Identity and Secession in the Caribbean: Tobago versus Trinidad, 1889-1980 (Rita Pemberton)Michael E. Veal, Dub: Soundscapes and Shattered Songs in Jamaican Reggae (Shannon Dudley)Garth L. Green & Philip W. Scher (eds.), Trinidad Carnival: The Cultural Politics of a Transnational Festival (Kim Johnson)Jocelyne Guilbault, Governing Sound: The Cultural Politics of Trinidad’s Carnival Musics (Donald R. Hill)Shannon Dudley, Music from Behind the Bridge: Steelband Spirit and Politics in Trinidad and Tobago (Stephen Stuempfle)Kevin K. Birth, Bacchanalian Sentiments: Musical Experiences and Political Counterpoints in Trinidad (Philip W. Scher)

This paper presents an overview of the concepts and strategies in the original composition, The Harbour of Incense, a cycle of three movements for different groups of instruments. Each movement addresses an aspect of the musical cultures of Hong Kong. The first movement Taan Go for Harp Solo explores the sound world of the folk genre saltwater song; the second movement Jat1 Wun2 Sai3 Ngau4 Naam5 Min6 for Flute and Piano highlights the musicality of Cantonese language; the third movement Daa Zaai for Oboe, Clarinet in B-flat, Bassoon, and Percussion, is inspired by the keyi music used in the Taoist funeral. The paper discusses how to bring together Southeast Asian aesthetics and contemporary Western compositional techniques, as well as how to communicate this unique cultural experience to performers and audiences from other backgrounds. It provides the transcriptions of two saltwater songs and an excerpt of keyi music, and illustrate how they inform the structures, textures, and melodic gestures of the composition. The nine tones of Cantonese language are also explored for generating melodic materials, metric plans, and articulation writing.