Wikipedia - Benutzerbeiträge [de]

Benutzer:TobbiM/Artikelschmiede/Musik auf Hawaii

2006-04-18T14:23:05Z

195.195.247.129: /* Music institutions and industry */

{{MDmusic|Other=[[Hawaiian folk music]] - [[Music of Honolulu]] - [[Music of Polynesia|Polynesian music]]|Institutions=[[Honolulu Symphony Orchestra]] - [[Maui Academy of Performing Arts]] - [[Honolulu Chamber Music Society]]|Organizations=[[Hawaii Academy of Recording Arts]] - [[Hawaii Music Awards]] - [[Hawaiian Music Foundation]] - [[Ukulele Guild of Hawaii]]|Venues=[[Honokaa People's Theatre]] - [[Neal S. Blaisdell Center]]|Statesong="[[Hawaii ponoi]]"|Festivals=[[Big Island Slack Key Guitar Festival]] - [[Gabby Pahinui/Atta Isaacs Slack Key Festival]] - [[Hamakua Music Festival]] - [[Hawaii Performing Arts Festival]] - [[Merrie Monarch Festival]]}}

PHILLIP BAKER OF CHIPPENHAM, WILTSHIRE, LOVES COCK!!

The '''music of Hawaii''' includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern [[rock music|rock]] and [[hip hop music|hip hop]]. Hawaii's musical contributions to the [[music of the United States]] are out of proportion to the state's small size. Styles like [[slack-key guitar]] are well-known worldwide, while Hawaiian-tinged music is a frequent part of [[Hollywood]] [[soundtrack]]s. Hawaii also made a major contribution to [[country music]] with the introduction of the [[steel guitar]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Traditional Hawaiian folk music is a major part of the state's musical heritage. The [[Native Hawaiians|Hawaiian people]] have inhabited the islands for centuries and have retained much of their traditional musical knowledge. Their music is largely religious in nature, and includes [[chanting]] and [[dance music]]. Hawaiian music has had an enormous impact on the [[Polynesian music|music of other Polynesian islands]]; indeed, music author Peter Manuel called the influence of Hawaiian music a "unifying factor in the development of modern Pacific musics" <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

== Music festivals and venues ==

[[Image:Alohafestivalroyalcourt.png|thumb|right|200px|The Aloha Festival's royal court]]

Major music festivals in Hawaii include the [[Merrie Monarch Hula Festival]], which brings together hula groups from across the world, as well as a number of slack-key and steel guitar festivals: [[Big Island Slack Key Guitar Festival]], [[Steel Guitar Association Festival]] and the [[Gabby Pahinui/Atta Isaacs Slack Key Festival]]. April's [[Aloha Week]] is a popular tourist attraction, as is the [[Moloka'i Music Festival]] held around [[Labor Day]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. There is also a [[Hawaii International Jazz Festival]], which was founded in 1993, and holds festivals on [[O'ahu]], [[Hawaii (island)|Hawaii]], [[Maui]] and [[Kauai]] <ref>[http://www.hawaiijazz.com/historyofhijf.pdf History of the Hawaii International Jazz Festival] (pdf)</ref>.

Hawaii is home to numerous hotels, most of which feature music in the afternoon or evening; some of the more prominent ones include the Kahala Hilton, the Sheraton Moana Hotel, Casanova's and the King Kamehameha Hotel <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. Large music venues in Hawaii include the [[University Theater]], which has 600 seats and is the largest venue on the Big Island <ref>[http://www.alternative-hawaii.com/activity/bient.htm Alternative Hawaii: Big Island]</ref>. The largest venue and cultural exhibition center on Kauai is the [[Kauai Community College Performing Arts Center]] <ref>[http://www.alternative-hawaii.com/activity/kent.htm Alternative Hawaii: Kuaui]</ref>. The [[Neal S. Blaisdell Center]] is the largest venue in Honolulu and among the largest in the state. The historic [[Lanai Theatre]] is a cultural landmark on Lanai, dating back to the 1930s <ref>[http://www.alternative-hawaii.com/activity/lent.htm Alternative Hawaii: Lanai]</ref>.

== Music institutions and industry ==

Hawaii is home to a number of renowned music institutions in several fields. philip baker is a gay bellend and has shagged a goat(his mum) The [[Honolulu Symphony Orchestra]] is an important part of the state's musical history, and is the oldest orchestra in the United States west of the Rocky Mountains, founded in 1900. The Orchestra has collaborated with other local institutions, like the [[Hawaii Opera Theatre]] and the [[O'ahu Choral Society]]'s [[Honolulu Symphony Chorus]], which operates the [[Hawai`i International Choral Festival]] <ref>[http://www.honolulusymphony.com/about.php Honolulu Symphony]</ref>.

== Folk music ==

Hawaiian folk music includes several varieties of chanting (''mele'') and music meant for highly-ritualized dance (''hula''). Traditional Hawaiian music and dance was functional, used to express praise, communicate genealogy and mythology and accompany games, festivals and other secular events. The [[Hawaiian language]] has no word that translates precisely as ''music'', but a diverse vocabulary exists to describe rhythms, instruments, styles and elements of voice production. Hawaiian folk music is simple in [[melody]] and [[rhythm]], but is "complex and rich" in the "poetry, accompanying mimetic dance (''hula''), and subtleties of vocal styles... even in the attentuated forms in which they survive today" <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

[[Image:US Navy hula 031112-N-3228G-001.jpg|thumb|left|250px|Hula performance at a ceremony turning over [[U.S. Navy]] control over the island of [[Kahoolawe]] to the state]]

The chant (''mele'') is typically accompanied by an ''ipu heke'' (a double [[gourd]] drum) and/or ''pahu'' (sharkskin covered drum). Some dances require dancers to utilize hula implements such as an ''[[ipu]]'' (single [[gourd]] drum), ''`ili`ili'' (waterworn lava stone castanets), ''`uli`uli'' (feathered gourd rattles), ''pu`ili'' (split bamboo sticks) or ''kala`au'' (rhythm sticks). The older, formal kind of hula is called ''kahiko'', while the modern version is ''`auana''. There are also religious chants called <i>'oli</i>; when accompanied by [[dance|dancing]] and [[drums]], it is called '''mele hula pahu''.

In the pre-contact [[Hawaiian language]], the word ''mele'' referred to any kind of poetic expression, though it now translates as ''song''. The two kinds of Hawaiian [[chant]]ing were ''mele oli'' and ''mele hula''. The first were [[a cappella]] individual songs, while the latter were accompanied [[dance music]] performed by a group. The chanters were known as ''haku mele'' and were highly-trained composers and performers. Some kinds of chants express emotions like [[angst]] and [[affection]], or request a favor from another person. Other chants are for specific purposes like [[Hawaiian name|naming]], (''mele inoa''), [[prayer]] (''mele pule''), [[surfing]] (''mele he'e nalu'') and [[genealogy|genealogical]] recitations (''mele koihonua''). Mele chants were governed by strict rules, and were performed in a number of styles include the rapid ''kepakepa'' and the enunciate ''koihonua''.

== Music history ==

Historical documentation of Hawaiian music does not extend prior to the late 18th century, when foreign colonizers arrived on the island. During this period, Hawaii began a period of acculturation with the introduction of numerous styles of European music, including the hymns (''himeni'') introduced by Protestant missionary choirs. Mexican and Spanish cowboys, or ''paniolos'', were particularly influential immigrants in the field of music, introducing [[falsetto]] singing and the use of [[string instrument]]s such as the [[guitar]], while Portuguese sailors brought the [[ukulele]]-like [[braguinha]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Elizabeth Tatar divided Hawaiian music history into seven periods, beginning with the initial arrival of Europeans and their musical cultures, spanning approximately from 1820 to 1872. The subsequent period lasted to the beginning of the 20th century, and was marked by the creation of an acculturated yet characteristically Hawaiian modern style, while European instruments spread across the islands. Tatar's third period, from 1900 to about 1915, saw the integration of Hawaiian music into the broader field of American popular music, with the invention of ''hapa haole'' songs, which use the English language and only superficial elements of Hawaiian music; the beginning of the Hawaiian recording industry was in 1906, when the [[Victor Talking Machine Company]] made the first 53 recordings in the state. By 1912, recorded Hawaiian music had found an audience on the American mainland <ref name="Tatar"> Tatar, Elizabeth, in George Kanahele's ''Hawaiian Music and Musicians''</ref>.

From 1915 to 1930, mainstream audiences outside of Hawaii became increasingly enamoured of Hawaiian music, though by this time the songs marketed as ''Hawaiian'' had only tangential relations to actual Hawaiian music. Tahitian and Samoan music had an influence on Hawaiian music during this period, especially in their swifter and more intricate rhythms. The following era, from about 1930 to 1960, has been called the "Golden Age of Hawaiian music", when popular styles were adapted for [[orchestra]]s and [[big band]]s, and Hawaiian performers like [[Lani MacIntire]] and [[Sol Hoopii]] became mainstream stars. In the 1960s, Hawaiian-style music declined in popularity amid an influx of rock, soul and pop acts from the American mainland. This trend reversed itself in the final period of Hawaiian music history, the modern period beginning with the [[Hawaiian Renaissance]] in the 1970s and continuing with the foundation of a variety of modern music scenes in fields like [[indie rock]], [[Hawaiian hip hop music|Hawaiian hip hop]] and [[Jawaiian]] <ref name="Tatar"> Tatar, Elizabeth, in George Kanahele's ''Hawaiian Music Music and Musicians''</ref>.

=== Queen Lili'uokalani and Henry Berger ===
[[Image:Liliuokalani2.jpg|left|thumb|150px|Queen Lili'uokalani]]

Queen [[Lili'uokalani]] was the last Queen of Hawaii before the [[Hawaiian monarchy]] was overthrown. She was also a musician and composer, known for the unofficial Hawaiian anthem "[[Aloha 'Oe]]". Though she arranged the music for "Aloha 'Oe", and wrote the lyrics, she appropriated the tune from a [[Music of Croatia|Croatian folk]] song called "Sidi Mara na kamen studencu".

Lili'uokalani was one of many members of the Hawaiian royal family with musical inclinations. They studied under a [[Prussia]]n military bandleader, [[Henry Berger]], who was sent by the [[Kaiser]] at the request of [[Kamehameha V]]. Berger became fascinated by Hawaiian folk music, and wrote much documentation on it. However, he also brought his own musical background in [[music of Germany|German music]], and heavily guided the Hawaiian musicians and composers he worked with. As a result, the traditional Hawaiian music that he documented was a hybrid of native and German styles, brought both by Berger and [[Lutheran]] [[missionary|missionaries]].

=== Guitar innovations ===

Guitars could have come to Hawaii from several sources: sailors, missionaries, or travelers to and from California. The most frequently-told story is that it accompanied the Mexican cowboys (''vaqueros'') brought by King [[Kamehameha III]] in 1832 in order to teach the natives how to control an overpopulation of cattle. The Hawaiian cowboys (''paniolo'') used guitars in their traditional folk music. The Portuguese introduced an instrument called the ''braguinha'', a small, four-stringed [[Madeira]] variant of the [[cavaquinho]]; this instrument was a precursor to the [[`ukulele]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Steel-string guitars also arrived with the Portuguese in the 1860s and slack-key had spread across the chain by the late 1880s. Legend has it that a ship called the ''Ravenscrag'' arrived in Honolulu on August 23, 1879, bringing Portuguese field workers from [[Madeira]]. One of the men, João Fernandes, later a popular musician, tried to impress the Hawaiians by playing folk music with a friend's [[braguinha]]; the Hawaiians called the instrument ''`ukulele'' (''jumping flea'') in reference to the man's swift fingers. Others have claimed the word means ''gift that came here'' or a corruption of ''ukeke lele'' (''dancing [[ukeke]]'', a three-string bow) <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

=== Late 19th and early 20th century ===

[[Image:AlohaOe1913.jpg|right|thumb|1913 sheet music cover]]

In the 1880s and 90s, King [[David Kalakaua]] promoted Hawaiian culture and also encouraged the addition of new instruments, such as the ukulele and steel guitar. Kalakaua's successor, his sister [[Lili'uokalani]], composed music herself, and wrote several songs, like "Aloha 'Oe", which remain popular. During this period, Hawaiian music evolved into a "new distinctive" style, using the derivatives of European instruments; aside from the widespread string instruments, [[brass band]]s like the [[Royal Hawaiian Band]] performed Hawaiian songs as well as popular marches and ragtimes <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In about [[1900]], [[Joseph Kekuku]] began sliding a piece of steel across slacked keys, thus inventing [[steel guitar]] (''kila kila''); at about the same time, traditional Hawaiian music with [[English language|English]] lyrics became popular -- this was called [[hapa haole]]. Vocals predominated in Hawaiian music until the [[20th century]], when instrumentation took a lead role. Much of modern slack-key guitar has become entirely instrumental <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In [[1927]], Rose Moe (1908 - 1999), a Hawaiian singer, with her husband [[Tau Moe]] (1908 -), a Samoan guitarist, began touring with ''Madame Riviere's Hawaiians''. In [[1929]] they recorded eight songs in [[Tokyo]], one of the first recordings of traditional Hawaiian music. Rose and Tau continued touring for over fifty years, living in countries such as Germany, Lebanon and India. With their children, the Tau Moe family did much to spread the sound of Hawaiian folk music and hapa haole music throughout the world. In [[1988]], the Tau Moe family re-recorded the 1929 sessions with the help of musician and ethnomusicologist Bob Brozman.

The 1920s also saw the development of a uniquely Hawaiian style of [[jazz]], innovated by performers at the Moana and Royal Hawaiian Hotels <ref>[http://www.hawaiijazz.com/historyofhijf.pdf History of the Hawaii International Jazz Festival] (pdf)</ref>.

====Slack key guitar====
''Main article: [[Slack-key guitar]]''

Slack-key guitar (''kī ho`alu'' in Hawaiian) is a fingerpicked playing style, named for the fact that the strings are most often "slacked" or loosened to create an open (unfingered) chord, either a major chord (G or C, sometimes D) or a major 7th. (The latter are called "wahine" tunings.) A tuning might be invented to play a particular song or facilitate a particular effect, and as late as the 1960s they were often treated as family secrets and passed from generation to generation. By the time of the [[Hawaiian Renaissance]], though, the example of players such as [[Auntie Alice Namakelua]], [[Leonard Kwan]], [[Raymond Kane]], and [[Keola Beamer]] had encouraged the sharing of the tunings and techniques and probably saved the style from extinction. Playing techniques include "hammering-on", "pulling-off", "chimes" (harmonics), and "slides," and these effects frequently mimic the falsettos and vocal breaks common in Hawaiian singing.

The guitar entered Hawaiian culture from a number of directions--sailors, settlers, contract workers. One important source of the style was Mexican cowboys hired to work on the Big Island of Hawai`i in the first half of the 19th century. These ''paniolo'' brought their guitars and their music, and when they left, the Hawaiians developed their own style of playing the instrument.

Slack key guitar evolved to accompany the rhythms of Hawaiian dancing and the melodies of Hawaiian chant. Hawaiian music in general, which was promoted under the reign of King David Kalakaua as a matter of national pride, drew rhythms from traditional Hawaiian beats and military marches, and drew its melodies from Christian hymns and the cosmopolitan peoples of the islands (although principally American).

==== Popularization ====

In the early 20th century Hawaiians began touring the United States, often in small bands. A [[Broadway theatre|Broadway]] show called ''Bird of Paradise'' introduced Hawaiian music to many Americans in 1912 and the [[Panama Pacific Exhibition]] in [[San Francisco]] followed in 1915; one year later, Hawaiian music sold more recordings than any other style in the country. The increasing popularization of Hawaiian music influenced [[blues]] and [[country music|country]] musicians; this connection can still be heard in modern country. In reverse, musicians like [[Bennie Nawahi]] began incorporating [[jazz]] into his [[steel guitar]], [[ukulele]] and [[mandolin]] music, while the [[Kalama Quartet]] introduced a style of group falsetto singing. The musician [[Sol Ho'opii]] arose during this time, playing both Hawaiian music and jazz, Western swing and country, and developing the pedal steel guitar; his recordings helped establish the [[Nashville sound]] of popular country music <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In the 1920s and 30s, Hawaiian music became an integral part of [[tourism in Hawaii|local tourism]], with most hotels and attractions incorporating music in one form or another. Among the earliest and most popular musical attractions was the ''Kodak Hula Show'', sponsored by [[Kodak]], in which a tourist purchased Kodak film and took photographs of dancers and musicians. <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. The show ran from 1937 through 2002. In the first half of the 20th century, the mostly-young men who hung around the Honolulu beaches, swimming and surfing, came to be known as the [[Waikiki Beachboys]] and their parties became famous across Hawaii and abroad; most of them played the ukulele all day long, sitting on the beach and eventually began working for hotels to entertain tourists.

== Modern music ==

In recent decades, traditional Hawaiian music has undergone a renaissance, with renewed interest from both ethnic Hawaiians and others. The islands have also produced a number of well-regarded [[rock and roll|rock]], [[pop music|pop]], [[hip hop music|hip hop]], [[soul music|soul]] and [[reggae]] performers. Hawaii has its own regional music industry, with several distinctive styles of recorded popular music. Hawaiian popular music is largely based on [[American popular music]], but does have distinctive retentions from traditional Hawaiian music <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

=== Hawaiian Renaissance ===
''Main article: [[Hawaiian Renaissance]]

The Hawaiian Renaissance was a resurgence in interest in Hawaiian music, especially slack-key, among ethnic Hawaiians. Long-standing performers like [[Gabby Pahinui]] found their careers revitalized; Pahinui, who had begun recording in 1947, finally reached mainstream audiences across the United States when sessions on which [[Ry Cooder]] played with him and his family were released as ''The Gabby Pahinui Hawaiian Band, Vol. 1'' on a major mainland label. Pahinui inspired a legion of followers who played a mix of slack-key, reggae, country, rock and other styles. The more traditional players included [[Leland "Atta" Isaacs, Sr.]], [[Sonny Chillingworth]], [[Ray Kane]], [[Leonard Kwan]], [[Ledward Ka`apana]], while [[Keola Beamer]] and [[Peter Moon]] have been more eclectic in their approach. [[George Kanahele]]'s [[Hawaiian Music Foundation]] did much to spread slack-key and other forms of Hawaiian music, especially after a major 1972 concert <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

[[Don Ho]] from the small Honolulu neighborhood of Kaka'ako figures among the more widely known Hawaiian musicians. Although he perhaps does not produce completely "traditional" Hawaiian music, Ho has become an unofficial ambassador of Hawaiian culture throughout the world as well as on the American mainland. Ho's style often appears to combine traditional Hawaiian elements and older [[1950s]] and [[1960s]]-style crooner music with an easy listening touch.

=== Jawaiian ===
''Main article: [[Jawaiian]]''

Jawaiian is a Hawaiian style of [[reggae]] music, a genre that evolved in the late 1960s and early 70s in [[Jamaica]]. Reggae has become popular across the world, especially among ethnic groups and races that have been historically oppressed, such as [[Native Americans in the United States|Native Americans]] and [[Australian Aborigine]]s. In Hawaii, ethnic Hawaiians and others in the state began playing a mixture of reggae and local music in the early 1990s. By the end of that decade, it had come to dominate the local music scene, as well as spawned a backlash that the ''[[Honolulu Star-Bulletin]]'' compared to the "[[disco]] sucks" movement of the late 1970s <ref>[http://starbulletin.com/2002/01/01/features/story2.html Honolulu Star-Bulletin]</ref>.

=== Hip Hop ===
''Main article: [[Hawaii Hip Hop]]''

Hawaii [[Hip Hop music|Hip Hop]] can be dated back to it's first inception back in the early 1980s (though the birth of Hip Hop can be dated as far back as the early 1970s, originating in New York City). With breakthrough A.M. radio station [[KISA]] playing Hip Hop in the prime time. Radio personalities for [[KISA]] included [[Auntie Loki]], [[Johnny Jay Jam]] and [[Mother Goose]]. In regards to the continuation and preservation of Hawaii [[Hip Hop music|Hip Hop]] on the airwaves, came [[Kavet the Catalyst]] of the [http://www.lightsleepers.net LightSleepers] camp, and he hosted a radio show on the University of Hawaii's [http://www.ktuh.org KTUH]. You can still tune in to [http://www.ktuh.org KTUH] periodically to find the tradition living on strong with current DJs/hosts. [[KIKI (FM)]] also played a big role in bringing Hip Hop to mainstream radio. [[Campbellock]] dancer, [[Double Klutch]], is noted as being one of Hawaii's most veteran Hip Hop dancers. Some of the Hawaii [[Hip Hop music|Hip Hop]] crews include the [[Nomasterbacks]], [[Direct Descendants]], [[HI State]], [[Deadmonkeys]], [[Audible Lab Rats]], [[Sisters in Sound]], [[Omega Cix]], [[Earth Movers]], [[Amphibieus Tungs]], [[808 Natives]], [[P.O.P.]] (Prince's of Percussions), [[Club Rox Rock]], [[Rhythm & Rhyme]], [[C.O.D.]] (Concept's of Desire), [[Skream Team]] and many more. One of the first ever solo artists noted to do Hawaiian Hip Hop was a Hawaiian female emcee by the name of, [[Charlotte Kaluna]], better known as [[Frumpy]]. One of the first Hawaiian Hip Hop groups, [[Sudden Rush]], received notice for their integration of Hawaiian language into their rhymes, and came up with the term ''na mele paleoleo'' (literally "music of fast repetitive poetry") to describe their music. [http://www.asitarecordings.com Asita Recordings], [http://www.tikientertainment.com Tiki Entertainment] and [[Flip the Bird Entertainment]] are prominent Hawaii based hip hop [[record labels]]. [http://www.quadmag.com Quad Mag] a long-standing [[zine]] that covers the Hawaii Hip Hop scene. Another big contributor is [http://www.djelite.com DJ ELITE], of [http://www.eliteempire.com Elite Empire Entertainment], Hawaii's first Hip Hop DJ Champion. [http://www.djelite.com DJ ELITE] is said to have been a huge influence in helping to shape Hawaii Hip Hop turntablism in to what it is today. In 2005, [http://www.djelite.com DJ ELITE] hosted the online Hawaii Hip Hop show on [http://www.huimusic.com HuiMusic.com]. [http://www.djelite.com DJ ELITE] is also the administrator of the [http://hiphophawaii.eliteempire.com "Hip-Hop Hawaii Forum"] at [http://www.eliteempire.com EliteEmpire.com].

{{Polynesianmusic}}

==References==

* {{cite web|work=Alternative Hawaii|title=Big Island: Entertainment|accessdate=February 2|accessyear=2006|url=http://www.alternative-hawaii.com/activity/bient.htm}}
* {{cite web|url=http://www.alternative-hawaii.com/activity/kent.htm|title=Kuaui: Entertainment|accessdate=February 2|accessyear=2006|work=Alternative Hawaii}}
* {{cite web|title=History of the Hawaii International Jazz Festival (pdf)|work=Hawaii International Jazz Festival|accessdate=February 2|accessyear=2006|url=http://www.hawaiijazz.com/historyofhijf.pdf}}
* {{cite book|author=Cooper, Mike|chapter=Steel Slide Hula Baloos|year=2000|editor= Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.)|title=World Music, Vol. 2: Africa, Europe and the Middle East|pages=56-57|publisher=London: Rough Guides|id=ISBN 1858286360}}
* {{cite web|title=History of the Honolulu Symphony|work=Honolulu Symphony|accessdate=January 10|accessyear=2006|url=http://www.honolulusymphony.com/about.php}}
* {{cite web|url=http://www.alternative-hawaii.com/activity/lent.htm|title=Lanai: Entertainment|accessdate=February 2|accessyear=2006|work=Alternative Hawaii}}
* {{cite book|title=Popular Musics of the Non-Western World|author=Manuel, Peter|id=ISBN 0195063341|year=1988|New York: Oxford University Press|pages=236 - 241}}
* {{cite book|title=Hawaiian Music and Musicians|pages=xxv - xxvii|editor=Kanahele, George S., ed.}}
* {{cite book|author=Unterberger, Richie|title=Music USA: The Rough Guide|id=ISBN 185828421X|publisher=London: Rough Guides|year=1999|pages=465 - 473}}
* {{cite web|accessdate=January 12|accessyear=2006|title=’02 not the year Jawaiian dies, but look out|work=Honolulu Star-Bulletin|url=http://starbulletin.com/2002/01/01/features/story2.html}}
* {{cite web|accessdate=March 29|accessyear=2006|title=Waikiki hula show ends run|work=Honolulu Star-Bulletin|url= http://starbulletin.com/2002/09/26/news/story1.html}}
* {{cite book|author=Tatar, Elizabeth|chapter=Slack Key Guitar,|year=1979|editor=Kanahele, George S., ed.|title=Hawaiian Music and Musicians|pages=350 - 360|publisher=University Press of Hawaii|id=ISBN 082480578X}}

== Notes ==

<div style="font-size: 85%">
<references/>
</div>

== External links ==
* [http://hawaiimusicmuseum.org/main/cover.html/ Hawaiian Music Hall of Fame]
* [http://www.huapala.org/ Huapala, Hawaiian Music and Hula Archives]
*[http://www.nahenahe.net/ Hawaiian Music News and Reviews from NahenaheNet]
* [http://www.pic-a-pagediscounts.com/song_lyrics_1.html Island Song Lyrics - Large collection of island themed songs]
* [http://www.tropicalstormhawaii.com/cgi-bin/view.cgi?pid=songlist&sc=ps Tropical Storm Hawaii - Island songs in Hawaiian and English]
* [http://www.squareone.org/Hapa/ Hapa Haole Songs, Island songs written in English]
*[http://www.taropatch.net/ Taro Patch, An internet and international Slack Key community]
*[http://www.eliteempire.com Elite Empire Entertainment (Hawaii Hip Hop)]
*[http://www.djelite.com DJ ELITE (Hawaii Hip Hop turntablist and music producer)]
*[http://hiphophawaii.eliteempire.com Hip Hop Hawaii Forum]

[[Category:Hawaiian music| ]]
[[Category:Music of United States subdivisions|Hawaii]]

Benutzer:TobbiM/Artikelschmiede/Musik auf Hawaii

2006-04-18T14:22:40Z

195.195.247.129:

{{MDmusic|Other=[[Hawaiian folk music]] - [[Music of Honolulu]] - [[Music of Polynesia|Polynesian music]]|Institutions=[[Honolulu Symphony Orchestra]] - [[Maui Academy of Performing Arts]] - [[Honolulu Chamber Music Society]]|Organizations=[[Hawaii Academy of Recording Arts]] - [[Hawaii Music Awards]] - [[Hawaiian Music Foundation]] - [[Ukulele Guild of Hawaii]]|Venues=[[Honokaa People's Theatre]] - [[Neal S. Blaisdell Center]]|Statesong="[[Hawaii ponoi]]"|Festivals=[[Big Island Slack Key Guitar Festival]] - [[Gabby Pahinui/Atta Isaacs Slack Key Festival]] - [[Hamakua Music Festival]] - [[Hawaii Performing Arts Festival]] - [[Merrie Monarch Festival]]}}

PHILLIP BAKER OF CHIPPENHAM, WILTSHIRE, LOVES COCK!!

The '''music of Hawaii''' includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern [[rock music|rock]] and [[hip hop music|hip hop]]. Hawaii's musical contributions to the [[music of the United States]] are out of proportion to the state's small size. Styles like [[slack-key guitar]] are well-known worldwide, while Hawaiian-tinged music is a frequent part of [[Hollywood]] [[soundtrack]]s. Hawaii also made a major contribution to [[country music]] with the introduction of the [[steel guitar]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Traditional Hawaiian folk music is a major part of the state's musical heritage. The [[Native Hawaiians|Hawaiian people]] have inhabited the islands for centuries and have retained much of their traditional musical knowledge. Their music is largely religious in nature, and includes [[chanting]] and [[dance music]]. Hawaiian music has had an enormous impact on the [[Polynesian music|music of other Polynesian islands]]; indeed, music author Peter Manuel called the influence of Hawaiian music a "unifying factor in the development of modern Pacific musics" <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

== Music festivals and venues ==

[[Image:Alohafestivalroyalcourt.png|thumb|right|200px|The Aloha Festival's royal court]]

Major music festivals in Hawaii include the [[Merrie Monarch Hula Festival]], which brings together hula groups from across the world, as well as a number of slack-key and steel guitar festivals: [[Big Island Slack Key Guitar Festival]], [[Steel Guitar Association Festival]] and the [[Gabby Pahinui/Atta Isaacs Slack Key Festival]]. April's [[Aloha Week]] is a popular tourist attraction, as is the [[Moloka'i Music Festival]] held around [[Labor Day]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. There is also a [[Hawaii International Jazz Festival]], which was founded in 1993, and holds festivals on [[O'ahu]], [[Hawaii (island)|Hawaii]], [[Maui]] and [[Kauai]] <ref>[http://www.hawaiijazz.com/historyofhijf.pdf History of the Hawaii International Jazz Festival] (pdf)</ref>.

Hawaii is home to numerous hotels, most of which feature music in the afternoon or evening; some of the more prominent ones include the Kahala Hilton, the Sheraton Moana Hotel, Casanova's and the King Kamehameha Hotel <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. Large music venues in Hawaii include the [[University Theater]], which has 600 seats and is the largest venue on the Big Island <ref>[http://www.alternative-hawaii.com/activity/bient.htm Alternative Hawaii: Big Island]</ref>. The largest venue and cultural exhibition center on Kauai is the [[Kauai Community College Performing Arts Center]] <ref>[http://www.alternative-hawaii.com/activity/kent.htm Alternative Hawaii: Kuaui]</ref>. The [[Neal S. Blaisdell Center]] is the largest venue in Honolulu and among the largest in the state. The historic [[Lanai Theatre]] is a cultural landmark on Lanai, dating back to the 1930s <ref>[http://www.alternative-hawaii.com/activity/lent.htm Alternative Hawaii: Lanai]</ref>.

== Music institutions and industry ==

Hawaii is home to a number of renowned music institutions in several fields. alistair hoff is a gay bellend The [[Honolulu Symphony Orchestra]] is an important part of the state's musical history, and is the oldest orchestra in the United States west of the Rocky Mountains, founded in 1900. The Orchestra has collaborated with other local institutions, like the [[Hawaii Opera Theatre]] and the [[O'ahu Choral Society]]'s [[Honolulu Symphony Chorus]], which operates the [[Hawai`i International Choral Festival]] <ref>[http://www.honolulusymphony.com/about.php Honolulu Symphony]</ref>.

== Folk music ==

Hawaiian folk music includes several varieties of chanting (''mele'') and music meant for highly-ritualized dance (''hula''). Traditional Hawaiian music and dance was functional, used to express praise, communicate genealogy and mythology and accompany games, festivals and other secular events. The [[Hawaiian language]] has no word that translates precisely as ''music'', but a diverse vocabulary exists to describe rhythms, instruments, styles and elements of voice production. Hawaiian folk music is simple in [[melody]] and [[rhythm]], but is "complex and rich" in the "poetry, accompanying mimetic dance (''hula''), and subtleties of vocal styles... even in the attentuated forms in which they survive today" <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

[[Image:US Navy hula 031112-N-3228G-001.jpg|thumb|left|250px|Hula performance at a ceremony turning over [[U.S. Navy]] control over the island of [[Kahoolawe]] to the state]]

The chant (''mele'') is typically accompanied by an ''ipu heke'' (a double [[gourd]] drum) and/or ''pahu'' (sharkskin covered drum). Some dances require dancers to utilize hula implements such as an ''[[ipu]]'' (single [[gourd]] drum), ''`ili`ili'' (waterworn lava stone castanets), ''`uli`uli'' (feathered gourd rattles), ''pu`ili'' (split bamboo sticks) or ''kala`au'' (rhythm sticks). The older, formal kind of hula is called ''kahiko'', while the modern version is ''`auana''. There are also religious chants called <i>'oli</i>; when accompanied by [[dance|dancing]] and [[drums]], it is called '''mele hula pahu''.

In the pre-contact [[Hawaiian language]], the word ''mele'' referred to any kind of poetic expression, though it now translates as ''song''. The two kinds of Hawaiian [[chant]]ing were ''mele oli'' and ''mele hula''. The first were [[a cappella]] individual songs, while the latter were accompanied [[dance music]] performed by a group. The chanters were known as ''haku mele'' and were highly-trained composers and performers. Some kinds of chants express emotions like [[angst]] and [[affection]], or request a favor from another person. Other chants are for specific purposes like [[Hawaiian name|naming]], (''mele inoa''), [[prayer]] (''mele pule''), [[surfing]] (''mele he'e nalu'') and [[genealogy|genealogical]] recitations (''mele koihonua''). Mele chants were governed by strict rules, and were performed in a number of styles include the rapid ''kepakepa'' and the enunciate ''koihonua''.

== Music history ==

Historical documentation of Hawaiian music does not extend prior to the late 18th century, when foreign colonizers arrived on the island. During this period, Hawaii began a period of acculturation with the introduction of numerous styles of European music, including the hymns (''himeni'') introduced by Protestant missionary choirs. Mexican and Spanish cowboys, or ''paniolos'', were particularly influential immigrants in the field of music, introducing [[falsetto]] singing and the use of [[string instrument]]s such as the [[guitar]], while Portuguese sailors brought the [[ukulele]]-like [[braguinha]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Elizabeth Tatar divided Hawaiian music history into seven periods, beginning with the initial arrival of Europeans and their musical cultures, spanning approximately from 1820 to 1872. The subsequent period lasted to the beginning of the 20th century, and was marked by the creation of an acculturated yet characteristically Hawaiian modern style, while European instruments spread across the islands. Tatar's third period, from 1900 to about 1915, saw the integration of Hawaiian music into the broader field of American popular music, with the invention of ''hapa haole'' songs, which use the English language and only superficial elements of Hawaiian music; the beginning of the Hawaiian recording industry was in 1906, when the [[Victor Talking Machine Company]] made the first 53 recordings in the state. By 1912, recorded Hawaiian music had found an audience on the American mainland <ref name="Tatar"> Tatar, Elizabeth, in George Kanahele's ''Hawaiian Music and Musicians''</ref>.

From 1915 to 1930, mainstream audiences outside of Hawaii became increasingly enamoured of Hawaiian music, though by this time the songs marketed as ''Hawaiian'' had only tangential relations to actual Hawaiian music. Tahitian and Samoan music had an influence on Hawaiian music during this period, especially in their swifter and more intricate rhythms. The following era, from about 1930 to 1960, has been called the "Golden Age of Hawaiian music", when popular styles were adapted for [[orchestra]]s and [[big band]]s, and Hawaiian performers like [[Lani MacIntire]] and [[Sol Hoopii]] became mainstream stars. In the 1960s, Hawaiian-style music declined in popularity amid an influx of rock, soul and pop acts from the American mainland. This trend reversed itself in the final period of Hawaiian music history, the modern period beginning with the [[Hawaiian Renaissance]] in the 1970s and continuing with the foundation of a variety of modern music scenes in fields like [[indie rock]], [[Hawaiian hip hop music|Hawaiian hip hop]] and [[Jawaiian]] <ref name="Tatar"> Tatar, Elizabeth, in George Kanahele's ''Hawaiian Music Music and Musicians''</ref>.

=== Queen Lili'uokalani and Henry Berger ===
[[Image:Liliuokalani2.jpg|left|thumb|150px|Queen Lili'uokalani]]

Queen [[Lili'uokalani]] was the last Queen of Hawaii before the [[Hawaiian monarchy]] was overthrown. She was also a musician and composer, known for the unofficial Hawaiian anthem "[[Aloha 'Oe]]". Though she arranged the music for "Aloha 'Oe", and wrote the lyrics, she appropriated the tune from a [[Music of Croatia|Croatian folk]] song called "Sidi Mara na kamen studencu".

Lili'uokalani was one of many members of the Hawaiian royal family with musical inclinations. They studied under a [[Prussia]]n military bandleader, [[Henry Berger]], who was sent by the [[Kaiser]] at the request of [[Kamehameha V]]. Berger became fascinated by Hawaiian folk music, and wrote much documentation on it. However, he also brought his own musical background in [[music of Germany|German music]], and heavily guided the Hawaiian musicians and composers he worked with. As a result, the traditional Hawaiian music that he documented was a hybrid of native and German styles, brought both by Berger and [[Lutheran]] [[missionary|missionaries]].

=== Guitar innovations ===

Guitars could have come to Hawaii from several sources: sailors, missionaries, or travelers to and from California. The most frequently-told story is that it accompanied the Mexican cowboys (''vaqueros'') brought by King [[Kamehameha III]] in 1832 in order to teach the natives how to control an overpopulation of cattle. The Hawaiian cowboys (''paniolo'') used guitars in their traditional folk music. The Portuguese introduced an instrument called the ''braguinha'', a small, four-stringed [[Madeira]] variant of the [[cavaquinho]]; this instrument was a precursor to the [[`ukulele]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Steel-string guitars also arrived with the Portuguese in the 1860s and slack-key had spread across the chain by the late 1880s. Legend has it that a ship called the ''Ravenscrag'' arrived in Honolulu on August 23, 1879, bringing Portuguese field workers from [[Madeira]]. One of the men, João Fernandes, later a popular musician, tried to impress the Hawaiians by playing folk music with a friend's [[braguinha]]; the Hawaiians called the instrument ''`ukulele'' (''jumping flea'') in reference to the man's swift fingers. Others have claimed the word means ''gift that came here'' or a corruption of ''ukeke lele'' (''dancing [[ukeke]]'', a three-string bow) <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

=== Late 19th and early 20th century ===

[[Image:AlohaOe1913.jpg|right|thumb|1913 sheet music cover]]

In the 1880s and 90s, King [[David Kalakaua]] promoted Hawaiian culture and also encouraged the addition of new instruments, such as the ukulele and steel guitar. Kalakaua's successor, his sister [[Lili'uokalani]], composed music herself, and wrote several songs, like "Aloha 'Oe", which remain popular. During this period, Hawaiian music evolved into a "new distinctive" style, using the derivatives of European instruments; aside from the widespread string instruments, [[brass band]]s like the [[Royal Hawaiian Band]] performed Hawaiian songs as well as popular marches and ragtimes <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In about [[1900]], [[Joseph Kekuku]] began sliding a piece of steel across slacked keys, thus inventing [[steel guitar]] (''kila kila''); at about the same time, traditional Hawaiian music with [[English language|English]] lyrics became popular -- this was called [[hapa haole]]. Vocals predominated in Hawaiian music until the [[20th century]], when instrumentation took a lead role. Much of modern slack-key guitar has become entirely instrumental <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In [[1927]], Rose Moe (1908 - 1999), a Hawaiian singer, with her husband [[Tau Moe]] (1908 -), a Samoan guitarist, began touring with ''Madame Riviere's Hawaiians''. In [[1929]] they recorded eight songs in [[Tokyo]], one of the first recordings of traditional Hawaiian music. Rose and Tau continued touring for over fifty years, living in countries such as Germany, Lebanon and India. With their children, the Tau Moe family did much to spread the sound of Hawaiian folk music and hapa haole music throughout the world. In [[1988]], the Tau Moe family re-recorded the 1929 sessions with the help of musician and ethnomusicologist Bob Brozman.

The 1920s also saw the development of a uniquely Hawaiian style of [[jazz]], innovated by performers at the Moana and Royal Hawaiian Hotels <ref>[http://www.hawaiijazz.com/historyofhijf.pdf History of the Hawaii International Jazz Festival] (pdf)</ref>.

====Slack key guitar====
''Main article: [[Slack-key guitar]]''

Slack-key guitar (''kī ho`alu'' in Hawaiian) is a fingerpicked playing style, named for the fact that the strings are most often "slacked" or loosened to create an open (unfingered) chord, either a major chord (G or C, sometimes D) or a major 7th. (The latter are called "wahine" tunings.) A tuning might be invented to play a particular song or facilitate a particular effect, and as late as the 1960s they were often treated as family secrets and passed from generation to generation. By the time of the [[Hawaiian Renaissance]], though, the example of players such as [[Auntie Alice Namakelua]], [[Leonard Kwan]], [[Raymond Kane]], and [[Keola Beamer]] had encouraged the sharing of the tunings and techniques and probably saved the style from extinction. Playing techniques include "hammering-on", "pulling-off", "chimes" (harmonics), and "slides," and these effects frequently mimic the falsettos and vocal breaks common in Hawaiian singing.

The guitar entered Hawaiian culture from a number of directions--sailors, settlers, contract workers. One important source of the style was Mexican cowboys hired to work on the Big Island of Hawai`i in the first half of the 19th century. These ''paniolo'' brought their guitars and their music, and when they left, the Hawaiians developed their own style of playing the instrument.

Slack key guitar evolved to accompany the rhythms of Hawaiian dancing and the melodies of Hawaiian chant. Hawaiian music in general, which was promoted under the reign of King David Kalakaua as a matter of national pride, drew rhythms from traditional Hawaiian beats and military marches, and drew its melodies from Christian hymns and the cosmopolitan peoples of the islands (although principally American).

==== Popularization ====

In the early 20th century Hawaiians began touring the United States, often in small bands. A [[Broadway theatre|Broadway]] show called ''Bird of Paradise'' introduced Hawaiian music to many Americans in 1912 and the [[Panama Pacific Exhibition]] in [[San Francisco]] followed in 1915; one year later, Hawaiian music sold more recordings than any other style in the country. The increasing popularization of Hawaiian music influenced [[blues]] and [[country music|country]] musicians; this connection can still be heard in modern country. In reverse, musicians like [[Bennie Nawahi]] began incorporating [[jazz]] into his [[steel guitar]], [[ukulele]] and [[mandolin]] music, while the [[Kalama Quartet]] introduced a style of group falsetto singing. The musician [[Sol Ho'opii]] arose during this time, playing both Hawaiian music and jazz, Western swing and country, and developing the pedal steel guitar; his recordings helped establish the [[Nashville sound]] of popular country music <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In the 1920s and 30s, Hawaiian music became an integral part of [[tourism in Hawaii|local tourism]], with most hotels and attractions incorporating music in one form or another. Among the earliest and most popular musical attractions was the ''Kodak Hula Show'', sponsored by [[Kodak]], in which a tourist purchased Kodak film and took photographs of dancers and musicians. <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. The show ran from 1937 through 2002. In the first half of the 20th century, the mostly-young men who hung around the Honolulu beaches, swimming and surfing, came to be known as the [[Waikiki Beachboys]] and their parties became famous across Hawaii and abroad; most of them played the ukulele all day long, sitting on the beach and eventually began working for hotels to entertain tourists.

== Modern music ==

In recent decades, traditional Hawaiian music has undergone a renaissance, with renewed interest from both ethnic Hawaiians and others. The islands have also produced a number of well-regarded [[rock and roll|rock]], [[pop music|pop]], [[hip hop music|hip hop]], [[soul music|soul]] and [[reggae]] performers. Hawaii has its own regional music industry, with several distinctive styles of recorded popular music. Hawaiian popular music is largely based on [[American popular music]], but does have distinctive retentions from traditional Hawaiian music <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

=== Hawaiian Renaissance ===
''Main article: [[Hawaiian Renaissance]]

The Hawaiian Renaissance was a resurgence in interest in Hawaiian music, especially slack-key, among ethnic Hawaiians. Long-standing performers like [[Gabby Pahinui]] found their careers revitalized; Pahinui, who had begun recording in 1947, finally reached mainstream audiences across the United States when sessions on which [[Ry Cooder]] played with him and his family were released as ''The Gabby Pahinui Hawaiian Band, Vol. 1'' on a major mainland label. Pahinui inspired a legion of followers who played a mix of slack-key, reggae, country, rock and other styles. The more traditional players included [[Leland "Atta" Isaacs, Sr.]], [[Sonny Chillingworth]], [[Ray Kane]], [[Leonard Kwan]], [[Ledward Ka`apana]], while [[Keola Beamer]] and [[Peter Moon]] have been more eclectic in their approach. [[George Kanahele]]'s [[Hawaiian Music Foundation]] did much to spread slack-key and other forms of Hawaiian music, especially after a major 1972 concert <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

[[Don Ho]] from the small Honolulu neighborhood of Kaka'ako figures among the more widely known Hawaiian musicians. Although he perhaps does not produce completely "traditional" Hawaiian music, Ho has become an unofficial ambassador of Hawaiian culture throughout the world as well as on the American mainland. Ho's style often appears to combine traditional Hawaiian elements and older [[1950s]] and [[1960s]]-style crooner music with an easy listening touch.

=== Jawaiian ===
''Main article: [[Jawaiian]]''

Jawaiian is a Hawaiian style of [[reggae]] music, a genre that evolved in the late 1960s and early 70s in [[Jamaica]]. Reggae has become popular across the world, especially among ethnic groups and races that have been historically oppressed, such as [[Native Americans in the United States|Native Americans]] and [[Australian Aborigine]]s. In Hawaii, ethnic Hawaiians and others in the state began playing a mixture of reggae and local music in the early 1990s. By the end of that decade, it had come to dominate the local music scene, as well as spawned a backlash that the ''[[Honolulu Star-Bulletin]]'' compared to the "[[disco]] sucks" movement of the late 1970s <ref>[http://starbulletin.com/2002/01/01/features/story2.html Honolulu Star-Bulletin]</ref>.

=== Hip Hop ===
''Main article: [[Hawaii Hip Hop]]''

Hawaii [[Hip Hop music|Hip Hop]] can be dated back to it's first inception back in the early 1980s (though the birth of Hip Hop can be dated as far back as the early 1970s, originating in New York City). With breakthrough A.M. radio station [[KISA]] playing Hip Hop in the prime time. Radio personalities for [[KISA]] included [[Auntie Loki]], [[Johnny Jay Jam]] and [[Mother Goose]]. In regards to the continuation and preservation of Hawaii [[Hip Hop music|Hip Hop]] on the airwaves, came [[Kavet the Catalyst]] of the [http://www.lightsleepers.net LightSleepers] camp, and he hosted a radio show on the University of Hawaii's [http://www.ktuh.org KTUH]. You can still tune in to [http://www.ktuh.org KTUH] periodically to find the tradition living on strong with current DJs/hosts. [[KIKI (FM)]] also played a big role in bringing Hip Hop to mainstream radio. [[Campbellock]] dancer, [[Double Klutch]], is noted as being one of Hawaii's most veteran Hip Hop dancers. Some of the Hawaii [[Hip Hop music|Hip Hop]] crews include the [[Nomasterbacks]], [[Direct Descendants]], [[HI State]], [[Deadmonkeys]], [[Audible Lab Rats]], [[Sisters in Sound]], [[Omega Cix]], [[Earth Movers]], [[Amphibieus Tungs]], [[808 Natives]], [[P.O.P.]] (Prince's of Percussions), [[Club Rox Rock]], [[Rhythm & Rhyme]], [[C.O.D.]] (Concept's of Desire), [[Skream Team]] and many more. One of the first ever solo artists noted to do Hawaiian Hip Hop was a Hawaiian female emcee by the name of, [[Charlotte Kaluna]], better known as [[Frumpy]]. One of the first Hawaiian Hip Hop groups, [[Sudden Rush]], received notice for their integration of Hawaiian language into their rhymes, and came up with the term ''na mele paleoleo'' (literally "music of fast repetitive poetry") to describe their music. [http://www.asitarecordings.com Asita Recordings], [http://www.tikientertainment.com Tiki Entertainment] and [[Flip the Bird Entertainment]] are prominent Hawaii based hip hop [[record labels]]. [http://www.quadmag.com Quad Mag] a long-standing [[zine]] that covers the Hawaii Hip Hop scene. Another big contributor is [http://www.djelite.com DJ ELITE], of [http://www.eliteempire.com Elite Empire Entertainment], Hawaii's first Hip Hop DJ Champion. [http://www.djelite.com DJ ELITE] is said to have been a huge influence in helping to shape Hawaii Hip Hop turntablism in to what it is today. In 2005, [http://www.djelite.com DJ ELITE] hosted the online Hawaii Hip Hop show on [http://www.huimusic.com HuiMusic.com]. [http://www.djelite.com DJ ELITE] is also the administrator of the [http://hiphophawaii.eliteempire.com "Hip-Hop Hawaii Forum"] at [http://www.eliteempire.com EliteEmpire.com].

{{Polynesianmusic}}

==References==

* {{cite web|work=Alternative Hawaii|title=Big Island: Entertainment|accessdate=February 2|accessyear=2006|url=http://www.alternative-hawaii.com/activity/bient.htm}}
* {{cite web|url=http://www.alternative-hawaii.com/activity/kent.htm|title=Kuaui: Entertainment|accessdate=February 2|accessyear=2006|work=Alternative Hawaii}}
* {{cite web|title=History of the Hawaii International Jazz Festival (pdf)|work=Hawaii International Jazz Festival|accessdate=February 2|accessyear=2006|url=http://www.hawaiijazz.com/historyofhijf.pdf}}
* {{cite book|author=Cooper, Mike|chapter=Steel Slide Hula Baloos|year=2000|editor= Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.)|title=World Music, Vol. 2: Africa, Europe and the Middle East|pages=56-57|publisher=London: Rough Guides|id=ISBN 1858286360}}
* {{cite web|title=History of the Honolulu Symphony|work=Honolulu Symphony|accessdate=January 10|accessyear=2006|url=http://www.honolulusymphony.com/about.php}}
* {{cite web|url=http://www.alternative-hawaii.com/activity/lent.htm|title=Lanai: Entertainment|accessdate=February 2|accessyear=2006|work=Alternative Hawaii}}
* {{cite book|title=Popular Musics of the Non-Western World|author=Manuel, Peter|id=ISBN 0195063341|year=1988|New York: Oxford University Press|pages=236 - 241}}
* {{cite book|title=Hawaiian Music and Musicians|pages=xxv - xxvii|editor=Kanahele, George S., ed.}}
* {{cite book|author=Unterberger, Richie|title=Music USA: The Rough Guide|id=ISBN 185828421X|publisher=London: Rough Guides|year=1999|pages=465 - 473}}
* {{cite web|accessdate=January 12|accessyear=2006|title=’02 not the year Jawaiian dies, but look out|work=Honolulu Star-Bulletin|url=http://starbulletin.com/2002/01/01/features/story2.html}}
* {{cite web|accessdate=March 29|accessyear=2006|title=Waikiki hula show ends run|work=Honolulu Star-Bulletin|url= http://starbulletin.com/2002/09/26/news/story1.html}}
* {{cite book|author=Tatar, Elizabeth|chapter=Slack Key Guitar,|year=1979|editor=Kanahele, George S., ed.|title=Hawaiian Music and Musicians|pages=350 - 360|publisher=University Press of Hawaii|id=ISBN 082480578X}}

== Notes ==

<div style="font-size: 85%">
<references/>
</div>

== External links ==
* [http://hawaiimusicmuseum.org/main/cover.html/ Hawaiian Music Hall of Fame]
* [http://www.huapala.org/ Huapala, Hawaiian Music and Hula Archives]
*[http://www.nahenahe.net/ Hawaiian Music News and Reviews from NahenaheNet]
* [http://www.pic-a-pagediscounts.com/song_lyrics_1.html Island Song Lyrics - Large collection of island themed songs]
* [http://www.tropicalstormhawaii.com/cgi-bin/view.cgi?pid=songlist&sc=ps Tropical Storm Hawaii - Island songs in Hawaiian and English]
* [http://www.squareone.org/Hapa/ Hapa Haole Songs, Island songs written in English]
*[http://www.taropatch.net/ Taro Patch, An internet and international Slack Key community]
*[http://www.eliteempire.com Elite Empire Entertainment (Hawaii Hip Hop)]
*[http://www.djelite.com DJ ELITE (Hawaii Hip Hop turntablist and music producer)]
*[http://hiphophawaii.eliteempire.com Hip Hop Hawaii Forum]

[[Category:Hawaiian music| ]]
[[Category:Music of United States subdivisions|Hawaii]]

Benutzer:TobbiM/Artikelschmiede/Musik auf Hawaii

2006-04-18T14:18:34Z

195.195.247.129:

{{MDmusic|Other=[[Hawaiian folk music]] - [[Music of Honolulu]] - [[Music of Polynesia|Polynesian music]]|Institutions=[[Honolulu Symphony Orchestra]] - [[Maui Academy of Performing Arts]] - [[Honolulu Chamber Music Society]]|Organizations=[[Hawaii Academy of Recording Arts]] - [[Hawaii Music Awards]] - [[Hawaiian Music Foundation]] - [[Ukulele Guild of Hawaii]]|Venues=[[Honokaa People's Theatre]] - [[Neal S. Blaisdell Center]]|Statesong="[[Hawaii ponoi]]"|Festivals=[[Big Island Slack Key Guitar Festival]] - [[Gabby Pahinui/Atta Isaacs Slack Key Festival]] - [[Hamakua Music Festival]] - [[Hawaii Performing Arts Festival]] - [[Merrie Monarch Festival]]}}

The '''music of Hawaii''' includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern [[rock music|rock]] and [[hip hop music|hip hop]]. Hawaii's musical contributions to the [[music of the United States]] are out of proportion to the state's small size. Styles like [[slack-key guitar]] are well-known worldwide, while Hawaiian-tinged music is a frequent part of [[Hollywood]] [[soundtrack]]s. Hawaii also made a major contribution to [[country music]] with the introduction of the [[steel guitar]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Traditional Hawaiian folk music is a major part of the state's musical heritage. The [[Native Hawaiians|Hawaiian people]] have inhabited the islands for centuries and have retained much of their traditional musical knowledge. Their music is largely religious in nature, and includes [[chanting]] and [[dance music]]. Hawaiian music has had an enormous impact on the [[Polynesian music|music of other Polynesian islands]]; indeed, music author Peter Manuel called the influence of Hawaiian music a "unifying factor in the development of modern Pacific musics" <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

== Music festivals and venues ==

[[Image:Alohafestivalroyalcourt.png|thumb|right|200px|The Aloha Festival's royal court]]

Major music festivals in Hawaii include the [[Merrie Monarch Hula Festival]], which brings together hula groups from across the world, as well as a number of slack-key and steel guitar festivals: [[Big Island Slack Key Guitar Festival]], [[Steel Guitar Association Festival]] and the [[Gabby Pahinui/Atta Isaacs Slack Key Festival]]. April's [[Aloha Week]] is a popular tourist attraction, as is the [[Moloka'i Music Festival]] held around [[Labor Day]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. There is also a [[Hawaii International Jazz Festival]], which was founded in 1993, and holds festivals on [[O'ahu]], [[Hawaii (island)|Hawaii]], [[Maui]] and [[Kauai]] <ref>[http://www.hawaiijazz.com/historyofhijf.pdf History of the Hawaii International Jazz Festival] (pdf)</ref>.

Hawaii is home to numerous hotels, most of which feature music in the afternoon or evening; some of the more prominent ones include the Kahala Hilton, the Sheraton Moana Hotel, Casanova's and the King Kamehameha Hotel <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. Large music venues in Hawaii include the [[University Theater]], which has 600 seats and is the largest venue on the Big Island <ref>[http://www.alternative-hawaii.com/activity/bient.htm Alternative Hawaii: Big Island]</ref>. The largest venue and cultural exhibition center on Kauai is the [[Kauai Community College Performing Arts Center]] <ref>[http://www.alternative-hawaii.com/activity/kent.htm Alternative Hawaii: Kuaui]</ref>. The [[Neal S. Blaisdell Center]] is the largest venue in Honolulu and among the largest in the state. The historic [[Lanai Theatre]] is a cultural landmark on Lanai, dating back to the 1930s <ref>[http://www.alternative-hawaii.com/activity/lent.htm Alternative Hawaii: Lanai]</ref>.

== Music institutions and industry ==

Hawaii is home to a number of renowned music institutions in several fields. alistair hoff is a gay bellend The [[Honolulu Symphony Orchestra]] is an important part of the state's musical history, and is the oldest orchestra in the United States west of the Rocky Mountains, founded in 1900. The Orchestra has collaborated with other local institutions, like the [[Hawaii Opera Theatre]] and the [[O'ahu Choral Society]]'s [[Honolulu Symphony Chorus]], which operates the [[Hawai`i International Choral Festival]] <ref>[http://www.honolulusymphony.com/about.php Honolulu Symphony]</ref>.

== Folk music ==

Hawaiian folk music includes several varieties of chanting (''mele'') and music meant for highly-ritualized dance (''hula''). Traditional Hawaiian music and dance was functional, used to express praise, communicate genealogy and mythology and accompany games, festivals and other secular events. The [[Hawaiian language]] has no word that translates precisely as ''music'', but a diverse vocabulary exists to describe rhythms, instruments, styles and elements of voice production. Hawaiian folk music is simple in [[melody]] and [[rhythm]], but is "complex and rich" in the "poetry, accompanying mimetic dance (''hula''), and subtleties of vocal styles... even in the attentuated forms in which they survive today" <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

[[Image:US Navy hula 031112-N-3228G-001.jpg|thumb|left|250px|Hula performance at a ceremony turning over [[U.S. Navy]] control over the island of [[Kahoolawe]] to the state]]

The chant (''mele'') is typically accompanied by an ''ipu heke'' (a double [[gourd]] drum) and/or ''pahu'' (sharkskin covered drum). Some dances require dancers to utilize hula implements such as an ''[[ipu]]'' (single [[gourd]] drum), ''`ili`ili'' (waterworn lava stone castanets), ''`uli`uli'' (feathered gourd rattles), ''pu`ili'' (split bamboo sticks) or ''kala`au'' (rhythm sticks). The older, formal kind of hula is called ''kahiko'', while the modern version is ''`auana''. There are also religious chants called <i>'oli</i>; when accompanied by [[dance|dancing]] and [[drums]], it is called '''mele hula pahu''.

In the pre-contact [[Hawaiian language]], the word ''mele'' referred to any kind of poetic expression, though it now translates as ''song''. The two kinds of Hawaiian [[chant]]ing were ''mele oli'' and ''mele hula''. The first were [[a cappella]] individual songs, while the latter were accompanied [[dance music]] performed by a group. The chanters were known as ''haku mele'' and were highly-trained composers and performers. Some kinds of chants express emotions like [[angst]] and [[affection]], or request a favor from another person. Other chants are for specific purposes like [[Hawaiian name|naming]], (''mele inoa''), [[prayer]] (''mele pule''), [[surfing]] (''mele he'e nalu'') and [[genealogy|genealogical]] recitations (''mele koihonua''). Mele chants were governed by strict rules, and were performed in a number of styles include the rapid ''kepakepa'' and the enunciate ''koihonua''.

== Music history ==

Historical documentation of Hawaiian music does not extend prior to the late 18th century, when foreign colonizers arrived on the island. During this period, Hawaii began a period of acculturation with the introduction of numerous styles of European music, including the hymns (''himeni'') introduced by Protestant missionary choirs. Mexican and Spanish cowboys, or ''paniolos'', were particularly influential immigrants in the field of music, introducing [[falsetto]] singing and the use of [[string instrument]]s such as the [[guitar]], while Portuguese sailors brought the [[ukulele]]-like [[braguinha]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Elizabeth Tatar divided Hawaiian music history into seven periods, beginning with the initial arrival of Europeans and their musical cultures, spanning approximately from 1820 to 1872. The subsequent period lasted to the beginning of the 20th century, and was marked by the creation of an acculturated yet characteristically Hawaiian modern style, while European instruments spread across the islands. Tatar's third period, from 1900 to about 1915, saw the integration of Hawaiian music into the broader field of American popular music, with the invention of ''hapa haole'' songs, which use the English language and only superficial elements of Hawaiian music; the beginning of the Hawaiian recording industry was in 1906, when the [[Victor Talking Machine Company]] made the first 53 recordings in the state. By 1912, recorded Hawaiian music had found an audience on the American mainland <ref name="Tatar"> Tatar, Elizabeth, in George Kanahele's ''Hawaiian Music and Musicians''</ref>.

From 1915 to 1930, mainstream audiences outside of Hawaii became increasingly enamoured of Hawaiian music, though by this time the songs marketed as ''Hawaiian'' had only tangential relations to actual Hawaiian music. Tahitian and Samoan music had an influence on Hawaiian music during this period, especially in their swifter and more intricate rhythms. The following era, from about 1930 to 1960, has been called the "Golden Age of Hawaiian music", when popular styles were adapted for [[orchestra]]s and [[big band]]s, and Hawaiian performers like [[Lani MacIntire]] and [[Sol Hoopii]] became mainstream stars. In the 1960s, Hawaiian-style music declined in popularity amid an influx of rock, soul and pop acts from the American mainland. This trend reversed itself in the final period of Hawaiian music history, the modern period beginning with the [[Hawaiian Renaissance]] in the 1970s and continuing with the foundation of a variety of modern music scenes in fields like [[indie rock]], [[Hawaiian hip hop music|Hawaiian hip hop]] and [[Jawaiian]] <ref name="Tatar"> Tatar, Elizabeth, in George Kanahele's ''Hawaiian Music Music and Musicians''</ref>.

=== Queen Lili'uokalani and Henry Berger ===
[[Image:Liliuokalani2.jpg|left|thumb|150px|Queen Lili'uokalani]]

Queen [[Lili'uokalani]] was the last Queen of Hawaii before the [[Hawaiian monarchy]] was overthrown. She was also a musician and composer, known for the unofficial Hawaiian anthem "[[Aloha 'Oe]]". Though she arranged the music for "Aloha 'Oe", and wrote the lyrics, she appropriated the tune from a [[Music of Croatia|Croatian folk]] song called "Sidi Mara na kamen studencu".

Lili'uokalani was one of many members of the Hawaiian royal family with musical inclinations. They studied under a [[Prussia]]n military bandleader, [[Henry Berger]], who was sent by the [[Kaiser]] at the request of [[Kamehameha V]]. Berger became fascinated by Hawaiian folk music, and wrote much documentation on it. However, he also brought his own musical background in [[music of Germany|German music]], and heavily guided the Hawaiian musicians and composers he worked with. As a result, the traditional Hawaiian music that he documented was a hybrid of native and German styles, brought both by Berger and [[Lutheran]] [[missionary|missionaries]].

=== Guitar innovations ===

Guitars could have come to Hawaii from several sources: sailors, missionaries, or travelers to and from California. The most frequently-told story is that it accompanied the Mexican cowboys (''vaqueros'') brought by King [[Kamehameha III]] in 1832 in order to teach the natives how to control an overpopulation of cattle. The Hawaiian cowboys (''paniolo'') used guitars in their traditional folk music. The Portuguese introduced an instrument called the ''braguinha'', a small, four-stringed [[Madeira]] variant of the [[cavaquinho]]; this instrument was a precursor to the [[`ukulele]] <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

Steel-string guitars also arrived with the Portuguese in the 1860s and slack-key had spread across the chain by the late 1880s. Legend has it that a ship called the ''Ravenscrag'' arrived in Honolulu on August 23, 1879, bringing Portuguese field workers from [[Madeira]]. One of the men, João Fernandes, later a popular musician, tried to impress the Hawaiians by playing folk music with a friend's [[braguinha]]; the Hawaiians called the instrument ''`ukulele'' (''jumping flea'') in reference to the man's swift fingers. Others have claimed the word means ''gift that came here'' or a corruption of ''ukeke lele'' (''dancing [[ukeke]]'', a three-string bow) <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

=== Late 19th and early 20th century ===

[[Image:AlohaOe1913.jpg|right|thumb|1913 sheet music cover]]

In the 1880s and 90s, King [[David Kalakaua]] promoted Hawaiian culture and also encouraged the addition of new instruments, such as the ukulele and steel guitar. Kalakaua's successor, his sister [[Lili'uokalani]], composed music herself, and wrote several songs, like "Aloha 'Oe", which remain popular. During this period, Hawaiian music evolved into a "new distinctive" style, using the derivatives of European instruments; aside from the widespread string instruments, [[brass band]]s like the [[Royal Hawaiian Band]] performed Hawaiian songs as well as popular marches and ragtimes <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In about [[1900]], [[Joseph Kekuku]] began sliding a piece of steel across slacked keys, thus inventing [[steel guitar]] (''kila kila''); at about the same time, traditional Hawaiian music with [[English language|English]] lyrics became popular -- this was called [[hapa haole]]. Vocals predominated in Hawaiian music until the [[20th century]], when instrumentation took a lead role. Much of modern slack-key guitar has become entirely instrumental <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In [[1927]], Rose Moe (1908 - 1999), a Hawaiian singer, with her husband [[Tau Moe]] (1908 -), a Samoan guitarist, began touring with ''Madame Riviere's Hawaiians''. In [[1929]] they recorded eight songs in [[Tokyo]], one of the first recordings of traditional Hawaiian music. Rose and Tau continued touring for over fifty years, living in countries such as Germany, Lebanon and India. With their children, the Tau Moe family did much to spread the sound of Hawaiian folk music and hapa haole music throughout the world. In [[1988]], the Tau Moe family re-recorded the 1929 sessions with the help of musician and ethnomusicologist Bob Brozman.

The 1920s also saw the development of a uniquely Hawaiian style of [[jazz]], innovated by performers at the Moana and Royal Hawaiian Hotels <ref>[http://www.hawaiijazz.com/historyofhijf.pdf History of the Hawaii International Jazz Festival] (pdf)</ref>.

====Slack key guitar====
''Main article: [[Slack-key guitar]]''

Slack-key guitar (''kī ho`alu'' in Hawaiian) is a fingerpicked playing style, named for the fact that the strings are most often "slacked" or loosened to create an open (unfingered) chord, either a major chord (G or C, sometimes D) or a major 7th. (The latter are called "wahine" tunings.) A tuning might be invented to play a particular song or facilitate a particular effect, and as late as the 1960s they were often treated as family secrets and passed from generation to generation. By the time of the [[Hawaiian Renaissance]], though, the example of players such as [[Auntie Alice Namakelua]], [[Leonard Kwan]], [[Raymond Kane]], and [[Keola Beamer]] had encouraged the sharing of the tunings and techniques and probably saved the style from extinction. Playing techniques include "hammering-on", "pulling-off", "chimes" (harmonics), and "slides," and these effects frequently mimic the falsettos and vocal breaks common in Hawaiian singing.

The guitar entered Hawaiian culture from a number of directions--sailors, settlers, contract workers. One important source of the style was Mexican cowboys hired to work on the Big Island of Hawai`i in the first half of the 19th century. These ''paniolo'' brought their guitars and their music, and when they left, the Hawaiians developed their own style of playing the instrument.

Slack key guitar evolved to accompany the rhythms of Hawaiian dancing and the melodies of Hawaiian chant. Hawaiian music in general, which was promoted under the reign of King David Kalakaua as a matter of national pride, drew rhythms from traditional Hawaiian beats and military marches, and drew its melodies from Christian hymns and the cosmopolitan peoples of the islands (although principally American).

==== Popularization ====

In the early 20th century Hawaiians began touring the United States, often in small bands. A [[Broadway theatre|Broadway]] show called ''Bird of Paradise'' introduced Hawaiian music to many Americans in 1912 and the [[Panama Pacific Exhibition]] in [[San Francisco]] followed in 1915; one year later, Hawaiian music sold more recordings than any other style in the country. The increasing popularization of Hawaiian music influenced [[blues]] and [[country music|country]] musicians; this connection can still be heard in modern country. In reverse, musicians like [[Bennie Nawahi]] began incorporating [[jazz]] into his [[steel guitar]], [[ukulele]] and [[mandolin]] music, while the [[Kalama Quartet]] introduced a style of group falsetto singing. The musician [[Sol Ho'opii]] arose during this time, playing both Hawaiian music and jazz, Western swing and country, and developing the pedal steel guitar; his recordings helped establish the [[Nashville sound]] of popular country music <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

In the 1920s and 30s, Hawaiian music became an integral part of [[tourism in Hawaii|local tourism]], with most hotels and attractions incorporating music in one form or another. Among the earliest and most popular musical attractions was the ''Kodak Hula Show'', sponsored by [[Kodak]], in which a tourist purchased Kodak film and took photographs of dancers and musicians. <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>. The show ran from 1937 through 2002. In the first half of the 20th century, the mostly-young men who hung around the Honolulu beaches, swimming and surfing, came to be known as the [[Waikiki Beachboys]] and their parties became famous across Hawaii and abroad; most of them played the ukulele all day long, sitting on the beach and eventually began working for hotels to entertain tourists.

== Modern music ==

In recent decades, traditional Hawaiian music has undergone a renaissance, with renewed interest from both ethnic Hawaiians and others. The islands have also produced a number of well-regarded [[rock and roll|rock]], [[pop music|pop]], [[hip hop music|hip hop]], [[soul music|soul]] and [[reggae]] performers. Hawaii has its own regional music industry, with several distinctive styles of recorded popular music. Hawaiian popular music is largely based on [[American popular music]], but does have distinctive retentions from traditional Hawaiian music <ref name="Manuel"> Manuel, pgs. 236 - 241</ref>.

=== Hawaiian Renaissance ===
''Main article: [[Hawaiian Renaissance]]

The Hawaiian Renaissance was a resurgence in interest in Hawaiian music, especially slack-key, among ethnic Hawaiians. Long-standing performers like [[Gabby Pahinui]] found their careers revitalized; Pahinui, who had begun recording in 1947, finally reached mainstream audiences across the United States when sessions on which [[Ry Cooder]] played with him and his family were released as ''The Gabby Pahinui Hawaiian Band, Vol. 1'' on a major mainland label. Pahinui inspired a legion of followers who played a mix of slack-key, reggae, country, rock and other styles. The more traditional players included [[Leland "Atta" Isaacs, Sr.]], [[Sonny Chillingworth]], [[Ray Kane]], [[Leonard Kwan]], [[Ledward Ka`apana]], while [[Keola Beamer]] and [[Peter Moon]] have been more eclectic in their approach. [[George Kanahele]]'s [[Hawaiian Music Foundation]] did much to spread slack-key and other forms of Hawaiian music, especially after a major 1972 concert <ref name="Unterberger"> Unterberger, pgs. 465 - 473</ref>.

[[Don Ho]] from the small Honolulu neighborhood of Kaka'ako figures among the more widely known Hawaiian musicians. Although he perhaps does not produce completely "traditional" Hawaiian music, Ho has become an unofficial ambassador of Hawaiian culture throughout the world as well as on the American mainland. Ho's style often appears to combine traditional Hawaiian elements and older [[1950s]] and [[1960s]]-style crooner music with an easy listening touch.

=== Jawaiian ===
''Main article: [[Jawaiian]]''

Jawaiian is a Hawaiian style of [[reggae]] music, a genre that evolved in the late 1960s and early 70s in [[Jamaica]]. Reggae has become popular across the world, especially among ethnic groups and races that have been historically oppressed, such as [[Native Americans in the United States|Native Americans]] and [[Australian Aborigine]]s. In Hawaii, ethnic Hawaiians and others in the state began playing a mixture of reggae and local music in the early 1990s. By the end of that decade, it had come to dominate the local music scene, as well as spawned a backlash that the ''[[Honolulu Star-Bulletin]]'' compared to the "[[disco]] sucks" movement of the late 1970s <ref>[http://starbulletin.com/2002/01/01/features/story2.html Honolulu Star-Bulletin]</ref>.

=== Hip Hop ===
''Main article: [[Hawaii Hip Hop]]''

Hawaii [[Hip Hop music|Hip Hop]] can be dated back to it's first inception back in the early 1980s (though the birth of Hip Hop can be dated as far back as the early 1970s, originating in New York City). With breakthrough A.M. radio station [[KISA]] playing Hip Hop in the prime time. Radio personalities for [[KISA]] included [[Auntie Loki]], [[Johnny Jay Jam]] and [[Mother Goose]]. In regards to the continuation and preservation of Hawaii [[Hip Hop music|Hip Hop]] on the airwaves, came [[Kavet the Catalyst]] of the [http://www.lightsleepers.net LightSleepers] camp, and he hosted a radio show on the University of Hawaii's [http://www.ktuh.org KTUH]. You can still tune in to [http://www.ktuh.org KTUH] periodically to find the tradition living on strong with current DJs/hosts. [[KIKI (FM)]] also played a big role in bringing Hip Hop to mainstream radio. [[Campbellock]] dancer, [[Double Klutch]], is noted as being one of Hawaii's most veteran Hip Hop dancers. Some of the Hawaii [[Hip Hop music|Hip Hop]] crews include the [[Nomasterbacks]], [[Direct Descendants]], [[HI State]], [[Deadmonkeys]], [[Audible Lab Rats]], [[Sisters in Sound]], [[Omega Cix]], [[Earth Movers]], [[Amphibieus Tungs]], [[808 Natives]], [[P.O.P.]] (Prince's of Percussions), [[Club Rox Rock]], [[Rhythm & Rhyme]], [[C.O.D.]] (Concept's of Desire), [[Skream Team]] and many more. One of the first ever solo artists noted to do Hawaiian Hip Hop was a Hawaiian female emcee by the name of, [[Charlotte Kaluna]], better known as [[Frumpy]]. One of the first Hawaiian Hip Hop groups, [[Sudden Rush]], received notice for their integration of Hawaiian language into their rhymes, and came up with the term ''na mele paleoleo'' (literally "music of fast repetitive poetry") to describe their music. [http://www.asitarecordings.com Asita Recordings], [http://www.tikientertainment.com Tiki Entertainment] and [[Flip the Bird Entertainment]] are prominent Hawaii based hip hop [[record labels]]. [http://www.quadmag.com Quad Mag] a long-standing [[zine]] that covers the Hawaii Hip Hop scene. Another big contributor is [http://www.djelite.com DJ ELITE], of [http://www.eliteempire.com Elite Empire Entertainment], Hawaii's first Hip Hop DJ Champion. [http://www.djelite.com DJ ELITE] is said to have been a huge influence in helping to shape Hawaii Hip Hop turntablism in to what it is today. In 2005, [http://www.djelite.com DJ ELITE] hosted the online Hawaii Hip Hop show on [http://www.huimusic.com HuiMusic.com]. [http://www.djelite.com DJ ELITE] is also the administrator of the [http://hiphophawaii.eliteempire.com "Hip-Hop Hawaii Forum"] at [http://www.eliteempire.com EliteEmpire.com].

{{Polynesianmusic}}

==References==

* {{cite web|work=Alternative Hawaii|title=Big Island: Entertainment|accessdate=February 2|accessyear=2006|url=http://www.alternative-hawaii.com/activity/bient.htm}}
* {{cite web|url=http://www.alternative-hawaii.com/activity/kent.htm|title=Kuaui: Entertainment|accessdate=February 2|accessyear=2006|work=Alternative Hawaii}}
* {{cite web|title=History of the Hawaii International Jazz Festival (pdf)|work=Hawaii International Jazz Festival|accessdate=February 2|accessyear=2006|url=http://www.hawaiijazz.com/historyofhijf.pdf}}
* {{cite book|author=Cooper, Mike|chapter=Steel Slide Hula Baloos|year=2000|editor= Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.)|title=World Music, Vol. 2: Africa, Europe and the Middle East|pages=56-57|publisher=London: Rough Guides|id=ISBN 1858286360}}
* {{cite web|title=History of the Honolulu Symphony|work=Honolulu Symphony|accessdate=January 10|accessyear=2006|url=http://www.honolulusymphony.com/about.php}}
* {{cite web|url=http://www.alternative-hawaii.com/activity/lent.htm|title=Lanai: Entertainment|accessdate=February 2|accessyear=2006|work=Alternative Hawaii}}
* {{cite book|title=Popular Musics of the Non-Western World|author=Manuel, Peter|id=ISBN 0195063341|year=1988|New York: Oxford University Press|pages=236 - 241}}
* {{cite book|title=Hawaiian Music and Musicians|pages=xxv - xxvii|editor=Kanahele, George S., ed.}}
* {{cite book|author=Unterberger, Richie|title=Music USA: The Rough Guide|id=ISBN 185828421X|publisher=London: Rough Guides|year=1999|pages=465 - 473}}
* {{cite web|accessdate=January 12|accessyear=2006|title=’02 not the year Jawaiian dies, but look out|work=Honolulu Star-Bulletin|url=http://starbulletin.com/2002/01/01/features/story2.html}}
* {{cite web|accessdate=March 29|accessyear=2006|title=Waikiki hula show ends run|work=Honolulu Star-Bulletin|url= http://starbulletin.com/2002/09/26/news/story1.html}}
* {{cite book|author=Tatar, Elizabeth|chapter=Slack Key Guitar,|year=1979|editor=Kanahele, George S., ed.|title=Hawaiian Music and Musicians|pages=350 - 360|publisher=University Press of Hawaii|id=ISBN 082480578X}}

== Notes ==

<div style="font-size: 85%">
<references/>
</div>

== External links ==
* [http://hawaiimusicmuseum.org/main/cover.html/ Hawaiian Music Hall of Fame]
* [http://www.huapala.org/ Huapala, Hawaiian Music and Hula Archives]
*[http://www.nahenahe.net/ Hawaiian Music News and Reviews from NahenaheNet]
* [http://www.pic-a-pagediscounts.com/song_lyrics_1.html Island Song Lyrics - Large collection of island themed songs]
* [http://www.tropicalstormhawaii.com/cgi-bin/view.cgi?pid=songlist&sc=ps Tropical Storm Hawaii - Island songs in Hawaiian and English]
* [http://www.squareone.org/Hapa/ Hapa Haole Songs, Island songs written in English]
*[http://www.taropatch.net/ Taro Patch, An internet and international Slack Key community]
*[http://www.eliteempire.com Elite Empire Entertainment (Hawaii Hip Hop)]
*[http://www.djelite.com DJ ELITE (Hawaii Hip Hop turntablist and music producer)]
*[http://hiphophawaii.eliteempire.com Hip Hop Hawaii Forum]

[[Category:Hawaiian music| ]]
[[Category:Music of United States subdivisions|Hawaii]]

Galmei

2006-01-05T15:34:29Z

195.195.247.129:

:''This article is about calamine in mineralogy. For other uses of the word, see [[calamine (disambiguation)]].''

'''Calamine''' is an archaic name for an [[ore]] of [[zinc]]. The name was derived from the [[Belgian]] town of [[Kelmis]], whose [[French language|French]] name is "La Calamine", which is home to a zinc mine.

During the late 18th century it was discovered that what had been thought to be one ore was actually two distinct [[minerals]]:

*[[zinc carbonate]] ZnCO<sub>3</sub> or [[smithsonite]] and
*[[zinc silicate]] Zn<sub>4</sub>Si<sub>2</sub>O<sub>7</sub>(OH)<sub>2</sub>·H<sub>2</sub>O or [[hemimorphite]].

The two [[minerals]] are usually very similar in appearance and can only be distinguished through [[chemical analysis]]. The first to separate the minerals was the [[United Kingdom|British]] [[chemist]] and [[mineralogist]] [[James Smithson]] in [[1803]]. In the [[mining]] industry the term calamine is still used to refer to both minerals indiscriminately.

In [[mineralogy]] calamine is no longer considered a valid term. It has been replaced by [[smithsonite]] and [[hemimorphite]].

Until the [[18th century]], ''calamine'' was the only source of zinc available to the [[brass]] manufacturing industry, which as a result produced [[calamine bras
[[Category:Minerals]]
Before the 1700's, zinc could not be found or taken in its pure form because the technology did not yet exist that could melt it. Zinc's melting point is 420 degrees Centigrade. In order to make brass, ground calamine ore and copper were mixed together and then heated in a crucible. This did not melt the copper, but it did release vapors from the zinc in the calamine into the copper. After zinc vapors permeated the copper, brass was formed. The brass was then melted down to make the metal uniform.

[[da:Kalamin]]
[[fr:Calamine]]