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Music and Language in Duna Pikono

Gillespie, Kirsty; San Roque, Lila

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[Extract] The relationship between music and language has been a topic of scholarship for many years, across the academic world. In the Duna �sung story� genre of pikono, systems of music and language are interdependent and it is this relationship that our chapter explores. In keeping with the topic of this volume, our discussion only relates to pikono that is sung. Sung pikono is considered by the Duna to be the height of the craft, and this is the mode of delivery for male performances. Women...[Show more]

dc.contributor.authorGillespie, Kirsty
dc.contributor.authorSan Roque, Lila
dc.contributor.editorAlan Rumsey
dc.contributor.editorDon Niles
dc.date.accessioned2015-12-08T22:39:08Z
dc.identifier.isbn978-1-921862205
dc.identifier.urihttp://hdl.handle.net/1885/36110
dc.description.abstract[Extract] The relationship between music and language has been a topic of scholarship for many years, across the academic world. In the Duna �sung story� genre of pikono, systems of music and language are interdependent and it is this relationship that our chapter explores. In keeping with the topic of this volume, our discussion only relates to pikono that is sung. Sung pikono is considered by the Duna to be the height of the craft, and this is the mode of delivery for male performances. Women also create pikono, however the performance context and their delivery of pikono is much different. Men typically sing pikono to groups of men in men�s houses at night (see Kendoli, this volume). Women, on the other hand, tell (rather than sing) pikono to other women or to children, often in their homes, as reported by Modjeska (1977:332). We have found that often the pikono told by women feature sections of sung text that most commonly illustrate a musical event of some kind, such as a courting song or a lament, which occurs within the story. Predominantly, however, women�s pikono are in spoken form, and as such will not be discussed here.1We focus on men�s sung performance of pikono, but in particular we examine a performance of pikono by one man, Kiale Yokona, whom we met in March 2005 at Hirane parish2in the Kopiago area, where we were both conducting our doctoral research. Kiale arrived from the neighbouring parish of Mbara, and word quickly spread that he would be telling a pikono at the Hirane men�s house that night. We dropped by the men�s house briefly and, conforming to the gender rules governing the space, arranged for him to perform for us the next evening in another location.
dc.format.extent15 pages
dc.format.mimetypeapplication/pdf
dc.language.isoen_AU
dc.publisherANU ePress
dc.relation.ispartofSung Tales from the Papua New Guinea Highlands: Studies in Form, Meaning, and Sociocultural Context
dc.relation.isversionof1st Edition
dc.rightsAuthor/s retain copyright
dc.sourceSung Tales from the Papua New Guinea Highlands: Studies in Form, Meaning, and Sociocultural Context
dc.source.urihttp://press-files.anu.edu.au/downloads/press/p145421/pdf/ch033.pdf
dc.titleMusic and Language in Duna Pikono
dc.typeBook chapter
local.description.notesImported from ARIES
local.description.refereedYes
dc.date.issued2011
local.identifier.absfor200320 - Pacific Languages
local.identifier.ariespublicationu4632067xPUB132
local.publisher.urlhttp://press.anu.edu.au/
local.type.statusMetadata only
local.contributor.affiliationGillespie, Kirsty, College of Asia and the Pacific, ANU
local.contributor.affiliationSan Roque, Lila, Papua New Guinea Vernacular Education Network
local.bibliographicCitation.startpage49
local.bibliographicCitation.lastpage63
local.identifier.doi10.22459/STPNGH.08.2011.03
dc.date.updated2020-12-13T07:28:10Z
local.bibliographicCitation.placeofpublicationCanberra, ACT, Australia
dcterms.accessRightsOpen Access via publisher website
CollectionsANU Press (1965-Present)

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