Music
Musical Instruments
The only musical instrument in use among these people is the universal drum505 or tambourine (kĕlyau), consisting of a membrane stretched over a hoop with a handle on one side, and used from Greenland to Siberia. It is always accompanied by the voice singing or chanting. The player holds the handle in his left hand with the membrane away from him, and strikes alternately on each side of the rim with a short heavy piece of ivory, or a long slender wand, rotating the drum slightly at the same time to meet the stroke. This produces a loud, resonant, and somewhat musical note. There appears, however, to be no system of tuning these drums, the pitch of the note depending entirely on accident.
We collected four of these drums, of which every household possesses at least one. They are all of essentially the same construction, but vary in size. No. 56741 [79], Fig. 383, has been selected as the type. The frame is a flat strip of willow 67 inches long, 1 inch wide, and 0.3 inch thick, bent till the two ends meet, thus making a hoop 22.2 inches long and 19 inches wide. The ends are fastened together by a strap of walrus ivory on the inside of the hoop, secured to the wood by neat stitches of black whalebone. The handle is of walrus ivory 5.2 inches long. The larger end is rather rudely carved into a human face. Back of this head and 1 inch from the large end of the handle is a square transverse notch, deep and sufficiently wide to fit over both rim and strap at the joint. It is held on by a lashing of sinew braid passing through holes in rim and strap, one on each side of the handle, and a large transverse hole in the latter, below and a little in front of the notch. The membrane, which appears to be a sheet of the peritoneum of a seal, is stretched over the other side of the hoop, which is beveled on the outside edge, and its edge is brought down to a deep groove 0.2 inch from the edge of the hoop and 0.3 inch wide, running round the hoop, where it is secured by three or four turns of sinew braid. The end of this string is crossed back and forth four or five times round the handle, where it is fitted to the hoop and then wrapped around it and finished off with a knot.
No. 56742 [514], from Utkiavwĭñ, is a similar drum, but somewhat larger, the hoop being 24.6 inches long and 22 inches wide. It is of the same materials, except that the strap at the joint is of reindeer antler. Opposite the joint the hoop appears to have shown signs of weakness, as it has been strengthened with two straps of walrus ivory, one on the inside and one on the outside of the hoop, fastened together by stitches of sinew which pass through the wood and through both straps. The inside strap is 4.7 inches long, the outer 3.5 inches long, and only half the width of the rim, and is let into the latter. This strap appears to have been put on first, as at each end there is a stitch which only runs through the wood. The handle is fastened on as before, but has two transverse holes instead of one, and has four deep rounded notches for the fingers. (See Fig. 384.) The joint is tightened by driving a thin sliver of wood in at the bottom of the notch.
No. 56743 [31], from Utkiavwĭñ, closely resembles the type, but has a notch for the thumb as well as for the forefinger on the handle. The hoop is 23.5 inches long and 21 wide. No. 56740 [80] from the same village is rather smaller than the ordinary drums, having a hoop 16.2 inches long and 14.7 wide. The handle is of antler, but has the usual face on the large end.
We also brought home eight handles for these drums, which exhibit but slight variations. The commonest material for the handle is walrus ivory. Only two out of the twelve are of antler. They are usually about 5 inches long (the longest is 5.4 inches and the shortest 4.6). Handles with grooves for the fingers and sometimes for the thumb seem to be quite as common as the plain handles. Fig. 385a represents an ivory handle from Nuwŭk (No. 89267 [898]), which has a groove for each finger and a shallow one on the right side for the thumb. It is 5 inches long.
With one exception all these handles have the large end more or less neatly carved into a human face, with the mouth open as if singing, probably from an idea similar to that which makes the decorative artists of civilized countries ornament the pipes of a great organ with singing faces. This face is usually in the position shown in the specimens figured, but No. 89266 [784] (Fig. 385b), a handle of antler from Utkiavwĭñ, has the axis of the face parallel to that of the handle. Nos. 89269 [975] and 56515 [76], both from Utkiavwĭñ, are peculiar in their ornamentation. They are both of walrus ivory. The former has a well-carved face at the large end with small blue beads inlaid for eyes. In addition to this the small end has been rather freshly carved into a rather rude seal’s head, and an ornamental pattern has been incised round the middle. This specimen exhibits the grooves for the fingers very well. The latter is a plain handle, but has a little sharp tusk inserted at each corner of the mouth. The only handle without a human face on the large end (No. 56514 [65] Fig. 385c, from Utkiavwĭñ) is peculiar in many respects. It is the butt end of a small walrus tusk, with a large pulp cavity, the edges of which are much notched and irregularly broken. The notch for fitting it to the handle is at the smaller end, which is neatly carved into a very good figure of a walrus head, with the tusks bent back to the under side of the handle. The head has oval bits of wood inlaid for eyes. None of the drums or handles in the collection are newly made.
The stick employed for beating these drums is commonly a slender elastic wand about 2½ feet long, but they also sometimes use a short thick stick of ivory resembling that used by the eastern Eskimo.506 We brought home two of these sticks, both of which belong with the drum No. 56743 [31]. Fig. 386a (No. 56540 [31]) is a roughly cylindrical rod of ivory with a hole for a lanyard. The larger end is ornamented by rudely incised and darkened lines which represent the eyes and outline of the mouth of a “bow-head” whale. Fig. 386b (No. 56540 [31a]) is a plain round stick of ivory 9.4 inches long. It is rather roughly made and somewhat warped. The use of the long stick is perhaps derived from Siberia, where the short thick stick does not appear to be used.507
Holes in the membrane of the drum are sometimes mended with pieces of the crop of the ptarmigan. At any rate, this is what I was told by a native, who begged from me the crops of two of these birds that I was skinning, saying that he wanted them to mend his drum. These drums are always beaten as an accompaniment to invocations of spirits or incantations. This practice is so common that some authors are in the habit of always speaking of them as “shaman drums”. As I have already stated, their most common use is purely as a musical instrument, and they are used not only by the so-called “shamans” but by everybody.
Character and Frequency of Music
Their music consists of monotonous chants, usually with very little perceptible air, and pitched generally in a minor key. I could not perceive that they had any idea of “tune,” in the musical sense, but when several sang together each pitched the tune to suit himself. They, however, keep excellent time. The ordinary songs are in “common” or time.508 The words are often extemporaneous, and at tolerably regular intervals comes the refrain, “A yáña yáña, a yáña ya,” which takes the place of the “ámna aja” of the eastern Eskimo. Sometimes, when they are humming or singing to themselves, the words are nothing but this refrain. Their voices, as a general thing, are musical.
Like all Eskimo, they are very fond of music, and are constantly singing and humming to themselves, sometimes, according to Capt. Herendeen, waking up in the night to sing. Besides their regular festivals they often amuse themselves in their houses by singing to the drum. They are fond of civilized music, and, having usually very quick and rather acute ears, readily catch the tunes, which they sing with curiously mutilated words. We found “Shoo Fly” and “Little Brown Jug” great favorites at the time of our arrival, and one old woman from Nuwŭk, told us with great glee, how Magwa (Maguire) used to sing “Tolderolderol.” Our two violins, the doctor’s and the cook’s, were a constant source of delight to them.
Capt. Parry509 gives an excellent account of the music of the people of Fury and Hecla Straits.510
I regret extremely that I was not enough of a musician to write down on the spot the different tunes sung by these people. The ordinary monotonous chant is so devoid of air that I can not possibly recollect it, and the same is true of the chant which accompanies the game of pebble-tossing. I was able, however, to catch by ear the song sung by the children when they dance to the aurora. I never had the whole of this song, which we were told had a large number of stanzas. The first three are as follows:
1. Kióya ke, kióya ke,
A, yáñɐ, yañɐ, ya,
Hwi, hwi, hwi, hwi!
2. Túdlĭmaná, túdlĭmaná,
A yáñɐ, yañɐ, ya,
Hwi, hwi, hwi, hwi!
3. Kálutaná, kalutaná,
A yáñɐ, yáñɐ, ya,
Hwi, hwi, hwi, hwi!
We did not succeed in learning the meaning of these words, except, of course, that the first word, kióya, is aurora. When there is a bright aurora, the children often keep on dancing and singing this song till late into the night. A tune was introduced in the spring of 1883 by a party of men from Kĭlauwĭtáwĭñ, who came up to take part in the whale-fishing at Utkiavwĭñ. It became at once exceedingly popular, and everybody was singing or humming it. It is peculiar in being in waltz or time, and has considerably more air than the ordinary tunes. I heard no words sung to it except: “O hai hai yáña, O hai yáña, O haíja he, haíja he.” Mr. Dall informs me that he recognizes this tune as one sung by the Indians on the Yukon.