Uusuusuha, Panflute Music of the ‘Are ‘Are people of Malaita, Solomon Islands
John Lai’s analysis of a Solomon islands panpipe quartet that clusters several smaller cycles together to form a meta-cycle.
Paane ni Rokera, Panflute Music of the ‘Are ‘Are people of Malaita, Solomon Islands
John Lai’s analysis of an interlocking flute duet from the Solomon Islands that uses small variations to create a large-scale directed formal process across cycle repetitions.
Uusuusuha, Panflute Music of the ‘Are ‘Are people of Malaita, Solomon Islands
by Hei-Yeung (John) Lai Track 6 from Hugo Zemp’s 1969-70 field recordings, released on Disques Vogue as Flutes De Pan Mélanésiennes. This track is a recording of the ‘Au Tahana ensemble, a panpipe quartet. From the liner notes: Uusuusuha (Drop-by-drop). “Raindrops falling, one by one, from a house roof onto a leaf on the ground. This […]
Paane ni Rokera, Panflute Music of the ‘Are ‘Are people of Malaita, Solomon Islands
by Hei-Yeung (John) Lai Track #2 from Hugo Zemp’s 1974 field recordings. This track is a recording of the ‘Au Tahana ensemble, a panpipe quartet. Observations Both voices keep repeating a 10-quarter-note cycle throughout the recording, except that the first cycle of the upper voice is one quarter note shorter. Thus, the cycles of […]
胸前的口弦 (The Jew’s Harp on the Chest), piece by Ma Guoguo
John Lai’s transcription of a Jew’s harp piece from China’s Yunnan Province.
阿姆 (Mother), Jaw Harp piece by Ma Guoguo
John Lai’s transcription with annotations of a Jew’s Harp piece from China’s Yunnan Province.
Tangsulangga, Tratnien (guitar) Music from East Tibet
John Lai’s analysis of a strummed string instrument playing a cycle with a very flexible form; a stretch to make a template of the cycles.
Flute Music from the Kuna of Panama (Part 3)
John Lai’s analysis of a Panama flute cycle where the cycle length is varied by extending a fragment of material.
Flute Music from the Kuna of Panama (Part 1)
John Lai’s analysis of a flexible length cycle played by panflutes in Panama, where different material is inserted between identical starting and ending phrases.
Folk Dance from Pakistan
John Lai’s Analysis of a Pakistani folk dance from Sindh, played by a double-reeded instrument, featuring a cycle with consistent beginnings and endings, but flexible material in between.