The instruments
we recognize today as Hawaiian musical instruments include many types, reflect a
variety of local interests, inventive originality, and simplicity. The quality
of tones, from subdued to lively, can conjure imageries of dread, solemnity,
awe, fear, courage, and gaiety. Spectators and dancers of the hula are equally
touched by a primitive instrument's weird hold on the emotions.
Helen
Roberts describes nineteen (19) different musical instruments. Ukeke ... string
bow -- the only Hawaiian string instrument Wind instruments include:
`Ohe hano ihu
bamboo nose flute
Hokiokio gourd whistle
Pu la`i ti leaf
whistle
Pu conch shell
Oeoe bull roarer
Ni
au kani jew's harp
Pu`ohe bamboo tubes
The human body is used as a percussion instrument. Other
percussion instruments include:
Pahu kettle
drum
Puniu coconut drum
Ipu gourd or calabash drum
Ili`ili stone castanets
Ka`eke`eke bamboo pipes
Kala`au
sticks
Papa hehi footboards
Uli`uli gourd rattles
Ulili
gourd rattle on stick
Pu`ili bamboo rattle
Kupe`e anklets
Not all of these instruments, however, were associated
with the hula. The most important instruments in hula were utilized as an
accompaniment to the Ho`opa`a (chanter) and Olapa (dancer).
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The instruments also marked rhythm
and timing for the dancer. Many of these instruments were used for informal
dancing, but the spirited pahu, puniu, and ipu
were instruments for formal dance events and thus given traditional
reverence.
With the advent of missionary teachings, the hula
became forbidden and these instruments and their manufacture ceased to be prized
and valued. Hula, however, went underground, was practiced in
secret, and shared with only a few. Modern Hawai`i can thank the efforts of
monarchs such as Queen Emma (consort of Kamehameha IV) and King Kalakaua for
returning the prestige and contributions of hula to 19th century
Hawai`i. By the 20th century, individuals such as Fred Malulani Kahea Beckley
gave classes in making ancient styled hula instruments at his
Beretania Street studio in Honolulu in the early 1900s. Johnny Noble, a popular
musician, composer, and arranger of traditional hula songs always
tried to use ancient musical accompaniments, such as the ipu, the
`ili`ili, and the pu`ili, in his song compositions.
In 1878, a Portuguese immigrant, J.
A. Gonzales, brought to Hawai`i the braga (braguinha), a four-string prototype
of the `ukulele. Among his fellow passengers were Augusto Diaz,
Jose De Espirito Santo, and Manuel Nunes. These young men were business partners
in the old country, making musical instruments. They not only manufactured the
first `ukulele, but performed for the royal court using the new
instrument. Hawaiians at first were reluctant to familiarize themselves with
this instrument. The strumming, chords, and fingering were new and difficult.
King Kalakaua took a liking to the `ukulele and saw its
possibilities. He commanded that singing and playing clubs be formed on all
islands for royal functions. He insisted that `ukulele playing
have a leading role in all such orchestras. Earnest Ka`ai, the first Hawaiian to
master the `ukulele, printed chords for popular sheet music. The
rest is, as they say, history. Today's hula performances will greet audiences
with the melodious sounds of both traditional musical instruments and a musical
ensemble of a piano, `ukulele, guitar, and steel
guitar. |
