Didjeridu  (Page 2/3)

It is an ancient instrument, in the same category as other traditional lip-reed wind instruments, made from a variety of materials,from branches to animal horns to conch shells, and found in many cultures around the world. Archaeological records show the didjeridu is at least 1500 years old,and it may be much older than that, possibly even one of the oldest wind instruments ever invented anywhere.

Didjeridu traditions center in Arnhem Land, the largest Aboriginal freehold area in Australia. It is located at the "top end" ofAustralia's Northern Territory (its north central state). There are actually three distinct musical traditions in this area, which include differentdidjeridu playing styles. For example, in eastern Arnhem land, players tend to alternate rapidly between the two easily-available pitches (see below ); in the central area the alternation between the two is slower, and players in the Western part of the area tend to play onlythe fundamental, deriving interest from variation in timbre and other techniques (Listen to the audio file above for more about this).

Some musical events in Australian Aboriginal communities have intense religious and cultural significance and are not open to the public; specific instruments andplayers are called for on these occasions. Other events are open-to-the-public performances. Although playing the didjeridu is traditionally considered a man'sjob, and Aboriginal people may consider a didjeridu-playing woman to be shocking or humorous (in the same way that an American might consider it shocking orhumorous to see a man wearing a dress), there are no particular proscriptions against outsiders playing the instrument.

In fact, in recent times, the world music movement has created widespread interest in Non-Western musical traditions, including instruments such as the didjeridu, which now are sometimes included in cross-tradition ensembles. As of this writing the band Yothu Yindi has had the greatest impact in introducing the didjeridu to the rest of the world. MostAboriginal Australians have no problem with the idea of the instrument being used in non-traditional ways, but some are troubled by the mass production ofpoorer-quality, inauthentic instruments, and by schools of playing that claim, but do not really have, a link with Aboriginal traditions, considering this tobe a form of intellectual-property theft from their culture.

Sound, performance, and repertoire

Traditionally, a single didjeridu player accompanies one or more singers. The singers may also be playing percussioninstruments, such as bilma (clapsticks), and there may also be dancing. The didjeridu player learns the repertoire from other accomplished players ratherthan reading music. Boys and young men are encouraged to play the instrument for fun, and the most promising ones are trained to become the community's didjeriduplayers, the ones who are asked to play at ceremonies and performances. The most typical kind of performance is a series or cycle of short songs; each song hasits standard rhythm, and the didjeridu player is expected to both keep the basic rhythm and to improvise variations on it, somewhat as a good jazz drummerwould.