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Didgeridoos Across America Fredrick Töben comments
Is this the fraud of multiculturalism objectified that normal, sane and courageous individuals oppose?
In the following program Australian Aboriginal culture, as symbolically exemplified by the didgeridoo, is celebrated as a cultural revival. Unfortunately there are serious objections to this kind of mental framework that claims 'the old ways' includes superior customs that ought to be revived and certainly replace our current cultural stock:
1. Women are prohibited from playing the didgeridoo, and if they do, it may cause ill health, multiple births, etc. This superstitious attitude is unacceptable to a rational person. It ties in with that other matter called secret women's business, the secretive and conspiratorial argument that is a regression to dividing men and women within a shroud of secrecy, as do the male secret societies such as the Freemasons. This is rejected by those who seek to understand life through reason.
2. In the program, the claim is made that instead of teaching the recorders in schools, the didgeridoo ought to replace the recorder in music lessons because it is superior in form and function. This is a nonsense that assumes the recorder, and by implication, western classical music, is not worth learning. This hides the fact that western music is the highest form of expressing the concept of freedom.
The above comments do not denigrate world folk music. After all, classical music has its roots in folk music!
Didgeridoos Across America
with Claudia Taranto
Didgeridoos Across America The didgeridoo has become such a popular instrument in the USA and Europe that an annual festival dedicated to this Australian instrument is held every year.
Producer: Claudia Taranto
----- Original Message -----
From: David
Astin
Sent: Sunday, December 07, 2003 3:13 PM
Subject: Re: Multiculturalism's fraud and the didgeridoo
Dear Fredrick,
After studying ethnomusicology for
a short time at the Conservatorium, I can state that it was
taught in the early 80s (and presumably before, when the truth was
taught) that the didgeridoo was an instrument that was only known
and played in the northern parts of Qld and the Northern Territory.
The "instrument", which is
only a drone played by circular breathing (surprisingly easy to do,
I can teach you if you like) and can only "play" one note,
so is rather limited in its usage in a Beethoven symphony. Slightly
below a set of Bagpipes! (that should upset our Scottish allies!).
This is not a problem for the Australian Aborigine as their
music consists of only of two or three notes of the diatonic scale
whilst the dancers kick up their feet in the dust. In their world of
being hunter gatherers, as far as entertainment and dressing up was
concerned, the best they could do was to smear themselves in
mud and bang bits of wood together. Not much of a result for a
"sixty thousand year civilization" that is being drummed
in to the impressionable students in schools
The didgeridoo was never played in the
southern states of Australia as it was not known there. These days,
as soon as an Aborigine wants to publicise any event, a didgeridoo
is always seen or heard in the background (rather like a lot of
other myths that are passed off as fact, always shown on the A.B.C.
and hopefully to be shown as fraud one day). This is fraudulent,
as the people who say that they are aborigines, sticking to their
"traditional music" are reinventing history. These people
must have been taught by others and lied to that this is what their
ancestors did.
Any questions, don't hesitate to ask.
Best regards,
David
----- Original Message -----
Sent: Sunday, December 07, 2003 8:07 PM
Subject: Re: Multiculturalism's fraud and the didgeridoo
Dear David,
Please, please (!) stop knocking the
bagpipes.
The Scottish Highland Pipes can only
play 8 notes, and one of those notes (to simplify, as you
know) doesn't quite match the modern scale. Despite this
disadvantage, the classical tradition of Highland piping, known as
piobearachd, can at times be brilliant and entrancing. It also
takes years to master, as well as a great deal of education in
that musical tradition to understand.
By contrast, I play the Northumbrian
smallpipes, which can if you wish encompass a fully-chromatic
range over two octaves, depending on how many extra keys you are
prepared to pay for - or think you are capable of using! As an
instrument they are like their French equivalent, which has
been successfully incorporated into classical music by several
serious French composers.
You are of course right in saying that
the didgeridoo is merely a single and boring drone. By contrast,
the four drones of the Northumbrian pipes, of which only three are
used at any one time, can be set to several different keys.
Ah, civilisation ...
My only "beef" with you,
David, is that you continue to put down bagpipes. I suppose that
is your nasty side. But as you know, any bagpipe, from anywhere in
the world - even from Turkey, India or the Balkans - is far
superior to didgeridoos and rhythm sticks!
Best Regards,
Jock
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