Just wondering if any actual music from Native Americans was recorded (written record, transcribed to some kind of sheet music) by Europeans, in the 18th century or earlier. I'm especially interested in flute music.

If you try to google for this, it seems all the results are just modern recordings, impossible to tell if it was really an original song, or if it was contemporary in the "style" of Native Americans that Hollywood has embued. This is why I asked for 18th century recordings or earlier, because I figure that 19th and 20th century, by then a lot of European style music could very well have influenced things.

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Sound recordings prior to the mid 19th century are anachronistic, however sound recordings since then of authentic music reproductions may be available, due to the existence of transcriptions of authentic music made in the early 1600's.

No, the Europeans did not make sound recordings of Native American flute music (nor did anyone else, of any other sounds, for that matter) in the 18th century or earlier. Sound recording devices were not invented until the phonautograph in 1857 (France) followed by the phonograph in 1877 (USA). Thus, no sound recordings of any kind were made prior to the middle of the 19th century.

Wikipedia has an entry for Indigenous music of North America, including a section on the Native American Flute (as well as a separate article dedicated to the Native American Flute) which may interest you. A quote from the History section of the Wiki entry says this:

So Native American flutes made since 1823 may not be crafted in the same fashion or with the same materials as those made in earlier centuries, making it difficult to know if the same sounds and tonal qualities and ranges of those flutes of earlier centuries can be reproduced with fidelity.

The Music section of that Native American flute article contains this information (which also indicates a reproduction of the styles and not necessarily the authenticity of the recordings as indicated in the Question).

Extensive ethnographic recordings were made by early anthropologists such as Alice Cunningham Fletcher, Franz Boas, Frank Speck, Frances Densmore, and Francis La Flesche. A small portion of these recordings included Native American flute playing. One catalog lists 110 ethnographic recordings made prior to 1930.

However, the legal and ethical issues surrounding access to these early recordings are complex. Because of incidents of misappropriation of ethnographic materials recorded within their territories, Indigenous communities today claim a say over whether, how and on what terms elements of their intangible cultural heritage are studied, recorded, re-used and represented by researchers, museums, commercial interests and others.

The Wiki source for Belo Cozad's recording for the Library of Congress is Stephen Wade (1997) - Library of Congress: A Treasury of Library of Congress Field Recordings. Rounder Records. That recording may be worth investigating to determine if it is authentic, or another modern re-interpretation in the style of Native American flute music.

In this first lesson I am not going to try and teach you about notes, scales, intervals, tempo, theory or any of the other technical facets of music making. Instead, you are just going to learn how to make beautiful sounds on your Love flute.

Just looking at your Native American flute you can see that it is not a complicated instrument. This lack of complexity means that this type of flute is easy to play. So relax and make a little mental and emotional effort to let go of any anxieties and inhibitions that you may be feeling. These feelings are a by-product of your childhood learning experiences. Now that you are and adult it is going to be different. You can go at your own pace and in private. Nobody is watching or judging what you are doing. I guarantee you can easily learn to play and will enjoy playing your Native American style flute.

Before you start playing lets learn a little bit about your flute. The Native American flute is a tube divided into two sections by a solid area of wood inside the tube. This solid area is called the plug and it separates the slow air chamber - at the mouth end of the flute - from the sound chamber or bore at the far end of the flute. The bore is where the six tone holes are.

Put the bird back on the Love flute over the flue and tighten it down. The bird must be tied tightly on the flute or air can escape out the sides of the flue and this will cause disturbances in the sound of the flute. The bird should be centered on the hole. The front edge of the bird should be just in back of the rear or back edge of the sound hole. How far back depends on the particular flute. A good starting point is about a 32nd of an inch or the thickness of a plastic credit card.

The ring, middle and index finger of the left hand cover the three bottom holes and the ring, middle and index finger of the right hand cover the three top holes. You don't need to use a lot of pressure. The fingers should rest over the holes not press down hard on them. You thumbs are in a comfortable position on the underside of the Love flute.

You will do this by lifting the ring finger of your right hand from the hole it is covering. This hole is called the number one hole. Blow into the flute with all holes closed and while still blowing lift the right ring finger. Play around with lifting and lowering this finger making the sound go up and down. You don't have to lift the finger high off the flute. Just enough to let air to escape. If the finger ends up way high over the flute it will have difficulty finding the hole when it comes back down. You now have two notes.

One thing that you need to remember at this stage in your learning is that you don't lift up a finger until the finger below it is up. So you don't lift up the middle finger before the ring finger is up. You don't lift up the index finger before the ring and middle fingers are already up.

Let's go on to the left hand and add fifth note. If you have a Native American flute with five holes the ring finger of the right hand will be resting on the flute not over a hole. With a six-hole Ancient Territories Native American style flute we are not going to lift up the ring finger of the right hand but leave it down on the hole. You will raise the middle finger of the left hand next.

So you push the air up from the solar plexus, up and out the mouth and into the flute to sound the fundamental note. Then raise the right hand ring finger, then middle, then index finger. Next (leaving the left hand ring finger down of over the fourth hole) you raise the middle finger of the left hand. You have sounded five notes including the fundamental. This completes a pentatonic (five note) scale.

You will sound the next note by lifting up the index finger of your left hand. This sixth note is your fundamental note again but one octave higher than where you started. See Flute Keys and Notes . Of course, you don't need to know what fundamentals, scales; octaves or notes are to make music. I'm using a little bit of musical terminology here and if you are not familiar with the terms don't worry because you are making music anyway.

Now, play with letting your fingers dance up and down the holes of the flute. Do this at different rates of speed. Change the volume by blowing harder or softer. Play, discover and enjoy the world of music.

I first connected with Kevin in 2017 while consulting for the South Dakota Arts Council as their folk and traditional arts specialist. Kevin lives in the community of Wakpala on the Standing Rock Indian Reservation in South Dakota, out of which he bases his work: touring across the country and the world, educating through his hoop dance and Indigenous flute performances. He received a National Heritage Fellowship from the National Endowment for the Arts in 1990 at the ripe old age of thirty-six.

In the early 1970s I would receive encouragement and mentoring from noted traditionalist, flutist, centenarian Richard Fool Bull and began amassing a repertoire from many elders, of this once widespread, unique vocal genre from which all flute melodies are derive: wilowa, serenading a woman.

Wilowa, the courtship song tradition associated with the Indigenous flute, existed widely in the context of the pre-reservation social structure. This vocal genre was once widespread across the northern and southern plains as well as the Great Lakes and woodlands regions of North America. Its companion, the North American Indigenous flute, was created to intone or instrumentalize this genre.

The pre-immigrant North American Indigenous flute tradition spans most of North America and is characterized uniformly as instrumentalization of vocal compositions. Irrespective of tribal origin, the compositional structure has formulaic rules of construction and always expresses romance. This unique musical genre is an authentic literary style much akin to haiku poetry in that the first part of the song is mysterious and cryptic, and the second part of the song resolves or discloses the mystery of the first part.

The vocal genre from which these flute melodies are derived concern all aspects of romance. Because this unique vocal genre is a highly evolved poetic form which weaves inspired vocabulary, idioms, and grammatical constructions into highly entertaining literary expressions, it often has outlived the flute-playing tradition designed to portray it.

Additionally, the National Endowment for the Arts has awarded four National Heritage Fellowships for knowledge keepers associated with the Indigenous flute: Doc Tate Nevaquaya (Comanche), Everett Kapayou (Meskwaki), Bryan Akipa (Dakota), and yours truly.

This has been the beginning for eradicating false information about pre-reservation era Indigenous flute/vocal traditions and incorporating this musical tradition in language revitalization initiatives as well as larger cultural performances. Ultimately, I wish to dramatically expand an understanding and revival of this unique North American musical tradition. 152ee80cbc

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