T he changing interests of scholars are reflected in the terms they employ. The word change, itself, is now a term in frequent use. In a recent issue of Ethnomusicology, the editor noted that all four articles in the issue were concerned with change (Rice 1983: v). Total and abrupt change in any aspect of culture is, of course, uncommon. Thus, change or variation must be discussed simultaneously with its obverse, continuity or stability. In this study, I examine eleven performances of a song of the Hopi Indians of Northern Arizona and pose the following questions: If one asks a Hopi to sing the lullaby about the black bug, how is this performance likely to differ from those which were recorded in the past, and those which may be recorded in the future? What is stable, what is varied, and what are the parameters of such variation? What does a Hopi mean when he says that he will sing the lullaby about the black bug? Since what is being examined is a song, I shall consider both the words and the melody. Most Hopis live in three clusters of villages situated on the southern rim of the great Black Mesa. From east to west, these population areas are known as First Mesa, Second Mesa, and Third Mesa. They display some slight cultural differences such as dialect. The bulk of Hopi songs are composed by individuals for a particular occasion. This is true, for example, of the songs performed at public ceremonies, such as the kachina dance, and those sung by women while grinding corn. Before inexpensive, battery-operated tape recorders became available, such songs were usually known only in the area in which they were composed and had a relatively short life. To this, the black beetle or stink bug lullaby is an exception. It has been known throughout the Reservation during the century, at least, and its composer is not known. It is primarily sung by women, but is also occasionally sung by men to their children. In the past it was the custom of Hopi mothers to strap their infants to cradle boards which they then tied to their backs. By this means they could carry their infants from place to place as they worked. The child was sung to sleep while on the cradleboard or, by both sexes, while held in the arms. In the latter case the child's back was simultaneously rubbed. The lullaby has no pulse and no coordination of kinetic and musical rhythm is involved as there would be, for example, when rocking a child to sleep in a cradle.
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