siitman ; ye individually; there is no one method applicable to all. Whatis pertinent y cles lacie if Ege fe fag is that the gentes are distinct notonly in terms of defining structural/for- 3 PEE ail S lege Ee imal and performative parameters, but also by the stat of transmission, EPs | Sees |e eee |e (ee preservation documentation and by varying configurations of texts that E a ee le AE lp [222 E les hhave been generated among the spectrum of song, genres. 2 f if ae t HE Hi Hy ; re Seale ls fed (2b: Hawaiian Songs Ancient and Modern i a fae ual 5 A eae {In Hawaiian pesformance, the primary component is a poetic text. In 315 HA a B eee Hi documentation of indigenous genres of performance, itis evident that Bat |g te |ee |eeye & [ise [e828 suumental music was not extensively cultivated; the cl ag la [ae |ieeh E UEEE ESBS msi Would have been fovers serena i a leeqi le [eg2 ebe2 age] (E|E Piaget aad ns be athe themed sound of FEL aie ef q ESHER (EEA for the voice, suggesting that a poetic text ali a ae ra aides eae on presumed, or alluded fo, ln westernized song genres, ae a F/B EEE [E rumental techniques were developed by Hawaiians in aly |3 |e. lee |gesfeagiiaes (S89 with Hawaiian repertoire. These include the “Hawaiian guitar” B33 |e af ay ag eee ae Sg tn asnga wilh tel ba which became known by Gai RUBLE Te tsaos neste guitar” Another style of guar playing known as eae eaeeg [ade | "lack key guitar” involves retuning by slackening various strings and EERE iy gee Gi Els 23 plucking utmelodies on the upper-pitched strings while simultaneously gia He HAGE H Eee e| aa Sea EHPESPESRHOSeS|E gee picking out a repetitive bass pi lower-pitched strings. The has also enjoy smaller four-stringed instruiné ring periods of popularity as a: traditions, the instrument was initially associated understood that Hawaiian songs are vocal songs, performed in instrumental versions, and pieces ital have been created and passed clown after the instrument's popularity as a soloist had been established, ‘My starting point in conceiving a volume of Hawatian songs is the convenient existence of named categories of songs. The spectrum of songs spans atleast thirteen genres, which can be grouped in three broad categories (see Table 1). The distinctions among the named categories include parameters that are musical and performative, having to do with ‘melodie patterning, the presence or absence of metet, and fixed versus flexible phrase lengths. There is a wealth of numerous other terms used to categorize songs derived from nineteenth-and early twentieth-century sources. Terms related to pre-twentieth-century performance practices 32's magisterial Tala Tela ia apap The lope Ta as? Tapa hoale ng "nele ea Tas Song steed, ee wis dinee War fer and poetic devices, separate from the musical attributes applied in ‘melodic composition and/or performance. Table 1. Gears of iavaion Song