Didj List FAQ

1)THE WORLD FAMOUS DIDJERIDU MAILING LIST

1.2) SUBSCRIPTION

1.2.1) How do I subscribe?

Go to :  http://music.mills.edu/mailman/listinfo/didjeridu and follow directions.

1.2.2) Why am I subscribed? TAKE ME OFF THIS LIST!

You are subscribed to the list because:

1. You willingly and knowingly sent a request to the listprocessor instructing it to add your name to the list of recipients.
   
2. You are the victim of an unknown, malicious, immoral person whom subscribed you to one or multiple mailing lists. Please refrain from directing your anger to the list or demanding the list members take your name off of the list. Only you and the list owner have the capability to remove your name from the list.

1.2.3) How do I unsubscribe?

Go To: http://music.mills.edu/mailman/listinfo/didjeridu   scroll down & enter the email address used to receive list mail.

If this does not work, send a message to toyoji@mills.edu and nicely request assistance in removing your name from the list.

1.2.4) How do I send messages to the list?

Once subscribed, to participate you may send messages to: didjeridu@music.mills.edu

1.2.5) Where is my message? Did the list receive it?

N/A

1.2.6) Is there a digest available?

Yes. At times the list can be quite active and you may find that you don't have the time to read and process all the individual incoming messages.

1.2.7) How do I receive the digest version?

Go to: http:// music.mills.edu/mailman/listinfo/didjeridu   And scroll down to the edit options area, enter your email address...select batch.

1.2.8) How can I search the digest archives?

Go To:  http://music.mills.edu/pipermail/didjeridu/

1.3) RULES OF CONDUCT

1.3.1) What is considered "inappropriate"?

Waaay-off topic posts. A sig longer than four lines. Swearing. Racist remarks. *Excessive* advertising or Unsolicited Commercial Email (SPAM). Trolling (Inflammatory posts). Using CreAtiVE caPiTaLiZatiON, B1FF. If you still don't understand then refer to the User Guidelines and Netiquette.

1.3.2) Is any advertising allowed ?

Yes, but please keep it to a minimum. Examples of tolerable advertisement are: a four-line sig with every post, an informative "full page" advertisement every 12 months, or sending information upon request by the majority. List members are also usually tolerant of sales promotions from others as long as it isn't blatant and an equal or greater amount of on-topic information is contributed.

1.4) RECIPIENTS

1.4.1) How many recipients are there?

As of this writing, there are 241 non-concealed recipients.
It usually fluctuates only by five or ten.

1.4.2) Who are the recipients of the list?

N/A

1.4.3) I want to jam! Which list members are in my geographic area?

...or you can go to The Players List web page at: player_list/index.html

...or you can put a name to a face when you go to Lawrence (Shi ) Soto's former Mail List Member web page now hosted by Lee Parker on this site

1.4.4) Which professional musicians subscribe to the list?

Stephen Kent, etc.

1.4.5) How can I contact them?

Some of them are list members and might receive and reply to your post through the list. I say "might" because not all are active members and only post occasionally in their spare time between touring, recording, instructional workshops, etc. Please exercise good judgment when contacting "celebrity" members.

 

1.5) LIST PROJECTS

1.5.1) Does the list have "pet" projects?

Yes. Ideas for projects are encouraged. Here's a list of ongoing and past projects:

1. T-Shirts, Dreamtime T, Just 'DU It, DP01 Tour Shirt, etc.
   
   Denver Greer (the MAFWG) has had a few non-profit T-Shirt ideas in the past which were very popular. His first was the Dreamtime T, which was a gray shirt with blue "DREAMTIME", and black "The Didjeridu W3 Server" and black line art of the didj players featured on the Dreamtime Web Site.Denver's second T was "oatmeal" in color and presented a parody of Nike's slogan as "Yidaki - Just DU It" and cleverly featured a graphic of a curved didjeridu and it's "swooshing" shadow. Both of these T-Shirts required funding up-front and were limited in number. Alas, they are no longer available for sale.A third T has been discussed but not yet produced - The _Didjeridu Planet_ Tour Shirt, featuring graphics of the cover/CD art and a list of the performers and "roadies", or funding list members, on the back.
   
   
2. Music CD, _Didjeridu Planet_ aka DP01
   
   Didjeridu Planet (DP01) is a non-commercial, not-for-profit CD project. List members wanted to hear each other's music so a fund was initiated to produce a compilation of their music on compact disc. Tracks were recorded and submitted to the producer, list member Karl Kalbaugh of Henninger Digital Audio. List members also submitted samples of cover art to a website, where one by Kenneth Woodruff was chosen as the cover art for the CD. The result was a professional, beautifully-crafted work of art representing various styles of didjeridu music.
   
   
   1. Where can I get a copy of DP01?
      
      The CD is now, unfortunately, out of print. A second, limited re-master, DP1.5, has been produced and was distributed to list members. Please contact Peter Hadley at phadley@wesleyan.edu to order a copy. When the stock is eventually depleted you might consider asking the other list members if one could part with an extra.
      
      
   2. Where are the liner notes?
      
      The liner notes are at Earthshaking Music's site at: http://www.earthshakingmusic.com/didj.html
      
      
3. Music CD,_Didjeridu Planet 2_ aka DP02
   
   There were a few list members who didn't make it onto DP01 as well as new list members who subscribed after the project was completed. So another not-for-profit compilation was started by DP01 producer, Karl Kalbaugh. Karl turned the production over to David Blonski on Tuesday, October 14, 1997 for unspecified personal reasons.
   
   As of May 22, 1998 all tracks had been submitted.
   On December 28, 1998 pre-ordered CD's began shipping.
   
   
   1. Who created the cover art?
      
      Kenneth Woodruff has been keeper of the art submissions. The cover art was voted on and a submission from list member Clay Garrett was chosen. Congratulations Clay!
      
      
   2. Who is editing the liner notes?
      
      Dave Crowder is editing the liner notes.
      John Snyder has offered to house both AIFF and MPEG formatted sound clips of each track which will be linked to the notes web site.
      
      
   3. Who's did the Graphics Layout?
      
      The beautiful, charming, talented, beautiful, intelligent, and vivacious Brandi Chase offered to help layout the Graphics. (Did I mention she's beautiful?)
      
      
   4. How can I purchase a copy of DP02 ?
      
      "After the release of DP02 copies will be available from the contributing list members and additionally available at Clarion Music, EarthShaking Music, Joyous Noise Music, Timeless Productions , LA Outback and other Didge retail outlets but the recommended retail price will be $15. Contributors will be able to give out copies as gifts sell them at cost or a slight profit or even at the full retail price if they so desire. I will continue to make DP02 available to list members for a discount price of $10 ea after it's release."
      
      "To purchase a CD send a check or money order made out to David Blonski or Timeless Productions and write "DP02" on the memo line along with your request. Send it to the address below. For multiple orders we can additionally accept MasterCard or Visa over the phone." -David Blonski, Producer DP02.
      
      David A. Blonski
      Timeless Productions
      5050 Traverse Creek Rd. Garden Valley, CA
      95633 USA
      Tel. 530-333-1335
      
      
   5. How long will DP02 be available?
      
      "Since I run a small independent music label (Timeless Productions) it should be easy for me to keep the project in print for as long as the List would like. This time around were going to allow it to be used by the contributors in any way they wish including grassroots distribution if they wish to make it a commercial effort for themselves. In that way the folks who are teaching classes and workshops or doing performances can pass them along to their students and fans for their cost or a small profit if they so desire. Likewise, all the contributors have the same access to the project to pass along to friends and family at a nominal cost or small profit. DP02 will also be available for distribution to our friends at EarthShaking Music, Clarion Music, Timeless Productions, Joyous Noise Music, and others who are supportive to the list and working to educate the public about the Didjeridu, it's use in world music, and it's historical and cultural significance." -David Blonski, Producer DP02.
      
      
   6. What will be done with any excess funds?
      
      "If any surplus money is acquired from the sale of this product to the contributing artists it will be used for financing future productions such as the "Wandering Didg" recording and/or DP03. It is also our hope that at some point in time we can finance putting together and "Education Kit" that we would like to make available to interested schools and educators." -David Blonski, Producer.
      
      
      
4. Edu-Kit
   
   Unexpected, excess funds were generated from DP01, so a few ideas into which we could funnel this money were discussed. One was to make a number of a Educational Kits comprised of didj instructional video(s), a copy of "THE BOOK "; "Arnhem Land to Internet", and a copy of DP01, then disperse them to educational institutions around the globe. This well-intentioned project was found dead in the aftermath of the "Profits" debate. It will most likely be revived from any additional funds leftover from DP02.
   
   
5. The Wandering Didj
   
   This project was presented by Guan Lim in January 1997. The premise was to send one of his instruments on a 'round-the-world trip and to have each of the receiving list members record a little of their playing. The recordings could then go towards a future CD compilation. Guan proposed that by doing this we could have some sort of idea of how accent could influence didjeridu style without the idiocyncracies of different instruments coloring this assessment. Although the project was meant to be non-competetive, Guan would award the didj to the submission he judged to be the best. A few semantics were addressed such as cracking due to climate differences, hygiene concerns, shipping/customs fees and quarantines. Discussion of the project was dropped until February 20, 1998.
   
   On March 23, 1998, Guan sent the didjeridu on it's way. First stop was David Mills in Tasmania. From there it went to Peter Lister in Sydney, then to With that, Guan announced his reasons for discontinued responsibility of the project:
   
   "I take no further responsibility for Wandering Didj - it is well and truely out of my hands. This project is many things, but simply, it is a symbol of our connection through sharing of breath, our daily exchange via cyberspace, the friendships we have made throught this list, and not least of all the passion we share for an aboriginal musical instrument which is also a cultural heritage object. At times it may test our communication skills and goodwill. Other times it may be an education project that brings the focus back to Australia's indigenous peoples. Creativity will be explored, musical genius further teased out, different playing styles exhibited... Be sure to know that lurkers will have to go public if they want to be involved. Please, no private emails to me asking to be a participant.
   
   May your spirit enjoy the journey."
   
   Brandi Chase has a web page devoted to tracking this didjeridu's wayward journey.
   
   
6. Jim Hall's Didj Tablature & Notation
   
   The booklet James wrote is intended to get beginning didj players (who may have heard very little actual playing) started. Once they know a few simple rhythms, they should have the confidence to begin improvisation.
   

   The Famous Didjeridu Mailing List Didjeridu Tab Version 2.0
   Breath line:
   v 0--- 5--- 8--- 0=8	Breath position voice same pitch as didjeridu voice 5th above didjeridu voice octave above didjeridu Pitch glide octave to octave
   Phonics line:
   |: text :|3x| duu Duu JEP [text] <Tu> du - wee du ~ wee ha' ha' ^w wee = uu duu...	Repeat "text" 3 times lowercase text - unstressed Uppercase letter - accent letter Uppercase word - accent word Enclosed "text" is voiced Enclosed text is second octave Continued sound Continued sound with vibrato play staccato - (gut slaps) Cheek squeezes as in "ga^wit or ga^wee" Vowel glide Sustained tone
   Timing line:
   w = h = q = e = s = ^ = q_q =	whole note half note quarter note eighth note sixteenth note triplet Two quarters tied
   FORMAT:
   Font: Max. Width: Breath: Phonics: Space:	Monospaced 10 point; 72 characters per Didj-line (Please us the above setting so that the breath lines and phonics line will stay together and not wrap onlow resolution monitors and to leaveroom for copy marks ">" Top line of Didj line Bottom Line of Didj line Insert 2 blank lines between each Didj-line.

7. Gatherings
   
   
   1. Solstices
      
      There have been quite a few gatherings by list members and non-list members to play didjeridu during the winter and (but mostly) summer solstices. Javi asked what the significance was and received this response:
      
      "The solstices and equinoxes have been the times for ceremonies and festivals in all human cultures on planet Earth. These marking points of the 4 seasons and of Earth's orbit around the sun are giving us our cosmic orientation in time*space. Mankind has allways felt the special significance and energetic qualities of the transition points between the seasons. The winter solstice means the shortest day in the year, and the subsequent return of the light. ..." - Rasta Robert, Digest 295.
      
      Plus, it's an excuse to play.
      
      By the way, Dr. Guy Grant appreciates all the attention. :) The summer solstice day is also the commemoration of his birth in 1940. "Crack a Cooper's (Ale) to (toast) him."
      (Dr Guy has since deceased...crack a Cooper's (Ale) to him anyway.  (LParker)
      

      Boulder, Colorado USA Dave Crowder organized a big one in Boulder, Colorado, USA in June of 1997. It consisted of : "All week live talk radio June 15th - 20th Penny Lane open mike 18th Workshop @ Mysterium 19th Headliner @ Boulder Theatre 20th Solstice jam @ Boudler Theatre 21st and camping out afterwards!" Now you can hear it live on tape! Dave has three different cassettes available. E-mail him at mcdave@oneimage.com, and he'll send you, privately, a reply with his new ground mailing address on it.. Then, you send $5.00 per tape to that address. He's only charging this small amount to cover his costs for shipping and tapes because they are NOT professional quality recordings. The play list can be found at http://www.oneimage.com/~mcdave/Fairs.html You can read Ed Drury's interview with Dave for his insight on organizing and execution of this event. In June of 1998, Dave held his Second Annual Boulder Summer Solstice Gathering. A journal of events which includes many pictures can be found at http://www.oneimage.com/~mcdave/gatheringjournal.html You can view Brandi Chase's pictorial account at http://www.brandichase.com/archive/didjeridu/events/boulder/boulder.htm In June of 1999 Dave held his Third Annual Summer Solstice Gathering. Visit Dave's site for pictures, a travelogue, audio files and a few movie clips featuring a "slide didge" and throat singing: http://www.oneimage.com/~mcdave/gathering3.html

      Netherlands On March 26, 1997, Kees Schreuders announced he was organizing a "World Wide Solstice Didj Event" in the Netherlands, similar to Dave Crowder's: "on the 21st of june at sunrise a (aboriginal) group in Australia (how symbolical and appropriate), starts the drone sending/passing it on to a next group/event/person westward on the globe. This way the drone and it's spiritual vibrations will travel around the world turning into a uniting celebration/ceremony."

      Orbis Terrarum, Orbis Lacteus. Soon after, on April 9, 1997, Adrian Smith presented to the list a similar, yet more 'virtual' idea: "OK. Here's the idea: People that are interested in joining a global didg to greet the solstice sun please put fill in an entry on the list below. If you mail your line to me I'll compile them into a single list which I'll post to the mailing list as the day approaches. I'd like to see how many people we can get playing in relay fashion around the globe on the solstice - a true world-wide melding of list members and didg players from around the Earth..." - Digest 819 He got about 57+ people from around the world to join in. In 1998 he, ahem, pulled together a second virtual gathering.

   2. Didjeridu Dreamtime Party, Tucson, Arizona, USA
      
      This annual event, is hosted by didjeridu maker and performer, Allan Shockley of Northern Sonoran Didjeridoo Dreamtime Pipe Co. It celebrates Allan's birthday, is held on or about February 13 and features a concert, a potluck dinner, camping, jamming and scheduled visits to Allan's home. You can find a re-cap of 1998's event in the archives of Brandi Chase's site.
      
      The Annual Arizona Mineral & Fossil Show coincides with this event so you should reserve a hotel or motel room early, if you're not camping..
      and if you are camping, keep in mind that most of the campgrounds have a first-come-first-serve rule.
      
      What happened in 1999:
      

      Event:

      The International Art Center 516 N. Fifth Ave. at 6th Street (old YMCA) Date: February 13, Time: 7:00pm Admission: $10.00 at the door.

      Featured Performers:

      - Stephen Kent & Eda Maxym - Merkaba - with Alana Cini, the "wild woman didjer" from Seattle - Didginus - with Randy Graves on didj, from San Diego - Mandala - Allan Shockley's band - And an interstate dig jam with Dave Crowder, Karl Sacksteder and Allen Smith

      Preliminary Line-up: (all times pm, MST)

      7:00 pm doors open, Dick Saggio on Flute 7:30 African Dance Troupe 8:00 Al's band Northern Sonoran Mandala 9:00 Dave Crowder 9:20 Merkaba w/ Alana Cini 10:20 Allan Smith 10:40 Steve Kent 11:30 Karl Sacksteder 11:50 Didginus w/ Randy Graves

      
      Raleigh Adams was making a video production of the event but scrapped it when he couldn't obtain the audio masters. (he's such a perfectionist!)
      
      An excellent pictorial account of the 1999 event has been provided by Brandi Chase at her website.

   3. United Kingdom Didjeridu Gathering
      
      Laurence Timms arranged a gathering for the weekend of August 21-22, 1999 at Hinchingbrooke Country Park just outside Huntingdon, Great Britain.

      "There'll be loads of opportunities to get together and play didj with old friends and new mates and a chance to hear some real good players. We're also planning to have workshops and lessons, didjes for sale and didj makers plus loads of related activities.
      
      Parking and overnight camping space available with a chance to didj around the camp fire late into the Summer evening " - Laurence Timms
      
      Visit the official home page at: http://www.didjeridu-uk.org/ or read one organiser's diary at http://www.sargant.clara.net/didjeuk.html .
      

 

8. Hall of Fame
   
   In May 1997, Dr. Guy Grant suggested a web page be constructed for "..a list of those on the didjeridu list who have contributed mightily to the list (e.g. Toyoji Tomita for starting the list). Another name for it could be an Honor Roll." Guy also nominated Karl Kalbaugh for unselfishly producing the Didj Planet CD. He noted that nominations could be made by any list member, and "should not be made lightly or flippantly". Mike Vande Bunt nominated Sean Borman for creating the Dreamtime W3 Server. Denver Greer suggested jokingly that the premise be changed to "Hall of Flame" because this project was brought up during the "Great Profit Debate". It was dropped due to humbled attitudes and the caring of bruised egos. ;)
   
   
   
9. Real-time IRC channels
   
   List member John Madill has a regularly scheduled event on Sunday evenings at 9:00pm EST (GMT-5) but don't hesitate to drop in at your convenience. People come and go all day long, so if nobody is there when you drop in, just wait a while. IRC parameters: Server: joyousnoise.com , Port: 6667 or 7000 .
   
   The following is a list of ircnet servers provided by "continuum": (All use port 6667).
   

   irc.uni-linz.ac.at irc.univie.ac.at irc.wu-wien.ac.at troll.elec.uow.edu.au othello.ulb.ac.be irc.span.ch chat.btinternet.com rc.felk.cvnut.cz noc.belwue.de pascal.zedat.fu-berlin.de rwth-aachen.de tu-muenchen.de uni-erlangen.de uni-karlsruhe.de uni-kl.de uni-paderborn.de irc.informatik.uni-rostock.de

   uni-stuttgart.de galeon.uca.es irc.funet.fi Eurecom8.cica.fr irc.enst.fr sil.polytechnique.fr salambo.enserb.u-bordeaux.fr irc.univ-lyon1.fr rea.edu.physics.uch.gr irc.bme.hu irc.tau.ac.il isgate.is irc.isnet.is irc.ccii.unipi.it endo.wide.ad.jp ircd.bt.net irc.nl.net irc.sci.kun.nl

   irc.nijenrode.nl indy3.cpedu.rug.nl irc.xs4all.nl irc.hitos.no irc.uib.no irc.ifi.uio.no irc.pvv.unit.no irc.rosprint.ru irc.arnes.si stork.doc.ic.ac.uk serv.es.man.ac.uk irc.webbernet.net irc.bt.net irc.igcom.net irc.hpi.net irc.stealth.net ircnet.sprynet.com irc.aintnet.com

   
   There's also a pretty extensive list and hyperlinks which cover all the IRC networks and servers from around the world, but It is not know if it's absolutely current and total. It can be found at:
   http://www.geocities.com/SiliconValley/Park/6000/servers.html
   
   

1.6) DEAD HORSES AND HOT BUTTONS

1.6.1) Are there any topics that have been discussed extensively?

1. Alan Dargin "Hitchhiker's Nightmare" Thread
   FTP or by email - (2 parts, 65481 bytes, 27771 bytes).
   
   
2. Allegations of racism and Sean Borman's Sign-off
   (refer to Topic No. 7 in the thread above.)
   
   
   
3. aborigine vs. Aborigine - proper grammar and usage
   FTP or by email - (1 part, 29519 bytes).
   (no longer available - Lee)
   
   
4. "The Didjeridu Book" & Copyright issues
   
   
   1. What is "The Didjeridu Book"?
      
      THE DIDJERIDU:
      FROM ARNHEM LAND TO INTERNET
      
      Edited by Karl Neuenfeldt
      
      Soft Cover ISBN 1 86462 004 8, 192 pp
      Hard Cover ISBN 1 86462 003 X, 192 pp
      
      This book is the first comprehensive study of the Australian Aboriginal instrument the Didjeridu from a range of musical, cultural and sociological viewpoints. Written in an informed but accessible style, individual chapters analyse traditional uses of the instrument; its use in contemporary Aboriginal rock music; the perspective of various accomplished players (both Aboriginal and non-Aboriginal); and aspects of the instrument's global diffusion in the 1990s.
      
      The book includes a foreword from Mandawuy Yunupingu, cultural activist and lead singer with the internationally renowned Aboriginal rock band Yothu Yindi. Other contributors include noted Aboriginal musicians such as Kev Carmody, David Hudson and Mick Davison; and leading writers and academics in the field of contemporary music studies from Australia, North America and the United Kingdom.
      
      The Didjeridu: From Arnhem Land to Internet is a co-publication between John Libbey and Perfect Beat Publications, the book imprint of Perfect Beat - The Pacific Journal of Research into Contemporary Music and Popular Culture, edited by Dr. Philip Hayward, Head of Media and Communication Studies at Macquarie University Sydney.
      
      The editor Dr. Karl Neuenfeldt has trained in Cultural Studies in Australia and Anthropology in Canada. He has published in a variety of academic journals and has also worked as a professional musician in North and Central America and Australia.
      
      
   2. Why is it viewed so disdainfully by the list?
      
      Mr. Neuenfeldt used quotations from the Didjeridu List archives, quoting list members without their permission and used real names. Many incensed list members felt that they were paraphrased and that he possibly violated copyright law and their privacy when he quoted them without their permission. It was determined through discussion on the list that when doing so, he only breached professional ethics. There was no infringement because it fell under the "fair use" clause.
      
      
5. Didj'n on Drugs
   
   DRUGS?! What kinda hippie freak are ya? ;)
   
   This hot topic pushed a few hot buttons when it was brought up in October of 1995. It started off with a list member who related a story of a "friend of a friend" whom had an interesting drug-induced experience with a didjeridu. Another list member "Terry", became disgusted at the notion of glorifying drugs in the forum and quickly and vociferously unsubscribed. A few other list members then denounced "Terry" as being "narrow-minded" but also entitled to his opinion. Another list member, "Keith", related his pleasant experience of when he played his didj while tripping on "liberty cap" mushrooms. Performance may suffer as "Luis" proclaims that (while high) "heard recordings of sessions in which I believed myself to be playing magnificently. Very embarrasing."

   Ed "had occasion to play the didjeridu with some friends after a sumptuous meal augmented by copious shots of vodka (in true Russian style). Much to my dismay I could barely get my lips to vibrate. For about 30 minutes, the best I could muster was a weak 'pppffffffttt' sound." Conclusion: "don't drink and didj!! :)"

   "SESSON" retorts with "I wonder what the rasta community would think of the opinion that if you're stoned you only imagine you're playing well. It can't of course be taken seriously."

   "Mike" exclaims "If drug use helps people get into their didj playing, that's OK. For me, didj playing IS like a drug, so I don't need any artificial help."

   He continues with "I have also found that alcohol use lessens the responsiveness of my lips, so I don't drink and didj. Does that make me a 'Designated Didjer?' ;-)"

   For complete detail you can receive Digest 247 via email and follow the thread through successive digests.
   (no longer available - Lee)
   

6. The Great "Profit" Debate

   Unexpectedly, excess funds were generated from DP01, so a few ideas into which we could funnel this money were discussed and discussed and DISCUSSED until DISGUST. Our option were to:

   1. Donate the money to an Australian Aboriginal cause.
   2. Distribute it back to the list members who bought CD's or funded the project.
   3. Make an Educational Kit comprised of didj instructional video(s), a copy of "The Didjeridu Book", and a copy of DP01, then disperse them to educational institutions around the globe.
      

   A vote was called to decide what to do with the money. All efforts to decide to which project to devote the money resulted only in frustration, flames and anger. The funds were eventually funneled back into remastering the CD as DP1.5 and were distributed to funding list members at cost of postage.

7. Taboos: Gender & the Didj, B*llroarers.
   
   At times some concerns with customs and taboos were brought up by some Aboriginal members of the List:
   
   
   1. Gender and the didjeridu
      
      "I am woman. Hear me drone!"
      
      There is an unproven allegation of an Aboriginal tradition that it is disrespectful or dangerous for a woman to play, own or even touch a didjeridu. This taboo may certainly exist in some, but not all Aboriginal communities. It may also apply only to Aboriginal women, not women in general. In retrospect, some Aboriginal women have explained that it isn't that they are disallowed to play, but that it is their choice not to.Whether male or female, out of sheer respect for the culture, if you are in the presence of an Aboriginal person, it would be best to ask if there are any objections prior to playing.
      
      Otherwise play to your heart's content!
      
      You can read Ed Drury's article on this subject as well as Brandi Chase's opinions on gender and the didjeridu in his interview with her.
      
      
   2. B*llroarer: Aboriginal objection to use of term.
      Note: * = u
      
      A b*llroarer is a noise maker traditionally used by Aboriginal men during sacred ceremonies. It is crafted from a variety of different woods into a flat or aerofoil shape and suspended from a long piece of twine or dried animal sinew. When the b*llroarer is forcibly swung at arms length around the user’s head it creates an eerie whirring sound. This sound varies in intensity and volume depending on the speed and force it is swung at. Apparently this instrument is so sacred in some Aboriginal communities that even the mention of the name of it in spoken word or print is frowned upon:
      
      
      "This is a sacred instrument to the Aboriginal people of Australia. In fact there is only one elder that is invited to ceremony to use this. Woman are not allowed to see them and they are not an item to be displayed. This instrument is only used in sacred mens ceremonies.." -Kim Jelley, Indigenous Creations. - Digest 621, Topic No. 2
      
      
      Again, this is the case of a taboo which is not widespread through out all Aboriginal communities. B*llroarers have been crafted by women Aboriginal or otherwise, and also sold wholesale and retail.
      
      The word b*llroarer is an English term for this instrument. It is my assumption that it has as many Aboriginal names for it as there are Aboriginal languages. Three such terms according to the Macquarie Dictionary of Aboriginal Words are "burliwarni" and "gilirr" from the Yindjibarndi language and "muypak" from the Wik-Mungkan language. (If any Aboriginal people object to the use of these terms in this document, please contact me and I will remove them.) There are also instruments in existence similar to the b*llroarer from other indigenous cultures. For example Siberian Yupik Eskimos in Alaska have what is called an "avleqaghtaq." Native North and South American cultures also have a similar form of this instrument. So again, out of respect for any indigenous culture, whether you are male or female, it would be best to ask if there are any objections from your audience prior to using this instrument.

   
   

2) DIDJERIDU

2.2) DIDJERIDU PHYSICS 101

2.2.1) What does physics have to do with the didjeridu?

Everything! The didjeridu is an excellent example of an instrument that depends on the standing waves of a cylindrical tube closed at one end.

2.2.2) How do you calculate the frequency of a PVC didjeridu?

Length =(V (sound) / (2*freq)) + interior radius of the tube.

For more details refer to Matt Newby's Guide to Making Your Own PVC Didjeridu on the Didjeridu W3 Server.

	Also, as explained by William M. Robertson, Assistant Professor, Physics and Astronomy at Middle Tennessee State University.
	And another explanation by didj list member Mark Temple and includes a short explanation of conical bores.

2.2.3) How do you calculate the frequency of a termited-bored didj?

Jeff Bavis' theory is thus: "Frequency is 'normally' 1/Time. In the case of a termite didg this needs ammending to 1/DreamTime :)"

And Geoff Brown concludes: Once there termites have been at a stick, the laws of Physics become socomplicated that I dont think any human has yet figured out how to predictthese things. I have seen shorter didjs that play lower than longer ones.Also the overtones that make a nice 10th on a plastic tube vary quite a lotwhen termites are involved. I would stick the the 1/Dreamtime formula, that'llwork well.

Phil Scott has a paper: "('Acoustics of the Australian Didgeridoo' by N.H.Fletcher, more info available to anyone interested), the taper of a typical termite didg certainly affects the fundamental frequency, as does the internal diameter. He gives the following equations:"

Call the diameter of the narrow end d0, and of the wider end d1. The effective length, l, of the pipe is the actual length plus an open-end correction of 0.3*d1 - that could be the diameter effect mentioned by some in this discussion.

Now, we define a taper parameter, g, for the pipe thus:

g = (d1 - d0)/d0

He now gives two equations due to Morse (1948) and Nederveen (1969) for the resonant frequencies of the pipe.

Morse shows that for small taper (g less than about 0.2), the frequency fn of the nth impedance maximum is given approximately by:

fn = (c/4l)*[(sn -1)**2 + (8g/(pi**2)]exp0.5

where c is the speed of sound in air. Thus for a cylindrical pipe (g = 0), the lowest mode corresponds to a quarter wavelength in the pipe, and successive modes have frequencies in the ratios 1:3:5:... When the taper is finite (g > 0), the mode frequencies are slightly raised, the lower modes being the most affected. The mode frequencies are thus less widely separated than for a cylindrical pipe.

Nederveen's analysis, which applies for all values of g, shows that the node frequencies fn appear as solutions to the equation:

2*pi*f*l/c = n*pi - arctan(2*pi*f*l/g*c)

"Fletcher comments that for intermediate values of g, the frequencies can be found by solving Nederveen's equation numerically.

The results are similar to those from Morse, basically that a taper raises the frequency of the fundamental while raising the frequency of the higher harmonics in somewhat less proportion. Personal comment: I guess this is one of the reasons that higher modes (the "toot" effect) seem to sound much nicer in highly tapered didges than in straight pipes.

Elsewhere in his paper, however, Fletcher comments on the possibility of perturbations in the bore of the didg affecting the frequencies in unknown (and unknowable!) ways. I guess that's his way of allowing that, for a didg, freq = 1/dreamtime...."

2.2.4) Given the speed of sound is dependent on altitude, and that V is 13543.3 in/s at sea level, can a didjeridu change pitch when taken to a different altitude...?

Speed of sound in a gas (air) is related to pressure and/or temperature which change with altitude so yes the pitch should change. With increasing altitude the speed of sound decreases so the pitch should also get lower. I guess you could use this fact to tune your didj when playing with other instruments.. just get everyone to walk up and down a large mountain until you're all in tune. -Chris Groves

2.3) DIDJ INDUCED PHENOMENA (or stupid didj tricks)

The didjeridu can, by itself, be an entrancing instrument.. but this is just plain weird!

2.3.1) How did my didj cause my LED clock/TV/Monitor to vibrate?

It didn't. The resonance caused your *head* to vibrate there-by inflicting you with "Didj-eye syndrome". (Don't worry, you'll have a complete recovery the instant you stop droning. ;)

"... this effect is the result of the 'flicker' that is always present on your monitor. You can see it a little bit by waving your hand in front of it... your hand will not be a blur in front of the screen, rather a strobe type effect. Or like when you see on the news on the TV when they are showing a scene with a computer monitor in the background, how it 'rolls'. This is all just the scanning of the CRT at a particular rate, usually 60 cycles per second or 60Hz. When filmed with a video camera, such as on the news the shutter speed of the camera is out of sync with the scan rate so the flicker is visible. When you drone yer head vibrates just right to allow you to see this also. Another way is to chew on hard candy and look at your screen, or jar yer head with yer hand while looking at it.

Also try looking at things like didjital clocks on yer VCR, microwave, etc... while droning the numbers seem to float at times. Try it, its cool." -Ron Sill

2.3.2) Aiiiee! What's this red ring around my mouth?

It's most likely just the result from extensive didj play.. otherwise known as a "Du-Hickey". (coined by list member, Angus Steward). However, you could be allergic to your beeswax mouthpiece. Try using a mouthpiece made of clarified wax, alternative materials or using none at all (bare back).

2.3.3) Didjeridrool: What do I do with excess saliva?

The concensus is let it flow or give it a gulp (icck!) between breaths.

2.3.4) The Levitating Tissue/Cigarette Paper/ Feather Trick

"I don't know all the physics involved, but you make sound with the didj by actually vibrating the column of air in the tube, as opposed to just air moving out. With the vibrating, air actually moves in and out through the didj, so if you were playing with the didj resting on a dusty floor, you would eventually have the dust in your mouth! If you try your paper trick with a very thin piece of paper (like a cigarette paper) it will hover and vibrate at the end of the didj. It's a good way to practice a smooth drone while circular breathing, to keep the paper hovering at the didj end." - John Pascuzzi, Digest 1295, Topic No. 1

As demonstrated by Stephen Kent at his workshops: "Have an assistant hold a 1/4 piece of cigarette paper just in front of the end of the didj. Start playing (on the other end!). Once the drone is established, have your assistant let go of the paper. It will hang there in front of the didj, visibly vibrating, and it even moves in and out! Applied physics in action - amazing!" - David Seghers, Digest 586, Topic No. 6

"If you begin playing faster it can even travel up inside the didj." - Mike Spencer-Harty, Digest 1046, Topic No. 5

"Just a quick and possibly obvious note... everybody keeps mentioning the "cigarette paper trick" because that's the way Stephen has shown it. For those who don't have this paper handy, just tear the corner off a tissue, use a feather or something. the feather, in some peoples opinion, is more aesthetically pleasing to do it with, anyway..." - Randy Graves, Digest 1047, Topic No. 4

3) DIDJ'N ON THE WEB

4.) MORE FAQS

4.2) DISCOGRAPHY FAQ's

4.2.1) Is there a discography available?

Yes. The extensive discography at the Dreamtime Web site includes Aboriginal field recordings as well as instructional and non-Aboriginal recordings. You can find it at:
discography/DRxxxx/drindex.html

4.2.2) How many variations of music are there?

Wherever your imagination, or your didjeridu, can take you. Traditional, Contemporary, Celtic, Ambient, New Age, and Rave are just a few of the unlimited styles that can be applied to this versatile instrument.

4.2.3) Where can I buy a didjeridu or recorded didjeridu music?

Didjeridus and recorded didjeridu music aren't always easy to find. You could hunt through local used/specialty instrument shops, or the "World"/"New Age" section of local new/used CD shops. Or you could mail-order from some of the reputable dealers established through the list. Clarion, Earthshaking Music, Joyous Noise Music , zZounds, Aboriginal Art & Culture Center, Art Culture Australia, LA Outback.. are just a few examples of reliable businesses you can purchase from. For more, check the Resource guide at the Dreamtime W3 Server: http://www.rdrop.com/~mulara/resource.txt

4.2.4) Who are the most recommended artists?

1. TRADITIONAL (in alphabetical order)
   
   David Blanasi
   David Hudson
   Alan Maralung
   Bob Maza
   Various - Australian Institute for Aboriginal Studies
   Yothu Yindi
   
   
   
2. NON-TRADITIONAL (in alphabetical order)
   
   Alastair Black
   Alan Dargin
   Dr. Didg/Outback
   David Hudson
   Stephen Kent/Trance Mission
   Adam Plack/Nomad
   Steve Roach
   Johhny "White Ant" Soames
   Yothu Yindi

4.2.5) Which Pop Artists own or play/include didj in their music?

Aerosmith
Kate Bush
Tracy Chapman
Miles Davis
Jamiroquai
Madonna (owns but doesn't play)

Other celebrities:

Whoopi Goldberg

4.3) BIBLIOGRAPHY FAQS

4.3.1) Is a bibliography available?

The following is a short example of the extensive bibliography which can be found at: bibliography/bibliography.html

Mutant Messages Down Under
Book : Marlo Morgan Illustrated by Carri Garrison

Songlines (INCLUDE ISBN)

Aboriginal Men of High Degree
Book: A.P. Elkin ISBN 0-89281-421-7

Australia a Natural History
Book : Howard Ensign Evans and Mary Alice Evans

Australian Aboriginal Paintings
Book by Jennifer Isaacs

Australian Tea Tree Oil Guide
Book by Cynthia B. Olsen

DIDGERIDOO Ritual Origins and playing techniques
Dirk Schellberg

The Didjeridu: From Arnhem Land to Internet
Soft Cover: ISBN 1 86462 004 8, 192 pp @ $25
US Hard Cover: ISBN 1 86462 003 X, 192 pp @ $38 US

Didgeridoo: a beginner's guide.
Magill, SA: Alastair Black. Black, A. (c 1994).

4.4) FILMOGRAPHY FAQ's

4.4.1) Is a filmography available?

Below is a (very) short list of theatrical releases other than "Crocodile Dundee" which are Aboriginal-related or make reference to the didjeridu.

The Right Stuff, USA, 1983 ( one very short, but powerful scene.)

Cast: (partial)
Sam Shepard
Scott Glenn
Ed Harris
Dennis Quaid
Fred Ward
Barbara Hershey
David Gulpilil

The Last Wave, Australian, 1977

Cast: (partial)
Richard Chamberlain
Nandjiwarra Amagula
Walter Amagula
David Gulpilil

Walkabout, Australian, 1971

Cast:
Jenny Agutter
Luc Roeg
David Gulpilil
John Meillon
Robert McDarra
John Illingsworth
Hilary Bamberger
Barry Donnelly
Peter Carver
Noelene Brown
Carlo Manchini

4.5) MISCELLANEOUS

Home   Calendar   Discography   Faq   Instruction   Players   Technical   Credits List Members