Polyphonic singing and our connection to Polynesia

Polyphonic singing and our connection to Polynesia - 

 Let’s explore the rich tradition of polyphonic singing in Polynesia, particularly focusing on the historical encounter between Hugh Carleton and the Pitcairn Islanders in 1850. 

Hugh Carleton, a trader, newspaper editor, politician, and writer with no formal musical qualifications beyond his self-proclaimed talent, found himself accidentally marooned on Pitcairn Island. Upon hearing the local singing, he immediately deemed them "discordant and jarring" to his Western-trained ears.

Perhaps the most revealing aspect of this historical encounter is how quickly the Pitcairn Islanders reportedly mastered Western singing techniques. Within just one week, they "accomplished a result beyond their teacher’s highest hopes". By the second week, Carleton departed with "full confidence" that his musical instruction would continue to flourish.

This extraordinary rate of progress raises an important question: Were the Pitcairn Islanders truly musically "deficient" as Carleton initially assumed? More likely, they already possessed sophisticated musical abilities derived from their Polynesian heritage.

Polyphonic singing—where multiple vocal parts are sung simultaneously—was widespread throughout Polynesia long before Western contact.

European explorers from the 1700s onward documented numerous examples of polyphonic singing across the Pacific. During Captain Cook's 1772-1775 voyage, observers noted that Polynesians "sing in parts, keeping the same time and varying the four notes without ever going beyond them." Another historical account  in 1802 mentioned "discordant notes, with which, however, the ear of these people seemed very much gratified," indicating that what sounded unusual to Western ears was intentionally cultivated and appreciated within Polynesia.

When Carleton dismissed the Pitcairn Islanders' singing as "discordant," he was failing to recognize a sophisticated musical system with deep cultural roots and social significance—one that deserved appreciation rather than correction.

In small, isolated communities throughout Polynesia, singing together has historically served as a cherished pastime that strengthens social bonds. The joy of harmonizing "by ear" with others—young and old, male and female—created a powerful sense of belonging and shared identity. This communal singing tradition existed for its own sake, without need for audience, stage, or recognition.

A critical question emerges when examining the our musical traditions: Would the Tahitian mothers on Pitcairn Island have lived their lives in silence? It's virtually inconceivable that these women would not have brought their rich Polynesian musical traditions with them and passed them on to their children.

The musical heritage of the Pitcairn Islanders would naturally have included elements from both their British fathers and Tahitian mothers. While Western accounts often focus on the European influences, the Polynesian contributions were likely equally if not more significant, especially in communal activities like singing that are central to Polynesian cultural expression and intergenerational knowledge transfer.

The historical encounter between Hugh Carleton and the Pitcairn Islanders offers a powerful lesson about cultural humility and the value of musical diversity. What one culture might hear as "discordant," another recognizes as beautifully harmonious within its own aesthetic framework.

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Transcript

Welcome to Episode 28 of the Untold Norfolk Island travel podcast series.

My name is Jodie Williams and as a Norfolk Islander & Churchill Fellow, I am your ‘on island’ podcast host.

>>> Audio: You have just heard a snippet of one of our favourite hymns ‘In the Sweet By & By’ with Steve (Wacko) Menzies on the piano.

Polyphonic Singing Traditions in Polynesia: A Cultural Legacy

Let’s explore the rich tradition of polyphonic singing in Polynesia, particularly focusing on the historical encounter between Hugh Carleton and the Pitcairn Islanders in 1850.

The Western Ear Meets Polynesian Harmony
Hugh Carleton, a trader, newspaper editor, politician, and writer with no formal musical qualifications beyond his self-proclaimed talent, found himself accidentally marooned on Pitcairn Island. Upon hearing the local singing, he immediately deemed them "discordant and jarring" to his Western-trained ears.

This reaction reveals more about Western musical biases than about the actual quality of the Pitcairn Islanders singing. Carleton's judgment came from a place of cultural superiority typical of colonial attitudes.

This paternalistic attitude extended beyond music—Carleton had been quoted in his interactions with the Māori in New Zealand that indigenous peoples "must submit to a superior civilization". This context helps us to understand his approach to the Pitcairn Islanders' musical traditions in 1850.

The Pitcairn community that Carleton encountered were descendants of British Bounty mutineers and Tahitian women,  with a blend of both European and Polynesian heritage which most likely influenced their musical practices, combining elements from both traditions.

Perhaps the most revealing aspect of this historical encounter is how quickly the Pitcairn Islanders reportedly mastered Western singing techniques. Within just one week, they "accomplished a result beyond their teacher’s highest hopes," according to historical accounts. By the second week, Carleton departed with "full confidence" that his musical instruction would continue to flourish.

This extraordinary rate of progress raises an important question: Were the Pitcairn Islanders truly musically "deficient" as Carleton initially assumed? More likely, they already possessed sophisticated musical abilities derived from their Polynesian heritage—abilities that allowed them to quickly adapt to and master Western singing styles whilst maintaining their own traditions.

Understanding Polynesian Polyphony
Polyphonic singing—where multiple vocal parts are sung simultaneously—was widespread throughout Polynesia long before Western contact. Unlike monophony, where everyone sings the same melody, polyphonic traditions involve complex harmonization and sometimes counterpoint between different vocal parts.

European explorers from the 1700s onward documented numerous examples of polyphonic singing across the Pacific. During Captain Cook's 1772-1775 voyage, observers noted that Polynesians "sing in parts, keeping the same time and varying the four notes without ever going beyond them." Another historical account  in 1802 mentioned "discordant notes, with which, however, the ear of these people seemed very much gratified," indicating that what sounded unusual to Western ears was intentionally cultivated and appreciated within Polynesia.

Types of Polynesian Vocal Polyphony
Polynesian polyphonic traditions include several distinct styles that would have been familiar to the Pitcairn Islanders through their Tahitian lineage. One prominent form is drone polyphony, where at least one vocal part maintains long, sustained notes while other parts move more actively.

According to ethnomusicologist Dr. Joseph Jordania, these drones can appear in any part of the musical texture—in the bass, in the highest voice, or in middle parts. The drone may consist of a single sustained vowel sound or might include text while maintaining the same pitch.   

Jordania also describes ‘multi-layered vocalization’ whereby different voice groups maintain distinct rhythmic and melodic patterns simultaneously.

Rapa Iti: A Living Museum of Polynesian Polyphony
Southeast of Tahiti lies Rapa Iti, a small island home to just 328 people of Polynesian descent. This isolated community  preserved an ancient polyphonic singing style featuring quarter-tones—intervals smaller than those typically used in Western music. To untrained Western ears, this multilayered quarter-tone choir singing produces an "otherworldly sound" comparable to Bulgarian and African choral traditions.

Recordings of the Rapa Iti choir demonstrate fascinating pitch shifts that might sound to Western listeners as if the recording speed is fluctuating. This is not a technical error but an intentional feature of their unique singing style. The preservation of this tradition on Rapa Iti provides a living example of what pre-colonial Polynesian singing, including that of the Pitcairn Islanders' Tahitian ancestors, might have sounded like.

AUDIO>> Have a listen now to a very short snippet from one of the old recordings captured on Rapa Iti.

Polynesia ranks as the third richest region in the world for vocal polyphonic traditions, highlighting the global significance of these musical practices. Ethnomusicologists particularly value traditions where vocal polyphony holds an important place within the community's social life and cultural identity—precisely the case in many Polynesian societies.

The persistence of these traditions despite centuries of Western influence demonstrates their cultural resilience and importance. When Carleton dismissed the Pitcairn Islanders' singing as "discordant," he was failing to recognize a sophisticated musical system with deep cultural roots and social significance—one that deserved appreciation rather than correction.

In small, isolated communities throughout Polynesia, singing together has historically served as a cherished pastime that strengthens social bonds. The joy of harmonizing "by ear" with others—young and old, male and female—created a powerful sense of belonging and shared identity. This communal singing tradition existed for its own sake, without need for audience, stage, or recognition.

The skill of the Pitcairn Islanders is further evidenced by an account from the Baron de Thierry, who accompanied Carleton during his stay. De Thierry described witnessing a female Pitcairn student's remarkable vocal abilities: "One of the pupils, with her strong, clear voice, was ascending the scale, and she arose to the highest notes without any apparent effort, enunciating every syllable clearly and distinctly."

So impressed was the baron that he exclaimed, "Stop, stop. No one but my daughter is able to do it like that." This testimony directly contradicts Carleton's initial dismissal of the islanders' musical abilities, suggesting that their singing technique—even by Western standards—was exceptionally accomplished. It further supports the idea that the Pitcairners already possessed sophisticated musical capabilities before Carleton's arrival.

A critical question emerges when examining the our musical traditions: Would the Tahitian mothers on Pitcairn Island have lived their lives in silence? It's virtually inconceivable that these women would not have brought their rich Polynesian musical traditions with them and passed them on to their children.

The musical heritage of the Pitcairn Islanders would naturally have included elements from both their British fathers and Tahitian mothers. While Western accounts often focus on the European influences, the Polynesian contributions were likely equally if not more significant, especially in communal activities like singing that are central to Polynesian cultural expression and intergenerational knowledge transfer.

Today, many Norfolk Islanders hold dear the sounds of our community singing in harmony as remembered from childhood,  where extended families gathered in church, at family homes, at community events.

AUDIO>> Have a listen now to: a recording captured in 1948  by Radio New Zealand.

Modern Appreciation of Traditional Polyphony
In recent decades, ethnomusicologists and music lovers worldwide have developed a growing appreciation for traditional polyphonic singing styles once dismissed as "primitive" or "discordant" by Western observers. Recordings of groups like the Rapa Iti choir now reach global audiences, and these once-marginalized musical traditions are increasingly recognized for their sophistication and beauty.

This shift in perspective vindicates what the Pitcairn Islanders likely knew all along—that their musical traditions represented not a lack of skill but a different and equally valid approach to group harmony. The "otherworldly" sound of traditional Polynesian polyphony, with its quarter-tones and drone techniques, now captivates listeners accustomed to Western musical conventions, demonstrating how cultural biases can blind us to the beauty in unfamiliar traditions.

AUDIO>> Have a listen now to: a recording captured in 1972  in the Methodist Church

The Wisdom of Musical Diversity
The historical encounter between Hugh Carleton and the Pitcairn Islanders offers a powerful lesson about cultural humility and the value of musical diversity. What one culture might hear as "discordant," another recognizes as beautifully harmonious within its own aesthetic framework. True musical appreciation requires openness to different systems of harmony and expression.
The polyphonic traditions of Polynesia represent just one facet of humanity's vast musical heritage. Each singing tradition, whether Western classical, Polynesian polyphonic, or any other, offers unique insights into human creativity and expression. By preserving and celebrating these diverse traditions, we maintain not just songs but entire systems of knowledge and ways of experiencing the world through sound.

AUDIO>> And now have a listen to the beautiful harmonies captured within the recording of this song ‘D’We Lauss Ouwas Wieh’ as composed by Norfolk Islander Eileen Snell.

As we listen to the echoes of these bygone singing traditions that had survived against considerable odds, we're reminded that music serves as one of humanity's most resilient and meaningful forms of cultural expression—capable of bridging generations, surviving displacement, and adapting to change while maintaining its essential character and community significance.


Thanks so much for joining me this week!