Nettl describes Pueblo music, including Hopi, Zuni, Taos Pueblo, San Ildefonso Pueblo, Santo Domingo Pueblo, and many others, as one of the most complex on the continent, featuring increased length and number of scale tones ( hexatonic and heptatonic common ), variety of form, melodic contour, and percussive accompaniment, ranges between an octave and a twelfth, with rhythmic complexity equal to the Plains sub-area.

Nettl describes the Eastern music area as the region between the Mississippi river and the Atlantic.

Nettl describes the central Plains tribes, from Canada to Texas: Blackfoot, Crow, Dakota, Cheyenne, Arapaho, Kiowa, and Comanche, as the most typical and simple sub-area of the Plains-Pueblo music area.

Nettl describes the music of the Kwakwaka ' wakw, Nuu-chah-nulth, Tsimshian, Makah, and Quileute as some of the most complex on the continent, with the music of the Salish nations ( Nlaka ' pamux, Nuxálk, and Sliammon, and others directly east of the Northwest tribes ) as being intermediary between these Northwest Coast tribes and Inuit music.

Nettl describes " Eskimo " music as some of the simplest on the continent, listing characteristics including recitative-like singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating melodic movement.

Nettl describes the Eastern music area as the region between the Mississippi river and the Atlantic.

Nettl describes the central Plains tribes, from Canada to Texas: Blackfoot, Crow, Dakota, Cheyenne, Arapaho, Kiowa, and Comanche, as the most typical and simple sub-area of the Plains-Pueblo music area.

Bruno Nettl ( 1956, p. 51-53 ) describes various types of melodic movement or contour:

Some languages in West Africa have no term for music but the speakers do have the concept ( Nettl 1989 ,).

" Nettl believes that there are limits to the extraction of meaning from a culture's music because of a Western observer's perceptual distance from the culture ; however, the growing prevalence of scholars who study their own musical traditions, and an increasing range of different theoretical frameworks and research methodologies has done much to address criticisms such as Nettl's.

According to author Simon Broughton, the composer and song collector Kodály identified songs that " apparently date back 2, 500 years " in common with the Mari people of Russia ; and, as well as the Mari, the ethnomusicologist Bruno Nettl indicates similarities in traditional Hungarian music with Mongolian and Native American musical styles.

Nettl identifies two " essential features " of Hungarian folk music to be the use of " pentatonic scales composed of major seconds and minor thirds " ( or " gapped scales ") and " the practice of transposing a bit of melody several times to create the essence of a song ".

Hungarian nationalist composers, like Bartók, rejected the conflation of Hungarian and Roma music, studying the rural peasant songs of Hungary which, according to music historian Bruno Nettl, " has little in common with " Roma music, a position that is held to by some modern writers, such as the Hungarian author Bálint Sárosi.

According to Nettl, the boundary between these southward and the above northward influences are the areas of greatest musical complexity: the Northwest Coast, Pueblo music, and Navajo music.

Nettl uses the following music areas which approximately coincide with Wissler, Kroeber, and Driver's cultural areas: Inuit-Northwest coast, Great Basin, California-Yuman, Plains-Pueblo, Athabascan, and Eastern.

Nettl Arapaho music includes ceremonial and secular songs, such as the ritualistic Sun Dance, performed in the summer when the various bands of the Arapaho people would come together.

Most recently, since the 1950s, Native American music has been a part of ethnomusicological research, studied by Bruno Nettl, William Powers and David McAllester, among others.

Nettl Arapaho music includes ceremonial and secular songs, such as the ritualistic Sun Dance, performed in the summer when the various bands of the Arapaho people would come together.

Bruno Nettl ( 1989, p. 162-163 ) proposes that Blackfoot music is an " emblem of the heroic and the difficult in Blackfoot life ," with performance practices that strongly distinguish music from the rest of life.

Bruno Nettl refers to the style of the Great Basin area as the oldest style and common throughout the entire continent before Mesoamerica but continued only in the Great Basin and in the lullaby, gambling, and tale genres around the continent.

In this capacity, he led the push toward de-Germanification and nationalization of the Conservatory, during which process his German-Bohemian colleagues, including Alexander Zemlinsky and Paul Nettl, were forced out to form their own segregated institution.

The characteristics of this entire area include short iterative phrases, reverting relationships, shouts before, during, and after singing, anhematonic pentatonic scales, simple rhythms and meter and, according to Nettl, antiphonal or responsorial techniques including " rudimentary imitative polyphony ".

The characteristics of this entire area include short iterative phrases, reverting relationships, shouts before, during, and after singing, anhematonic pentatonic scales, simple rhythms and meter and, according to Nettl, antiphonal or responsorial techniques including " rudimentary imitative polyphony ".

Additionally there are few studies of the musical culture ( most recordings being made as part of ethnographic studies ), mostly by Bruno Nettl.

Pueblo music includes the music of the Hopi, Zuni, Taos Pueblo, San Ildefonso, Santo Domingo, and many other Puebloan peoples, and according to Bruno Nettl features one of the most complex Native American musical styles on the continent.

Nettl cites the Kachina dance songs as the most complex songs and the music of Hopi and Zuni as the most complex of the Pueblo, while Tanoan and Keresan music is simpler and intermediate between the Plains and western Pueblos.

Nettl arrived at this dual-development view of dance music through his observation that such pieces began, as the century progressed, to use stylistic and formal devices that were farther from the province of simple utility and more aligned with some anticipation of a listening audience paying full attention.

Such a distinction had always existed in music, and that some works had always been composed for specific occasions and others not ( at least since the Renaissance, in all probability ), is attested to by the work of Besseler and Nettl, who based their concepts on studies of the historical situation.

Inhabiting a wide swath of the United States and Canada, Eastern Woodlands natives, according to Nettl, can be distinguished by antiphony ( call and response style singing ), which does not occur in other areas.

Inhabiting a wide swath of the United States and Canada, Eastern Woodlands natives, according to Nettl, can be distinguished by antiphony ( call and response style singing ), which does not occur in other areas.

Traditional Arapaho music, described by Bruno Nettl ( 1965, p. 150 ), includes sacred and secular songs.

Singing without drums is extremely rare and considered inappropriate ( Nettl, 1989 ).

Typically, songs which contain texts are short and not repetitive, such as: " It's a bad thing to be an old man ," ( Nettl, 1989, p. 73, 1951 recording of a Crazy Dog Society song ) or the relatively lengthy, " Yonder woman, you must take me.

According to Nettl, these styles also feature " relative " rhythmic simplicity in drumming and percussion, with isometric material and pentatonic scales in the singing, and motives created from shorter sections into longer ones.

* Nettl, Bruno.

According to Nettl, however, it originated in southeast Asia and came to Africa c. 500 AD when a group of Malayo-Polynesian speaking peoples migrated to Africa.

*, cited in Nettl, p. 163.

Bruno Nettl ( 1983 ) believes it is a product of Western thinking, proclaiming " ethnomusicology as western culture knows it is actually a western phenomenon.

* Nettl, B.

( Nettl 1956, p. 18-19 )

* Nettl, Bruno.

( Nettl 1956, p. 114 )