The history of purely American musical traditions—those not influenced by European
ideals—has been largely unexplored by composers. One of the few composers to have created a
new music in the search for a uniquely American identity is Peter Garland. Unlike the Euro-
centric approach of George Gershwin, Aaron Copland, or William Grant Still, Garland attempts
to create an American identity in music by utilizing the actual resonances—both physical and
psychological—of indigenous cultures.
The intent of this document is to shed light on Native American influences in the
percussion music of Peter Garland and their realization through the most conscientious and
sympathetic of performance practices. Three of Garland’s compositions will be analyzed in
relation to their abstracted resonances and indigenous percussive influences: Three Songs of Mad
Coyote (1973), Hummingbird Songs (1974–6), and Nana and Victorio (1991). Performance
practice in Garland’s music is drastically enhanced by an examination and knowledge of the
indigenous music and resulting sound universe from which he draws inspiration. In many cases,
instruments must be fashioned or found that have the same or similar resonances as the
indigenous instruments. Performance practice issues to be addressed include instrument building
and selection, choreography and set-up, and acceptable variations in performance strategies or
instrument substitutions.