ONLINE AUDIO GUIDE 4.1 SANTERÍA

Transcription

1 ONLINE AUDIO GUIDE 4.1 SANTERÍA title: Babalú Ayé (Oru para Todos los Santos, part 2) performing forces: solo male singer, chorus, cachimbo, mula, caja, chekere, cowbell (Agrupación Ará- Okó, Bembé Ensemble) language: Lucumí function: to propitiate the orcicha Babalú Ayé form: call and response source: Sacred Rhythms of Cuban Santería (Smithsonian Folkways SF 40419, 1995) Note: an Oru is a group of rhythms and songs in santería. In Oru para Todos los Santos (All the Saints) the song for Babalú Ayé is one of several songs dedicated to various orichas. Listen for: call-and-response singing a series of different although closely related, conjunct melodies, some pentatonic variety of timbres in the percussion variety of techniques in the percussion with few exceptions, percussion plays consistent pattern tonal melody between caja and mula mention of Babalú Ayé s name Oru para todo los santos part 2: Babalú Ayé Timing Text What happens 0:00 00: 03 00:05 leader: Bariba o ge de ma Chorus: Mole yansa mole a leader: Ye, bariba o ge de ma chorus: Mole yansa mole a leader: Ye, ba nke ba nke te ma chorus: Mole yansa mole a call (soloist or leader) response (chorus) cowbell begins on the word yansa, drums and shekere establish basic pattern: cachimbo combines open tones and slaps mula plays a steady pulse that combines the heel of the hand, the tip of the hand, along with slaps caja plays open tones chekere keeps steady pulse 00:16 00:24 leader: Ya kaka kuko tori eleko Ya kaka kuko tori eleko Ore baba Babalú Ayé awa leri so new melody, longer solo and no longer pentatonic caja plays variations along with the

2 a la ye baba singer chekere continues keeping pulse 00:31 chorus: Aberi kutu awa leri so, Aberi kutu awa leri so, La ye baba Babalú Ayé awa leri so, la ye baba chorus varies new melody, caja variation, then plays along with singers 00:45 leader: Ya kaka kuko tori eleko Ya kaka kuko tori eleko Ore baba Babalú Ayé awa leri so, a la ye baba 1:00 chorus: Aberi kutu awa leri so Aberi kutu awa leri so Laye baba Babalú Ayé awa leri so, la ye baba leader varies melody chorus introduced at 00:31 mula variation (quicker rhythms) chorus repeats leader s melody caja variation 1:14 1:19 1:24 1:37 1:51 1:53 1:55 1:57 1:59 2:06 2:09 2:15 2:18 leader: Babalú Ayé awa leri so, la ye baba chorus: Babalú Ayé awa leri so, la ye baba leader: Ye, Baba e baba soro Baba e aki maya soroso Babalú Ayé iyan fo mode awa si re, si re chorus: Baba e baba soroso Baba e baba soroso Babalé Ayé iyan fo mode baba si re, si re leader: Si re re sere moba chorus: Baba si re, si re leader: Elu aye si re re moba chorus: Baba si re, si re leader: Ye, towe towe, towe towe Asohano mawe a chorus: Towe towe ama lu fi nya mawe leader: Aru finya magwe Africa ala mawe chorus: Towe towe ama lu fi nya mawe leader: Aru finya mawe aso kalala mawe a chorus repeats leader s melody slightly quicker tempo leader sings new melody caja variation chorus sings new melody caja plays variation pitches exchanged between caja and mula entrance of leader overlaps with chorus chorus repeats previous response cachimbo and mula maintain the basic rhythm; occasional interjections from caja

3 2:23 chorus: Towe towe ama lu fi nya mawe. drums coincide with last two syllables English translation: Meet and discover respect. He who cuts arrives always. I will turn aside avoiding him. I will turn aside. Clean the cut, clean the cut Father, lord of the world, we are tied down. Father, favor me. Father, do good, do good. Provoked to wash, provoked to wash. Translation by John Mason, Orin Òrìşà: Songs for Selected Heads. New York: Yoruba Theological Archministry, The author thanks Brian Rice and Steven Cornelius for extensive assistance with this guide. Notes on translation: Baba means father. As noted in the text, Asohano is the Arará name for Babalú Ayé. Some of the translations remain obscure. Cuts refers to cutting down people with disease. Consider: Listen again, now keeping in mind the statement the drums are talking discussed in the text in relation. How does such awareness affect your experience of this selection? Listen again and try to follow the individual percussion instruments: cowbell and chekere (probably easiest), caja, mula, and cachimbo. See if you can distinguish them, at least at various points. If you can t do this, don t worry. Just be attuned to the overall experience. But do keep trying, as such exercises will sharpen your hearing Carol A. Hess

4 ONLINE AUDIO GUIDE 4.2 PLAINCHANT title: Salve regina (Hail, Holy Queen) performing forces: male choir, with one solo voice (Edmundite Novices, directed by Marie Pierik) language: Latin form: free, with some repetition of melodic ideas function: to seek the blessing of the Virgin Mary source: Gregorian Chants Sung by the Edmundite Novices (Smithsonian Folkways FR , 2007) Listen for: monophonic texture one-octave range points of rest (cadences) throughout principally syllabic text-setting, although some melismas small intervals in melody, with some exceptions repetition or near repetition of certain patterns of notes, with the words marked in blue all using the same pitches and the words marked in red using nearly identical pitches free meter, with rhythmic structures approximating speech Timing Text What happens 00:00 Salve regina, mater misericordiae vita, dulcedo, et spes nostra, salve. flowing melody outlines range melody descends to point of rest 00:18 00:27 Ad te clamamus exsules filii Hevae, Ad te suspiramus, gementes et flentes in hac lacrimarum valle. melody ascends, descends point of rest 00:37 Eia, ergo, avocata nostra, illos tuos misericordis oculos ad nos converte; point of rest 1:02 Et Jesum, benedictum fructum, ventris tui, 1:14 nobis... post hoc exsilium ostende. Interval of a fifth ( No-bis ), which stands out against the smaller intervals throughout point of rest 1:15 O clemens, O pia, O dulcis... Melismas on each successive o 1:40 Virgo Maria. final point of rest

5 English translation: Hail, holy queen, Mother of mercy our life, our sweetness, and our hope, hail. To you we cry, poor banished children of Eve To you we send up our sighs, mourning and weeping. Turn then, our advocate, your eyes of mercy toward us And Jesus, blessed fruit of your womb. Show him to us after our exile. O clement, o loving, o sweet Virgin Mary. Consider: Sing along with the recording a few times. Where are the high and low points of the melody? Do these ascents and descents seem balanced or do they strike you as largely arbitrary? Refer above to the melismas in the final phrase (from 1:15), which are exceptional in relation to the primarily syllabic text setting in the rest of the chant. What, if any, is their effect? 2018 Carol A. Hess

6 ONLINE AUDIO GUIDE 4.3 SONG FOR ANIMAL VENERATION title: Taqechayki taqeyuq (Your Full Barn) performing forces: female voice, vertical six-note flute (pinkuyllu); Luisa Sera Chompi and Domingo Chompi language: dialect of Quechua form: strophic function: to venerate female sheep source: Mountain Music of Peru, vol. 1 (Smithsonian Folkways SF40020; 1966, 1991) Listen for: pentatonic melody six repetitions of the same melody, with slight melodic variations pinkuyllu playing with the voice, although not on the same pitches sound of the pinkuyllu player s breath changes in vocal quality, with some notes sounding more intense than others repetition of the words mama and mamallay, which refer to a female animal, a source of bodily and spiritual sustenance Timing Structure and Text What happens Verse 1 00:00 00:11 00:22 00:34 Taqechayki taqeyuq Mamay purikushasun Verse 2 Sumaq pastur maskhaspa Mamay purirkushasun Verse 3 Mamay purirkushasun Mamay purirkushasun Verse 4 Waraq aypis wichaypin Puskanaypis celda uraypin Voice and pinkuyllu play in same rhythm Pinkuyllu departs slightly from vocal line Melodic variants in vocal line

7 Verse 5 00: 44 Mamay purikushasun Santus t ika maskhaspa 00: 54 Verse 6 Mamay purikushasun Mamay purirkushasun melodic variant in vocal line English translation: Your full barn Mother, my mother Let s walk along, mother Mother, my mother. Looking for the good shepherd Mother, my mother Let s walk along, mother Mother, my mother. Let s walk along, mother Mother, my mother Let s walk along, mother Mother, my mother. My slingshot is between my shoulders Mother, my mother My belt is around my waist Mother, my mother. Let s walk along, mother Mother, my mother Looking for the flower of the saints Mother, my mother. Let s walk along, mother Mother, my mother Let s walk along, mother Mother, my mother. Consider: How would you characterize the singer s voice? Recall the discussion in chapter 3 on the possible pitfalls in making aesthetic judgments. Close your eyes while listening and tap or clap each time a new verse begins. How do you react to the form of this selection? Does it enhance the meaning of the song? What do you make of references to the good shepherd (a common description of Jesus)? People are often tempted to romanticize communities such as the Q eros by describing them as removed from history. Why might such a stance be attractive? Why might some of the things you have learned in this chapter suggest that reexamining this notion is advisable? 2018 Carol A. Hess

8 ONLINE AUDIO GUIDE 4.4 POLYPHONIC MASS title: Credo, from Missa Ave Regina Caelorum (Hail Queen of Heaven Mass) composer: Juan Gutiérrez de Padilla performing forces: two choirs (The Sixteen, directed by Harry Christophers), harp, and organ, along with two instruments used in this period, the theorbo (a large lute) and bajón (similar to the modern bassoon) language: Latin form: free function: worship (statement of faith) source: Streams of Tears (The Voices of the Classic, 2008) Listen for: minor mode variety of textures antiphonal singing changes of meter both syllabic and melismatic text setting word repetition, text painting cadences Note: The Credo is often introduced by a snippet of plainchant, sung by a solo voice on the words Credo in unum Deum (I believe in one God), as is the case here. Timing Text What happens 00:00 Credo in unum Deum, Plainchant introduction, solo voice 00:09 Patrem omnipotentem factorem caeli et terrae, minor mode duple meter note values speed up on factorem caeli et terrae, shift to active polyphonic texture 00:30 visibilium omnium et invisibilium. Et in unum Dominum, antiphonal singing: chorus 2 starts alone, with imitation chorus 1 waits until chorus 2 finishes 00:40 Iesum Christum, Filium Dei unigenitum, homorhythmic statement on Iesum Christum (Jesus Christ) after chorus 1 finishes, chorus 2 reenters

9 00:51 et ex Patre natum ante omnia saecula. switch to triple meter 1:01 Deum de Deo, Lumen de Lumine, Deum verum de Deo vero, genitum, non factum consubstantialem Patri per quem omnia facta sunt. switch back to duple meter chorus 1 and 2 exchange a short phrase (1:01 to 1:06) overlapping entries 1:23 1:27 1:45 1:52 Qui, propter nos homines et propter nostram salutem descendit de caelis. Et incarnatus est de Spiritu Sancto ex Maria virgine, word repetition on descendit de caelis descendit elongated through melisma in all four parts of both choirs text painting on descendit (downward motion with quick note values) climactic ending to section contrast with previous section: slower note values return to (mostly) syllabic setting antiphonal, choirs 1 and 2 exchange phrases, set polyphonically, with melisma 2 :50 2:59 et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. stringed instruments (harp, theorbo) mark cadence Section starts with chorus 2 3:18 Et resurrexit tertia die, secundum Scripturas, et ascendit in caelum, sedet ad dexteram Patris. Chorus 1 enters and both choruses sing Et resurrexit teria die (And the third day He was resurrected), set syllabically and in homorhythm and with a shift to triple meter and polyphony 3:38 Et iterum venturus est cum Gloria, active polyphony, repetition of Gloria slower values at vivos et

10 3:50 iudicare vivos et mortuos. mortuos, (the living and the dead whom Christ will judge), extended phrase cuius regni non erit finis; active polyphony, antiphonal singing Et in Spiritum Sanctum Dominum et vivificantem, 4:18 qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur ; contrast of polyphonic and nonpolyphonic text settings qui locutus est per Prophetas. Et unam, sanctum, catholicam et apostolicam Ecclesiam. 5:03 Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum et vitam venturi saeculi. 5:18 5:48 Amen. Amen woven into the polyphonic texture, repeated many times, sometimes antiphonally between the two choirs melismas on vitam and venturi, which refer to life in the world to come big cadence on the final Amen. English translation: I believe in one God Father almighty maker of heaven and earth, of all things visible and invisible; and in one Lord Jesus Christ, the only begotten Son of God, begotten of his Father before all worlds. God of God, Light of Light, true God of true God, begotten not made, being of one substance with the Father, by whom all things were made. Who for us and for our salvation, descended from heaven; And was made flesh by the Holy Spirit and the Virgin Mary and was made man.

11 And was crucified also for us under Pontius Pilate; he suffered and was buried. And the third day He was resurrected according to the scriptures; and ascended into heaven, and is seated at the right hand of the Father. And He will come again with glory to judge both the living and the dead; his kingdom shall have no end. And I believe in the Holy Spirit, the Lord, the giver of life, Who proceeds from the Father and the Son; Who with the Father and the Son together is worshipped and glorified; Who has spoken through the prophets. And I believe in one, holy, Catholic, and Apostolic Church. I acknowledge one Baptism for the remission of sins. And I await the resurrection of the dead and life in the world to come. Amen. Translation note: Begotten is the past participle of beget (to procreate or generate, as in giving birth). Consider: Listen again to the recording, now for interpretive details. In which sections does the chorus make particularly striking contrasts of dynamics? Why might the conductor have chosen such an approach to these passages? Why do you suppose the composer gives so much weight to the word Amen? How else might the composer have set this portion of the text? 2018 Carol A. Hess

12 ONLINE AUDIO GUIDE 4.5 MUSIC OF HEALING title: Selk nam Shaman Chant performing forces: solo female voice (Lola Kiepja) language: Selk nam, some Spanish, vocables form: free function: to seek healing source: Selk nam Chants of Tierra del Fuego, Argentina (Smithsonian Folkways FE , 2007) Listen for: short melodic fragments strong rhythmic emphasis in each fragment steady tempo, with little fluctuation fragments are repeated many times, with little variation vocables speech blending into song Note: This guide corresponds to the music from 1:40 on. Timing What happens 1:40 spoken sacarle para sangre todo eso (Spanish for take out all this through the blood ) 1:46 1:50 singing begins singer introduces additional syllables and melodic fragments repetition of melodic fragments, each strongly accented brief interjection in higher register 2:19 return to initial fragments 2:20 brief interjection in higher register (as at 2:19), returns to repeating initial fragments 2:28 brief interjection in higher register (as at 2:19), returns to repeating initial fragments 2:36 brief interjection in higher register (as at 2:19), returns to repeating initial fragments 2:49 brief interjection in higher register (as at 2:19), returns to repeating initial fragments 3:02 unpitched, speech-like sounds 3:12 returns to repeating initial melodic fragments

13 3:26 3:36 brief interjection in higher register (as at 2:19), returns to repeating initial fragments brief interjection in higher register (as at 2:19), returns to repeating initial fragments 3:42 brief interjection in higher register (as at 2:19), returns to repeating initial fragments English translation (courtesy Smithsonian Folkways): Power is short. I am seated beside one who was killed in a war, the one who departed. Consider: What happens to the mind when one is hypnotized? What is the effect of the constantly repeated melodic fragments in this chant? Think of a song or piece you know in which the performer is asked to both sing and speak. What is the effect of the spoken word when it is declaimed against a musical background? 2018 Carol A. Hess

14 ONLINE AUDIO GUIDE 4.6 MUSIC FOR THE JEWISH HIGH HOLY DAYS title: Kol Nidrei (All Vows) language: Aramaic performing forces: solo voice (Cantor Abraham Brun), organ form: free, with some repeated melodies function: worship for the Day of Atonement (Yom Kippur) source: Cantorials for the High Holidays (Smithsonian Folkways Archival FW , 2006) Listen for: phrases melisma, ornaments monophonic texture free meter minor mode, with several augmented seconds half cadences form (repeated motives, here highlighted in colors, each corresponding to a given melodic idea) Timing Structure and text What happens 00:00 00:21 00: 48 1:02 organ introduction soloist: Kol nidrei, Ve esarei, Ush vuei, Vacharamei, Vekonamei, Vekinusei Vechinuyei D indarna establishes minor key, prepares with soloist s entry with a half cadence augmented second (on sarei) half cadence melisma, ornaments in vocal line organ concludes musical phrase new melodic idea introduced ornaments in vocal line phrase ends on a major chord 1:18 1:33 1:46 1:54 Ud ishtabana Ud acharimna Ud ssarna Al nafshatana melodic idea of 1:02 repeated half cadence highest note in piece occurs phrase ends on a major chord 2:11 Miyom Kippurim word repetition extended melisma, ornaments

15 2:27 2:42 2:58 3:14 3:20 3:34 3:49 3:56 4:13 4:28 4:46 ad Yom Kippurim haba aleinu letovah Bechulhon Icharatna vehon Kulhon yehon sharan Kulhon yehon sharan Sh vikin, sh vitin, betelin, umevatulin lo sheririn v lo kayamin v lo kayamin Ni-dran lo nidrei v essarana lo essarei Ush vuatana lo shevuot. augmented second organ drops out briefly, then returns melismas, ornaments organ parallels voice melismas, ornaments extended melismas augmented second (on sarei ) English translation: All vows, prohibitions, obligations, oaths, and anathemas which we may vow, or swear, or pledge, or whereby we may be bound, from this day of Atonement until the next (whose happy coming we await), we do repent. May they be deemed absolved, forgiven, annulled, and void, and made of no effect; they shall not bind us nor have power over us. The vows shall not be reckoned vows; the obligations shall not be obligatory; nor the oaths be oaths. Consider: Describe the organ part? Does it back up the voice or take an active role? How would you describe the vocal style? Is it closer to classical or popular music? 2018 Carol A. Hess