The Metrics of Seto Choral Laments in the Context of Runosong Metrics

The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, taking into account the linguistic structure of the lines and the varied realization of it in a musical performance rhythm. The analysis showed that laments’ metrics where 5-unit end structures play an important role, differs the most from the main body of runosongs and is structurally more similar to a group of runosongs with refrains and varying line length. Outlining the development patterns of the metrical system of Seto songs, the influences of local unique musical tradition with varied rhythmic structures atypical of the most runosong area, specific functions of ritual song genres, historical changes in language, as well as possible external connections to early eastern and southern song cultures are highlighted.

Semantic features of the sensory-evidential “auditive” grammeme in the Nenets shamanistic songs

The specific semantic features and the functions of sensory evidential verbal “auditive” forms are identified and specified in Nenets shamanistic ritual songs documented by Toivo Lehtisalo at the beginning of the 20th century. The significant typological specificity of Samoyedic evidential systems is the availability of verbal forms marked by special morphological formants expressing sensory evidential meanings. The verbal forms in question, indicating an auditory, acoustic source of receiving the information being communicated, are traditionally termed as “auditive” in Samoyedic linguistics. The cognitive problem is that the particular grammatical meaning of the auditive that is basic in the diachronic levels documented, in fact, coincides with the lexical meaning of the Samoyedic verbs of auditory perception. When used in evidential utterances, they indicate an auditory source of information communicated in the same way as the auditive grammemes in their basic meaning. That is why, at the later stages documented, the Samoyedic “auditive” is assumed to be redundant archaism that is not based on any actual communicative demand but only depends on folklore tradition. Nenets shamanistic ritual song texts informatively documented by Toivo Lehtisalo offer linguistically fact-based, historical, and ethnological facts. These facts make it possible to assume that the Samoyedic “auditive” primarily was grammaticalized in the sacral sphere, and its diachronically earlier semantics reflected the specificity of sacral shamanistic performance ritual communication with invisible ghost helpers. Therefore, the diachronically earlier auditive semantics was specific and different from the lexical semantics of auditive perception verbs.

GESTURE IN THE UDMURTS SONG CULTURE: FUNCTIONS AND SEMANTICS

The problems of non-verbal behavior remain in the shadow of the modern ethnomusicology so far. Meanwhile, spatial behavior of singers, the poses and gestures used by them during the singing are language of culture, not less informative, than musical and verbal language, but at the same time more emotional, expressive and available. Gesture as body language is usually associated with the movement of the arm, palm, head, shoulders, legs. In the present study, we operate with the broader meaning of the word “gesture” as a behavior (from Lat. Gestura). The spatial behavior of performers during the ceremony, the generally accepted postures and gestures as non-verbal language of culture are discussed in the article on the material of the Udmurt ritual song tradition. The forest landscape influences the behavioral, as well as linguistic, religious, sound picture of the world of the Finno-Ugrians. The connection between the natural geographic environment and the “mental warehouse” of the Udmurts was observed by ethnographers as early as the end of the 19th century; they noted restraint in expressing impressions, silence, extraordinary shyness and the boundless ability of Udmurts to endure. The same is noted by modern scientists. In speech communication, for example, there is an unspoken rule not to express loudly and openly your emotions; it is not customary to actively gesticulate, to speak loudly. The findings of scientists suggest that the Udmurt communicative culture belongs to the low-kinesic. The stereotypes about the modesty and timidity of the Udmurts collapse when analyzing the Udmurt rituals, in which the idea of producing magic dominates to extend the genus or future harvest. Many behavioral prohibitions are not only lifted; moreover, obscene gestures, indecent behavior are becoming a necessary condition for rituals. Singers can stomp their feet heavily, beat the rhythm with loud beats of iron objects, sing while standing on chairs. In other local traditions, the magic of production can be embodied in the body language of singers in slow rocking, round dances. The key moment of the spatial behavior of the singing participants of these rites is a side-to-side movement as a symbol of the growth of cereal crops. Ritual gestures of a handshake, bowing of the knees as communicative gestures are considered in the article. Other gestures of singers (alternating between the left and right foot subhemps, putting the palm to the mouth while singing) are designed to enhance the expressiveness of the musical rhythm or create a special sound effect. It is concluded that the song ritual communication of the Udmurts, in contrast to everyday verbal communication, is characterized by a higher level of emotionality, which is reflected in body language.

THE SONG “FÆZZÆDZHY ZARÆG” (AUTUMN SONG) IN THE OSSETIC CALENDRICAL RITUALISM: TYPOLOGY AND MUSICAL STYLISTICS

Осетинский народный календарь не раз становился объектом научных изысканий, однако музыкальная составляющая обряда оставалась за рамками научного интереса исследователей. В настоящей статье впервые рассматриваются музыкально-поэтические особенности песни «Фæззæджы зарæг» (букв. Осенняя песня), исполняемой во время праздника в честь первого выхода на покос. Источниками для проведения исследования послужили образцы из сборников «Ирон адæмон сфæлдыстад», «Памятники народного творчества осетин», «Осетинские народные песни» под редакцией Е. Гиппиуса и Б. Галаева, а также материалы из Научного архива СОИГСИ. Музыкальный материал «Фæззæджы зарæг» представлен как в Научном архиве СОИГСИ, так и в сборнике «Осетинские народные песни». Объектом внимания в статье являются музыкально-поэтические особенности «Осенней песни». В рамках исследования проведен анализ порядка 10 образцов. Отмечено музыкально-поэтическое своеобразие, отдельное внимание уделено ладогармоническим, ритмическим и мелодическим особенностям песни. Общие наблюдения касаются также и динамики исторического развития, связанной с угасанием культа и потерей контекстов исполнения обрядовой песни. Анализ музыкальной составляющей осеннего праздника в честь начала сенокоса дает возможность сделать выводы о том, что песня являлась ритуально-магической и пелась с верой в вербальную магию. Также в песне употребляются и призывы к работе, восхваления трудолюбивых и высмеивание ленивых. Музыкально-типологический анализ выявляет единый музыкальный тип «Фæззæджы зарæг», который характеризуется едиными ладогармоническими показателями. Публикация снабжена рисунками, схемами и нотными примерами. Нотный материал вводится в научный оборот впервые. The Ossetic folk calendar is repeatedly becoming the object of scientific research, but the musical component of the rite remained beyond the scientific interest of researchers. In this article, for the first time, the musical and poetic features of the song “Fæzzædzhy Zaræg” (lit. Autumn Song) performed during the holiday in honor of the first mowing season are considered. The sources for the study were samples from the collections “Iron Adæmon Sfældystad”, “Monuments of Ossetic Folk Art”, “Ossetic Folk Songs” under the editorship of E. Gippius and B. Galaev, as well as materials from the North Ossetian Institute for Humanitarian and Social Studies Scientific Archive. The musical material “Fæzzædzhy Zaræg” is presented in the North Ossetian Institute for Humanitarian and Social Studies Scientific Archive and in the book “The Ossetian Folk Songs”. The object of attention in the article is the musical and poetic features of the “Autumn Song”. The study carried out an analysis of 10 samples. Musical and poetic originality is noted, special attention is paid to the harmonic, rhythmic and melodic features of the song. General observations also relate to the dynamics of historical development associated with the extinction of the cult and the loss of contexts for the performance of a ritual song. The analysis of the musical component of the autumn holiday in honor of the beginning of haymaking gives the opportunity to draw conclusions that the song was ritually magical and sung with faith in verbal magic. The song also uses calls for work, praise of the hardworking, and ridicule of the lazy. Musical and typological analysis reveals a single musical style “Fæzzædzhy Zaræg” which is characterized by uniform ladoharmonic indicators. The publication is provided with drawings, diagrams and musical examples. Musical material is introduced into scientific circulation for the first time.

Educational Value in Erpangir Ku Lau Ritual with Gendang Lima Sendalanen

This study was aimed at determining the Ritual Process in terms of the meaning and value contained in the Erpangir Ku Lau Ritual Ceremony and the presentation of the ethnic context of Gendang Lima Sendalanen, Batak Karo Ethnic. This type of research was descriptive qualitative with an ethnographic approach. This study was carried out in Semangat Gunung Village, Karo, North Sumatra. The informants of this study were Artists and Lecturers of Karo Batak traditional music at Medan State University, while the object of the research was Erpangir Ku Lau Ritual ceremony along with the accompaniment of the music of Gendang Lima Sendalanen. The data sources in this study were obtained through observation and documentation. The analysis technique consisted of data reduction and conclusions. The results showed that this Ceremony contained the meaning and value of Social and Cultural Education and Multicultural which were reflected in the lyrics of Oral Literature from the spells in ritual ceremonies hummed in a ritual song namely Mangmang which has the meaning of respecting the ancestors and purification of things things that are not good while the value of education in rituals is reflected in the effort to maintain the cultural heritage of the Erpangir Ku Lau ritual ceremony.Keywords: educational value, Ritual Erpangir Ku Lau, Gendang Lima Sendalanen

Singing Belonging in the Ritual Lab

Chapter 4 explores the introduction of Ronald Grimes’s ritual laboratory as a pedagogical tool in the teaching of a ritual song module within the context of a Master’s in Ritual Chant and Song at the Irish World Academy of Music and Dance. An examination of feedback and correspondence on the lab from students over the last decade and a half supports a view of the lab as a space of welcome, hospitality, and belonging. A central aspect of singing, explored in the lab, is its relationship with temporality. It suggests that it is the ability of music to collapse the clear boundaries between time and space that makes singing (particularly in ritual contexts) so successful in facilitating a sense of belonging.

They Go Along Singing: Reconstructing the Hopi Past from Ritual Metaphors in Song and Image

This article demonstrates how the cosmological metaphors in ritual song texts are an important but unrecognized resource in the repertoire of oral tradition that can be used to reconstruct past lifeways. We test this proposition with a study of 125 Hopi katsina song texts from the 20th century and show how the cosmological principles underlying the Hopi lifeway are embedded in special song word and phrase metaphors. Through the transcription and translation of the content of these song metaphors we reveal a consistency of thought and prescribed social action that has sustained the Hopi people as they have followed a lifeway of corn agriculture done by hand. We then show how these same principles for living expressed metaphorically in words are visually repeated in the same metaphors in mural images on 15th- and 16th-century kiva murals from the Hopi sites of Awatovi and Kawaika'a as well as on associated Jeddito and Sikyatki yellow ware ceramic design.