FTX-787
- THE WORLD ENCOMPASSED - 8 CDs - vol 7
THE OVERALL ORCHESTRAL RHYTHM (13)
01. OneBeat. S. America, Interior Amazonia. The simple tribal structure
of the Campa Indians who live in small, non-stratified, non-centralised communities
(fishing, hunting, and cultivating with digging sticks) is the typical context
for one-beat rhythm in the orchestra. One drum and then a second joins in with
an overlaid syncopated effect. (Tschopik, B7) - 1'02"
02a. OneBeat. E. Asia, Japan. Buddhist monks chanting morning prayers to
a one-beat accompaniment on a wooden gong. One-beat often turns up in ritual
contexts of complex societies, but infrequently elsewhere. (Haring #1, A2) &
2b OneBeat. Campa women celebrating the manufacture of manioc beer. (Tschopik,
B7) - 1'03"
03. Demo. Throughout this item and the following tracks, Roswell Rudd demonstrates
the beat patterns on the bongo and there is also background speech up to #13
- 0'20"
04. Simple. Malaysia, Molucca, Aru Island. Dobo tribesmen playing slit drums
and a gong in unison to a simple four-beat meter. (Kunst & Lomax, A7) - 0'22"
05. Simple. Malaysia, N. Phillippines. Hanunoo sing and play portable ins
truments- the Sit-git (fiddles hardly bigger that your hand) and the kalutang
(two sticks held in The-hand and manipulated so as to make a three-note xylophone.
(Conklin, B 3) - 0'30"
06. Simple. N. America. Cajuns (the French-speaking bayou-dwellers and rice
farmers of S.W. Louisiana) have developed a distinctive regional dance music
of which this waltz is a flavorsome example. Fiddle with guitar. (Bonstein,
B1) - 0'36"
07. Simple. Equatorial Africa. Mboko villager with a mouth bow. (See Line
11, #3 for description) (Didier, A5) - 1'02"
08. Complex. Australia, N.W. Arnhemland. The didieridu,. a long trumpet,
made of a tree branch hollowed out by white ants and trimmed for blowing by
the player, requires enormous expertise (such as circular breathing) on the
part of the performer. Male solo with didjeridu and sticks. (West, A3) - 0'44"
09. Complex. (5/4) Africa, W. Sudan. A Dogon healing song picked out on
a harp-lute. (Calame-Griaule & Calame, B6) - 0'38"
10. Rhythm on sticks - 0'14"
11. Complex. (7/8) The Balkans, Bulgaria, Pirin. A Macedonian Horo, one
of the ancient choros, or line dances known to plough agricultural villagers
from Morocco to Tibeto-Burmaland, is here played by two Muslim gypsies on plucked
lute and drum. (Lloyd #1, A8) - 0'42"
12. Complex. Middle East, N.E. Afghanistan, A similar rhythm played on a
clay calyx-shaped drum comes from Badakchan in the Hindu Kush, where Tadjiks
cultivate their irrigated mountain valley farms. (Delapraz, B5) - 1'11"
13. Irregular. N. America, Laguna Pueblo. The leg-bells of. the dancers
produce an irregular meter in unison to match the rhythm of the unison chorus.
(See Line 3, #9) (Superchief, A) - 1'07"
14. Repeat of #13 (without counting) - 0'50"
15. Irregular. Australia, Arnhemland. Sticks accompany the didjeridu. It
plays in unison with the singers with a terraced melody to an irregular meter,
in unison with each other. (West, A6) - 1'21"
16. Irregular. C. America, Honduras, Valle. Two guitars (European) playing
a waltz European) in irregular meter (Amerindian) in rough unison (also Amerindian).
This is a frequent mestizo-American pattern. (Smith, Peter, A4) - 1'11"
17. Free Rhythm. E. Asia, Japan. The ornamented long phrases of the shakuhachi
(flute) are prelude to a song commenting on the loneliness of life - a notable
feature in the highly stratified societies where free orchestra rhythm is most
frequent. (Masu, A4) - 0'51"
18. Free Rhythm. Middle East, Armenian S.S.R. Two duduks (double reeds)
in the free rhythm, microtonal, ornamental, glissando style customary in Old
High Culture. (Cowell #2, C5) - 0'49"
19. Free Rhythm. C. Asia, Tibet. Masked lamas prepare to drive out the demons
of the old year and call on the good spirits to aid them in the new. Shawm,
trumpet, drum and cymbals. (Bourguignon, B4) - 0'51"
20. Repetition of the five rhythmic types. (Note: Listen to the instrumental
part, not the singers) - 2'43"
21. Test #1. N. America. A Southern Mountain fiddle tune named for John
Brown, the abolitionist. Male solo. (See Line 4, #17) (Lomax #4, B4) - 0'33"
22. Test #2. W. Africa, Bulu (Fang). A women's dance song performed by a
leader with mellow-voiced chorus and clapped accompaniment. (Cozzens, A8) -
0'43"
23. Test #3. E. Europe. A N. Bulgarian lament for Giorgi Dimitrov, the Bulgarian
hero of the Reichstag fire scandal, played on the kaval (seven-holed shepherd's
flute) with a sound that might have been heard when Middle Eastern culture first
entered the Danube Valley. (Lloyd #1, B31) - 0'35"
24. Test #4. N. America, Southwest. Pima men with drum accompaniment in
the tonally individualized, but rhythmically cohesive unison style of the Southwest
incipients. (Boulton #4, 1) - 0'43"
25. Test #5. S. Asia, India. A Oriya tribal song in two short phrases with
repetitive text, notable raspy delivery and drum accompaniment. (Sweden #2,
A1) - 0'21"
26. Test #6. S. Europe, Greece. A Peloponnesian dance of the shuffle style,
with dancers in a line and moving sideways to an aksak pattern, played on glissando
fiddle and plucked chordophone. (Notopoulos #2 , A2) - 0'38"
27. Test #7. S. Asia, N.W. India. Kashmir, fabled for its beauty, is like
Georgia, fortunate in its climate, its mountain irrigation economy and its rich
heritage of Middle Eastern culture, such as this tune for a nightingale. Flute
and drone. (Bhavain, B1) - 0'40"
28. Test #8. E. Africa, Nilotic Kipsigi. Cushites of partly Caucasian descent,
who practice intensive terraced agriculture in the mountains of N.E. Kenya,
sing this chorus in overlapped counterpoint to a six-string lyre accompaniment.
(Tracey #2/ TRr-166), A6) - 0'36"
29. Test #9. N.W. Africa. Mauretanian griots (bards) performing a hanoun,
praising the emir, accompanied by a lute and by drumming on the soundbox of
a harp. Male and female soloists. (Rouget, A1) 0'48"
30. Test #10. S. Asia, S. India. A stupendous Trivan drum song for Kathakall
(mimed dance drama of Malabar) by male soloist with drums and cymbals. (Danielou
#2, B14) - 0'27"
TESTS - 1. Simple meter/ 2. One-beat/ 3. Free rhythm/ 4. Irregular/ 5.
One=beat/ 6. Complex meter/ 7. Free rhythm/ 8. Simple meter/ 9. Irregular meter/
10. Complex meter
RUBATO - VOCAL AND ORCHESTRAL (26 & 27) - No tests have been made for associations
with rubato.
31. Introduction. N. America, Southern U.S.A. A rhythmic chant by a No.
Carolina tobacco auctioneer. (Key) - 0'23"
32. Afro-America, Mississippi. A black prisoner singing his own personal
field holler - a song that identifies him and expresses his feelings. (Lomax
9b14, B 6) - 0'40"
33. N. Europe, Scotland. A Hebridean crofter woman talking Gaelic, then
English, then singing a Gaelic milking song to her cow. (Lomax #33, B 4) - 0'35"
34. Extreme Rubato. W. Europe, Spain, Seville. A famous flamenco singer
using a high-itched, narrow, embellished style, launches a saeta (an arrow of
song) in honor of the Virgin's grief-as the gigantic Easter procession pauses
to listen. Female solo. (Lomax #28, B23) - 0'20"
35. No Rubato or strict Tempo. N. America, Mississippi. A Choctaw Indian,
heritor of a tribal tradition of complementary maize gardening, sings a Drunk
Song with repetitions, wide leaps and wide voices. (Hand, A4) - 0'37
36. Much. Melanesiay E. Papua, Mt. Yule. A Gerebi woman sings a plaintive
love-magic song about watching an insect crawl up a blade of grass. If the insect
stays to the end of the song, the magic will work. (Elkin & Dupeyrat) #7, B7)
- 0'36"
37. Some. N. Europe, France, Normandy. A comic ballad in the burry nasal
voice and somewhat irregular meter typical of much of French folk singing. (Marcel-Dubois
& Andral, A5) - 0'50"
38. Extreme. Middle East, Iran. From the heritage of a complex, ancient
civilization, this composition in thiAbu-Ata mode is played on the tar (plucked
lute) and the kemanche (bowed lute) by two males. (Danielou #1,B4) - 0'36"
39. None or Strict Tempo. N. Europe, Ireland. Played on a bodhran (single-headed
drum) by two males. (Leader, B1) 0'34"
40. Extreme. Repeat of #38 - 0'29" 41. Much. E. Asia. Chinese High Moon,
a piece of contemplative music from the Tang Dynasty (A.D. 618 - 906) played
on nan hsiao (flute) and pip'a (lute) by two males. (Levy #3, B 1) - 0'43"
42. Some. Indonesia, Ball. One of the numerous forms of the gamelan (an
orchestra of metalophones, flute and percussion instruments) is the Anklung,
usually heard at funerary rites. Several males. (Berthe, B1) - 0'46"
(Note: There is no example of Strict Tempo.)
43. Test #1. S.E. Africa. The Chagga exhibit the magnificence of African
mass-singing with its overlapping parts, its fluid harmonies and its surging
power. Male leader with mixed group. (Tracey #2/ TR-153, A1) - 1'00
44. Test #2. N. America. A Southern U.S. Baptist congregation singing a
long meter (slow, free rhythm) version of a Welsh hymn, in heterophony, with
the song leader "lining out" the words from the hymn book. Male leader and mixed
group. (Lomax #7, A3) - 0'45"
45. Test #3. S. America, Inner Amazonia. A Jivaro man sings that his wife
has brewed chicha (alcohol) and invites his friends (Head-hunting allies) to
drink. Note yodeling. (Luzuy A5) - 0'29"
46. Test #4. E. Europe. A W. Bohemian peasant girls' choir with a string
orchestra (bass in lead) collaborate in heterophony. (Czechoslovakia #2, B2)
- 0'49"
47. Test #5. E. Europe, Slovakia. A flageolet solo in shepherd style. (Czechoslovakia
#6, A la) - 0'33"
48. Test #6. S. Asia, Nepal. Female solo. (Cronk, A6) - 0'46"
49. Test #7. Australia, C. Arnhemland. Semi-professional stickman and songman
perform dance music accompanied on the a large-bore, wooden trumpet requiring
great strength and control. Three males. (West, B2) - 0'28"
50. Test #8. Mexico, Jalisco. The folk oboe ( Chirimia, of Spanish origin)
and drum announce the beginning of Holy Week. (Stanford & Warman, A6) - 1'18"
TESTS - 1. Extreme/ 2. Much/ 3. No rubato or strict tempo/ 4. Some/ 5. Much/
6. Some/ 7. No rubato or strict tempo/ 8. Extreme
MELODIC FORM (16A) - Brief, simply-organised forms are more characteristic
of small settlements, while large, complex forms are more typical of large settlements.
The repetitious litany form tends to occur in small settlements of gardeners
with domesticated animals. The big, through-composed forms are most characteristic
of permanent settlements with complex productive systems, notably involving
big irrigation works. The strophe, which can be either long or short, is more
frequent where planned work schedules are essential - in cold latitudes among
hunter-fishers and plough agriculturalists.
51. Litany. W. Africa, Upper Volta, Gwin. The chief has died and a female
mourner is improvising a funeral lament with the support of her neighbors, accompanied
by the insects of the night(Schaeffner & Rougety A15) - 1'05"
52. Strophe. N. America, N. Carolina Mountains. Most of the narrative and
lyric folk songs of the British Isles and of the American backwoods were strophes
(usually four phrased) sung unaccompanied. This ditty is of 19th century sentimental
vintage. Female solo. (Rinzler & Earle, A8) - 1'06"
53. Through Composed. C. Europe. A Berlin academic choir demonstrates the
old style Gregorian chant a European variant on the Eastern liturgical tradition
rhythmically free, long-phrased and highly melismatic. Male group. (Sachs) -
2'13"
54. Litany. Middle East. A dervish meeting in London, where the congregants
repeat the name of Allah over and over to induce trance. Male group. (Levy #2,
B5b) - 0'31"
55. Litany. N. Europe, West of England chanty for hoisting sail; the chanty-man
improvises, the chorus- sings a refrain; all heave on the word 'haul'. Male
solo with male group. (Lomax & Kennedy #34, A1) - 1'04"
56. Strophe (3p). S. America. A Chilean narrative song performed in solo
with the guitar in traditional Spanish style, but with Amerindian touches in
the big leaps, the irregular meter, and the one-beat feeling of the guitar.
Male solo. (Chile, A2) - 1'16"
57. Strophe (3p). N. America, Southwest. A Papago curing chant (melodically
similar to #53) - one of many the medicine man would sing in all-night ceremonies,
shaking his gourd rattle and occasionally brushing the patient with healing
eagle feathers. Male solo with rattle. (Boulton #1, B5) - 1'29"
58. Strophe. C. Europe. Romania, Crisana. A woman improvises a lament upon
the death of her brothers using a standard formula but adding new verses. Female
solo. (Alexandru #1, A6) - 1'06"
59. Strophe (4p). N. America, Oklahoma. For a time, Woody Guthrie had his
own daily radio program in Los Angeles. This is a song he composed and sang
for that audience about a local and disastrous flash flood. (Lomax #18, F5)
- 1'14"
60. Strophe (5). N. Europe. Irish folklorist, Seamus Ennis, lilts and ironic
Anglo-Irish anti-recruiting ballad of ihe-Napoleonic wars, when Ireland was
a source of cannon-fodder for both sides. (Ennis & Lomax, B32) - 0'48"
61. Strophe (8). N. America, Southwest, Pima. Strophes, notably those with
many phrases and complex structure, are especially frequent in North American
Indian cultures. Four men with drum. (Boulton 01, B7) - 1'58"
62. Through Composed, S. Asia, India. A Tamil ral-a in honor of Shiva, one
of the many large, through-composed forms (the symphony is another) which have
emerged in complex urban civilizations. Male solo with sitar. (Asch #2, A2)
- 2'20"
63. Test #1. Afro-America, Arkansas. A lyrical blues work song from the
Mississippi Valley prison farms. (Lomax #14) - 0'44"
64. Test #2. Afro-America, Louisiana. 19th century antebellum, dance song,
suitable for fiddle or banjo, kept in the repertory of Texan black prisoners.
Male solo with guitar. (Ramsey #2, D 3) - 0'25"
65. Test #3. West Europe. Galicia, where plaintive airs, improvised harmonies,
bagpipes and Celtic love of country come together in such 'ay-la-la's'. The
text says: 'when pipes sound, my heart flows out with love for my country- for
in the whole world there is no land like ours...' Female group. (Lomax #23t
A 2) - 2'18"
66. Test #4. North America, Plains Cree. This melodic form - combined with
a terraced shape, high register, large intervals, and much repetition- form
a pattern typical of the nomadic hunters of the Northern Plains. Male solo with
drum. (Peacock, A 2) - 1'44"
67. Test #5. South Europe, S. Spain, Andaluciap where ordinary day-laborers,
drinking with their friends in a bar, improvise such tricky and demanding flamenco
songs, "as long as the wine lasts! Male, beating time on table top. (Lomax~
#19, A9) - 0'56"
68. Test #6. West Europe, N. Spain, Leon. A female chorus singing in honor
of the bride at an old-fashioned three-day wedding. Female group. (Lomax #26,
A 4) - 0'47"
TESTS - 1. Strophe/ 2. Litany/ 3. Through-composed/ 4. Strophe/ 5. Through-composed
THE NUMBER OF PHRASES (18) - Our very tentative findings about melodic size
are briefly the following: As a very general rule, melodies of 8+ phrases seem
to be most frequent in large settlements, particularly if irrigation is practised,
while one or two phrase forms are most common in cultures with smaller settlements
- especially if they are dependent on hoe or digging stick agriculture where
productive labour consists largely of simple chopping or digging movements.
The middle-sized strophic forms are commonest among the predators and plough
agriculturalists of the North, where productive success depends more upon strategic
and non-repetitive action by individuals rather than upon the continuous rhythmic
and often concerted action of groups.
69. Two Phrases. U.S.A., Virginia Mountains. a ballad of passion and murder
in couplet form. Male solo with guitar )speech over) (Lomax #6, B1) - 0'36"
70. Three Phrases. N. Europe, Scotland, Aberdeen. This Scots form (Child
10) of the ancient European ballad of sibling murder- where the remains of the
dead rise to accuse the killer- are in the old 3-phrase form of two narrative
lines, plus a refrain for the audience to sing. (Kennedy & Lomax #2, A5) - 1'03"
71. Three Phrases. S. America, Chile. The old, 3-phrase, Castillian ballad
style vigorously surviving in Chile. Female solo with guitar. (Chile, A2) -
1'01"
72. Two Phrases. Afro-America, Martinique. An example of a West African
two-phrase leader-re-sponse style. (Lomax #36, 1) - 0'53"
73. One Phrase. Albania. An epic ballad set to a one-phrase melody from
one of the European strongholds of the zadruga (the extended family settlement).
Male group in unison. (Lloyd #2, A7) - 0'41"
74. Two Phrases. Afro-America, West Indies, Tobago. African hoe agriculture
was continued in the Caribbean slave and cash-crop cultures, where, until lately,
one and two-phrase melodic forms were dominant. The text hints that the mother
is at work and a child is minding the baby. (Lomax #36, 1) - 0'47"
75. Three Phrases. W. Europe, Scotland, Such so-called 'bothy' songs, concerning
the working lives of the farm labourers of Aberdeen, were an important source
of the ballads of American lumberjacks and cowboys. (Lomax #33, A17) - 0'40"
76. Four Phrases. U.S.A., Virginia Mountains. A sentimental 19th century
hit in the dominant Euro-American quatrain form - performed bluegrass style.
Male group with string accompaniment. (Lomax #12, A6) - 0'52"
77. Five Phrases. Central Europe, Roumania, Cluj. A delicately embellished
appeal to the emperor to stop his wars and his needless slaughter of the young
men. Female solo. (Alexandru #1.8) - 1'17"
78. Slx Phrases. Plains Indians, Pawnee. A ghost dance from the pan-Indian
revivalistic movement of the 1870's which for a time rallied the hopes of the
Plains Indians as they were being pushed out of their ancestral hunting grounds.
Complex strophe to a complex irregular meter. Male solo with drum. (Rhodes #4,
B 10) - 1'02
79. Eight Phrases. South Europe, Spain, Valencia. A Christmas carol (aguinaldo)
from the irrigated gardens of this ancient kingdom of the Romans and the Moors.
Four males with trombone, clarinet and guitar. (Lomax #2, B8) - 2'11"
80. Test #l. The Balkans. A ritual song for St. George's Day from the Serbian
mountains. w femalegroupsoveriapping. (1p). (Kennedy #l,B 42) - 0'37"
81. Test #2. East Asia. A work song, mounting a long narrative, the Ryuku
Archipe@o, whose culture still preserves the ways of old Japan. Female chorus
with drum. (3p) (Masu, B17) - 0'41"
82. Test #3. Africa, Gwin tribe, (see Line 16a, #1) (2p) - 0'30"
83. Test #4. Europe, N. Spain, Asturias, (See Line 1, #6) (6p) - 0'49"
84. Test #5. East Europe. Ukraine. A practiced rural choir in a traditional
Russian folk pattern of wide-voice, well-blended polyphony, and irregular meter.
(3p) (Cowell #Z, B1) - 0'46"
85. Test #6. India, il. A devotional raga developing a melodic theme in
a common Old High Culture pattern - free rhythm, through-composed, embellished,
accompanied in rhythmic heterophony. (8+) (Asch #2, A2) - 0'58"
86. Test #7. South America, Interior Amazonia, Jivaro. The Jivaro live in
dispersed, single-family habitations and, since the men spend much of their
time in pursuit of game and heads, the women are often alone, dreaming and longing
for their lovers, as in this song. Male solo. (2p) (Luzuy, A9) - 0'16"
87. Test #8. West Europe, Sweden. courtly romantic ballad in the ancient
couplet-plus-refrain, solo-chorus style. (5p) (Sweden #4, A1) - 0'58"
88. Test #9. Central Asia, Uzbek. These modern descendants of Turco-Mongol
pastoralists still have many such highly ornamented epic songs to remind them
of their imperial ancestors who conquered the Central Asian steppes. Male solo
with tar (lute). (8+) (Cowell #4, B2) - 1'17"
TESTS - 1. 1p/ 2. 3p/ 3. 2p/ 4. 6p/ 5. 3p/ 6. 9+/ 7. 2p/ 8. 8+
