Melodic Types Research Articles

이완순 무가의 관용적 선율 고찰 -1982년 살풀이를 중심으로-

This study analyzes her idiomatic melodies and music-making method focusing on two “Chogamangseok Salpuri” pieces of Jindo ssitgimgut (purification ritual in Jindo) performed by a shaman Lee Wansoon and recorded in the field in 1982. The two salpuri (lit. exorcism) pieces—respectively, called (A) and (B)—have four melody types— respectively, called type A, B, C, and D—in common. Type A that appears the most is the wave shape composed of mi', do', la', and so on; the note corresponding to each beat moves down in the form of a wave within one rhythmic pattern. The lyrics of type A is primarily about historical myths. Type B, mi' ascending-descending type or sustaining-descending type, is a melody that ascends or sustains at the first note for more than two beats, and then descends after that. The lyrics is usually the first syllable of a word or phrase, and this melodic structure has the effect of emphasizing the syllable. Type C is a cadence melody that usually follows type A; after the first note, various melodies of ascending, sustaining, and descending movements are formed, and the final note la is continued for more than two beats to end the melody. The lyrics consists of plosive sounds. Last, type D form is mi'-mi♭'-mi', which appears once in both (A) and (B). Even within these idiomatic melodies, however, there is a difference between (A) and (B). For example, type A in (A) mainly consists of a la'-mi' wavy melody, while that in (B) mainly forms a mi'-la-la' wavy melody. In addition, (A) uses type B to emphasize the first word of the phrase, and then composes type A for the next rhythmic pattern, repeating the same word, whereas (B) does not emphasize the word of the phrase and immediately starts the type A. This shows that even if it is the same lyrics, the melody is used differently. Therefore, the analysis of Lee Wonsoon's two salpuri pieces confirms that there exist four idiomatic melodic types, and within this large framework, she creates a shaman song in each performance by improvising with various melody types and lyrics. Even if these two materials alone cannot define her method of making music, it is significant to discover her idiomatic melodic types.

"The Circulation of a Melodic Type of Scholarly Carol From the Land of the Foresters, Hunedoara "

"The religious carol or with scholarly influence is a musical typological category that is less addressed in the specialized music literature, especially entering the area of interest of religious music. Due to this provenance and a relatively recent evolution in time (only a few hundred years), we find a distinct melodicity compared to the authentic Romanian carol. Melodic variants identified mainly in the Land of the Foresters, Hunedoara, circulate in southern Transylvania on religious carol texts, being collected in the field more than 100 years ago (Bartók, 1913). By the number of variations, we realize that it is a very beloved song, easy to remember, which closes the cycle of the Winter Holidays (Epiphany). The present research aims to identify the melodic variants of this scholarly carol, as well as, most importantly, its spread within other folk genres: old-style songs and dance songs. Keywords: Land of the Foresters, Hunedoara, scholarly carol "

Areology of the Birth and Christening Tunes of the West of the Ukrainian Ethnic Territory and Adjacent Lands: the Perspective from Northern Pidlassia

The considerable progress of Ukrainian ethnomusicology in the field of structural and typological researches in the recent decades has generally clarified the melotypology and melogeography of the most ritual genre cycles of ethnic Ukraine and the adjacent areas, except the birth and christening songs. This is due to the small number or complete absence of recordings of this kind of songs in most regions of Ukraine.
 However, there are some areas where birth and christening songs exist in more than a few numbers and form a sufficiently integral melotypological complex. These areas are Northern Pidlassiaand Nadsyannia (the Syan river region). Generally, Western Ukraine is represented by a small number of records of birth and christening songs, but this nevertheless dominate over the rest of the territory, which is represented mainly by single samples. In the represented study, an attempt to fill the existing gap in the typological study of birth and christening songs of the western territories of Ukraine is made. The sources are published recordings, the author’s own materials, as well as materials from the Archive of the Laboratory of Music Ethnology at the Lviv National Music Academy named after Mykola Lysenko.
 Musical and folklore studies of birth and christening rites are not numerous. Among them it is necessary to mention a sizable monograph of Anatolyi Ivanytsky «Songs are from Birth and Christening» (Ivanytsky, 2013) and also collections of Halyna Sokil, Stephan Copa and others.Iryna Klymenko dedicated a special paragraph to this genre in the monograph «Ritual Melodies of the Ukrainians in the Context of the Slavic-Baltic Early-Traditional Melomassive: Typology and Geography» (2020).
 The comparative analysis of the total amount of the birth and christening tunes reveals a significant role in this genre cycle of the melotypological group on the basis of the spondeic seven-component structure, which is the most represented in the western Ukrainian and adjacent territories.
 The next melotypological group combines various forms based on the five component structure. Melodic type with a lyric structure V(5+5)2 has two rhythmic versions. Quite often, the same texts can be performed in different rhythmic variants. It has been observed that the tunes of the first rhythmic type are connected mainly with ritual lyrics. Instead, the second type combines mainly with common plots.
 A unique type based on a five-component structure, which has no analogues, is a three-part form V(5+5+5)2, which spreads on Nadsianna, less on Opillia territories. These melodies usually are combined with the same poetic lines «Early on Sunday, early on Sunday as a white day» rarely with some slight variants in the first line.
 Speaking of five-syllable structures we should mention songs with the so-called «arrow-like» rhythm. Although only a few fixations are known in Western Ukraine, the central and eastern territories of Ukraine and Belarus are represented more richly. Instead, the West part represents a kind of «hybrid» form based on this rhythmic structure.
 Perhaps the most widely used ritual melodic type in Eastern Europe with the verse structure V(5+5+7)2 and birth and christening function distribute on the territory of north-western Ukraine with a concentration on Nadsyannia.
 Another widespread ritual rhythmical form based on the iambic six-component structure is represented in tirade and strophic compositions, but the records of these songs, unfortunately, are rare.
 Summarizing the melotypological and meloareological characteristics of the birth and christening melodic types of the ethnic west of Ukraine, it should be noted that the two densest centers of their existence are Northern Pidlassiaand Nadsyannia. However, Northern Pidlassiais characterized by a richer melotypological set: six melotypes, while in Nadsyannia there are only three ones. In addition, the folk melodic types of these two areas actually differ.
 In general, the birth and christening genre cycle of Nadssiannia seems to be separated from the surrounding territories with its «unique» song «Early on Sunday», which partially spread to neighboring territories. Additionally, there is no any recorded sample based on the seven-component structure, as well as no samples of six-syllable melodies were encountered.
 The range of melotypes based on the five-component structure is the most numerous and most widespread in the territory of the ethnic west of Ukraine. A group of related seven-components melodic types is spread in the BelarusianUkrainian area. The melodic basis of the vast majority of the birth and christening songs is a system of stable tones at a distance of a fifth with a minor inclination of the scale.

The Old Style Song in the Land of the Foresters, Hunedoara. Melodic Types with Refrain Resulted from Melodic Interjections

"Old style songs are the most numerous, varied and widespread folk music productions in the entire Romanian territory. Researchers such as Béla Bartók and Emilia Comișel have conducted collections in the Foresters’ Land in Hunedoara County. In the summer of 2017, together with prof.univ.dr. Ioan Bocșa, we did a lot of research in this area as well. Hundreds of songs belonging to this lyrical genre have been collected, both in previous collections and in our own. The songs are performed, for the most part, by women, in the privacy of their home, on the border or in gatherings. Although it is a mainly individual genre, group interpretations have also been recorded. The vocal emission is similar to ritual songs (metallic, strong, sustained voice); we were amazed, as a performance of the group interpretation, with the unison execution of the ample and complex ornaments. For our study, we selected melodic types that have a very short refrain (two or three syllables), which has been theorized over time as a melodic interjection; due to the extension (up to a melodic line), a consequence of an excessive ornamentation, we consider it to have the status of a refrain. Keywords: Land of the Foresters, Hunedoara, old style vocal song, melodic interjection, refrain. "

Etnomusiqişünaslıq tehlil üsullarının bestekar yaradıcılığına tetbiqine dair

Avanqard musiqi klassik kanonlari dagitdigina gore tehlil usullarinda bir bosluq yaradaraq musiqisunasliqda da ferqli yanasma terzi teleb etmeye basladi. Harmoniya, forma, orkestrlesdirme usullarinda inqilabi deyisiklikler, minimalistik ifade vasiteleri muvafiq tehlil usullari ve metodologiya yaratmaga vadar etdi. Bu zaman iller uzunu minimalistik tehlil vasitelerini formalasdirmis etnomusiqisunasliq tecrubesi cox yararli gorunmeye basladi. Bestekar musiqisinin intonasiya, tembr, yukseklik, meqam xususiyyetlerine nezeren tehlili ve terminologiyadan istifade musiqinin esil mahiyyetini acmaqda effektiv komekci vasiteye cevrile biler. Arasdirmada esasen E.Alekseyevin erken intonasiya edilme uzre metodologiyasindan istifade edilib. Istifade edilen usul ve metodologiya yekunda dovrun simasini aca bilecek felsefi neticelere gelib cixmaga imkan verir.

MANIFESTATIONS OF VARIANCE IN THE BELARUSIAN CALENDAR AND RITUAL TRADITION (ON THE EXAMPLE OF THE SPRING SONG “VOL BUSHUE – VIASNU CHUYE”)

The article is devoted to the study of the variation of the Belarusian calendar-ritual songs on the example of the ancient and widespread spring song “Vol bushyе – viasnu chuye”. Dozens of tunes and lyrics of songs recorded in various places of Belarus at the end of the 19th and the beginning of the 21st century were analyzed. In modern folklore, variation is understood as a specific feature of folklore which manifests itself in the existence of works of folk art in variants. The method of comparing options has become one of the main ones in the process of revealing the features and patterns of the existence of song folklore in variants. As a result of the research, the facts of the existence of a variant set of Belarusian folk songs “Vol bushyе – viasnu chuye”, differences of local styles and traditions, revealed a number of reasons that influence the occurrence of song variants (place, time, form of being, age and individual abilities of performer and other). The rich material made it possible to draw some conclusions about the structural and semantic laws of the existence of variations of songs, the nature of metrorhythmic, melodic types, modes, plot variants. Variation, as one of the primary features of folk art in the cycle of Belarusian ritual songs and directly in the spring songs has its own characteristics. The peculiarity of rhythmics and melodies give the songs plasticity, drama, perfectly convey the emotional states that artistically combine with the plot-shaped system of spring song-calls.

THE MELODIC FRAMEWORK OF SANJO —FOCUSING ON A COMPARISON OF CHINYANGJO IN KAYAGŬM SANJO AND KŎMUN’GO SANJO

Developed as a solo instrumental performance during the final days (around 1890) of the traditional music of the Chosŏn dynasty, kayagŭm sanjo is a genre that shares many similarities with p’ansori (a form of music that combines vocals and percussion performed by a singer [sori kkun] and drummer [kosu] respectively) in terms of its musical idiom, and particularly in terms of its melodic structure, rhythm (changdan), and musicality (sŏngŭm). While kayagŭm sanjo were generally learned entirely by heart and transmitted orally for two generations, in the modern era they have increasingly been taught based on staff notations. The standardization of rhythm (changdan) has been regarded as the most important element in terms of the musical framework of sanjo (lit. scattered melody). In this regard, this article seeks to identify the musical framework of sanjo. The majority of chinyangjo (lit. slow-style melodies or rhythms, one of the various types of changdan) employed within the school of kayagŭm sanjo developed by Kim Ch’angjo, the individual widely regarded as the creator of kayagŭm sanjo, consist of four modes: ujo, tolchang, p’yŏngjo, and kyemyŏnjo. As the melody found at the beginning and end of the individual sections of these modes and the structure of the melodic progression found in each section exhibit certain commonalities in terms of their melodic type, many have concluded that a standardized musical framework already exists where the kayagŭm sanjo is concerned. Based on this reality, this article begins by analyzing existing studies related to kayagŭm sanjo from the standpoint of their musical frameworks, and then applies the results of this analysis to kŏmun’go sanjo in order to be able to conduct a comparison of the commonalities and differences that exist in terms of the musical frameworks of kayagŭm sanjo and kŏmun’go sanjo. This exercise in turn reveals that while kŏmun’go sanjo consist of the same four modes (ujo, tolchang, p’yŏngjo, and kyemyŏnjo) as those found in kayagŭm sanjo, minute differences can nevertheless be found between the two in terms of the composition of their individual sections. Briefly stated, while the ujo mode of kayagŭm sanjo consists of three sections, the ujo mode of kŏmun’go sanjo consists solely of one section. That being said, the melodic development method, which is generally performed a perfect fifth above in the case of kŏmun’go sanjo, is in fact very similar to the musical framework of kayagŭm sanjo. Moreover, while the progression of the tolchang mode that serves as a bridge from the ujo mode in kayagŭm sanjo is performed a major second below much like in kŏmun’go sanjo, the latter features a smaller number of tones and, therefore, does not have a long cadence. Much like kŏmun’go sanjo, the p’yŏngjo mode of kayagŭm sanjo opens with a melody performed a major sixth above. However, the melodic flow of kŏmun’go sanjo has more in common with the tolchang mode of kayagŭm sanjo than with the p’yŏngjo mode. Meanwhile, the kyemyŏnjo mode tends to exhibit significant variations across the numerous schools of kayagŭm sanjo. While the kyemyŏnjo mode of kŏmun’go sanjo exhibits frequent changes in basic tone, the kyemyŏnjo mode of kayagŭm sanjo consists of melodies which progress differently throughout their various subsections, namely p’yŏng kyemyŏn, pyŏn kyemyŏn, sŏkhwaje, and saeng samch’ŏng.

Social dimensions of melodic identity, cognition, and association

While music researchers are interested in developing tools for automatically culling related melodies and psychologists seek a clearer understanding of how people learn, recognize, and remember melodies, musicological and ethnomusicological studies offer numerous studies of tune families. Tune families cohere, it seems, partly on the basis of cultural agreement. Melodies seem to be similar if people say they are. Are there particular musical characteristics which are favored in the formation and cohesion of family members? Music scholars have been investigating this question for a half century. As their investigations have accrued, respect for complexity of melody and the many ways in which two melodies can be the same or different has increased proportionally. This study examines five tune families and evaluates selected members of each according to a previously proposed cognitive-distance measure. Concordances and cases of musical divergence in the context of claimed relatedness are evaluated in relation to collection-formation types, melodic types, and transmission methods (printed, oral, both). Neither hand-picked members of families nor those culled by title preservation necessarily show a high degree of musical coherence. However, among the families chosen, the predominance of pieces originally associated with dancing is conspicuous. This suggests that even when contour and other features vary, lengthy rhythmic patterns may underlie the social identity of “melodic” similarity.

그레고리오성가에서 팔레스트리나가 제시한 음형들에 관한 연구

그레고리오성가에서 팔레스트리나가 제시한 음형들에 관한 연구

About the melodic type of the song cubro maro and about its geographical diffusion

The paper considers a melodic type which has been recognized in three regions in Serbia: as a melodic pattern for two spring songs in the region of Crnorecje (Eastern Serbia); in a strizbajska, a sluzbarska and in several wedding songs in the region of Presevo and Bujanovac (Southern Serbia); and in the old town of Prizren (Metohija region) where the same melodic type has been recorded as the first part of numerous wedding songs. These groups of variants are similar in the course of the melody, in their ritual function monophony and ceremonial character. They differ on the level of form, meter ornamentation and, partly, of metric organization (number of syllables) of the verse. The similarity of these melodies might be explained by the metanastic streams from the southern areas to the north. Migrations were permanent throughout the time of Turkish occupation (from the 15th century onwards). One of the oldest streams, which also led to the region of Crnorecje, had been formed in the regions of Kosovo and Metohija. The inhabitants from this region migrated both to the North - to different parts of North and East Serbia - and to the East - to the region of Presevo and Bujanovac. Also, the region of Presevo, together with two smaller river valleys (South Morava and Moravica), is considered to be a middle region between the two big river valleys of Morava and Vardar, significant as directions of migrations towards the North. It may be concluded that this melodic type was brought to the North by migrations as an important and still vital element of the old Southern Serbian ritual tradition. On the other hand, there is another group of variants within this melodic type diffused in other parts of Serbia, with the function of entertainment and in the physiognomy of the songs na bas - of newer rural Serbian vocal style. The trace of these variants should be investigated in the future.

Smuikas, smuikininkas ir smuikavimas liaudies papročiuose

The aim of the paper is to reveal the place of the fiddle, the fiddler and fiddling in Lithuanian ethnic culture as well as the changes in customs connected with fiddling in the course of time. 1. The prototypes of the bowed fiddles and later on the violin of classical type reached Lithuania with a wave of all-European music culture, and, due to their extraordinary musical possibilities, in a short time joined the Lithuanian ethnoculture and afterwards took a more important place than the old ethnic musical instruments. 2. Fiddling became important in Lithuanian ethnoculture since the second part of the 17th century and probably even earlier. Till the middle of the 20th century the fiddle was still one of the most popular musical instruments in most Lithuanian family, calendar and work customs, despite the fact that in the second half of the 19th century and at the beginning of the 20th century it was gradually pushed out by brass band instruments and accordions. In the second half of the 20th century the folk fiddling was rapidly vanishing. 3. Gradually the part of the fiddle became more important with old musical syncretism vanishing, instrumental music being separated from vocal music and replacing the vocal accompaniment of dances, rounds and games. 4. Fiddling in Lithuanian folk customs included the functions which, according to the results of our investigations, were appropriated from the playing the also sound instruments and singing: accompanying the vocal and choreographic folklore, signal, aesthetic, emotional or strengthening the emotions, physical and psychical charge, intercommunicative functions. Symbolic functions, such as communication between this world and the beyond, precaution against the evil, stimulation of the vital forces, were attributed to fiddling as well. The last function is partially connected with the results of the dance music. In the second half of the 20th century the old repertoire of folk fiddler as well as functions and meanings of the fiddling became more narrow and changed. Since that time waltzes, polkas and individually created songs were mostly played. Today the fiddle music is becoming restricted only to an aesthetical function. 5. Fiddling was closely related to the Lithuanian folk customs grounded by mythical world outlook. The fiddle, the fiddler and fiddling played the role of mediator between this world and the beyond. In the second half of the 20th century, with a change of cultural situacion and in outlooks in society, the hired fiddler, most often not a folk musician but a professional or semiprofessional one, became the most important person, responsible for joyful temper of the feast and the music. But his role lost the symbolic and mythical aspects, which were so important earlier. 6. Ethnic fiddling traditions of Lithuanian and other European nations are closely connected. The ties between Lithuanian folk fiddle and the European folk and academic playing are attested by the common genres of music, mostly that of dances, melodic types and fiddling traditions. Nevertheless one can observe some features of Lithuanian fiddling related to the influence of Lithuanian ethnoculture and music. These features are most distinct in the Lithuanian regional traditions of fiddling.

The Feeling of Musical Mode and its Emotional Character in a Melody

The present investigation, conducted on music students and non-music students as well as middle-aged subjects, had two aims. The first was to try to discover, through a synaesthetic bias, whether there is a difference in emotional reactions to the many musical modes in existence in Japan. The second was to make a comparison between age groups of the way in which melodies which differ only in one aspect, namely musical mode, are heard. The results show that (1) each mode produced a different impression, according to melodic type, on the listeners, but (2) there were additional differences in the emotional modal characters according to age group and to whether the listeners were musicians or non-musicians.

On the Theory and Definition of Melodic Type

In my studies of Slavic folk melodies I have adopted the following definition of ‘type': “…a body of material is said to be typical when there is a common, or nearly common set of features in terms of which the material can be characterized…” From the mathematical point of view it can be defined as a state of relative equilibrium. From a statistical point of view the term ‘typical’ can be used particularly when a large part of the analysed material is represented by a certain type.

Kodály's Melody

It is a generally accepted view that the most striking features of Kodály's melodic structure may be explained by the influence of folk song. This is not borne out, however, by more detailed examination. It is true that there are certain features in his melodic types which later undergo a change, and of these a prime example is the precise periodic articulation of the melodies, which is much more consistent in his later compositions than in those of his youth. Such characteristics may indeed be attributed to the influence of folk music, but in general the typical Kodály melody existed before he could have come into close contact with folk music in the year when he made his first folk song collecting trip. Of his compositions from the years 1904–1906, the only work we can consider from the viewpoint of melodic structure is the ‘Adagio’ for violin and piano; the other two compositions, Evening for mixed voice choirs and Summer Evening for orchestra, are known only in their later revised form of 1930. This, however, is sufficient to convince us that the expansive declamation and the structural ornamentation which is an organic part of its idiom continue an instrumental tradition whose origin may well go back to chamber music of the Baroque age, with its broad-flowing slow movements. This also seems to be substantiated by the piano part, which replaces impressionistic harmonies with those which may be analysed in accordance with classical harmonic principles. This characteristic harmonisation requires mention here, although it is not closely connected with the problem of melodic structure, since even the most complicated of Kodály's harmonies, when stripped of their embellishments, reveal pure ‘classical’ chords as their basis. The role of the melody in this problem serves merely to emphasise that with Kodály, perhaps more than any other composer, harmony is never an end in itself, but is always the result of the movement of the melody. If the word did not have more significance than we wish to attribute to it here, we might say that Kodály's harmony is only secondary to melody. This word ‘secondary’, however, does not refer to expression, but merely attempts to shed light on the matter of origin, by stressing the supreme importance of melody for Kodály.

Toward the Comparative Analysis of British-American Folk Tunes

T H E comparative study of folksong necessarily involves quantitative as well as qualitative data. Where dependable answers can be reached only by subjecting a large number of items to detailed statistical analysis, machinery makes practicable a variety of frequency tabulations and studies of manifold correlations, and thus invites questions hitherto at once too large and too minute. It hardly needs saying, however, that such procedures are employed to best advantage where the records are both abundant and of comparable homogeneity. The following queries may point to representative uses. Historical Questions. Are there, in particular eras, predominant phrasal schemes, and if so, what are they? Similarly with refrain schemes? Rhythms and metres? Are there different habits and preferences in melodic range and mode at different periods of history, and what is their relative strength? Geographical Questions. What are the characteristic differentiae of specific regions? Are there rhythmical preferences? Modal preferences? And to what degree of intensity? Are there other stylistic idiosyncrasies as between localities, subject to objective tests? (National or ethnological implications herein can be developed at will.) Typological Questions. What are the prevailing melodic forms within a given area of study? Do tunes in a particular mode tend to conform in other respects as well? For example, are there correlations of rhythm and melodic mode? Of phrasal cadences and mode? Are there favorite correspondences between the cadence-notes of different phrases? Between the initial upbeats and other parts of a tune or group of tunes? Are certain phrases of a given body of tunes habitually less stable than others? Are certain accent points of a phrase firmer than others? What are the stigmata that most essentially identify a melodic type? Obviously, many interconnections are latent among the questions suggested above. The method of recording factual data of various kinds about each tune, by means of code punches on a separate card, provides an extremely flexible means of sorting and re-sorting in a great variety of ways the elements and combinations of elements chosen for investigation, and of tabulating the results with a minimum of effort, a minimum of error, and with maximum speed. Flexibility, accuracy, and speed are the features of this method that especially recommend it. The summary outline above will have suggested the scope and implications of the method that I shall now attempt to describe as briefly as possible. To

The Exotic Music Society: Its Aims & Activities

evidence on which we can base probabilities or even certainties rather than mere vague or hypothetical conclusions. Let us take another example-that of polyphony. Where is it found (and the maps must be on a large enough scale to permit detailed localization)? What is the geographic distribution of each type of polyphony (simple, double, fixed, oscillating bourdon; parallel fourths, fifths, or other intervals; contrary motion; of two, three or more voices, etc.)? Here again, cartography would disclose the most archaic types, those which are universal, those which are due to cultural differences, etc. And it is also possible to see how a detailed map of musical instruments or of specific melodic types, considered always against ethnographic and other maps, could give valuable clues to fixing points of origin, as well as to the presence or absence of various outside influences or possibly migrations. The realization and publication of a work such as that envisaged here cannot be achieved by a single individual or even by a single local or regional organization; if anything good is to come of it, all interested musicologists must agree to the project and give freely of their advice and suggestions. It is in dealing with these various problems that we have proposed the problem of cartography as the principle theme of the Third Colloquium at Wegimont (Liege) of European ethnomusicologists in September 1958. All suggestions received from our extra-European colleagues will not only be received with gratitude but will be conceived as the first step in the labor we propose, as the first gesture in a great collaboration and as the beginning of a common work which we feel to be indispensable to the progress of ethnomusicology.