Lecture 6

Musical Transmission: Oral and Written: Case studies in modal music

Learned Behaviour

Human beings may be innately musical

but the music we play or appreciate is learned behaviour
Enculturation gradual absorption of the characteristics & norms of a culture
We learn the sounds, behaviours, concepts, the broader contexts.

Not a universal language

We learn responses to music

Nothing inherent in sounds

Major/minor as happy/sad
Only applies if one learns association
Balinese gamelan angklung
Four-tones (approx. do, re, mi, sol)
Difference between how we and the Balinese respond emotionally?

Teaching / Learning

What are some of the different contexts / methods for teaching & learning?
What general principles may be ascertained from
Degree of formality / informality?
Degree of emphasis on literacy / memory?
Relationship between teacher and student?

Transmission

Musical transmission refers to passing on of musical knowledge and skill from

person to person or generation to generation.
Importance of notation in Western classical music
Emphasis on music literacy
Literacy: ability to identify, interpret, create and communicate using written
materials

Music education

Methods aimed at developing the child as a musical and social being

Varying relationships to literacy

Dalcroze (1865-1950)

Eurythmics: learning music through movement

Use of solfge, improvisation

Kodly (1882-1967)

Inspired by Dalcroze
Importance of literacy & music theory
Learning through games
Hand signs (gestural representation for solfge); rhythm syllables

Orff (1895-1982)

Approach inspired by natural language acquisition

Learning by doing
Play

Suzuki (1898-1998)

Natural language model

Immersion from young age
Emphasis on learning by ear, by rote

Many approaches Different priorities

Written transmission: notation emphasizing a fixed model

Oral transmission: the passing on of knowledge and skills without the aid of
notation
Aural transmission: use of our senses, particularly ears, to absorb, internalize and
imitate

How do others learn?

Informal, aural transmission

By listening, watching, imitating
Osmosis (gradual, unconscious assimilation)
Cf. our learning of schoolyard songs & games
Immersion
Imitation
Encouragement

Play

Aural and oral tradition

Traditional
o Immersion
o Imitation of master
o Becoming more formal
o Oral notation system
o Memory
Modern
o Music schools, conservatories
o Formal group lessons with teacher
o Mixture of oral & written notations

Written notations

Western notation highly sophisticated

We need to reproduce music accurately
Notations for music of high cultures (we esteem literacy)
Other systems show varying degrees of accuracy; prioritize different things
Related to method of learning

India

V.N. Bhatkhande (1862-1936)

Influential musicologist
Tabulated grid with metric markers: X 2 0 3
Emphasis on discrete pitches
Indian solfge sargam

N. Indian music theory

Three components:
Drone (no name)
Melodic mode rga or rg
Rhythm/metre tla or tl

Drone

The screen onto which one projects the music

Creates a focus for melody by establishing the root of scalar system used
Sa is always present

The first task of listener is to locate Sa, to fix it firmly in the mind

Tnpr

Most common drone instrument

45 strings
Flat table bridge helps create a buzzing sound that sustains the notes

Sargam

sa

re

in

sa

Sa

Re

Ga

Ma

Pa

Dha

Ni

Sa

Fixed doh system, but no absolute pitch

The shuddh (natural) scale
When none of the notes change from these basic positions, scale is referred to as
shuddh (natural, pure, unchanged)
Sa
Re
Ga
Ma
Pa
Dha Ni
NB This resembles the Western major scale

Immovable notes
Sa

Re

Ga

Ma

Pa

Dha

Ni

Articulated by the tanpura:

Sa

Sa

Pa
Sa
Moveable notes
The other five notes are moveable
Four can be lowered komal (flat)
Re

Ga

Dha

Ni

One scale structure includes all possible komal notes:

S

Ma can only be raised tivra (sharp)

M
Another scale structure includes the only possible tivra note:
S

Tht
h

V.N. Bhatkhande
Controversial system of tht
h (scale type) for classification of melody in
Hindustani music
Widely followed today in music schools and colleges (but not by traditional
teachers)

Bilval (shuddh); Kalyn (M); Bhairav (all komal)

Khamj:
SRGMPDN
Kf:
SRGMPDN
svar:
SRGMPDN
Bhairav:
SRGMPDN
Tod
:
S R G M P D N
Prv:
S R G M P D N
Mrv:
S R G M P D N

Controversial?

Theoretical construct that is not recognized as having much practical value

Traditionally, musicians do not think of rg in terms of scales
It is not comprehensive, does not account for several melodic structures
Musicians think in modes, not scales

Mode

An arrangement of notes within an octave which is regarded as having a distinct

and separate existence from all other arrangements
Mode as affect: we learn respond to its moods
Intervals, order, weight, ornamentation, extra-musical associations
Mode: tune

scale
Rg = mode as tune?

Rg

Melodic fragments / phrases constitute musical identity or personality

Ascending (roh) descending (avroh) patterns differences
Important notes / sequences, weak or avoided notes, inherent ornamentation
Associated with moods (romantic, heroic, pathetic, contemplative, melancholic),
seasons (spring, monsoon), and times of day

Rg example Miy k Malhr

Miyans Malhar, a version of rainy season rg (Malhr)

Credited to Miyan Tansen (fl. Late 16C), whose music made rain fall
Midnight, rainy season
Mood (ras) of sadness, melancholy, compassion but also romantic

Characteristics of Miy k Malhr

Fits with Kf tht

h (komal Ga & Ni)
Also uses shuddh Ni in ascending phrases
Involves heavy ornamentation, oblique movements (disjunct intervals), and long,
slow glides between notes
Ni and Ni are linked in phrase P N D N S
Ga is avoided in ascending phrases, has heavy oscillation in descending ones

Ascending & descending phrases

Summary of main melodic movement

Ascent:
SMRP
MPNDNS
Descent:
SDNMP
PGMRS
Rg in performance

A performance of a rg must adhere to the melodic character summarized in the

ascent-descent, but it may go much, much further
Some rgs are small (limited in melodic scope), others big (having lots more
constituent melodic cells that cannot all be captured by a simple ascent-descent)
A performer must understand ways a rg unfolds melodically, and must each time
paint a new sound picture of rgs essence
No two performances are ever exactly alike

How to listen to a performance

Establish Sa in ones mind

Follow the outline of the notes, their contours and characteristic movements
Listen between the notes, taking note of the subtle glides, turns, inflections
Build up a knowledge of particular rgs so that they become familiar: like old
friends whose character and personality one recognizes
Short lp (unmetered improvisation)
Transcription
A notation of what we hear
Descriptive vs prescriptive
What systems can we use?
Use of additional symbols to capture phenomena not normally notated

How is Indian music learnt?

Traditional:

One or two rgs for many years

Copy phrase by phrase
Lessons one-on-one (individualized)

Daily, for many hours

Immersion, observation, listening from young age (the mother tongue approach)
No notations
Guru-shishya
Teacher-disciple

The oral transmission method

Warren Senders in Pune, 1991, learning from S.G. Devasthali

Modern:

Group classes (often one hour daily, or 2-3 times per week), varying abilities
Learn many rgs each year (the syllabus!)
Memorize set patterns, compositions
Notations (on chalkboard, or in books like Bhatkhandes as mnemonic devices)
After lp the Bandish

Composition

Setting of short text to a tune derived from a rg

Metric (accompanied by tabl)
Two sections:
Sthy (importance of opening phrase)
Antar (higher in tessitura)
This (short) performance:
Sthy (NB first line always sung x2)
Antar (ditto)
Return to first line of sthy
Words (bols) of composition used for improvisations
Occasional returns to first line of sthy
Improvisation increases in complexity & virtuosity (patterns sung to sargam
syllables & aaaa)

Bijurii chamake garaje barase

Meheravaa aaii badariyaa
Garaja garaja mohe ata hii daraave;
Ghana garaje ghana bijurii chamake
Papiihaa piyu kii tera sunaae

Kaa karu kita jaavu?

Moraa jiyaraa laraje.
Lightning flashes, rain falls in the thunderstorm
The clouds are bringing rain
The thunder really frightens me
The clouds roar, the heavy lightning flashes
The papiha bird keeps repeating Piyu
What can I do? Where can I go?
My heart trembles.

What does an Indian notation tell us?

Skeletal outline of composition; metrical frame; pitches; text

Descriptive? Or prescriptive?
What does it leave out?

Jalsaghar The Music Room, 1958

Satyajit Ray (1921-92)

Story set in 1930s
Decline of a wealthy landowner who loves music
Many great music performances
Miy k Malhr (here, a different bandish)

Maqam

North Africa, the Middle East, Turkey and Central Asia

Mode as scale?
Half, three-quarter, whole tones
Trichords, tetrachords, pentachords (sets of 3, 4, 5 consecutive notes)
Transpositions

Maqam Bayati

Melodic modulation
Strict guidelines for developing melody from the pitch sets of mode (order,
emphasis)
Each maqam defines starting and ending notes, tonic and dominant notes

Bayati:

Starting = G; ending = D
Tonic = D; dominant = G
Secondary dominants = F, B flat
Modulations (to other sets) shifts of scale

Example: Bayati

Prof. Ali Jihad Racy (UCLA)

Ud (oud)
Improvisation in Maqam Bayati
Can you hear where the first modulation occurs?

How does one learn maqam?

Cf. Scott Marcus learning with George Michel

Imitation, rote, no mistakes
Use of transcriptions (notations) to memorize key pieces (NB notation & music
conservatories)
Copy taqasim (improvisations) of the master (learn from correct models)
Create own taqasim (may take many years)
Learn system of modulation

When I played a phrase that he considered to be from his taqasim, he stopped me, stating
in a loud, forceful voice, No, thats mine! Play something of your own. Your own
creation! But he was not able to teach how to build individual phrases or how to structure
a given taqasim. My attempts to receive instruction in the improvisatory exploration of
individual modes were meeting with little success. Finally, I suggested that we turn our
attention to the modulations that occur in taqasim. Ah, George exclaimed, now this I
can help you with.
Mode in Western Music

Many similarities to Arabic maqam

Classification for melodies of Gregorian chant, c. 1000 CE
Finalis = D E F G

Identified by Greek names: Dorian etc.

For each finalis, two versions:
Upper: authentic
Lower: plagal
Eight Church Modes

Medieval notation

What does it tell us?

Very little
Pitch (relative rather than absolute)
Rhythm is vague at best
Words, but only rough correlation to notes
How much of the actual musical performance does it describe?
Cf. with Indian music notation?

Why notation?

Performers can know larger repertoire than they might be able to remember, and
can even read pieces at sight
Composers can shape pieces in more detailed ways
Preserves music from past times, faraway places
Allows us to perform music without composer being present
Presents music as text for study; can be brought to mind when the music is not
sounding

Phonic Symbols

Borrowed from language:

500 BCE: Greece, alphabet analog for pitch
400 BCE: China, syllables for 5 basic pitches
11C: Europe, ut re mi fa sol la
A B C D E F G (& H in German)
Words: for instrumentation, dynamics, tempo, mood
Numbers: analog for pitches, scale degrees & chords built on them (I IV V etc)

Graphic symbols

as analogous to the path music takes through time

Dots, lines, curves
Grids, stave
Neumes (symbols to aid the memory, indicate melodic direction)

Found in Hebrew text from 6C

Tibetan texts from 9C
Europe from 9C

Western notation

Developed from basic neumes and their placement on a staff

Gradually developed greater complexity, affording greater prescriptive accuracy
Complex combination of phonic and graphic symbols

Questions

What does our notational system say about our music culture? Our priorities?
What is it capable of describing?
What can it not describe?
To what extent do we continue to rely on written / oral / aural methods of
transmission?