This document discusses studies of vocal music and provides examples from various cultures. It defines vocal music as music that uses the human voice, either with or without words. It then examines eight categories of vocal music: 1) chants, 2) songs, 3) special non-ritual poetic genres, 4) extemporaneous call-and-response genres, 5) stories, 6) recitations, 7) special communication genres, and 8) other vocal music. For each category, it provides characteristics and examples from cultures in Malaysia such as the Kadazandusun, Iranun, Bajau, and Huli peoples.
This document discusses studies of vocal music and provides examples from various cultures. It defines vocal music as music that uses the human voice, either with or without words. It then examines eight categories of vocal music: 1) chants, 2) songs, 3) special non-ritual poetic genres, 4) extemporaneous call-and-response genres, 5) stories, 6) recitations, 7) special communication genres, and 8) other vocal music. For each category, it provides characteristics and examples from cultures in Malaysia such as the Kadazandusun, Iranun, Bajau, and Huli peoples.
This document discusses studies of vocal music and provides examples from various cultures. It defines vocal music as music that uses the human voice, either with or without words. It then examines eight categories of vocal music: 1) chants, 2) songs, 3) special non-ritual poetic genres, 4) extemporaneous call-and-response genres, 5) stories, 6) recitations, 7) special communication genres, and 8) other vocal music. For each category, it provides characteristics and examples from cultures in Malaysia such as the Kadazandusun, Iranun, Bajau, and Huli peoples.
This document discusses studies of vocal music and provides examples from various cultures. It defines vocal music as music that uses the human voice, either with or without words. It then examines eight categories of vocal music: 1) chants, 2) songs, 3) special non-ritual poetic genres, 4) extemporaneous call-and-response genres, 5) stories, 6) recitations, 7) special communication genres, and 8) other vocal music. For each category, it provides characteristics and examples from cultures in Malaysia such as the Kadazandusun, Iranun, Bajau, and Huli peoples.
Professor of Ethnomusicology Faculty of Humanities, Arts and Heritage Universiti Malaysia Sabah WHAT IS VOCAL MUSIC? Vocal music is music which uses the human voice. Most of the world’s music is vocal music. Vocal music may use words or be wordless. It may be solo, or group music It may be accompanied by musical instruments or unaccompanied, according to genre, context and culture. There are many different kinds of vocal music in the world. 1. CHANTS Ritual chants, eg. mogondi’ of Kadazandusun bobolian; Gregorian chants of the Roman Catholic church; Muslim call to prayer;
Magic chants, eg. gamu of the Huli;
Epic Chants (Non-ritual Epics), eg. the
Darangen of the Iranun of Sabah, and the Maranao of Mindanao; CHANTS (cont.) Characteristics: Words usually in a strict set poetic form Recitations on 2, 3 or 5 notes Vocal style varies from soft muttering to loud chanting; may be embellished with melodic ornaments and melismata Disappearing tradition Example: Magawau chant to the rice spirit traditionally chanted in the padi field when weeding the young crop by bobohian (female ritual specialists), from Tambunan, Sabah. CHANTS (cont.) Bobolian from Tambunan chant mogondi’ Rinait – Magawau (during weeding season) 2. SONGS A wide variety of non-ritual vocal music including: lullabies, love songs, drinking songs, battle songs, pop songs, Christian hymns (not ritualized chanting) Characteristics: Sung with a clear melody Words usually fall into poetry Many different styles Enduring tradition of continuity Example: Sinding of the Kadazandusun of Tambunan Traditional sinding Modern sinding “Oi Gidi” by the late Datuk John Gaisah of Kg. Sunsuron, Tambunan 3. SPECIAL NON-RITUAL POETIC GENRES Older “classical” vocal music Poetic text with older words and forms May be solo or group music Examples: Kandagoi of the Kadazandusun from Tambunan Bayuk of the Iranun of Tempasuk Edsair of the Iranun, and syair of the Brunei 4. EXTEMPORANEOUS CALL-AND-RESPONSE GENRES Words created spontaneously, and often fall into pantun forms; Some have originated from messages called across the countryside; eg. Kadazandusun sudawil; Some may have instrumental accompaniment; eg. west coast Bajau isun-isun / Iranun pamiula; Some may resemble verse debates between men and women and may accompany circular dancing, eg. kallang of the west coast Bajau runsai; andayayong of the Kadazandusun from Tambunan Sudawil from Kg. Nambayan CALL-AND-RESPONSE GENRES (cont.) Iranun pamiula (Bajau isun-isun) by En. Payas Dalah of Kg. Payas-Payas, Kota Belud CALL-AND-RESPONSE GENRES (cont.) Bajau runsai, Kg. Menunggui, Kota Belud CALL-AND-RESPONSE GENRES (cont.) Andayayang, Kg. Kirokot, Tambunan 5. STORIES
1. Myths and oral history; eg. Kadazandusun
susuyan. 2. Narrative tales and fairy stories; eg. Kadazandusun tangon or tanong. Characteristics: May be chanted like epics, recited melodically or told in a speaking voice; Usually prose forms that can contain poetic episodes. 6. RECITATIONS 1. Genealogies, eg. tarsila / sarsila of the Iranun; 2. Legal declamations, eg. damba bi of the Huli; 3. Some ritual prayers Characteristics: Can be recited in a normal speaking voice, or in heightened speech, or in chanted form. Words fall into poetic phrases. 7. SPECIAL COMMUNICATION GENRES
1. Death wailing, eg. Huli o and kiabudugu
Kadazandusun mogigiad. 1. Call to prayer from the mosque. 2. Yodelling, eg. Huli u and iwa. 8. OTHER VOCAL MUSIC WHAT KINDS OF VOCAL MUSIC DO YOU KNOW OF IN YOUR CULTURE?
Which ones are ritual genres?
Which ones are non-ritual genres? Which ones are disappearing? Which ones are continuing? Which ones can be developed as traditional music for future generations? THANK YOU