The Fifth International Symposium on Traditional Polyphony ...
The Fifth International Symposium on Traditional Polyphony ... The Fifth International Symposium on Traditional Polyphony ...
308 Daiva Račiūnaitė -Vyčinienė singing styles in canon, as well as by the number of performers involved. Lithuanian sutartinės tradition Sutartinės is a conditional name which cannot be applied in all cases of polyphonic singing.
Lithuanian and Ainu Vocal Polyphony: Certain Parallels lodies are equal in length, for example, structured as Text 6 + Refrain 6: 1st pair (Text) 2nd pair (Refrain) 1. Aš ėjau, keliavau ...................... ........................... Ai ciuta, da ciuta 2. Viešuoju keleliu ........................... .......................... Ai ciuta, da ciuta 3. Su didžiu vargeliu ........................... .......................... Ai ciuta, da ciuta
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- Page 356 and 357: 356 THE NOTION OF SO CALLED GYPSY M
308<br />
Daiva Račiūnaitė -Vyčinienė<br />
singing styles in can<strong>on</strong>, as well as by the number of<br />
performers involved.<br />
Lithuanian sutartinės traditi<strong>on</strong><br />
Sutartinės is a c<strong>on</strong>diti<strong>on</strong>al name which cannot be<br />
applied in all cases of polyph<strong>on</strong>ic singing. <str<strong>on</strong>g>The</str<strong>on</strong>g>refore<br />
a more descriptive term of ancient polyph<strong>on</strong>ic sin–<br />
ging would be linear polyph<strong>on</strong>y. This term would<br />
encompass all the varieties of polyph<strong>on</strong>ic music inc–<br />
luding antiph<strong>on</strong>y 3 . Various forms of linear polypho–<br />
ny in eastern Lithuania are the primitive pakaitinės<br />
‘alternati<strong>on</strong>s’ hymns, symmetrical pakaitinės, as–<br />
ymmetrical pakaitinės, c<strong>on</strong>tinual hymns, antipho–<br />
nal singing by two groups and antiph<strong>on</strong>al singing<br />
by three groups 4 .<br />
<str<strong>on</strong>g>The</str<strong>on</strong>g> primary principle involved in chanting all the<br />
alternati<strong>on</strong> (amoebaean) hymns is that <strong>on</strong>e group<br />
chants the main text and the other group – the short<br />
refrain with the performance c<strong>on</strong>tinuing without in–<br />
terrupti<strong>on</strong> as the groups take turns in their chants.<br />
<str<strong>on</strong>g>The</str<strong>on</strong>g> structure of these alternati<strong>on</strong> hymns can be<br />
quite varied.<br />
<str<strong>on</strong>g>The</str<strong>on</strong>g> structure of a primitive alternati<strong>on</strong> hymn is such:<br />
Text 5(4) + Refrain 3(2), for example:<br />
1st pair (Text 5) 2nd pair (Refrain 2)<br />
1. Kėkštas kėkštelis ..........<br />
.......................... Tuj tuj<br />
2. Až kų tu kūdas? ..........<br />
........................ Tuj tuj<br />
1st pair (Text 5) 2nd pair (Refrain 3)<br />
1. Nepernešioja ………<br />
…………… Dobile!<br />
2. Mana kojalas ………<br />
…………… Dobile!<br />
3. Kamašelių ………<br />
…………... Dobile!<br />
In symmetrical pakaitinės, the segments of both me–<br />
part chorus” 2 .<br />
b) antiph<strong>on</strong>al singing<br />
Ainu traditi<strong>on</strong><br />
“Iekaye indicates an antiph<strong>on</strong>al or call-and-resp<strong>on</strong>se<br />
format. For example, in rimse-upopo, a soloist and<br />
chorus sing a short melody. <str<strong>on</strong>g>The</str<strong>on</strong>g> soloist sometimes<br />
also leads the group in changes of s<strong>on</strong>g to create a<br />
medley performance. <str<strong>on</strong>g>The</str<strong>on</strong>g> soloist and chorus can sha–<br />
re the singing either by alternately singing the whole<br />
melody or by each taking a part of the melody”<br />
(Chiba, 2008: 333) (ex. 6, 7).