The Fifth International Symposium on Traditional Polyphony ...
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The Fifth International Symposium on Traditional Polyphony ...

The Fifth International Symposium on Traditional Polyphony ... The Fifth International Symposium on Traditional Polyphony ...

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80 Yu-Hsiu Lu earliest tribes in the island that accepted the western (i.e. the mainstream) culture for a reason – their music and the western mainstream pop music share a similar sound. Writing new lyrics in their native language and filling them into pieces of existing foreign melodies is one of the traditional ways of Amis composition. However, they arrange every piece in their own polyphonic style. But from 1990s, they started to take a different approach. ong>Theong>ir approach to composition and arranging have changed in order to clearly identify their pieces as aboriginal as well as modern. Amis traditional melodies are now re-arranged with added guitar, drum set, bass etc. Both the traditional and new elements co-exist in one piece. ong>Theong> first example (audio ex. 1) is presented by an Amis couple with their traditional free counterpoint polyphony and with non-traditional instruments used as drone (ex. 1). This new sound not only enriches the traditional vocal timbre but also creates an exotic sound effect. In addition, the drone functions as a figured bass of the melody. Although the non-traditional drone is created by modern instruments, this can be seen as a possible new polyphonic style of Amis vocal music. ong>Theong> third example (ex. 3, audio ex. 2) is a traditional Amis melody with English and traditional nonsense lyrics. This piece utilizes a piano accompaniment with western harmony in a blues style. ong>Theong> use of the piano is new to Amis songs, as is the use of the background chorus as an accompaniment in some phrases. Two parts of vocal melody from the chorus (in mainly fourth intervals) create a fresh atmosphere from the traditional sound effects (ex. 2). Both Amis and mainstream identities are found in this song. ong>Theong> melody itself is quite exotic while lyrics, piano and the vocal accompaniment remain familiar to western and mainstream audiences. But to Amis audiences, the experience of lyrics and background chorus is new even though an old melody is heard. Conclusion ong>Theong> presence of new musical instruments and functional harmony performed by bass or guitar, create a new sound in the existing aboriginal polyphony. So far, this polyphony is created by vocals and musical instruments: ong>Theong> vocal part proceeds in the traditional way while the accompaniment is played in the western functional harmony. This new combination creates a brand new polyphonic style composed of a mixture of traditional aboriginal and western music. Through more and more experiments, aboriginals are developing a new style of polyphony distinguished by the separation of tone colors. Notes 1 Council of Indigenous Peoples, Executive Yuan, http://www.apc.gov.tw/portal/docDetail.html?CID=940F9579765AC6A0&DID =3E651750B4006467BD0C9B36C7EECCC5 (June 7 th , 2010) 2 Made his research in 1943 during the Japanese occupation of Taiwan and through the help of the Japanese colonial governor 3 Amis is the largest tribe of Taiwan aborigines with more than 140,000 population. ong>Theong> music of Southern Amis is famous through their singer Difang Tuwara, whose sound is heard in the propaganda song of Atlanta Olympic Game 1996 4 ong>Theong> parallel fourth and fifth are found in the recording between 1940s-1970s and this singing method is not acceptable to the tribal people today (Lu, Sun, 2007: 21-42) 5 ong>Theong> C-E-G chord with 3 rd and 5 th intervals is treated in western harmony doctrine the root-position chord of harmony and is the fundamental of the functional harmony

Development of a New Polyphonic Style – Case of the Taiwan Aborigines References Hsu, Tsang-Houei. (1994, 1991). Taiwan yinyueshi chugao (ong>Theong> Draft of Music History in Taiwan). Taipei: Quanyin yinyue cbs Kurosawa, Takatomo. (1973). Taiwan Takasogo no ongaku (Aboriginal Music in Taiwan). Tokyo: yuzankako Loh, I-to. (1982). Tribal Music of Taiwan: With Special Reference to the Ami and Puyuma Styles. Dissertaion of UCLA Loh, I-to. (1988). “Beinanzu duoshengbu hechang jiqiao ji qi xingcheng zhi kenenxing” (“ong>Theong> Possible Clues for the Puyuma Multipart Singing Techniques and Forming”). In: Bulletin of the 3 rd Conference of the Society for Ethnomusicology, R.O.C., 43-50 Lu, Bingchuan. (1974). “Instruments of the Taiwan Tribes”. In: Tunghai Ehtnomusicological Journal 1: 85-203 Lu, Yu-Hsiu, Sun, Chunyen. (2007). “Faces of the Tradition – ong>Theong> Transmission of Musical Form and the Conceptualization of Tradition among Taiwan Aborigines”. In: Zhishan 2: 21-42 Lu, Yu-Hsiu. (2010). “A Phenomenon or a Concept? ong>Theong> Polyphony of Aborigines in Taiwan”. In: Proceedings of the IV ong>Internationalong> ong>Symposiumong> on Traditional Polyphony. P. 395-408. Editors: Tsurtsumia, Rusudan and Jordania, Joseph. Tbilisi: ong>Internationalong> Research Center for Traditional Polyphony of Tbilisi State Conservatoire Lu, Yu-Hsiu. (2010). “To Continue or Abandon the Tradition: A Study of the Popular Music of Taiwan’s Original People”. In: Journal of the Central Conservatory of Music. 46-50 Wu, Rong-Shun. (1999). Taiwan yuanzhumin yinyue zhi mei (ong>Theong> Beauty of the Aboriginal Music in Taiwan). Taipei: Hanguan wenhua Zeng, Huijia. (1998). Cong liuxing gequ kan taiwan shehui (ong>Theong> Observation of the Society in Taiwan through the Pop Music). Taipei: guiguan cbs. Audio example 1. Cross (2003). Feiyu yunbao Audio example 2. Kimbo in a Flash (2005). WFM05001 Audio Examples 81

Development of a New Polyph<strong>on</strong>ic Style – Case of the Taiwan Aborigines<br />

References<br />

Hsu, Tsang-Houei. (1994, 1991). Taiwan yinyueshi chugao (<str<strong>on</strong>g>The</str<strong>on</strong>g> Draft of Music History in Taiwan). Taipei: Quanyin yinyue cbs<br />

Kurosawa, Takatomo. (1973). Taiwan Takasogo no <strong>on</strong>gaku (Aboriginal Music in Taiwan). Tokyo: yuzankako<br />

Loh, I-to. (1982). Tribal Music of Taiwan: With Special Reference to the Ami and Puyuma Styles. Dissertai<strong>on</strong> of UCLA<br />

Loh, I-to. (1988). “Beinanzu duoshengbu hechang jiqiao ji qi xingcheng zhi kenenxing” (“<str<strong>on</strong>g>The</str<strong>on</strong>g> Possible Clues for the Puyuma<br />

Multipart Singing Techniques and Forming”). In: Bulletin of the 3 rd C<strong>on</strong>ference of the Society for Ethnomusicology, R.O.C., 43-50<br />

Lu, Bingchuan. (1974). “Instruments of the Taiwan Tribes”. In: Tunghai Ehtnomusicological Journal 1: 85-203<br />

Lu, Yu-Hsiu, Sun, Chunyen. (2007). “Faces of the Traditi<strong>on</strong> – <str<strong>on</strong>g>The</str<strong>on</strong>g> Transmissi<strong>on</strong> of Musical Form and the C<strong>on</strong>ceptualizati<strong>on</strong> of<br />

Traditi<strong>on</strong> am<strong>on</strong>g Taiwan Aborigines”. In: Zhishan 2: 21-42<br />

Lu, Yu-Hsiu. (2010). “A Phenomen<strong>on</strong> or a C<strong>on</strong>cept? <str<strong>on</strong>g>The</str<strong>on</strong>g> Polyph<strong>on</strong>y of Aborigines in Taiwan”. In: Proceedings of the IV<br />

<str<strong>on</strong>g>Internati<strong>on</strong>al</str<strong>on</strong>g> <str<strong>on</strong>g>Symposium</str<strong>on</strong>g> <strong>on</strong> Traditi<strong>on</strong>al Polyph<strong>on</strong>y. P. 395-408. Editors: Tsurtsumia, Rusudan and Jordania, Joseph. Tbilisi:<br />

<str<strong>on</strong>g>Internati<strong>on</strong>al</str<strong>on</strong>g> Research Center for Traditi<strong>on</strong>al Polyph<strong>on</strong>y of Tbilisi State C<strong>on</strong>servatoire<br />

Lu, Yu-Hsiu. (2010). “To C<strong>on</strong>tinue or Aband<strong>on</strong> the Traditi<strong>on</strong>: A Study of the Popular Music of Taiwan’s Original People”. In:<br />

Journal of the Central C<strong>on</strong>servatory of Music. 46-50<br />

Wu, R<strong>on</strong>g-Shun. (1999). Taiwan yuanzhumin yinyue zhi mei (<str<strong>on</strong>g>The</str<strong>on</strong>g> Beauty of the Aboriginal Music in Taiwan). Taipei: Hanguan<br />

wenhua<br />

Zeng, Huijia. (1998). C<strong>on</strong>g liuxing gequ kan taiwan shehui (<str<strong>on</strong>g>The</str<strong>on</strong>g> Observati<strong>on</strong> of the Society in Taiwan through the Pop Music).<br />

Taipei: guiguan cbs.<br />

Audio example 1. Cross (2003). Feiyu yunbao<br />

Audio example 2. Kimbo in a Flash (2005). WFM05001<br />

Audio Examples<br />

81

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