ALL
melody
ICH Elements 72
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Arirang, lyrical folk song in the Republic of Korea
Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.
South Korea 2012 -
Maqom (melodic mode) art
Maqom is the system of melodic modes used in traditional music of eastern peoples. Maqom and maqomat (the science of maqom) is the phenomenon of spiritual culture of Cenral Asia and more generally of the people of the East. Though, its artistic and historical value can be felt much beyond the region, where it was widely spread. As a highly developed musical genre, throughout many centuries of its existence, it became a key component in defining the idea of classical music of the East. Maqom is art and philosophic belief, which encourages spiritual nourishment and self-perfection, contemplation and enjoyment of heavenly beauty, which is expressed through sounds of music and poetry. For the people of the East it became national artistic heritage, which in many ways reflects ethnic mentality. Maqomat of Uzbekistan, at present, includes maqom cycles of "Shashmaqom", "Khoresm maqoms", "Ferghana-Tashkent maqoms", local maqom cycles, instrumental and vocal maqom pieces as well as maqom pieces of bastakors (composers). Each of these has its own peculiarities and performance styles.
Uzbekistan -
Melodies concerning the tradition of hunting
This is a complex of rite to use the benefits from the hunting properly in the daily life and social needs, and the tradition to protect the wild animals. Within the long periods of history these melodies concerning the tradition of hunting has created and developed. There is a tradition that hunters from Khangai, Khentii and Khüvsgül mountain ranges hunt deer during their mating season by calling them with similar sounds made from uram (wooden instrument for calling deer). Around the Altai and Gobi-Altai mountain ranges, the argali (wild sheep) and ugalz (ibex) are also hunted during their mating season by hunters calling them imitating the same sound as the one made from their colliding with each other. Other than these, there are unique hunting methods to call by imitating the howling to hunt for wolves, making a sound by shovshuur (instrument to call foxes) to hunt for foxes and whistling to hunt for chipmunks.
Mongolia -
Khaen music of the Lao people
The khaen is a mouth organ in which each tube has a reed. It looks like panpipes, but with bamboo (previously rice stalks or sometimes other plants) tubes of variable length, each with a metal reed. One blows into it through an air chamber called ‘marqunamdtow’. The sound produced is higher or lower depending on the size of the tube. It is a favourite instrument used in Lao traditional and folk music. Its design and number of tubes have evolved according to the changes in Lao folk melodies and songs. Today there are three kinds: the khaen 6 (12 tubes), the khaen 7 (14 tubes) and the most successful one, the khaen 8 (16 tubes). The khaen is very popular in all regions and communities of Laos due to its music’s richness and abundance, which represents the nation's soul for its population. The instrument is suitable for melodies and harmonic richness since it can produce several sounds simultaneously, like a piano. Its music is customarily part of numerous village festivals, accompanying traditional songs and dances. It symbolizes popular culture and it is customary for all villagers who listen to it to become actors rather than spectators, by participating actively and joyfully in the songs and dances it offers.
Lao People's Democratic Republic 2017 -
Melodies for coaxing the animals
There is a specific ritual that is done in a tuneful utterance when a new mother-animal rejects its newborn or when a newborn becomes orphaned. This ritual is believed to encourage the mother-animal to accept its newborn. The ritual is one of the examples that depict the bond between herders and their livestock animals. These coaxing melodies of the ritual have become absorbed into poems and songs and constitute an important element of Mongolian oral tradition as well as an allegory about the importance of patience and acceptance in relationships.
Mongolia -
Alla (Lullaby)
Alla (Lullaby) is a song performed by a mother or babysitter when pumping a child; a special lyrical genre popular in folk poetry. It is one of the oldest genres of folklore.
Uzbekistan -
ASHULA, tarona
A small folk poetry form consisted from 4 lines. Many ashulas are sung with melodies.
Tajikistan -
Yueju opera
The Chinese tradition of Yueju opera combines Mandarin operatic traditions and Cantonese dialect. Rooted in the Cantonese-speaking provinces of Guangdong and Guangxi in south-eastern China, Yueju opera is characterized by a combination of string and percussion instruments, with elaborate costumes and face painting. It also incorporates stunts and fights using real weapons and drawing on the Shaolin martial arts, as illustrated by the central Wenwusheng role that demands proficiency in both singing and fighting. It has developed a rich repertoire of stories ranging from historical epics to more realistic descriptions of daily life.
China 2009 -
Ancient sounds in Fiji
Ancient sounds in Fiji is still echoed in traditional chant, traditional dances, polyphony, and sacred psalms. It is found to be unique from western sounds and sounds in many parts of the world. Most current Fijian music has adopted western sounds, this includes church hymns, folk songs, serenades, and also Tongan sounds which is practiced in serevakalau known as Polotu and also pesi (Lauan folksongs). Aporosa a traditional cartographer form Beqa stated that there was no Fijian alphabet, but instead was the practice of oral transmission through traditional dances. Lyrics, cartographer and sound were transmitted through vision (Bulivou, 1985). Once ancient sounds were not composed, it was inherently transmitted through the vanua as a gift, and intrinsically maintained its mana in the vanua livelihood.
Fiji -
Kobyz - Traditional musical instrument and the art of playing
Kobyz (kaz. 'qobyz', 'qyl-qobyz') - is an ancient Kazakh bow two-stringed musical instrument and an essential attribute of rites conducted voodoo ('baqsy', 'qam') - a shaman. Kobyz belongs to the class of chordophones. It is manufactured by the special manufacturing technology from a single piece of wood - juniper (arsha, archa), maple, pine or birch. Kobyz id subdivided into three functional parts: 'bas' - a head, upper part, middle part; 'Keude' (base) - a middle part - is made in the form of an open cup, extended downward. Inside the cup is attached mirror. The bottom part - ayak (legs) part of the tool is tightened with camel skin ('deka'). The support (tiek) is based on the bottom part. Sounds of kobyz, removed by rubbing with a bow-string. The bow has an arcade shape and resembles a bow weapon: the bun of horsehair is tied to both ends of the bent branch and fixed by the strong thread of camel wool. Strings for kobyz are made of a bundle of 30-60 non-woven horsehair ('qyl'), which give a very dense timbre rich in overtones. General instrument construction and its decoration detail were combined into an integral system that reflected the inner world and the philosophy of the Kazakhs. The tradition of making kobyz and playing of kobyz music was very specific for traditional environment and professional communities.
Kazakhstan -
Sybyzgy - Traditional musical instrument and art of playing
Sybyzgy (kaz. "syb" - whisper, whispering, "yz" - buzzing, rattling, "gy" - the end of the word, the term, meaning hissing sound) is one of the most ancient and fascinating with specific magical sounding wind instrument of traditional musical life. Popularity of sybyzgy among folk musicians explained by the simplicity of the forms and the availability of the material from which it is made - the hollow stem of the umbrella plant -kurai (“qurai”). Name of the musical instrument comes from the specific of pronunciation of the Kazakh coloristic tembroideal sound ө which arises from the sensitivity of auditory perception overtones. However, the pure sound of sybyzgy related to timbre coloring and the sounds it produces something trembling, resembling high flute. Therefore, the people say: “Sybyzgynyng bezildegen uni” (“sad, crying sound of sybyzgy”). Sybyzgy is made from cane, as well as of wood and copper. From three to five holes were made in the hollow cane. Technique of playing on sybyzgy is difficult, despite the primitive nature of the instrument. However, this kind of design can give a deep, “natural” tone and rich overtones sounds. Three holes in the tool allow you to use more than two octaves. Masters performers on sybyzgy noted three method to extract the sound: the sound of the instrument, the sound resonates from the sound hole and the throat.
Kazakhstan -
Ceremonial Keşkek tradition
Ensuring solidarity and collective identity, national and religious holidays, celebrations, feasts, commemorations are of great significance as regards to social values. The providers, the distribution and the consumption of the food are strictly determined on these special days. Traditional ceremonial keşkek is one of the social practices which sustain its significance from the past to our present day. Keşkek tradition is practiced at circumcisions, wedding ceremonies, religious holidays such as, Ramadans, sacrifice Aid, Muharram Month (first month of the Islamic calendar), charities, pilgrimage feast, prayers for the rain, Mevlid (Islamic poetry reading), Hıdrellez (a kind of seasonal celebration) and similar practices. Preparation and consumption process of keşkek bears a collective character. Particularly in village communities, preparation of ingredients and cooking process of keşkek are actualized through collective work. The villagers contribute to keşkek ceremony by providing the ingredients and participate in cooking process. Wheat and meat are the basic ingredients of keşkek. The main ingredients are provided by the household on special days for the family and the dwellers of the village provide the work force if needed. The wheat for keşkek, of an amount proportional with the number of participants, is washed with prayers a day before the wedding ceremony. Accompanied by davul-zurna (traditional Turkish musical instruments) the wheat is carried carefully to a large stone mortar. The wheat is hulled on the large stone mortars by two or four persons using gavels in a fixed rhythm. The rhythmic sound is a sign for the start of wedding ceremony. The hulled wheat is one of the main ingredients of keşkek to be prepared on the wedding morning. Meat is the other main ingredient for keşkek. Cooking keşkek requires specialized knowledge therefore it is carried out by experienced persons called ""keşkekçi"" (keşkek maker). Keşkekçis are trained in a master-apprentice tradition. Cooks and his assistants in charge of keşkek cooking start the preparations at early hours in the morning of the day before the ceremony. As weddings - the primary occasions for ceremonial keşkek tradition – are usually held during summer or early autumn, keşkek is usually cooked outdoors. Requiring a long-lasting source of heat, keşkek is cooked in large copper cauldrons, the bottom of which is smeared with ash to protect it before being put on a big open fire. Hulled wheat, chunks of meat on the bone, onions, spices, water and oil are all put together in the cauldron. It is important to maintain the heat at a certain temperature while cooking. Therefore, cook and the assistants take turns to maintain the cooking process as desired until morning. Watching the heat and preparation of the side dishes to be served with keşkek last all night long. This night spent around the keşkek is full of stories, friendly talks and jokes. The cook checks the keşkek cauldron in the morning of the wedding day. Towards noon, the most important phase of the keşkek tradition takes place. The strongest of the village youth, who were previously chosen for ‘keşkek dövme (keşkek beating)’, are called in to ‘beat’the keşkek with a wooden tool which can be named as ağaç kepçe (wooden ladle) tokmak (gavel), çomça or şişe. This is in a way a mashing process. The rhythm while hulling the wheat goes on during the beating process as well. The wooden tools are used in a rhythmic order. The beating process of keşkek attracts great interest among the crowds. To motivate the beating youth, the crowd cheers and sings folk songs. During the beating, one or two persons apart from the beating youth take the bones out with a special kind of tongs. The neighboring towns and villages are invited and keşkek is collectively consumed in the ceremony premises (courtyard of mosque for religious holidays, bride’s or groom’s house on wedding days, a sacred venue for charities and hıdrellez). Prayers are uttered before and after the feast. The pots and pans used during ceremony are collectively washed. A special set of equipments are necessary for the preparation of keşkek. The stone mortar, a collectively owned product of particular craftsmanship, a copper cauldron made especially for such ceremonies and tinned regularly. Hand made ladles and gavels made of wood are among the most important tangible elements of the keşkek tradition. The most significant aspect of the tradition is unifying all people in this ceremony regardless of age, ethnic origin, gender and culture even being invited or not. The hosts of the ceremony check whether all the guests are at the dining table for keşkek. Each person attending to keşkek ceremony is considered as an element of this cultural environment. All individuals within the community through participating in such a ceremonial event have a sense of belonging. This ‘sense of belonging’ reflects itself with the common expression ‘our keşkek is better’, which is a bare evidence of considering keşkek as an important element of cultural heritage. Keşkek ceremony should be practiced with all the components of the tradition or else it loses its traditional aspect for the bearers. In Zonguldak-Ereğli on the west coast of Black sea Region, there is a village named ‘Keşkek’. People from the neighboring villages go to this village, which is a developed locality among the surrounding places, in order to worship on Holy Friday and the visitors are served keşkek there. This clearly explains why the village is called ‘Keşkek’. The villagers see keşkek as a major part of their cultural identity and they are glad to have the name keşkek for their village. Today, this ceremonial tradition, through organizing keşkek festivals and festivities has been preserved by the intimate efforts of city and district municipalities and the hemşeri (locality fellowship) associations, founded by fellow citizens for creating a kind of solidarity. It is observed in these occasions unifying aspects of ceremonial keşkek tradition continues in the cities as well. Preservation of this tradition in the cities is particularly important in terms of how much this tradition is embraced by the communities concerned.
Turkey 2011