Download Music of Buddha, Brahma, and Allah

Music of Buddha, Brahma, and Allah
MB Krueger, Director of Choral Activities
Metropolitan State College of Denver
[email protected]
Buddhism: When chanting occurs in community, the individual voice is swallowed up in the voice of the community.
Siddhartha Gautama (c. 563-483 BCE) = The Buddha
The Three Jewels: Buddha, Dharma, Sanga
Hinayana School –developed in the early years after the Buddha’s death
Therevada Buddhism
Mahayana School – developed about 500 years after Hinayana (by 100 CE)
Zen Buddhism
Mantrayana Buddhism
Tibetan Buddhism and Japanese Shingon Buddhism
Hinduism: Music is of divine origin.
Vedas and Upanishads
Rig Veda, Yajur Veda, Sama Veda, Atharva Veda
Rig Vedic chant: udatta, svarita, annudatta
Sama Vedic chant: 5 to 7 pitches, stohba
Gandharva Sangita – “celestial music”
Bhakti movement: Bhagavad Gita
Drupad, Kriti, Bhajan
Islam: Recitation is not conceived as music.
The Prophet Muhammad: The Messenger of God (570-632 CE)
The Five Pillars of Islam
Sects: Sunni, Shi’a or Shi’ite, Sufi
The Qur’an and Qur’annic recitation
Non-canonical recitation: Inshad, Na’t, Soz and Nauha, Qawwali
Bibliography
Beck, Guy L. ed. Sacred Sound: Experiencing Music in World Religions. Ontario: Wilifrid Laurier University Press, 2006.
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: McMillan Publishers Limited, 1980.
Bowker, John, ed. The Oxford Dictionary of World Religions. Oxford, England: Oxford University Press, 1997.
Salamone, Frank A., ed. Encyclopedia of Religious Rites, Rituals, and Festivals. New York: Routledge, 2004.
Discography
Drum Invocation ; Sacred Sound (companion CD); Theraveda monks, Mahadbodhi Society, Calcutta; Wilfrid Laurier University Press, 2006.
Three Refuges Chant; Sacred Sound (companion CD); Theraveda monks, Mahadbodhi Society, Calcutta;Wilfrid Laurier University Press, 2006.
Qinghe Laoren; Buddhist Music of Tianjin; Tianjin Buddhist Music Ensemble; Nimbus Records, 2008.
Mani Mantra to Avalokitesvara; Sacred Sound (companion CD); Tibetan monks, Drepung Monastery, Tibet; Wilfrid Laurier University Press, 2006.
Tone Contour Chant; Sacred Sound (companion CD); Tibetan monks, Drepung Monastery, Tibet; Wilfrid Laurier University Press, 2006.
Great Wisdom-Perfection Heart Sutra; Sacred Sound (companion CD); women of Jōdō sect in Kyoto, Japan; Wilfrid Laurier University Press, 2006.
Purushka Suktam; Sacred Sound (companion CD); Sri Hariswamy and Vedaparayanar; Wilfrid Laurier University Press, 2006.
Sama Veda; Inde de Sud: Anthologie de la musique classique (South India); Shri Manjakudi Rajagopala Sastrigal; Ocora Radio France, 2003.
Raga Bhoopali; Baithak – Raga Bhimpalas – Vol. I; Kumar Ghandharva; Living Media India Ltd., 1993.
Bhakti Ka Maarag Jina Hai; Guru Bhakti ; Jimi Nathu; AAP Media, 2008.
Dhrupad on Raga “Lalit”; Sacred Sound (companion CD); Pandit Bidur Mallik and family; Wilfrid Laurier University Press, 2006.
Call to Prayer: Adhan; Sacred Sound (companion CD); performer not listed; Wilfrid Laurier University Press, 2006.
Inshad; Morocco Rabita Andalusa: Diwan; Rabita Andalusa; Naxos, 2003.
Allah, Allah, Allah; Sacred Sound (companion CD); Regula Qureshi; Wilfrid Laurier University Press, 2006.
Woe on You, River of Alqauman; Sacred Sound (companion CD); Regula Qureshi; Wilfrid Laurier University Press, 2006.
Baba Mein Khali Nahin Jana; Chiryan Bol Diyan, Vol. 4; Sher Miandad Khan; High-Tech Music Ltd., 2002.
Music of Buddha: Buddhist-Inspired Choral Music
Chant for Great Compassion – Abbie Betinis
SSAA div., a cappella
The Music of Abbie Betinis AB-057-01,
www.abbiebetinis.com
Difficult
“The opening melody is inspired by the
traditional chant to the goddess Guan Yin,
known in Buddhism as the Chinese Bodhisattva
of Compassion. Guan Yin, whose name means
‘she who hears the cries of the world,’ is revered
in China, Japan, and Taiwan, and her spiritual
ancestor, Avalokitesvara, in Malaysia, Tibet, and
Thailand.” The text is Chinese (in transliteration)
with some English narration.
Gate Gate, a setting of a Buddhist mantra – Brian Tate
SATB & Piano (also available for SSA)
Earthsongs, www.earthsongschoralmusic.com
Medium
The opening phrase is an imitation of Theravada
chant; the rest of the piece is Mr. Tate’s original
composition and is not chant-based. The text is in
Sanskrit and English, and is an excerpt from the
Prajnaparamita Heart Sutra.
Shanti (Peace) – Mark Sirett
SSAA with glockenspiel, finger cymbal, gong, & drone
Boosey & Hawkes 48020946
Easy
The simple, limited range melody is an imitation
of Mantrayana chant. The use of pitched
percussion instruments imitiates the Zen style.
The text is Sanskrit, and translates “Peace. May
all beings be well and happy.”
Potter’s Clay – Paul Fowler
SSSSAA, a cappella
Santa Barbara Music Publishing, SBMP 860
Difficult
A traditional Buddhist mantra, “Om Mani
Padme Hum” is interwoven with an English
language poem from a children’s book by Naomi
C. Rose titled Tibetan Tales for Little Buddhas. The
chant is addressed to Avalokitesvara, the
Boddhisatva of Compassion. Tone Contour
techniques, similar to the Tibetan Dbyangs
practice, are also employed.
Padmapani – Paula Foley Tillen
SSAA and Piano
Santa Barbara Music Publishing, SBMP 699
Medium
Poet Thich Nhat Hanh is known for a movement
called “engaged Buddhism,” which encourages
traditional meditative practices interwoven with
non-violent acts of civil disobedience in response
to unfair governmental practices. The piano in
this piece seems imitative of bells and chimes,
such as might be found in the Japanese
Shingon style of Buddhism. The text is in
English, and uses images of flowers and trees
throughout, proclaiming “the bodhisattva brings
forth a universe of art.”
I Lift My Eyes – Joan Szymko
SSAA and Piano
Santa Barbara Music Publishing, SBMP 658
Easy
This text combines a verse of Psalm 121 with a
prayer meditation by Thich Nhat Hanh (same
poet as above): “I am solid as a mountain, I am
firm as the earth, I am free.” The psalm text is set
in soaring unisons and later sustained
harmonies, while the mantra is put forth as a
murmuring overlapping of voices.
A Prayer for Peace – Paula Foley Tillen
SA div. and Piano
Santa Barbara Music Publishing, SBMP 948
Medium
One more setting of a text by Thich Nhat Hanh,
this one a plea to Lord Buddha for the return of
compassion and brotherhood which will
overcome hatred. Supported by an always
flowing accompaniment, the vocal harmonies in
thirds and sometimes triads give the piece a
warmth and richness that students will enjoy.
This poem was written in 1965 in response to the
war in Viet Nam.
Music of Brahma: Hindu-Inspired Choral Music
Jai Bhavani, A Sanskrit Prayer – arr. Ethan Sperry
SA & percussion (marimba, tambourine, and low drum)
Earthsongs, www.earthsongschoralmusic.com
Medium
“Jai Bhavani is a Sanskrit song in praise of Durga,
the supreme incarnation of motherhood in the
Hindu religion, in this case a divine
representation of Mother Earth. It is used in
India as a prayer or even a warning that we must
treasure and protect the planet.” The piece uses
Raga Sindhu Bhairavi, which feels very D minorish, and is extremely energetic and exciting.
Pallaanda, An Indian Raga – arr. Ethan Sperry
TBTB div., a cappella
Earthsongs, www.earthsongschoralmusic.com
Medium
“The lyrics and probably the melody to this piece
are a Tamil devotional prayer written by the
poet/saint Periyazhar sometime between 500-800
AD. It is a prayer of longing, asking Vishnu . . .
to protect and prolong beauty over the eternities
of time.” The voices are divided into two choirs,
and in addition to singing the text and melody,
they trade off using pitched and chanted
rhythmic syllables to imitate Indian instruments.
The melody uses Raga Shulini, which is like D
Major with a raised second scale degree, giving it
a feeling of wavering between major and minor.
Desh, An Indian Raga - arr. Ethan Sperry
SATB div., a cappella or TTBB div., a cappella
Earthsongs, www.earthsongschoralmusic.com
Medium
Desh is actually a lullaby and not overtly sacred,
but the style of music is still appropriate for this
session on sacred music. The choir uses vocables
and syllables from sollokattu, a rhythmic
language used by Indian musicians, to imitate
the sounds of an instrumental ensemble. The
Desh raga is identical to D major when
ascending, and employs a lowered 7th when
descending.
Dwijavanthi, An Indian Raga – arr. Ethan Sperry
SATB div., a cappella
Earthsongs, www.earthsongschoralmusic.com
Medium
This arrangement uses the complex
Harikambhoji raga in which the third and sixth
scale degrees can be altered throughout. Like
Desh above, it is not overtly sacred, and it uses
vocables and sollokattu syllables to approximate
the sounds of various instruments in the Indian
tradition.
Choral Hymns from the Rig Veda – Gustav Holst
Group 1 – SATB & piano or orchestra; Group 2 – SSA div.
& piano; Group 3 – SSAA & harp or piano; Group 4 –
TTBB & strings/brass or piano
Various publishers; all Groups are available at
www.sheetmusicplus.com
Medium (some individual movements are Difficult)
Each Group contains 3 or 4 movements, and can
be performed as a set or easily excerpted. The
texts are all in English, and, as indicated by the
title, are all from the Rig Veda, the holiest of
Hindu scriptures. Each movement is a prayer to
a different Hindu deity. There is no imitation of
Hindu musical practice here; Holst simply set the
texts in a style that felt exotic to early 20th century
British ears.
All I Was Doing Was Breathing – David L. Brunner
SSAA div., soprano solo, cello, & percussion
Boosey & Hawkes 48019949
Difficult
The text (in English) is a translation of an ecstatic
poem by Mirabai (1498-1547), who, in the Bhakti
tradition, is believed to have attained moksha
through her poetry and music. The solo soprano
part is very challenging, and the choral parts
involve body percussion while singing. The
conductor has the most difficult job, due to
constant changes of time signature and division
of the beat. The piece is extremely difficult but
rewarding for performers and audience alike.
Dravidian Dithyramb – Victor Paranjoti
SATB, or SSAA, or TTBB
Earthsongs, www.earthsongschoralmusic.com
Medium
The word “Dithyramb” means “wild, passionate
hymn,” so it seems fair to include the piece in
this list; however, it probably comes more from
the Hindustani classical music tradition than
from the religious chant traditions discussed in
this session. “Dravidian” refers to South Indian
languages and peoples, as opposed to “Aryan,”
the peoples who formed the Vedic tradition.
Still, it’s an energetic expression of Indian music
that students will enjoy singing.
Ramkali, An Indian Raga – arr. Ethan Sperry
TTBB A Capella
Earthsongs, www.earthsongchoralmusic.com
Medium
Again, the voices imitate instruments, and the
text uses imagery of both romantic love and
sacred devotion to portray love of the divine.
Music of Allah: Islam-Inspired Choral Music
Zikr, An Islamic Chant – A. R. Rahman, arr. Ethan
Sperry
SATB, guitar & percussion (also available in TTBB)
Earthsongs, www.earthsongschoralmusic.com
Medium
“While the text of ZIKR is religious, the piece is
not intended for a worship ceremony . . . This
arrangement begins with the chant melody sung
monophonically, alternating with other sections
of the choir chanting ‘Hu Alla’ (God is One). The
chant develops into simple polyphony and
eventually to several melodies superimposed on
top of each other.” The inspiration for the piece
is the Sufi tradition of Qawwali. Although guitar
and percussion are called for, there are no parts
available for them, so listening to recordings of
this piece as well as other Qawwali performances
is important to give the performers an idea of
how to improvise the parts.
Bar xizam (Upward I Rise) – Abbie Betinis
SATB div., SAT soloists, a cappella
AB-052-00, www.abbiebetinis.com
Difficult
The text is in Persian and is a lyric poem (ghazal)
by Hafez-e Shirazi (c. 1320-1390) whose “writing
is mystical and based on Sufism.” The composer
does not attempt to imitate Islamic chant, but
simply creates a soundscape that encompasses
the freedom of the text. The poem is not overtly
religious, but refers to man’s desire to rise “out of
this worldly cage.”
From Behind the Caravan: Songs of Hafez – Abbie
Betinis
SSAA, 6 soloists, viola, and hand drum
AB-049-01, www.abbiebetinis.com
Medium (some movements Difficult)
This piece also sets ghazals of the Sufi mystical
poet Hafez, without imitating Islamic chant. The
imagery of the poetry involves journeying
through desert and ocean out of longing for the
Beloved (God or Allah). There are 5 movements
(the last is a sort of recapitulation of the first) that
can be performed as a set or excerpted. The viola
heightens the feeling of longing expressed in the
poetry.
al-Amira wa al-Gharaji (The Princess and the Gypsy) –
Raman Subaram
SATB div. & piano
Earthsongs, www.earthsongschoralmusic.com
Medium
The poetry by Abdul-Wahab al-Bayati (19261999) is an impassioned comparison of worldly
beauty to the essence of God, which can be
compared in theme to the ghazals of Hafez and
other Sufi poets. The composer says, “While
some of the music is composed with an Arabic
aesthetic in mind . . . I felt room to explore a
harmonic language also influenced by the
Balkans and Spain.”
Adinu – Traditional Sufi Melody, arr. Abu-Khader & de
Quadros
SATB a cappella
Earthsongs, www.earthsongschoralmusic.com
Easy
The central text of Adinu is based on a poem by
the Sufi mystic and philosopher Ibn ‘Arabi (11651240) who taught that love is the dominant
universal force. The refrain is gentle and simple;
the verses for solo voices require some
improvisatory stylings. The second verse comes
from Isaiah 6:3, and is a text that is shared by
Christian, Islamic, and Jewish traditions.
Fōg Elnā Khel – Traditional Syrian/Iraqi Song, arr. Salim
Bali
SATB with tenor solo, a cappella
Earthsongs, www.earthsongschoralmusic.com
Medium
Much like “al-Amira wa al-Gharaji” above, the
text of “Fōg Elnā Khel” uses language descriptive
of romantic love as well as of religious devotion,
and could be interpreted either way. The melody
is in the hijāz mode, using the tetrachord E-F-G#A. The augmented second in the center of the
tetrachord gives the piece a haunting quality of
longing for the beloved, whether that be human
or divine.