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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.