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CHAPTER THREE SELECTED SAMIA MARRIAGE FOLK SONGS
a) Transcription and Analysis of the Marriage Folk Songs
Introduction
This chapter undertakes an in-depth analysis of some of the most popular songs of the Samia marriage ceremony (esidialo). A total of twenty-seven songs which were relevant to the Samia marriage ceremony were recorded from traditional performers. From these, twenty songs were analysed to ascertain their layout. The choice of songs depended on text and style of rendition in relation to the sections of the Esidialo composition. The songs were classified as follows:
Twenty songs were analyzed representing about 74.1% of the total songs that were recorded. This is a representative sample as Ogula (1998: 59) notes that the larger the sample the better the results especially if certain characteristics are being looked for, in this case an analysis was to be carried out. Of course there are many Samia folk songs but only those related to the story line in the Marriage Suite were required for the study.
During the analysis it was discovered that most of the marriage folk songs that were performed were those that praised the bride. Consistent with tradition, she was taken to be a role model to the rest of the girls and therefore deserved being exalted. Mockery songs were very few as they antagonised the groups because some of the text is abusive and / or obscene. Therefore, such songs could only be sung when necessary.
The folk songs were recorded during field work in various locations of the Samia community identified for their rich performance tradition. The researcher manually fed musical signals and data in the computer using simple entry and through keyboard; used powerful sequence feature to conduct analysis, create playback audio files. The songs were then transcribed with the support of FINALE music notation software which allows for multiple playbacks for cross-reference, choice of different tempi, varied instrumentation and other features. This method was used for all the songs. Seeger (1958:185) contends that the only true notation is the sound track of the recorded work because the human mind is not able to translate visual signs and other complexities into tones. Even though this view is contentious, nevertheless great care was taken to ensure maximum fidelity of the folk songs. In addition the researcher‟s insider perceptions and understanding was of great value to the overall notation and documentation.
List (1974) observes that transcription made by ear in notation form is sufficiently reliable to provide a valid basis for analysis and comparative studies of two aspects of music namely, pitch and rhythm. Transcriptions facilitated the analysis of idiomatic musical characteristics including the text of each song. The pitches in the marriage songs were captured using Western tampered scale to represent melodic notes.
In order to deal with practical matters of aesthetics and functional use of music, Aesthetic Functionalism theory by Akuno (1997) was applied in the collection of folk songs that matched specific roles in marriage to give meaning and relevance to the occasion. Only those songs that matched the marriage story line in relation to the traditions of the Samia people were recorded for analysis. As already stated, marriage has a number of sections starting from courtship (okhusererana) to the official send off (esidialo). All these sections involve traditional singing to add colour and to grace the events of the day. This is one way in which the Samia socially come together as a unit to express themselves culturally.
List‟s (1974) prescriptive analysis was used and facilitated the intended analysis and the identification of those features that characterise the Samia marriage folk songs. The common features of the Samia music were derived from two major musical elements, melody and rhythm. This was based on List‟s observations and Musungu (1999:17) contention about the musical elements that could characterise the traditional music of a community.
The songs were grouped into three categories as given in (Table 1) based on the message in the text. The given categories have a wide variety of song samples compared to the other sections. In all cases singing is led by a soloist as the chorus responds. Each of the songs was analysed under the following categories;
i.meaning, meter, phrasing and melodic patterns
ii.patterns of the melody and tonality which involved: song scales, speech and melody, principle which affects the setting of words to music, pitch and melodic range.
The pitch at which singers performed the songs was used to determine their relative tonal centres. To adhere to dominant tonalities in the culture, during transcription the tonality that the singers in the field chose was maintained. This was a great way to validate social norms and practices. Of course in this situation tonality may change whenever a performance is repeated.
The transcribed songs used the Western tampered scale as a conventional way of representing music on paper. The replay of the songs on cassette and use of piano assisted in determining the pitches. This was then written using FINALE notation software for purposes of determining accuracy in pitch and rhythm. Recording of the folk songs was done when the performances took place; a repeat of the performances was not undertaken. The folk songs were therefore consistent with the Esidialo composition that also used the Western tampered scale.
Songs for Encouragement
These folk songs are supposed to boost the bride‟s morale. The performers sing to advise and encourage her to be tough so as to overcome problems in her new life.
Dinyia Akhadonyi
Original Text
1. S. Omwana ya kana ee omwana yakana omwana yakana okhubayira
2. C. Namude yakana ee namude yakana namude yakana okhubayira
3. S. Dinyianga akhadonyi ee dinyianga akhadonyi dinyianga akhadonyi khasikudi
4. C. Dinyianga akhadonyi ee dinyianga akhadonyi dinyianga akhadonyi khasikudi.
Literal English Translation
The child refused eh, the child refused the child refused to elope
Namude refused eh, namude refused namude refused to elope. Maintain respect eh
maintain respect
maintain respect openly.
Maintain respect eh
maintain respect
maintain respect openly.
Analytical Notes
a) Meaning-The performers sing that the bride refused to elope (yakana okhubayira). She is being urged to Dinyianga akhadonyi khasikudi a metaphor meaning be open minded, maintain and respect the traditions, by getting married in the usual Samia traditional style.
b) Meter-The song is performed in common time at a moderate pace, and incidentally the tempo of the song does not affect the speech and melodic patterns.
c) Phrasing-There are four phrases of solo – chorus pattern. The two parts are of equal length.
Patterns of the Melody and Tonality
a) Scale used in Song 1
The song uses F4 sharp, G4, A4, B4, C5 sharp, and D5 of the Western tampered scale. This scale is non-equidistant hexatonic with two half steps between the first two notes and last two.
b) Speech and melody-The first chorus entry is different from the solo part, while the second is similar to the solo part. The melodic line affects the speech pattern in yakana okhubayira to yakano ‘khubayira. The accentuation on nyia is set on one syllable instead of two, in line with the melodic and speech patterns.
c) Principle which affects setting of words to music-The speech pattern of a word may be altered to fit the melodic line either ascending or descending.
d) Pitch and melodic range-The solo and the chorus entries start on the same note G4. The chorus enters a step lower than the solo. The song progresses in steps, thirds, fourths and fifths. Its range is from F4 sharp to D5 ending on A4.
Guma Busa
Analytical Notes
a) Meaning-The song is performed to encourage the bride to be happy and determined to succeed in her marriage. The song performed by the aunts or peers is meant to boost her morale as she prepares for the big day. The words used in the song relate to normal speech. The bride is being urged to; guma–persevere, kenda–walk, and chachabala–be excited because it is her day– nyanga yao.
b) Meter-The song is performed at a moderate pace in common time. The tempo of the song does not affect the speech and melodic patterns.
c) Phrasing-There are eight phrases of solo-chorus pattern. The chorus part has the longest phrase of two bars. The two parts do not start on the first beat of the bar.
Patterns of the Melody and Tonality
The song uses G4, A4, B4 flat, C5 and D5 of the Western tampered scale. There is half step between the second and third notes. This scale is non-equidistant pentatonic form with half steps.
b) Speech and melody-The solo parts are related to the chorus parts in text and melody. The melodic line has not affected the speech pattern. There are textual changes in the solo and chorus entries.
c) Principle which affects the setting of words to music-If the melodic line and speech rhythm fit words well, then the speech pattern is not altered either ascending or descending.
d) Pitch and melodic range-The chorus enters on the same note as the solo part. The song flows in steps and thirds. It ranges between G4 and D5 ending on A4.
Nyiranga Omwoyo
Analytical Notes
a) Meaning-The song is performed to encourage the bride to have a strong heart so as to be able to withstand marriage problems. If she does so, she will be protected (olikingirwa mungabo – you will be carried in a shield). These words are used to denote that, if she is strong hearted, then she would be protected by armed relatives.
b) Meter-The song is performed at a moderate pace in simple triple time. The tempo does not affect the speech and melodic patterns.
c) Phrasing-There are five phrases of solo-chorus pattern. The solo phrases are short while those for the chorus are long. The longest is about seven bars. The solo and the chorus parts overlap at some entries.
Patterns of the Melody and Tonality
The song uses A4, B4 flat, C5, D5, E5 flat and F5 of the Western tampered scale. There are two half steps between the second and third notes, then the fourth and fifth notes respectively. This scale is non-equidistant hexatonic with two half steps.
b) Speech and melody-One major feature is that the song begins with the chorus instead of the solo part, which is fairly unusual in this tradition. The entry parts of the chorus are long compared to the solo parts. The setting of the words to music has been altered to accommodate the melodic line as follows; nyiranga omwoyo to nyirango mwoyo, nonyira omwoyo to nonyiro ‘mwoyo, mbochong’ene Ojiambo to mbochong’eno „jiambo and mbochong’ene Odwori to mbochong’eno „dwori. The accentuation on jia is set on one syllable instead of two to follow the melodic pattern.
c) Principle which affects the setting of words to music-If two words, one ending with a vowel and the other starting with another vowel follow each other then elision of text takes place. In this case the melodic line will affect the speech rhythm.
d) Pitch and melodic range-The solo and the chorus entries start on the same note in an overlapping manner. The song flows in steps, thirds, fourths and fifths. The chorus part has an E flat that is a feature of the melodic line. The song ranges between A4 and F5 ending on C5.
Kenda kala
Original Text
1. S. Kenda kala Anyango kenda kala orafunikha, kenda kala omwana Juma kenda kala orafunikha
2. C. Kenda kala Anyango kenda kala orafunikha, kenda kala omwana Juma kenda kala orafunikha
Literal English Translation
Walk slowly Anyango walk slowly that you do not break, walk slowly Juma‟s child walk slowly that you do not break
Walk slowly Anyango walk slowly that you do not break, walk slowly Juma‟s child walk slowly that you do not
3. S. Nerikada Anyango nerikada linafunikha, nerikada omwana Juma nerikada linafunikha
4. C. Nerikada Anyango nerikada linafunikha, nerikada omwana Juma nerikada linafunikha break
She is a stalk Anyango is a stalk will break, she is a stalk Juma‟s child is a stalk will break She is a stalk Anyango is a stalk will break, she is a stalk Juma‟s child is a stalk will break
Analytical Notes
a) Meaning-Anyango the bride is being cautioned to walk slowly or else she will harm herself. She is likened to a stalk–Nerikada that could easily break; she has to be careful.
b) Meter-The song is performed at a moderate tempo in common time. The pace of the song does not affect the speech and melodic patterns.
c) Phrasing-There are four phrases of solo-chorus pattern that are equal in length. These are about four bars each.
Patterns of the Melody and Tonality
The song uses G4, A4, B4, C5, D5 and E5 of the Western tampered scale. There is a half step between the third and fourth notes. This scale is a non-equidistant hexatonic form with a half step.
b) Speech and melody-There is an alteration of text on omwana to „mwana. The rest of the words fit both the speech and the melodic rhythms. The solo and the chorus parts are similar in text and melody.
c) Principle which affects the setting of words to music-The speech pattern may be altered to fit the melodic line either ascending or descending.
d) Pitch and melodic range-The song ranges between G4 and E5. It flows in steps, thirds, fourths and fifths. The solo and the chorus entries are similar in pitch. The song ends on B4.
Orada Nomulayi
Analytical Notes
Meaning-The performers praise the bride singing that Orada is good–Orada nomulayi. They tell her that she is fit to be praised in a song–aero ‘khwembwa (literally–she is fit to be sung) mukhana we Bukiri–daughter of Bukiri, meaning the girl from Bukiri. She is also referred to as Orada, her clan name.
b) Meter-The song is performed at a moderate tempo in common time. The pace does not affect the speech or melodic rhythms.
c) Phrasing-There are three phrases of solo-chorus pattern. The shortest entry is sung by the solo on one word „orada‟ and chorus on „aero ‘khwembwa.‟ Chorus also has the longest phrase that incorporates some solo parts.
