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Intercultural Composition and the Realisation of Ancient and Medieval Music

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Intercultural composition and the realisation of ancient and medieval music Kim Elliott Cunio, Master of Creative Arts Presented in fulfilment of the Requirements for the degree Doctor of Creative Arts College of Arts University of Western Sydney February 2008. 1 Abstract This thesis argues that there is a methodology, or series of methodologies that make it possible to realise music from a number of cultures, and that realisation is itself part of the process of intercultural exploration and composition. This proposition relates specifically to a portfolio of work undertaken at the same time as this dissertation that ranges from realisation of ancient and medieval music to new composition. It will be argued that such music is intercultural in its essence, and that this music is ‘new music’. The thesis comprises a body of creative work and an exegesis that contain five major parts. The first is a definition of intercultural activity and realisation where prominent examples of intercultural composition, music realisation and commentary are examined. The second part is an examination of The Temple Project, certainly the most ambitious work presented in the accompanying portfolio. The thesis argues that The Temple Project has a place both in the genre of an artistic realisation of ancient music, as well as being part my own body of work as a composer. The third section responds to The Sacred Fire, a realisation of the music of Hildegard of Bingen. The thesis argues that there is merit in undertaking a radical intercultural creative process with Hildegard’s music, which can include new composition. New composition and the realisation process will be examined. The fourth is an investigation of two smaller works in the accompanying portfolio. Mandala for Dawn and Namu Amida Butsu are new compositions that respond to the teachings and music of particular traditions. The thesis proposes that new intercultural composition is not very different to the realisations presented earlier, and that they benefit greatly from detailed intercultural experience and understanding. 2 The final section of the exegesis examines my own life, my own larger body of work, my own accompanying process of cultural investigation and understanding, and the potential of such explorations. This section also defines the multiple roles that the realiser often undertakes, ranging from historian / musicologist, composer, producer, performer, and even audio engineer. The thesis concludes by identifying areas for further investigation. 3 Dedication I dedicate this thesis and the music contained within to all the beings in this world, who nourish me simply by their presence. I hope that this thesis plays a part in our evolution towards an unlimited way of seeing ourselves, and being with this remarkable planet we live in. Om Shalom Salaam Amen Aman – Kim Cunio 4 Acknowledgements This thesis has benefited from the help and generosity of many people. The are a number of people and organisations I wish to specially thank. Firstly all the partners who enabled the creative projects to flourish. For the Temple Project they include The Melbourne International Arts Festival, The Jewish Museum of Australia and the Gandel Foundation for commissioning, and performance. The Australia Council for a grant towards the writing and recording the project, and Moshe Frumin for lending his collection of replica instruments originally commissioned by the Haifa Museum. ABC Television Sunday Arts, ABC Classic FM and ABC Radio National for recording and broadcasting live performances of The Temple Project. All the members of the Australian Baghdadi Jewish community for supporting this research, as well Margaret Kartomi, and the Archive of Jewish Music at Monash University, for sharing current research. The University of Western Sydney (UWS), for a grant towards the recording, and Michael Macken for recording the studio version. Finally and most importantly all the players, Heather Lee, Lew Kiek, Tunji Beier, Andy Rigby, and Anne Hildyard. For the Sacred Fire, Heather Lee for such intense and meaningful collaboration. The Australia Council for a grant towards the research and recording of the project. Robert Patterson at ABC Classics for Executive Production and release of the disc. Stephen Grant, Dr Constant Mews and Dr Helen De Zubicaray for timely discussions and loans of facsimile editions and recent scores. All the players including Heather Lee, Cantillation, Paul Jarman, Llew Kiek, Tim Constable, Jamal Rekabi, Bronwyn Kirkpatrick, Tunji Beier and spoken artists Rebecca Frith, James Coates and Stephanie Dowrick. For Mandala for Dawn, Dawn Griggs for being such an inspirational figure both in life and death, Roger Davidson and Ullamaija Kivimäka from the Foundation of Universal Sacred Music for commissioning and performing the work; Heather Lee, the Sangeet ensemble and choir, and Ash Dargan for the performance. For Namu Amida Butsu thanks to Bronwyn 5 Kirkpatrick for suggesting the piece, using it in her Masters of Shakuhachi recital, and for recording it. Beyond the projects I wish to thank Professor Michael Atherton, my principal supervisor, for working with me over the last four years in such a compassionate and skilled manner. His work and nature speak for themselves. I also wish to thank staff at the UWS Music Department, Dr Bruce Crossman for his work with the Aurora Festival, and general support, Dr Diana Blom for making me so welcome, and all the other staff I have met over the past four years in both teaching and administrative positions. I thank my wife Heather Lee for having the courage to undertake her Doctorate at the same time as mine, and for being such an observer of life. My parents Hyacinth and Nissim have provided great encouragement and the One Spirit Seminary, the Brahma Kumaris and Stephanie Dowrick have helped provide a spiritual journey to mirror the journey of my intellect. Finally, I offer blessings and a tide of change to all those in the world who are denied the opportunity to learn and investigate their place in the world. 6 Declaration The work presented in this thesis, in the musical scores and in the recordings is to the best of my knowledge and belief original. Though it contains music from existing cultures and composers this is a new collection of music. I hereby declare that I have not submitted this material in whole or part, for a degree at this or any other institution. ------------------------- Kim Cunio 7 CONTENTS Abstract 2 Dedication 4 Acknowledgements 5 Declaration 7 Table of Contents – Exegesis 8 Table of Contents – Appendix 1: CD recordings 12 Table of Contents – Appendix 2: Scores 14 List of abbreviations 15 Chapter 1 Introduction 17 1.1 The exegesis 17 1.2 The research question 18 1.3 Selection of the Projects 19 1.4 Why intercultural realisation? 21 1.5 The participant – observer 21 1.6 Additional roles in the projects 23 Chapter 2 Literature 25 2.1 Intercultural composition 25 2.2 Intercultural theory and composition 26 2.3 Intercultural realisation 30 2.4 Oral tradition and intercultural composition 33 2.5 A brief intercultural history 34 2.6 Case Study: Islamic Europe – an intercultural experiment 36 2.7 A survey of modern intercultural music 38 2.7.1 Pre World War 2 38 2.7.2 Post World War 2 41 8 Chapter 3 The Temple Project – Music of the Second Jewish Temple 46 3.1 Introduction - The largest project of this thesis 46 3.1.1 Background 47 3.2 Similar research and music 47 3.2.1 Literature 47 3.2.2 Recordings 50 3.3 Suzanne Haïk –Vantoura 53 3.3.1 Chironomy 54 3.3.2 The Tiberian system of notation 54 3.3.3 Haïk -Vantoura’s realisation 55 3.3.4 Example 1: Exodus 15: 3-4 The Song of the Red Sea 57 3.4 Jewish oral tradition 58 3.4.1 Sephardi, Mizrachi and Ashkenazi traditions 58 3.5 The Babylonian tradition 59 3.6 Babylonian / Baghdadian music 62 3.7 Example 2: Baghdadian transcription. Exodus 6:26 – 7:113 63 Chapter 4 Analysis of The Temple Project 66 4.1 Comparative archaeology / iconography and oral 66 transcription as the basis for a new realisation 4.2 The intercultural composition process 67 4.2.1 Identification of texts for treatment 68 4.2.2 Transcription of oral tunes for selected texts 69 4.2.3 Embellishment Ornament, and counter-melody 70 4.2.4 The use of drone-based harmony 70 4.3 Case Study 1 Sh’ma Yisrael, Deuteronomy 6: 4-9 71 4.3.1 Sh’ma Yisrael Score 73 4.4 Instruments used in the realisation 75 4.4.1 Ancient Jewish instruments 75 4.4.2 Instruments of Moshe Frumin 77 9 4.4.3 Example 3: Temple Harp realisation, 78 Moshe Frumin 2004 4.4.4 Example 4: King David’s Harp realisation, 79 Moshe Frumin 2004 4.4.5 Instruments of Harry Vatiliotis 80 4.46 Additional Near Eastern instruments 80 4.5 Case Study 2 Ashir Shirim 80 4.5.1 Ashir Shirim Score 82 4.6 Performance / recordings of the project 83 4.7 Evaluation of the realisation 83 Chapter 5 The Sacred Fire - Music of Hildegard Of Bingen 85 5.1 Introduction – a collaboration with soprano Heather Lee 85 5.2 Similar projects 86 5.3 Intercultural research as the basis for a new realisation 88 5.4 The intercultural composition process 89 5.4.1 Artistic speculation in the preparation of modern scores 90 5.4.2 Instruments and players in this realisation 91 5.5 New composition in the realisation 92 5.5.1 The writing of new composition within pieces 93 5.5.2 Example 5: Types of organum used in O Ierusalem 93 5.5.3 Types of organum used in O Ierusalem Score 94 5.5.3 The writing of new compositions 95 5.6 Case Study 3: Dance of Ecstacy 96 5.6.1 Dance of Ecstacy Score 97 5.6.2 The use of Near Eastern melisma 97 5.6.3 Rhythm and accompaniment 98 5.7 Case Study 4 Ordo Virtutum Prologue 99 5.7.1 Multiple realisations of a single text 99 5.7.2 Free and metrical time 100 10 5.7.3 Differing uses of harmony 101 5.8 Performance / recordings of the project 102 5.9 Evaluation of the realisation 102 Chapter 6 Mandala for Dawn – New composition and traditional texts 104 6.1 Introduction 104 6.2 The Foundation for Universal Sacred Music 104 6.3 The intercultural music festival 105 6.4 Featured texts / traditions 106 6.4.1 Tibetan Buddhist Mantra for Green Tara 107 6.4.2 Example 7: Choir setting of Green Tara Mantra in 108 Mandala for Dawn.
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