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Salar Music and Identity: a "Sad" Sound a Master's Thesis Submitted to the Graduate Faculty Liberty University By

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Salar Music and Identity: a SALAR MUSIC AND IDENTITY: A "SAD" SOUND A MASTER'S THESIS SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY ELIZABETH RUTH KEATING IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY December 8, 2016 Copyright 2016 by Elizabeth Keating CONTENTS TABLE OF CONTENTS ............................................................................................................. ii ILLUSTRATIONS ........................................................................................................................ v Chapter I: Introduction ................................................................................................................ 1 Why Research ..................................................................................................................... 1 Statement of the Problem ........................................................................................ 2 Need for the Study ................................................................................................... 3 Research Questions ............................................................................................................. 4 Limitations and Assumptions of the Study ......................................................................... 5 Chapter II: Literature Review ..................................................................................................... 7 Introduction ......................................................................................................................... 7 Demographic Data .................................................................................................. 7 Historical Information ............................................................................................ 8 Review Of Literature ........................................................................................................ 14 Techniques ............................................................................................................ 14 Religion ................................................................................................................. 17 Music and Minorities ........................................................................................... 19 Minorities: Ethnic Identity .................................................................................... 25 Conclusion of Literature Review ...................................................................................... 32 Chapter III: Methodology .......................................................................................................... 33 Research Tools .................................................................................................................. 33 Fieldwork Procedures ....................................................................................................... 35 Analysis Procedures ......................................................................................................... 37 ii Participants In The Study ................................................................................................. 40 Methods For Data Collection ............................................................................................ 41 Chapter IV: Analysis .................................................................................................................. 46 Interview Data ................................................................................................................... 46 Distinctive Salar Features .................................................................................... 46 Instrument Information ......................................................................................... 47 Song Analysis Data ........................................................................................................... 48 Melodic ................................................................................................................. 49 Tonal Center/Pitch Inventory .................................................................... 49 Conjunct/Disjunt Motion .......................................................................... 58 Pitch Considerations: Ornamentation, Timbre and Dynamics ................. 60 Form and Structural Issues ................................................................................... 62 Phrases and Cadenses ............................................................................... 64 Melodic Contour ....................................................................................... 70 Rhythm .................................................................................................................. 72 Lyric ...................................................................................................................... 78 Chapter V: Conclusion ............................................................................................................... 91 Summary ........................................................................................................................... 91 Conclusions ....................................................................................................................... 92 Recommendations ............................................................................................................. 95 Appendix A: Transcriptions ...................................................................................................... 97 Appendix B: Pitch Succession Charts/Flow Diagrams .......................................................... 110 Appendix C: Melodic Contour ................................................................................................ 132 iii Appendix D: Rhythmic Unit Succession Charts .................................................................... 145 Appendix E: Lyric and Emic Transcriptions ......................................................................... 169 Appendix F: Avery’s Analytic Summary Charts ................................................................... 171 References .................................................................................................................................. 206 iv ILLUSTRATIONS Figures 2.1 Xunhua Stone camel carrying the water, soil and Koran of the Salar .................................... 14 3.1 Transcribe! example of phrase dynamic ................................................................................. 35 3.2 Quartertone Symbols .............................................................................................................. 40 4.1 Twelve-song composite: pitch inventory ................................................................................ 51 4.2 Pitch collection of each song .................................................................................................. 52 4.3 Tone/pitch frequency and flexibility ....................................................................................... 53 4.4 Song: pitch flexibility part A .................................................................................................. 55 4.5 Song: pitch flexibility part B ................................................................................................... 56 4.6 Repeating pitches out of total pitches in song ........................................................................ 57 4.7 Song 1: Pitch succession chart ................................................................................................ 58 4.8 Song 1: example of phrase dynamic ....................................................................................... 61 4.9 Song 3: example of phrase dynamic ....................................................................................... 61 4.91 Song 3: example of phrase dynamic ..................................................................................... 61 4.92 Song phrase structure and pitch beginning/endings .............................................................. 63 4.93 Pitches over phrase boundaries by song ............................................................................... 65 4.94 Cadential formulas for verse/song endings ........................................................................... 66 4.95 Frequency of rhythmic unit movements over phrase boundaries ......................................... 67 4.96 Frequency of rhythmic unit movements in phrase endings .................................................. 69 4.97 Song 1: Melodic contour example ........................................................................................ 70 4.98 Song 4: Melodic contour example ........................................................................................ 71 4.99 Song 10: Melodic contour example ...................................................................................... 72 v 4.991 Chart key to Fig. 4.991 and 4.992 ....................................................................................... 73 4.992 Rhythmic unit flexibility/frequency chart part A ................................................................ 74 4.993 Rhythmic unit flexibility/frequency chart part B ................................................................ 75 4.994 Observations of rhythmic unit flexibility/frequency chart .................................................. 76 4.995 Percentage of rhythmic unit
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