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ARMAS LAUNIKSEN FONOGRAMMIT SOIKKOLASTA: Laulutavan, Runon Ja Laulutilanteen Välisiä Yhteyksiä Kalevalamittaisessa Runoudessa

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ARMAS LAUNIKSEN FONOGRAMMIT SOIKKOLASTA: Laulutavan, Runon Ja Laulutilanteen Välisiä Yhteyksiä Kalevalamittaisessa Runoudessa ARMAS LAUNIKSEN FONOGRAMMIT SOIKKOLASTA: laulutavan, runon ja laulutilanteen välisiä yhteyksiä kalevalamittaisessa runoudessa Pro gradu -tutkielma Helsingin yliopisto Kulttuurien tutkimuksen laitos/ folkloristiikka Kati Heinonen Toukokuu 2005 Sisällys 1. Johdanto .....................................................................................................3 2. Soikkola ja runonkeruu ..............................................................................8 2.1. Soikkola ..............................................................................................8 2.2. Runojen ja sävelmien keruu Länsi-Inkerissä ....................................22 2.3. Armas Launiksen keruumatkat Länsi-Inkerissä................................31 3. Lauletun runon mitta................................................................................47 3.1. Runomitta..........................................................................................47 3.2. Runosävelmät....................................................................................49 3.3. Runomitta laulussa............................................................................53 3.4. Laulu esityksenä................................................................................57 3.5. Muoto ja merkitys .............................................................................61 3.6. Laulusta tekstiksi...............................................................................64 3.7. Analyysin perusta..............................................................................71 4. Laulutavat: yleiskuva tyylipiirteittäin ......................................................76 4.1. Oi: lisätavut säkeiden välissä ............................................................76 4.2. Vaa: lisätavut säkeen keskellä...........................................................79 4.3. Seitsentavuisuus ................................................................................82 4.4. Osakertaukset ....................................................................................84 4.5. Säettä lyhyemmät refrengit ...............................................................91 4.6. Vähintään säkeen pituiset refrengit...................................................92 4.7. Kertaukset .........................................................................................93 4.8. Ilman kuoroa .....................................................................................98 4.10. Yhteenveto ....................................................................................103 5. Pulmanuotit ............................................................................................106 5.1. Avatkaa Viron veräjät .....................................................................109 5.2. Oi dai issuit kannes, issuit kannessa iha .........................................114 5.3. Muut pulmanuotit............................................................................121 5.4. Yhteenveto ......................................................................................125 6. Lopuksi...................................................................................................127 7. Lähdeluettelo..........................................................................................138 7.1. Arkistoaineisto ja tietokannat..........................................................138 7.2. Lähteet.............................................................................................139 7.3. Käytetyt lyhenteet ...........................................................................151 Liite I: Fonogrammit..................................................................................151 Liite II: Litteraatiot.....................................................................................156 2 1. Johdanto oi issuit kannessa ih(h)ala oi dai issuit kanness issuit kannessa iso|o oi kannessa izollizessa oi dai kannessa vaa kannessa izollize/o o(i) vastoin kantta val(a)gijata oi dai vassoin kantta vastoin kantta valkijo o(i) selin seinägä sinisee oi dai selin seinää selin seinägä sinii/serjoi o alle pyyhkijäm pygäsen oi dai alle pyy Esimerkki 1: ph. 4a. Naasto Savasteintytär.1 Jos tämä Naasto Savasteintyttären ja kuoron Soikkolassa vuonna 1906 Armas Launiksen vahalieriölle laulama pätkä olisi kantautunut kerääjän korviin 1800-luvulla, se voisi löytyä Suomen Kansan Vanhoista Runoista (SKVR) jotakuinkin seuraavassa muodossa. Issuit kannessa ihala, Kannessa isollisessa, Vastoin kantta valkiata, Selin seinähän siniseen, Alla pyyhkiän pyhäsen. Se, mikä ilmiössä on mielenkiintoista ja mitä siitä halutaan ymmärtää, vaihtelee aikakausien, tutkimussuuntausten ja henkilökohtaisten mieltymysten mukana. Yllä olevat esimerkit välittävät omaa kuvaansa siitä, mikä kiinnosti 1800-luvun lopun ja 1900-luvun alun kansanrunouden- tutkijoita ja mihin puolestaan 2000-luvun alun opiskelija esikuvien ohjaamana saattaa huomionsa suunnata. Suurin ero lauletun ja kirjoihin pannun runon välillä etenkin inkeriläisessä perinteessä on nähtävissä esimerkeissä: säkeiden osittainen tai kokonainen kertaus, esilaulajan ja kuoron vaihtelu, refrengit ja välisanat ovat lauletuissa runoissa muodostaneet laulun rytmin ja melodian sekä lauluun liittyvän kulkemisen, tanssin tai muun liikehtimisen kanssa kokonaisuuden, 1 Sisennetyt säkeet ovat kuoron laulamia. Naasto laulaa säkeen aloittavan oi-tavun päällekkäin kuoron laulaman viimeisen, pitkäksi venytetyn tavun lopun kanssa. Kursiivi ilmaisee epäselvää, tulkinnanvaraista kohtaa. 3 joka ei muistiinpannuista teksteistä välity (esim. Harvilahti 1991: 126; 1998; ks. myös Foley 1995; 2002). Alun kahden runoversion ero on työni lähtökohta. Lauletusta versiosta silmiin pistää oi-tavu jokaisen esilaulajan laulaman ja oi dai kuoron laulaman säkeen alussa sekä kuoron tapa kerrata säkeen alkupuolisko, lisätä yhteen säkeeseen lisätavu (vaa) ja jättää säkeen viimeinen tavun laulamatta. Työn aihe, laulutapojen variaatio ja lomittuminen runoaiheisiin ja laulutilanteisiin inkeriläisessä, Soikkolassa vuonna 1906 tallennetussa runolaulussa, on syntynyt myös käytännön kysymysten kautta. Jos otetaan inkeriläinen teksti Suomen Kansan Vanhoista Runoista ja lauletaan se satunnaisella melodialla Inkerin runosävelmistä (Launis 1910a), tulee joskus vastaan ongelma: sanojen sijoittaminen melodiaan on vaikeaa, tavu puuttuu tai on ylimääräinen – on vaikea päätellä, mikä osa säkeestä oikeastaan pitäisi kerrata. Tästä seuraa kysymysten tulva: miten näitä runoja on oikeastaan laulettu, mitkä ovat olleet ne säännöt tai säännönmukaisuudet, jotka laulajan on täytynyt tuntea? Millä eri tavoin runo on voitu toteuttaa lauluna ja kuinka runomitan abstraktio on hahmotettavissa Inkerin monimuotoisissa laulutavoissa? Mitkä olivat laulajien vaihtoehdot runojen esittämisessä2? Minkälaisena lauluna, minkälaisissa tilanteissa ja laulukulttuurissa runous eli? Laulajista ja heidän näkemyksistään, laulamisen tilanteista ja tavoista on SKVR:n sivuilla ja matkakertomuksissa valitettavan vähän mainintoja. Tämä työ on yksi yritys nähdä paljon tutkittua kalevalaista runoutta laulamisen ja laulutilanteiden kautta: kerääjien aineistojen ja näkökulmien läpi, mutta laulajien omia esteettisiä näkemyksiä ja lauluille antamia merkityksiä pohtien (vrt. Timonen 2004: 9–10). Näkökulma liittää työn niin suomalaisiin ja virolaisiin kansanrunouden- ja kansanmusiikin- tutkimuksen perinteisiin kuin kansainvälisiin etnopoetiikan ja performanssi- teorian suuntauksiin. Lauri Harvilahti (1992: 20) on kysynyt nimenomaan inkeriläiseen runouteen liittyen: Miten paljon siis runomitasta saatavaan käsitykseen vaikuttaa esimerkiksi melismaattinen melodian ja tekstin käsittely tai musiikkifraasin lopettaminen ennen runosäkeen loppumista siten, että viimeinen tavu jätetään laulamatta, sanojen kertaaminen saman fraasin sisällä tai 2 Käytän tässä työssä termejä "esitys", "esittää" ja "esittäjä" säästellen, vaikka ajatteluni taustalla on performanssi-koulukunnan näkemyksiä runoista nimenomaan esityksinä. Termit kuitenkin johtavat ajatukset liian helposti estradiesiintymisen puolelle ja muodostavat liian jyrkän rajan lauluun tai tanssiin osallistujien ja muiden läsnäolijoiden välille. Aina ei kuitenkaan voi loputtomiin toistaa ainoastaan laulaa-verbin johdannaisia. 4 jälestälaulajien säkeissä, tai merkityksettömien tavujen ja niistä koostuvien refrengien käyttö, ylipäänsä kaikki variaatio, joka liittyy musiikin osuuteen runojen tuottamisessa? Pyrkimyksenäni on hahmottaa runon erilaisia toteutumisen tapoja laulussa sekä näiden tapojen mahdollisia yhteyksiä Launiksen kuvaamiin, inkeriläisten laulajien mainitsemiin tilannesidonnaisiin "sävel"-kategorioihin, laulajien itsensä hahmottamiin genre-eroihin (Launis 1907; Timonen 2004). Huomioni keskittyy ennen kaikkea säkeiden tavurakenteeseen (lisätavut ja seitsentavuisuus), osittaisiin ja kokonaisiin säkeen kertauksiin sekä refrenkeihin. Kalevalamitan tavunpituus- ja -painosääntöjen analyysi olisi paisuttanut työtä liiaksi. Melodioiden tarkemman analyysin jätän suosiolla etnomusikologeille, mutta laulun rytmi vaikuttaa mitan tulkintaan ja kuudennessa luvussa sivuan myös sävelmien muodostamia ryhmiä. Varsinaisen analyysin olen rajannut Launiksen Soikkolassa äänittämiin vahalieriöihin eli fonogrammeihin. Muut aineistot toimivat tukena tarvittaessa. Fonogrammiaineisto on laajuudessaan ainutlaatuinen näyte yhden kylärykelmän kalevalamittaisen runon laulamiskulttuurista 1900-luvun alussa. 118 laulun rakenteista ja tyylipiirteistä pyrin ensin luomaan yleiskuvan,
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