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Tesi Di Laurea Floriana Frida Asperti

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Tesi Di Laurea Floriana Frida Asperti UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Studi Umanistici Corso di Laurea Magistrale in Musicologia SUONO E PAROLA: L’EQUILIBRIO PERFETTO L’ESPERIENZA DI SAHAJ PRESSO LA COMUNITÀ SIKH DI LISBONA Relatore: Chiar.mo Prof. Nicola Scaldaferri 2° Relatore: Chiar.mo Prof. Filippo Bonini Baraldi Correlatore: Chiar.mo Prof. Emilio Sala 2° Correlatore: Chiar.mo Prof. Giovanni Cospito Tesi di Laurea di: Floriana Frida Asperti Matr. n. 826824 Anno Accademico 2016/2017 1 A Viola, alle corde dell’oceano. 2 INDICE INDICE DELLE IMMAGINI 5 RINGRAZIAMENTI 8 NOTE PER LA TRASLITTERAZIONE E LE TRADUZIONI 9 INTRODUZIONE 10 CAPITOLO 1 La sottigliezza del linguaggio 21 1.1 Sikhismo o Sikhismo: l’importanza delle parole 21 1.2 !r" Gur# Granth S$hib: la parola scritta 25 1.3 Sahaj: l’equilibrio perfetto 32 CAPITOLO 2: !abad k"rtan, la performance musicale 43 2.1 Poesia e musica: i versi cantati nella tradizione sikh 43 2.2 !abad k"rtan /Gurb#n" k"rtan e Gurmat sang"t/Gurb#n" sang"t: ancora una questione di termini 45 2.3 Repertorio poetico: $abad, inni 46 2.4 Repertorio musicale: r#ga-t#la, strutture melodiche-cicli ritmici 49 2.5 Le performances di !abad K"rtan 58 2.6 Sunia-gavia, ascoltare-cantare 64 2.7 L’esperienza estetica di Amrit rasa 69 CAPITOLO 3: Seva, il servizio disinteressato 75 3.1 Il binomio io-l’altro 75 3.2 La vita al gurdw$r$: l’individuo e la comunità una simbiosi attiva 76 3.3 Azioni cantate 80 3.4 Analisi di wahegur% 81 3.4.1 Analisi testuale 82 3 3.4.2 Analisi musicale 83 3.4.3 Analisi acustica 85 3.4.4 Analisi gestuale 85 3.5 Il ruolo del canto nel seva 88 3.6 La comunità fuori dal gurdw#r# 92 CAPITOLO 4: Analisi di un brano di !abad k"rtan 96 4.1 Il principio di equilibrio organico 96 4.2 Il brano Ek ard#s Bh#tt K"rat k" 100 4.3 Analisi testuale 103 4.4 Analisi musicale 107 4.5 Analisi acustica 116 4.6 Analisi gestuale 121 CAPITOLO 5: J#pa, ripetere 128 5.1 Dall’esterno all’interno, dall’interno all’esterno 128 5.2 Il libro sacro: il gur# vivente 131 5.3 J#pa: la parola recitata, cantillata, meditata 135 5.4 La pratica di Wahegur% simran 136 5.5 La pratica personale 140 5.6 Il paradosso come condizione di vita 146 CONCLUSIONI 149 APPENDICE 152 GLOSSARIO 204 BIBLIOGRAFIA 207 4 INDICE DELLE IMMAGINI 1.! Un momento della cerimonia di Nagar K"rtan, canto devozionale in processione nella città, ad Odivelas il 30 aprile 2017 2 2.! Lo stato del Punjab in India, luogo d’origine dei sikh 12 3.! Il comune di Odivelas, nella periferia di Lisbona, dove si trova il tempio sikh 13 4.! Il !r" Gur% Granth S#hib, il libro sacro dei sikh 25 5.! Tabella 1. Struttura del !r" Gur% Granth S#hib 27 6.! Tabella 2a. Le connotazioni del termine N#m utilizzate nel libro sacro 30 7.! Tabella 2b. Le relazioni tra i termini riferiti alla “parola”, utilizzati nel libro sacro 31 8.! Tabella 3. Le connotazioni del termine sahaj utilizzate nel libro sacro 40 9.! Tabella 4. Schema della relazione fra musica e linguaggio di B. Lortat-Jacob 45 10.!Tabella 5. Nomi e definizioni delle principali composizioni poetiche del libro sacro 47 11.!Il testo del libro sacro in alfabeto originale gurmukhi 48 12.!Tabella 6. Le note della musica indiana 50 13.!Tabella 7. Le principali ornamentazioni della musica indiana 51 14.!Tabella 8. I 31 R#ga del !r" Gur% Granth S#hib e le rispettive variazioni 54 15.!Tabella 9. Esempio di titolo degli inni del libro sacro 55 16.!!r" Harmandir S#hib, il Tempio d’Oro di Amritsar 58 17.!La sala principale, darbar, del tempio di Odivelas durante la sostituzione delle decorazioni 59 18.!Tabella 10. Schema esecutivo generale di un inno con la successione di strofa e ritornello e di parti cantate e parti strumentali 62 19.!Tabella 11. Schema degli elementi costitutivi di una performance situata di $abad k"rtan, in termini di binomi di opposti 66 20.!Tabella 12. I rasa indicati nel N#tya$#stra con l’aggiunta di quello indicato da Abhinavagupta e nel Sr" Gur% Granth S#hib 70 21.!Ingresso del Gurdw#r# Sikh Sangat S#hib, il tempio sikh di Odivelas 76 22.!Refettorio del gurdw#r# di Odivelas durante il momento del pranzo della domenica 78 23.!Trascrizione del canto wahegur% durante il lavoro nella cucina del tempio 82 24.!I contorni melodici dei 4 temi analizzato 84 25.!Finestra di lavoro di EAnalysis dell’analisi del brano wahegur% 86 26.!Still da video di due riprese simultanee del momento del canto wahegur% 87 27.!Pianta della sala principale del tempio di Odivelas con la disposizione delle riprese 99 5 28.!Tabella 13. I due temi del brano analizzato Ek ard#s Bh#tt K"rat k", trascritti in notazione indiana 102 29.!Il primo tema (B) trascritto in notazione occidentale 103 30.!Il secondo tema (A) trascritto in notazione occidentale 103 31.!Tabella 14. Calcolo del numero di m#tr# per ogni verso dell’inno 105 32.!Immagine tratta dalla finestra di lavoro di EAnalysis: le strutture grafiche dei contorni melodici dei due temi A e B 109 33.!Schema esecutivo del brano analizzato costruito con le immagini tratte da EAnalysis 110 34.!Frammento del brano analizzato con la cadenza del tablista 111 35.!Frammento del brano analizzato con variazioni di intonazione 113 36.!Frammento del brano con microvariazioni dovute al testo 113 37.!Tabella 15. Schema dell’espressione dei due parametri “circolare” e “lineare” in termini musicali 114 38.!Esempio della forma a spirale in natura: conchiglia del nautilus 116 39.!Esempio della forma a spirale in natura: broccolo romanesco 116 40.!Finestra di lavoro di EAnalysis dell’analisi del brano Ek ard#s Bh#tt K"rat k" 117 41.!Spettrogramma del suono vocalico i di sarn#" tratto da Praat 119 42.!Frammento del brano Ek ard#s Bh#tt K"rat k" con ornamentazioni (battute 7-8) 119 43.!Spettrogramma del suono vocalico a in R#md#s 120 44.!Frammento del brano Ek ard#s Bh#tt K"rat k" con ornamentazioni (battue 284-285) 121 45.!Schema degli indicatori gestuali dello sguardo relativi al cantante 122 46.!Still dal video dell’esecuzione del brano Ek ard#s Bh#tt K"rat k" in cui si evidenzia il pubblico poco partecipe 124 47.!Still dal video dell’esecuzione del brano Ek ard#s Bh#tt K"rat k" in cui si evidenzia il pubblico partecipe 124 48.!Still dal video dell’esecuzione del brano Ek ard#s Bh#tt K"rat k" in cui si evidenzia il movimento della testa all’indietro dei musicisti 124 49.!Still dal video dell’esecuzione del brano Ek ard#s Bh#tt K"rat k" in cui si evidenzia lo sguardo frontale dei musicisti 125 50.!Still dal video dell’esecuzione del brano Ek ard#s Bh#tt K"rat k" in cui si evidenzia lo sguardo verso il basso e uso del telefono 125 51.!Still dal video dell’esecuzione del brano Ek ard#s Bh#tt K"rat k" in cui si evidenzia il coinvolgimento del pubblico 126 6 52.!Still dal video dell’esecuzione del brano Ek ard#s Bh#tt K"rat k" in cui si evidenzia l’asincronicità di coinvolgimento tra pubblico e musicista 126 53.!I musicisti durante una performance di $abad k"rtan al tempio di Odivelas 131 54.!Sala principale del tempio di Odivelas durante una cerimonia della domenica mattina: particolare della circumambulazione attorno al libro sacro 132 55.!Rishipal Singh, musicista del tempio, durante l’esecuzione della pratica di wahegur% simran 136 56.!Spettrogramma sillaba wa tratto da Praat 137 57.!Spettrogramma sillaba he tratto da Praat 137 58.!Spettrogramma sillaba gu tratto da Praat 137 59.!Spettrogramma sillaba ru tratto da Praat 137 60.!Una devota che recita le preghiere quotidiane nella stanza adiacente alla sala principale del tempio 140 7 RINGRAZIAMENTI La realizzazione di questo studio è stata laboriosa e ha visto la collaborazione e il sostegno di più persone, senza le quali non sarebbe stato certamente possibile. Mi sento di ringraziare in modo particolare: Filippo Bonini Baraldi per la pazienza, la condivisione e i preziosissimi consigli che hanno contribuito a sviluppare la mia professionalità e che conservo con grande cura; Salwa Castelo- Branco per la grande disponibilità e gentilezza e per la voglia di condividere le sue conoscenze; Giovanni Cospito per la sensibilità al suono che sa trasmettere e per i suoi insegnamenti come persona e come docente; Nicola Scaldaferri per la comprensione e i consigli che hanno aperto possibilità inaspettate; Mario Garuti per l’apertura e la voglia di mettere a disposizione il suo sapere; Giovanni Brincivalli per la generosità, l’aiuto e il sostegno che ha saputo darmi in quest’ultimo anno; Shiv Charan Singh per la condivisione della sua saggezza e l’amore che regala a ogni persona, sempre; Satya Kaur per la vicinanza e l’esempio della sua presenza; Eugenia Paramatma Kaur Alcaraz per il sostegno, la vicinanza, il confronto e la voglia di camminare insieme in questa vita; Elvio Manuzzi per le riprese e l’assistenza tecnica e per la voglia di scambio; Eddy Cattaneo, Stefano Tadini, Isabel Henn, Paolo Bertoni, Manuela Bonfanti, Fatima Barahona, Johannes Krieger, Lili Kedves, Manuel Attanasio, Tiziano Asperti per l’altruismo e la prontezza all’aiuto; tutte le persone dell’Inet-MD e del laboratorio audiovisivo dell’università Nova di Lisbona sempre disponibili e accoglienti; Rishipal Singh per la voglia di comunicare e condividere; Kuldeep Singh, Kushal Singh, Ranjit Singh, Amarjit Singh e tutte le persone del gurdw#r# di Odivelas per la benevolenza e l’amabilità con cui mi hanno accolto; tutte le persone dell’Ashram di Quinta do Rajo per la sensibilità e la comprensione; Mujtaba Hussain per la generosità che ha reso possibile il mio soggiorno in India; Gurnam Singh, Ali Akbar, Kanvaljit Singh, Varvinder Kaur per la pazienza nel rispondere alle mie domande e per l’ospitalità che mi hanno riservato; tutte le persone del dipartimento di musicologia della Punjabi University sempre affabili e gentili; Kirit Singh per la grandezza d’animo e la semplicità con cui mette a disposizione le sue preziose conoscenze; Viola Asperti, Luna Tadini, Gabriel Arthur Giovanni Latreille, Adriano Krieger, Laura Krieger per la luce e la voglia di vita che sanno portare attorno a loro; Fernanda Vittoria Conti Asperti e Luigi Asperti per la presenza e il sostegno costante; tutti gli amici e tutti gli amanti della musica e della poesia.
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