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Nomadic Amdo Tibetan Glu Folk Songs Within the Settings of Tibetan Culture, History, Theory, and Current Usage

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NOMADIC AMDO TIBETAN GLU FOLK SONGS WITHIN THE SETTINGS OF TIBETAN CULTURE, HISTORY, THEORY, AND CURRENT USAGE A MASTER’S THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE CENTER FOR GRADUATE AND CONTINUING STUDIES BETHEL UNIVERSITY BY WENDOLYN CRAUN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY JANUARY 2011 Copyright © 2011 by Wendolyn Craun All rights reserved ABSTRACT Tibetan glu folk songs are a literary and musical expression historically passed down from generation to generation. This regional study purposes to define the origins, influences, categories, qualities, and significance of nomadic Amdo Tibetan glu folk songs. These topics are explored within the settings of Tibetan culture, history, theory, and current usage. Recordings of twenty-seven glu folk songs accompanied by transcribed text and music offer contemporary examples of this song genre that is quickly disappearing. The ultimate goal of this study is to answer the question: What are the defining characteristics of nomadic Amdo Tibetan glu folk songs? i ii TABLE OF CONTENTS CHAPTER I: INTRODUCTION 1 Statement of the Problem 1 Need for the Study 2 Purpose Statement 3 Central Research Question and Sub-Questions 3 Glossary of General Terms 4 Limitations/Delimitations of the Study 4 Assumptions 5 Language Notes 6 Wylie Transliteration Scheme 6 Amdo Tibetan Pronunciation Examples 6 CHAPTER II: LITERATURE REVIEW 7 Ethnomusicology Research 7 Tibetan Music Research 10 Broad Overview of Tibetan Music 10 Regional Studies of Tibetan Music 11 Existence of Recordings and Songbooks 14 Tibetan Music Analysis 18 Music Analysis Tools 18 Musical Collection and Transcription 19 Etic verses Emic Analysis 20 Tones and Intervals 21 Tibetan Nomads 26 CHAPTER III: RESEARCH PLAN 29 Research Design–Strategy of Inquiry 29 Initial Strategy of Inquiry Plan 31 Actual Performed Strategy of Inquiry 32 Permissions 36 Data Recording 36 Participants 37 Singers 37 Translators and co-travelers 37 The Researcher 38 Self-Reflection 39 iii Data Analysis Procedures 40 Music Analysis 40 Written Presentation 41 Research Validity 41 CHAPTER IV: RESEARCH FINDINGS 43 PART I: ORIGINS OF AMDO TIBETAN GLU FOLK SONGS 45 Traditional Environment 45 Geographic Regions 48 World Geography 48 Linguistic Regions 49 Occupational Distinction 50 Historical Roots of Tibetan Music 56 Literary Excellence 61 Current Education of glu Songs 63 PART II: INFLUENCES OF AMDO TIBETAN GLU FOLK SONGS 67 Historical Influences 67 Current Influences 72 PART III: CLASSIFICATION OF AMDO TIBETAN GLU FOLK SONGS 75 Historical Classifications of Tibetan Music 75 Early Descriptions of Vocal Song 77 Tibetan Folk Music Classifications 79 Definitions of glu 79 Classifications of Amdo Tibetan Folk Song Genres 86 Possible Amdo Tibetan Folk Song Regions 93 PART IV: QUALITIES OF AMDO TIBETAN GLU FOLK SONGS 95 Evaluation of glu Songs 95 Case Study: Twenty-Seven glu Folk Songs 97 Text Analysis of Amdo Tibetan glu 98 Beginning Phrases 98 Use of Meaningless Syllables and Rhythm in Poetry 101 Song Text Content 105 Musical Analysis of Amdo Tibetan glu 111 Musical Introduction 111 Phrasing 112 Tibetan Modes 113 iv Melodic Patterns 114 Rhythmic Patterns 121 Distinctive Styles of Amdo Tibetan glu Songs 122 Singing Dynamics/Articulation 124 Instrumentation 124 Singing Presentation 125 PART V: SIGNIFICANCE OF AMDO TIBETAN GLU FOLK SONGS 127 The Singer’s Story 127 Tibetan Folk Song and The World 130 CHAPTER V: CONCLUSIONS 135 Summary Discussion of Nomadic Amdo Tibetan glu Folk Songs 135 Preservation of glu Song Genre 138 Proposal for Future Regional Research about Tibetan Songs 139 Regional Tibetan Folk Song Study 140 Comparative Tibetan Folk Song Study 140 The Importance of Song 141 APPENDIX A: AMDO TIBETAN GLU FOLK SONG COLLECTION 143 APPENDIX B: FORMS USED IN RESEARCH 199 APPENDIX C: COMPARATIVE MUSIC ANALYSIS 203 GLOSSARY OF MUSICAL TERMS 205 BIBLIOGRAPHY 207 ENDNOTES 213 v ILLUSTRATIONS MAPS 1. Distribution of Tibetans in China 52 2. Geographic Regions in which Tibetans Live 53 FIGURES 1. Amdo Tibetan glu: A Genre of Tibetan Music 3 2. Model for Ethnomusicology Research 9 3. Melodic Interval and Tonal Distance 23 4. Five Tones of the Chinese Pentatonic System 24 5. Five Pentatonic Modes 25 6. Tibetan Music Main Categories 76 7. Music and Dance among the Indo-Tibetan Sciences 78 8. Poetic Composition and Style of glu and gzhas 83 9. Amdo Tibetan Folk Song Categories 92 10. Rhythm in Song 25 103 11. Rhythm in Song 10 103 12. Labeled Tonal Units 116 13. Tonal Movement Patterns in Collected glu Songs 118 14. Composite Flow Charts of glu Songs 120 15. Rhythmic Patterns: Introduction I 121 16. Rhythmic Patterns: Introduction II 121 17. Rhythmic Patterns: Final Cadence I 121 18. Rhythmic Patterns: Final Cadence II 121 TABLES 1. Regions with High Percentage of Amdo Tibetans 54 2. Song Introduction Phrases 99 3. Common Musical Phrase Format 112 4. Tibetan Modes in Collected Songs 114 5. Common Melodic Patterns in Introduction and Cadence 115 6. Possible Tonal Movements in Collected Songs 117 7. Regional glu Song Styles of Nomadic Amdo Tibetans 123 vi ACKNOWLEDGEMENTS Thinking through all the people that have played a part in this project is a bit like walking into a beautiful garden and looking at the different colors, shapes, and sizes of every flower and tree. I am amazed as I reflect on each individual’s contribution. To the Great Shepherd of my soul: Thank you for guiding me through this journey. To Ian Collinge: Thank you for being an example of excellence in my life. Thank you for every discussion, every reference, every editing comment on this thesis, and every ounce of wisdom about Tibetan music that you have shared with me. Thank you for encouraging me to consider this topic for research. Thank you! To the Bethel University and Liberty University Ethnomusicology Professors: Dr. John Benham who dreamed this program into existence, Dr. Stephen Benham who helped me to shape my research proposal, Dr. Meyer, my Academic Advisor and Dr. McDow who have both edited this written report. Thank you for your hours spent looking over this material. To Qinghai Normal University: Thank you for your support as I have traveled and studied. To my Field Supervisors: Jeff and Brandie. Thank you for your support and wise counsel during my months of fieldwork and later musical transcription work. To my traveling companions during fieldwork: ‘Jald bal mtsho, Mkha’ mo skyid, Sangs go, Rebecca, Karl, and Fabienne. Thank you for accompanying me, for helping to translate, and for encouraging me in this project. To those that were willing to be interviewed: Thank you for taking time to talk with me about Tibetan music. To every singer that recorded songs: Your songs are beautiful! To those that translated documents: ‘Jald bal mtsho, Sangs rgyis rgyil, Mkha’mo skyid, Sangs go, Lhu ko, Helen and Btsun thar rgyal. Thank you for every word translated. To those that checked my music transcriptions: Ben, Melinda, Ian, and Dr. Meyer. Thank you for every note considered. To those that helped with ideas for this project or editing: Ian, Byuk lu, Bsod nams sgrol ma, Blo bzang rgya mtsho, Rdo rdze tshe ring, and Shag dor. Thank you! To my Tibetan friends who gave input into the final draft: Lhu kho, Lha byams rgyal, Btsun thar rgyal, and Ador. Thank you for every hour spent thinking about this project! To those that encouraged me as I worked on this project: Thank you!!! vii viii NOMADIC AMDO TIBETAN GLU FOLK SONGS WITHIN THE SETTINGS OF TIBEAN CULTURE, HISTORY, THEORY, AND CURRENT USAGE ix x CHAPTER I: INTRODUCTION Sights and sounds from the present sometime bring to mind reflections of the past. Looking out of the black yak-hair woven tent, I watched the morning sun rise above the mountain in the distance. Horses grazing freely; calves anxiously awaiting to be set free to run to their mothers; two women wearing colorful scarfs, woolen coats, and black boots working together in the morning mist. The sight and aroma of fresh milk, animals grazing, and the green plateau mixed together with the summer breeze blowing through the open door of the tent. In that moment, I was reminded of my own childhood when I would visit my grandparents’ farm. The terrain was different, but the work, the smells, the feelings in that moment felt strangely familiar and distinctly unique in the same moment. And then there was a song. “When I sing, I am free.” These words were spoken to me by a Tibetan friend when I began asking him questions about Tibetan folk songs. Like a bird soaring freely in the open air, my Tibetan friend finds freedom in his heart when he sings. His songs are unique. He learned them while sitting on a mountainside watching the grazing animals with his father. Each melody and text is memorized while singing them day after day to an audience of open grassland, blue skies, and grazing animals listening in the distance. Folk songs are a mix of melodies and words engaged together as a testimony of history and the ever changing present. Folk songs are songs about real life, sung by real people. To understand a folk song, one must understand the physical and spiritual surroundings that influence the singer as well as the minute details of chosen text and melodic expression. This study attempts to give both a broad overview and detailed answers to the question: What are the defining characteristics of Amdo Tibetan nomadic glu folk songs? Statement of the Problem Literature about Tibetan music is abundant. For most previous studies, the focus of research is about Tibetan monastic music. It is inferred often that different regional styles of 1 Tibetan music exist, but few regional studies have been attempted.
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