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Vlivy Ghanské Hudební Kultury Ve Tvorbě Orena Marshalla

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Vlivy Ghanské Hudební Kultury Ve Tvorbě Orena Marshalla JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Instrumentální profilace – kytara Vlivy ghanské hudební kultury ve tvorbě Orena Marshalla Diplomová práce Autor práce: BcA. Vít Beneš Vedoucí práce: doc. MgA. Jaroslav Šťastný, Ph.D. Oponent práce: MgA. Jiří Levíček Brno 2020 Bibliografický záznam Beneš, Vít. Vlivy ghanské hudební kultury ve tvorbě Orena Marshalla [Impacts of the Ghanian musical culture in the music of Oren Marshall]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra jazzové interpretace, rok. 2020, 57s. Vedoucí diplomové práce doc. MgA. Jaroslav Šťastný, Ph.D. Anotace Diplomová práce Vlivy ghanské hudební kultury ve tvorbě Orena Marshalla pojednává o hudbě britského hráče na tubu a Orena Marshalla. Pomocí rozhovorů je zde přiblížen myšlenkový svět tohoto umělce a vlivy principů ghanského folklóru v jeho tvorbě. Annotation Diploma thesis Impacts of the Ghanian musical culture in the music of Oren Marshall deals with music of British tuba player and experimenter Oren Marshall. With usage of interviews there is presented the intellectual world of this artist and influencial principles of Ghanian folklore in his music. Klíčová slova Oren Marshall; Family Connections; The Charming Transport Band; Ghanská folklórní hudba. Keywords Oren Marshall; Family Connections; The Charming Transport Band; Ghanian folklore music. Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 20. srpna 2020 Vít Beneš Poděkování Rád bych poděkoval Orenu Marshallovi za velmi inspirativní rozhovory, Jiřímu Slavíkovi za seznámení s Orenovou hudbou a s ghanským folklórem, přátelům z Ghana Dance Ensemble za možnost ghanskou hudbu dva měsíce studovat, vedení JAMU, které mi dalo peníze a umožnilo mi do Ghany odjet, Iloně Župkové a Petře Lexové, které byly ochotné i v tak pěkném počasí opravovat gramatické chyby, a mým rodičům, protože se to sluší. Obsah Úvod ..........................................................................................................................................7 1. Historický kontext ...............................................................................................................9 1.1 Highlife ................................................................................................................................9 1.2 Africké fúze v Londýně .......................................................................................................10 2. Ghanská folklorní hudba ....................................................................................................15 2.1 Tradiční hudební nástroje ....................................................................................................15 2.1.1 Bicí nástroje ......................................................................................................................16 2.1.2 Dechové nástroje ..............................................................................................................18 2.1.3 Strunné nástroje ................................................................................................................19 2.2 Ansámbl ...............................................................................................................................20 2.3 Timeline ...............................................................................................................................22 2.3.1 Timeline 4/4 ......................................................................................................................22 2.3.2 Timeline 12/8 ....................................................................................................................24 2.3.3 Vztah mezi 4/4 a 12/8 .......................................................................................................26 2.4 Polyrytmické struktury a bubenické fráze ...........................................................................26 2.5 Call and Response ...............................................................................................................28 2.6 Master drummer ..................................................................................................................29 2.7 Rubato .................................................................................................................................30 2.8 Tonalita ................................................................................................................................31 2.8.1 Pre-koloniální tonalita ......................................................................................................31 2.8.2 Tonalita koloniální a post-koloniální ................................................................................33 2.9. Repetitivnost .......................................................................................................................34 2.10 Ladění ................................................................................................................................35 3. Oren Marshall ......................................................................................................................37 3.1 Orenophone a netradiční způsoby hry .................................................................................38 3.2 Africké vlivy ........................................................................................................................39 4. Hudba Orena Marshalla .....................................................................................................44 4.2 Experimentální tvorba .........................................................................................................44 4.2 The Charming Transport Band ............................................................................................45 4.3 Family Connections .............................................................................................................47 Závěr .........................................................................................................................................53 Informační zdroje ....................................................................................................................54 Seznam příloh ..........................................................................................................................56 Úvod S hudbou Orena Marshalla jsem se poprvé setkal v kapele propojující studenty HAMU a JAMU, kterou vedl Jiří Slavík. Vedle této hudby jsem se tehdy seznámil i s dvěma bubeníky z Ghana Dance Ensemble, kteří s námi spolupracovali – Danielem Brownem a Christopherem Ametefe. Můj dlouhodobý zájem o africkou hudbu tehdy získal konkrétnější obrysy. V Orenovi Marshallovi jsem nalezl sympatický příklad, jak může k africkému folklóru přistupovat evropský jazzový hudebník, jak být invenční, a přitom ohleduplný k tradičnímu materiálu. Na základě tohoto zážitku jsem se v roce 2019 do Ghany vypravil a se skupinou Ghana Dance Ensemble jsem strávil dva měsíce. Od mých nových přátel, a především od Daniela Browna, jsem se naučil mnoho o folklorní hudbě, ale i o zákonitostech ghanské společnosti a životě. Po načerpání těchto zkušeností pro mě hudba Orena Marshalla (album Family Connections) nabyla ještě většího významu. Především otiskem ghanské mentality, tak jak jsem ji poznal, jsou pro mě Orenovy skladby zcela výjimečné. Měl jsem pocit, že máme v hudbě dost možná podobné názory a že by pro mě bylo nanejvýš inspirativní se s ním setkat osobně. Po návratu z Ghany jsem se začal intenzivněji zabývat volnou improvizací a používáním kytarových efektů. Díky tomu jsem více docenil Orenova první dvě alba Time Spent At Traffic Lights a Introduction to the story of Spedy Sponda - Part One: In a Silent Room, která stojí na sólo improvizacích a na používání efektových pedálů s tubou. Cílem této práce je zjistit, jak Oren Marshall nakládal s principy ghanského folklóru ve své tvorbě a seznámit se s jeho hudební filozofií. Zároveň zjistit, z jakého hudebního prostředí vychází a jak se s ghanskou tradiční hudbou seznamoval. Mým cílem není jeho skladby analyzovat notu od noty, jako více proniknout do podstaty – do myšlenkových pochodů, které jim předcházely. V případě prvních dvou alb, bych se chtěl dozvědět, zda-li se také opírají o folklórní základy. Zároveň jaké efekty a jakým způsobem používal. Hlavní metodou je online rozhovor doplněný částečnou analýzou. 7 Práce se skládá ze čtyř částí. V první vymezím historický kontext vlivu africké hudby na britskou hudební scénu, který předcházel tvorbě Orena Marshalla. Ve druhé části se budu zabývat klíčovými principy ghanského folklóru, které dopomohou k lepšímu dokreslení zkoumaného tématu. V následující části se hlouběji zaměřím na samotnou osobnost Orena Marshalla a jeho vztah k Africkému kontinentu a jeho hudební tradici. V poslední kapitole se budu zabývat Orenovou hudbou a budu v ní hledat souvislosti s folklórem. 8 1. Historický kontext Hudba Orena Marshalla nevznikla náhodou. Není ojedinělým ostrovem na poli londýnské hudební scény. Je produktem mnohaleté, řekněme afro-jazzové tradice. V této kapitole představím historii alespoň některých žánrů, které vznikly kontaktem mezi Velkou Británií a Afrikou (zvláště pak západní Afrikou a Ghanou). A zároveň se pokusím naznačit linii hudebníků, kteří zde byli před Orenem Marshallem a dále jej ovlivnili v jeho tvorbě. 1.1 Highlife Asi prvním populárním žánrem, který spojuje
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