World Music Performance in the Aural-Oral Tradition:
The Process and the Presentation
Ohio Choral Directors Association Conference
Wednesday, June 18, 2014
Otterbein University
Westerville, Ohio
Dr. Sharon Davis Gratto
Professor and Chair
Department of Music
University of Dayton
Dayton, OH
[email protected]
(This session is presented with appreciation and special thanks to Allan Petker and Brian
Tate of Pavane Publishing for providing two of the octavo music samples for this session.)
World Music ‘Rules of Thumb!’
 When singing ethnic music, just as with any choral music, take care of vocal
health; don’t skip warm-ups in rehearsal and before performances
 Begin without printed music whenever possible
 Prepare for the newrole of the conductor in front of the choir
 Consider presenting ‘informances,’ not just ‘performances’
 Engage audiences in performanceswhenever possible
 Look for ‘informants’ near and far who can help you (people, technology, etc...)
 Approach music with common sense and good taste, not fear; ask questions; if
the printed music appears to be problematic or questionable, it probably is
 Don’t hesitate to tackle different languages; after all, you are a musician with
highly developed listening and imitation skills
 If necessary and possible, perform a piece in English first before tackling the
‘new’ language in a repeat performance
 Select printed music from reliable publishers who provide complete and
accurate information in their scores; take advantage of recordings on-line and
pronunciation recordings by native speakers that are available
 Remember to teach world music in its historical and cultural context
 Have maps where you teach to use in locating the source of the music
 Ask other knowledgeable music teachers/choral directors for assistance
 Attend conference choral reading sessions and workshops led by experts in
the profession; join the American Choral Directors Association and the Ohio
Choral Directors Association
 Take advantage of every opportunity to travel, both in and outside of the US
 If substitute instruments have similar sounds, it may be permissible to use
them as long as your students understand what the real ones look and sound
like
 Listen often to world music to become familiar with different styles and
sounds, including languages; listen to instrumentation
 Attend live concerts and festival events to hear and see specific world music
being performed or presented in its cultural setting; listen to and observe the
instruments; observe accompanying movement and presentation practice
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Use You Tube to find performance models but do so with caution – there are
lots of poor quality models out there
Words to avoid when you are teaching world music: foreign, third world, nonwestern, costumes
Understanding - Africa does not always mean drums and the Swahili language;
African Christians tend to be more likely to study music formally than African
Muslims; be careful not to make assumptions as you try to identify informants
in your choir or your community
Additional factors to consider in world music repertoire selection and
preparation
o Current political issues – nationally and in your community
o Are there excellent choral ensembles to serve as models and sources?
o Begin small and in your comfort zone - some cultures’ music and
languages are easier than others; then continue to learn as you move
forward to more difficult or advanced material
o Language concerns? – English first, then repeat the selection at another
time in the original language
o Identify someone who can be your mentor
o Expand performances into informances
Words of World Music Wisdom from Mary Goetze, Retired Founder-Director of
Indiana University’s International Vocal Ensemble:
1. All music cannot be notated accurately using western meters and scales
2. Bel Canto singing is just one style of singing
3. The choral conductor/teacher does not always need to be the instructional
source for the choir
4. A blended sound is not the goal in all choral singing
5. Most world music is as much visual as it is aural
6. Not all music was created for performance, or should all music be performed
outside of its cultural context
MUSIC RESOURCES FOR THIS SESSION
As I Went With Tom to Tywyn – traditional Welsh song arranged for unison treble
voices and piano by Nigel E. Jones (Boosey& Hawkes – 48018877; 2005)
Freedom is Coming – Songs of Protest and Praise from South Africa, collected and
edited by Anders Nyberg; mixed choir(Walton Music - WB-528, with recording).
Freedom is Coming – South African freedom and praise song
Freedom is in Your Hand – Songs of Protest and Praise from South Africa, collected
and arranged by Anders Nyberg; mixed choir (Walton Music - WW-1299, with
recording).
*Honono (sung in Xhosa) – traditional, South African; Text: Nomathemba
Mfeketo-Pontén; English text: Anders Nyberg, Sven-Bernhard Fast; arr.
Anders Nyberg
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Text explanation:
The original Xhosa text means ‘Lord of Lords, Child of the world,’ and it tells
the story of the Christmas miracle; Honono is not a translatable word but
simply expresses great joy.
Haida – traditional Chassidic round arranged by Shirley W. McRae for treble or mixed
voices (Pavane Publishing – P-1201; 2000). Note: This is just one of several available
arrangements of this song.
Maculele–Nazare Pereira &Coaty de Oliveira, ed. Nick Page; Text translation,
CazzameArglie; Portugese language informants: University of Dayton students
ThiagoTalzzia&LuizaMota
I’m a batuqueiro from aruanda
I’ve come to batucar in this place
I salute the people of Bahia
And ask permission to dance.
I bring the warrior’s sword
And the white flag of OXALA
On my chest the radiant star
And the cry for peace of the ORIXAS
(Note: ‘Batuque’ is a term for African dances accompanied with
Percussion. A ‘Batuqueiro’ is one who participates by dancing
or drumming. An ‘Orixa’ is an Afro-Brazilian religious divinity.)
Nelson Mandela - song for Nelson Mandela's release from Robben Island Prison, 2/11/90
collected from the ImilonjiKantu Choral Society from South Africa at the 2012 Yale
International Choral Festival, New Haven, CT.
Ose Ayo (Sunrise Song) – Traditional Yoruba song arr. Brian Tate with
AyodeleOgunmekan and Sharon Gratto; SATB mixed and percussion; (Pavane
Publishing-Hal Leonard -P-1413; 2012).
Simply Sung – folk songs arranged in 3-parts for young singers by Mary Goetze; Schott
Music for Children series, ED-12242
*Wade in the Water - African American Spiritual, arr. Mary Goetze; adapted for
SATB choir by Sharon Gratto
Vela, Vela – striving for authentic in black South African choral music; created by
Mollie Spector Stone; includes DVD.
Water Come-a-me Eye! – Jamaican folk song arr. by Barbara Klemp and Tom Voorhis
(Shawnee Press, Inc., D-0551; 2000; includes demo performance CD).
YanawayHeyona – trad. Iroquois arr. Brian Tate (Pavane Publishing-Hal Leonard)-P1378; 2010.