Call and Response
呼应
While the European musical tradition emphasizes performing patterned(固定的) music written by others, the African musical tradition incorporates improvisation and the nuanced and explosive call and response, or participation, as a basis for powerful human expression.
当欧洲音乐传统依旧强调乐手演奏业已谱定的乐曲时,非洲音乐,作为一种强有力的人类表达的基础,早已开始将即兴创作与微妙而爆炸性的呼应音乐融合其中。
Call and response forms, found seemingly everywhere in Africa, entail a caller, or soloist, who “raises the song,” and the community chorus who respond, or “agree underneath the song.”
呼应音乐在非洲随处可见,呼应音乐需要一位呼兴者,或独唱者来起兴,随后大家合唱对应,或者“在歌曲的底部作一种附和声部。”
In the case of the lgbo (Nigeria), the storyteller calls out the story in lines; the audience or chorus responds at regular intervals to the storyteller’s calls with a sala (the chorus’ response).
在Igbo(尼日利亚),叙事者将故事一句一句的独唱出来,其余观众或者合唱团以有规律的间隔来回应叙事者的呼唤,这种回应称为sala。
In some cases, the lgbo sala is amanye, roughly equivalent to American English expressions of agreement such as “amen” or “right on!”
在有些例子中,伊博Igbo sala称为amanye,Amanye粗略而言相当于美式英语中表示赞成意思的“Amen”或“Right On!”
On southern plantations, the roots of gospel and blues were introduced in work songs and “field hollers” based on the musical forms and rhythms of Africa.
在南部种植园,福音和布鲁斯音乐被引用到劳动歌中,另外“田野呼喊”也是建立在非洲的音乐形式和节奏上。
Through singing, call and response, and hollering, slaves coordinated their labor, communicate with one another adjacent fields, bolstered weary spirits, and commented on the oppressiveness of their masters.
不管是呼应还是呼喊,奴隶们通过歌唱来舒缓艰苦的劳动,通过歌唱与毗邻的奴隶交流,鼓励疲倦心灵以及批评奴隶主的压迫。
Spirituality and improvisation (“letting go and letting God”) were integral to the music. Call and response are still firmly entrenched in jazz and Black American culture today—from blues to gospel, to R&B, to bebop, to reggae, to rap music, and more.
精神性和即兴(灵魂解放)是音乐必不可少的部分。呼兴形式至今依旧强有力的锲在爵士和美国黑人的文化中,从布鲁斯到福音、到R&B,到比波普,到雷鬼、到说唱音乐等等。
Virtually every jazz genre has been influenced by these roots.
实际上,所有类型的爵士乐都受到这些根源的影响。
The ring shout is spiritual expression in dance. In has its origins in a dance form, indigenous to much of central and west Africa, in which the dancers move in a counterclockwise circle. “Wherever in Africa the counterclockwise dance ceremony was performed,” Sterling Stuckey wrote, “the dancing and singing were directed to the ancestor and gods, the temp and revolution of the circle quickening during the movement.”
The ring shout as practiced by slaves was a religious activity, with Christianity augmenting the African elements. Participants moved in circle, providing rhythm by clapping their hands and patting their feet. On individual would set the temp by singing, and his lines would be answered in call-and-response fashion. In some cases, another individual rhythmically beats the floor with a broomstick or other piece of wood.
非洲奴隶进行的围舞会是一种融入了非洲元素的基督教仪式。参与者围着圆圈跳舞的同时,他们通过拍掌,跺脚的方式为舞蹈提供节奏。其中一人通过歌唱为舞蹈的节拍设定速度,其他人则以呼兴作为回应。在某些情况下,另一个人会用扫帚或其他木头有节奏地敲打地板
In his book, slave culture: nationalist theory & the foundations of black America, Sterling Stuckey proposes that ring shout was unifying element of Africans in American colonies from which field hollers, work songs, and spirituals evolved, followed by blues and jazz. Smauel A. Floyd Jr. takes it a step further in suggesting that many of the stylistic elements observed during the ring shout later laid the foundation of various black music styles developed during the nineteenth and twentieth centuries. According to Floyd, “all of the defining elements of black music are present in the ring.”
在他的《奴隶文化:民族主义理论与美国黑人根基》一书中,Sterling Stuckey提出,围舞会是美洲殖民地非洲人的文化集成,其中包括田野呼喊,劳工歌和灵歌,其后发展出布鲁斯和爵士。Smauel A. Floyd Jr.更进一步指出,围舞会风格中的许多音乐元素为后来19世纪和20世纪发展出的黑人音乐奠定了基础。根据Floyd的说法,“现代音乐中所有用以定义黑人音乐的元素都可以围舞会中找到。”
These basic elements of ring shout – dance, calls, cries, and hollers; blue notes; call and response; and strong rhythmic aspects – are still alive and express today in this music. Improvisation remains an essential element. From the cakewalk of the 1980s to breaking in the 2000s, to dancing and shouting at black churches every Sunday, ring shout is still present and still evolving today.
舞蹈,喊叫,抱怨,布鲁斯音阶,呼应以及强烈的节奏形态,这些围舞会中最基础的元素现在依旧存在并在今天的音乐中大量表达着。从1980年代的阔步舞到划时代的千禧年,再到黑人教堂每周日的跳舞和喊叫,围舞会仍然存在并生机勃勃地发展着。
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