Alan Lomax, Victor Grauer, and Roswell Rudd discuss complex orchestras

Note: Samples of complex orchestra types analyzed. Javanese: percussion lays down a rigid pattern, flute and voice float above. All play nuclear theme assigned to family of gong instruments. Combination of heterophony and counterpoint related to Western canon of original tune combined with self at various speeds. Structure of Javanese dance music gives picture of social hierarchy: common people dance slowest, prince at medium speed, villain fastest. Thailand: no percussion backbone, rhythm free, not canonic, voice slightly glottalized, more like the Middle Eastern voice, not flowing but stopping and starting. India: ensembles of stringed instruments and tabla, large orchestras not typical| court orchestra typically three oboes and three drums. Drumming continuous, laying down definite pattern, two drums played by one player, quite similar to Africa, except you have one drummer. Strophic melody. Flutes played with big, open tone. Closer to Africa, hints of heterophony produce shimmer (instruments slightly behind each other). Orchestral mode runs clear through Middle East, style of whole Arab world, Not clear where it comes from. European folk-style orchestras. Greece: Bass, a plucked ostinato| elaborate heterophony| clarinet supports singer, leads in interludes. Romania: Orchestra has drone-like ostinato| the solo singer sings above an ocean of sound| flute takes lead in interlude. Vlach, Czechoslovakia: Three levels: melodic, middle (rhythmic harmonic filler), and bass. Begins to get independent of what voice is singing (instruments not doubling voice)| elaborate heterophony to voice, but essentially same melody. Roswell Rudd: Here we have Eastern heterophony with the European idea of an independent bass. The orchestra is getting more homophonic (chords), but they play deliberately out of tune to produce a richer tone, a little off the beat. Sometimes parodied as Schnickefritz orchestra. Victor Grauer: Leopold Stokowsky introduced mixed bowing, which results in slightly out-of-tune, and gives a shimmering resonance to the orchestra by creating "beats." That's the linkup with electronic music. Alan Lomax: How ironic, our shibboleth of perfect tuning has been passed down to folk musicians| some spend half the time tuning. Victor Grauer: Industrial European. Roswell Rudd: Eastern orchestras are very careful about tuning. Victor Grauer: Yes, but in a different way. Gongs are very carefullly tuned in pairs that produce six beats per second. Russian opera. Prince Igor (not folk). In folk music and baroque art music, instruments keep to assigned roles. In 19th c. European art music instrument roles are not constant| they may drop out and come back in new roles. Rubato is here used for expressive effect, associated with musical heightening. Aspect of specialization of labor in which the components of musical style themselves become part of specialization. There is a complex use of harmony and independent bass. Czech orchestra was more like a Baroque orchestra. Alan Lomax: We should include samples of Baroque music. Mozart represents apogee of the wide, noise-free vocal style, especially for sopranos. Victor Grauer: Mozart's genius was unique in his handling of interplay between voice and orchestra (antiphony), not typical. Italy: Emilan Maggio. Orchestra (violin, guitar, accordion, or cello), plays interludes after voice. Maggio tradition dates from pageants of Roman times. Pastoral dramas occurred all through central Italy, became a court form in Renaissance Florence. Singers use recitative style, but their "white" vocal quality has a Puritan thinness. Alan Lomax: I felt it was the origin of opera, the singers adopt an operatic pose with the head thrown back. Roswell Rudd notes the contrast between the Emilian singers' use of rubato and embellishment and the strict rhythm of the orchestra. Naples: Model for Italian operatic singing style. The Greek connection: song contests were held here since Ancient Greek times to honor Venus and the coming of Spring, still take place every year in the same location, same season. Victor Grauer sees link with Afghanistan in having a huge, typically Oriental orchestra with many chordophones under the direction of a maestro, with lots of rehearsals right in the streets. Old Oriental traditions re-entering Europe. Violins in unison with voice. Voice takes liberties with rhythms. Aragon and Spain: Orchestra subordinate to voice, punctuates, and backs it up. Andalusia: Vocal and guitar, tremolo effect of plucked strings gives sustained tones. Percussive accompaniment of tambourines. Mexican mariachi, a European folk orchestra transplanted to the New World. Interplay as voices stop, fiddle and brass come in. Trumpet players also are vocalists. Trumpet player begins, everybody functions as a chorus. Polyrhythm, complex meters| the brass take on a rhythmic role, a sign of Indian or African influence.