harmonia volume 17 - mhte.music.unt.edu

Volume17▪2019–2020

HARMONIATheJournaloftheGraduateAssociationof

MusicologistsundTheorists(GAMuT)

HARMONIA

Volume17▪2019–2020

TheJournaloftheGraduateAssociationofMusicologistsundTheoristsatthe

UniversityofNorthTexas

EditorialBoardBrianAnderson,Editor

StaceyKey,AssociateEditorLeviWalls,AssociateEditorDougDonley,AssociateEditor

FacultyReviewersDr.DiegoCuberoDr.PeterMondelliDr.VivekVirani

GAMuTExecutiveCommittee

DaniVanOort,PresidentPeterKohanski,VicePresident

LeviWalls,SecretaryMatthewBilik,Treasurer

GAMuTFacultyAdvisor

Dr.EllenBakulinaHarmonia is the in-house journal of the Graduate Association ofMusicologists und Theorists (GAMuT) at the University of NorthTexas. The objective of GAMuT is to provide a forum for theprofessional development of the graduate student community, andtheannualpublicationofHarmoniafunctionsinsupportofthisgoal.The membership of GAMuT would like to extend its sincereappreciation toDr.DiegoCubero,Dr.PeterMondelli, andDr.VivekVirani for their service as faculty reviewers for this volume ofHarmonia.Wewouldalsoliketothankourfacultyadvisor,Dr.EllenBakulina,forhersupportinpublishingthejournal.CongratulationstoXiaoYun,whosepaper“BeyondtheExpressivity:AnotherLookattheElevatingModulation”wasthewinnerofthe2019–2020GrahamH.PhippsPaperAward.For information about submitting an article to Harmonia, [email protected].

http://mhte.music.unt.edu/gamut

HARMONIAVolume17▪2019–2020

TheJournaloftheGraduateAssociationof

MusicologistsundTheoristsattheUniversityofNorthTexas

CONTENTSBeyondtheExpressivity:AnotherLookattheElevatingModulation XIAOYUN GrahamH.PhippsPaperAwardWinner “NaluwanHaiyang”VocableandtheConstructionofaMusicalStereotypeforTaiwaneseAborigines

YANGCHENAbouttheContributors

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BeyondtheExpressivity:AnotherLookattheElevatingModulation

XIAO YUN

Frequent listenersof pop/rockmusic arenodoubt familiar

withthepracticeofmodulatingneartheendofasong.Overthepastfew decades, many scholars have employed different terms todescribethisphenomenon(seeTable1).Despitethesedifferencesinterminology, the scholars listed in Table 1 seem to have come tosimilarconclusions:firstly,modulationsbyanascendingsemitoneorwholetonealwaysoccurneartheendofasong;andsecondly,duetothe fact that the modulation is usually applied to the chorus, it iscommonly deemed as purely an arranging choice or an expressiveintensifierthatdoesnotbearmuchstructuralweight.1Inthispaper,Iargue that neither point is necessarily the case. Using the FrenchmusicalNotre-Dame de Paris as an example, I show that elevatingmodulations can be used throughout a song, where they take onimportant structural roles in the overall tonal design of themusic.Beforeproceedingtotheseexamples,itwouldbeprudenttobrieflyreview the history of the terms listed in Table 1,with a particularemphasisonthetruckdriver,pump-up,andelevatingmodulations. Table1.Differenttermsformodulationsneartheendofasong,andtheirsources.2

Arranger’smodulation Josefs(2000;1sted.1989)Crowbarmodulation Kaminsky(1992)BarryManilowtonality McCreless(1996)Truckdriver’smodulation Everett(1997)and(2009)Pump-up Ricci(2000)Shiftmodulation Chase(2006)Directstepwisemodulation Buchler(2008)ElevatingModulation Griffith(2015)

ModulatoryTerminology

Inhis1997article“SwallowedbyaSong—PaulSimon’sCrisisofChromaticism,”WalterEverettreferstothismodulating-up-a-step

1 Inpopularmusic,arrangingchoicesmayincludeinstrumentation,harmonizationandreharmonization,formaldesigns,aswellasaddingothermusicalelementsthatwerenotprovidedbythecomposerorsongwriter. 2AdamRicci,“ThePump-UpinPopMusicofthe1970sand1980s,”MusicalAnalysis36,no.1(March2017),95.

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phenomenonasthe“truck-driver’smodulation.”3Heexplainsthatthelistenersoftenhearthe“driver”engagetheclutchasonephraseendsonthedominantoftheoriginalkey,shifttoahighergearwiththenewdominantappearingahalfstephigher,andfinallyreleasetheclutchonthenewtonicchordtobeginthenextphrase.4Withthenewforcegeneratedfromthehighergear,themusicturnsmorepowerful,andthusmoreexpressive.

Anotherfrequentlyusedtermis“pump-up,”coinedbyAdamRicciin2000.5Whileexaminingpump-upmodulationsinpopmusicof the1970s and1980s,Ricci states that “it ismost common for asong’schorustobetransposed,”andthat“thepump-up[occurs]attheconclusion of a track, often in conjunction with a fade-out.”6 HeexpandsonEverett’sdefinitionbyfurthercategorizingfoursubtypesbasedonthechordprogressionoverwhichthestepwisemodulationtakesplace:theI(oldkey)—I(newkey)type;theV(oldkey)—V(newkey)type;theV(oldkey)—I(newkey)type;and, finally, theI(oldkey)—V (new key) type.7 In this term, Everett’s “truck-driver’smodulation”specificallyreferstotheV—Vtype.AccordingtoRicci,thesepump-upmodulationstendtocreateanupliftingfeeling(again,for the purpose of expressivity), which makes the modulation apopulartoolinpopmusic.

Michael Buchler further expands the boundary of thediscussion to includemodulationsby third, fourth, andeven largerintervals,aswellasgenresoutsideofrockmusic.Inhis2008articleon Frank Loesser’s Broadway songs, Buchler refers to this type ofmodulation as direct modulation and divides them into twocategories—the utilitarian and the dramatic.8 He further observesthat, in Broadway repertoire, duets and dance numbers oftenmodulateeithertoaccommodatetwodifferentvoicerangesorforthesakeofvariety.9Inaddition,Buchlerstatesthatdirectmodulationsbythird,fourth,orlargerintervalsarelesscommonandrarelybearanydramaticweight,andthe listenersdonotparticularlycarewhether

3WalterEverett,“SwallowedbyaSong—PaulSimon’sCrisisofChromaticism,”inUnderstandingRock—EssaysinMusicalAnalysis,ed.JohnCovachandGraemeM.Boone(Oxford,NewYork:OxfordUniversityPress,1997),118.4Everett,151.5AdamRicci,“A‘HardHabittoBreak’:TheIntegrationofHarmonicCyclesandVoice-LeadingStructureinTwoSongsbyChicago,”IndianaTheoryReview21(2000):131.6Ricci,“ThePump-Up,”94.7Ricci,95–8.Riccidoesnotmarkold/newkeyforthefirsttwotypeoriginally;buttheyareaddedhereforthepurposeofclarity.8MichaelBuchler,“ModulationasaDramaticAgentinFrankLoesser’sBroadwaySongs,”MusicalTheorySpectrum30,1(Spring2008):36.9Buchler,36.

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theoriginalkeyreturns.10Incontrast,directstepwisemodulations—whichusuallyoccurbeforetherepeatofarefrain—oftencarrysomedramaticsignificance,orattheveryleast,tendtoexpresssomesortofintensification.11

DavidMetzer,inhis2012article,movesontoyetanotherset

of repertoires—the power ballads,which incorporates this type ofmodulation rather frequently. For Metzer, the crux of the powerballad’smusical formula is continualescalation,which includes thedynamicsofthemusicaswellasthevocals,sizeoftheensemble,andofcourse,modulations.12Heobserves that “most,butnotall, songsconcludewith awrenchingmodulation up a step” and calls it “theclichéhallmarkofthepowerballad.”13Thistypeofmodulationisanessential part of the power ballad’s expressive formula.

Building on the foundation set by the aforementionedscholars,DaiGriffithsgoesastepfurtherandchoosestousetheterm“elevatingmodulation,”suggestingtheideathat—likeanelevator—these modulations can go both up and down.14 Griffiths’ termrepresents a significant stride in the study of modulations in popmusic, because it recognizes the fact that, although much lesscommon, downward modulations do happen. In light of this keydistinction,IfindGriffiths’term,amongalltheothers,tobesuperiorforthepurposesofthisarticle.DespitethefactthatmostofthesongsinNotre-DamedeParisfallwithinDavidMetzer’sdefinitionofapowerballad, the modulations are not always by an ascending step.Therefore, the use of Griffiths’ more flexible term—elevatingmodulation—willunderscoremypointthatthemodulationsinNotre-DamedeParisareatypicalofthepowerballadgenre.

Tosummarize,mostofthescholarshipthusfartendstoviewelevatingmodulations as purely arranging toolswhich are appliedtowardtheendofasongforexpressivepurposes,yetseldomhasanyconnection been made between these modulations and structuralmeanings.TakingafewsongsfromthemusicalNotre-DamedeParisascasestudies,Iwillshowthatelevatingmodulations,besidesbeingexpressive,dohavethepotentialtoalsoserveasapartoftheoveralltonaldesignofasong.

10Buchler,37.11Buchler,37.12DavidMetzer,“ThePowerBallad,”PopularMusic31,no.3(October2012):439.13Metzer,439.14DaiGriffiths,“ElevatingFormandElevatingModulation,”PopularMusic34,no.1(2015):22.

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AnalysisofModulationsin“LesSansPapiers”

The 1998 musical Notre-Dame de Paris was composed byRiccardoCocciantewithlyricsbyLucPlamondon,andisbasedonthepopularVictorHugonovelofthesamename.Althoughthemusicalisnot well-known in the United States, it has been performedthroughouttheworld.Sinceitscomposition,Notre-DamedeParishasbeenperformedinninedifferentlanguagesintwenty-threecountries,culminating inmorethan5000performances.15Severalsongs fromthemusicalwerereleasedascommercialsingles;oneofthesesingles,“Belle,”isthethirdbest-sellingsingleinFrenchhistory.16

AsIwill illustrate, theelevatingmodulationisanimportanttool in Cocciante’s harmonic language, which follows common-practice habits in other respects. Table 2 lists out all the elevatingmodulations in this musical, both ascending and descending atvarious intervals. It is these elevating modulations that make themusicsocolorfulandattractive,anddrawsmyinteresttoconductamoredetailedstudy.

Table 2. The number of elevating modulations at different intervals and directions in Notre Dame de Paris.17

ThefrequentmodulationsthroughoutthesecondsongofActI(“LesSansPapiers,”or“theRefugees”)aresufficienttoimpressevenmusicallyeducatedlisteners.18Asshowninmytranscriptionofmm.1–26,thecomposerelegantlycreatedshortbutrecognizablemelodic

15Anonymous,“NotreDameDeParis,”OfficialLondonTheatre.com,accessedMay3,2019,https://officiallondontheatre.com/show/notre-dame-de-paris-111409245/#.16WillLongman,“FrenchMusicalNotre-DamedeParistoPlayatLondonColiseumin2019,”LondonThretre.co.uk,April26,2018,accessedMay3,2019,https://www.londontheatre.co.uk/theatre-news/news/french-musical-notre-dame-de-paris-to-play-london-coliseum-in-2019.AccordingtoPlamondon,“Belle”sold2.5millioncopiesasasingle.17Therearealso10modulationsbetweenparallelkeyssuchasCmajorbecomesCminor,butitisnotincludedinthistableasthesemodulationsfalloutsidethescopeofthisarticle.18Fortheconvenienceoffuturediscussion,IlistthecharactersandtheirrelationshipsinthismusicalinAppendixI.

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motives from the outset, which are then recycled throughoutwithvariations in contour and tonal area.19 Having first established aconnection between this motive and the tonal center, subsequenttranspositionsofthemotiveencouragelistenerstohearamodulation,ratherthanameretonicizationwithintheoriginalkey.Forexample,the theme of the song—the first tenmeasures—is a sentence: thebasicideaisstatedinmm.1–3andrepeatedinmm.4–6,whilemm.7–10 (which clearly derives from the same motive found in thepresentation) form the continuation. The harmonic progressionaccompanyingthethemeisalsoverysimple,withastabletonicchordsupporting the presentation and a iv-V7 under the continuation.Instead of resolving the dominant-seventh chord, the musicunexpectedlyshiftsupamajor-thirdtoEminor(m.11).Likealltheelevatingmodulationsinthissong,themodulationleadingtom.11fallswithinRicci’sdescriptionoftheV(oldkey)—I(newkey)type.

Despite some surface-level differences, mm. 1–10 andmm.11–18clearlyhavemuch incommon.The listenersdonothearthesamemelodyinthenewkey,butthefactthattheseeminglynewideabeginswithandutilizesthesamescaledegreeswiththeoriginalbasicideamakes it closeenough tobe consideredasmotivically related.Furthermore,theharmonicprogressionisslightlyalteredhereinmm.11–18withasmootherbasslinesupportingthei-VII(passing)-VI-V7progression.However,theuseof4" overtheVIchordgivesthesenseof an inverted iv7 chord approaching the V7, thus increasing thephrase’ssimilaritytotheoriginaltheme.

Coccianteemploysadditionalelevatingmodulationsinordertocreatetheriseintensionassociatedwithpowerballads;yet,healsobalancesoutthattensionthroughdescendingelevatingmodulations.AsshowninExample1,afterfouriterationsofthesamemelodicidea,themusic shifts up anothermajor-third (just like in m. 11) to G#minor.Thesamei-VII-VI-V7progressionisplayedagain;meanwhile,the melody also remains mostly unchanged until the end of thephrase.Themodulation—togetherwiththeincreasingvolume,higherregister, and new upward melodic gesture—creates a feeling oftensionandrestlessness.Then,CocciantealleviatesthetensionbuiltupthroughthesemodulationsthroughasurprisingshiftdownfromG#minortoFminortopresentthecompletethemeforthesecondtime(seetransitionfromExample1toExample2,mm.19–36).Again,the theme is followed by two varied iterations; however, themodulatory plan is now slightly different. The first varied themeoccurs inAbminor,aminor-thirdaboveFminor,while thesecondutilizestheexpectedmodulationofupamajor-third.AfterthesecondvariedthemeinCminor,thetheme—ascanbeanticipatednow—

19Foracompletetranscriptionofthesong,pleaserefertoAppendixII.

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Example1.“LesSansPapiers”mm.1–26.

comesbackagainaminor-thirdlower(Aminorinm.53).Itmustbenoted here that, as indicated in the score, this G7-Am progressionshould not be considered as a deceptive cadence with mixture,because theparallelism inmelodyclearly indicates that the tune issunginanewkey.Thatbeingsaid,thistimethecomposerdoesnotbringbackthewholetheme,butonlypresentsthetwostatementsofthebasicideabeforethemusicmovestoabridgeinm.59.AnotherchangeinthispartialthemeisthatthesetwostatementsarenolongersupportedbyasustainedtonicchordasinthekeyofCminorandFminor,butadoptthesamei-VII-VI-V7progressionasinthevariations.

Thebridgecanbefurtherdividedintotwosmallersections,which servenotonly todeescalate the tensionbeforewrenching itbackup,butalsotoshiftthetonalcenterbacktotheglobaltonicofCminor.The first section (mm.59–62) functionsasa transition.Thecontinuationofthepreviousmelodicidea(fromm.58)inm.62

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reminds us of what has just happened, almost like an echo;meanwhile,thethreemeasuresofrestallowthelistenertotakeastepback fromall the tensionaccumulatedup to thispoint.Thesecondhalf,whichspansmm.63–74,marksaprocessofre-accumulating.Ittakes the three-measure basic idea in its original formmelodically(frommm.1-3)while inserting ameasureof rest inbetween.Thisalterationresultsinafour-measureblock,whichthengoesthroughaseriesofascending-minor-thirdmodulationsstartingfromAminor.WhenthekeyofAminorisrevisitedaftertheseriesofelevationsinm. 75, the electric guitar boosts the energy up to a higher level;listeners at this stagemay perceive that they are experiencing theapexofthesong,onlytorealizethatthethemeinmm.75–80ismerelyanotherechoofmm.53–58.Atruestatementofthecompletetheme(accompaniedbytheorgan)returnsafteranotherascendingminor-thirdmodulation, bringing themusic back to the original key of Cminor.Similartosomeotherpowerballads,thismomentismarked

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through a registral shift: Clopin, the singer, delivers the line in ashoutingstylethatperfectlydepictsthedesperationoftherefugees’searchforprotection.20


20Clopinistheleaderofthehomelessandtherefugees,andheisalsoaquasi-brotherfigureofEsmeralda,theheroineofthemusical.Foracompleteintroductionofthecharacters,pleaserefertoAppendixI.

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Table 3. A summary of the key schemes in “LesSansPapiers”

Measure 1 11 19 27 37 45

Key area Cm Em G#m Fm Abm Cm

Thematic statement Full Varied Varied Full Varied Varied

Measure 53 63 67 71 75 81

Key area Am Cm Ebm F#m Am Cm

Thematic statement Partial Partial Partial Partial Partial Full

AsshowninTable3,mostofthesemodulationsarebythirds,

andtheyclearlycarrysignificantdramaticweight.Inadditiontothisexpressive aspect, these modulations appear to serve a structuralfunction. Such frequent modulations by third do not resemble thesituationsdiscussedbypreviousscholars,andthechoicetopresentthe theme fully in some key areas andpartially in others does notappear to be random either. Besides, with the build-up from thebridgesection,theAminorsectioncouldhavepotentiallyservedasafinalreprise,yetthecomposerchosetotakeonemoremodulationandbring the song back to C minor. All of these choices have beenpurposefully made, and the next section will explain them from astructuralpointofview.

Cocciante’schoicetobeginandendthesonginthesamekey(Cminor)clearly indicatesthesignificanceof thiskeyas theglobaltonicofthesong.Thenextstepistounderstandhowtheotherkeyareasrelatetothishomekey.Example4showstwocommonwaysofprolonging a tonic—the first one with a pedal 6/4 chord, and thesecond with an auxiliary diminished-seventh chord. Both chordsinvolveneighbormotions in theuppervoiceswhile the rootof thetonicismaintainedasacommontone.HereIproposethatthetonaldesign of the whole song is based on a combination of these twomodels.

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Example4.Twocommonwaysofprolongingatonic.

Let us go back to the music again to examine how thiscompositionalfeatwasachieved.ThesketchesinExample5providegraphicrepresentationofthesongatdifferentlevelsinfluencedbytheSchenkerianmethod.Example5apresentsaharmonic reductionofthesongatforegroundlevel,andthenExample5breducesitouttoshowonlythekeyareas.21Asmentionedabove,theoriginalthemeinitscompleteformonlyappearsinmm.1,27,and81,whilemm.53and75havepartialpresentations;thus,thekeyareasinthosemeasuresareconsideredasstructurallymoreimportant,andtheothersasmoresubordinate. The deep middleground shown in Example 5cincorporates these assumptions and demonstrates how the tonaldesignofthewholesongconsistsofseverallargeharmonicsteps.22

Example5.Schenkerianreadingsof“LesSansPapiers”atvariouslevels.

5a.Bass-linereductionof“LesSansPapiers.”

21Sincethediscussiondoesnotinvolveanyuppervoicesofthestructure,onlybass-linesketchesareshownhere.22Theseharmonicstepscoincidewiththeformaldivisionofthesong,butadiscussionontheoverallformofthesongisnotincludedinthearticlebecausethissongdoesnotfallinanyofthecommonlyseenformsincommon-practiceorrock/popmusic.

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5b.Middlegroundbasslineof“LesSansPapiers.”

5c.DeepMiddlegroundstructureof“LesSansPapiers.”

Thefirststepproceedsfromthetonictoaconceptualpedal6/4chordthatislatercomposedoutinmm.27–45.23Withinthisstep,theEnatural(m.11)essentiallyfunctionsasapassingtonefromtheEbinthebeginningCminorchordtotheF(m.27),whiletheG#(m.19)comesfromtheGnaturalattheoutsetthenturnsenharmonicallytotheAb(m.45).Thesecondstepfromthepedal6/4totheauxiliarydiminished-seventhchord—whichisalsoexplicitlycomposedoutasC(m.63)-Eb(m.67)-F#(m.71)-A(m.75)—takesmuchlonger.TheAbkeepsclimbinguptotheAnaturalinm.53,whichislaterregainedinm.75;theF,ontheotherhand,splitsintotwodirections—oneofthemdescends through the conceptualEnatural (impliedby theAminor triad) in m. 53 to the Eb (m. 67), while the other keepsascendingtotheF#(m.71).Thelaststep,goingbacktotheCminor,isratherstraightforward—theAnaturalandtheF#bothresolvetotheGnatural,whiletheCandtheEbremains.

As shown above, all the key areas chosen for the localmodulationsarepartofalargertonaldesign,andthecomposerhascleverlyindicatedthehierarchyofthesekeyareasbyassigningthemslightly different melodic material. In other words, besides theirexpressive effect, the elevating modulations do have their ownstructural significance, and together they helped bury a simpleprolongationalschemeunderneaththeseeminglyconfusingmusicalsurface.

23F(m.27)-Ab(m.37)-C(m.45),asseeninExample5b.

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Iwouldliketoaddonelastnoteaboutthissongbeforemovingon to the next example.Without changing any of the surface levelvoice-leading, I provide an alternative reading of the bass line at adeepmiddlegroundlevelinExample6.ThisreadingtakestheFminorsonorityinm.27asatruepredominantchord,andthediminished-seventhchordasanappliedleading-tone7thchordresultingfromachromaticvoicechangewiththeFminorchord:24

Example6.Analternativereadingatdeep-middlegroundlevel.

Theadvantageofthisreading,uptothispoint,isthatitisevenclosertothemusicalsurfacebyinterpretingthekeyareasinwhichthe themes (either complete or partial) take place as they are—FminormeansFminor instead of a neighbor chordwith an impliedbass.However,itrequiresanalternateinterpretationoftheCminorchordinm.81—toreaditnotasatonicbut,inDrewNobile’sterm,a“cadential I”chordforthewholesong(andthus,anotherimpliedGundertheCminorchordinthesketch).25Thisinterpretationofm.81might require a more flexible conception of the term, which wasoriginallyappliedwithinasection(forexample,closetotheendofaverseorchorusrightbeforethestructuraldominant).However,theCminor chord atm. 81marks the reentry of the theme after a longpreparationandsoundsveryfirmlyestablishedasthebeginningofanewsection(plusitdoestakeafewmoremeasuresforthestructuraldominanttoarrive).Iwillnotexpandtoomuchmoreonthisissue,but it is clear that each reading has its own advantages; neither isagainsttheprincipleideathatthemodulationsthemselvesbearbothexpressiveandstructuralweight.

AnalysisofModulationsin“Vivre”

Thesecondexample—No.18fromActII,titled“Vivre”—alsoenjoyed significant popularity; several covers were released,

24Someofthenotesinthebasslinearemoveddownanoctavesothatitiseasiertoshowthevoiceexchange.25DrewF.Nobile,“FormandVoiceLeadinginEarlyBeatlesSongs,”MusicTheoryOnline17,no.3(2011).M.81isacadentialIchordasitfunctionsinthisgraphasacadential6/4chordwhilehavingscaledegree1thebass.

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includinganEnglishversionbyCelineDioncalled“Live(fortheOneILove).” Based on the theme from the overture, this song is anexpansion;a shorterversion in the formofduet, “LaVolupte,”wasalreadysungattheendthefirstAct.Thetonalplansofbothnumbersareinfluencedbyelevatingmodulations.

“LaVolupte”isalmostdevoidofmarkedevents:notonlydoesitfollowastraightforwardstrophicform,buttheharmonicbasisforthe song is a very common I-IV-I-V7-I progression, whichaccompanies therepeatingsix-measuremelody.26Themodulations,however,demandthelistener’sattention.ThesongbeginswithwhatRiccitermsatypical“I-Itype.”27TheelectricguitarplaystheintrointhekeyofDbmajor,afterwhichPhoebusstartstosingthemelodyinEbmajorwithoutanypreparation.Thesecondstrophe,beginninginm.13,utilizesexactlythesameelevatingmodulation,thistimefromEbmajortoFmajor.AfterPhoebusfinishesthesetwostrophes(mm.1–18), Esmeralda sings the third strophe in Bb major—still anelevating modulation but at an unusually large interval. Theconnection with the previous keys sounds like moving from adominanttoatonic.Thisstropheislongerthantheprevioustwo,astheIV-I-V7-Iprogressionisrepeatedanextratime,withaminorIVchordinlieuofthemajorIV.ThebVIchordinm.29seemstobeginacommon Aeolian cadence (bVI-bVII-I) to give it a romanticconclusion.28 However, when Frollo suddenly stabs Phoebus withEsmeralda’s dagger, the music shifts to a series of drasticallycontrastingminorharmoniesinthekeyofDminorbeforeeventuallymodulatingtotheparallelmajor.29

I considerBbas thehomekeyof thesong, thusmaking thebackgroundstructureanauxiliarycadence(seeExample7).30Inotherwords,thewholesongisbasedonaIV-V-Imeta-progressionwithan

26AcompletetranscriptionisprovidedinAppendixII.27AdamRicci,“ThePump-Up,”95.28NicoleBiamonte,“TriadicModalandPentatonicPatternsinRockMusic,”MusicTheorySpectrum32,no.2(Fall2010):98.29Togivecontexttothewaythatthe“Fatalite”iscloselyconnectedwiththe“LaVolupte”intheoriginalproduction,Ihaveattachedthescorefollowingthatof“LaVolupte”inAppendixIII.Thekeychangeispotentiallyapartofthetonaldesignofthewholemusical,butsinceitisnotthemaintopicofthispaper,Iwillonlyconsider“LaVolupte”onitsownandtakeBbastheendingkey,withthelastGbchordaspartofanassumedAeoliancadencethatiscutshort(which,infact,doesresolveinthekeyofDmajorattheendoftheact).30Inhisarticle“UnravelingSchenker’sConceptoftheAuxiliaryCadence,”PoundieBursteindefinesitas“aprogressionthatbeginsmidstream,consistingofeitheradominantmovingtoatonicorapredominantanddominantmovingtoatonic.”L.PoundieBurstein,MusicTheorySpectrum27,no.2(Fall2005):161.

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Example7.Abass-linebackgroundsketchof“LaVolupte”.

introonthekeyofbIII.Andlater,inthelongerversionofthissong—“Vivre,” sungbyEsmeraldaalone, all thesekeyareas that form thebackboneof thetonalstructure in“LaVolupte” turnout tobecomeequallyimportantkeyareas.Toputitanotherway,besideapossibleconsideration on the vocal range of different characters, themodulationsin“LaVolupte”areservinganoveralltonalplanthatistobemaintainedandelaboratedlater.

OnecaneasilyseefromExample8that,unlike“LaVolupte,”“Vivre”hasverse-chorusform.31Theharmonicprogressionofthenewverse is first given in the introduction. The core idea of theprogression is a vi-iv-V4-3with a tonic harmony implied but neverprovidedwithinthephrase.32Allthesubsequentversesaresupportedbythesameprogressionindifferentkeyareas,separatedbyelevatingmodulations.Thekeyareasforthethreechorusesclearlymatchthosein“LaVolupte,”andeventhekeyoftheintro,Dbmajor,isindicatedby the predominant-dominant progression. Without theconsiderations of Phoebus’ vocal range, this song could havenumerousplansofmodulationssuchastheclichéofcontinuallyrisingbywhole/half step—ifbeingexpressive is theonlyconsideration.33However,thecomposerwouldrathermaintainthe“original”plan—Db-Eb-F-Bb, thus themodulations in the verses need to serve thispurposewell.

ThestructureofthesongispresentedinTable3atdifferentlevels. There are in total three elevating modulations, locatedrespectivelyatthebeginningofVerse1,Verse2,andVerse4.FromaRoman-numeral perspective, the chord at the beginning of each oftheseversescanbeexplainedinthekeyoftheprevioussection,whichmaythereforesuggestthepossibilityofmodulatingviapivotchords.

31AtranscriptionofthewholesongisprovidedinAppendixIV.32AnexceptionisVerse5,wheretheexpectedtonicisgivenbutsoonturnsintoadominantofthenextkeyinChorus333Inthismusical,theexpressivecapacityofelevatingmodulationbystepisarguablybestshowninthelastsong“DansemonEsmeralda”,whereQuasimodosingstheverseinDminortwice,thenthechorusfourtimes,startingfromDmajorthenrisingupamajorsecondeachtime.

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Forexample,theFminorstartingverse1couldbeviewedashavingadualfunctionofbothiiichordinthekeyindicatedbythe

Table3.Formalsectionsandkeyareasin“Vivre”incomparisonwith“LaVolupte.”34

Vivre

Formalsection Intro V1 V2 C1 V3 V4 C2 V5 C3

impliedkeyarea Db Ab Eb Eb F

Clearlypresentedkeyarea

Eb F F Bb

LaVolupte

Formalsection Intro Strophe1 Strophe2 Strophe3

Keyarea Db Eb F Bb

introduction(Db),andthevichord in theprojectedkeyof the firstverse (Ab). However, I argue that they still lean more towardselevating modulations, because at these moments, the listeners’attention is drawn more to the intra-sectional repetition of themelodic line than the harmonic connections, just like the momentbefore the third theme enters in “Les Sans Papiers.” There is,interestingly,asidenotealongthislineofintra-sectionalcomparison.Sinceeachversestartswiththevichordoftheindicatedkey(m.1isviofDb,m.5isviofEb,etc.),accordingtoRicci’swayofthinking,themodulationsleadingintom.5,m.9,andm.23canserveasexamplesofafifthtype:V(oldkey)—vi(newkey),whichisbeyondhisfour-typecategorization.35

Given the apparent parallelism between the tonal plans ofthesetwosongs,anydifferencebetweenthemwouldnaturallystandoutanddrawthelistener’sattention.ThekeyofAbinthefirstverseisonesuchdifference,becauseitistheonlykeyareain“Vivre”thatdidnotappearin“LaVolupte,”andthelistenerswilllogicallywonderhowtomakesenseofit.Example8bprovidesanexplanationforthis.AlthoughVerse1hasasuggestedkeyareaofAb,atadeeperlevel,itispartofacontinuousprolongationofthepredominantharmonyofEb major—the key of Verse 2 (the bass line composes out a ii7chord—F-Eb-C-Ab);Verse2,then,endswiththedominantchordofEbmajortofirmlysupportarrivalofthetonicinthefirstchorus.Inotherwords,theset-upofEbmajordoesnotstartfromitsvichordinm.9,but,infact,canbetracedallthewaybacktom.5.

34Thedifferencebetweenimpliedandclearlypresentedkeyareaiswhetheratonicchordispresent.35Ricci,inhisarticle“ThePump-upinPopofthe1970sand1980s,”onlylistsoutfourdifferenttypesofpump-upmodulations—I-I,V-V,I-V,andV-I.

16

Example8a.Aforegroundbass-linereductionof“Vivre”.

Example8b.Middlegroundbass-linesketchof“Vivre”.

Verses3and4canalsobeviewedasaprocessofpreparingtheupcomingkeyareaofFmajor,althoughinadifferentmannerfromthepreviousverses.TheCminorchordinm.19hasseveralmeanings:locally,comingoutofthekeyofEbmajor,Cminoristhevichordastheresultofanother5-6exchange;atthesametimeitcouldbetheminorVofthecomingFmajor,whosethirdneedstoberaisedahalfsteptobettersupportFmajorasthenewtonic;andultimately,itisalsotheiichordoftheglobalkeyBbmajor.Therefore,perhapsitisnot purely a coincidence that the composer starts a new melodicpatternatthisjuncture.TheDinm.23,besidesfunctioninglocallyasviofFmajor,isessentiallyaneighbornotetotheCsinmm.19and26.Verse5,with itsaddedauthenticcadence,reaffirmsFmajor locallyonly to see its destabilization into a dominant-seventh chord towelcome the appearance of the long-waited home key Bb major.Therefore, the discussion of this song can be summed up byreiterating that, besides being expressive (which is somewhat lessobvious in this case than in “La Volupte”), all the three elevatingmodulationsclearlyhelpcompletetheoveralltonalplanofthesong.

17

Conclusion

Mostofthescholarshiponthetopicofelevatingmodulationso far has referred to it—either implicitly or explicitly—as anexpressivetool.Thisarticleshowsthatelevatingmodulationscanalsobearstructuralweightandservetheoveralltonaldesignofthepiece.Admittedly, there are significantly more examples of elevatingmodulationasamerelyexpressivetool,butIhavedemonstratedthatthekeychoicesofelevatingmodulationscanhavestructuralmeaningbeyondtheexpressivity.

18

WorksCited:

Anonymous.“NotreDameDeParis.”OfficialLondonTheatre.com.AccessedMay3,2019,https://officiallondontheatre.com/show/notre-dame-de-paris-111409245/#.

Biamonte,Nicole.“TriadicModalandPentatonicPatternsinRock

Music.”MusicTheorySpectrum32,no.2(Fall2010):95–110.Buchler,Michael.“ModulationasaDramaticAgentinFrank

Loesser’sBroadwaySongs.”MusicalTheorySpectrum30,no.1(Spring2008):35–60.

Burstein,L.,Poundie.“UnravelingSchenker’sConceptofthe

AuxiliaryCadence.”MusicTheorySpectrum27,no.2(Fall2005):159–186.

Chase, Wayne. How Music Really Works!: The Essential Handbook for Songwriters, Performers, and Music Students. Vancouver: Roedy Black Pub., 2006.

Doll,Christopher.“Rockin’Out:ExpressiveModulationinVerse-ChorusForm.”MusicTheoryOnline17,no.3(October2011).

Everett,Walter.“SwallowedbyaSong—PaulSimon’sCrisisof

Chromaticism.”InUnderstandingRock—EssaysinMusicalAnalysis,editedbyJohnCovachandGraemeM.Boone,113–53.Oxford,NewYork:OxfordUniversityPress:1997.

Griffiths,Dai.“ElevatingFormandElevatingModulation.”Popular

Music34,no.1(2015):22–44.

Josefs, Jai. Writing Music for Hit Song. 2nd edition. New York: Schirmer Trade Books, 2000.

Kaminsky, Peter. “The Popular Album as Song Cycle: Paul Simon’s ‘Still Crazy after All These Years’.” College Music symposium, 32 (1992): 38–54.

Longman,Will.“FrenchMusicalNotre-DamedeParistoPlayatLondonColiseumin2019.”LondonTheatre.co.uk,April26,2018.AccessedMay3,2019,https://www.londontheatre.co.uk/theatre-news/news/french-musical-notre-dame-de-paris-to-play-london-coliseum-in-2019.

19

McCreless, Patrick. “An Evolutionary Perspective on Nineteenth-Century Semitonal Relations.” In The Second Practice of Nineteen-Century Tonality, edited by William Kinderman and Harald Krebs, 87–113. Lincoln: University of Nebraska Press: 1996.

Metzer,David.“ThePowerBallad.”PopularMusic31,no.3(October2012):437–59.

Nobile,DrewF.“FormandVoiceLeadinginEarlyBeatlesSongs”.MusicTheoryOnline17,no.3(October2011).

Ricci,Adam.“A‘HardHabittoBreak’:TheIntegrationofHarmonicCyclesandVoice-LeadingStructureinTwoSongsbyChicago.”IndianaTheoryReview21(2000):129–46.

Ricci,Adam.“ThePump-UpinPopMusicofthe1970sand1980s.”

MusicalAnalysis36,no.1(March2017):94–115.

20

AppendixI.Themaincharactersandtheirrelationship.

Esmeralda A young beautiful gypsy girl; the heroine of thestory.

Quasimodo thebellmanattheNotreDame,bornuglywithahunchback, abandoned at theNotreDamewhenhe was a baby, falls in love with Esmeraldasincerely

Gringoire A poet, acts as both a participant but also acommentatorofthestory

Clopin Leader of the homeless and refugees, has beentaking care of Esmeralda since she was veryyoung,quasi-brotherfigure

Frollo The archdeacon of the Notre Dame, raised andeducated Quasimodo, secretly falls in love withEsmeraldaafterseeingherdanceonce

Phoebus TheCaptainoftheRoyalArchers,alreadyengagedbutisattractedbyEsmeraldaduringthemissionofdrivingofftherefugees,strugglesbetweenthecrush on Esmeralda and the promise ofengagementwithhisfiancé

Fleur-de-Lys

Noblyborn,thefiancéofPhoebusandloveshiminaninnocentorevenchildishway

21

AppendixII.

25

AppendixIII

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5 œ œ œ ‰ œ œ œ .œ5 wwww

A b7 œ œ œ ˙ Œwww

D b˙ .œ œ œ .œwww

EbStroph 1

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9

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B b7œ œ œ ˙ Œwww

Eb

&?

b

b

13

˙ .œ œ œ .œ13 www

FStroph 2

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B b œ œ ˙ Œwww

F

œ œ œ ‰ œ œ œ .œwwww

C 7 F

Act I No. 26-27. La Volupte-FataliteTranscribed by Xiao Yun

Score

Db: I IV I

V7 I Eb: I

IV I V7 I

F: I IV I V7

27

AppendixIV

&?

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44

44nbbbb

nbbbb∑

˙̇̇ ˙̇̇b∫

B bm B∫Intro

∑˙̇˙˙b ˙̇̇̇

D b7/A b D b7 ∑˙̇̇∫ ˙̇̇̇

G bm C o7 ∑˙̇˙˙ ˙̇̇̇

A bsus A b7

&?

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nbbbnbbb

5 ‰ œ œ œ œ œ œ Œ5 ˙̇̇ ˙̇̇bb

F m F bVerse 1

‰ œb œ œ œ œ œ Œ˙̇˙˙b ˙̇̇̇

A b7/Eb A b7 ‰ œb œ œ œ œ œ œ Œ˙̇̇b ˙̇̇̇b

D bm G o7 ‰ œ œ œ œ œ œ œ œ œ˙̇˙˙ ˙̇̇̇

Ebsus Eb

&?

bbb

bbb

9

œ Œ Ó9 ˙̇̇ ˙̇̇bb

C m C bVerse 2

‰ œb œ œ œ œ œ œ Œ3

˙̇˙˙b ˙̇̇̇b

Eb7/B b Eb7 ‰ œb œ jœ ‰ ≈ œ œ œ œ œ œ˙̇̇b ˙̇̇̇b

A bm D o7

˙ Ó˙̇˙˙ ˙̇̇̇

B bsus B b

&?

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13

˙ .œ œ œ .œ13 www

EbChrous 1

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Eb

Act II No. 18 VivreTranscribed by Xiao Yun

Db: vi bVI V4/3 V7

iv iv viio7 V4 - 3

iv viio7 V4 - 3Ab: vi bVI V4/3 V7iv

Eb: vi bVI iv viio7 V4 - 3 V4/3 V7iv

I IV I

30

“NaluwanHaiyang”VocableandtheConstructionofaMusicalStereotypefor

TaiwaneseAborigines

YANGCHEN

Introduction

“Hengchun Si Jing” (Hengchun Four Scenes) is a traditionalTaiwanesefolktuneintheMinnandialect.1ItisapartofasongfamilycalledHengchundiao,orHengchuntune,thatoriginatedinHengchunTownshipinPingtungCounty.2Traditionally,thesepiecesareplayedbyasolosingerwithyueqin(two-stringedlute)accompaniment.Whatmakesthisversionof“HengchunFourScenes”standoutfromotherHengchundiaoistheuseofthephrase“ho-hai-yan”initschorus;whiletheversesofthesongareentirelyintheTaiwanesedialect,thephrase“ho-hai-yan” in the chorus seems to be a direct homage to theTaiwaneseAboriginalvocable,“naluwanhaiyang.”3TaiSiao-chun,anAboriginalsingerfromthePaiwantribe,notesthatthispiececontainsHan and Aboriginal elements, probably as a result of exchangedsinging between the Han-Taiwanese people ofManzhou Townshipand theAborigines inMudanMountain.4 The version that contains

1TheMinnandialect(閩南語)asspokeninTaiwaniscommonlyknownasTaiwanese(台語).IthaselementsofMinnan,Japanese,English,andMandarinChinese.ItisalsocalledHokkienandHoklo.ForthesakeofthispaperIwillbestayingwiththeterm“Taiwanese”andIwillbereferringtothesong“HengchunSiJing”as“HengchunFourScenes.”2ChienShang-Jen,aHan-TaiwanesescholaronHengchuntunes,translatestheterm“Hingcundiao”as“ThetuneofHingcun”(HingcunbeingtheTaiwanesespellingoftheMandarinword,Hengchun).Healsodescribeshow“Hingcundiao”canrefertoaspecifictunethatoriginatedintheHengchunareaaswellasthefamilyoftunesthatwerederivedfromthisoriginalsong(Chien2009,2).Inthispaper,Iwillusetheterm“Hengchundiao”torefertothisfamilyoftunes.3Inthispaper,Iwillusetheterm“naluwanhaiyang”torefertotheAboriginalvocables,andthephrase“ho-hai-yan”todescribethechorusof“HengchunFourScenes”whichIamanalyzing.4“Han”isthedominant(Chinese-speaking)ethnicgroupinTaiwanandChina.Iusetheterm“Han-Taiwanese”torefertotheHanpeoplelivinginTaiwan.ThistermgenerallyreferstoHanpeopleinTaiwanwhocantracetheirlineageinTaiwanbacktothefirstChineseimmigrantssincethe1700s.ForthedocumentarywherePaiwansinger,TaiSiao-chun,explainsthepossibleoriginsof“HengchunFourScenes,”consult:YouTubevideo:“原

視Masalele藝術地圖第24集【光的歌聲裡】戴曉君完整版,”Uploadedby:

IPCF-TITV原文會原視.Published[Jun29,2015],Accessed:April17,2019,

31

“ho-hai-yan”issungbyZhuDingshun,aleadingteacherinHengchundiao.5Duetothelong-standingfolktraditionofHengchundiaothereareotherversionsof“HengchunFourScenes,”however,thisversionwith“ho-hai-yan”wassopopularthatthepeopleinPingtungCountyhosted a1,100-playerperformanceof thispiece in2015 to set theGuinnessWorldRecords.6

Hengchun diao has historically been syncretized withTaiwaneseAboriginalculture.Thesetunes,becauseoftheirrootsinHengchun Township, involved elements of the local Aborigines,Hakkamountainsongs, andMinnanoldsongs, thuscontributing totheircharacteristicsandconnotations.7 Inaddition,oneofthemostpopularHengchun diao,Pingpu diao (Pingpu tune), is also derivedfromtheAborigines,likelyduetomarriagebetweenHan-Taiwaneseand Aborigines in Hengchun Township.8 Professional yueqin

https://www.youtube.com/watch?v=vNSx6jNbzk0&t=772s,timestamp:12:47.ManzhouTownship,MudanMountain,andHengchunTownshiparealllocatedneareachotherinthesoutherntipofPingtungCounty.AssuchHengchundiaoisverypopularinthisregion.5Foravideoof“HengchunFourScenes”performedbyZhuDing-Shun,consultthefollowingsource:YouTubevideo:"20111031屏東恆春國寶朱丁

順和曾孫朱育璿演唱恆春民謠FULLHD,"Uploadedby:mikelibra8726,published[Oct31,2011],Accessed:April17,2019,https://www.youtube.com/watch?v=r_InjpT9O0A.FornamestranslatedfromMandarinChinese,Iwillbeusingthelastname,firstnameconvention:“ZhuDing-Shun”whereZhuishislastname.6Foravideooftherecord-breaking1,100individualsperforming“HengchunFourScenes”inPingtungCounty,consultthefollowingsource:YouTubevideo:"恆春千人彈月琴創金氏紀錄,"Uploadedby:中華電視公司,published[Oct17,2015],Accessed:April17,2019,https://www.youtube.com/watch?v=c09rXoOJ7RM.Otherversionsof“HengchunFourScenes”consistofthetheManzhoustylewiththeTaiwaneselyrics,“oh-hai-he…lengsanhei”inthechorus.Foravideoof“HengchunFourScenes”withaTaiwanesechorussungintheManzhoustyle,consultthefollowingsource:YouTubevideo:"恆春民謠(恆春四景滿

州三景),"Uploadedby:Ching-kueiKu,published[Apr19,2013],accessed:April17,2019,https://www.youtube.com/watch?v=w1OLGJZHAMw.SincetheseHengchundiaohavealong-standingfolktraditionandareoftenre-lyricized(whetherforaclassroomofchildrenorforthepublic),itisunclearwhichversionistheoriginal.7Hsin-YuHo,“TheResearchabouttheCircumstancetheHengxhunFolkSongIsinPingtungandItsFutureDevelopment”(NationalTaichungUniversityofEducation,2013),38,http://ntcuir.ntcu.edu.tw/handle/987654321/8959.8Ho,49.Mytranslationandsummary:“按照恆春居民的觀念來說，【平埔調】這一曲調另有許多不同的稱呼，對於其來源說法也是多樣不一，但是不管哪種說法都顯示平埔調和平埔原住民的歌謠有著極深的淵源。早期恆

32

performer Chen Da called Pingpu diao “the tune of the TaitungPinuyumayanoftheeightvillages”becausehehadheardsimilartunesduringhistravelsbackandforthbetweenHengchunTownshipandPinuyumayan neighborhoods in Taitung, thereby suggesting theAboriginaloriginsofPingpudiao.9ScholarsalsospeculatethatotherHengchundiaosuchas“NiuweiBan”originatedfromthetraditionalmelodies of the Paiwan Aboriginal group in Manzhou Townshipwhere people who heard the tune later added lyrics.10 Thus, a

春地區的漢人與平埔族接觸與通婚後，【平埔調】才被視為是恆春民謠的

曲調之一。”“AccordingtotheperspectiveofHengchunresidents,Pingpudiaohasseveraldifferentnamesanddifferentoriginstories,butregardless,allthetheoriespointtowardthedeeporiginsofPingpudiaotoPingpuAboriginesandtheirfolksongs.AftertheearlyHan-TaiwaneseresidentsofHengchuninteractedandmarriedwithPingpuAborigines,PingpudiaobecameoneofHengchundiaopieces.”PingpuAborigines(平埔族)translatesto“plainsAborigines”andisanumbrellatermusedtodescribeanyTaiwaneseAborigineslivinginthelowlandregionsratherthanhighlandregions(mountainareas).Assuchitcouldrefertoanyofthe16AboriginalgroupsandoftencarryconnotationsofmixedheritagewiththeHan-Taiwanese.9Ho,50.Mytranslationandsummary:“另一種來源說法是，在西元1967年的「民歌採集運動」錄音時，陳達在演唱「帄埔調」時，曾表示該曲調是

為【台東縣卑南鄉八社的調】，原因是陳達有數十年多次往返恆春至台東卑南的經歷，以這樣的經歷去做解釋與探究，該來源說法似乎無法完全否定。不管怎樣解釋都顯示該曲調與原住民族群有著密切的關係。”ItranslatedChenDa’sterm,“台東縣卑南鄉八社的調”as“thetuneoftheTaitungPinuyumayanoftheeightvillages.”Inthepast,manyHan-TaiwaneserefertothePinuyumayangroupasthe“八社番”(EightVillageBarbarians)becauseofthePinuyumayan’seightmainbuluo’s(villages).The“Taitung”referstothefactthatthePinuyumayan’seightbuluo’sarelocatedinTaitungCounty.ThislinkfromTaiwan’sIndigenousPeoplesPortaldescribestheoriginoftheterm“EightVillageBarbarians”:Taiwan’sIndigenousPeoplesPortal,“GettingtoknowAboriginaltribes(認識原族民族),”http://www.tipp.org.tw/aborigines_info.asp?A_ID=6.WhilescholarslikeChenChun-binusethespelling“Puyuma”inhisworks,Iwillbeusingthemorerecentspelling“Pinuyumayan”throughoutmypapertorefertothisAboriginalgroup.10Ho,52.Mytranslationandsummary:“第二種說法是該曲調可能來自滿州鄉裡德村的排灣族原住民之古老旋律改編而來。這個曲調最初稱為【唱

曲】，當時在滿州鄉傳唱時並沒有歌詞，僅為旋律的哼唱，是抒發思念親人好友的無歌詞哀歌。演唱的該曲調時並無限定為哪種既定的模式，因此

演唱該曲的人可以隨著個人情緒思緒來變換真假聲，用歌聲變化來代表心

境情緒的貣伏。”Hostatesthattherearetwomaintheoriesastotheoriginsofthetune“NiuweiBan.”OnetheoryisthatitoriginatedfromthePaiwantribeinManzhouTownship.Atthetime,thepeoplesinging“NiuweiBan”inManzhoudidnotgivethesonganylyrics,onlythemelody.Thereis

33

historicalprecedenceforthepresenceandsyncretismofAboriginalelements exists in Hengchun diao, which bolsters Tai Siao-chun’shypothesisoftheAboriginalinfluencesin“HengchunFourScenes.”

Inthisarticle,Icomparesimilaritiesinthemelodiccontourofthe “ho-hai-yan” chorus in “Hengchun Four Scenes” to themelodiccontour of “naluwan haiyang” in Aboriginal songs. Through thiscomparison,IshowthatthisvocabletraditionisastereotypeinHan-Taiwanese consciousness and highlight the degree to whichAboriginal elements arepresent inHengchundiao.MyanalysisnotonlyvalidatesTaiShiao-chun’scommentsontheAboriginaloriginsof“HengchunFourScenes,”butalsoprovidesacasestudyofthesharedhistory and syncretism between Aboriginal and Han-Taiwanesemusic.

NaluwanHo-hai-yanandMusicalStereotypes

Tounderstandhowthevocable“naluwanhaiyang”functionsin “Hengchun Four Scenes,” it is important to know the originalAboriginal history of the phrase itself. “Naluwan” and “haiyang”originated from the Pinuyumayan and Amis Aboriginal groupsrespectively,buthavesincebeenadoptedbymanyotherAboriginalgroups in Taiwan such as the Paiwan and the Rukai.11 These non-lexicallyricsareoftenusedinsongstodescribedeepemotions,asthePinuyumayansinger,HuDefu(Kimbo)states:“whenweheartilywantto sing, we want naluwan haiyan.”12 Because many Aboriginalfolksongs have no titles, and many use the vocables, “naluwanhaiyang,” these songs are simply addressed as its own repertoire,“naluwanhaiyan.”13Lifok,anAmiselder,statesthat“‘naluwan’isthenew language shared by us contemporary Aborigines” and can beconsidered equivalent to the term, “yuanzhuming,” the term forAboriginesgivenbytheHan-majority.14ThesevocablesarethereforeindexicalofTaiwaneseAboriginalculture,andforsomeAborigines,canevenbeused torefer toAborigines ingeneral. “Naluwan” isso

nolimittowhatmodethissongcouldbesungin,sopeoplechangedthesongaccordinglytoconveytheiremotions.11Chun-binChen,“TheUnwrittenandtheRecorded:TraditionandTransfigurationinTaiwaneseAboriginalMusic,”CollectedWork:PreservingTradition,FacingtheFuture:ConservationandInnovationinChineseMusic.(AN:2012-05586).19(January1,2012):84.12Chen,"TheUnwrittenandtheRecorded,"85.13Chen,"TheUnwrittenandtheRecorded,"84.Throughoutthispaper,Iwillusetheterm“naluwanhaiyang”torefertothevocablesthemselves,andIwillusetheterm“naluwanhaiyan”torepresentthegenreofAboriginalsongsthatusethesevocables.Chendescribes“haiyan”asapopularAboriginalwaytospellthevocable.ThisspellingalsodifferentiatesthevocablefromtheEnglishtransliterationoftheMandarinChineseterm,“haiyang”(ocean),whichsetsthisapartasanAboriginalconcept.14Chen,"TheUnwrittenandtheRecorded,"92.

34

ubiquitous that it has become a common greeting, similar to theHawaiiangreeting,“aloha.”15

Musically,thesevocablescanbemixedandmatchedtocreatenewmelodies and fit different phrases, such as “ho-yi-naluwan” or“na-i-nalowan.”16 Typically, “naluwan” starts at a beginning of aphrase,followedbyasetofascendingpitches,andisconcludedbythevocable “haiyang.”17 This pattern is emblematic of the music thatfollows“naluwanhaiyang”andasHan-TaiwanesescholarChenChun-Bin writes, many songs use this “naluwan” opening, therebyestablishingthemusicalstereotypefor“naluwanhaiyan”songs.18

To describe the ways in which “Hengchun Four Scenes”appropriates or emulates the “ho-hai-yan” from the Aboriginalrepertoire,IemployA.J.Racy’sconceptof“domesticatingotherness”andthewaysinwhich“acertaincultureseemstoappropriatesuchatheme,symbolicallyloadit,orreloadit,andmakeitpartofitsownexpressiverepertoire.”19Racyuses theexampleof thewayasnakecharmermusicalstereotypeandthehootchy-kootchytunehavecometorepresentastereotypedimageofIndians.20Inhisownexperiences,Racy’s fellow musicians at a local musicians’ union in SouthernCaliforniaexpectedhimto“charmasnake”whenheplayedthenay(aMiddleEasternreedflute)andbellydancingmusicwhenheplayedthe’ud(MiddleEasternshort-neckedlute).21Racyexplainsthatsnakecharming is a traditionmostly found in SouthernAsia and specificpartsofNorthAfricaandisveryfarremovedfromhisidentityasaLebanese-American, where Lebanese people tend to be averse tosnake charming.22 The fact that these musicians conflated snake

15Chun-binChen,“VoicesofDoubleMarginality:Music,Body,andMindofTaiwaneseAboriginesinthePost-ModernEra”(PhD,UniversityofChicago,2007),190,rih,https://libproxy.library.unt.edu:9443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=rih&AN=A631385&scope=site.16Chen,“TheUnwrittenandtheRecorded,”87.17Chen,"TheUnwrittenandtheRecorded,"85.18Chen,"TheUnwrittenandtheRecorded,"86.19A.J.Racy,“DomesticatingOtherness:TheSnakeCharmerinAmericanPopularCulture,”Ethnomusicology60,no.2(2016):198,https://doi.org/10.5406/ethnomusicology.60.2.0197.20Racy,225.21Racy,198.22Racy,198.InRacy’sarticle,hestatesbothhisidentityasaLebaneseAmericanaswellastheaversiontosnakecharminginEast-Mediterraneanculturethatinfluencedhisrecoiltotheothermusicians’remarks.HebringsupEdwardSaid’sOrientalismtodescribehowtheothermusicianshaveconflatedIndian(andNorthAfrican)snakecharmingwithhisEast-Mediterraneanculture.

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charmingwith his Lebanese-American origin shows the orientalistandreductiveviewsthatcomewiththesestereotypes.

However, thesesamestereotypescanbereclaimedby theirnative communities and be recontextualized into a positiveconnotation. Racy describes the way in which belly dancing,somethingmanyWestern filmsdepict asphysically suggestive, hasbeenrecontextualizedintheAmericanbelly-dancesceneaspracticesthat relate to “spirituality, goddesses, temple priestesses,childbirth.”23Assuch,womeninthisAmericanbelly-dancesceneareable to present their own image inwhat Racy calls “strategic self-repositioning” where they can deflect the inaccurate assumptionsassociatedwithbelly-dancing.24

TheappropriationbyoutsidersaswellaswhatRacydescribesas “strategic self-repositioning” can also be seen in the uses of the“naluwanhaiyang”vocable.ManyHan-Taiwanesecomposerswoulduse the word “naluwan” in their ballads when addressing “thebeautifulmaidenfromthemountains”(astereotypical imageoftheAboriginalwoman).Han-Taiwanese singer,ChangRongrong,opensuphersong“MeiliNaluwan”withaphrase,“youyiweimeilideshandixiaoguniang”(there’sabeautifulmaidenfromthemountains)andaddressesthishypotheticalAboriginalgirl’sdancingwiththewords,“naluwandewubu”(naluwan’sdancesteps).25The“huyihuhaiyah”chorusand theuseof theword “naluwan” to evoke theAboriginesshowhowtheHan-TaiwanesehavecreatedthisstereotypedimageoftheAboriginesinrelationtotheword“naluwan.”Iproposethattheadoptionof “ho-hai-yan”by theHan-Taiwanese in “HengchunFourScenes”followsthesameprinciple,similarlytoRacy’sdescriptionofhow the snake charmer stereotype entered the Western public’simagination.

Inaddition,theestablishmentof“naluwanhaiyan”asitsownrepertoirewithin theAboriginal community also shows theway inwhichthecommunityusesthismusicalstereotypeto“re-defineitself”andprovideitsown“self-image”asseeninthewaythevocablehasbecome indexical of Aboriginal identity.26 As Lifok states, the term“naluwan” has become a term that represents a shared languageamongst Aborigines instead of the Han term, “yuanzhuming.” TheAborigines therefore reclaimed both the term and the musicalstereotype“naluwanhaiyang”asawayofusinganAboriginal terminstead of a Han term to represent themselves.While themusical

23Racy,204.24Racy,204.25YouTubevideo:"張蓉蓉-美麗娜魯灣(官方KTV版)."Uploadedby:豪記唱片HCMMusic.Published[Jun4,2015].Accessed:April17,2019.https://www.youtube.com/watch?v=pHo4RPOId8I.26Racy,204.

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stereotype for “naluwanhaiyang”hasnotbeenappropriatedat thelevelofthesnakecharmermelodiesRacydemonstrates,thesharedmelodic contour for this musical stereotype shows how Han-Taiwanesehavecometoreplicate(andconceive)itintheirownfolktunes.TheHan-Taiwanese’susageof“naluwanhaiyang”toreferenceTaiwaneseAboriginesshowshowthevocablehasbecomeacommonstereotypeforAboriginesamongsttheTaiwanesepublic.

MethodsandData

TheMethod

Toexaminethecontourof the“HengchunFourScenes”andthe related Aboriginal pieces, I first transcribed the verse and thechorus using Western notation and graphic notation. Westernnotationhelpsdelineatethesetofascendingpitchesthatfollowthevocablesinthechorusaswellastheintervallicleapsthatareinvolved.I then transcribed the melodies in graphic notation to outline themelodiccontourofthesesongs.Inordertocomparethe“ho-hai-yan”chorusin“HengchunFourScenes”tothevocableportionsofthefiveAboriginalpieces,Iusethetranscriptionofthemelodiccontourofthechorusin“HengchunFourScenes”asmyexemplaragainstwhichtheotherpiecesarecompared.Inmyanalysis,Iemploythepatternsfor“naluwan haiyan” established by Chen Chun-Bin. Chen states that“‘naluwan’ usually appears at the beginning of a phrase, acrossascendingpitches,while‘haiyang’usuallyconcludesaphrase,andisusuallysettorepeatednotesthatserveasacadence.”27Therefore,inthese comparisons, I sought an initial ascent in pitches (generallystartingwiththevocable“naluwan”)andaconclusiononthevocable“haiyang.”

ThefirstpieceIcomparedthe“ho-hai-yan”in“HengchunFourScenes”towas“Malikasaw,”atraditionalPinuyumayanpiece,duetothe similar use of minor pentatonic scale and ascending melodiclines.28 I also compared “Hengchun Four Scenes” to the vocableportion of “Yuan Yang,” a recent songwritten by Amis pop-singer,

27Chen,“TheUnwrittenandtheRecorded,”85.28By“minorpentatonic”Iamreferringtothenotes“ladoremisol”withthetonicon“la”.Thisistypicallyreferredtoasyu-modepentatonicwithinChinesemusictheoryusedinChinaandTaiwan.However,theAboriginalsongsIwillbecomparingtohaveguitaraccompanimentsthatimplytonic-dominantrelationships.Whileyu-modepentatonicdescribesthenotesusedforthesesongs’vocalmelodies,itdoesnotadequatelyaddressthetonalityoftheaccompaniment.AssuchIwillbeusing“minorpentatonic”despiteitsimplicationofaminorscaleandpotentialcolonialistundertones.Similarly,Iwillbeusingtheterm“majorpentatonic”todescribethenotes“doremisolla”insteadoftheHanconstructof“gong-modepentatonic”becauseoftheguitaraccompanimentofthesesongsthatimplytonic-dominantrelationships.

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Suming Rupi. From there, I compared the “ho-hai-yan” portion of“HengchunFourScenes”tothreeAboriginaltunesinmajorpentatonicscalestoseeiftheascendinganddescendingcontoursIfoundintheminor pentatonic songs held true for major pentatonic Aboriginaltunes,confirmingthispatternasamusicalstereotype.IalsoexaminedthevocablelyricstoboththeminorpentatonicandmajorpentatonicAboriginal tunes to see if the different layouts of the vocablesinfluenced possible differences in contour. Finally, I took twocontemporaryAboriginalpopssongs,“YuanYang”and“HaiYang,”todemonstrate that the contourpatterns in traditional tunesarealsopresent incontemporary tunes.WhilemanymoreAboriginal tunesuse these vocables, this project’s scope is limited to the patternsexemplifiedinthesesongs.

TheModel

Example1.Westernnotationforthechorusof“HengchunFourScenes”with“Ho-hai-yan”lyrics.

The “ho-hai-yan” chorus in “Hengchun Four Scenes” is in Cminor pentatonic and uses the notes C-Eb-F-G-Bb-C. The choruscontainsaninitialrisingmotionofafourth,whichthenrisesagainandpeaksonGfallingafifthbacktoC.ItthenrisesoncemoretoFbeforefalling back to C. While the chorus utilizes only “ho-hai-ya” (andthereforedoesnotemploythe tropeofstartingoff thephrasewith“naluwan”),itdoeshavethecharacteristicascendingpitchesandpeakon the G. The phrase ends with “hai-ya” which fits the stereotypeestablished by Chen Chun-Bin for Aboriginal tunes.29 The peakfollowed by a descent of a fifth occurs in other songs. Anothernoteworthyaspectofthisnotationistheriseandfallofthecontour:whilethephrasedipsattheEb,itrisestotheG,changesdirectiononcetogodowntoC,changesdirectiontogettoF,andbackdowntoC.Therefore, it changes direction three times and creates two mainpeaks.

29HereIamequatingthe“haiya”in“HengchunFourScenes”withthetypical“haiyang”endingin“naluwanhaiyang.”Asmentionedearlier,therearemanycombinationsandspellingsforthissoundevenamongstAboriginalsongsutilizingthesevocables.

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Example2. Countourof the chorusof “HengchunFourScenes”showingtheinitialriseinpitch,thepeakonG,andthedescentofa fifth fromG-C. This is the rubricwithwhich I compared theothersongsto.

“Malikasaw”

“Malikasaw” is a Pinuyumayan gudiao, or Pinuyumayantraditionaltune,andisafast-paceddance.ThevocalmelodyofthissongisinBminorpentatonicwhichusesthenotesB,D,E,F#,A,B.Theverseissungthreetimes:thefirsttimeentirelyinvocables,thesecondtimeinlexicallyrics,andthethirdtimeinvocables.Inthefirstopening phrase of the song, the melody stayed around B, dippingdowntoF#beforepeakingonBanddescendingtoE.

Example 3. Western notation for the first 16 measures of“Malikasaw.”

While the start of this phrase is different from the first half of the“HengchunFourScenes”chorus, theway inwhich itpeaksat theBand descends to E is the same as the descent in “Hengchun FourScenes”chorus,evenintherhythmicfigureused.Thedescentinaninterval of a fifth is also similar to the descending interval in“HengchunFourScenes.”However,thecontourof“Malikasaw”doesnotrisetoasecondpeakasdoesthe“HengchunFourScenes”contour.Inthesecondpartoftheversein“Malikasaw,”theopeningphraseisrecontextualized.ThesecondpartnotatedinExample4isthesameastheopeningphraseexceptthatitstartsonBanoctavelower(“Inhoyyan”).

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Example 4. Western notation for the variant of the openingphrasein“Malikasaw.”

This second phrase completes the first verse and includes a clearascending figure before the peak on the B that reflects both theascendingcontourofthe“HengchunFourScenes”andtheestablishedpatternChenChun-Binprovides.

Example5.Contourofbothsegmentsin“Malikasaw”(topline)ascompared to the contour of “Hengchun Four Scenes” (bottomline,belowthelinesfor“Malikasaw”).Subsequentexampleswillfollowthisformat.

“YuanYang”

ToseehowcontemporaryAboriginalsingersconceiveofthismusical stereotype in minor pentatonic songs, I transcribed thevocableportionof the song, “YuanYang” from the album,Amis, byAmispopsinger,SumingRupi.ThevocalmelodyofthissongisinBminorpentatonicandusesthenotesB-C#-E-F#-A-B.30

30ThenotesofthisBminorpentatonicscalein“YuanYang”arenotthenotesoftheminorpentatonicscalewetypicallythinkofinWesternmusic.ThetypicalWesternBminorpentatonicismorelikethenotesof“Malikasaw”:B,D,E,F#,A,B.However,“YuanYang”usesB-C#-E-F#-A-B.

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Example6.Westernnotationofthefirstsegmentofthechorusin“YuanYang.”

Inthegraphicnotationforthispiece,therearesomesimilaritiestothe contour of “Hengchun Four Scenes.” The interval leap at theopeningF#-Bcorrelateswith theascent fromC-Eb-F in “HengchunFourScenes,”thefirstpeakonaC#in“YuanYang”correlateswiththepeak in “HengchunFourScenes,” andbothpieces containa secondpeakaswellastheslightturnaroundafterthesecondpeak.Similarly,the second portion of contour of “Yuan Yang” that matches thecontourof“HengchunFourScenes”showninExample7below.

Example7.Westernnotationofthesecondsegmentofthechorusin“YuanYang.”

Onceagain,thereisajumpfromF#-A-BandapeakonC#,followedby a descent by a fifth to F#. However, this C# is also an upperneighboroftheBin“yannaiyoi”syllables,providinganembellishingroletotheB.ThismelodythereforeoutlinesaBtoF#withanintervalofadescending fourth,unlike thedescending fifthsof theprevioustune. This divergence between “Yuan Yang” and “Hengchun FourScenes”couldbeduetothecontemporarynatureofSuming’ssong,yet despite this difference, some similarities between the graphicnotationofthistuneand“HengchunFourScenes”persist,asshowninExample 8. Like the other songsmentioned previously, there is anascendingintervaltoapeakthatisusuallyfollowedbyadescent,inthiscasewithanintervalofafourth,andevenasecondpeakasseenin the opening phrase segment. The phrase endings do finishwith“haiyang”insomecases,aswewouldexpect,however,asChenpointsout,thesyllablescanalsobemixedandmatched,asevidencedinthe“yo-i-ye”phraseendings.

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Example8.Contourofbothsegmentsof“YuanYang”comparedto the contourof “HengchunFourScenes” (below the lines for“YuanYang”).

“WeedingSong”

IselectedthreeAboriginalpiecesinmajorpentatonicscalesto compare to the contour of “Hengchun Four Scenes” to examinewhether there are similar patterns to theminor pentatonic pieces.This song, “Weeding Song,” is another Pinuyumayan gudiao thatutilizesboth“naluwan”and“haiyan”inamixedform,suchas“ho-yi-naluwan.”ThevocalmelodyisinDpentatonicscaleandusesthenotesD-E-F#-A-B-D.Thissongexemplifiesthecharacteristicsof“naluwanhaiyang”outlinedbyChenChun-Bin.Following this formatexactly,theopeningphraseuses“ho-yi-na-lu-wan”settorepeatingD’sbeforetheascendingpitchesE-F#-AtothepeakonA,thendescendingbyanintervalofafifthdowntoD.

Example9.Westernnotationoftheopeningphrasefor“WeedingSong.”

However,thecontourofthissongdiffersfromthe“HengchunFour Scene” chorus and its use of “ho-hai-yan.” Even in the fifthmeasure of the opening phrase in Example 9, the “naluwan” is nolongerheldoutonD,butratherdescendsandascendsfromD-A-D.AfterthefirstpeakonAinm.3,thereareatleastthreemorepeaks(“o” inm.4, “na lu” inm.5, and “hi-ya” inm.7).Bycomparing thegraphic notation of “Weeding Song” to the melodic contour for“HengchunFourScenes,”thecontourofthelatterlevelsoutafterthe

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firstpeak,whereas“WeedingSong”ascendsbackuptoDafterthefirstpeak,followedbytwomorepeaksinthesecondpartofthephrase.

Example10.Contourof“WeedingSong”comparedto“HengchunFourScenes.”Theotherphrasesshowjusthowmuchthecontourvariesfor“WeedingSong.”

Fromthecontoursofbothpieces,it isclearhowtheuseof“ho-hai-yan”in“HengchunFourScenes”issimplerandmorestaticcomparedtothatof“WeedingSong.”

“PaiwanLoveSong–Naluwan”

Toseehow“naluwanhaiyan”repertoireoperatesoutsideofPinuyumayanandAmisgroups,Iexaminedasongfeaturing“naluwanhaiyang”fromthePaiwanethnicgroup.ThissongissungbySingiljBand,abandconsistingoftwoup-and-comingPaiwanartists,andisatraditional Paiwan ballad.31 Although one might have expectedsimilaritiesduetoalargeamountofPaiwanAboriginalpeopleinthePingtung county and their proximity toHengchunTownship, therearemanydifferencesinthecontourof“PaiwanLoveSong–Naluwan.”ThevocalmelodyofthissongisinapentatonicscaleinthekeyofA(A-B-C#-E-F#-A)andstartsoffsimilartotheestablishedmodel:“nalu” gives an interval jump from theE toA,with the long sustained“wan”demonstratingthe“naluwan”openingcadenceonasustainednote.

31SingiljBand(薪伊勒)isabandformedbyPaiwansinger,KiviPasurivai,andheraccompanist,PangulLingtaw.TheyarebothyoungAboriginalartistswhohavebeenfeaturedincompetitionsandTVtalkshows.Theirinformationcanbefoundonthiswebpage:BeitouMuseum(北投文物館).“2016/11/27(日)北投文物館「原」味覺醒音樂演唱會-排灣新銳雙人樂團

「薪伊勒」,”lastmodifiedNovember4,2016,http://www.beitoumuseum.org.tw/1news_2.asp?main_id=00391.

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Example11.Westernnotationofthefirstverseof“PaiwanLoveSong–Naluwan.”

ThisopeningphrasestartswithamelodiclinethatpeaksonaBanddescendsbackdowntoanE,demonstratingthedescentofanintervalofafifth.Thesecondpartofthephrasecontainsananswerinm.4wherethemelodycontinues“Iyanaayau”anddescendsfromF#-A,an interval of a sixth. In addition, thisphrasedidnot endwith theconventional “haiyang.”Thesongonceagaindemonstrates itswiderangeinm.9wherethemelodyonceagainwherethemelodyjumpsfromF#-A-BanddescendsfromthepeakBtoBanoctavebelow.Theend of this phrase is concluded by “lu me de” instead of theconventionalvocable“haiyang.”

Example12.Contouroftheopeningphraseof“PaiwanLoveSong–Naluwan”comparedto“HengchunFourScenes.”

Acloserlookatthegraphicnotationof“PaiwanLoveSong–Naluwan”comparedtothecontourof“HengchunFourScenes”showssimilarlymixedresults.Up to the firstpeak, thecontour is similar to thatof“Hengchun Four Scenes.” However, after the first peak, while“HengchunFourScenes”continuestodescendandleveloutbeforethesecondpeak,“PaiwanLoveSong–Naluwan”ascendstoanotherpeakbeforedescending.Afterthismoment,thepeaksthatfollowalignwiththepeakof“HengchunFourScenes.”Inafashionsimilarto“WeedingSong,”“PaiwanLoveSong–Naluwan”hasmoremotioninitsmelodiccontourthan“HengchunFourScenes,”andbothofthesepentatonicscalesongsleveloutlesscomparedto“HengchunFourScenes.”Also,“PaiwanLoveSong–Naluwan”ismoremelismaticcomparedtothechorusof “HengchunFourScenes,” as seen in the thirdmeasureofExample11with fivenotes for the syllableof “wan.”Onepotential

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reasonforthisdifferenceisthat,asaPaiwantraditionalballad,thissong has different musical tradition from Hengchun diao andPinuyumayan traditional songs. Another reason for the moreturbulentcontourofboth“WeedingSong”and“PaiwanLoveSong–Naluwan”mayberelatedtotheirfocusonthevocable“naluwan”(andin “Weeding Song,” both “naluwan” and “haiyang”),which containssyllablesthan“haiyang.”

“HaiYang”

Lastly,tolookatahow“naluwanhaiyan”repertoirehasbeensimplifiedandtruncated, Iwanttoobservethecontourof thesong“Hai Yang” written by Pinuyumayan singer Chen Chien-nien (Pau-dull).ThechorusofthesongisinMandarinChineseandusesaverysimpleversionof“ho-hai-yan.”Pau-dull’ssongshavebeendescribedas“folksyandhonest,butstrictlyspeakingitisnottraditional,”andas “contemporaryandbluesy”with the “laid-backsound, the jokes,thesoundsofmotorbikes,rain,andtrees”thatcreatetheAboriginalfeel.32 With that in mind, one may see how Pau-dull reduces the“naluwan haiyang” vocable tradition to a short, simple chorus,creating a more periodic structure with a regular meter. Thiseffectivelycreatesasoundbitethatconveysthestereotypicalimageof“naluwanhaiyan.”

Example 13. Western notation of the chorus of “Hai Yang.”

TheentiresongisinthekeyofAmajor,andthechorusonlyutilizesthenotesA,B,D,E,F#.ItstartswithaleapofafifthfromA-E,andpeaksonanF#beforedescendingbacktoA.Whilethechorusitselfispentatonic, the restof thesong (with theverses) is in thekeyofAMajor. Comparing the contour of this song to the contour of“HengchunFourScenes,”thesimilaritiesaretheintervalleapatthebeginningofbothcontours,thedipbeforethefirstpeak,thepresenceofafirstpeak,andadescent.However,“HaiYang”lacksadescentandthepresenceofasecondpeak.

32ShzrEeTan,“Returningtoandfrom‘Innocence’:TaiwanAboriginalRecordings,”TheJournalofAmericanFolklore121,no.480(2008):232.

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Example14.Contourofthechorusof“HaiYang”comparedtothecontourof“HengchunFourScenes.”

Despite its simplicity, some key elements are still present in thechorusof“HaiYang,”suchastheascendingpitchesandthepresenceofapeakatF#followedbyadescent.ThisF#onthesyllable“hai”canbeseenasanupperneighboroftheEbeforeandafter.Therefore,thischorusdoesindeedoutlineanintervalofafifthfromEtoA.Pau-dullalso ends the phrase with the characteristic “haiyang” with adescendingintervalfromBtoA,whichChenChun-Bindescribesasafitting closure to the phrase that provides “a signal to remindparticipantsofjoiningthesingingatthecadences”thatarecommonat Aboriginal sing-alongs.33 In this example, it is evident that theascendingpitchesmovingtowardsapeak,theintervalofafifth,thedescentthatfollowsthepeak,andtheuseofthevocable“haiyang”toconclude the phrase are all quintessential elements that even thesimple versions of “naluwan haiyan” melodies exhibit, thusestablishingtheseelementsascrucialtothismusicalstereotype.

Conclusions

From the songs that I have investigated, the most typicalelements in the “naluwan haiyan” repertoire are the ascendingpitches,thepresenceofapeak,adescentfromthepeak(usuallyintheinterval of a fifth), and the use of “naluwan” as an opening and“haiyang”asaclosingphrase.Theseelementsareseeninbothminorpentatonic songs and major pentatonic songs that utilize thesevocables, as well as “Hengchun Four Scenes.” There are, however,somevariantsfromthisestablishedpattern,suchas“WeedingSong”and “Paiwan Love Song-Naluwan” that do not contain a “haiyang”ending.Fromthegraphicnotations,itisalsoclearthatthecontourof“HengchunFourScenes”correlatesmorewiththeminorpentatonicsongs than the major pentatonic songs. However, these sharedcharacteristics between the songs in minor pentatonic and majorpentatonicareindicativeofthemoreessentialpartsthatestablishthismusicalstereotype.Thisis,ofcourse,bynomeansacomprehensivelistofsongsthatcanfullyencapsulatethediverseusesof“naluwanhaiyan” repertoire. I have only begun to scratch the surface of themusic of three Aboriginal ethnic groups that utilize the “naluwanhaiyang”vocable.Inaddition,thedifferencesincontoursuchasthat

33Chen,“VoicesofDoubleMarginality,”226.

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of “Weeding Song” and “Paiwan Love Song – Naluwan” show thediversity of “naluwan haiyan” repertoire and the wide range ofcontoursthatcouldbeutilizedwiththesevocables.

Simple melodies like the chorus of “Hai Yang” show howAboriginal singers conceive of this “naluwan haiyan” musicalstereotype. Pau-dull, having taken “naluwan haiyan” out of itstraditional Aboriginal musical context and into a folk and bluescontext,stillusestheascendingintervals,thedescentafterthepeakpitch,andthevocable“haiyang”toendaphrase.Therefore,evenforAboriginal singers, these characteristics index the repertoire andenable people to refer to its original context. More recently, theseindexical characteristics persist in Aboriginal singer SumingRupi’sworkevenashecreatesmorecomplexmusicalcontours.AsseenwithPau-dull and Suming, contemporary Aboriginal singers continue tousethetraditionof“naluwanhaiyan”whilebringinginnewcontextstothetradition.TheestablishmentofthismusicalstereotypefortheTaiwaneseAboriginalsrelatesbacktowhatRacycalls,“strategicself-repositioning,” due to the way it has become a shared languagebetweenmanyAboriginalgroupsaswellasthewayitcreatesasenseofPan-Aboriginalidentity.34

AsfortheHan-Taiwanese,theuseof“ho-hai-yan”partoftheinthechorusof“HengchunFourScenes”showshowthisstereotypein “naluwan haiyan” repertoire is so strongly associated with theAborigines that even the Han-Taiwanese use these characteristicswhen referring to Aboriginal culture. On one hand, this use of the“naluwanhaiyan”canbeseenastheHan-Taiwanese’sfascinationwithsomething alien. However, this use of “naluwan haiyan” can alsoindicate the level of interaction and syncretism between Han-TaiwaneseandtheTaiwaneseAboriginesasTaiSiao-chunpointsout,aswell as showhow theHan-Taiwanese are creating this sense ofsharedhistory.35Despitetheseuses,“naluwanhaiyan”continuestobeacrucialelementforTaiwaneseAboriginestoconveytheir identityandcreateashared languagewithwhich todistinguish themselvesfromtheHan-Taiwanese.

34Racy,204.35AsImentionedearlier,TaiSiao-chunexplainsthat“HengchunFourScenes”couldhavebeentheresultofback-and-forthsingingbetweenHan-TaiwaneseandtheAborigines.Forthevideoclipitself,consultthislink:https://www.youtube.com/watch?v=vNSx6jNbzk0&t=772s,timestamp:12:47.

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WorksCited:BeitouMuseum(北投文物館).“2016/11/27(日)北投文物館「原」

味覺醒音樂演唱會-排灣新銳雙人樂團「薪伊勒」.”LastmodifiedNovember4,2016.http://www.beitoumuseum.org.tw/1news_2.asp?main_id=00391.

Chen,Chun-bin.“TheUnwrittenandtheRecorded:Traditionand

TransfigurationinTaiwaneseAboriginalMusic.”CollectedWork:PreservingTradition,FacingtheFuture:ConservationandInnovationinChineseMusic.(AN:2012-05586).19(January1,2012):79–96.

———.“VoicesofDoubleMarginality:Music,Body,andMindof

TaiwaneseAboriginesinthePost-ModernEra.”PhD,UniversityofChicago,2007.

Chien,Shang-Jen."VoicesofEternalSpring:AStudyoftheHingcun

DiauSongFamilyandOtherFolkSongsoftheHingcunArea,Taiwan."Ph.D.Dissertation,UniversityofSheffield(UnitedKingdom),2009.

Ho,Hsin-Yu.“TheResearchabouttheCircumstancetheHengxhun

FolkSongIsinPingtungandItsFutureDevelopment.”NationalTaichungUniversityofEducation,2013.http://ntcuir.ntcu.edu.tw/handle/987654321/8959.

Racy,A.J.“DomesticatingOtherness:TheSnakeCharmerin

AmericanPopularCulture.”Ethnomusicology60,no.2(2016):197–232.

Taiwan’s Indigenous Peoples Portal. “Getting to know Aboriginal

tribes (認識原族民族).” http://www.tipp.org.tw/aborigines_info.asp?A_ID=6.

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Recordings.”TheJournalofAmericanFolklore121,no.480(2008):222–35.https://doi.org/10.2307/20487599.

Discography:

YouTubevideo:"20111031屏東恆春國寶朱丁順和曾孫朱育璿演唱恆春民謠FULLHD."Uploadedby:mikelibra8726.Published[Oct31,2011].Accessed:April17,2019.https://www.youtube.com/watch?v=r_InjpT9O0A.

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YouTubevideo:“HaiYang.”“陳建年-海洋.”Uploadedby:chen0428.Published[May28,2012].Accessed:April17,2019.https://www.youtube.com/watch?v=5Lb9GvEO-sA

YouTubevideo:“HengchunFourScenes.”“20111031屏東恆春國寶

朱丁順和曾孫朱育璿演唱恆春民謠FULLHD.”Uploadedby:mikelibra8726.Published[Oct31,2011].Accessed:April17,2019.https://www.youtube.com/watch?v=r_InjpT9O0A

YouTubevideo:“Malikasaw.”“f21卑南族青年Malikasaw快樂搖擺

+MiaMia（SlingSlingSling）山地歌謠青春歌隊@鐵花村20170629.”Uploadedby:TaiwanIndieMusic.Published[Jul2,2017].Accessed:April17,2019.https://www.youtube.com/watch?v=i-hBhzK7OVo

YouTubevideo:“PaiwanLoveSong-Naluwan.”“排灣情歌nalu

wan.”Uploadedby:CelalaqLuveljeng.Published[Apr7,2015].Accessed:April17,2019.https://www.youtube.com/watch?v=_KkazFpB1IU

YouTubevideo:“WeedingSong.”“除草歌｜美麗心民謠.”Uploaded

by:野火樂集WildFireTaiwan.Published[Jul26,2013].Accessed:April17,2019.https://www.youtube.com/watch?v=KqCYYE4Q0TM

YouTubevideo:“YuanYang.”“Suming舒米恩第二張創作專輯歌曲

【遠洋】.”Uploadedby:米大Mita.Published[May21,2012].Accessed:April17,2019.https://www.youtube.com/watch?v=4ILd-sxWxMg

YouTubevideo:“原視Masalele藝術地圖第24集【光的歌聲裡】戴

曉君完整版.”Uploadedby:IPCF-TITV原文會原視.Published[Jun29,2015].Accessed:April17,2019.https://www.youtube.com/watch?v=vNSx6jNbzk0&t=772s

YouTubevideo:"恆春千人彈月琴創金氏紀錄."Uploadedby:中華電

視公司.Published[Oct17,2015].Accessed:April17,2019.https://www.youtube.com/watch?v=c09rXoOJ7RM.

YouTubevideo:"恆春民謠(恆春四景滿州三景)."Uploadedby:

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記唱片HCMMusic.Published[Jun4,2015].Accessed:April17,2019.

49

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AbouttheContributorsYANG CHEN is a master’s student in Ethnomusicology at theUniversityofNorthTexas.HereceivedaBachelorofArtsinMusicatCarleton College in Northfield, MN. Trained as a classical violinist,Chen also received Erhu training for two years under CarletonCollege’s Chinese Ensemble director, Gao Hong. He is currentlyworkingonhisthesis.Hisresearchinterestisontheroleofancestralspirits in Taiwanese Aboriginal pop music and how that informsidentityandnationalismforTaiwaneseAborigines." XIAOYUNXfirstencounteredmusicattheageoffivewhenhebegantoplayelectricorgan,andhebeganwritingsongswhenhewas16.Unlikemanymusicians,hisfirstbachelor’sdegreewasinEnglishatTianjinForeignStudiesUniversity.Whilestudyingguitaranddrumsetindependently,healsocontinuedcomposingandwontheschoolsinging competition.After graduation,he came to theUniversityofNorthTexas to continuehis study inmusic.He finishedhis secondbachelor’sdegree inMusic in2016,receivedhismaster’sdegree inMusicTheoryin2018,andiscurrentlyworkingtowardshisPhDinMusic Theory. His research interest includes Schenkerian analysis,pop/filmmusic analysis, and late Beethoven.While developing hisacademicskills,Yunhascontinuedtocomposemusic,andhisrecentprojects have been in the area of film scoring. He has earned aProfessionalCertificateinComposingandOrchestratingforFilmandTV from the Berklee Online program, and has studied filmcompositionwithrenownedcomposers, includingBruceBroughtonandDrewSchnurr.

harmonia volume 17 - mhte.music.unt.edu

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