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.Climbing the tree would lead one to the heaven worlds.Descending the tree to its roots would lead tothe nether realms.The shaman was necessarily a master of movement up and down the Great Tree,sometimes moving unaided, and sometimes assisted by (or even mounted upon the back of) an animalspirit guide.In various traditions, this Great Tree was known variously as the axis mundi (the axis ofthe worlds ), Ygddrasil (in Norse mythology), Mount Meru (the sacred world mountain of Tibetantradition), etc.The Christian cosmos, with its heaven, purgatory/earth and hell, is also worthcomparing.It is even given a similar topography in Dante s Divine Comedy: Dante is led on a journeyfirst to hell, at the center of the earth; then upward to Mount Purgatory, which sits on the earth ssurface directly opposite Jerusalem; then farther upward first to Eden, the earthly paradise, at thesummit of Mount Purgatory; and then upward at last to heaven.In the shamanistic tradition, it was understood that the small always reflects the large; thepersonal always reflects the cosmic.A movement in the greater dimensions of the cosmos alsocoincides with an internal movement.For example, the axis mundi of the cosmos also corresponds tothe spinal column of the individual.Journeys up and down the axis mundi often coincided with themovement of natural and spiritual energies (sometimes called kundalini or shakti) in the spinalcolumn of the shaman or mystic.En Sarna Pus (The Great Healing Chant) In this chant, ek� ( brother ) would be replaced by sister, father, mother, depending on theperson to be healed.Ot ek�m ainajanak hany, jama.My brother s body is a lump of earth, close to death.Me, ot ek�m kuntajanak, pir�dak ek�m, gond �s irgalom t�re.We, the clan of my brother, encircle him with our care and compassion. O pus w�kenkek, ot oma , �s ot pus f�nk, �lnak ek�m ainajanak, pit�nak ek�m ainajanakel�v�.Our healing energies, ancient words of magic and healing herbs bless my brother s body, keep it alive.Ot ek�m sielanak p�l�.Ot p�l�ja juta alatt o j�ti, kinta, �s szelemek lamtijaknak.But my brother s soul is only half.His other half wanders in the netherworld.Ot en mekem : kulkedak otti ot ek�m p�l�janak.My great deed is this: I travel to find my brother s other half.Rekat�re, saradak, tappadak, odam, o numa waram, �s avaa owe o lewl mahoz.We dance, we chant, we dream ecstatically, to call my spirit bird, and to open the door to the otherworld.Ntak o numa waram, �s mozdulak, jomadak.I mount my spirit bird and we begin to move, we are under way.Piwt�dak ot En Puwe tyvinak, alatt o j�ti, kinta, �s szelemek lamtijaknak.Following the trunk of the Great Tree, we fall into the netherworld.F�zak, f�zak nó o.It is cold, very cold.Juttadak ot ek�m o akarataban, o s�vaban �s o sielaban.My brother and I are linked in mind, heart and soul.Ot ek�m sielanak engem.My brother s soul calls to me.Kuledak �s piwt�dak ot ek�m.I hear and follow his track.Sa�edak �s tuledak ot ek�m kulyanak.Encounter I the demon who is devouring my brother s soul.Nen�m , o kuly torodak.In anger, I fight the demon.O kuly p�l engem.He is afraid of me.Lejkkadak o salamaval.I strike his throat with a lightning bolt. Molodak ot ainaja komakamal.I break his body with my bare hands.Toja �s molan�.He is bent over, and falls apart.H�n.He runs away.Manedak ot ek�m sielanak.I rescue my brother s soul.ot ekam sielanak o komamban.I lift my brother s soul in the hollow of my hand.ot ekam numa waramra.I lift him onto my spirit bird.Piwt�dak ot En Puwe tyvijanak �s sa�edak j�lleen ot el�v� ainak majaknak.Following up the Great Tree, we return to the land of the living.Ot ek�m el� j�lleen.My brother lives again.Ot ek�m j�lleen.He is complete again.To hear this chant, visit: http://www.christinefeehan.com/members/.4.CARPATHIAN MUSICAL AESTHETICS In the sung Carpathian pieces (such as the Lullaby and the Song to Heal the Earth ), you ll hearelements that are shared by many of the musical traditions in the Uralic geographical region, some ofwhich still exist from Eastern European (Bulgarian, Romanian, Hungarian, Croatian, etc.) toRomany ( gypsy ).Some of these elements include:" the rapid alternation between major and minor modalities, including a sudden switch (called a Picardy third ) from minor to major to end a piece or section (as at the end of the Lullaby )" the use of close (tight) harmonies" the use of ritardi (slowing down the piece) and crescendi (swelling in volume) for brief periods" the use of glissandi (slides) in the singing tradition" the use of trills in the singing tradition (as in the final invocation of the Song to Heal theEarth ) similar to Celtic, a singing tradition more familiar to many of us" the use of parallel fifths (as in the final invocation of the Song to Heal the Earth )" controlled use of dissonance" call and response chanting (typical of many of the world s chanting traditions) " extending the length of a musical line (by adding a couple of bars) to heighten dramatic effect" and many more Lullaby and Song to Heal the Earth illustrate two rather different forms of Carpathian music (aquiet, intimate piece and an energetic ensemble piece) but whatever the form, Carpathian music isfull of feeling.5.LULLABY This song is sung by women while the child is still in the womb or when the threat of a miscarriage isapparent.The baby can hear the song while inside the mother, and the mother can connect with thechild telepathically as well.The lullaby is meant to reassure the child, to encourage the baby to holdon, to stay to reassure the child that he or she will be protected by love even from inside until birth.The last line literally means that the mother s love will protect her child until the child is born( rise ).Musically, the Carpathian Lullaby is in three-quarter time ( waltz time ), as are a significantportion of the world s various traditional lullabies (perhaps the most famous of which is BrahmsLullaby ).The arrangement for solo voice is the original context: a mother singing to her child,unaccompanied.The arrangement for chorus and violin ensemble illustrates how musical even thesimplest Carpathian pieces often are, and how easily they lend themselves to contemporaryinstrumental or orchestral arrangements [ Pobierz całość w formacie PDF ]
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.Climbing the tree would lead one to the heaven worlds.Descending the tree to its roots would lead tothe nether realms.The shaman was necessarily a master of movement up and down the Great Tree,sometimes moving unaided, and sometimes assisted by (or even mounted upon the back of) an animalspirit guide.In various traditions, this Great Tree was known variously as the axis mundi (the axis ofthe worlds ), Ygddrasil (in Norse mythology), Mount Meru (the sacred world mountain of Tibetantradition), etc.The Christian cosmos, with its heaven, purgatory/earth and hell, is also worthcomparing.It is even given a similar topography in Dante s Divine Comedy: Dante is led on a journeyfirst to hell, at the center of the earth; then upward to Mount Purgatory, which sits on the earth ssurface directly opposite Jerusalem; then farther upward first to Eden, the earthly paradise, at thesummit of Mount Purgatory; and then upward at last to heaven.In the shamanistic tradition, it was understood that the small always reflects the large; thepersonal always reflects the cosmic.A movement in the greater dimensions of the cosmos alsocoincides with an internal movement.For example, the axis mundi of the cosmos also corresponds tothe spinal column of the individual.Journeys up and down the axis mundi often coincided with themovement of natural and spiritual energies (sometimes called kundalini or shakti) in the spinalcolumn of the shaman or mystic.En Sarna Pus (The Great Healing Chant) In this chant, ek� ( brother ) would be replaced by sister, father, mother, depending on theperson to be healed.Ot ek�m ainajanak hany, jama.My brother s body is a lump of earth, close to death.Me, ot ek�m kuntajanak, pir�dak ek�m, gond �s irgalom t�re.We, the clan of my brother, encircle him with our care and compassion. O pus w�kenkek, ot oma , �s ot pus f�nk, �lnak ek�m ainajanak, pit�nak ek�m ainajanakel�v�.Our healing energies, ancient words of magic and healing herbs bless my brother s body, keep it alive.Ot ek�m sielanak p�l�.Ot p�l�ja juta alatt o j�ti, kinta, �s szelemek lamtijaknak.But my brother s soul is only half.His other half wanders in the netherworld.Ot en mekem : kulkedak otti ot ek�m p�l�janak.My great deed is this: I travel to find my brother s other half.Rekat�re, saradak, tappadak, odam, o numa waram, �s avaa owe o lewl mahoz.We dance, we chant, we dream ecstatically, to call my spirit bird, and to open the door to the otherworld.Ntak o numa waram, �s mozdulak, jomadak.I mount my spirit bird and we begin to move, we are under way.Piwt�dak ot En Puwe tyvinak, alatt o j�ti, kinta, �s szelemek lamtijaknak.Following the trunk of the Great Tree, we fall into the netherworld.F�zak, f�zak nó o.It is cold, very cold.Juttadak ot ek�m o akarataban, o s�vaban �s o sielaban.My brother and I are linked in mind, heart and soul.Ot ek�m sielanak engem.My brother s soul calls to me.Kuledak �s piwt�dak ot ek�m.I hear and follow his track.Sa�edak �s tuledak ot ek�m kulyanak.Encounter I the demon who is devouring my brother s soul.Nen�m , o kuly torodak.In anger, I fight the demon.O kuly p�l engem.He is afraid of me.Lejkkadak o salamaval.I strike his throat with a lightning bolt. Molodak ot ainaja komakamal.I break his body with my bare hands.Toja �s molan�.He is bent over, and falls apart.H�n.He runs away.Manedak ot ek�m sielanak.I rescue my brother s soul.ot ekam sielanak o komamban.I lift my brother s soul in the hollow of my hand.ot ekam numa waramra.I lift him onto my spirit bird.Piwt�dak ot En Puwe tyvijanak �s sa�edak j�lleen ot el�v� ainak majaknak.Following up the Great Tree, we return to the land of the living.Ot ek�m el� j�lleen.My brother lives again.Ot ek�m j�lleen.He is complete again.To hear this chant, visit: http://www.christinefeehan.com/members/.4.CARPATHIAN MUSICAL AESTHETICS In the sung Carpathian pieces (such as the Lullaby and the Song to Heal the Earth ), you ll hearelements that are shared by many of the musical traditions in the Uralic geographical region, some ofwhich still exist from Eastern European (Bulgarian, Romanian, Hungarian, Croatian, etc.) toRomany ( gypsy ).Some of these elements include:" the rapid alternation between major and minor modalities, including a sudden switch (called a Picardy third ) from minor to major to end a piece or section (as at the end of the Lullaby )" the use of close (tight) harmonies" the use of ritardi (slowing down the piece) and crescendi (swelling in volume) for brief periods" the use of glissandi (slides) in the singing tradition" the use of trills in the singing tradition (as in the final invocation of the Song to Heal theEarth ) similar to Celtic, a singing tradition more familiar to many of us" the use of parallel fifths (as in the final invocation of the Song to Heal the Earth )" controlled use of dissonance" call and response chanting (typical of many of the world s chanting traditions) " extending the length of a musical line (by adding a couple of bars) to heighten dramatic effect" and many more Lullaby and Song to Heal the Earth illustrate two rather different forms of Carpathian music (aquiet, intimate piece and an energetic ensemble piece) but whatever the form, Carpathian music isfull of feeling.5.LULLABY This song is sung by women while the child is still in the womb or when the threat of a miscarriage isapparent.The baby can hear the song while inside the mother, and the mother can connect with thechild telepathically as well.The lullaby is meant to reassure the child, to encourage the baby to holdon, to stay to reassure the child that he or she will be protected by love even from inside until birth.The last line literally means that the mother s love will protect her child until the child is born( rise ).Musically, the Carpathian Lullaby is in three-quarter time ( waltz time ), as are a significantportion of the world s various traditional lullabies (perhaps the most famous of which is BrahmsLullaby ).The arrangement for solo voice is the original context: a mother singing to her child,unaccompanied.The arrangement for chorus and violin ensemble illustrates how musical even thesimplest Carpathian pieces often are, and how easily they lend themselves to contemporaryinstrumental or orchestral arrangements [ Pobierz całość w formacie PDF ]
