For many years, Meredith Monk taught using oral tradition, as in India where the Gharanas pass down the lines of traditional raga singing.[1] Monk testifies to the complexity of transferring such emotive work to the written page. She feels some things can be lost in the translation and I agree, especially when movement/theatre and personalities are involved.
Built on quick choices and in an oral fashion, such as Bobbie McFerrin's improvisational vocalizations, I am most interested in techniques, structures and ideas to be carried on, but not the actual performance...note for note. This does not mean that I believe that notated music is less valuable, only different. As artists have become aware of the fact that much of Meredith’s work has not been transcribed, time is being spent making sure her earlier work is now documented for future performance. It's possible that this very reason has curbed the spontaneity of her work...as John Hendricks’ vocal transcriptions of instrumental solos relieved true freedom of improvisation from many would-be vocal explorers.
Meredith Monk states that rhythm is the underlying ground for the weaving together of different perceptions. [2] As I began teaching courses, I became more and more aware that the voice might not always be used (as I had hoped) in a melodic way. The work I did through, "We Are The Music" and, "(The Anatomy Of) Improv: Voice, Rhythm & Theatrics", stepped further and further from musical form; hinging on spoken word, storytelling and improvisational and spontaneous monologues. This is in reaction to the limited vocal experience of my participants. Through reduction, I've come to understand that one can participate in a musical environment without vocal melody to carry them. In my opinion, it is rhythm that makes the music...and this, from a vocalist!
One thing I was very taken off guard by, during a New York workshop taught by Meredith's ensemble, was how calculated and composed her work was. I’d imagined a much more improvisational form of music. Instead, each part was taught in detail, no give was given to any rhythms or pitch. Then, very systematically, each part was "hocketed",[3] one on top of or after the other. Many times, movement was added to the song, such as in the piece named "Panda". Her compositions are fluid, almost thoughtlessly simple and extremely effective. There is a vocal polyphonic tradition used amongst African pygmy tribes that consists of extensive hocketing. This form also exists in the music of Zap Mama, whose founder is Zairean-born, Marie Daulne. Marie and her mother were protected by a pygmy tribe when her father was killed by Simba rebels.[4] Having saved Daulne's life, she now gives them immortality through song.[5] Meredith Monk, Zap Mama and Bobby McFerrin use this technique, as do I, when improvising live with a group.
[1] Oteri, F. J. (2000, 4 1). Composer First. Retrieved from http://newmusicbox.com/article.nmbx?id=651.
[2] Oteri, F. J. (2000, 4 1). Composer First. Retrieved from http://newmusicbox.com/article.nmbx?id=651.
[3]http://www.the-orb.net/encyclop/culture/music/hocket.html
In its simplest form, hocketing is the rapid alternation of rests and notes between two or more voices. When on voice pauses, the other sings, giving the effect of gasps or hiccups.
[4] http://www.emusic.com/features/spotlight/288_200604.html.
You can listen to “Music of the Rain Forest Pygmies” on this site.
[5] Wikipedia. (2009). Zap Mama. Retrieved from http://en.wikipedia.org/wiki/Zap_Mama.
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