expressing and praying to the gods, with the themes of health, request, thanksgiving…, facing the gods and ancestors; the lyrics are almost absolutely formulaic. In then, there is no rotation of turns…
Example of a lyric in then singing:
Lotus altar (each) worships ancestors Incense offering for ancestors to rest in peace Tibet is near the dark and sad mask Thinking of the sentence carrying the deep grace of ancestors Bringing the moon virtue filial piety to the past generations Helping men and women
Men push and shove women
The virtuous bride...
Song:
Lotus altar (I) worship ancestors Offering incense to ancestors for vacation Carrying a scarf and bag chewing betel Remembering a saying "deep down ancestors" Bringing the filial piety to grandchildren Generation after generation giving birth to sons and daughters
Men get a virtuous girl from a rich family. Women get a good husband...
[NL1, p. 401]
As mentioned above, in Tay folk songs, a "singing passage" is a short part with its own function, forming a series of links with other passages in a lyric.
Example of opening lines in hat quan lang:
Dear Chieng, I respectfully present to all my relatives, my village, my paternal and maternal ancestors, my village, my ancestors, and all the rich people here. I would like to express my gratitude to them:
No longer living in chaos, but thriving. The family of the Boong family is free from the long-lasting push and pull. The uncle and aunt push and pull to return to the grave... The spirt of the Boong family reports that it is in accordance with the will of the grandparents, how noble is the monk. The spirt of the Boong family is free from the tears of the tower, but thriving. Invite the noble family to raise their heads and check the tears. Conclusion:
Wish your relatives good luck
Lyrics:
Dear parents, relatives, ancestors, paternal and maternal ancestors, the elders sitting on the high bed.
I led the new son-in-law to the ceremony. Our family had a son.
Nurture until adulthood... See the compatible fate of boys and girls
The couple are in harmony, the daughter is a nun, we bring gifts to offer, invite the family to come and visit and check the gifts
Wish relatives good health and long life
[NL2, p. 160]
Tay folk songs are mainly verses linked together by rules, notably rhyme. Only one sub-genre of Then singing is in the form of prose.
Downward ( Sac cap ). The number of sentences in each song in each type has different lengths (Note: Each line is considered a "sentence").
Example sentences in the then song Thum Mu Hau Guong So :
...I respectfully bow to Quan Quac and Quan Quy, to the great king of the country.
Now the tray is open, the tray is open, the tray is open, the tray is open, the tray is open, the tray is open, the tray is open
The decree was issued to save the people and the world, and to punish the wicked...
...Report to the Lord to open heaven and earth
Fold hands and bow to Quan Quac and Quan Quy. Bow to all four directions of heaven and earth.
Now you open the study and the book, Now it's time to open the coffin and wear the turban.
From the first day of the month until the fifteenth day of the month, he was trained on horseback and trained in military training.
The king's decree to save the people and the world, and yet he paid a false salary...
[NL1, p. 524]
If we take the "chúc" as the basis for statistics, we can see that each chúc in then has a number of sentences.
largest: 3709 verses (then ky yen, cau chuc: 1261 verses, then le hoi: 2448 verses), 6/16 songs under 100 verses, the least is Tong tien's words (27 verses), 10/16 songs over 100 verses, the most is Soan le khau cung Ngoc Hoang (1270 verses); next is the luong song : 2469 verses, 11/17 songs under 100 verses, the least is Luon cay khan song (7 verses), 7/17 songs over 100 verses, the most is the luong song about the car ending love: Luon phan (635 verses); The Quan Lang song has the least number of verses: 753 verses. The songs in Quan Lang have the least number of verses, 7/11 songs have less than 100 verses, the least is the Le Pu Gia song (12 verses), 4/11 songs have over 100 verses, the most is the Thu Tu song (130 verses)....
Thus, the number of sentences in the songs depends partly on the type of folk song, and also on the situation of the lyrics. For example, a then song can consist of many sentences, because the then master only tells the story (monologue) and is not bound by time and whether or not the partner can improvise.
The hierarchical relationship (inclusion) in Tay folk songs can be generalized through the following table:
Table 2.1. Hierarchical (inclusive) relationships in Tay folk songs
(Note: the singular superlative includes the plural sublative)
Level
Glide | Officer | Then | |
Level 1 | gliding | Quan Lang singing | then singing |
Level 2 | - Welcome song - love song - final song - farewell . | - singing challenge - bride welcoming song | song = song = lyrics (commonly called "song") - Roong Huong song - Song of Longing - The song of the Phong Le - The song of the army - Tribute song - The song The Halo Structure… |
Level 3 | - The song of the Wanderer - The song of the Wind - The song " Lượn slập" - The song "Luon xo mjầu" - The song of the Flower Glide - The song of the Wandering - The song of the Wind - The song of the drifting ... | - The Song of Praise - Khun song here - The song of Thu Tu - The song of worship - Tuong Xinh song - song of love - Funeral song - the song Rap lua ... | |
Level 4 | song | Quan Lang's lyrics | |
Level 5 | glide | Quan Lang singing section | then song |
Level 6 | song | Quan Lang's song | then song |
Maybe you are interested!
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Characteristics of lyrical folk song structure - 12 -
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Identifying Vietnamese folk songs from 1945 to present - 4 -
Teaching Dong Anh Folk Songs to vocal music students of Thanh Hoa University of Culture, Sports and Tourism - 1 -
The Confucianism adaptation in Vietnam through proverbs and folk songs - Vietnamese folk songs - 3
2.1.2.2. Structure of Tay folk song texts according to successive relationships
Successive relationship is the arrangement according to equal correlation (successive in time) in a level of folk song text organization. This relationship creates structures (As mentioned above, in the following, the thesis uses the term structure when referring to the relationship between adjacent pairs in folk song texts, mainly paragraphs and turns of words).
Considering each level from the song to the verse, the text structure according to the successive relationship of Tay folk songs is relatively rich. Specifically:
- The song can consist of several stages.
- A song can consist of several songs .
- The song may consist of several lyrics .
- Lyrics may consist of several verses.
- The song can consist of several verses .
Example of succession: The songs in the Quan Lang stage usually take place in succession:
Khuc Tuong xinh (inviting): offering water, offering tobacco, offering betel; Khuc Nop thap le (paying gifts, checking gifts);
Love Song (presented to the founder);
Khuc Loi Tang (worshiping ancestors): worshiping ancestors, paying respect to birth, worshiping relatives;
Khuc Rap lua (welcoming the bride): asking for the bride, welcoming the bride, giving and receiving gifts, congratulating, saying goodbye;
Khuc Le Pu Gia (ceremony to pay respect to parents-in-law)...
Finally, one or several lyrics can be expressed in units of different levels, or include these levels (for example, when the whole song is sung by only one person, that is, one lyric - then singing).
The following are notable types of structures (in songs, lyrics) in Tay folk songs:
1/ Structure in the song:
In Tay folk songs, the most notable thing is the structure in the song (created by the lyrics), because in addition to the meaning of the exchange, it is also related to the situation and purpose of the song, related to the exchange or monologue event. Examining the structure in the song is to show how the lyrics in the song are organized. Based on the nature of the turn-taking, this structure is divided into three forms: one-way structure, response structure, and intermediate structure.
Table 2.2. Structure in Tay folk songs
Folk music
Structural form | Total number of songs | Ratio | ||||||
One way | Response | Intermediary | ||||||
Number song | Ratio | Number song | Ratio | Number song | Ratio | |||
Glide | 6 | 35.3 | 11 | 64.7 | 0 | 0 | 17 | 100 |
Officer | 5 | 45.5 | 6 | 54.5 | 0 | 0 | 11 | 100 |
Then | 10 | 62.5 | 0 | 0 | 6 | 37.5 | 16 | 100 |
Total | 21 | 47.7 | 17 | 38.6 | 6 | 13.6 | 44 | 100 |
a. One-way structure
A one-way structure consisting of a single verse sung by one person.
One-way structure occupies the most position in Tay folk songs: 21/44 songs (47.7%).
In Then, there are 10/16 singing verses (62.5%), this is a typical structure in chants and prayers - the singing verses play the role of the soul of Then worship. A typical example of this structure is the Then Sac cap verse at the Dang Then Festival . The Master ( Say) solemnly reads the decree in front of the altar with the witness and listening of many participating members (supernatural forces: gods and soldiers; human forces: Then master, family members, relatives, villagers) without any response. All of this contributes to creating a Then festival full of sacredness, real but unreal, unreal but real. For example, the Then master sings:
...The sound of the most sacred treasure, whether good or bad, pure and clean, saving lives and saving the dead, expelling evil and banishing ghosts, saving people and saving the world. Each sect has its own supreme three positions. The Wu Gong has made the great god awake. The most sacred form...
The deputy messenger, disciple (Hoang Phap Tu) received the edict by law.
The year (Tan Ti) of the year (eleventh) of the month (sixth) is auspicious, then the deputy will be in charge...
(Chinh Nhat Thanh is the spiritual treasure, whether in good or bad, the vegetarian spirit helps the living and the dead, expels evil spirits, saves people and saves lives, all matters are reported to Thai Thuong Tam Thai. I am the Governor of the province, officially everything is like that...
There is a message for the disciple (Hoang Phap Tu) to receive and clarify according to the rules.
Thai Tue year (Tan Ty) month (Eleventh) day (sixth) hour of the day of the month, issued a message to execute...) [NL1, p. 502 - 503]
In the Ky Yen ceremony, wishing and opening the Roong Huong song is the opening voice of Then:
Remember... remember... Oh... oh... oh... Oh...
Oh…ah…oh…Oh… Remember…
The first thought trains the price of tolerance and modesty.
(Remembering...Remembering... Oh...oh...ah... Oh...oh...
Oh…ah…oh…Oh… Remember…
Please invite superiors
There is a convenient song, please come.
The dispersion of identity
The incense burner welcomes the Buddha... The humble receive the same heart and mind thanks to the Buddha's virtue and magic... The swallow nest receives the petition...
superior grade
Incense has been burned
I would like to thank you all.
Heaven allows to offer to the altar of Sakyamuni. Please come down here to receive the petition...)
[NL1, p. 327]
The one-way structure is usually chanting, performing, sending off the gods and ancestors to the sacred place, sometimes praying, praising, telling stories, and sharing feelings by the shaman from the beginning to the end of some songs without any response.
In Luon, the one-way structure is only in 6/17 Luon songs (35.3%). This type of structure is the confession of feelings, moods, confessions..., when sung, there is no need for response; sometimes it is the telling of the summary of production experience... For example, the young man sings:
… No need to skewer the xo mjầu, the xo mjầu is so thirsty that it takes a long time to be full. The noodles are so delicious, please serve the fish.
The old man was very rude and disrespectful, and he was very rude and disrespectful...
(…I am the one who asks for betel from thousands of miles away, asking for betel from the innocent girl.
If you love me, please come and thank me. You must be from another country and have good fortune.
Love deeply thousands of miles away)
[NL3, p. 384]
The following narrative lyrics describe natural scenery and daily life, but also explain the reason for their meeting:
…A little bit of travel in the rainy season brings back the homeland. Paya na luc cha add more work to the journey
Confused but you see, my friend, the rhyme is so sad.
The season of hardship is over, the season of hardship is over. The season of hardship is over
The tornado was so severe that it shook the earth. The tectonic plate was so far away that it shook the earth. The shock of the season lasted for a long time.
(…April is the month of the rainy season. Going to the fields to pull up rice seedlings and do housework. Work is messy, waking up immediately missing friends. Wishing to see new friends, I won't be sad.
May is the month of plowing and planting. When the rice seedlings are pulled out, the sky turns dark.
The sky turned dark after the rice seedlings were pulled out.
If only the sun would shine forever June is the month of cultivating
The slingshot cage is upside down. The stubborn friend is stubborn. The single lieutenant colonel is upside down.
Bow your head to the ground, hat mixed with dew
You have a hill that weeds quickly.
Leaving me alone in the fog…)
[NL3, pp. 432 - 433]
One difference in the one-way structure in the loop, then and quan lang is: If
As in then and quan lang, a song is sung only by the then teacher, or quan lang and pa me , in luon, there is a continuous luon style , where the male/female sings a section first, then the female/male sings another section, singing the next section one after another until the end of the section and then moving on to another section. The side that cannot sing the correct sequence is considered the loser. In fact, this is not a call-and-response (or dialogue), but still follows a one-way flow.
In Quan Lang singing, the one-way structure is used most in the wedding song, with 5/11 songs (45.5%). A series of lyrics and verses are led by Quan Lang from beginning to end without any response. These are the request to open the door, the Quan Lang's request to allow the groom to pay respect to his ancestors, introduce himself to his grandparents, parents, relatives, and wishes for the couple's happiness... For example:
After overcoming the challenges set by the bride's family from the time they entered the gate until they reached the stairs, the groom's family asked to open the main door. The mandarin sang:
The season of the swallows is coming, the family is coming, the swallows are coming home, especially the noodles are quickly offered, Sloong is the offering to the ancestors, the spring swallows are bound by vows, I am here to make a vow
Sle mèng bjoóc sloong is the meeting place. The rainy season is near the bed anymore...
(I would like to inform you about the family of the mandarin. The number of swallows entering the house is a metaphor. First, there is a gift to offer. Second, there is a presentation to the ancestors.
So that the spring swallows can become a pair, so that butterflies and bees can meet in two places.
I would like to say to the elders in the upper bed…)
[NL4, p. 34]
The above song is just a request to the bride's family to open the door to present gifts to the ancestors, with the final wish that "the two of you will be married". The bride's family responded by opening the door.
The mandarin sings in praise of the parents' hard work in giving birth, raising, and educating them, and the care of their uncles and relatives, thereby advising the groom and bride about morality. This advice requires no response:
...The time to stir-fry the noodles is now.
The pain of carrying a child for ten months is immeasurable. I am so grateful that I can't repay it. I am so grateful that I can see my daughter repaying my kindness...
...Chén nam nay respectfully offers his thanks, especially for the great efforts of the Pua ngang slay om da um tai Chén nam nay.
b. Response structure
(…The mother's announcement is as high as a mountain
I'm married now.
Mother's labor of carrying the child for ten months, I can hardly repay that favor
There is a gift from the son-in-law.
On behalf of the daughter, I repay her kindness...)
[NL2, pp. 162, 164]
(…This cup of water is offered to thank you first, my uncles and aunts.
When I was little, you helped me carry flowers on my back. I respectfully return this cup of water...)
[NL4, p. 59]
The dialogue structure consists of two or more turns of words (forming pairs) interacting with each other, with two subjects performing actions together. This structure is found in luon and quan lang singing, and is not seen in then singing. This structure is the second most used in Tay folk songs, with 17/44 songs (38.6%).
As mentioned, luon is a form of male-female love song. In the 17 songs surveyed, 11 songs (64.7%) used this structure, in all three singing stages: invitation, confession, and farewell. The song can be considered a dialogue, ensuring that it follows certain conversational principles, with each side using a way of organizing language to achieve their purpose. For example:
At the beginning of the ride, the host - the guy - invited the guest - the girl to ride:
Advice for the Pig season, the rain will fall on the fields. Lin la lin slip sloong rain will fall.
Slip la slip la again, slip la pan, slip the price section, when the contract is signed, the contract is closed, when the contract is pushed back, it's real
Now the moon and flowers are playing.
(Advice to you, girls from other villages: Play from the age of twelve onwards. If you want to flirt, flirt from the age of fifteen onwards. At the age of twenty, you will be a bride.
At that time, the promise of love was just an empty promise. When I think back, it was a loss.
Now is the time to play (The moon is blooming)
[NL3, p. 171]