Indo-European musical idiom and Indo-European ethnogenesis
Comparative analysis of the main rhythmic patterns of songs with expressive ritual functions from various ethnocultures using Indo-European languages. A fundamental characteristic of the main stable rhythmic sequences preserved mostly in clauses.
| Рубрика | Иностранные языки и языкознание |
| Вид | статья |
| Язык | английский |
| Дата добавления | 27.02.2023 |
| Размер файла | 296,2 K |
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As shown in a number of publications (Tuck, 2006), until now, in Northern India and Central Asia, mnemonic songs have survived. Their rhythm and tonality are responsible for drawing up a specific pattern of woven carpets. At the same time, direct hints have been preserved in ancient Greek and ancient Indian monuments that a woman not only sings for her pleasure while weaving but in this way reproduces a certain patterned rhythmic pattern (Tuck, 2006: 541, 543). Cf. (Goshovskiy, 1971: 41). This is a direct correlate to the “fabric of song” formula preserved in many Indo-European traditions and the very traditions of making patterned fabrics (Barber, 1975; 1991; 1996).
Verification of Received Data: Prosodic Structure of Sentence
Further, the folklore verse does not know the transfer of a part of the sentence to the next line (enjambement). Thus, a song line (musical phrase) corresponds to a syntactically complete sentence (despite the fact that both architectonically, in the place of the hierarchy of sign systems, they are correlated - Goshovskiy, 1971: 17, 18), and from the point of view of intonationally and harmony it is a complete musical phrase. It is entirely legitimate to postulate the same for the Indo-European period since there are enough examples from the living Indo-European folklore traditions and from the archaic stages known from the written monuments of antiquity.
Thus, when considering the linguistic conditions in which they could later crystallize into stable musical rhythms of clausules, one should resort to the reconstructed Indo-European syntax and accentology. They can answer what words and with what accent paradigms could occur in the final position of the sentence (which strictly coincides with the song line).
According to many researchers (Lehman, 1991: 5, 9, 13), the original word order in the Indo-European sentence was SOV, and in stylistically colored speech, it was SVO. P Kiparski believes that there were no cardinal differences between the accent paradigms of the verb and the noun (Kiparski, 1973: 795). However, over time, the typology and accentology of the Proto-Indo-European language changed, and words that were previously rarely used there appeared more and more often in the final position of the line, which gradually led to a complete mismatch of accent positions in the word and in the musical clause.
The whole variety of stress of the daughter Indo-European languages is reduced to two main initial paradigms (Kiparski, 1973: 795):
- fixed stress on a thematic vowel, which we can interpret, with the structure of the Indo-European word "root + thematic vowel + ending", as fully corresponding to the Indo-European clausule and its folklore reflexes 0011/0010;
- mobile, falling either on the root (“root + thematic vowel + ending”, or on the ending, which, according to our observations, completely corresponds to the Indo-European clause and its folklore reflexes 0101/0100.
These two types of stress, called baritona (10) and oksytona (01), permeated the entire morphological structure of Indo-European language, as they marked the difference between nominative / subjective genitive, accusative / objective genitive, locative / dative, active / static verb, active / medial voice of the verb, and athematic / thematic verb, as well as a whole series of other essential oppositions (Krasukhin, 2004: 347).
Thus, the data of ethnomusicology directly correlate with the data of comparative-historical linguistics, since 1) according to several researchers (Krasukhin, 2004; 353), dynamic stress has evolved into musical stress; 2) the rhythm gradually gave rise to a melodic pattern (Kharlap, 1972; Goshovskiy, 1971). That is, the evolution of musical stress and the development of melody can be considered, if not as parallel, then at least as convergent phenomena that influenced the prosodic structure of the word ensemble.
It was precisely the melody that acted as a mediator between the quantitative and dynamic stress and meter: having crystallized under the influence of the quantitative verse, it transferred the same sequences of strong and weak beats to the ictus verse. After all, most of the long vowels of daughter Indo-European languages are of late origin, and therefore their coincidence with musical material can shed light on the initial stage of their formation in the common Indo-European language, where they could be associated with the musi- cal-intonational contour of the phrase. Thus, melody acted as the keeper of a more ancient linguistic state, a bridge between different eras of language development.
As it follows from this, persistent tunes were the missing link that was lacking to explain the phenomena of retention of metric patterns in spite of the evolution of the phonetic system of the language.
In a real speech, verbal stress is most clearly recognizable when it coincides with the phrasal one. That is, folklore singing preserved not only the ancient form of poetic speech but speech in general.
Conclusions
We compared the traditional ritual song of the East Slavic peoples with related Indo-European traditions (Albanian, Armenian, Ancient and Modern Greek, Tajik, Indian, and others) and the music of neighboring non-Indo-Euro- pean peoples. Thus, it was possible to discover the specifics common to all Indo-European traditions and clearly distinguishing it from the cult music of non-Indo-European peoples.
These affinities may be traces of the Indo-European musical idiom, another cultural complex inherited from the Indo-European era, along with language, mythology, and material culture. Comparisons of the ritual tunes of the Indo-Europeans with the folk music of other peoples of Eurasia and the world made it possible to offer another argument in favor of the ethnic two-component nature of the Indo-Europeans: in the most ancient layer of their ritual tunes, parallels are traced with the Finno-Ugric and Kartvelian songs, and with the latter, it is the songs associated with rituals that are similar, including agricultural ones. This fact can speak about the origins of Indo-European agriculture.
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