History of Lullabies Music Report

“Sing Me to Sleep” A History and Analysis of Lullabies from Around the World A thesis submitted in partial fulfillment of the requirements for graduation with Honors in Music. ________________________ ii Table of Contents Abstract .............................................................................................................................. iv “Sing You to Sleep” Senior Lecture Recital Program ........................................................ 1 Substantive Paper ................................................................................................................ 2 References ......................................................................................................................... 16 iii iv “Sing You to Sleep” Senior Lecture Recital Rachel Evered, mezzo-soprano Jan Roberts, piano Sunday Nani, nani March 8, 2020 Chism Recital Hall 3:00 p.m. Romanian lullaby from Oltenia Angels Through the Night: arr. Philip Kern (b. 1957) All Through the Night/All Night, All Day  Nana Manuel de Falla (1876-1946) American Lullaby Sleepsong Wiegenlied Gladys Rich (1892-1972) Rolf Lovland (b. 1955) and Brendan Graham (b. 1945) Johannes Brahms (1833-97) Goodnight, My Someone Meredith Willson (1902-84) from The Music Man Thula Baba South African Zulu lullaby Please turn off all electronic devices. If you must leave before the conclusion of this recital, please do so during applause. Substantive Paper Lullabies exist in nearly every culture in the world. Known as “cradle songs” (Strettell & Harding, p. 6), the origin of the word lullaby is fairly intuitive-- “lull”, as in to soothe, and “bye”, the classic farewell. Another theory that has been linked to the origin of the world lullaby comes from Hebrew folklore. “Lilith” is a character in Hebrew folklore who was said to steal children away in the night, and “Lilith-Abi” literally translates to “Lilith be gone” (Metzger, p. 320). This theory aligns with the history of lullabies and night-time prayers used as charms to ward off evil spirits. This provides historical context for the common lyrical emphasis on protection and guidance. This theme, as well as themes of peace, relief, social and political stresses, and religious symbols, connect these specific and beautiful songs cross-culturally. Lullabies are connected not only thematically, but often musically, with rhythmic and melodic similarities. This paper will explore several selections of lullabies from different countries that exemplify the range of musical and contextual variety, while making connections about the key elements of the genre crossculturally. History of Lullabies The earliest transcribed lullabies were found etched on a piece of Babylonian clay and dated as far back as 2000 BC. These songs, written in Hebrew in what is now present-day Iraq, narrated by a caretaker, describes a scene in which God is angry and threatening towards a baby who has woken up the world by crying. The imagery is particularly dark, and is the basis and first example in a long line of lullabies with dark thematic underbellies. In his essay “On Lullabies”, Federico Garcia Lorca wrote “the cradle song was invented by poor women burdened with children, a cross often too heavy 2 for them to bear. Each child, instead of being a joy is a sorrow, and, naturally, they cannot help singing, despite their love, of their weariness with life” (Lorca, p. 2). This theme will continue to be explored through analysis of lullabies from different parts of the world and eras in time. Traditional Lullabies As aforementioned, lullabies have melodic and rhythmic similarities. The most common rhythmic similarity is the time signature-- more often than not, lullabies are in ¾ time, like a waltz. This allows for the songs to have a sort of rocking motion, ideal for cradling someone to sleep. “Nani, nani”, a traditional lullaby from Oltenia, a southern region of Romania, is often sung a cappella in ¾ time, and repeats lyrical and melodic themes throughout each of the three verses (Kozlovsky, 2018, pp. 70-71). Below is the traditional Romanian text followed by the English translation, which demonstrates the repeated lyrics. Nani, nani, puiul mamii, Nani, nani, your mother’s little baby Nani, nani, puiul mamii, Nani, nani, your mother’s little baby Puişorul mamii mic, Tiny baby of thy mother Facete-ai, maică, voinic. I wish you be strong Nani, nani, puiul mamii, Nani, nani, your mother’s little baby Nani, nani, puiul mamii, Nani, nani, your mother’s little baby Frumuşel şi voinicel, Cute and strong Mândru ca un stejerel. Proud as a young oak Nani, nani, puiul mamii, Nani, nani, your mother’s little baby Nani, nani, puiul mamii, Nani, nani, your mother’s little baby Puiul mamii, puişor, Baby of thy mother, tiny baby Dormi, puiule, dormi uşor. Sleep my baby, peacefully sleep 3 “Thula Baba” is a traditional Zulu lullaby from South Africa. This lullaby features syncopated rhythms and a beautiful and simple melodic line. The song is narrated by a mother singing to her child while the father is away from home, and she laments about the beautiful and changing world (Porter 2001, pp. 3-12). Thula thul, thula baba, thula sana, Keep quiet my child Thul'u babuzo ficka, eku seni. Keep quiet my baby (repeat) Kukh'in khan-yezi, zi-holel' u baba, Be quiet, daddy will be home by dawn Zim-khan yi-sela indlel'e ziyak-haya, There's a star that will lead him home Sobe sik hona xa bonke be-shoyo, The star will brighten his way home Be-thi bu-yela u-bu-ye le khaya, The hills and stones are still the same my love Thula thula thula baba, My life has changed, yes my life has changed Thula thula thula sana, The children grow but you don't know my love Thula thula thula baba, The children grew but you don't see them grow Thula thula thula san “Thula Baba” is sung as an intimate lullaby today, in its traditional form, but it has also become a common choral piece performed in the southern regions of Africa. In this context, the piece is performed as a joyful and energetic song, demonstrating the range of emotional potential elicited from lullabies. This variety of performance highlights that how one sings a lullaby can determine the emotional reaction of the singer and the receiver. Lullabies can elicit feelings of calm serenity, joy, sorrow, or relief. These sentiments are expressed through lyrics, but also through the energy with which one performs the songs. In Spanish culture, traditional lullabies are upheld as a pillar of cultural expression, particularly as expressions of women’s voices over time. Manuel de Falla was born in 1876 in Cadiz, Spain. During his childhood, his mother (also his first music 4 teacher) would sing him lullabies to get him to fall asleep. He went on to become one of the most renowned composers in the history of Spain, and in his famous set of popular Spanish songs, “Siete canciones populares españolas”, he chose to set “Nana”, an Andalusian lullaby sung to him by his mother in his youth (Christoforidis, 1995, pp. 312). The choice to arrange and publish this arrangement increased accessibility of this traditional lullaby and by proxy, the influence of women’s voices in Spanish society. The piano and vocal lines are offset, creating a complex melodic texture that emphasizes the traditional Spanish syllable stresses. This piece has 2 beats per measure, but the melody line is primarily comprised of triplets, as shown below (Fig. 1). There are moments in the score where de Falla has written “mormorato”, meaning “whisper”. This element mirrors the way that a caretaker would naturally quiet down as a child falls asleep to the sound of the music. De Falla incorporated dynamic markings and emphases that would have been used naturally by his mother when she would sing to him in his youth. The piece is dramatic, but also delicate and true to the traditional lullaby. The translation is as follows: Duérmete, niño, duerme, Duerme, mi alma, Duérmete, lucerito De la mañana. Go to sleep, Child, sleep, Sleep, my soul, Go to sleep, little star Of the morning. Nanita, nana, Nanita, nana. Duérmete, lucerito De la mañana. Lulla-lullaby, Lulla-lullaby, Sleep, little star of the morning 5 Figure 1.“ Nana” (de Falla, m. 10-13). This selection demonstrates the frequent use of triplets and other note values of three, emphasizing the rocking sensation (Christoforidis, 1995, p. 5). “반달” (Pan Tal), or “Half Moon”, is a traditional folk song from South Korea. The song follows a simple melodic line in 6/8 time, with imagery referencing a calm body of water and the stars in the sky. This time signature is another common one within the genre, as it provides a waltzy, gliding movement. The song is very hopeful, with the concluding line depicting “the beacon light of a new dawn” (Yannucci, 2020, p. 2). Below is the sheet music, demonstrating the simple and beautiful melody (Fig. 2). Figure 2. “반달” -(Pan Tal) (Yannucci, 2020). This South Korean folk song has two melodic sections, both simple and elegant, emphasizing the ease and buoyant lyrics of the piece. 6 The “American Lullaby” Lullabies are often thought of as serving the receiver of the song, but the act of singing a lullaby can be therapeutic for the singer as well. The lullaby is a safe emotional outlet for a guardian, an opportunity to express oneself to a neutral and passive party. This explains why so often in lullabies, the content explores themes of fear and grief, even death. “Rock A-Bye Baby” is a prime example of this-- “if the tree breaks, the cradle will fall” has been interpreted by musicologists as a metaphor for parental anxiety. “American Lullaby” composed by Gladys Rich in 1928, exemplifies the implementation of cultural relevance and themes into lyrical and rhythmic elements of the genre. Composed just before the Great Depression, “American Lullaby” is narrated by a house-nurse who watches over a baby while the parents are busy maintaining their own lives. The lyrics are as follows: Hush-a-bye you sweet little baby and don’t you cry any more. Daddy has gone to his stockbroker’s office a keepin ’the wolf from the door. Nursie will raise the window shade high, So you can see the cars whizzing by. Home in a hurry each daddy must fly To a baby like you. Hush-a-bye you sweet little baby and close those pretty blue eyes. Mother has gone to her weekly bridge party to get her wee baby the prize. Nursie will turn the radio on So you can hear a sleepy-time song, Sung by a lady whose poor heart must long 7 For a baby like you Both verses touch on the impersonal nature of upper class family units during this period in time, and how the caretaking fell to hired help. This song is somewhat tonguein-cheek, but ultimately addresses themes of longing for closer relationships and the emotional hardship of absentee parenting on all parties involved. Gladys Rich truly demonstrates that “the words of the lullaby can instil cultural values or incorporate the fears of the parent” (Porter, p. 2). Rich expands on this sentiment with the inclusion of non-parental caregivers, whose relationship with a child can also bear significant value. Musically, “American Lullaby” is in cut time, with four beats per measure. However, the piano line contains clusters of three eighth notes, as seen below (Fig. 3). Similarly to de Falla’s technique in “Nana”, Rich uses other rhythmic elements besides time signature to effectively achieve the swaying or rocking sensation of a lullaby. Figure 3.“ American Lullaby” (Rich 1929, m. 4-6). The above selection demonstrates the repeated pattern of three eighth notes in the right hand of the piano accompaniment. Johannes Brahms Johannes Brahms published his iconic lullaby, “Wiegenlied,” in 1868. Also known as “Brahms’s lullaby,” this piece is the perfect example of the quintessential Western lullaby. It is, again, set in ¾ time, but Brahms emphasizes the rocking motion in a unique way. The two lines of the piano when played together create a syncopated 8 rhythm, beginning with the eighth note pick-up (seen below in Fig. 4).The rhythmic complexity is compounded when the vocal line is added, and the melody and accompaniment interweave in such a way that requires great concentration on the part of the performers; yet, to the audience, the piece flows smoothly and effortlessly. There is an elegance that Brahms creates through his intentional dynamic markings, rising to mezzo-forte with the cadences and a lovely diminuendo to pianissimo as the song draws to a soft conclusion. Brahms wrote this piece as a gift to his friend Bertha Porubsky to congratulate her on the birth of her second child. It is said that Brahms was in love with her in their youth, and wrote “Wiegenlied” with a secret counter-melody to a song called “S’is Anderscht” that she would sing to him when they were children. This may account for the loving and affectionate tone of the lyrics. There may be additional motivation for the lullaby’s composition, as it is also rumored by researchers that Brahms suffered from obstructive sleep apnea-- a condition that has recently been shown to improve with the implementation of music therapy (Margolis, 2000, pp. 210-213). Perhaps Brahms detected this within himself and was driven to compose music that would aid in reducing his own physical symptoms. Here is the original German text, translated to English. Guten Abend, gut' Nacht, Good evening, good night, mit Rosen bedacht, With roses covered, mit Näglein besteckt, With cloves adorned, schlupf unter die Deck': Slip under the covers. Morgen früh, wenn Gott will, Tomorrow morning, if God wills, wirst du wieder geweckt. you will wake once again Guten Abend, gut' Nacht, Good evening, good night. 9 von Englein bewacht, By angels watched, die zeigen im Traum Who show you in your dream dir Christkindleins Baum: the Christ-child's tree. schlaf nun selig und süss, Sleep now blissfully and sweetly, schau im Traum 's Paradies see the paradise in your dreams Figure 4. “Wiegenlied” (Brahms, 1868, mm. 1-6). This selection of the score demonstrates the eighth note pickup at the beginning of the song, which activates the rhythmic complexity of the piece. The Modern Lullaby “Goodnight, My Someone”, by Meredith Wilson, is an iconic modern lullaby from the 1957 musical hit The Music Man. There are many moments, both rhythmically and melodically, in the song following the traditional form of a lullaby, although in context, it is about a woman longing for romantic love. Marian The Librarian serenades the audience in ¾, with a lilting and repetitive melodic theme. While this is directly about romantic love, she is also featured by a child in the film adaptation, reminiscent of the mother-child traditional lullaby (Willson, 2012). 10 This piece contains musical themes that are reminiscent of Brahms’s “Wiegenlied.” Rhythmically, both of the pieces are in ¾ time and have a continuous quarter note pulse that emphasizes the rocking motion (see Fig. 4 and Fig. 5). In both lullabies, the melody starts on the third beat of the measure-- this provides forward movement in both pieces. “Goodnight, My Someone” deviates from the form of other lullabies explored in this paper in its B section. Beginning with the lyrics “True love can be whispered from heart to heart…,” (“C” in this score, Fig. 6), this section modulates from C major to F major. The piano part becomes more complex and the tempo increases, eliciting a feeling of excitement for the performers and the audience. At the end of this section, the original theme returns and the piece finishes in the tonic key, and at the original tempo. This variation in harmonic content and tempo highlight the key differences between this lullaby and the others explored in this paper, as this section is a lively interjection that suits the romantic context of the piece. Willson balances the gentle melody with the animated B section in a way that creates a pleasant emotional journey for the viewers of the musical, although the variation may not lull someone to sleep as effectively as simpler lullabies. Figure 5.“ Goodnight, My Someone” (Willson, 1957). This selection shows the introduction and beginning of the melody, demonstrating the continuous quarter note pulse. 11 Figure 6. “Goodnight, My Someone” (Willson, 1957). This figure shows the B section of the song, demonstrating the key modulation from C major to F major and the increasing complexity of the piano accompaniment. Another modern lullaby is “Sleepsong”. “Sleepsong”, was written by Norwegian musician Rolf Lovland and published by his duo, Secret Garden in 2005. Lovland and his partner, Fionnuala Sherry, are two-time champions of the annual Eurovision Song Contest. “Sleepsong” highlights concepts of peace, hope, and well-being in the style of an old Irish prayer. This arrangement is written for three vocalists and is itself an example of a lullaby that expands on the therapeutic possibilities of the genre. From time to time, lullabies are sung by more than one person, perhaps both parents or a collection of family members. This completely alters the effect in such a unique and beautiful way, not only 12 for the listener, but also for the singers. Recent literature on the psychology of music has demonstrated that singing in harmony with others is linked to significant cognitive and emotional benefits. There is even some research suggesting that music has evolved as a tool to enhance and strengthen human relationships (Loersch & Arbuckle, 2013, p. 777). People who sing regularly are more likely to have lower cortisol levels than those who don’t, which directly links to decrease in stress levels (Horn, 2013, p. 1). This research has also shown that vocal quality and musicality make no difference when it comes to the health benefits of singing, therefore emphasizing the accessibility of this stress-reducing habit. Therapeutic Benefits of Lullabies in Action As the relationship between music and the human body is explored by music therapists and psychologists, the influence and importance of this specific musical form is expanding beyond cultural continuation and interfamilial connection. At the Louis Armstrong Center for Music and Medicine, research has demonstrated lullabies successfully used as therapeutic tools to lower stress levels, increase sleep quality, lower depression in adults, and lower the risk of complication with medical interventions (Loewy et al., 2005, pp. 2-3). This research and the research of music therapists around the world inspired a movement at Carnegie Hall called the Lullaby Project. The mission statement, which is highlighted on the webpage of the organization, here follows: The Lullaby Project pairs pregnant women and new mothers and fathers with professional artists to write and sing personal lullabies for their babies, supporting maternal health, aiding child development, and strengthening the bond between parent and child. In New York City, the project reaches parents in healthcare 13 settings, homeless shelters, high schools, foster care, and correctional facilities. Extending across the country and around the world, the Lullaby Project enables partner organizations to support families in their own communities (Berg, 2018, pp. 234). The mission of the Lullaby Project ties together this genre with elements of music therapy. Music therapy is an evidence-based therapeutic tool that utilizes trained music therapists, patients, and instruments to achieve concrete medical goals. A music therapist may do something like saving a baby from cardiac arrest by slowly playing a drum set at a certain pitch until the baby is responsive and their heart rate normalizes, or play melodies for and with Alzheimer's patients that aid in memory recall. This field is growing and changing every day, with recent research being conducted on the effects of music therapy on decreasing the effects of PTSD in veterans, enhancing social skills in children with autism. In Limerick, Ireland, a group of researchers explored lullabies as a means of reducing prenatal stress, and found that singing lullabies during pregnancy had significant physical benefits for both the babies in utero and the pregnant mothers (Carolan et al., 2012, p. 323). Lullabies are an extremely powerful musical tool that humans have developed out of a desire to bond with one another, soothe others, and soothe ourselves. Music has such a wide breadth of possible manipulations, and it is clear that lullabies are an extremely useful manifestation of the desire to combine music with physical, emotional, and mental well-being. While lullabies take many shapes, they are tied together by their unique ability to bring comfort and peace to anyone willing to make their voice heard, even if only to 14 themselves. Research about lullabies and their connection to the human body and mind is exposing a world of hope for parents, children, and those in need across the globe: a beautiful result of cherishing and repeating simple songs sung by parents over four thousand years ago. 15 References Berg, G. (2018). Hopes & Dreams: The Lullaby Project. Journal of Singing, 75(2), 234236. Christoforidis, M. (1995). Manuel de Falla, Debussy and La vida breve. Musicology Australia, 18(1), 3-12. Carolan, M., Barry, M., Gamble, M., Turner, K., & Mascareñas, Ó. (2012). The Limerick lullaby project: an intervention to relieve prenatal stress. Midwifery, 28(2), 173180. Horn, S. (2013). Singing changes your brain. Retrieved from: TIME. com—http://ideas. time.com/2013/08/16/singing-changes-your-brain/# ixzz2sKdbvXxH. Kozlovsky, M. (2018). The Functionalism of Morphological Elements in the Cipan Aromanian Lullaby “Dornji scumpul ali mani”. Învăţământ, Cercetare, Creaţie, 4(1), 69-77. Loersch, C., & Arbuckle, N. L. 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