Sinhala folk music : its vocal traditions and stylistic nuances

Abstract

This research presents the role and characteristics of vocal improvisation in Sinhala folk music, the music of Sri Lanka. This study examines the vocal nuances and expressions of Sinhala folk and identifies the idiosyncratic nature of vocal improvisation and how it is applied in Sinhala folk music. Considered a dying art form by practitioners, scholars, nationals and expats interviewed during this research, Sinhala folk music is scarcely practiced yet holds the key to the nation's musical identity. This study investigates the philosophical and social influences on Sinhala folk music in a historical sense and observes its purposes and practices. The research presents an analysis of a traditional folk song Nelum Gee with respect to specific vocal improvisation and expressive techniques. The introduction gives an account of my Sri Lankan and Western cultural heritages by detailing my ancestry, migration and educational experiences which continue to inform the music making practices I am currently exploring and engaging in. Chapter 1 highlights various definitions of improvisation in several styles of music including Sinhala folk and the diverse applications of vocal improvisation that include but are not limited to ornamentation of melodies, rhythmic displacement and phrasing, scats singing and free improvisation. Chapter 2 travels through the influence of Theravada Buddhism on Sinhala folk music and its conservative outlook on the arts, the acceptance and application of drumming in various contexts and accompanying instrumentation used in Sinhala folk. Chapter 3 observes the disbanded social ranking of the Sinhalese caste system with a particular focus on the Berava caste from which traditional dancers and singers originated from. Chapter 4 addresses specific vocal nuances observed in Sinhala folk music in reference to improvisation techniques, vocal delivery styles and intonation. It also looks at Buddhist chanting styles and the application of chanting styles to contemporary music. Comparisons are drawn between Hindustani, Canartic and Sinhalese singing styles. Chapter 5 presents an overview of Sinhala folk music singing styles and contains personally transcribed and analysed examples of each category. Chapter 6 provides an in depth analysis of two transcribed excerpts from two recordings of traditional Sinhala folk song Nelum Gee. One is a studio recording and the other is a personally recorded live version of the same song, both interpreted by Sinhala folk music artist Chandrakanthi Shilpadhipathi. The excerpts have been personally transcribed and critically analysed in relation to significant contemporary vocal improvisation techniques such as rhythmic placement, melodic ornamentation, expression techniques and syllabic ornamentation techniques. The findings have been documented in music notation and various tables. The conclusion addresses the reasons Sinhala folk music is considered a dying art and the current attempts at preservation. The conclusion also presents the successes and difficulties experienced in fusing elements of Sinhala folk into Western compositions.