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“TRAVELLING
FROM MY ORIGIN
TO MY PASSION”
Lyncia Pivert
MMus. in Contemporary Studio Performance candidate
Culminating Experience
Berklee Valencia July 2014
1
TABLE OF CONTENT
1. Introduction
3
2. About me
3
3. My origin: French Guiana
4
3.1.
Geographically
3.2.
History and population
4. Creole music in French Guiana
6
4.1. Definition and evolution of the word “creole”
4.2. Creole music
4.3. Creole rhythms
5. My passion: Gospel music in United States
9
5.1. Definition of Gospel
5.2. Context
5.3. “Negro Spiritual” and “Gospel song”: common misunderstandings
5.3.1 Negro Spiritual
5.3.2 Gospel
6. Gospel music/Creole music: Similarities, differences and connection
11
6.1. Similarities
6.2. Differences
6.3. Connection: How to bring them together
7. Berklee Valencia
12
8. My project
13
9. Repertoire explanation
14
9.1. Song 1: “Jesus Will” by Anita Wilson
9.2. Song 2: “Tiens bon” by Christophe Bazabas
9.3. Song 3: “Pa lagué mo” by Lyncia Pivert
10. Conclusion
19
2
1. INTRODUCTION
-
Concept of the trip:
The idea is to introduce myself as an artist, explain where my personal
musical influences comes from, who I am musically, my background, and
explain the main musical styles that built me.
-
Countries, musical cultures, difference, similarities and connection:
We are going to go to the countries that represent my origin and my passion. I
will describe these countries, discover what musical cultures are in these
countries, show what the differences and the similarities between these musics
are, how to connect them, and what is important to bring them together.
-
At Berklee: My process, my influences, my recordings:
We are returning to Spain in order to explain my year at Berklee Valencia
College of Music: What I found out at Berklee, my musical experiences, my
recording project (the objectives, methodology, resources) with an explanation
of my repertoire.
2. ABOUT ME
My name is Lyncia Pivert, I’m a vocalist and I was born in French Guiana, a
French territory in South America.
I have just earned a Bachelor of Arts in Music in French Guiana and am
currently enrolled in Berklee College of Music’s MA Program in Contemporary
Performance in Spain, which will be finalizing this July.
I attended music training for 10 years at the National School of Music and
Dance in French Guiana. I’ve learned music theory, choral singing, violin and
clarinet. I’ve learned classical music and the traditional music of my country.
3
From my childhood at church I practice praise and worship songs, which led
me to learn Gospel music on my own. When I turned 18; I received gospel lessons
and perfected my vocal techniques. This music is the most important part of who I am
artistically speaking. Because of the gospel influence, I started being interested in r’nb
and soul music; which I now also enjoy.
These various influences permit me to have a rich musical language, but also
to be able today to propose you this journey through these musical elements because
they lead you directly to their country, their home, their history, their traditions and
their roots. So now, please attach and adjust your seat belts, we are approaching our
descent in our first destination: French Guiana.
3. MY ORIGIN: FRENCH GUIANA
3.1. Geographically:
-
French Guiana is in the North-East of South America, between Surinam and
Brazil and constitutes a French territory
-
French Guiana was a colony, discovered in the 1500s by a group of French
colonist that settled there.
-
French Guiana is the smallest of the three Guianas, nevertheless it is the
largest French territory.
-
The official name of this French territory is “Guiana”: The adjective “French”
used in the common name corresponds only to a linguistic accommodation
from the colonial period, when there were three Guianas: British Guiana (Now
Guyana), Dutch Guiana (now Suriname) and French Guiana.
-
It is also the only region of South America where the official language is not
Spanish or Portuguese but French
-
The Capital is Cayenne
4
3.2. History and Population
The conquest and the exploitation of the region that constitutes French Guiana
is part of the world movement affected by the European expansion. European nations
engage for the share of the America by competition without excluding alliances or
conflicts.
French people conquered French Guiana during the 17th century. Their
objectives were politic, economic and religious. The colonialism was about affirming
the power of the French monarchy, contributing to its enrichment and showing
France’s ability to expand the limits of Christianity. This will for power come in
conflict with others Europeans States, especially Spain, Portugal, England, and United
Provinces.
It took more than three quarters of a century (1604-1676) for French colonist
affirm their presence in French Guiana.
Today, French Guiana is a country with a rich afro-Caribbean culture due to
the existing ethnic mix since the colonization area until now and it represents a
crossroad of different populations and consequently different musical traditions.
First of all, we have music of the first inhabitants of French Guiana, before the
arrival of the colonists: Amerindian and Bushi-Nengué music. Amerindians or Indians
from America were considered to amount to around 30 000 before colonialism, but
because of different invasions, sickness and slavery they are currently only 10000 and
represent only 6% of the population. Bushi-Nengués are descendants of Surinamese
slaves, they resisted the slavery, fled the plantations and took refuge to the forest and
kept the living and musical traditions of their ancestors. Now, they live next to the
river “Le Marony” natural border of French Guiana and Suriname.
5
During the colonization, creole music appeared with African slaves, under the
influence of «Colonist » music in the XVII century. Creole people are the result of
interbreeding between old Africans slaves and old European colonist. They represent
60% of the population today.
Laotian, Colombian, Chinese, Cuban and Haitian music came with the
organized immigration to build French Guiana, especially the spatial base to launch
the rockets at the beginning of the XX century. This country is also a border with
Brazil and Surinam (Dutch Guiana), countries that also have a musical influence on
French Guiana.
Nowadays, all these musics are really present in French Guiana but
Amerindian music, Bushi-Nengué music and Creole music are the traditional
Guianese music. Nevertheless, Creole music represent most the traditional Guianese
music because Creole people are the majority of the population in French Guiana, and
Amerindians and Bushi-Nengues live in communities far away of the capital.
4. CREOLE MUSIC IN FRENCH GUIANA
4.1. Definition and evolution of the word “Creole”
-
The term “creole” has two etymologies, Portuguese (crioulo) and Spanish
(criollo) which derived from the Latin word “criare”, which means “ feed,
raise’ or more precisely “ fed servant in the house”.
-
Initially, a person “creole” was someone who was “raised on the spot” that’s
to say, “who is from the country”, as opposite to “a foreigner to the local
culture”.
-
This word was used to designate, above all, the white child born and raised in
the European colonies such as: Martinique, Guadeloupe, French Guiana,
Reunion, Louisiana, etc.
6
-
Thereafter, this term will designate the black population, the “Creole of color”
and therefore, the language of that population, creole.
-
The word creole has been used in the sense in Louisiana for a long time,
where it still is, designating “white creoles”, generally, members of wealthy
families owning plantations.
-
Today, the creole noun is used with various meaning, to describe people, but
especially applies to mixed languages and cultures resulting.
4.2
. Creole music
Creole music comes from two continents:
-
In Europe with the court dances (the minuet, the current) and popular dances
(the motion, the round)
-
In Africa with the dances accompanied by percussions
The characteristics which form the basis of creole musical culture is that the music
concept intimately connects music and dance. Two major categories result: the first
one called “musical”, based on the Western orchestra; and the other one called
“local”, currently referred as folklore, based undeniably on African rhythmic drums.
Both of these categories are used in a purely creole syncretic style inspired by African
and European dances because they were born in a context of the slavery.
4.3.
Creole Rhythms
-
The main ones are:
1) Kaséko: this creole word is a contraction of a French expression “casser le
corps” which means, “The body is breaking”.
This is the name given to the most Guianese popular rhythm, percussion.
The dance that accompanies them is a dance of seduction, became a
symbol of fun, romp with resistance.
7
2) Lérol: This is the rhythm that symbolizes the cultural diversity of French
Guiana. Derived from the French words “les rôles” which means “the
roles”, which are not other than the figures of the quadrille dances,
originally from England that appeared in the XVI century known as the
“square dance” in which the dancers are positioned on two lines.
It has similarities with others Caribbean rhythms: the “Léro” of Puerto
Rico, the “Léro” of Saint-domingue, the “Léwa” of Haiti and the “Léwoz”
of Guadeloupe.
3) Grajévals and Grajé: Composed by the word “Grajé” and “vals” from
the French word “ valse”. The “Grajé” is another Guianese rhythm,
however, despite appearances, these two rhythms are really different.
Drajévals is more linked to the waltz from Europe. Both of them are a
dance performed on a three pieced rhythm, with focuses on circular
movement.
The Grajévals is a graceful and elegant dance, performed with solemnity.
4) Débot: Rhythm and dance intimately linked to the history of gold mining
and Saint-Lucians in French Guiana.
In French Guiana it also called “Dé bo” from the French words “deux
bords” which signifies “both side” because this rhythm favors alternating
of open step on one and the other side. Gestures accompanying the dances
are alternately on each side outward.
5) Béliya: The name Béliya occurs both in French Guiana and Martinique. It
refers in both countries, to a rhythm played with the traditional percussions
and the creole traditional dance that accompanies it.
The existence of the Béliya is mixed with the history of French Guiana and
8
consequently, the slave trade and which has it roots in Africa.
5. MY PASSION: GOSPEL MUSIC IN UNITED STATES
5.1. Definition of Gospel:
-
“Gospel” is an inspiration religious Christian song
-
The term “gospel” is the contraction of “god” and “spell” which signifies
“word of god”. The term “gospel song” appeared only in the 30s
-
“Gospel” style appeared in the early twentieth century, between 1925 and
1985.
-
These songs were inspired by the Bible (mainly the New Testament) and
related to the daily life. Thomas A. Dorsey was the first who composed news
songs and call them “Gospel”. He is considered as being the father of Gospel
Music.
-
Gospel is musically based on jazz and blues, which allows the artists to keep
going to take their inspiration from actual music such as soul music, rap or
R’n’B
5.2. Context
-
The history of this Afro-American music is linked to a terrible reality: slavery,
and the triangular trade in the late 1700s.
-
This is in this context, the first form of this song was born: The Negro
Spiritual
5.3.
“Negro Spiritual” and “Gospel song”: common misunderstandings.
The distinction between “Negro Spiritual” and “Gospel song” correspond to different
historical situations.
5.3.1. Negro Spiritual
9
-
First of all, negro spiritual was born during work execution in the cotton
fields, where Africans slaves performed songs composed spontaneously in a
call and answer format
-
The structure is:
1) The soloist sang a song that was repeated in choir by others slaves
2) Answers could be shout, repetition of words or onomatopoeia
3) Instruments were almost non-existent, except some rustic percussion or
simple hand clapping
-
Lyrics were really inspired by the Old Testament in the bible: the little David,
Joshua in Jericho, Ezekiel’s chariot…
-
These songs could be coded messages only understandable by slaves.
5.3.2. Gospel song
-
Since jazz influenced and transformed spiritual songs in the 1920s, it found an
urban extension in the “Gospel song”, which derives its existence from the
spontaneous assemblies and is accompanied by instruments and also clapping
hands and stomping feet on the ground.
-
“Gospel song” is a religious song that originates in Bible verses, performed in
the Afro-American tradition. “Gospel song” differs from the negro-spiritual by
exclusive reference to the New Testament and its show-influenced nature;
aspect borrowed from the musical and theatre world.
-
It doesn’t stay in the church. Through recordings, and then in concerts, it
became known to a much wider audience than the black congregations where
it was born.
10
6. GOSPEL MUSIC/CREOLE MUSIC: SIMILARITIES, DIFFERENCES AND
CONNECTION
6.1. Similarities:
-
They both are a specific genre of black (Afro-American) music in their own
country
-
They both were born and developed during the slavery
-
They both were an outlet, used as an escape from the very difficult life of the
slaves.
-
They both keep the memory of their own history, and keep it alive, and they
are considered as heritage, as a part of an identity of the black community.
6.2. Differences:
-
They don’t talk about the same story: Gospel is about the words of the bible,
of the coming of Jesus Christ, and creole music in French Guiana talks about
daily life such as: love, pain, happiness or, eventually, sex.
-
Gospel as music hasn’t stopped interacting with other profane music forms,
vocals styles and instruments up until today, but creole music keeps its own
traditions, playing with a same percussion section and maintaining the same
rhythmical forms. Nonetheless, Creole music has been commercialized too;
adding piano and guitar, but the rhythmical form is still recognizable.
6.3. Connection, how to put them together:
We can see that this two music styles share the same historical context, and can be
represented by the percussion. Even if Gospel music uses drum sets and current
instruments, it relates to this aspect through the essence of Gospel music and its first
form (Negro spiritual), were percussion was used to communicate in the fields until
that was forbidden by their masters.
11
Lyrically, a connection can also be made. Creole music talks about every
subject of life whileGospel music, known as a religious music and which means
“good news”, are encouraging songs, something to keep the listener alive, connected
and engaged to survive. Even through most of the lyrics are about bible history, for
the listeners that referred to their own life.
The goals of gospel music have changed with the years. First of all, its aim
was to encourage and give hope to the black people during the segregation, and that’s
why today it is used and related to daily life; not as much as creole song but its paths
join at some point.
7. BERKLEE VALENCIA
At Berklee Valencia, I have discovered essentially jazz, under the influence of
various cultures according to the origin of the student, through the jazz ensemble, and
with my private vocal lesson. I’ve learned how to sing jazz and Brazilian music.
As a matter of fact, the majority of Berklee students have more or less a
thorough knowledge of classic and jazz music. Nevertheless, coming from all over the
world and belonging to different cultures, their countries’ music permits them to give
another character to their own music and give it a well-defined identity.
I have had a certain approach to Latin music such as flamenco, salsa, and
tango with Hispanic students during gigs or performance forum class. Through
diverse experiences, I learned how to coordinate my skills and their knowledge in
rehearsals, in performances, and in studio projects.
It has allowed me to know how to manage and use materials and programs in
the studio and how to adapt myself musically and to feel comfortable with several
different styles and musical backgrounds
12
8. MY PROJECT
For my culminating experience, I chose to create a gospel ensemble, because
gospel is a music that I’m passionate about and I consider it the main musical style
that defines me. This also opens a new opportunity to Berklee Valencia, giving
students the possibility to practice a new musical style which had not been present in
the College.
It also allowed me to develop my skills to lead a ensemble and learn how to
play other styles that my fellow students are not used to playing. Within this
ensemble, we have had all types of gospel music: traditional, modern, and
contemporary. For that, I have prepared a repertoire, established an agenda, booked
days and hours of rehearsal, sent invitations by mail to all participants and verbally
communicated with fellow ensemble members, booked the rehearsal room, made the
equipment choice (music stand, microphone...), set up and prepared my personals
aims for the interpretation, that’s to say, knowing the structure, the arrangement, the
melody, the harmony, and the lyric intent for the ensemble as a vocalists.
On the other hand, I have recorded gospel music combined with several types
of music that I can find in Berklee such as electronic music, jazz, and even with
specific instruments from others countries. Learning about the musical world for me
is a chance to develop my performance and written-composer skills, in order to adapt
as a singer to all types of music, and to find a musical identity in gospel music
13
9. REPERTOIRE EXPLANATION
9.1. Song 1: “Jesus will” by Anita Wilson
-
The first song is a cover of a gospel song with neo soul music influences. I
created a Gospel ensemble during the first semester at Berklee and I wanted to
record a song that we had been practicing to be a part of my culminating
experience.
-
In that song the goals were to do a new vocal background arrangement in
order to give the song a new dynamism, and give it my own artistic touch.
-
I also wanted to show an example of a current gospel song, that way, it allows
the listener to have an idea of what can be done nowadays musically, and I can
better illustrate the other two songs I have selected to record.
-
Harmony: I chose the use of an extended harmony, that’s to say, use scale
based on 7th and 9th chords in place of ordinary triads. The rest of the chords
are based on the originals.
Example: Fm9 – Bb7 – Eb7 -
-
Rhythmically: Instead of a neo soul bounce (which is more laid back, more
relaxed) I choose more a funky rhythm for the band.
The most important rhythmic part is on bar 9 or 25 in the charts for the band,
they all have to play this melodic and rhythmical section together.
-
Melodically: I sing the same melody of the song for the cover.
14
15
9.2. Song 2: “Tiens Bon” by Christophe Bazabas
-
This is an original song composed by my cousin Christophe Bazabas from
Martinique. This is an Afro-Caribbean gospel song with French lyrics. It's
called "Tiens bon" which means "Hold on". This is an encouraging song
basically.
-
In this song I wanted to show the connection that I’ve been talking previously
through the percussion. I wanted to show this historical context shared by
creole music and gospel music and at the same time that I’m always in an
exploration stage with all the approaches that I can receive from the Berklee
students coming from all over the world.
-
This song allows me to create a new arrangement for backing vocal which is
also for me show the Gospel influence
-
Harmony: The harmony is based on:
I – IV – VI – IV
These degrees are considered like the spine of the song; this chord progression
appears obviously and represents the song harmonically. This is a personal
choice of the composer.
-
Rhythmically: This is a creole ballad (inspired by Mario Canonge). To this, I
added an improvised rhythm with a percussion from Greece called “Darbuka”
to give another flavour to the song, and enrich my musical experience.
-
Melodically: I didn’t make any changes to the melody, leaving it just as the
composer created it.
16
17
9.3. Song 3: “Pa lagué mo” by Lyncia Pivert
-
The third gospel song is a composition of mine, “Pa lagué mo” which means,
“Don’t leave me”.
-
The process: First of all, I found the melody and wrote the lyrics in Guianese
Creole. Based on my melody, the jazz pianist Ricardo Curto, transcribed the
chords.
-
At the beginning, I didn’t have the intention to add a backing vocal
arrangement; I really wanted it to sound like a ballad jazz piece and have it
shorter, but I took in consideration advices from production class’s teacher
who wanted to hear “pa lagué mo” again and helped me find a musical
extension to do it.
-
My purpose was to make a Creole Gospel with jazz influences. Adding a
Cajon, another kind of Spanish percussion, it took another step in the
experimental expectation that I have, while also helping make the connection
that I mentioned previously, historical and lyrically, with my musical
background.
-
Harmony: I created a special harmonisation for the backing vocals in the
words “Pa lagué mo”, in order to strengthen the middle of the song.
-
Rhythmically: that’s a ¾ , a back beat, with a little influence of a rhythm
from Spain called “Fandangos de Huelva”.
18
10. CONCLUSION:
What did I learn during this journey?
First of all, I’ve learned how to assert myself as an artist, which means
using all of the musical resources that I had, and that I’ve been working on
during so many years. I’ve learned to give a chance to my creativity in making
my own process; to know how I can make a connection between the music
that I like the most, but also take in consideration history, tradition, beliefs,
and lyrics of those musics that are my tradition. I have learned to take the most
of it to show through my music what really represents me as an artist.
Second of all, I’ve learned to be open and flexible to other styles of
music. Incorporate others instruments, others rhythms, other musical styles
and others languages, which for me, was really interesting and enriching for
my musical knowledge and myself.
Coordinating, organizing, communicating, being a complement in a
team, accepting feedback and criticism to grow and work better was also a
good thing to learn during this journey.
And last but not least, I’ve learned how to improve my skill as a
performer on stage and in the studio. To know how to manipulate Pro tools
and other programs, know which microphone is better to sound good was
really helpful and allowed me to be more independent.
Did that change something in me as an artist?
Yes it definitely did! Now I know more about me as a singer because
I’ve been able to create my own music with my own requirements, but I’ve
also been able to be open and sing other music styles understand their
approach, their reference, their specific technics vocally speaking and I feel
19
that all of those experiences made me grow as an artist and also as a person.
It’s really difficult as a human being to accept changes and I felt that making
this step during this year has been something special and new and it has
changed a lot in me in all aspects.
Do I have new perspective for the future?
Before I got here, the next step for me was to sing backing vocals for
several gospel singers in United States. But now with all the opportunities that
I’ve got through performance on stage, in the studio, and also with the classes
that I’ve been taking (Production class or Economy), I still want to further
develop my professional experience in staying open about my future and keep
exploring music in all its aspects.
20
REFERENCES
Book:
LAM MAM FOUCK, Serge & ANAKESA, Apollinaire. Nouvelle histoire de la
Guyane, Edition Ibis Rouge, 2009
Websites:
-
http://www.lepontsuperieur.eu
-
https://webtice.ac-guyane.fr
-
http://www.kaseko.fr
-
http://www.negrospirituals.com
21
FROM MY ORIGIN
TO MY PASSION”
Lyncia Pivert
MMus. in Contemporary Studio Performance candidate
Culminating Experience
Berklee Valencia July 2014
1
TABLE OF CONTENT
1. Introduction
3
2. About me
3
3. My origin: French Guiana
4
3.1.
Geographically
3.2.
History and population
4. Creole music in French Guiana
6
4.1. Definition and evolution of the word “creole”
4.2. Creole music
4.3. Creole rhythms
5. My passion: Gospel music in United States
9
5.1. Definition of Gospel
5.2. Context
5.3. “Negro Spiritual” and “Gospel song”: common misunderstandings
5.3.1 Negro Spiritual
5.3.2 Gospel
6. Gospel music/Creole music: Similarities, differences and connection
11
6.1. Similarities
6.2. Differences
6.3. Connection: How to bring them together
7. Berklee Valencia
12
8. My project
13
9. Repertoire explanation
14
9.1. Song 1: “Jesus Will” by Anita Wilson
9.2. Song 2: “Tiens bon” by Christophe Bazabas
9.3. Song 3: “Pa lagué mo” by Lyncia Pivert
10. Conclusion
19
2
1. INTRODUCTION
-
Concept of the trip:
The idea is to introduce myself as an artist, explain where my personal
musical influences comes from, who I am musically, my background, and
explain the main musical styles that built me.
-
Countries, musical cultures, difference, similarities and connection:
We are going to go to the countries that represent my origin and my passion. I
will describe these countries, discover what musical cultures are in these
countries, show what the differences and the similarities between these musics
are, how to connect them, and what is important to bring them together.
-
At Berklee: My process, my influences, my recordings:
We are returning to Spain in order to explain my year at Berklee Valencia
College of Music: What I found out at Berklee, my musical experiences, my
recording project (the objectives, methodology, resources) with an explanation
of my repertoire.
2. ABOUT ME
My name is Lyncia Pivert, I’m a vocalist and I was born in French Guiana, a
French territory in South America.
I have just earned a Bachelor of Arts in Music in French Guiana and am
currently enrolled in Berklee College of Music’s MA Program in Contemporary
Performance in Spain, which will be finalizing this July.
I attended music training for 10 years at the National School of Music and
Dance in French Guiana. I’ve learned music theory, choral singing, violin and
clarinet. I’ve learned classical music and the traditional music of my country.
3
From my childhood at church I practice praise and worship songs, which led
me to learn Gospel music on my own. When I turned 18; I received gospel lessons
and perfected my vocal techniques. This music is the most important part of who I am
artistically speaking. Because of the gospel influence, I started being interested in r’nb
and soul music; which I now also enjoy.
These various influences permit me to have a rich musical language, but also
to be able today to propose you this journey through these musical elements because
they lead you directly to their country, their home, their history, their traditions and
their roots. So now, please attach and adjust your seat belts, we are approaching our
descent in our first destination: French Guiana.
3. MY ORIGIN: FRENCH GUIANA
3.1. Geographically:
-
French Guiana is in the North-East of South America, between Surinam and
Brazil and constitutes a French territory
-
French Guiana was a colony, discovered in the 1500s by a group of French
colonist that settled there.
-
French Guiana is the smallest of the three Guianas, nevertheless it is the
largest French territory.
-
The official name of this French territory is “Guiana”: The adjective “French”
used in the common name corresponds only to a linguistic accommodation
from the colonial period, when there were three Guianas: British Guiana (Now
Guyana), Dutch Guiana (now Suriname) and French Guiana.
-
It is also the only region of South America where the official language is not
Spanish or Portuguese but French
-
The Capital is Cayenne
4
3.2. History and Population
The conquest and the exploitation of the region that constitutes French Guiana
is part of the world movement affected by the European expansion. European nations
engage for the share of the America by competition without excluding alliances or
conflicts.
French people conquered French Guiana during the 17th century. Their
objectives were politic, economic and religious. The colonialism was about affirming
the power of the French monarchy, contributing to its enrichment and showing
France’s ability to expand the limits of Christianity. This will for power come in
conflict with others Europeans States, especially Spain, Portugal, England, and United
Provinces.
It took more than three quarters of a century (1604-1676) for French colonist
affirm their presence in French Guiana.
Today, French Guiana is a country with a rich afro-Caribbean culture due to
the existing ethnic mix since the colonization area until now and it represents a
crossroad of different populations and consequently different musical traditions.
First of all, we have music of the first inhabitants of French Guiana, before the
arrival of the colonists: Amerindian and Bushi-Nengué music. Amerindians or Indians
from America were considered to amount to around 30 000 before colonialism, but
because of different invasions, sickness and slavery they are currently only 10000 and
represent only 6% of the population. Bushi-Nengués are descendants of Surinamese
slaves, they resisted the slavery, fled the plantations and took refuge to the forest and
kept the living and musical traditions of their ancestors. Now, they live next to the
river “Le Marony” natural border of French Guiana and Suriname.
5
During the colonization, creole music appeared with African slaves, under the
influence of «Colonist » music in the XVII century. Creole people are the result of
interbreeding between old Africans slaves and old European colonist. They represent
60% of the population today.
Laotian, Colombian, Chinese, Cuban and Haitian music came with the
organized immigration to build French Guiana, especially the spatial base to launch
the rockets at the beginning of the XX century. This country is also a border with
Brazil and Surinam (Dutch Guiana), countries that also have a musical influence on
French Guiana.
Nowadays, all these musics are really present in French Guiana but
Amerindian music, Bushi-Nengué music and Creole music are the traditional
Guianese music. Nevertheless, Creole music represent most the traditional Guianese
music because Creole people are the majority of the population in French Guiana, and
Amerindians and Bushi-Nengues live in communities far away of the capital.
4. CREOLE MUSIC IN FRENCH GUIANA
4.1. Definition and evolution of the word “Creole”
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The term “creole” has two etymologies, Portuguese (crioulo) and Spanish
(criollo) which derived from the Latin word “criare”, which means “ feed,
raise’ or more precisely “ fed servant in the house”.
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Initially, a person “creole” was someone who was “raised on the spot” that’s
to say, “who is from the country”, as opposite to “a foreigner to the local
culture”.
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This word was used to designate, above all, the white child born and raised in
the European colonies such as: Martinique, Guadeloupe, French Guiana,
Reunion, Louisiana, etc.
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Thereafter, this term will designate the black population, the “Creole of color”
and therefore, the language of that population, creole.
-
The word creole has been used in the sense in Louisiana for a long time,
where it still is, designating “white creoles”, generally, members of wealthy
families owning plantations.
-
Today, the creole noun is used with various meaning, to describe people, but
especially applies to mixed languages and cultures resulting.
4.2
. Creole music
Creole music comes from two continents:
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In Europe with the court dances (the minuet, the current) and popular dances
(the motion, the round)
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In Africa with the dances accompanied by percussions
The characteristics which form the basis of creole musical culture is that the music
concept intimately connects music and dance. Two major categories result: the first
one called “musical”, based on the Western orchestra; and the other one called
“local”, currently referred as folklore, based undeniably on African rhythmic drums.
Both of these categories are used in a purely creole syncretic style inspired by African
and European dances because they were born in a context of the slavery.
4.3.
Creole Rhythms
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The main ones are:
1) Kaséko: this creole word is a contraction of a French expression “casser le
corps” which means, “The body is breaking”.
This is the name given to the most Guianese popular rhythm, percussion.
The dance that accompanies them is a dance of seduction, became a
symbol of fun, romp with resistance.
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2) Lérol: This is the rhythm that symbolizes the cultural diversity of French
Guiana. Derived from the French words “les rôles” which means “the
roles”, which are not other than the figures of the quadrille dances,
originally from England that appeared in the XVI century known as the
“square dance” in which the dancers are positioned on two lines.
It has similarities with others Caribbean rhythms: the “Léro” of Puerto
Rico, the “Léro” of Saint-domingue, the “Léwa” of Haiti and the “Léwoz”
of Guadeloupe.
3) Grajévals and Grajé: Composed by the word “Grajé” and “vals” from
the French word “ valse”. The “Grajé” is another Guianese rhythm,
however, despite appearances, these two rhythms are really different.
Drajévals is more linked to the waltz from Europe. Both of them are a
dance performed on a three pieced rhythm, with focuses on circular
movement.
The Grajévals is a graceful and elegant dance, performed with solemnity.
4) Débot: Rhythm and dance intimately linked to the history of gold mining
and Saint-Lucians in French Guiana.
In French Guiana it also called “Dé bo” from the French words “deux
bords” which signifies “both side” because this rhythm favors alternating
of open step on one and the other side. Gestures accompanying the dances
are alternately on each side outward.
5) Béliya: The name Béliya occurs both in French Guiana and Martinique. It
refers in both countries, to a rhythm played with the traditional percussions
and the creole traditional dance that accompanies it.
The existence of the Béliya is mixed with the history of French Guiana and
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consequently, the slave trade and which has it roots in Africa.
5. MY PASSION: GOSPEL MUSIC IN UNITED STATES
5.1. Definition of Gospel:
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“Gospel” is an inspiration religious Christian song
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The term “gospel” is the contraction of “god” and “spell” which signifies
“word of god”. The term “gospel song” appeared only in the 30s
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“Gospel” style appeared in the early twentieth century, between 1925 and
1985.
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These songs were inspired by the Bible (mainly the New Testament) and
related to the daily life. Thomas A. Dorsey was the first who composed news
songs and call them “Gospel”. He is considered as being the father of Gospel
Music.
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Gospel is musically based on jazz and blues, which allows the artists to keep
going to take their inspiration from actual music such as soul music, rap or
R’n’B
5.2. Context
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The history of this Afro-American music is linked to a terrible reality: slavery,
and the triangular trade in the late 1700s.
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This is in this context, the first form of this song was born: The Negro
Spiritual
5.3.
“Negro Spiritual” and “Gospel song”: common misunderstandings.
The distinction between “Negro Spiritual” and “Gospel song” correspond to different
historical situations.
5.3.1. Negro Spiritual
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First of all, negro spiritual was born during work execution in the cotton
fields, where Africans slaves performed songs composed spontaneously in a
call and answer format
-
The structure is:
1) The soloist sang a song that was repeated in choir by others slaves
2) Answers could be shout, repetition of words or onomatopoeia
3) Instruments were almost non-existent, except some rustic percussion or
simple hand clapping
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Lyrics were really inspired by the Old Testament in the bible: the little David,
Joshua in Jericho, Ezekiel’s chariot…
-
These songs could be coded messages only understandable by slaves.
5.3.2. Gospel song
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Since jazz influenced and transformed spiritual songs in the 1920s, it found an
urban extension in the “Gospel song”, which derives its existence from the
spontaneous assemblies and is accompanied by instruments and also clapping
hands and stomping feet on the ground.
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“Gospel song” is a religious song that originates in Bible verses, performed in
the Afro-American tradition. “Gospel song” differs from the negro-spiritual by
exclusive reference to the New Testament and its show-influenced nature;
aspect borrowed from the musical and theatre world.
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It doesn’t stay in the church. Through recordings, and then in concerts, it
became known to a much wider audience than the black congregations where
it was born.
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6. GOSPEL MUSIC/CREOLE MUSIC: SIMILARITIES, DIFFERENCES AND
CONNECTION
6.1. Similarities:
-
They both are a specific genre of black (Afro-American) music in their own
country
-
They both were born and developed during the slavery
-
They both were an outlet, used as an escape from the very difficult life of the
slaves.
-
They both keep the memory of their own history, and keep it alive, and they
are considered as heritage, as a part of an identity of the black community.
6.2. Differences:
-
They don’t talk about the same story: Gospel is about the words of the bible,
of the coming of Jesus Christ, and creole music in French Guiana talks about
daily life such as: love, pain, happiness or, eventually, sex.
-
Gospel as music hasn’t stopped interacting with other profane music forms,
vocals styles and instruments up until today, but creole music keeps its own
traditions, playing with a same percussion section and maintaining the same
rhythmical forms. Nonetheless, Creole music has been commercialized too;
adding piano and guitar, but the rhythmical form is still recognizable.
6.3. Connection, how to put them together:
We can see that this two music styles share the same historical context, and can be
represented by the percussion. Even if Gospel music uses drum sets and current
instruments, it relates to this aspect through the essence of Gospel music and its first
form (Negro spiritual), were percussion was used to communicate in the fields until
that was forbidden by their masters.
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Lyrically, a connection can also be made. Creole music talks about every
subject of life whileGospel music, known as a religious music and which means
“good news”, are encouraging songs, something to keep the listener alive, connected
and engaged to survive. Even through most of the lyrics are about bible history, for
the listeners that referred to their own life.
The goals of gospel music have changed with the years. First of all, its aim
was to encourage and give hope to the black people during the segregation, and that’s
why today it is used and related to daily life; not as much as creole song but its paths
join at some point.
7. BERKLEE VALENCIA
At Berklee Valencia, I have discovered essentially jazz, under the influence of
various cultures according to the origin of the student, through the jazz ensemble, and
with my private vocal lesson. I’ve learned how to sing jazz and Brazilian music.
As a matter of fact, the majority of Berklee students have more or less a
thorough knowledge of classic and jazz music. Nevertheless, coming from all over the
world and belonging to different cultures, their countries’ music permits them to give
another character to their own music and give it a well-defined identity.
I have had a certain approach to Latin music such as flamenco, salsa, and
tango with Hispanic students during gigs or performance forum class. Through
diverse experiences, I learned how to coordinate my skills and their knowledge in
rehearsals, in performances, and in studio projects.
It has allowed me to know how to manage and use materials and programs in
the studio and how to adapt myself musically and to feel comfortable with several
different styles and musical backgrounds
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8. MY PROJECT
For my culminating experience, I chose to create a gospel ensemble, because
gospel is a music that I’m passionate about and I consider it the main musical style
that defines me. This also opens a new opportunity to Berklee Valencia, giving
students the possibility to practice a new musical style which had not been present in
the College.
It also allowed me to develop my skills to lead a ensemble and learn how to
play other styles that my fellow students are not used to playing. Within this
ensemble, we have had all types of gospel music: traditional, modern, and
contemporary. For that, I have prepared a repertoire, established an agenda, booked
days and hours of rehearsal, sent invitations by mail to all participants and verbally
communicated with fellow ensemble members, booked the rehearsal room, made the
equipment choice (music stand, microphone...), set up and prepared my personals
aims for the interpretation, that’s to say, knowing the structure, the arrangement, the
melody, the harmony, and the lyric intent for the ensemble as a vocalists.
On the other hand, I have recorded gospel music combined with several types
of music that I can find in Berklee such as electronic music, jazz, and even with
specific instruments from others countries. Learning about the musical world for me
is a chance to develop my performance and written-composer skills, in order to adapt
as a singer to all types of music, and to find a musical identity in gospel music
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9. REPERTOIRE EXPLANATION
9.1. Song 1: “Jesus will” by Anita Wilson
-
The first song is a cover of a gospel song with neo soul music influences. I
created a Gospel ensemble during the first semester at Berklee and I wanted to
record a song that we had been practicing to be a part of my culminating
experience.
-
In that song the goals were to do a new vocal background arrangement in
order to give the song a new dynamism, and give it my own artistic touch.
-
I also wanted to show an example of a current gospel song, that way, it allows
the listener to have an idea of what can be done nowadays musically, and I can
better illustrate the other two songs I have selected to record.
-
Harmony: I chose the use of an extended harmony, that’s to say, use scale
based on 7th and 9th chords in place of ordinary triads. The rest of the chords
are based on the originals.
Example: Fm9 – Bb7 – Eb7 -
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Rhythmically: Instead of a neo soul bounce (which is more laid back, more
relaxed) I choose more a funky rhythm for the band.
The most important rhythmic part is on bar 9 or 25 in the charts for the band,
they all have to play this melodic and rhythmical section together.
-
Melodically: I sing the same melody of the song for the cover.
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9.2. Song 2: “Tiens Bon” by Christophe Bazabas
-
This is an original song composed by my cousin Christophe Bazabas from
Martinique. This is an Afro-Caribbean gospel song with French lyrics. It's
called "Tiens bon" which means "Hold on". This is an encouraging song
basically.
-
In this song I wanted to show the connection that I’ve been talking previously
through the percussion. I wanted to show this historical context shared by
creole music and gospel music and at the same time that I’m always in an
exploration stage with all the approaches that I can receive from the Berklee
students coming from all over the world.
-
This song allows me to create a new arrangement for backing vocal which is
also for me show the Gospel influence
-
Harmony: The harmony is based on:
I – IV – VI – IV
These degrees are considered like the spine of the song; this chord progression
appears obviously and represents the song harmonically. This is a personal
choice of the composer.
-
Rhythmically: This is a creole ballad (inspired by Mario Canonge). To this, I
added an improvised rhythm with a percussion from Greece called “Darbuka”
to give another flavour to the song, and enrich my musical experience.
-
Melodically: I didn’t make any changes to the melody, leaving it just as the
composer created it.
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9.3. Song 3: “Pa lagué mo” by Lyncia Pivert
-
The third gospel song is a composition of mine, “Pa lagué mo” which means,
“Don’t leave me”.
-
The process: First of all, I found the melody and wrote the lyrics in Guianese
Creole. Based on my melody, the jazz pianist Ricardo Curto, transcribed the
chords.
-
At the beginning, I didn’t have the intention to add a backing vocal
arrangement; I really wanted it to sound like a ballad jazz piece and have it
shorter, but I took in consideration advices from production class’s teacher
who wanted to hear “pa lagué mo” again and helped me find a musical
extension to do it.
-
My purpose was to make a Creole Gospel with jazz influences. Adding a
Cajon, another kind of Spanish percussion, it took another step in the
experimental expectation that I have, while also helping make the connection
that I mentioned previously, historical and lyrically, with my musical
background.
-
Harmony: I created a special harmonisation for the backing vocals in the
words “Pa lagué mo”, in order to strengthen the middle of the song.
-
Rhythmically: that’s a ¾ , a back beat, with a little influence of a rhythm
from Spain called “Fandangos de Huelva”.
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10. CONCLUSION:
What did I learn during this journey?
First of all, I’ve learned how to assert myself as an artist, which means
using all of the musical resources that I had, and that I’ve been working on
during so many years. I’ve learned to give a chance to my creativity in making
my own process; to know how I can make a connection between the music
that I like the most, but also take in consideration history, tradition, beliefs,
and lyrics of those musics that are my tradition. I have learned to take the most
of it to show through my music what really represents me as an artist.
Second of all, I’ve learned to be open and flexible to other styles of
music. Incorporate others instruments, others rhythms, other musical styles
and others languages, which for me, was really interesting and enriching for
my musical knowledge and myself.
Coordinating, organizing, communicating, being a complement in a
team, accepting feedback and criticism to grow and work better was also a
good thing to learn during this journey.
And last but not least, I’ve learned how to improve my skill as a
performer on stage and in the studio. To know how to manipulate Pro tools
and other programs, know which microphone is better to sound good was
really helpful and allowed me to be more independent.
Did that change something in me as an artist?
Yes it definitely did! Now I know more about me as a singer because
I’ve been able to create my own music with my own requirements, but I’ve
also been able to be open and sing other music styles understand their
approach, their reference, their specific technics vocally speaking and I feel
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that all of those experiences made me grow as an artist and also as a person.
It’s really difficult as a human being to accept changes and I felt that making
this step during this year has been something special and new and it has
changed a lot in me in all aspects.
Do I have new perspective for the future?
Before I got here, the next step for me was to sing backing vocals for
several gospel singers in United States. But now with all the opportunities that
I’ve got through performance on stage, in the studio, and also with the classes
that I’ve been taking (Production class or Economy), I still want to further
develop my professional experience in staying open about my future and keep
exploring music in all its aspects.
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REFERENCES
Book:
LAM MAM FOUCK, Serge & ANAKESA, Apollinaire. Nouvelle histoire de la
Guyane, Edition Ibis Rouge, 2009
Websites:
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http://www.lepontsuperieur.eu
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https://webtice.ac-guyane.fr
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http://www.kaseko.fr
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http://www.negrospirituals.com
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