Varafolkloorsetelt vokaalzhanridelt lauluni

Abstract

The Estonian folk song is usually divided into two main historical-stylistical strata: the runo songs (songs in runo verse form, also called Kalevala-metre songs, alliterative songs etc.) and the newer songs with an end-rhyme and strophic form. Both are characterised by a special musical style. The first one belongs to the old Balto-Finnic culture and derives probably from the last millennium B.C., the latter one is related to the European traditional songlore of the last centuries. Besides runo songs (which are represented in the Estonian tradition first of all by lyrical songs and by working songs, ritual songs, game songs, etc., less by the narrative ones) there exist a number of ancient non-runo genres which are characterised by a special intonation mode depending on the contents and function and which do not denote music in the accustomed meaning.Ancient non-runo vocal genres. Here belong:1. Cries, shouts, calls with the function to signal, communicate or co-ordinate rhythm (herding andhunting calls, signals for co-ordinating working processes, ritual calls, etc.) 2. Imitations of natural sounds: either natural or artificial. The first have generally practical, utilitarian function (they are used by hunters for alluring birds or animals even today); the others might have had primarily magic significance and were later used for amusement (e.g. the so called birds' songs containing a poetic text whereas the respective bird sounds are imitated both as phonic compositions and by intonation). Here belong also "conversations" of animals, birds, as well as spinning wheels, carts, church bells etc. The significant expressive means alongside with imitation is the tonal and temporal contrasting of certain phrases or words (high - low, fast - slow).3. Incantations and spells used for influencing and inducing natural forces, animals or human beings, for inciting the working process, for healing, sauna charms, etc. which occur as verse incantations in Estonia. While in Finland and Karelia they are predominantly in the Kalevala metre, then in Estonia a large part of them are either in the accentual metre or in the heterosyllabic free verse. These were performed either as a half-whispering mutter, a recital with free rhythm (half-singing, half-speaking), as a monotonous scansion with fixed measure, or while shouting. 4. Laments (death dirges, wedding laments, later also lamentations for recruits and for other occasions). In Estonia they preserved longer mostly in Setu 1986). Death dirges are noted also in other parts of East Estonia. Laments were known also by the Karelians, Vepsians, Votians, Izhorians and other Finno-Ugrians.5. Songs in fairy tales. Besides explicit songs which are dissimilar in verse metre and musical characteristics, there occur also recitative monologues and dialogues which hardly differ from the rest of the text (as is the case with tales and shamanistic performances of Siberian peoples).6. Children songs. Hereto refer1) songs performed for children (lullabies or simple asemantic lullings, nursery songs performed with respective gestures and movement to amuse the baby, incantations for children, songs in a restricted sense);2) children's own repertoire (traditional addressings to birds, animals and objects of nature with an initial magic background, banter words and other jesting verses, songs in a restricted sense etc. ). 7. Chain songs (which initially had a magic background but have later become a part of children songs).These genres occur also by those Balto-Finnic peoples who do not know the Kalevala-metre songs.They represent rather universal phenomena in archaic cultures. In many cases the question arises whether we are dealing with songs altogether, or rather with phenomena preceding songs? What is a song after all? This conception has different interpretations in different cultures.The Balto-Finnic peoples regard as song (laulu) in general a vocal genre which consists of a poetic text and a melody with a certain structure. The word laulu is common to all Baltic Finns whoknow the runo song, and to Livonians (by whom the runo-song form is not documented). This conception expresses the consistency of poetic texts and melodies. Runo-songs have always beenperformed while singing but originally there existed no special word for denoting the melody (the Estonian word viis is of Germanic origin).