Sonos and Cantos Mutos and Mutetos Comenius Project 2005

1. Sonos and Cantos Mutos and Mutetos Comenius Project 2005

2. The present work is the result of the students research in the Project “ Discovering your roots to find out new Horizons” combined with the Escola Tecnologica E Profissional Da Zona Do Pinhal De Petroensino- Ensino E Formaçẵo Profissional, L. D. A , The Gimnazjum nr 26 in Gdansk ( Poland ), and the Collegiul Economic Emanuel Godju in Hunedoara ( Romania ). • The idea of a project focused on the analysis of Sardinian cultural heritage to be compared with the cultures of other countries , comes from the need of our students to understand the traditional values of our own land in order to become more conscious of our identity. • Considering today that we are living in the European Union ,the need to be familiar with our traditions and cultures is very important. If we do not respect the history and heritage of our country we cannot respect the values of the people we live with , who have different cultures but belong to a common European civilization . • The project started on the first year focusing on houses and handcraft. In the second year it has documented those traditions connected to local feasts which follow the alternation of seasons and habits linked to the cycle of life . The third year project has investigated Sardinian music and folk songs where shepherds, for centuries, have expressed their feelings . Their songs are dramatic and talk about war or death but they are also love songs sometimes accompanied by the launeddas , typical Sardinian instruments, or by a guitar or, most of the times, they are sung only by voices .Our research has been compared to those of the other countries and it has given us the possibility to understand that between the European people , together with differences , there are many similarities present. These have been determined not only by commercial trades but also by the different dominations ,scientific and technologic discoveries . Each inhabitant of Europe has built a culture and traditions which have become the heritage common to every European .This project is working to preserve our heritage for the new generations to come.

3. Presentation of the research • This year’s project has the aim to put in evidence the interest that each county participating to the project has for its musical traditions. As for our country we have concentrated our interest on the most traditional elements connected to our culture as regards music , instruments and its connections to dances. We have referred to the research made by the U.N. L.A. ( Bosa 1999) , but we have also checked many web sites connected to our research .We have interviewed Mr. Tore Campus and Giovanni Casula ( local experts) but we have also taken into consideration the researches of Mr Giovanni Dore and Pietro Sassu ( experts in Ethnomusicology). We have organized a visit to the Museum of Sardinian music and instruments in Cagliari , and a series of lessons about traditional songs and dances thanks to a music expert, Mr. Sechi, author of the Hymn of Sassari Brigade.

4. Some pictures taken during our students meetings with Mr. Sechi and our visit to the museum of musical instruments in Cagliari

5. The Origin Of Sardinian Music • Sardinian music and songs are a rich patrimony that has been expressed through monodic and polyvocalic songs and has been accompanied by typical musical instruments. Nobody knows when man has started to reproduce the sounds of nature and imitate the cries of animals, with the typical vibrating timbre of the sheep’s“ baahs’ and the guttural tone of the songs.

6. At celebrations, the whole assembly collaborated, to cement the people together through dances. The binding force of the circle of dancers, the sinuous motion of the steps, the unbreakable mesh of arms and hands, the ebb and flow of the costumes,

7. the chorus of voices and a rousing accompaniment all serve to emphasise the rhythm of dances. While dancing or singing no one is allowed to take a leading role, since the performance belongs to everyone.

8. many dance steps have their genesis in the elaborate courtship rituals of animals. The formation of the circle, too, is based on the historic idea of the absolute right of each member of the community to participate in the celebration.

9. Popular Instruments • Very reach and original is the amount of Sardinian instruments . They were and are still connected to people’s life and history .Some of them have been imported from other cultures as the so called “ organetto diatonicoNonetheless they have found typical and original ways of expression .

10. Other popular instruments are the the” Benas “ a flute made of fen cane with a "trumbitta" (small trumpet) that fits in a resonating pipe with three holes. “ su Pipiolu “ that is the sheperd's pipe made from fen cane.

11. “Sa Serraggia” a very old instrument which can still be seen during carnival celebrations , made from a cane pipe, a swollen and dried pig bladder and a stretched string which is rubbed with a lentisk bow;

12. It is very similar to the portughese “ gfole” • and to the Scottish Bag –Pipes

13. The Launeddas • The most ancient Sardinian instrument is the so called “ Launeddas”. Its remote origins can be seen in the Ithyphallic small bronze which dates back to the eighth century BC. It was discovered in the countryside near Ittiri and depicts a launeddas player.

14. The Launeddas • Three fen canes constitute the "launeddas": the "tumbu", which is the longest and is tied to "sa mancosa manna" with a string, and the "mancosedda" or "destrina" on which the melody is played. It takes long years of study and application to master the difficult technique needed to play this instrument.

15. Bosa And Planargia Region In The Musical Tradition • Bosa tradition distinguishes especially for: • “ A Tenore” Songs • Choral Songs or “ a traggiu “ • Guitar Songs • Women Songs • Songs

16. “A Tenore “ Songs • How exactly the "a tenore" (tenor) song came about, is uncertain, but the theory, already mentioned, of a source in the shepherds imitating the sounds around them gains wide approval: the mooing of the cattle, the bleating of the sheep and goats, the grunting of the wild boar, the rustling of the wind - all were expertly harmonised and grafted on to a pretty piece of secular poetry. The guttural sound of the voices and the characteristic intonation of the songs give this millennial art an impressive, spell-binding quality.

17. Multi-Voice Choral Singing • multi-voice choral singing was born thanks to a notable evolution of the Tenors' methods with the introduction of Gregorian Chant into Sardinia by the Church.The chants belonging to the Christian liturgy, which initially were performed on a monotone (according to the schema of Gregorian), in time began to be interpreted by several voices, using notes more appropriate to their vocal range.

18. “A traggiu Songs” • There are two special characteristics of these groups' singing, called "A Traggiu": First, the integration of a very high voice, two octaves (15th) above the level of the basses; second, the freedom of each member of the choir to move within the chord, leaving room for personal expression and improvisation (more or less as happens in jazz).

19. Guitar Songs • the "Cantos a Chitarra" (Guitar Songs) and the "Cantos a Poesia" (ballads), which , although less well-known at the international level, are extremely popular, especially during village festivals

20. Women Songs • they are entirely unaccompanied.Among the most celebrated are :- "S'Anninnia" (Ninna Nanna), lullabies intended to send children to sleep;- "Duru Duru", an Arabic term meaning "to turn". These songs are no more than nursery rhymes sung by adults for their child's entertainment. During their performance, the children are made to dance on the singer's knees.- "S'attitidu", a funeral hymn. Now defunct, it used to be entrusted exclusively to a female voice, the "Attidatora" (mourner), who would weave together prayers with an account of the life of the deceased using improvised verses of poetry;.