Dissertation proposal

Submitted to the Dept. of Ethnomusicology

The Graduate Center of the City University of New or!
"ay #$% &'''.
THE SYRIAC CHANT TRADITIONS IN SOUTH INDIA
(oseph (. )alac!al
The Syriac *+ramaic, liturgy and liturgical chants that originated in the "iddle East found their
way into South -ndia through immigrant Christians sometime before the fifth century.
Continuous contact between the .Syrian Christians. *descendants of /indu converts and
immigrant Christians,
&
in -ndia and the )ersian Church !ept the chant tradition re0uvenated in the
subse1uent centuries. Due to divisions and varying ecclesiastical allegiances starting from the
si2teenth century% there are now two liturgical and three chant traditions among the Syrian
Christians. The Syro3"alabar Church *in union with 4ome, and the Church of the East
*Diophysite% also !nown as Nestorian, continue the Chaldean liturgy% which was originally in
East Syriac% while the Syrian 5rthodo2 Church *"onophysite% also !nown as (acobite, adopted
the +ntiochene liturgy% which was originally in 6est Syriac. +lthough the first two Churches
follow the same liturgical tradition with minor variations% their musical repertoires as they e2ist
today are different from each other. +s a means of preserving their individual identity% all three
Churches retained most of the original Syriac melodies in the process of vernaculari7ing the
& The Syrian Christians are also !nown as .St. Thomas Christians.. Tradition has it that St.
Thomas the +postle preached Christianity in South -ndia.
liturgies to "alayalam since the &'89s. Thus% the melodies that were once associated with Syriac
te2ts of celebrated poets such as St. Ephrem the Syrian *d. :;:,% Narsai *d.c. <9:,% and (acob of
Serugh *d. <#&, assumed yet another life in a completely different cultural milieu of South -ndia.
-t is a matter of historical and ethnomusicological interest that the melodies of these
chants have not only survived over such a long period of time% but also have retained their uni1ue
identity amidst vibrant musical traditions of the /indus% "uslims% and (ews in South -ndia. et%
neither the history nor the music of the chants has received ade1uate attention from
musicologists. "y purpose is to identify and address the problems and issues in the study of
these chant traditions from historical and analytical perspectives.
5n a personal note% - was born and raised in =erala% South -ndia% where - grew up
listening to and singing the Syriac chants of the Syro3"alabar Church. >ater% - familiari7ed
myself with the chant traditions of the other Syrian Churches. 6hile doing fieldwor! in =erala
for my master?s thesis
#
% - noticed how singers of Puthen Pna% a Christian musical genre%
adapted melodic phrases and stylistic aspects of Syriac chants such as the ornamentation of the
ultimate or the penultimate syllable of a word. The discussion of the melodies of Puthen Pna in
my thesis includes analysis of a few melodies of the Syriac chants. Thus% my personal e2perience
and !nowledge of the Syriac chant traditions give me a vantage point from which to loo! at the
repertories as a researcher.
- shall divide the dissertation in two parts@ part - will contain discussions of historical
issues and part --% analytical issues.
)art - : /istorical issues
# )uthen )Ana : + "usical Study */unter College of the City University of New or!% &''<,.
#
-n chapter &% - shall e2amine the historical processes involved in the introduction of
different liturgical and musical traditions at various stages in the history of the Syrian Christians.
Bor this chapter% - shall rely heavily on the published histories of Christianity in -ndia mentioned
in the bibliography. - have spent several years studying the history of Christianity and Christian
music in -ndia. The first two chapters of my master?s thesis contain short surveys of those
histories. The !nowledge and e2perience - gained in the process will help me toward a historical
overview of the Syriac liturgies and music in South -ndia.
6hen it comes to the study of the history of chants themselves% one encounters the
problem of the dearth of musical documentation in the past. Therefore% the musical history of the
chants has to be constructed primarily from contemporary practice by employing both
synchronic and diachronic methods. Through interviews with older informants% and reviewing
the available published sources such as Saldanha *&':;, and Cada!el *&'<$,% - intend to gather
information on the state of music before vernaculari7ation of the liturgies *i.e.% before the &'89s,.
"y primary concern% however% is to assess the current practice% including individual and regional
variations in the singing of the melodies that e2ist primarily in oral transmission% the singers?
perception of and 0udgment on such variations% and the factors behind the survival of certain
melodies and gradual disappearance of certain others.
-n chapter #% - shall e2plore the survival strategies of the Syrian Christians that helped the
preservation of the Syriac chant traditions. 5ne of the reasons for the survival of Syriac chants in
South -ndia is the distinction the Christians made between their social identity and their musical
identity. Early si2teenth3century accounts of the )ortuguese missionaries testify that the
Christianity they encountered in South -ndia was a highly indigeni7ed one. The Christians shared
:
with their /indu neighbors many social customs and practices. /owever% in matters related to
liturgical celebrations% they adhered strictly to Syriac language and music. 6hen the )ortuguese
missionaries attempted to enforce >atin liturgy and chant% the Syrian Christians went so far as to
stage a revolt against the )ortuguese. The current debate on the reform of the Chaldean liturgy
*in "alayalam, in the Syro3"alabar Church once again brings the issue of musical identity to the
foreground.
-n chapter :% - shall discuss the impact of 6estern *>atin, Christian hegemony of the
)ortuguese missionaries on the Syriac chant traditions. The )ortuguese missionaries failed to
replace Syriac liturgy with >atin liturgy and chant. /owever% they succeeded in introducing the
/oly 6ee! and paraliturgical services such as Denediction of the Dlessed Sacrament% Novena to
saints and solemn Cespers in Syriac translations. This gave rise to a new set of Syriac chants that
are characteri7ed by a higher melodic range and greater rhythmic regularity in comparison with
the chants of the "ass and the 5ffice. + relatively small proportion of these chants was retained
in the process of vernaculari7ing the liturgies. The missionaries also introduced 6estern musical
instruments such as pedal organ% violin% and bass drum. The impact of these and similar
innovations is visible even today in the liturgical celebrations% especially in the Syro3"alabar
Church.
E2ploration of the historical issues mentioned above shall serve as a bac!ground for
studying the analytical issues in part --.
)art --@ +nalytical issues
$
Chapter $ will be devoted to the discussion of a significant feature of the Syriac music
repertory in South -ndia% vi7.% the preservation of the 5!toechos system in the Syrian 5rthodo2
Church. The echoi are referred to in "alayalam% since at least the eighteenth century% as ettu
niram *eight colors, or ettu rgam. They are numbered serially from & to E% e.g.% onnm niram
*first color,% randm niram *second color,% etc. "elodies of the 5!toechoi of the Syrian
Churches outside -ndia have received scholarly attention in the past *(eannin -'#<3#E% /usmann
&'8'% &';&% and =uc!ert7 &'8',. - intend to illustrate the distinctive characteristics of the ettu
niram by analy7ing five representative chants in each niram. "y in1uiry will also include the
aesthetic and ethical aspects of niram as understood by its practitioners. Bindings of this study
will be useful for cross3cultural comparisons.
-n chapter <% - shall ma!e a comparative study of the model melodies used as a
compositional device in the Syro3"alabar Church and the Church of the East. + model melody
is a complete% fi2ed tune for creating new hymns by writing verses that will fit the melody.
+lthough% in principle% model melodies are fi2ed tunes% individual differences do occur in actual
performance. - shall attempt to study the range of variations in seventeen model melodies that are
currently in vogue in the Syro3"alabar liturgy by analysing performances by different
individuals from different dioceses. The Syro3"alabar Church and the Church of the East follow
the same Chaldean liturgy. /owever% the melodic and rhythmic features of model melodies used
in both liturgies are 1uite different. - intend to compare the characteristics of the model melodies
of both Churches by analy7ing sample melodies from the respective repertories.
Binally% chapter 8 will consist of a discussion of the influence of language in melodic
transformation. Translation of Syriac liturgies to the vernacular presents new issues related to
<
language and music. + preliminary analysis of contemporary chants in comparison with their
older versions shows changes% especially in the rhythmic aspects of the melodies. There appears
to be a tendency% at least in some cases% to ad0ust the melody to indigenous metric structures. The
semantic and syntactic structures of "alayalam seem to influence the choice of ornamentation
of the ultimate or the penultimate syllable of a word. - shall pursue these and other similar issues
by a comparative study of the Syriac and "alayalam versions of a selected number of model
melodies. /einrich /usmann?s transcription of the Syriac chants of the Chaldean 5ffice for
Sundays and ordinary days recorded in =erala in the early &'89s will be useful in this study.
:

Relevance
The richness and the diversity in the Syriac chant traditions in South -ndia demand more
scholarly attention than what they received in the past. + history of -ndia?s music may be
incomplete without the history of -ndian Christian music. + study of the historical processes
involved in the retention of a musical tradition outside its original geographical and cultural
domain will be valuable to the understanding of the interaction between music and history. The
timeliness of this pro0ect% too% adds to its relevance. There are people still alive who can sing the
older version of the melodies with the original Syriac te2ts. Those informants are crucial
witnesses to a musical tradition that is undergoing rapid transformation.
Research Plan and Methodolo!
: /einrich /usmann. Die "elodien des ChaldFischen Dreviers Commune nach den Traditionen
Corderasiens und der "alabar!Gste *&'8;@ &9E3&;8,.
8
"y immediate plan is to ac1uire a reading !nowledge of Syriac language so that - can
consult the Syriac sources of chants and liturgical te2ts available in -ndia. Br. Elea7er
Cada!!umchery has agreed to teach me the language in this summer during my stay in =erala.
"y ne2t priority is to study the structure of the +ntiochene liturgy of the Syrian 5rthodo2
Church and to record at least five chants in each of the ettu niram, in both Syriac and
"alayalam% for an analytical study. Dr. ".). George% who is currently teaching at the Theological
Seminary of the Syrian 5rthodo2 Church at =ottayam% =erala% has given his consent to help me
in this matter.
-n the past few years - have interviewed several resource persons from the Syro3"alabar
Church and the Church of the East. +udio recordings of these interviews include renditions of
chants by the informants. Br. +bel )eriyappuram *b. &'#9, is the most important resource person
for the liturgical music of the Syro3"alabar Church. -t was Br. +bel who translated the Syriac
te2ts of the chants for "ass% 5ffice% and funeral services of the Chaldean liturgy to the
vernacular in the &'89s. /e was !ind enough to sing for me seventeen model melodies% both in
Syriac and "alayalam. -n addition to this% - intend to interview si2teen informants% eight men
and eight women% between the age of #< and $9% from a cross3section of the population of the
Syro3"alabar Church. Two men and two women each will be chosen from the dioceses of )alai%
=ottayam% Erna!ulam% and Thrissur. - shall record their versions of the model melodies for
transcription and analysis to assess the range of variations within each model melody.
- made an audio recording of the Syriac version of the model melodies% some of which
are not currently in use% sung by Br. +le2ander =atta!!ayam *b. &'&#,% a former teacher of Syriac
language and an accomplished singer of Syriac chants. - shall further record the Syriac version of
;
the model melodies sung by ten more informants *mostly priests, from the older generation% to
assess the differences between the Syriac and "alayalam versions of the melodies.
- interviewed "ost 4ev. Dr. "ar +prem% the "etropolitan and the head of the Church of
the East *Nestorian, at Thrissur% =erala. During the recorded interview "ar +prem% along with
Deacon Carghese and Deacon C.D. )aully% sang the melodies of "ass% 5ffice% and funeral
services. +dditionally% - plan to interview five informants and record their versions of melodies
for a comparative study of the model melodies of the Church of the East and the Syro3"alabar
Church.
- shall conduct the field wor! in two stages. - shall spend three months in this summer in
=erala. During this period% - shall locate informants and conduct a few interviews% especially
with the older informants. "y focus will be on the chant tradition of the Syrian 5rthodo2
Church. +fter returning to New or!% - shall transcribe the melodies and conduct a preliminary
analysis. - shall go to =erala again for si2 months in "arch #999% to do the rest of the fieldwor!.
Tentative O"tline
-ntroduction
)art -@ "usic and /istory
Chapter &. Syriac >iturgies and Chant Traditions in South -ndia@ + /istorical 5verview
Chapter #. Survival Strategies of the Syrian Christians@ Social -dentity vs. "usical -dentity
Chapter :. 6estern Christian /egemony and the Syriac Chants of the Syro3"alabar Church
E
)art --@ Scales% Niram% and "odel "elodies
Chapter $. Ettu niram of the Syrian 5rthodo2 Church
Chapter <. "odel "elodies of the Chaldean >iturgy in the Syro3"alabar Church and the Church
of the East@ + comparative Study
Chapter 8. Brom Syriac to "alayalam@ >anguage and "usical Transformation
Conclusion
State o# Research
+ renewal of interest in the 6estern >atin Christian chant toward the end of the &'th and
the beginning of the #9th century led music scholars to search for the original or older versions
of the melodies in the chants of the Eastern Churches. Dom (ean )arisot *&E8&3&'#:, was sent
on an official .scientific mission. by the Brench Government in &E'8 to study Syriac language
and music of the "aronite% Syrian% and Chaldean rites in Tur!ey and Syria. /is reports published
in 4apport sur une mission scientifi1ue en Tur1uie H +sie *)aris% &E'', and 4apport sur une
mission scientifi1ue en Tur1uie et Syrie *)aris% &'9:, include transcriptions of chants from these
rites. +t about the same time% three Brench priests 33Dom (ules (eannin% Dom (ulien )uyade% and
Dom +nselme Chibas3>assalle33 engaged in the study of Syriac liturgical music. They published
"Ilodies liturgi1ues syriennes et chaldIennes *)aris% &'#<3&'#E,% an e2tensive collection of
Syriac chants sung at the monastery at Charfu in >ebanon along with a discussion on the
melodies and their classification according to the system of the Syrian 5ctoechos. (osef
=uc!ert7% in .Die "elodietypen der westsyrischen liturgischen GesFnge.. =irchenmusicalishes
(ahrbuch% vol. <:% &'8',% analysed the melody types of the 6est Syrian liturgical hymns to
'
e2plain the principles of classification of melodies according to the eight .Tones. of the Syrian
5!toechos.
/einrich /usmann has made valuable contributions to Syriac music scholarship through his
transcriptions of a large number of melodies from the repertories of the (acobite and Chaldean
Churches. The wor! he edited% Die "elodien der 0acobitischen =irche% i@ Die "elodien des
6ochenbreviers *shJmtA, gesungen von KurillAos (a1ub =as GLrgLs% "etropolit von Damas!us
*Cienna% &'8',% contains transcriptions of the melodies of the 5ffice of the (acobite Church. /is
transcriptions of the melodies of a particular genre% !nown as qle *.melodies%. sing. ql,% are
published in Die "elodien der 0acobitischen =irche% ii@ Die KAle gaoAnAie des Deit ga7A
* Cienna% &';&,. Doth these publications are helpful to understand the system of the Syrian
5!toechos. /usmann?s transcriptions of the melodies of the Chaldean Dreviary% as sung in the
Near East and in =erala% are published in Die "elodien des ChaldFischen Dreviers Commune
nach den Traditionen Corderasiens und der "alabar!Gste *4ome% &'8;,.
+. Saldanha% a (esuit priest% made the first attempt in -ndia to transcribe the melodies of
the solemn sung mass of the Syro3"alabar rite in 6estern staff notation. /is transcriptions
appear in the first part of The Syriac3"alayalam /ymnal *Calicut% &':;,. Seventeen years later%
Br. "athew Cada!el edited =erala !aldAya suriyAni reethile thiru!!armma geethangal *liturgical
hymns of the Chaldeo3Syrian rite of =eralaM +lwaye% &'<$, which contains an e2tensive
collection of chants *in 6estern staff notation, for the solemn celebration of the mass and other
liturgical and paraliturgical occasions such as the solemn Cespers% Novena to saints% and
Denediction of the Dlessed Sacrament. +s in the previous boo!% the Syriac te2ts appear in
"alayalam transliteration. -n .4itual and "usic in South -ndia@ Syrian Christian >iturgical
&9
"usic in =erala. *+sian "usic% vol. &&% &';',% -srael 4oss made an analytical study of a few
Syrian Christian chants *it is not clear from which of the three traditions, and found resemblance
between Syriac chants and /ebrew cantillation. +ccording to 4oss% .Syrian Christian chant in
=erala is sung in two modes@ kadmoyo% e1uivalent to +rabic bayat *Gr. PhrygianM Ecc. Dorian,
and hamisoyo% e1uivalent to +rabic rast *Gr. LydianM Ecc. Ionian,.. *This seems to me to be an
overgenerali7ation,.
/usmann?s article% .Syriac Church "usic%. in The New Grove Dictionary of "usic and
"usicians *vol. &E% >ondon% &'E9,% and Ulri!e Nieten?s article% .Syrische =irchenmusi!%. in Die
"usi! in Geschichte und Gegenwart *vol. '% =assel% &''E, provide short historical bac!grounds
of the various Syrian Churches and their respective liturgies. Doth authors discuss the musical
forms and styles of these liturgies with special emphasis on the modal system% analogous to the
Dy7antine 5!toechos% that is in use in the Syrian 5rthodo2 Church.
Advice and Cons"ltations
+dvisor@ Dr. Stephen Dlum% Graduate Center *CUN,
4eader@ Dr. )eter >. "anuel% (ohn (ay College *CUN,
&&
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/usmann% /einrich. &'8;. .Die "elodien des Commune des malabarischen
breviers.. Die "elodien des ChaldFischen Dreviers Commune nach den Traditionen
Corderasiens und der "alabar!Gste. /einrich /usmann% ed. 4ome@ )ontificium
-nstitutum 5rientalium Studiorum. 5rientalia Christiana +nalecta. &;E@&9E3&;8.
)alac!al% (oseph (. &''<. )uthen )ana@ + "usical Study. "aster?s thesis.
/unter College of the City University of New or!. *D+ &:E$;:;,.
4oss% -srael (. &';'. .4itual and "usic in South -ndia@ Syrian Christian
>iturgical "usic in =erala.. +sian "usic. && *&,@ E93'E.
Saldanha% +.% S.(.% ed. &':;. The Syriac3"alayalam /ymnal *Calicut%
=erala@ Cathedral Church. "usic of the Syriac chants of the Syro3"alabar rite *te2t
transliterated in "alayalam script,% and "alayalam devotional songs in 6estern staff
notation.
Cada!el% "athew% Br.% ed. &'<$. =erala !aldaya suriyani reethile
thiru!!armma geethangal *>iturgical hymns of the Chaldeo3 Syrian rite of =erala,.
+lwaye@ S. /. >eague. "usic of the Syriac chants of the Syro3"alabar rite *te2t
transliterated in "alayalam script, in 6estern staff notation.
&<
+bel% C.".-. &'8E. =anonanamas!aram *canonical prayers, for the seasons of
>ent and 4esurrection TEasterU. Erna!ulam@ Syro3"alabar >iturgical Committee.
3333333. &'E8. "arichavar!uvendiyulla thiru!!armmangal *rites for the dead,.
Erna!ulam@ >iturgical Doo! Center.
Elisva% =uria!ose% ed. &'#&. =sava d?sesmestha dahalap annide *the boo! of
prayers for the dead,. "annanam@ St. (oseph?s )ress. 4eprint of the &EE# edition.
=alappura% +ndreos% ed. &'$E. D?sesmestha d?annide *5ffice of the dead,.
+luva@ "ar Thoma Sleeha )ress.
"alan!ara orthodo2 suriani christiani!alude namas!ara!ramam N visudha
!urbana!ramam *the 5rder of the 5ffice N the holy mass of the "alan!ara 5rthodo2
Syrian Christians,. &''9. Devalo!am% =ottayam@ Department of )ublications of the
"alan!ara 5rthodo2 Church.
George% ".).% Br. &'':. Suriyani sangeetham *Syriac music,. Devalo!am%
=ottayam@ ".5.C. )ublications.
(. =uc!ert7% ed.@ "usica -ndigena@ einheimische "usi! und ihre mLgliche
Cerwendung in >iturgie und Cer!undigung *4ome% &';8,
Ded0an% )aul% ed. &E'#. +cta "artyrum et Sanctorum. Col.---. )aris% >eipsic@ 5.
/arrassowit7.
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