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Boiles 1967 TepehuaThoughtSongCase 1967
Boiles 1967 TepehuaThoughtSongCase 1967
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Charles L. Boiles
*Ed. note: This paper was awarded the Jaap Kunst Prize of the Society
for Ethnomusicology for 1966.
267
0 175 350 525 700 875 1050 1225 1400 1575 1750 1925 2100 2275 2450
- _ _' _
205 v.d.
Figure 1.
350f ==the
350f theact
actofof asking
asking pardon
pardon
But not:
Figure 2.
But not:
^- r P
_ _r
But not:
Figure 3.
But not:
Figure 4.
notes and are found within the noun phrase portion of the music.
Those that occur in nominative positions will have meanings relating
to the semantic interpretations given for a single interval. When this
rhythmic pattern occupies the position assigned to relative clauses,
it is associated with the intercessor; and in this case the intervals,
whether single or reduplicating, will retain their original meanings
although it is the intercessor that executes the action indicated by
each interval.
In any song, repetition of one of its prior musical statements
(i.e., continua or parts of them) affects the message in two ways.
Redundancy is used to establish the context of a song. The rhythmic
pattern of a continuum must be heard at least once before its full
context is understood. Usually, the first continuum of a song, or its
rhythmic pattern, is repeated so that signals which were heard dur-
ing the first playing can be correctly interpreted. Another type of
redundancy utilizes repetition by means of melodic transposition. The
transposition adds a new context, altering the original meaning of the
message, in which the divine Father-Mother becomes involved in the
action associated with the original motives (see Figure 5).
M4 - J -
350r 350f = arriving for asking pardon 350r 350f = arriving for asking pardon
of our Father-Mother
Figure 5.
Prepositional Phrase
3. NP - Noun + (Adjective) +i P
Relative
Noun (Prep
9.Noun Motive otiveAdj
Participle / Verb mkr
IPAd'{ } Motive
11. Ger i > Interval(s) Motive_
{PastV
tPresa / Verb Marker
(Fut
r Motival Nucleus J
12. -
Verb Marker J
r/
175r
175f
r75f1
15. Int2 *- 0 /
l75rJ
-0 place, being in a place
175r presence, act of being present
175f consolation, act of consoling
16. 350r arrival, act of arriving
350f act of asking pardon
525r salutation, act of greeting
J70f. _happy, state of happiness II
175r Fut
//Noun + | , Intercessor
21. Tob complex positional motive
3 3
J J + r J J sacrifice context
24. Topt
25. Tconj
26. Temb
where: N/N'
Song 1.
Text:
N. P. V. P.
\ \ /\A C Tense VM
N.P. P.
N. Vb.Adj.
I
motive motive
J J JJ J
//: 1925 1575 1750 1 2100 1750 1925:/I
Figure 6a.
N . P V. P.
N Ad j Re Prrt. Verb
C Tense VM
N.P. VP.
N VbAdj
r J J J J J
II: 1925 1575 1575 1750 1575 1400 1225 1//
Yonc
Yon
ler-place Asking
v
WH Giving offering Act o conmi l PAST
Being
pardon ]nr c presen t
Intercessor
Figure 6b.
two has only one interval, 175r, which means the "act of
This motive is joined to motive three by an unchanging pitch for which
the interval 0 signifies "being in a place." In the context of a relative
clause, these intervals signal something related to the nominative case.
In this instance, the message is "whose presence is in that place."
The third motive is always related in some way to the verb
(rules 6 and 9). Usually, its function is that of a participle which
defines the action of the verb. In this case, this motive is formed
around the interval 350f which, in the environment of a verb marker,
indicates asking pardon.
The final motive of the continuum is a single pitch with the du-
ration of a quarter note. This motive always acts as a verb marker
(rule 12), and its tense is interpreted according to the type of inte
val that joins the third motive to it (rules 7, 11, 15 and 17). In th
continuum, that interval is 175r which indicates future tense when
placed in this environment. Thus the full message of the first con-
tinuum is in future tense and should read, "The given divine thought,
whose presence will be in that place, where there will be pardon
asked."
In the second continuum of Song 1, the first three motives are
complex and all of them have the motival nucleus of an eighth and
two sixteenth notes. The intervals 350f + 0 of the first motive, in
conjunction with the following interval 350f, refer to "yonder pardon-
asking place." When the above-mentioned motival nucleus is used in
the second position of any continuum, the "intercessor" becomes the
subject of the relative clause (rule 20), and the intercessor executes
the action of the intervals which modify this positional motive (rule
21). Within the motival nucleus of this relative clause, the intervals
175r + 175r signify the "act of giving" (rule 18), and the conjoining
interval of 175r is a verbal adjective (rule 26) which means the "act
of being present" (rule 16). The full statement of this relative clause
is "whose offering-giving intercessor is present." The third motive
is composed of the intervals 175f + 175f. These take the meaning of
the "act of coming." They modify the verb which is in past tense as
indicated by the conjoining interval 175f. The message for this con-
tinuum should read, "The yonder pardon-asking place, whose offer-
ing-giving intercessor is present, where it (the divine thought) was
coming." If considered together, the two continua for Song 1 mu-
sically make the following statement: "The given divine thought will
be present in yonder pardon-asking place whose offering-giving in-
tercessor is there where it was coming." An examination of the
corresponding text for Song 1 shows that these kernel ideas are the
basic message for this song.
Song 2.
Text - 'J I
Text:
I. Continuum A.
A. Rhythmic context: asking pardon.
B. Noun Phrase.
II. Continuum B.
A. Rhythmic context: asking pardon.
B. Noun Phrase.
1. Noun: 350f + 0 = yonder-place.
2. Adjective: 350f = act of asking pardon.
3. Relative clause.
a. Transposition context: Father-Mother.
b. Noun: 525r = salutation.
c. Verbal adjective: 700f = being happy.
C. Verb Phrase.
1. Participle: 350r = act of arriving.
2. Verb: 175f / verb marker = past tense.
3. Transposition context: Father-Mother.
D. Message: Yonder pardon-asking place, whose Father-Mother re-
ceived its happy salutation, where it arrived to be with
them.
III. Continuum C.
A. Rhythmic context: asking pardon.
B. Transposition context: Father-Mother.
C. Phrase organization: the same as that of continuum A.
D. Message: The divine thought given by Father-Mother, whose
salutation for Father-Mother was happy, has arrived
to be with them.
Song 3.
=. ,, :11
Text:
This song is like that of the old midwives and old curers;
Thus did they do it.
For this reason they are there,
And favor and pardon is asked of them.
The asking of favor of those who are there
Is the same as what is being played,
I. Conjoined sentence.
A. Noun Phrase 1.
1. Noun: 0 = place.
2. Adjective: 0 = being in a place.
3. Relative clause.
a. Rhythmic context: noun = intercessor.
b. Modifiers.
(1). 350r = act of arriving.
(2). 175f = act of consoling.
c. Verbal adjective: 350f = asking pardon.
B. Noun Phrase 2.
1. Noun.
a. Transposition context: Father-Mother.
b. Interval: 0 = place.
2. Adjective: 350r = arriving.
3. Relative clause.
a. Rhythmic context: noun = intercessor.
b. Modifiers.
(1). 0 = being in a place.
(2). 350f = asking pardon.
c. Verbal adjective: 175f = act of consoling.
C. Noun Phrase 3.
1. Noun.
a. Transposition context: Father-Mother.
b. Interval: 0 = place.
2. Adjective: 350f = asking pardon.
3. Relative clause.
a. Rhythmic context: noun = intercessor.
b. Modifiers.
(1). 0 = being in a place.
(2). 350r = act of arriving.
c. Verbal adjective: 175f = act of consoling.
D. Verb Phrase.
1. Participle: 0 = being in a place.
2. Verb: 0 /_verb marker = present tense.
II. Message: This is the being in a place whose intercessor by arriv-
ing with consolation asks pardon, the being in the ar-
rival place of our Father-Mother whose intercessor by
asking pardon in that place is consoling, the being of
Father-Mother in the pardon-asking place whose inter-
cessor arriving to be in that place is consoling.
Song 4.
Text:
I. Continuum A.
A. Noun Phrase.
1. Noun: 350f + 350f = act of kneeling for asking pardon.
2. Prepositional phrase: 350r + 525r = near tables and altar.
B. Verb Phrase.
1. Gerund + Participle: 350f + 350f = act of kneeling fo
pardon.
2. Verb: 0 /_verb marker = present tense.
C. Message: The act of kneeling near tables and altar is asking
pardon by kneeling.
II. Continuum B.
A. Noun Phrase.
1. Noun: 350f + 0 = yonder place of asking pardon.
2. Prepositional phrase.
a. Preposition: 0 = place, being in a place.
b. Noun: 525r = salutation.
B. Verb Phrase.
1. Transposition context = Father-Mother.
2. Gerund + Participle: 350f + 350f = kneeling act of asking
pardon.
3. Verb: 0 /_verb marker = present tense.
C. Message: The yonder pardon-asking place in which place of salu-
tation there is kneeling pardon asked of our Father-
Mother.
Song 5.
$J73Tg4 L :11F
Text:
This is for consoling those who are our grandfathers, our grand-
mothers,
For those who are the companions of our spirits,
For those who made offering yesterday and in times past,
For those who are present at the great table where they are
happy and joyous, both standing and seated.
It is in a place where there is a table of gold,
Where there is a seat of gold,
Where there are plates of gold,
Where our grandfathers and grandmothers drink from goblets of
gold,
They whose names were spoken yesterday and before then.
It is they who are caring (for us) now,
And thus they are doing it.
I. Continuum A.
A. Noun Phrase.
1. Noun: 175f = act of consolation.
2. Adjective: 0 + 0 = place.
3. Relative clause.
a. Rhythmic context: intercessor.
b. Modifiers.
(1). 350f = act of asking pardon.
(2). 175r = being present.
c. Verbal adjective: 350r = act of arriving.
B. Verb Phrase.
1. Participle: 175f = act of consolation.
2. Verb: 0 /_verb marker = present tense.
C. Message: This place's consolation, whose intercessor for par-
don-asking here has arrived, is being consoled.
II. Continuum B.
A. Noun Phrase.
1. Rhythmic context: sacrifice.
2. Transposition context: Father-Mother.
3. Noun.
a. 175f = act of consoling.
b. 0 = place.
4. Prepositional phrase.
a. Preposition: 0 + 0.
b. Noun: act of consoling.
B. Verb Phrase.
1. Gerund + Participle: 175r + 175r = act of giving offeri
2. Verb: 175r /_verb marker = future tense.
C. Message: The sacrifice for our Father-Mother's consolation
place in which place of consolation it will be of-
fered.
III. Continuum C.
A. Transposition context: Father-Mother.
B. Noun Phrase: the same as continuum A.
C. Verb Phrase: the same as continuum A.
D. Message: This place's consolation of our Father-Mother, whose
intercessor arrives here to ask pardon of our Fa-
ther-Mother, is the consolation of our Father-
Mother.
Song 6.
1iText'wI 1
Text:
Short Version
Long Version
I. Continuum A.
A. Noun Phrase.
1. Noun: 175r + 175r = act of giving offering.
2. Relative clause.
a. Rhythmic context: intercessor.
b. Modifier: 0 = being in a place.
c. Verbal adjective: 350r + 350r = act of bringing.
B. Verb Phrase.
1. Participle: 0 = being in a place.
2. Verb: 0 /_verb marker = present tense.
C. Message: The giving of offering, whose intercessor brings it
here, is in this place.
II. Continuum B.
A. Noun Phrase.
1. Noun: 350r = act of arriving.
2. Relative clause.
a. Rhythmic context: intercessor.
b. Modifiers: 350f + 350f = kneeling act of pardon-asking.
c. Verbal adjective: 525r = act of greeting.
B. Verb Phrase.
1. Transposition context: Father-Mother.
2. Participle: 0 = being in a place.
3. Verb: 0 / verb marker = present tense.
C. Message: The arrival, when the intercessor kneels giving
greeting, where our Father-Mother is being.
III. Continuum C.
A. Noun Phrase.
1. Transposition context: Father-Mother.
2. Noun: 350r = act of arrival.
3. Adjective: 350f = pardon-asking.
4. Relative clause.
a. Rhythmic context: intercessor.
b. Modifiers.
(1). 0 = being in a place.
(2). 350f = act of asking pardon.
c. Verbal adjective: 175r = being present.
B. Verb Phrase.
1. Transposition context: Father-Mother.
2. Participle: 0 = being in a place.
3. Verb: 0 / verb marker = present tense.
C. Message: The arrival asking pardon of our Father-Mother,
whose intercessor is present in that place to ask
pardon, where our Father-Mother is being.
IV. Continuum D.
A. Noun Phrase.
1. Noun: 175r = act of being present.
2. Adjective: 350f = act of asking pardon.
3. Relative clause.
a. Rhythmic context: intercessor.
b. Modifier: 0 + 0 = being in a place.
c. Verbal adjective: 175f = act of consoling.
B. Verb Phrase.
1. Transposition context: Father-Mother.
2. Participle: 0 = being in a place.
3. Verb: 0 /_verb marker = present tense.
C. Message: The presence of pardon-asking, whose intercessor
is here consoling, where our Father-Mother is
being.
Tulane University
New Orleans, Louisiana
Field research for this paper was sponsored under the program of in-
vestigation of the Instituto de Antropologfa de la Universidad Veracruzana of
Jalapa, Veracruz, Mexico. The conclusions and opinions presented here are
those of the author and are not necessarily those of the Instituto de Anthro-
pologia.
REFERENCES CITED
Edmonson, Munro S.
1965 "Literary form in the Dresden Codex." A paper read at the
American Anthropology meeting in Denver, Colorado, November
21, 1965.
Sahaguin, Bernardino de
1956 Historia general de las cosas de Nueva Espana. Mexico, D.F.:
Porrua Hermanos.