Figure 8.2: Conch shell trumpet (Charonia tritonis). Photo: Paul Ovendon.
Example 8.4: Michael Atherton, Oku Ou Talanoa Mo Hoku Loto, the ke’lea call to stage.
Another aspect of the crossover approach is the inclusion of audible encouragements from the percussionist to the singer in Oku Ou Talanoa Mo Hoku Loto. Korean p’ansori and Tongan music practice contain words of encouragement. The ch’uimsae of the p’ansori drummer, for example eolsiggu and choch’i – ‘well done!’ and ‘good!’ – are contextually similar to the Tongan words malo malo and mälie.9 Although the melodic material is not melismatic per se, the climax of the poem is carried by the voice alone, where passionate text demanded a more melismatic approach in celebrating the achievements of the Māori queen and the liberation of her people (see Example 8.5).
ISCM : WORLDNEWMUSIC MAGAZINE 141