Launeddas is a Sardinian triple-clarinet. There are now nine types of
Launeddas, each in a different mode. The main repertoire of
launeddas is dance music. Its improvisatory performance is based on the compositional principle
iskala, a series of
pikkiada groups (an individual
pikkiada consists of periods of six or nine measure) whose selection and order is aesthetically determined. Each of the nine types of
launeddas has its own
iskala.
The existing studies have failed to differentiate between the theory of
iskala and its performance practice. Through the course of fieldwork I hoped to develop a theory that would support
iskala performance practice. From my fieldwork I have discovered that that the concept of
iskala varies between regions, generationsand players, I decided to concentrate on the repertory of Aurelio Porcu (1915-), one of the oldest of the current generations of performers. Porcu's tradition derives from the
Sarrabus, central region of
launeddas playing. His repertory was inherited from his masters, some of the greatest
launeddas performers. Porcu devoted his life career to a professional
launeddas performance. As heir to one of the central
launeddas traditions, analysis and understanding of his performance and repertory is vital.
Through analyzing the structural characteristics of
iskala, this thesis attempts to clarify the aesthetic process underlying
iskala performance.
Analysis revealed the following three points, as follows. First, the
pikkiada groups that form the
iskala, is are arranged according to the dance. Although the selection of
pikkiada varies according to
iskala, two
pikkiada groups emerged as common to all
iskala performance; furias and
pass'appuntau, both of which are related to dance steps. It can consequently be said that the structure of
iskala performance mirrors the structure of the dance ‹opening→
furias→
pass'appuntau→end›.
Second, in performance, there appear two characteristic features of the
iskala. The first of these is what I refer to as “flexible framework”. This refers to the length of performance. As
launeddas players decide on the spur of the moment how to develop
pikkiada groups, they can control the length of performance, making it as long or short as necessary.
Furthermore, according to Porcu there is an aesthetic principle that no
pikkiada group shall be repeated, what I refer to as a “one way principle”. This is a somewhat contradictory principle for
launeddas players urged to play long performance. The existence of the “one way principle” demonstrates that
launeddas dance music, based on a concept of the
iskala, is a well-ordered logical construction.
Third, there appears to be an ideal “pikkiada matrix” for each of the
pikkiada groups. When Porcu teaches
iskala, he demonstrates various sequences of
pikkiada in each group (Porcu calls each
pikkiada group merely “
sa pikkiada”, i. e the
pikkiada). These are regarded as examples of typical
pikkiada, in which there is no fixed or privileged
pikkiada like theme, contrary to the explanation in the former studies. In the performance
launeddas players can freely decide and play various versions of
pikkiada in each group providing they follows the proper pattern at each stage of the hierarchy (motif, phrase, and whole
pikkiada of each group). While this is not a concrete pattern that players are bound to adhere to, it appears that this has been extracted as a successful model of performance by experienced
launeddas players. As a result, performing
launeddas dance music can be interpreted as cr
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