Creative Response

John Allen O'Cahan

Margaret Ellen Stockman

My Dream

Let me tell you of my dreams.

I know my past,

I know my present.

What is yet to come?

Tales of kings and queens

tales of famine and strife. 

Music of the turf fire,

Music of the heart.

Let me tell you of my dreams.

A secret love,

A love unapproved.

Here they came,

Here they stayed. 

In the arms of peace.

Years gone by here I am,

A descendant of their love.

Let me tell you of my dreams.

A drink in a pub,

a hug out of love. 

Old friends,

New friends,

all gathered around.

Struggles come,

Struggles pass.

Let me tell you of my dreams.

I have always had an interest in my Irish heritage, and particularly its music.  My study of Rob Campbell's fun, story-filled music, inspired me to continue learning about my family and about the place from which it comes. My correspondence with Campbell encouraged me in my believe that one's heritage is an important part of his identity. And it is also fun to learn about! The above poem was inspired by the story of my maternal ancestors who first came to America. John Allen O'Cahan, later anglicized to Kane, was a young handsome Irish Catholic who fell in love with the beautiful Margaret Ellen Stockman, daughter to an Anglican minister. The two did not have the blessing of their familes to marry, and so they boarded a ship and headed for America to marry and live in peace. Celtic music is full of stories such as this, and more jovial stories. Rod Campbell is a joy to talk with, and it is a pleasure to listen to him perform. 

Bibliography

Allen, Matthew Harp and T. Viswanathan. Music in South India. New York: Oxford University Press, 2003.

Campbell, Rod, email message to Sheila Cronin 13 November 2012 and 24 November 2012.

“Celtic Texas”. <http://celtictexas.com/>

“Fairytale of New York” YouTube. Web. 27 September 2012.

Lau, Frederick. Music in China. New York: Oxford University Press, 2007

“The Grand Pubs of Yorkshire” YouTube. Web. 29 March 2012.

Titon, Jeff Todd. Sustainable Music. 25 November 2012 <http://sustainablemusic.blogspot.com/>

Wade, Bonnie C. Music in Japan. New York: Oxford University Press, 2004. 

Rod Campbell and Sustainability

            Jeff Todd Titan posted on his blog “Sustainable Music” regarding a trip he took to China.  During the trip he visited the Qujiaying village where he attended a concert performance of Buddhist funeral music. Although in this particular instance the music was performed in a concert and not as part of an actual Buddhist funeral, this still serves as an example of the important theme of the identity of China being carried out through continued traditions. Performances such as this one Titon attended aid in sustaining the music and heritage of the Chinese culture. The discussion of identity in Lau’s book is closely related to the sustainability of music. The identity of a culture is in part formed by the music of that culture, and the identity of that culture would be lost in some part if not for the continued practice of its music, the sustaining of its music. In order for music to be sustained, in some respects it needs to have the flexibility to be altered. The use of improvisation as part of the music culture of South India, and of the music culture of Rod Campbell, enables each to further explore music, and thus to sustain it. Related to improvisation is the idea of intertextuality.  When a person improvises, he uses what he knows to create and add sound, or adapt to a situation.  In the case of Ataka, Kanjincho, and Men who Stepped on Tiger’s Tale, each was influenced by Tales of the Heike, and each continues to tell the story of the war each time it is viewed, sustaining the practice of telling the tale. Just as the examples regarding China, South India, and Japan sustainability, so does Rod Campbell.  His use of his knowledge of music and history in his performances, further sustains Celtic music and Celtic culture.  

Rod Campbell and Intertextuality

Bonnie Wade discusses the theme of intertextuality in her book Music in Japan.  Wade states “Intertextuality is at the heart of the Japanese performing arts, as familiar themes and musical material, sounds, and structures are maintained but transformed in ever fresh ways serving to keep cultural memory alive” (xiv). An example of intertextuality in her book is the noh play Ataka, the kabuki play Kanjincho, and the film Men who Stepped on Tiger’s Tale.  These are both based on The Tale of the Heike, the Japanese epic describing the Heike – Genji Civil War of 1180-1185. Each of these pieces of art displays elements of the same story, but each portrays some aspects differently. Kanjincho was influenced by Ataka, and Men who Stepped on Tiger’s Tale was influenced by both Ataka and Kanjincho. The purpose of each is to continue to tell the story first told in the Tales of the Heike. Each does so, keeping the same character names, and scenes described, but each expresses the character and the situations in which they find themselves differently.  Similarly, Celtic music is a tool used to tell stories, and continue traditions.  The music Rod Campbell performs may not be written by him, but does not necessarily play each piece the same way the original performers would have. Because of the life he has lived, and the experiences he has had, the pieces Campbell sings are influenced by him, and he in turn influences the way the music is heard by his audiences.  When asked about the pieces he enjoys performing most, a second piece Campbell mentioned was “Fairytale of New York” by Shane McGowan.  His comment about this song was “it’s funny, poignant, vulgar, lyrical, with a great melody and story to go with it. It’s really a conversation, fittingly a duet”.  Listening to the piece, one will find that Campbell’s description is definitely fitting.  This song tells the story of a couple dreaming of what could have been, and poking fun at each other.  In performing this song, Campbell is continuing the story told by McGowan, who was influenced to write the song based on experiences in his own life. Intertextuality is important to consider when looking at music, literature, theatre and other art forms. In the case of Ataka, Kanjincho, and Men who Stepped on Tiger’s Tale, each descended from the same story, and each one was influenced by those which came before it.  The same can be said of Rod Campbell.  The music he performs, and the ways in which he chooses to perform them are influenced by the sources of the music, as well as by his own life.

Rod Campbell and Improvisation

One of themes discussed in T. Viswanathan and Matthew Harp Allen’s book Music in South India, is the importance of improvisation.  The flexible structure of karnatak music enables musicians to explore their musical style, and display their virtuosity.  Improvisation in music also entails the ability to adapt to all sorts of changes and challenges presented during a performance.  Karnatak musicians often must adapt their music during performances to fit the space in which they are performing, or the particular god to whom the celebration for which they are playing is devoted.  Karnatak musicians often play for temple festivals for which they play for several hours straight.  These opportunities provide them with time to work on their improvisations for their music such as alapana and niraval (Viswanathan 60). Similarly, Rod Campbell’s performances require him to be ready to improvise frequently.  In response to being asked about challenges faced in performance, Campbell said “Sound is paramount in any performance. If the audience can’t hear or understand you, then you’re doomed from the start.” He continued by describing a time during which he was scheduled to perform along with a few other musicians, and the venue had promised him particular equipment would be provided for them which was not.  He and his fellow musicians had to do the best they could with what they had.  They had to change some of their song choices which they knew would not project well without the proper sound system, but they still managed to have a wonderful performance. “As the old saying goes, ‘we improvise, we adapt, we over come”, said Campbell. Performers of South Indian karnatak music, and Rod Campbell, make use of the idea of improvisation frequently in their music, but their uses vary. 

Rod Campbell and Identity

             The last few weeks I have been corresponding with a musician of the San Antonio area, Rod Campbell.  He is a Texas Celtic performer.  My conversations with him and my exposure to his music taught me a great deal about Celtic music in Texas. I am grateful for his willingness to speak openly with me about his personal history.  He shared stories of his East Texas childhood and of the many musicians who influenced him from a young age from the rock ‘n’ roll of Buddy Holly and The Beatles to the folk music of Pete Seeger and Neil Young.  In response to my asking what drew him to Celtic music he replied, “While I had occasionally listened to and liked Celtic music, I wasn’t particularly drawn to it until I came to San Antonio in 1989 and made friend with a few local musicians… I think what especially appealed to me was the accessibility of it-the great tradition of friends gathering together to share a pint or two and play some tunes”.  This comment of Campbell’s reminded me of one of the major themes of Fredrick Lau’s Music in China, identity. Lau begins his book discussing a visit to a Shanghai teahouse in which a jiangnan sizhu ensemble gathered to play music.  Lau mentions that, typical of jiangnag sizhu music, the ensemble size and the choice of instruments played, often changes (Lau 4). The traditions of regional musics such as jiangnan sizhu contribute to the collective identity of China and Chinese music.  In a similar way, Campbell enjoys performing Celtic music as a way to pass on stories, and continue traditions shared over many centuries.  He hosts Celtic jam sessions weekly at the Olmos Bharmacy which creates a setting similar to the one Lau described in the teahouse.  A group of fellow musicians taking turns, sharing music, and sharing stories. Some of the songs he performs are ballads-sad, songs of love and loss, but most of what he chooses to share in performance are pub songs.  When asked to select his favorite pieces in his repertoire, Campbell mentioned “The Grand Pubs of Yorkshire” as one he enjoys performing.  This song by Peter J. Bensen is an entertaining piece about a man who has experienced pubs all over the country, but finds that those in Yorkshire are best. Campbell sent me a video of this fast, lively song performed by two guitarists, including Campbell, who is also the vocalist, and a bodhran (Irish frame drum) player.  The recoding of this was made as they performed at Main Plaza in downtown San Antonio.  Playing Celtic music is part of the identity of Campbell, as it Celtic tradition plays a role in the identity of Texas. Chinese regional musics are so much a part of their traditions.  Their music expresses their beliefs about life and their relations to one another; just as Campbell’s music expresses stories of living and learning.  

Similar Opera Forms

One difference between kunqu opera and jingju opera is the structure of the melodic ensemble within the orchestra.  In kunqu the main melodic instrument used is the dizi. The dizi provides a mild, gentle sound which supporting the vocalists.  In the first few minutes of the opera “1699” the dizi supports the actors in their singing of budding love.  Jingju melodic ensembles make use of the jinghu. This high-pitched lute, according to Lau is what makes jingju music distinguishable from music of kunqu and yueju opera (Lau 70).

                Both kunqu and jingju make use of percussion instruments in order to emphasize particular body movements and expressions of words.  The percussion section helps in transitions between scenes, by playing interludes. An example of this is seen in “1699” at minute 54 as scene changes and actors leave stage, and different actors come to take their places.