Explain in your own words, Albert Lord’s step-by-step description of the training of an epic narrator among Bosnian bards.
Albert Lord describes an oral transmission that is different from other experts. According to him, the verbal communication involves a couple of processes that are common to all storytellers. In his book Singer of Tales, Albert Lord articulates some of the learning processes used by every storyteller to come up with rich content for the audience. To him, an epic narrator among the Bosnian bards must follow a special criterion to master the element of storytelling. The entire process includes the common three stages, with each step showing the crucial aspects absorbed by a storyteller when reciting the stories to the audience. The whole theme portrayed by Albert happens to supports the question of who are these traveling bards who used to move from one place to another to recite an enormous epic. These bards never tell the same stories and the same words, and this is supported by the concept borrowed from Serbo-Croatian poets. Therefore, some of these steps in the training process of an epic narrator include;
The first step passed by an epic narrator is based on how a young man learns central themes and the general structure of an epic. According to him, this is the period for listening and absorbing the story in the narration episode. Alberts shows that a young boy was sitting behind listening carefully while others are singing in an event. In this stage, Albert has decided that an epic narrator has agreed to sing, or he is unaware of making an intelligent decision. Still, he is eager to hear the whole stories from the elders or any other person reciting. Before an older person starts to sing, Albert shows that an epic narrator is unconscious or conscious of setting up a solid foundation. The epic narrator is learning the stories coming from the elders and, at the same time, getting acquainted with the names of the characters, the places, and other concepts characterizing the songs and stories. At this step, the themes of the songs, stories as well as poets are now becoming familiar. The epic narrator will, therefore, feel being sharpened as he listens to the men’s discussing the stories and songs among themselves. Besides, it is at this time of training, whereby the epic narrator is imbibing the rhythms and, at the same time, getting the flow of the thoughts expressed in songs or stories provided. Even it is at this time when the epic narrator is absorbing the formulas or the repeated phrases.
The second step of training described by Albert Lord is the period of application. The stage starts when an epic narrator opens the mouth to tell stories or sing. This might happen with the presence or absence of instruments. According to Albert, this step happens by establishing the melody and rhythm of the song and the gusle. It is the best framework that helps the epic narrator to start portraying the expression of ideas. At this step, the narrator must be within the patterns and limits of the rhythm. For example, Albert shows how the Yugoslav tradition was characterized by the simplest statements indicating the element of rhythm. These statements comprised of lines with ten syllables that had broken after every four syllables. The idea is that at this level, the component of learning was common. The process of imitation was common in learning the themes and formulas of the tradition. The singer had to imitate techniques used by his master. The method of copying and the issue of assimilation through listening characterized this second step of training. Albert argues that this second step ends when the epic narrator is competent enough to sing all through when presented in a critical audience.
The final step was on how the singer could attempt to recite-compose his first complete story or song. According to Albert Lord, the singer’s repertory is big enough to complete entertainment for several occasions. When an epic narrator reaches this level, we tend to believe that he has enough command of the music formula. The scale shows that a singer is in a position to sing what he has listened to. At the same time, being able to lengthen or shorten songs according to his desires. If the singer has the willingness to create a new song, then he is described as a complete singer, and he can use this opportunity to emerge as an expert. At some points, some singers reach this level, but they do not fully exhibit the competent skills suitable at this level. The idea is that their weakness is that these singers lack proficiency in the formula and thematic structure of making the songs. These groups, therefore, ought to work hard enough to make sure they comprehend crucial aspects characterizing formula making and thematic structure of songs, stories, and poets.
QUESTION 3
Name and discuss several ways in which music can function diegetically and non-diegetically in motion pictures, and illustrate your discussion with two specific examples of each.
In most cases, films and songs are divided in two different ways. This includes the diegetic and no-diegetic. The two concepts include various aspects. The diegetic music emanates from the source that is in the fictional form of the diegesis. Some of the references supporting the diegetic music include the stereo, the stereo, live musicians, and speakers. The idea is that the characters in diegetic music can hear the content. Conversely, non-diegetic music includes music that does not come from the film, meaning that characters cannot hear the music.
The difference between these two types of music makes them be used differently. Every kind of music is characterized by unique features that make it useful in a couple of ways. Therefore, some of the several ways in which music can function diegetically and non diegetically are;
The music can function diegetically by providing character dialogue in a film. This is one of the common functions found in almost all types of fumes. At this level, the music sets the tone for characters in the film, thus enhancing the diegetic mood all trough. Besides, music can function diegetically by increasing object sounds in pictures and feelings. The point is that diegetic music will make films to be more realistic. This is commonly observed, especially when a character walks in the snow, and at the same time audience can hear the character crunching the footsteps. On the other hand, music function diegetically by making the audience to be absorbed in the scene. The point is that diegetic music makes the film attractive, thus eliminating the aspect of boredom when listening or watching movies.
For example, in the film The Man Who Knew Too Much (1956), there is an element of diegetic music. In the beginning, the movie starts with diegetic music that creates attention to the audience.
On the other hand, music functions non-diegetically in various ways—the non-diegetic music function in enhancing films’ musical score. The idea is that non-diegetic sound sets the film’s tone, expresses ambiguity in movies, and also it manipulates emotions. Besides, non-diegetic music enhances sound effects in cinema. The sound effect improves the dramatic impact. In some common examples, the record scratch sound added for comic relief cannot be heard by the characters in the film. The presence of non-diegetic music enhances the narration or voice-over in films. The voice-over helps in reinforcing the plot of the film as well as explaining the entire concept of the film.
For example, in the film The Adventures of Robin Hood (1938), we tend to observe the element of non-diegetic music. The film is completely orchestral, and it employs the non-diegetic sounds to enhance the theme. The film ends in timpani that again is treated as non-diegetic music in the movie.