Dengiz shanty - Sea shanty

Shanti
Kema kemalarida mehnat qilish paytida dengizchilar shantiyalarni kuylashdi

A dengiz shanty, chantey, yoki xushomadgo'y ning bir turi ishchi qo'shiq bir vaqtlar katta samolyotda mehnatni kuzatib borish uchun tez-tez aytilgan savdogar suzib yuruvchi kemalar. Atama eskirgan ushbu tarixiy asarga tegishli bo'lgan aniq bir ish uslubi uslubiga aniqroq ishora qiladi repertuar. Biroq, so'nggi paytlarda ommabop foydalanishda, uning ta'rifi ba'zida repertuar va xususiyatlarning keng doirasini tan olish yoki umuman "dengiz ishi qo'shig'i" ga murojaat qilish uchun kengaytirildi.

Etimologik kelib chiqishi noaniq, so'z eskirgan 19-asrning o'rtalarida, ayniqsa, o'n yilliklar oldidan mashhur bo'lgan Amerika uslubidagi savdo kemalarida rivojlangan ishchi qo'shiqning sezilarli darajada ajralib turadigan janriga nisbatan paydo bo'ldi. Amerika fuqarolar urushi.^[1] Shanty qo'shiqlari, keyinchalik kichikroq ekipajga ega bo'lgan va qattiqroq jadvallarda ishlaydigan katta kemalarga aylangan mehnatni sinxronlashtirish va shu bilan tejashga xizmat qildi.^[2] Shantiyalarni kuylash amaliyoti oxir-oqibat xalqaro miqyosda va shamol boshqaradigan davrda keng tarqaldi paket va qaychi kemalari.

Shanties britaniyaliklar va boshqa milliy dengiz an'analarining ishlarida, masalan, portlarni kemalarga paxta bilan qo'lda yuklash paytida aytilgan qo'shiqlarda ilgari bor edi. AQShning janubi. Shanty repertuari dengizchilar tomonidan zavqlanadigan zamonaviy mashhur musiqadan, shu jumladan minstrel musiqasi, mashhur yurishlar va erga asoslangan xalq qo'shiqlari keyinchalik ular suzib yuradigan kemani boshqarish uchun zarur bo'lgan turli xil mehnat vazifalariga mos keladigan musiqiy shakllarga moslashtirildi. Odatda tortishish yoki itarish harakatlarida muvofiqlashtirilgan guruh harakatlarini talab qiladigan bunday vazifalar tortishni o'z ichiga oladi langar va sozlash suzib yurish.

Shanty janri moslashuvchan lirik shakllar bilan tipiklashtirildi, bu amalda ko'p narsalarni ta'minladi improvizatsiya va sharoitga mos ravishda qo'shiqni cho'zish yoki qisqartirish qobiliyati. Uning o'ziga xos xususiyati edi qo'ng'iroq qilish va javob berish o'rtasida amalga oshirilgan solist va qolgan ishchilar xorda. Rahbar, deb nomlangan shantyman, o'zining nozik tili, lirik zukkoligi va kuchli ovozi bilan qadrlandi. Shanties instrumental holda kuylangan hamrohlik va tarixiy jihatdan aytganda, ular faqat o'yin-kulgiga asoslangan kontekstda emas, balki faqat ish asosida kuylangan. Eng taniqli ingliz tilida bo'lishiga qaramay, shanties boshqa Evropa tillarida yaratilgan yoki tarjima qilingan.

Ga o'tish bug 'bilan ishlaydigan kemalar va 19-asrning oxiriga kelib, kema vazifalari uchun mashinalardan foydalanish shanties asta-sekin amaliy funktsiyani bajarishni to'xtatdi. 20-asrning birinchi yarmida ularni ishchi qo'shiqlar sifatida ishlatish ahamiyatsiz bo'lib qoldi. Shanties haqida ma'lumot faxriy tomonidan saqlanib qoldi dengizchilar va tomonidan folklorshunos qo'shiq yig'uvchilar va ularning yozma va audio yozib olingan ish keyinchalik quruqlikdagi bo'sh vaqtni o'tkazish sifatida ashulalarni kuylashni qayta tiklashga yordam beradigan resurslarni taqdim etdi. Tijorat musiqiy yozuvlari, ommabop adabiyot va boshqa ommaviy axborot vositalari, ayniqsa 20-asrning 20-yillaridan boshlab, shantiyalarga bo'lgan qiziqishni kuchaytirdi landlubberlar. Ushbu qo'shiqlarning zamonaviy ijro kontekstlari ularning shakllariga, mazmuniga va madaniy va tarixiy asarlar sifatida tushunilishiga ta'sir ko'rsatdi. So'nggi spektakllarda "an'anaviy" uslubdagi amaliyotchilar jonlanishga yo'naltirilgan, dengiz musiqasi sahnasida musiqachilar tomonidan turli xil mashhur uslublarda ashaddiy repertuarlarni qabul qilishgacha.

So'z

Etimologiya

"Shanty" so'zining kelib chiqishi noma'lum, biroq bir nechta noaniq nazariyalar ilgari surilgan.^[3] Eng qadimgi va doimiy ravishda taqdim etilgan lotinlardan biri frantsuz tilidan olingan qichqiriq, "kuylamoq."^[4]

19-asr o'rtalarida tarixiy yozuvlarda "shanty" atamasi paydo bo'lishidan oldin, dengiz mehnatiga hamrohlik qilish uchun qo'shiqlarni yoki qo'shiqlarni qandaydir shaklda ishlatish hodisasi. Ushbu qo'shiq uchun ushbu atamaning eng qadimgi nashrlaridan biri G. E. Klarkning so'zlariga tegishli Dengizchining etti yillik hayoti, 1867.^[5] A. Safari haqida hikoya qilish qaychi kemasi dan Bombay ga Nyu-York shahri 1860-yillarning boshlarida Klark shunday deb yozgan edi: "Anchor kamonga kamon bilan keldi xushomadgo'y "Oh, Riley, Oh" va "Meni uzoqroq ko'taringlar" va tortish bizni Bruklindagi iskala tomon olib bordi. "^[6] Boshqa safar haqida gapirib berayotganda Viloyat shahri, Mass. 1865 yilda u shunday deb yozgan edi:

Har bir erkak navbatchilikka otildi. Quvnoq xushomadgo'y - deya g'ichirladi va gayillashning baland ovozini eshitdi. Kabel juda qattiq ushlab turilgan edi va u ko'tarilgach, shisha shisha odamlarni qo'liga galvanik akkumulyator singari uchib ketdi. Kema boshi tez-tez qattiq dengizga ko'milgan, erkaklar esa ho'llangan va ter to'kkan, tormozni tortib, uzoq vaqt yarador bo'lganlarida, "temir yo'lda Paddy" va "Biz uy egasi bo'ldik" deb xirillab baqirishdi. , dyuym dyuymli qattiq simi.^[7]

Bundan tashqari, Klark etakchi qo'shiqchini "chanty man" deb atagan va u aytgan stevedores kemalardan yuklarni "chanty men" va "chanty band" sifatida tushirish.^[8]

Stivedorlarni "chanty men" deb kuylash haqidagi ushbu havola ushbu janrni hali avvalgi murojaat bilan bog'laydi ashaddiy odam mehnat to'dasining sardorlari va ularning qo'shiqlarining bosh qo'shiqchisi sifatida. 1840-yillarning oxirlarida, Charlz Nordxof "paxta burish" deb nomlangan mehnat turi bilan shug'ullanadigan ishchi guruhlar kuzatilgan Mobile Bay. Nordxof tomonidan eng og'ir mehnat turlaridan biri sifatida tavsiflangan paxta vidalanishi katta vintlardek paxta terimlarini siqib chiqarish va majburiy ravishda chiqib ketadigan kemalar uchun. Ishchi to'dalar to'rt kishidan iborat bo'lib, ular o'zlarining kuchlarini vaqtni vintni aylanadigan qo'shiqlarga aylantirishga sarfladilar hayqiriqlar.

Qo'shiq aytish yoki ashula deyilganidek, paxtada ishlashning o'zgarmas hamkori va vida guruhlarining ko'pchiligida so'zlar va ohangda qo'pol va noaniq qo'shiqlarning cheksiz to'plami mavjud, ammo barchani birlashtirishga qaratilgan maqsadlarga yaxshi javob berish va og'ir mehnatni jonlantirish. Usta bu ashaddiy odam, qo'shiqni kim kuylaydi, to'da faqat har bir satr oxirida keladigan xorga qo'shiladi va oxirida yana vida tutqichlari tortiladi ...
The hayqiriqlartaxmin qilinganidek, ularda mantiqdan ko'ra ko'proq qofiya mavjud. Kuylar, odatda, aksariyati singari yumshoq va bir xildagi kapstan dengizchilarning ohanglari, ammo ko'rfazning sokin suvlari ustida jaranglab, ular yaxshi ta'sir ko'rsatdi.^[9]

Imlo

Termin imlosi hech qachon to'liq standartlashtirilmagan va uning shakli 20-asrning 20-yillaridan keyin juda mos kelmaydigan tarzda paydo bo'lgan. Yuqorida ta'kidlab o'tilganidek, amerikalik manbalarda "ch" imlosi ishlatilgan, 1868 va 1869 yillarda nashr etilgan ingliz nashrlarining ikkita o'xshash maqolasida ushbu atamaning keyingi nashrlari "shanty" ishlatilgan.^[10][11] Dastlabki yozuvchilar ushbu janrga qarab sezilarli darajada ijod qilganlar (ya'ni shantiyalarni faqat o'tish paytida eslamaganlar), millatidan qat'i nazar, ko'pincha "ch" imlosidan foydalanganlar.^[12]

Ga murojaat qilish Qirollik musiqiy assotsiatsiyasi 1915 yilda ingliz musiqashunosi Richard Runciman Terri imlo talaffuzga aniq mos kelishi kerakligi sababli janrni "sh" bilan yozish kerak degan fikrini ilgari surdi.^[13] Keyinchalik shanty to'plamlarida u ushbu imlodan doimiy ravishda foydalangan.^[14] Amerikalik shanty-kollektor Joanna Colcord Terrining birinchi kitobidan juda yaxshi foydalandi (muallif bilan yozishma va uning ba'zi materiallarini qayta nashr etish) va u ham 1924 yildagi to'plam uchun "sh" imlosini qabul qilishni oqilona deb topdi.^[15]

Terrining asarlari eng qadimgi tijorat yozuvlari (quyida ko'rib chiqing) va shantlarning mashhur chiqishlari uchun manba bo'lgan - ayniqsa, avvalgi ko'plab asarlardan farqli o'laroq, ular taqdim etgan ballar pianino hamkori va etarlicha uzoq, ijroga tayyor qo'shiqlar to'plami bilan. Kolkordning ishi ham bu borada juda qulay bo'lgan va taniqli shaxslar manba sifatida foydalangan Britaniya xalq tiklanishi kabi ijrochilar A. L. Lloyd va Ewan MacColl. Terri va Kolkord asarlaridan keyin ko'plab shantli to'plamlar va ballar paydo bo'ldi, ular "sh" imlosidan foydalanishni tanladilar,^[16] boshqalar esa atamaning etimologik kelib chiqishi deb hisoblagan narsalarini saqlab qolish uchun "ch" ni saqlab qolish zarurligini ta'kidladilar.^[17] 20-asrning oxiriga kelib, "sh" imlosi Hamdo'stlik ingliz tilida ozmi-ko'pmi standartga aylandi,^[18] "ch" imlosi asosan Qo'shma Shtatlarda keng tarqalgan bo'lib qolmoqda.^[19]

"Dengiz shanty" iborasi shunga o'xshash narsani anglatadi ortiqcha iboralarga "Bankomat mashinasi "yoki"choy choyi "Shanty" so'zining o'zi dengiz bilan bog'liq bo'lgan ish qo'shig'ining ma'nosini allaqachon anglatadi. 1920-yillar davomida bu ibora oddiy sharhlovchilar tomonidan doimiy qo'llanila boshlandi,^[20] garchi u dengizchilarning o'zlari foydalanishda hujjatlashtirilmagan bo'lsa ham, Sten Xugill kabi bilimdon mualliflar tomonidan ham qo'llanilmagan. "Sea shanty / chantey" atamasi ommabop foydalanishning asosiy vositasiga aylandi, bu erda ishchi qo'shiq janrini "shanty" so'zining boshqa ma'nolaridan ajratishga yordam beradi.

Tarix va rivojlanish

Vujudga kelishi

Qo'shiq yoki ashula turli vaqtlarda va turli joylarda turli madaniy guruhlar o'rtasida dengiz kemalarida mehnatni kuzatib borish uchun qilingan. Dengizchining qichqirig'i kabi ko'rinadigan narsalarga havola Shotlandiyaning Complaynt (1549) mashhur keltirilgan misoldir. 20-asr folklorshunoslari tomonidan "shanty" so'zining erkin ishlatilishi^[21] atamaning kontseptual doirasini kengaytirib, umuman "dengiz bilan bog'liq ish qo'shiqlari" ni o'z ichiga oldi. Biroq, shanty janri turli xil global ish qo'shiqlari hodisalari orasida ajralib turadi. Uning rasmiy xususiyatlari, foydalanishning o'ziga xos uslubi va repertuarlari birlashib, 19-asr boshlarida Atlantika savdo savdosida paydo bo'lgan ishchi qo'shiq janrining rasmini shakllantiradi. Asl ishchi qo'shiqlar sifatida shanties taxminan ellik yil davomida rivojlandi.

Ishchi qo'shiqlar va "qo'shiqlar"

Shanty kabi har qanday narsalarga tarixiy ma'lumotlarning etishmasligi sezilarli, chunki ular ma'lum bo'lishi mumkin edi, chunki XVIII asrda.^[22][23] XVIII asrning ikkinchi yarmida ingliz va frantsuz dengizchilari bir ovozdan kuch sarflashni talab qiladigan bir necha kema vazifalarini muvofiqlashtirish uchun oddiy xitoblardan foydalanmoqdalar. A deb nomlanuvchi langar tashuvchi mexanik qurilmani tavsiflashda dengiz atamalari lug'ati shamol, bunday ashuladan foydalanishni ta'kidladi. Ushbu qadimgi eskirgan shamol uslubi ishchilarga doimiy ravishda "qo'l shpiklari" ni (yog'och dastani tirgaklarini) olib tashlashni va vitesini aylantirish uchun qayta o'rnatishni talab qilardi.

Shu bilan birga, handspeceni katta foyda olish uchun boshqarish uchun mahorat va manzil talab etiladi; va buni amalga oshirish uchun dengizchilar bir zumda shamol oynasiga ko'tarilib, ulardagi panjaralarni o'rnatib, xuddi shu daqiqada to'satdan jirkanch harakat qilishlari kerak, bu harakatni ular biron bir qo'shiq yoki vovul bilan tartibga solinishi kerak. .^[24]

Yaxshi ishlab chiqilgan ashaddiylarni qo'shiqlari o'rniga, bu "uvillash" va boshqalar "1, 2," 3! "Xuddi shu lug'atda frantsuz dengizchilari aynan shu so'zlarni aytganliklari va inglizcha shamol oynasi qanday bo'lishi mumkinligi haqida bir nechta ma'lumot berilgan:

BMT, deux, troi, dengizchilar piyolalarni tashishda foydalanadigan, undov yoki qo'shiq, oxirgi so'zda eng katta kuch sarflanadi. Xuddi shu tarzda ingliz dengizchilari ham shu munosabat bilan: "haul-in-haul-two-haul-belay!"^[25]

Bunday sodda yoki qisqa qo'shiqlar 19-asrgacha saqlanib qolgan. Birinchi qo'l kuzatuvchilar, masalan, 1870-yillarning dengizchisi Frederik Piz Xarlou, ularning hamma joyda mavjudligini tasdiqlab, ular qisqa vazifa talab qilingan paytda foydalanishga topshirilganligini aytdi.^[26] Tarixiy qarashda ushbu buyumlar umumiy ma'noda "qo'shiqlar" deb nomlandi; hali bu atama ma'lum bo'lishidan oldin ham eskirgan, Richard Genri Dana "chiqib kuylash" deb nomlangan.

Bo'shashgan arqonlar atrofida uchib yurgan shamol; menga baland ovoz bilan va doimo tushunarsiz buyruqlar berilib, tezkorlik bilan ijro etilardi, va dengizchilar o'zlarining xirillagan va o'ziga xos shtammlarida arqonlarga "qo'shiq aytadilar".^[27]

Keyinchalik yozuvchilar bunday hayqiriqlarni va "qo'shiqlarni" shantiyalardan to'g'ri ajratishgan, ammo nisbatan "oddiy" shantiyalarda, masalan, choyshab va tayoqlarni tashish uchun (pastga qarang) - kulrang joy bor. Bu ba'zilarni keyingi yillardagi yanada murakkab shantiyalar ibtidoiy hayqiriqlardan kelib chiqqan deb o'ylashga olib keldi.^[28]

Dastlabki ingliz-ingliz va amerikalik dengizchilar ishchi qo'shiqlari

19-asrning birinchi keng tarqalgan dengizchilarining "Quvnoq odam" qo'shig'i bilan tanlangan qo'shiqlardan nafislikka qadam qo'ydi. Garchi boshqa ishbozliklar unvonlarni olish uchun juda o'zgaruvchan, tavsiflanmagan yoki tasodifiy bo'lgan bo'lsa-da, "Quvnoq odam" asrning boshlarida bir necha bor ism-sharif bilan tilga olingan va keyinchalik shantiyalar bilan birga yashagan. tomonidan yozib olingan dengizchilar tomonidan ham eslab qolish Jeyms Medison duradgor 1920-yillarda. "Quvnoq odam" Dana (1834–36 yillardagi dengiz tajribasi) va ham ijodida sezilarli rol o'ynaydi Xerman Melvill (dengiz tajribasi 1841–42).

Yelkan hovlilarini boshqarishga kelganimizda, qo'llarimizni yarim hovlilarga qo'yib, biz "Xursand bo'linglar, erkaklar" deb xiyla bilan urdik, bu Staten Landga yarim yo'l eshitilgandir.^[29]

Kemalar butun hayot va shovqin edi; dengizchilar "Xo, quvnoq erkaklar!" ular langarni ushlaganlarida;^[30]

Garchi "Quvnoq odam" o'rtacha qo'shiqdan ko'ra ko'proq "rivojlangan" deb hisoblanishi mumkin bo'lsa-da, uning shakli jihatidan bugungi kunda bizga ma'lum bo'lgan shantiyalarning aksariyatidan farq qiladi, bu uning dengizchilarning oldingi bosqichiga tegishli ekanligini anglatadi. "zamonaviy" shantiyalar paydo bo'lishidan oldin qo'shiqlar.

Shanty-ashula bilan mos keladigan kema amaliyotiga batafsil ma'lumot 1830-yillardan oldin juda kam uchragan. Birinchidan, ishlayotganda qo'shiq aytish odatda urush kemalari bilan emas, balki savdo kemalari bilan cheklangan. The Qirollik floti ish paytida qo'shiq aytishni taqiqlashdi - shovqin ekipaj uchun buyruqlarni eshitishni qiyinlashtirishi mumkin deb o'ylashdi-da kapstan ish bilan birga edi bosun trubkasi,^[31] Yoki fife, baraban yoki skripka bilan.^[32] 18-asrning 30-yillaridan bir yozuvchi buni aniq ta'kidladi:

Qora soqchi kapstan, dan Quid (1832)

Yaxshi intizomli bortda urush odami, turli xil evolyutsiyani amalga oshirish paytida zobitlardan boshqa hech kimning gaplashishiga yo'l qo'yilmaydi. Ko'plab erkaklar birgalikda ishlaganda, mo'ysafid yoki ssenariychi odatda ba'zi sevimli kuylarini ijro etadi; va Jekning "shtamplashi va ketishi" bilan quvonchni ko'rish juda yoqimli, "Jekning bolasi" yoki "Kollejning xornpipi" ga aniq vaqt ajratilgan.^[33]

Ilk vaqtlarda fife va skripka savdo kemalarida ishlash uchun ishlatilgan.^[34]

Yalang'och qo'shiqlarga kashf etilgan dastlabki ma'lumotlardan biri noma'lum "boshqaruvchi yo'lovchi" tomonidan sayohat jurnalida qilingan. East India kompaniyasi kema, huquqli Quid (1832). Ekipaj va yo'lovchilar ham ushbu qo'shilishga qo'shilishlari kerakligi qayd etildi kapstan atrofida. Ular "eski ditties" ni kuylashlari aytilgan, shu bilan birga bir yoki bir nechta qo'shiqlarga bir nechta baytlar berilgan.^[35] Garchi bu amaliyot keyinchalik "kapstan shanties" deb nomlanadigan amaliyotga o'xshash bo'lsa-da, ushbu oyatlarning shakli keyingi shantiyalarga o'xshamaydi. Ushbu qo'shiqlar keyingi davrlarda ma'lum bo'lgan har qanday shantga mos kelmaydi. Ehtimol, kapitani ko'tarish uchun uzoq va bir xil vazifa uzoq vaqtdan beri har xil turdagi qo'shiqlarni kuylashga ilhom bergan bo'lishi mumkin, masalan. Quid. Masalan, norvegiyalik shoirning kapstancha uslubidagi "dengizchi qo'shiqlari" kompozitsiyasi Henrik Vergeland 1838 yildayoq^[36] skandinaviyaliklar ham bunday qo'shiqlardan foydalanganliklarini anglatadi. Biroq, ushbu eski qo'shiqlarni yorliq berilgan keyingi turlardan ajratish mumkin eskirgan, sezilarli darajada yangi va aniq tan olingan hodisani tug'diradigan boshqa shakllantiruvchi ta'sirlar mavjudligini ko'rsatmoqda.^[37]

Afro-amerikaliklar va Karib havzalarida ishlaydigan qo'shiqlarning ta'siri

Ushbu bo'limdagi misollar va istiqbol birinchi navbatda Amerika Qo'shma Shtatlari bilan muomala va vakili emas a butun dunyo ko'rinishi mavzuning. Sizga mumkin ushbu bo'limni yaxshilang, masalani muhokama qiling munozara sahifasiyoki tegishli ravishda yangi bo'lim yarating. (2017 yil mart) (Ushbu shablon xabarini qanday va qachon olib tashlashni bilib oling)

Bir paytlar qo'shiq uchun ushbu paradigma ko'pgina vazifalarni bajarish uchun keng qamrovli amaliyotga aylanganidan so'ng, "shanty" atamasidan foydalanish, uslubi va kelib chiqishidan qat'i nazar, uning ta'rifi ostida kemaning barcha ishchi qo'shiqlarini o'z ichiga olgan.^[38] Shantieslar bir nechta turlarga ega edi va ularning barchasi bir vaqtning o'zida rivojlanib borishi shart emas edi. "Capstan shanties ", ba'zilari yuqorida muhokama qilingan kaptancha qo'shiqlardan paydo bo'lgan bo'lishi mumkin, shakli va kelib chiqishi jihatidan ancha o'zgaruvchan. Boshqa tomondan," halyard shanties "deb nomlangan repertuar izchil shaklga qo'shilib ketgan.^[37] Ushbu qo'shiqlarning aksariyatini tipiklashtiradigan o'ziga xos "ikki marta tortish" formati, shuningdek, ba'zida biroz o'zgarib, nasoslar, shamol va kapstan uchun ham ishlatilgan - bu keyinchalik rivojlanish bo'lib, afro-amerikaliklarning ishchi qo'shiqlariga katta qarzdor bo'lib tuyuladi.^[39]

19-asrning dastlabki bir necha o'n yilligida Oq Evropa-Amerika madaniyati, xususan anglofon - dengizchilarning "Quvnoq odam" va ba'zi bir kastan qo'shiqlariga qaramay, o'zlarining ish qo'shiqlari bilan mashhur emas edilar.^{[iqtibos kerak ]}. Aksincha, afrikalik ishchilar, ham Afrikada, ham Yangi dunyoda, ish paytida qo'shiq aytishlari keng tarqalgan. Evropalik kuzatuvchilar afrikalik ishchi-qo'shiqchilarni shunchalik ajoyib deb topganliklari (ularning tavsiflari ohangidan anglash mumkin), ishchi qo'shiqlar haqiqatan ham ularning madaniyati uchun begona edi.^[40] Bunday ma'lumotnomalar 18-asrning oxirida paydo bo'la boshlaydi, u erda qora afrikaliklar qo'shiq aytmasdan "ishlay olmaydigan" klişe rivojlanganini ko'rish mumkin. Masalan, kuzatuvchi Martinika 1806 yilda shunday yozgan edi: "Negrlarning har qanday mehnat uchun har xil havosi va so'zlari bor; ba'zida ular qo'shiq aytishadi va ularning harakatlari, hatto erni ishlov berishda ham musiqaga vaqt ajratib turadi".^[41] Shunday qilib, afro-amerikalik ishchi qo'shiq an'analarining chuqurligi endi tan olingan bo'lsa-da,^[42] 19-asrning boshlarida ular evro-amerikaliklar orasida bunday urf-odatlar kamligidan keskin farq qildilar. Shunday qilib, evropalik dengizchilar ba'zi bir mehnat turlari uchun ishlatish uchun qisqa qo'shiqlar aytishni o'rgangan bo'lsalar-da, ko'pgina vazifalar uchun ishlab chiqilgan ishchi qo'shiqlarning keng qamrovli tizimining paradigmasi afroamerikaliklarning bevosita ishtiroki yoki ularga taqlid qilish orqali o'z hissasini qo'shgan bo'lishi mumkin.^[40] Afro-amerikaliklar shanties bilan taqqoslanadigan qo'shiqlarni kuylagan ish tarkibiga quyidagilar kiradi:

• Qayiqda eshkak eshish AQShning janubi-sharqiy va Karib dengizining daryolarida;
• Makkajo'xori partiyalari plantatsiyalar AQShning janubi-sharqiy qismi;
• Ishi stokers yoki Amerikaning buyuk daryolari bo'ylab paroxodli pechlarga o'tin tashlagan "o't o'chiruvchilar";
• Stevedoring AQShning sharqiy dengiz qirg'og'ida Ko'rfaz sohillari, va Karib dengizi - shu jumladan "paxta burama" (katta yordamida) jekvrit paxta to'plamlarini siqib chiqarish va majburiy ravishda portlaridagi chiquvchi kemalar zaxiralariga Amerika janubi ).

19-asrning birinchi yarmida afro-amerikaliklar kuylagan ba'zi qo'shiqlar ham kema vazifalari uchun ishlatila boshlandi, ya'ni shanties sifatida.^[43]

Missisipi paroxodining etakchisi a tepasida qo'shiq kuylamoqda kapstan

Bir necha kontekstda, shu jumladan, oxir-oqibat, dengizchilarning ishlashida bo'lishgan ishchi qo'shiqning misoli "Grog Vaqt o 'kun ". Hozir musiqasi yo'qolgan ushbu qo'shiqni kuylaganlar: 1811 yilda yamaykalik stevedores;^[44] Afro-Karib dengizi qayiqda eshkak eshishmoqda Antigua taxminan 1814;^[45] Bug 'qayig'ini yuklayotgan qora stvedorlar Yangi Orlean 1841 yilda;^[46] va 1840-yillarda Nyu-Yorkdan chiqib ketish mashinasida halyardlarni tashiydigan evro-amerikalik ekipaj.^[47] Shu kabi ko'p ishchi qo'shiqlar: "Misrni aylantir, Sally", "Pastda olov", "Jonni Hiloga tushing", "Hilo, Boys, Hilo", "Tommy's Gone Away", "Sailor" Uning "Bottle-O", "Highland Laddie", "Mudder Dina", "Xiyobondagi bezori", "Hogeye odam", "Xayrli tong, xonimlar, hammasi", "Menga pulni to'lab bering", "Alabama, Jon" Cherokee "," Yanki John, Stormalong "va" Heave Away (My Johnnies) ".^[37]

Yuqorida qayd etilgan dengizchi bo'lmagan kasblar asosan qora tanli mardikorlar tasarrufida bo'lgan bo'lsa, ularning oxirgisi, paxta burish bilan 1840 yillarga kelib, qora tanli bo'lmaganlar ham shug'ullana boshladilar. Ushbu ishchilar tez-tez transatlantik paxta savdosi dengizchilari qatoridan kelishgan, shu qatorda Atlantika okeanida sovuq qish fasllaridan qochishni istab, paxta terish bilan yaxshi haq to'lanadigan mehnat bilan shug'ullanish uchun qirg'oqqa borgan Angliya va Irlandiyalik dengizchilar. .^[48] 1845 yilda Nyu-Orleanda buni qilgan evro-amerikalik shunday deb yozgan edi:

Biz kelganimizdan bir kun o'tgach, ekipaj o'zlarini ikki to'da qilib tuzdilar va kundan-kunga paxta terish bilan shug'ullanishdi ... Jek-vintlar to'plami va ditti yordamida biz ulkan paxtalarni tashlab, barcha qo'shiqlarni kuylardik. esa. Qo'shiq to'dani jonlantirdi va ishni ancha osonlashtirganday tuyuldi.^[49]

Shanti-yozuvchi Sten Xugill Mobil Bay - paxtaning asosiy eksportlaridan biri bo'lgan "shanty mart" deb nomlangan bo'lib, unda turli madaniy kelib chiqishi bo'lgan dengizchilar va ishchilar o'z qo'shiqlarini sotishgan.^[50]

Zamonaviy kuzatuvchilarning tushunchalari

XIX asrda shantiyalar hali ham keng qo'llanilib kelinayotgan paytda yozgan shantiyalarning etnik yoki milliy kelib chiqishi haqida sharhlovchilar odatda bu janr Amerikada paydo bo'lishi va afroamerikalik qo'shiqlarga o'xshashliklarini anglashar edi, bu inglizlarning Angliyadan oldingi an'analaridan farqli o'laroq.^[51] Shantiesning kelib chiqishi haqida fikr bildirish uchun dastlabki maqola (ularni shu nom bilan chaqirmasa ham) Oberlin kolleji 1858 yildagi talaba qog'ozi afrikaliklarning qo'shiqchilik va dengizchilarning ishchi qo'shiqlari o'rtasida taqqoslashni keltirib chiqardi.

Afrikaning qirg'oqlarida siz ularning barcha qo'shiqlarida xuddi shu kabi keskinlikni eshitasiz, masalan, ish joyida yoki qayiqlarini qirg'oqqa va orqasida eshkak eshishda, ular musiqaga vaqt ajratishadi. Janubiy plantatsiyalarda siz ham buni tinglaysiz, negro kuylarida ham qayerda bo'lmasin, ohangdor, g'amgin va samimiy. Bu zo'ravonlik, bo'ysunish va javobsiz mehnatni yaxshi biladigan, milliy tanazzulning dahshati, poyga nolasi, ezilgan va ezilgan kabi ... Va men bu erda dengizchilarning ishchi xori va drenaj o'rtasidagi o'xshashlikni payqamayman. mening guvohi bo'lgan yoki aniqrog'i eshitgan bir voqea mening e'tiborimni maxsus qaratgan negro musiqasi singari.^[52]

Muallif, bir vaqtlar "taniqli musiqa turini" eshitgan bir voqeani aytib berdi va ajablanib, kanoeda eshkak eshgan qora tanlilar tomonidan kuylanayotganini topdi. U "Jim bilan birga Xay, Jozi bilan birga Xey, Xay Jim bilan birga, Jou bilan birga Jim!"^[53] Buning ma'nosi shuki, bu qo'shiq dengizchi qo'shig'iga o'xshash edi, ehtimol taniqli shantli, "Haul Away, Joe" yoki "Rosie for Haul Away", ya'ni.: "Yo'l, haydab yuboring; Ey, haydab yuboring, mening Rozim" ; Yo'l, haydab yuboring; Ey, tortib oling, Jou."^[54] Yozuvchi bilan yana bir aloqani o'rnatmadi minstrel qo'shig'i "Jim Xozi bo'ylab",^[55] munosabatlar aniq, garchi bu shanty uchun ilhom berganmi yoki aksincha, noma'lum.

Bugungi kunda ma'lum bo'lgan ashaddiy repertuarning ko'p qismida 1840-yillardan mashhurlikka erishgan minstrel qo'shiqlariga o'xshashlik mavjud.^[56] The she'riy metr ko'plab minstrel qo'shiqlarining juftlari shantli va xuddi sekvestor bo'lmagano'sha qo'shiqlarning "suzuvchi misralari" turi juda katta qarzga olingan. Nyu-Yorkdagi jurnalist shanties haqida nufuzli dastlabki maqolada Uilyam L. Alden shanties va bilan taqqosladi ikkalasi ham sahih afro-amerikalik qo'shiqlar va yarim afroamerikalik minstrel qo'shiqlari:

Qadimgi dengizchi qo'shiqlari o'ziga xos individuallikka ega edi. Ular yovvoyi ohangda vahshiy edilar. Qandaydir tarzda ularga xarakteriga o'xshash yagona qo'shiqlar "Diksi ", va o'sha yozuvchining ikki yoki uchta" negro "deb nomlangan qo'shiqlari. Bu odam mineralik kasbida tanilgan"Qari Emmet ", Afrika ohanglarining haqiqiy ruhiga ega bo'ldi - qonunsiz, yarim motamli va yarim shodlik qo'shiqlari Kroomen. Bu va dengizchilar qo'shiqlari hech qachon madaniyatli odamlarning qo'shiqlari bo'lishi mumkin emas edi ... Shubhasiz, ko'plab dengizchilar qo'shiqlari negro kelib chiqishiga sabab bo'ladi. Ular janubiy portlardagi kemalar omborlarida paxtani sepayotgan negrlar tomonidan kuylangan kuylarni eslaydi. "Shanty-men", prognozning o'sha zarbalari, negor xorlarning ma'nosiz so'zlarini ma'lum darajada saqlab qolishgan va kuylarni sho'r suv maqsadlariga mos ravishda o'zgartirishgan. Boshqa ba'zi qo'shiqlar shubhasiz ingliz dengizchilarining noaniq, ammo juda uzoq davrdagi ishi edi.^[57]

Alden tadqiqotchi tarixchi sifatida emas, aksincha o'sha paytdagi ashaddiy qo'shiqning kuzatuvchisi sifatida yozgan. Demak, u o'zining uslubi va ijro uslubiga asoslangan shantiyalar haqida taassurot qoldirgan va u shantiyalar hali yozuvchilar va ommaviy axborot vositalari tomonidan milliy "xalq musiqasi" ning har qanday kanoniga mansub bo'lib shakllanmagan paytda yozgan.

Davrning ingliz muallifi, Uilyam Klark Rassel, shanties kelib chiqishi Amerika ekanligi haqidagi bir nechta asarlarga o'z ishonchini bildirdi.

O'ylaymanki, biz dengizchilarning ishchi qo'shig'ini amerikaliklarga singdirganimizdek qarzdormiz. Ushbu qo'shiqlar qayerda paydo bo'lgan? Ularning eng qadimiysi asrdan ancha qadimiyroq ekanligiga shubha qilaman. Shunisi e'tiborga loyiqki, qadimgi sayohatchilar ish paytida dengizchilarning ashula aytayotgani yoki xorlar bilan ularning harakatlarini rag'batlantirayotgani haqida maslahat bermaydilar. Albatta, dengiz flotida bunday qo'shiqqa hech qachon ruxsat berilmagan. Ish skripka zo'riqishida, qayiqchilar va uning juftlarining trubalarida yoki avvalroq karnayda davom etdi. Keyinchalik ishlaydigan qo'shiq Savdogarlar xizmatiga xosdir, ammo Amerika mustaqilligi oldidan va Yanki dengiz piyodasi tashkil etilishidan oldin uning mavjudligi to'g'risida hech qanday taklifga duch kelmasdan eski xronikalarni qidirib topishingiz mumkin.^[58]

Vaqt o'tishi va shantiyalar heterojen ekipajni tashiydigan ko'plab millatlarning kemalarida ajralmas vosita sifatida o'rnatilgach, repertuarga singib ketgan bir necha milliy va madaniy an'analardan ilhomlanib, ularning uslubi keyinchalik son-sanoqsiz shaxslar tomonidan shakllantirildi.^[59] Ularning kelib chiqishi qanday bo'lishidan qat'i nazar, 19-asrning oxiriga kelib, shanties zarur bo'lgan milliy uyushmalarga ega bo'lmagan yoki umuman bo'lmagan xalqaro dengizchilar merosini tashkil etdi.

19-asr

Amerikalik paketli kema ning Qora to'p chiziq

Yangi kemalar va yangi talablar

Yozuvchilar shantiyalarning kelib chiqishini xarakterladilar (yoki ehtimol a uyg'onish shanties, kabi Uilyam Main Doerflinger nazariy jihatdan^[2]) darhol quyidagi davrga tegishli 1812 yilgi urush va ga qadar Amerika fuqarolar urushi.^[60] Bu vaqt dengizlarda nisbatan tinchlik hukm surgan va yuk tashish rivojlangan payt edi. Paketli kemalar butun dunyo bo'ylab belgilangan jadvallar bo'yicha yuk va yo'lovchilarni tashiydi. Paket kemalari kattaroq edi, ammo qatnov jadvallari bo'yicha kutilganidan tashqari, avvalgi davr kemalariga qaraganda kamroq ekipaj bilan suzib yurishgan. Ushbu talablar inson mehnatidan samarali va intizomli foydalanishni talab qildi. Zobitlar o'z ekipajidan yuqori natijalarni talab qilganligi sababli, ayniqsa, amerikalik kemalar shafqatsizlik bilan obro'ga ega bo'lishdi. 19-asrning shantiyalarini dengizchilar tomonidan kema hayotining ushbu uslubiga moslashish uchun qabul qilingan yangi "texnologiya" deb ta'riflash mumkin edi.^[61]

Yaqinda o'tkazilgan tadqiqotlar 19-asrning 20-asr yozuvchilari tomonidan iloji boricha kengroq manbalarni ko'rib chiqdi.^[37] Ushbu manbalardan olingan dalillar shuni ko'rsatadiki, 1830-yillarning o'rtalarida ham janr hali ham rivojlanib bormoqda, bu shantiyalarning ko'tarilishi va gullash davrini avval qabul qilinganidan bir oz keyinroqqa o'tkazadi. Zamonaviy shantiyalarda tarixiy yozuvlarning umumiy sukunati 1840 yillarning oxiriga qadar,^[62] hatto yuk tezroq tomonga siljiganida ham qaychi kemalari, ular asrning o'rtalariga qadar keng qo'llanilmagan bo'lishi mumkinligini taxmin qilmoqda. Ular og'ir emigrantlar harakatidan quvvat olishdi oltin shoshiladi yilda Kaliforniya va Avstraliya. 1850-yillarning mashhur shantieslari "Yuz yil oldin",^[63] "Yana bir kun",^[64] "Santiana",^[65] "Bowlin ustidagi uchish",^[66] "G'arbiy okean bo'ylab",^[66] va ayniqsa "Stormalong".^[66]

Xayrli kun va pasayish

Amerikadagi fuqarolar urushi davriga kelib, xayolparast shakl to'liq rivojlandi, shundan so'ng uning repertuari o'sib bordi va amalga oshirilishi keng tarqaldi va ancha standartlashdi. 1870-yillarning o'n yilligi janrning zenitini anglatadi; o'sha o'n yildan keyin birinchi marta dengizga borgan dengizchilar, balog'at yoshida shanties ko'rmagan deb hisoblanadi.^[67] 1882 yilda, paroxodlarning ko'payishi sababli, Alden shantiyalar o'tib ketganidan afsuslanib yurgan edi.

"Shanty-man" - eski paket kemasining xoristi - o'z vorislarini qoldirmadi. Shov-shuvli "tortuvchi qo'shiq" o'rnida biz endi bug 'vintzasining shitirlashini eshitamiz; va bug 'bilan ishlaydigan zamonaviy shamol oynasi yoki zamonaviy bug' pompasi bizga boshqa kunlarning yovvoyi xorlari o'rniga g'ildiraklarning g'ildiragini va bug 'shivirini beradi. Qo'shiq aytish va bug 'bilan yarashish mumkin emas. Xirillagan bug 'hushtagi - bug' dvigatelining issiq va yog'li muhitida mavjud bo'lishi mumkin bo'lgan musiqaga eng yaqin yondashuv.^[68]

Boshqa yozuvchilar Aldenning nolasini 1880-yillarda va undan keyin ham takrorlashdi; birinchi shanties to'plamlari o'sha o'n yillikda paydo bo'lgan,^[69][70][71] bir ma'noda mualliflar yo'qolib borayotgan san'at deb hisoblagan narsalarga javob sifatida. Shanties ma'lum vaqtgacha ishlatila davom etdi shamol shamollari edi, ammo bu 20-asrning boshlarida nisbatan kam edi.

20-asr

Formatsion yozuv

20-asrning birinchi o'n yilligidagi folklorshunoslar, ayniqsa Britaniyadan kelganlar, milliy meros g'oyasi bilan bog'liq xalq qo'shiqlarini to'plashda qiziqish uyg'otishgan. Sesil Sharp va uning hamkasblari inglizlar orasida Xalq ashulalari jamiyati birinchilardan bo'lib faxriy dengizchilarning lablaridan shanties so'zlari va ohanglarini to'g'ridan-to'g'ri tushirgan va ularni ozmi-ko'p sodiq nashr etgan.^[72] Ularning sa'y-harakatlari bir qator unchalik qattiq bo'lmagan maqolalar va sobiq dengizchilarning o'zlari tomonidan nashr etilgan to'plamlari bilan uyg'unlashdi.^[73] 20-asrning 20-yillariga kelib, shantiylar haqidagi adabiyotlar hajmi ancha o'sdi, ammo u o'zgaruvchan sifatga ega edi. Aksariyat muharrirlar qo'shiqlarning "ideal" versiyalarini taqdim etishdi - bu ashaddiy ashulaning hech qanday ko'rinishini aks ettirmaydi, aksincha, bosma nashrga tahrirlangan kompozitsion rasm. Bowdlerizatsiya va qo'shiq so'zlarining yo'qligi odatiy edi.^[74] Bundan tashqari, ozgina mualliflar folklorshunoslardan tayyorlangan va hatto kamroq tarixiy metodologiyani qo'llab-quvvatlagan. Tahrirlovchilar odatiy ravishda asossiz bayonotlarni o'z ichiga olgan materialga hayoliy, ko'pincha nostaljik kirish so'zlarini nashr etishdi. Natijada, yo'q bo'lib ketayotgan shankiy repertuarning ko'p qismi skelet shaklida saqlanib qolgan bo'lsa-da, janrning aspektlari zamonaviy tasavvurlar asosida qayta ko'rib chiqildi.^[75]

20-asrning boshlarida kollektsionerlarning nimani o'z ichiga olishi, nimani chiqarib tashlashi va repertuarni qanday tuzishi haqidagi tanlovi keyingi avlodlarning janrga qanday qarashlariga ta'sir ko'rsatdi. Shantiyalarni aytgan dengizchilar bu vaqtga kelib juda keksa yoki o'lik edilar va keng jamoatchilik shantlarning chiqishlarini boshdan kechirish imkoniyatiga ega bo'lmaganligi sababli, ushbu mualliflarning vakolatxonalari ma'lumotlarga vositachilik qilishda va "standart" versiyalar taassurotini yaratishda yanada ta'sirchan edi. qo'shiqlar.^[75]

Ingliz shoiri Jon Meysfild, kabi tengdoshlari izidan borish Rudyard Kipling,^[76] shantiesni nostaljik adabiy vosita sifatida qo'lga kiritdi va ularni 1906 yilgi to'plamiga ancha eski, ashaddiy bo'lmagan dengiz qo'shiqlari bilan qo'shib qo'ydi. Dengizchining gulchambaridir.^[77] Masefield dengiz tajribasiga ega bo'lsa-da (1891-95), u shantiyalar bo'yicha mutaxassis emas edi va u qo'shiqlar bergan versiyalarini to'liq haqiqiy deb bo'lmaydi. Masalan, u hech qachon nasosli shantni eshitmaganligini tan oladi,^[78] va shunga qaramay, u manbasini ko'rsatmasdan taqdim etishni davom ettiradi. Uning oldingi maqolalaridan birida,^[79] uning shantieslari Devis va Tozerning avvalgi asarlaridan so'zma-so'z olingan musiqalarga bag'ishlangan va u shu va boshqa keng tarqalgan to'plamdan (L.A.Smit, 1888) manbalardan foydalanganligini eslatib o'tdi. Masefield shantiesni ancha qadimgi ingliz an'analari va adabiyoti bilan bog'lashni xohlardi va uning ayrim narsalarni xarakterlashi keyinchalik ixlosmandlari uchun jozibali bo'ladi. Masalan, Meysfild sharmandali "A-roving" (u shunday nomlagan)Amsterdam xizmatkori ") dan olingan Tomas Xeyvud "s Lucrece'ni zo'rlash fojiasi (1608).^[80] Masefild kollektsiyasidagi so'zlar va g'oyalar, keyinchalik shantli to'plamlarda eng ko'p ko'chirilgan yoki ko'chirilganlar qatoriga kirdi,^[81] va o'zlarining juda mashhurligi bilan bu 20-asr tomoshabinlarining ushbu janr haqidagi tasavvurlariga hissa qo'shdi.

1914 yildagi to'plam Frank Tomas Bullen, Dengiz mehnati qo'shiqlari,^[82] Masefild kabi yozuvchilar ijodidan romantik emas, balki amaliyroq ohangga ega ekanligi bilan ajralib turardi. Ingliz Bullen tajribali shantman edi, u shantylarning eng gullab-yashnagan davrida AQShning janubiy va Karib dengizidagi portlarga suzib borgan.^[83] He took a firm stance that only true work songs should be included in his collection, thus resisting the temptation to let shanties slide into the genres of ballads or other off-duty songs. (Pressure of his publisher forced him to include two sea songs, clearly demarcated, at the end of the book.^[84]) And rather than shape the shanties to appear as narrative pieces, he noted that, since most shanties would usually be improvised, it would be disingenuous to present more than one or two sample verses. As for his framing of the genre's origins, Bullen stated his belief that, "[T]he great majority of these tunes undoubtably emanated from the negroes of the Antilles and the Southern states, a most tuneful race if ever there was one, men moreover who seemed unable to pick up a ropeyarn without a song ..."^[85] And Bullen's musicologist editor, Arnold, claimed, "[T]he majority of the Chanties are Negroid in origin ..."^[86] Bullen's insistence on including only true work songs in the collection meant that he likely omitted songs—generally those for heaving tasks, like capstan work—which had been easily borrowed from the land-based traditions of various nations. The effect of including only the most exclusively work-oriented songs meant that a higher percentage of African-American songs were represented.

Sesil Sharp "s English Folk-Chanteys (1914) was one of the first large collections of shanties made by a non-sailor and according to the methods of folklore. Its title reflects the interests and biases of its author.

Somewhere between these perspectives was Sesil Sharp 's, whose English Folk-Chanteys (1914) was published in the same year, and was based on shanties he collected from aged English sailors in Britain.^[87] Sharp responds to Bullen's claims of African-American origins by ceding that many shanties were influenced through the singing of Black shantymen^[88]—a position that assumes English folk song was the core of the tradition by default. The title of Sharp's work reflects his project of collecting and grouping shanties as part of what he conceived to be a rather continuous English folk song tradition. Sharp states in the introduction that he deliberately excluded shanties which were obviously (i.e. to him) born of popular songs.^[89] This idea is problematic when one considers that the popular songs that were feeding shanties were largely American and based in real or imagined African-American musical traits. However, Sharp believed that by eliminating such shanties based on popular songs, he could concentrate those that were "folk" songs. Of his own admission, Sharp lacked any shantying or sea experience to intuitively judge shanties like someone such as Bullen, however he offers his objectivity, recording precisely what was sung to him, as consolation.^[89] While Sharp's manner of documenting shanties was more or less objective, the field of his research and his biases in what to collect certainly influenced the outcome of this study.^[90] And whereas Bullen's work was fairly inaccessible, Sharp was influential as the leader of a cohort of scholars who were actively creating the young field of folk song research.

By the 1920s, the proliferation of shanty collections had begun to facilitate a revival in shanty singing as entertainment for laypersons (see below), which in turn created a market for more shanty collections that were geared towards a general audience. Writers of the 1920s, 30s, and 40s, through their derivative, popular works, established in effect a new body of "common knowledge" about shanties that overwrote some of the knowledge of 19th century observers.^[90]

Field-recording

Shanty collection was seen as a facet of the early twentieth century xalq tiklanishi. The Australian-born composer and folklorist Persi Greyinger collected various shanties and recorded them on mum tsilindrlari in the early 1900s, and the recordings are available online courtesy of the Vaughan Williams yodgorlik kutubxonasi.^{[91][92][93][94][95][96]}

In the 1920s, while the proliferation of soft-scholarly books was reifying the shanty repertoire, a few American scholars were audio-recording some of the last surviving sailors that had sung shanties as part of their daily work. Jeyms Medison duradgor, made hundreds of recordings of shanties from singers in Britain, Irlandiya, and the north-eastern U.S. in the late 1920s,^[97] allowing him to make observation from an extensive set of field data.^[98] Robert Uinslov Gordon, founding head of the Amerika xalq qo'shiqlari arxivi at the Library of Congress, recorded sailors singing shanties in the San-Frantsisko ko'rfazi hududi in the early 1920s, and later made recordings of African-American work songs in Georgia and elsewhere,^[99] seeking to demonstrate correspondences between these and the shanty genre.^[100] Neither of these scholars had the opportunity, however, to publish major works on shanties. Xuddi shunday, Alan Lomaks 's work starting in the 1930s, especially his dala yozuvlari of work songs in the Karib dengizi and Southern U.S., makes a significant contribution to the information on extant shanty-related traditions.

From the 1940s to the 1960s, Canadian folklorist Xelen Kreyton collected shanties from Yangi Shotlandiya seamen, such as 'Blow the Man Down', 'Whiskey Johnny', 'The Sailor's Alphabet', 'Shenandoah' and 'Rio Grande'.^[101] Va nihoyat, Uilyam Main Doerflinger carefully recorded and collected shanties from singers in New York and Yangi Shotlandiya in the 1930s and 1940s, the result of which was his Songs of the Sailor and Lumberman.^[102]

Ingliz folklorshunosi Piter Kennedi recorded Stanley Slade of Bristol, England, thought to be 'The Last Shantyman',^[103] singing several shanties including 'Haul Away, Joe', 'Leave Her, Johnny' and 'Shenandoah ', and the recordings are available online via the Britaniya kutubxonasi ovozli arxivi.^[104]

Stan Hugill and Shanties from the Seven Seas

Sten Xugill, muallifi Shanties from the Seven Seas. Hugill's old-time sailor image helped bolster the perceived authoritative nature of his work, in contrast to the academic, landlubber appearance of many previous scholars.

One of the most celebrated volumes on shanties produced in the 20th century is Stan Hugill's Shanties from the Seven Seas (1961).^[105] It is the largest of its kind, owing to Hugill's methodology and chronological position. With respect to methodology, Hugill aimed to be as inclusive as possible—to account for and to present, if sometimes only in fragments, any and all items of shanty repertoire that he was currently able to find. Any song that he had heard or read being attested as having been ever "used as shanty" was included—regardless of whether that song was not generally known as a shanty or if its use as a shanty was rare and incidental. The result is a varied portrait of the genre, highlighting its maximum diversity without, however, giving a focused sense of what songs were most common during the heyday of shanties or in latter eras. Hugill readily included more recently popular songs—those that evidently were not sung until after the shanty genre was experiencing decline, but which were extant when Hugill sailed (1920s–40s). He also culled from the major collections of non-English-language sailor work songs. Hugill's practice of liberally culling from all major prior works, in combination with original material from his own field experiences, makes it a handy sourcebook for performers, but a difficult work to assess in terms of historical accuracy.^[106]

With respect to chronological position, while Hugill is affectionately known as "The Last Shantyman," he was also one of the last original shanty kollektsionerlar.^[106] A few original collections followed, notably Rojer Abrahams '^[107] and Horace Beck's^[108] works on contemporary shantying in the Caribbean, yet most publications in the "song collection" genre are general anthologies based in Hugill and his predecessors' works. To a great extent, Shanties from the Seven Seas is considered the "last word" on shanties and the first stop as a reference.^[106] The book's "authoritative" position is bolstered by the personal image of its author. In contrast to many of the academic folklorists who had collected shanties before him, Hugill possessed the look and pedigree of an old-time sailor, and he was actually able to perform the songs from his collection at sea music festivals.^[106] Shanties from the Seven Seas and Stan Hugill's performances have had a tremendous bearing on how shanties have been understood and performed by enthusiasts since the second half of the 20th century up to today.

Uyg'onish

Even as shanty singing to accompany work aboard ships was "dying," interest was being taken in "reviving" it—as a type of leisure pastime. Most shanty singing since the mid-20th century or earlier is considered to be in such a "revival" vein.

A few of the editors of early shanty collections provided arrangements for pianoforte accompaniment with their shanties. While this may have simply been a customary way of presenting songs or attempting to frame their tonality, it may also suggest they hoped their examples could be performed, as well. One of the earliest shanty collections, Davis and Tozer's Sailor Songs or 'Chanties' (which circulated in the early 1890s), included such accompaniment, along with safe, "drawing room" style lyrics. It is unknown whether any actual performances were based on this otherwise influential work, however, the proceedings from a meeting of the Manchester Literary Club, 4 February 1895, record an instance of laypersons attempting to recreate shanty performance at that early date.^[109] In general, shanty performance by laypersons, up through the first two decades of the 20th century, would have been hindered by the lack of suitable resources, if not lack of interest.

Independent of this literature, a revival of sorts was staged by the AQSh Yuk tashish kengashi in 1918 when Stanton H. King of Boston, a merchant sailor of the 1880s, was appointed as "Official Chantey Man for the American Merchant Marine."^[110] King taught shanties to the young Merchant Marine recruits, but it appears that they were used more for entertainment than work functions. A description of the daily training schedule included the following note:

Recreation includes singing, for each ship is supplied with a piano. The musical program includes old-time chanties, in which the young men are instructed by a veteran deep-water chantie man.^[111]

An on-shore revival in shanty singing for leisure was facilitated by song collections of the 1920s, especially Terry's The Shanty Book (in two volumes, 1921 and 1926).^[14] What set apart this and following collections was full musical score along with an adequate stock of lyrics. Collections prior to Terry's (except for Davis and Tozer's much earlier and contrived-sounding settings) had not provided enough verses to create "full" songs, and it is unlikely that performers would venture to improvise new verses in the manner of traditional shantymen. By 1926, it had become a custom at the Seven Seas Club in London to hold a shanty sing-along after the club's monthly dinners.^[112] By 1928, commercial recordings of shanties, performed in the manner of classical concert singing, had been released on HMV, Vocalion, Parlophone, Edison, Aco, and Columbia labels;^[113] many were realizations of scores from Terry's collection. Shanties like "Johnny Come Down to Hilo" were more or less standardized through popular dissemination.

The next revival in shanties occurred as part of the Anglophone folk music revival of the mid-20th century. The American folk revival group Almanax xonandalari were recruited by Alan Lomax to record several shanties for the 1941 album Deep Sea Chanteys and Whaling Ballads.^[114] In Britain, the incorporation of shanties into the folk revival repertoire was largely led by A.L. Lloyd 1950-yillardan boshlab. An amateur folklorist, Lloyd discarded the earlier classical style of presentations in favor of a more "authentic" performance style. He was generally mysterious about the sources of his shanty arrangements; he obviously referred to collections by editors like Sharp, Colcord, and Doerflinger, however it is often unclear when and whether his versions were based in field experience or his private invention. Lloyd's album The Singing Sailor (1955)^[115] with Ewan MacColl was an early milestone, which made an impression on Stan Hugill when he was preparing his 1961 collection,^[116] particularly as the performance style it embodied was considered more appropriate than that of earlier commercial recordings. Many other performers followed, creating influential versions and interpretations of shanties that persist today. For example, Lloyd's personal interpretation of "Janubiy Avstraliya " was taken up by the Irish folk revival group Birodarlar Klensi, from which this version spread to countless folk performers to become established as the "standard" form of what is usually presented as a "traditional" shanty. Through the mass distribution of particular shanty forms through recordings and clubs, the folk revival has had the effect of creating an impression of rather consistent forms of texts and tunes—a sharp contrast to the highly variable and often improvised nature of work-based shanty singing. Another effect, due to the fact that most folk performers sang shanties along with other genres, is that shanty repertoire was ever more incorporated within the generic fold of "folk song," and their distinctive use, manner of performance, and identity were co-opted.

With one foot firmly planted in the world of traditional shanties, the veteran sailor and author Stan Hugill also became a leader (and follower) of trends in the folk music revival.^[106] His presence as an exclusive performer of sailor songs did much to establish sea music as a revival genre apart from or within folk music.^[117] By the late 1970s, the activities of enthusiasts and scholar-performers at places like the Mystic Seaport Museum (1979 yilda har yili o'tkazilgan dengiz musiqasi festivali tashabbusi bilan) va San Francisco Maritime Museum tashkil etilgan dengiz musiqasi - shanties, dengiz qo'shiqlari va boshqa dengiz musiqasini o'z ichiga olgan - bu o'z festivallari, yozuvlar yorliqlari, ijro protokoli va boshqalarga ega janr sifatida.

Nature of the songs

Funktsiya

In the days when human muscles were the only power source available aboard ship, shanties served practical functions. The rhythm of the song served to synchronize the movements of the sailors or to pace the labor as they toiled at repetitive tasks. Singing helped to alleviate boredom and to lighten, perhaps, the psychological burden of hard work. Shanties may also be said to have served a social purpose, as to build camaraderie.

Shakl

All shanties had a chorus of some sort, in order to allow the crew to sing all together. Many shanties had a "qo'ng'iroq qilish va javob berish " format, with one voice (the shantyman) singing the solo lines and the rest of the sailors bellowing short refrains in response (compare military cadence calls ).

The shantyman was a regular sailor who led the others in singing. He was usually self-appointed.^[118] A sailor would not generally sign on as a shantyman o'z-o'zidan, but took on the role in addition to their other tasks on the ship. Nevertheless, sailors reputed to be good shantymen were valued and respected.^[26]

The following example, a verse of the shanty "Boney" (in reference to Napoleon ), shows the call and response form and the interplay between the voices of the shantyman and the crew.

Shantyman (yakkaxon): Boney was a warrior,
All (tiyilish): Way-ay-yo,
Shantyman (yakkaxon): A reg'lar bull and tarrier,
All (tiyilish): John François!^[119]

When working this as a short-drag shanty (see below), hands on the line would synchronize their pulls with the last syllable of each response (in italics).

Lirik tarkib

The practical function of shanties as work songs was given priority over their lyrics or the musicality of a performance. Due to this, shanty texts might have been poor from an aesthetic standpoint—even at times random nonsense—so long as the singing fit the form of the work song. One writer about shanties warned his readers that their lyrics, to landsmen, would "probably appear as the veriest doggerel."^[120] He went on to explain,

As a rule, the chantey in its entirety possesses neither rhyme nor reason; nevertheless, it is admirably fitted for sailors' work. Each of these sea-songs has a few stock verses or phrases to begin with, but after these are sung, the soloist must improvise, and it is principally his skill in this direction that marks the successful chantey-man.^[121]

Improvizatsiya and stock verses were the tools of the trade of shantymen. Ga o'xshash ko'k, shanties often exhibited a string of such verses without much explicit or continuous theme. While on one hand this may simply reflect the aesthetic of the music-culture from which the form originated, this, too, was a feature suited to practical restrictions. Work tasks might be of any length and often unpredictable. Songs with a fixed set of verses, or ballads, which tell a story, were not so well suited to tasks that could end abruptly at any time or that might require extending.

Improvising of lyrics in such a context could be seen as an African-American musical characteristic, as Euro-American observers of Black work-singing consistently remarked on its extempore nature.^[122] Stock verses helped the shantyman fill space when his creative faculties came up short. These might take the form of multipurpose clichés, like,

Up aloft this yard must go.
[refrain]
Up aloft from down below.^[123]
[refrain]

Or, the shantyman may use formulas, like "Were you ever in [blank]?", for example,

Were you ever down in Mobile Bay?
[refrain]
A-screwing cotton by the day?^[124]
[refrain]

(The refrain in these cases may be any; that is, the stock verses may be fitted to any of a number of shanties having a similar tune-chorus form.)

Many stock verses used phrases that "floated" between both minstrel and authentic African-American traditional songs. For example, the phrase "girl with the blue dress on" is documented in a Black muledriver's song^[125] and in a popular minstrel song,^[126] as well as in a few shanties, for example,

O wake her, O shake her,
O shake that girl with the blue dress on,
O Johnny come to Hilo;
Poor old man.^[127]

As evident from the last lyric, above, shanty lyrics were not limited to seafaring or work topics. Drawing lyrics (and sometimes entire songs) from the popular and traditional repertoires of the time meant that a wide range of themes were represented.

Manbalar

Shanties reflect a variety of source material. As discussed above, there is a notable correspondence between shanties and African-American songs of both work and leisure. Popular music of the time was readily adapted, especially the minstrel musiqasi genre, songs of whose juftliklar were often of a suitable metrical length. It is common to find phrases from minstrel songs of the late 1830s and 1840s in many shanties, like "A Long Time Ago," "Jamboree," "Johnny Come Down to Hilo," or "Johnny Bowker." Musiqa zali songs also had an influence, for example "Paddy on the Railway."^[128] Popular marches were borrowed especially for capstan work, including "Jon Braunning tanasi "^[129] va "Gruziya orqali yurish."^[130] A few shanties have ballad forms, such as "The Dreadnaught," "The Banks of Newfoundland," and "The Golden Vanitee ", but these were relatively uncommon and required the addition of a chorus section. However, shantymen more often adapted lyrics and themes from ballads and "spliced" them to existing shanty melodies and choruses. Other shanties were adapted from land-based an'anaviy qo'shiqlar, masalan "Billy Boy "va"Derbi Ram."

Turlari

Broadly speaking, the categories for shanties can be understood in terms of whether the task(s) for which they were used was/were related to tashish yoki tarash. "Hauling" (pulling) actions were intermittent in nature. They required a coordinated show of focused exertion, not sustained, but rather at specific moments. Shanties for hauling tasks thus coordinated the timing of those exertions, the "pulls." "Heaving" (pushing) actions were of a continuous nature. In these, coordination was of minor importance as compared to qadam bosish. Rather than rhythmically vaqt the labor, shanties for heaving were more intended to set an appropriate, manageable pace and to occupy or inspire workers throughout the duration of what could often be long tasks.

Types related to hauling actions

Sailors hauling a line

Long-drag shanty

Also called a "halyard shanty".^[26][82] Sung with the job of hauling on halyards to hoist, over an extended period, topsail yoki topgallant hovlilar. Usually there are two pulls per chorus as in "Yo'l, hey, Puflamoq the man down!" Examples: "Hanging Johnny," "Whiskey Johnny," "A Long Time Ago," and "Insonni pastga urib yuboring."

• Namuna: "Hurrah for the Black Ball Line" (video), led by Peter Kasin on the ship Jozef Konrad at the Mystic Sea Music Festival, 2010.

Short-drag shanty

Also called a "[fore/main]sheet shanty".^[26][131] Sung for short hauling jobs requiring a few bursts of great force, such as changing direction of sails via lines called qavslar, or hauling taut the corners of sails with choyshab yoki tokchalar. These are characterized by one strong pull per chorus, typically on the last word, as in "Way, haul away, haul away "Joe"'!" Examples: "Boney," "Haul on the Bowline," and "Haul Away Joe."

• Namuna: "Haul Away Joe" (audio), sung by A. Wilkins, Eastern U.S., ca. 1930–32. From the U.S. Library of Congress, R. W. Gordon Collection.

Sweating-up chant

Also called a "swaying off chant.^[132][133] Sung for very brief hauling tasks, as for a few sharp pulls or "swigs"^[134] on a halyard to gain maximum tautness of a sail. These short chants are often classed as "sing-outs," but their form differs little from sheet shanties. Examples include mostly chants that have not gone under any well-known name,^[135] along with the better known "Johnny Bowker"^[136] and other short-drag shanties.

• Namuna: "Haul the Woodpile Down" (audio) sung by unnamed sailor in San Francisco Bay area, early 1920s. From the U.S. Library of Congress, R. W. Gordon Collection.

Hand over hand shanty^[26]

Used for lighter hauling tasks, such as setting qalay va jiblar^[137] or when simply hauling in the slack of a rope. The action is that of tugging alternately with each hand, on each beat.

• Sample: A recreation of a hand over hand chant (video), from notation by Doerflinger (1951) of Capt. James P. Barker's singing.

Bunt shanty^[138]

Used for "bousing up" (i.e. hauling) a bunt —the tightly bunched bundle of a sail that would need to be gathered up and fastened to the yard when furling. "Paddy Doyle's Boots" is universally attested^[139] as one of the few, exclusive bunt shanties. However, "Saint Helena Soldier"^[140] and "Johnny Bowker"^[138] shuningdek qayd etilgan.

Stamp and go shanty

Also called a "runaway" or "walk away" shanty.^{[141][142][143]} Although technically a hauling action, the work accompanied by this type of shanty was continuous in nature. Thus the songs had longer choruses, similar to heaving shanties. The work entailed many hands taking hold of a line with their backs to the "fall" (where the line reaches the deck from aloft) and marching away with it along the pastki.

On vessels of war, the drum and fife or boatswain's whistle furnish the necessary movement regulator. There, where the strength of one or two hundred men can be applied to one and the same effort, the labor is not intermittent, but continuous. The men form on either side of the rope to be hauled, and walk away with it like firemen marching with their engine. When the headmost pair bring up at the stern or bow, they part, and the two streams flow back to the starting-point, outside the following files. Thus in this perpetual "follow-my-leader" way the work is done, with more precision and steadiness than in the merchant-service.^[144]

As this maneuver could only be used on ships with large crews, such as vessels of war—in which few shanties were sung—shanties to accompany it were few in number and were not often noted in context. The most commonly cited example is "Mast dengizchi ", which is thought to be one of the few shanties allowed in the Royal Navy.^[145]

Types related to heaving actions

Sailors working at a kapstan

Capstan shanty^[26]

Ko'tarish langar on a ship involved winding its rope around a kapstan, a sort of giant g'ildirak, turned by sailors heaving wooden bars while walking around it. Other heavy tasks might also be assisted by using a capstan. Being a continuous action, shanties sung to accompany these tasks might have longer solo verses and, frequently, a "grand chorus," in addition to the call-and-response form. Misollar: "Santianna ", "Paddy Lay Back," "Rio Grande," "Clear the Track, Let the Bulgine Run," "Shenandoah ", va"Jon Braunning tanasi."

• Namuna: "Roll the Old Chariot Along" (audio) sung by unnamed sailor in San Francisco Bay area, early 1920s. From the U.S. Library of Congress, R. W. Gordon Collection.

Windlass shanty^[146]

Modern shanties were used to accompany work at the patent windlass, which was designed to raise anchor and was operated by the see-saw like action of pumping hand brakes. The up and down motion of the brake levers lent the action a binary form that was well-suited by many of the same songs used as halyard shanties. And yet, the continuous nature of the task also meant grand choruses were possible. So while halyard shanties and capstan shanties tended to be exclusive of one another, windlass shanties sometimes shared repertoire with each of those other types. Examples: "Sally Brown," "Heave Away, My Johnnies," and "Mister Stormalong."

• Namuna: "Cheer Up, My Lively Lads" (video), led by Chris Koldewey and Carl Thornton on the schooner L.A. Dunton at the Mystic Sea Music Festival, 2010. Note: this is a small windlass, and the operation of it is a bit different from those on larger vessels.

Pump shanty

Ishlash Downton pump

Because of leakage of water into the holds of wooden ships, they had to be regularly pumped out. The frequency and monotony of this task inspired the singing of many shanties. One design of pump worked very similarly to the brake windlass, while another, the Downton pump, was turned by handles attached to large wheels. Examples: "Strike the Bell," "Fire Down Below," "Janubiy Avstraliya ", and "One More Day." An example of special note is "Leave Her, Johnny, Leave Her" (also known as "Time for Us to Leave Her"), which was generally sung during the last round of pumping the ship dry once it was tied up in port, prior to the crew leaving the ship at the end of the voyage.^[147]

Boshqa turlari

Miscellaneous deep-water shanties

Shanties might come into play for miscellaneous additional shipboard tasks. For example, songs used to accompany the work of holystoning the deck have been attested.^[148] "Poor Old Man" (also known as "Poor Old Horse" or "The Dead Horse") was sung in a ritual fashion once the sailors had worked off their advance pay (the so-called "dead horse") a month into the voyage. The ceremony involved hauling a stuffed facsimile of a horse up to the yardarm, before letting it drop into the sea, all the while singing this customary shanty.^[149]

Coastwise and longshore shanties

Shanties have also been well-documented in use for tasks other than those of the deep-water sailor. The working of cargo was performed by stevedores to the accompaniment of shanties, for example in the tradition of the Jorjiya dengiz orolining qo'shiqchilari ning St. Simons Island, Gruziya. They used such shanties as "Knock a Man Down" (a variation of "Blow the Man Down") to load heavy yog'och.^[150] Toifasi menhaden chanties refers to work songs used on menhaden fishing boats, sung while pulling up the pul sumkasi to'rlar.^[151] The musical forms, and consequently the repertoire, of menhaden chanties differ significantly from the deep-water shanties, most noticeably in the fact that the workers "pull" in between rather than concurrently with certain words of the songs. Common examples are "The Johnson Girls" and "Won't You Help Me to Raise 'Em Boys." Off-shore whalermen in parts of the Caribbean sang shanties whilst rowing their whaleboats and when hauling their catch onto land.^[152]

• Sample: A menhaden chantey, "Won't You Help Me to Raise Um" (video) tomonidan ijro etilgan The Northern Neck Chantey Singers Virjiniya shtati.
• Namuna: A demonstration of whaleboat shanties (video), tomonidan The Barrouallie Whalers ning Sent-Vinsent va Grenadinlar.

The above categories, with respect to the repertoire they contain, are not absolute. Sailors often took a song from one category and, with necessary alterations to the rhythm, temp, or form, used it for a different task. This can be seen in the frequent lack of consensus, among different writers and informants, as to what job a given shanty was used for.

"Shanties" versus "sea songs"

Early 19th century Royal Navy sailors singing while off duty

Shanties are work songs and were originally sung only for work. However, sailors also sang for pleasure in the fo'c's'le (prognoz ) where they slept or, in fine weather, gathered near the fore bitts (large posts on the foredeck). While songs with maritime themes were sung, all manner of popular songs and ballads on any subject might be sung off tomosha qiling. The leisure songs associated with sailors are labeled simply as "sea songs," but they have no consistent formal characteristics. They are also popularly known among enthusiasts, especially when distinguishing them from shanties, as fo'c's'le songs yoki forebitters. Although those terms were not in great evidence in the 19th century, some literary references to "fore-bitter" and, less so, "fo'c'sle song," attest to their use even prior to the appearance of "shanty."^[153] Unlike shanties, during the singing of which one's hands were occupied, sea songs might be sung to the accompaniment of handy instruments like skripka yoki kontsertina.

Examples of sea songs include "Ispaniyalik xonimlar ",^[154] first popular in the Royal Navy,^[155] va "The Stately Southerner ", a ballad about a U.S. war ship.^[156] Examples of sea songs that were poorly documented in the sailing era, but which gained great popularity among singers in the revival era, are "Liverpulni tark etish "va"Old Mauiga pastga siljish."

Ingliz tilidan boshqa tillarda

While the crews of merchant ships in which shanties were sung might have come from a wide variety of national and ethnic backgrounds and might have spoken various mother-tongues, the shanty genre was by and large an English-language phenomenon. However, non-English-language sailor work songs were also developed. They are generally of these types:

• Preexisting non-English-language songs from the popular or folk song traditions of a linguistic group, which were adapted to the shanty paradigm;
• Preexisting, original shipboard worksongs from non-English-speaking peoples, retrofitted to the definition of "shanty";
• Newly created non-English-language songs, designed to fit the established shanty paradigm;
• Translations of English shanties into other languages, often preserving their English choruses.

There are notable bodies of shanty repertoire in Shved, Norvegiya, Golland, Frantsuz va Uelscha, and shanties have been translated into Polsha va Nemis. The terms for shanties in these languages do not always precisely correlate with English usage. Frantsuz tilida, chant de marin or "sailor's song" is a broad category that includes both work and leisure songs. Swedish uses sjömansvisa, "sailor song," as a broad category, but tends to use the borrowed "shanty" to denote a work song. Similarly, Norwegian uses sjømannsvise as the broad category and the borrowed term sjanti (also spelled "shanty") or the native oppsang for work songs. The equivalents in German are Seemannslied and, again, shanty. A shanty in Polish is szanta.

Substantial collections of non-English shanties include the following, which have been instrumental in forming the modern day sailor song repertoires of revival performers in their respective languages:

Frantsuz

Hayet, Capt. Armand: Chansons de Bord. Paris: Editions Eos (1927).

Nemis

Baltzer, R. and Klaus Prigge. "Knurrhahn": Sammlung deutscher und englischer Seemannslieder und Shanties wie sie auf deutschen Segelschiffen gesungen wurden. Vol. 1, 2. Kiel: A. C. Ehlers (1935–6).

Norvegiya

Brochmann, H. Opsang fra Seilskibstiden. Christiania: Norske Förlags Kompani Ltd. (1916).

Shved

Sternvall, Sigurd. Sång under Segel. Stockholm: Albert Bonniers Förlag (1935).

Performance today

Historically, shanties were usually not sung outside of work contexts, and singing sea songs was generally the purview of sailors. However, since their revival as leisure songs among laypersons they have been performed in a variety of contexts. Similarly to Euro-American folk music, shanties and sea songs are performed both informally by amateurs and as commercial entertainment by professionals, with many performers straddling both contexts. Some performers focus on shanties, sea songs, and related material, as part of the genre of maritime music, whereas in other cases performers of popular music (including the Folk genre) and classical music bring songs from the shanty repertoire into their own.

Mintaqaviy tendentsiyalar

Devoted performances of shanties display certain customs and general trends in different areas. However, the genre is an international one; practices vary freely and are not limited to the following generalizations.

Shimoliy Amerika

In North America, enthusiasts may gather at regularly scheduled, open singing sessions, for example the "chantey sings" held monthly aboard the ship Balclutha San-Frantsiskoda^[157] or weekly in Gloucester, Massachusets shtati.^[158] At these sessions, any participant is free to start up and lead a shanty, which the rest of those present—sometimes over one hundred or more participants—join on the choruses. The gatherings aim for an inclusive atmosphere that welcomes people of all ages, genders, ethnicities, and singing abilities. North American professionals often perform solo or in very small groups, frequently using instruments. Annual maritime festivals in coastal towns provide a gathering point for both amateurs and professionals, and the site for the introduction of new interpretations.

Birlashgan Qirollik

In the UK, shanties find a venue in pubs that host "folk clubs." Professional performers tend to be in larger groups with a more substantial chorus, allowing for kapella spektakllar. They are frequently identified with a specific port town to which they belong. Many annual maritime festivals in Britain and across the Kanal provide contexts for performance.

Qit'a Evropa

A German shanty choir

Shanty choirs (German Shantychor, Golland shantykoor) bor xor groups – often with many members – that perform only sailor songs. They are especially popular in the Gollandiya, Germaniya va Norvegiya. Polish performers of shanties favor medium-sized groups, often singing in harmony, accompanying themselves on instruments, and presenting themselves similarly to the way a rock band would.

Shanties borrowed by other genres

Ushbu bo'lim ehtimol o'z ichiga oladi original tadqiqotlar. Iltimos uni yaxshilang tomonidan tasdiqlash qilingan va qo'shilgan da'volar satrda keltirilgan. Faqat asl tadqiqotlardan iborat bayonotlar olib tashlanishi kerak. (2014 yil oktyabr) (Ushbu shablon xabarini qanday va qachon olib tashlashni bilib oling)

Items from the shanty and sea song repertoire have been brought into the repertoires of performers of xalq musiqasi, tosh va g'arbiy klassik musiqa.Ushbu ijrolarning manbalari orasida folklorshunoslarning kitoblari va uyg'onish uyg'onish ijrochilarining tijorat yozuvlari mavjud. Ushbu ijrochilar ishlab chiqaradigan shakllar ancha standartlangan bo'lib, ularning manba materiallari bilan o'xshashligi a ga o'xshashdir Cover song qiladi. Bunga dengiz musiqasiga e'tibor qaratadigan, o'zlarini shu janr yoki an'ana doirasida harakat qilyapman deb o'ylaydigan va o'zlarining repertuarlarini ko'p manbalardan va turli tajribalar orqali rivojlantiradigan ijrochilarning uslubi bilan qarama-qarshilik qilish mumkin.

Xalq

The xalq tiklanishi harakat shantiyalar o'zlarini tez-tez qayta tiklanadigan harakatdir, ayniqsa, ular anglofon madaniyati an'anaviy qo'shiqlari merosining bir qismi sifatida qaraldi. Xalq janridagi dastlabki ijrochilarning bir nechtasi dengizchilar qo'shiqlarini ijro etdilar va yozdilar. Masalan, Pol Kleyton albomni yozib oldi Mobi Dik kunlaridan kitlar va suzib yuruvchi qo'shiqlar (Tradition Records) 1956 yilda va Burl Ives ' Kemalarda dengizgacha o'sha yili chiqdi. Hech bo'lmaganda 1950-yillardan boshlab ba'zi shantiyalar folklor janrining asosiy qismiga aylandi. Bu mashhur xalq musiqasida dalolat beradi soxta kitob Qo'shiqni ko'taring "kabi shantiyalarni o'z ichiga oladiInsonni pastga urib yuboring," "Mast dengizchi bilan nima qilamiz?, "va"Janubiy Avstraliyaga bog'langan ".^[159]

Tosh

Rok musiqasiga qarzlar ko'pincha folklor va rok ijrochilari va tomoshabinlar o'rtasidagi suyuq chegaralardan kelib chiqqan. Masalan, Bryus Springstin "Mening pulimni to'lab bering "Folk guruhining talqinidan kelib chiqadi To'quvchilar u o'z navbatida uni an'anaviy ravishda Jorjiya dengiz orollari aholisi tomonidan ijro etilgan yig'ilgan shanties orasida topdi. Ba'zi rok ijrochilari ham o'zlarining mintaqaviy yoki milliy merosi bilan bog'liq deb biladigan narsalar sifatida shantiyalarni qabul qilishga ilhomlantirdilar. Masalan, Pogues yozilgan "Bechora Paddi [Temir yo'lda ishlaydi] "folklor guruhida Dublinliklar, go'yo Irlandiya aloqasi tufayli. Boshqalari "dengiz" mavzulariga, shu jumladan "qaroqchilar" va dengizchilar madaniyati erkinligi, vahshiyligi yoki buzuqligi bilan hayratda qolishgan.^[160]

Klassik

Klassik bastakorlar o'z asarlarida shanties va dengiz qo'shiqlaridan (yoki ularning kuylaridan) foydalanganlar. Avstraliya bastakori Persi Greyinger diqqatga sazovor holat.^[161] Malkolm Arnold Yog'och shamollari kvinteti uchun "Uch Shanties" (1943)^[162] "Mast dengizchi", "Boney jangchi edi" va "Jonni Xiloga tushing" rasmlarini ishlab chiqadi.

Ishlash uslublari

Shanty spektakllari bugungi kunda musiqiy yondashuv va didni aks ettiradi. Hozirgi davrda shantli qo'shiqning maqsadi va parametrlari shantiyalar qanday va qanday kuylanishiga ta'sir ko'rsatdi.

"An'anaviy" uslubni ma'qullaydigan ijrochilar, 19-asrning ashaddiy qo'shiq uslubini takrorlashlariga ishonishlari shart emas. Biroq, zamonaviy kontekstning cheklovlari doirasida ular janrni tarixiy ravishda xarakterlagan deb hisoblangan ba'zi uslubiy xususiyatlarga rioya qilishadi. Ular orasida baland yoki to'la ovoz, aniq, g'alati, hatto qattiq ohang (shamol va to'lqinlarning shovqini ko'tarib turganday) va ishlash uchun oqilona temp va ritmlar bo'lishi mumkin. Ular tez-tez chiqish qilishadi kapella yoki faqat dengizchilarga xos bo'lgan engil asboblar bilan (masalan, kontsertina). Umuman olganda, spektakllar "qirralarning atrofida qo'pol" bo'lishi mumkin va oyatlarning kutilmagan o'zgarishlarini hisobga olgan holda o'zgaruvchan uzunlikda bo'lishi mumkin.

Shanties ijrochilarining ko'pchiligi buni "xalq musiqasi" uslubi sifatida ajratish mumkin. Ular odatdagidek shanties taklif qilgandan ko'ra ko'proq yoqimli, kamroq qo'pol va turli xil va qiziqish bilan qabul qilinishi mumkin bo'lgan musiqa foydasiga qo'shiqlarga ko'proq qiziqishadi va "shanty uslubi" ga kamroq qiziqishadi. Uslubiy xususiyatlarga "xalq" tembriga ega bo'lgan engilroq vokal, jonli templar va misralar orasidagi cholg'u intermediyalari kiradi. Doimo ushbu ijrochilar gitara va banjo kabi asboblarda hamrohlik qilishni tanlaydilar. Ularning ritmlari ovozga emas, balki vaqtni ushlab turish uchun asboblarga tayanib, sinxronlashtirilishi va ishchi qo'shiq ritmlaridan ancha farq qilishi mumkin.

Hali ham boshqa ijrochilar pop, rok yoki teatr musiqasi bilan tanilganlarga "zamonaviy" uslub deb nom berishlari mumkin. Ba'zi afzal xususiyatlar silliq, pop uslubidagi vokal tembri, diqqat bilan ishlab chiqilgan uyg'unlik va jozibali ritmlardir.

Kamroq tez-tez - bu ularning dastlabki tijorat yozuvlarida bo'lsa ham, shanties "klassik" xor uslubida ijro etiladi. Kabi xorlar Robert Shou Xorale,^[163] The Norman Lyuboff xori,^[164] va Dengizchilar xori^[165] shanties va dengiz qo'shiqlarining butun albomlarini chiqardi.

Ommabop ommaviy axborot vositalarida

Ommabop ommaviy axborot vositalarida shanties yoki "shanties" deb nomlangan qo'shiq va kuylarning ko'rinishi anaxronistik va xayoliy bo'lishi mumkin. Shantiesni yuzlab asrlik janr sifatida ommalashgan tushunchaga muvofiq, faqat 19-asrning o'rtalariga qadar hujjatlashtirilgan qo'shiqlar, eng erta, 18-asr va undan oldingi sahnalarni tasvirlashda erkin ishlatilgan. Kabi zamonaviy davrlarda ishlatilgan zamonaviy shantieslarni tasavvur qilish orqali Qaroqchilikning oltin davri va Frantsiya inqilobiy urushlari, shantylar o'rtasida anaxronistik birlashmalar tuzilgan va "qaroqchilar "yoki Qirollik floti. Ushbu barcha foydalanish va uyushmalar uchun dalillarni ushbu bo'limda keltirilgan misollarda topish mumkin.

Ommabop adabiyot

Shanties haqida mavjud bo'lgan tarixiy ma'lumotlarning aksariyati sayohatnoma adabiyot, aksariyati deyarli mashhur emas, ammo ba'zilari keng auditoriyani qamrab oladi, masalan, Dana Magistrdan ikki yil oldin (1840).^[166] Biroq, 19-asr o'rtalarigacha suzib yurish tajribasiga ega bo'lgan ba'zi fantast yozuvchilar dengizchilarning ishchi qo'shiqlari bilan bog'liq sahnalarni ham o'z ichiga olgan. Ushbu mualliflar orasida edi Horace Elisha Scudder,^[167] Elijah Kellogg,^[168] va Xerman Melvill. Yilda Redburn: Uning birinchi safari, masalan, Melvil shunday deb yozgan edi:

Tez orada bu qo'shiqqa ko'nikib qoldim; chunki dengizchilar hech qachon arqonni usiz ushlamagan. Ba'zan, hech kim urib yubormaganida va tortishish, nima bo'lishidan qat'iy nazar, oldinga intilishga o'xshamagan bo'lsa, turmush o'rtog'i har doim: "Kelinglar, erkaklar, sizlarning biron biringiz qo'shiq aytolmaysizmi? Hozir qo'shiq ayt. va o'liklarni tiriltiringlar. " Va keyin ulardan bittasi boshlanadi va agar har bir erkakning qo'llari qo'shiq menga o'xshab taskin topsa va u mendek yaxshiroq tortib olsa, shunaqa xursandchilik bilan, men qo'shiq juda arziydi nafasi unga sarflandi. Dengizchida yaxshi qo'shiq aytishni bilish juda yaxshi narsa, chunki u zobitlardan buyuk nom oladi va kema sheriklari orasida juda mashhurdir. Ba'zi dengiz kapitanlari, odamni jo'natishdan oldin, har doim undan arqon bilan kuylay oladimi yoki yo'qmi deb so'rashadi.^[169]

Shanty janr 1880-yillarda e'lon qilinmaguncha oddiy odamlarning ko'pchiligiga tanish emas edi, shu bilan birga, badiiy adabiyotdagi mashhur ma'lumotlarning aksariyati o'sha o'n yilga qadar boshlanmaydi. Dastlabki taniqli misol, garchi ashaddiyga ishora qilmasa ham, bu qo'shiq "O'lgan odamning ko'kragida o'n besh kishi tomonidan ixtiro qilingan " Robert Lui Stivenson uning romani uchun Treasure Island (1883).^[170] Ayniqsa, "Odamni zarba ber" so'zlari juda ko'p edi.^[171] Rudyard Kipling she'riy janrdagi dengizchining dengiz qo'shig'i g'oyasini o'zining "Birinchi Chantey" va "Oxirgi Chantey" (1893) asarlari bilan romantiklashtirdi.^[76]

Ommabop musiqa

Shanties tarixiy jihatdan ishchi qo'shiqlar sifatida tushunilgan bo'lsa-da, "shanty" so'zi ko'pincha ommaviy madaniyatda 20-asrning o'rtalaridan beri ishlatilib kelinmoqda, bu dengizda bo'sh vaqtlarida va hatto hattoki bo'sh vaqtlarida ham aytilgan qo'shiqlarni o'z ichiga oladi. dengiz haqidagi yoki dengiz fikrlarini noaniq ilhomlantiradigan boshqa qo'shiqlar. Tarixiy shankli repertuarning aksariyati, ta'rifi bo'yicha ish uchun mos ravishda yaratilgan, ko'ngil ochish tinglash sifatida unchalik jozibali emas. Musiqiy shakllar juda tez-tez takrorlanib turar, matnlari esa tez-tez uchrardi doggerel hech qanday yaxlit yoki oldindan tuzilgan kompozitsiyasiz. Shu sabablarga ko'ra, hech qachon yoki shunchaki istisno tariqasida moslashtirilmagan, ammo o'ziga jalb etuvchi musiqa va matnlarga ega bo'lgan dengiz qo'shiqlari 20-asr tomoshabinlariga "shanties" rubrikasida mashhur bo'lib kelgan. Ikkala ashaddiy bo'lmagan dengizchilar qo'shiqlari va shantiyalarning tarixiy repertuari odatda cholg'u asboblari hamrohligida ijro etiladi - bu haqiqiy shantiyalarda dengizda kamdan-kam uchraydigan yoki eshitilmagan.

An'anaviy repertuarning mashhur musiqiy talqinlari

Dengiz musiqasiga hech qanday aloqasi bo'lmagan musiqa ijrochilari an'anaviy tarqoq va dengiz qo'shiqlari kompozitsiyalarini talqin qilishgan, ularning orasida juda ko'p tarqalgan holatlar ko'p. Masalan, bawdy dengiz qo'shig'i "Aralashmalarda muzqaymoq "pank-guruh tomonidan yozib olingan Jinsiy avtomatlar. Ehtimol, Clancy Brothers va kabi Irlandiyalik xalqni tiklash guruhlari ta'siri ostida Dublinliklar, ba'zi bir shantylarni o'zlarining repertuarlariga kiritgan, shanties va irland musiqasi o'rtasida ham birlashma tuzilgan. Shunday qilib, ushbu ijrochilarga nazar tashlab, keyinchalik Irlandiyaga yo'naltirilgan rok guruhlari yoqadi Pogues "Janubiy Avstraliya" va "Grenlandiya kit baliq ovi" kabi an'anaviy shanties va dengiz qo'shiqlarini talqin qildi. Ko'plab dengiz musiqasi bo'lmagan ijrochilar an'anaviy dengiz repertuarini hal qilishda aktyordan kelib chiqqan muhim voqea. Jonni Depp Suratga olish jarayonida paydo bo'lgan shantiesga qiziqish bildirilgan Karib dengizi qaroqchilari. Natijada, 2006 yilda Depp osonlashtirishga yordam berdi Rogue galereyasi: Pirat balladalari, dengiz qo'shiqlari va Chanteys.^[172] Konsert orkestri ijro etgan dengiz qo'shiqlari, Ser Genri Vudnikidir Britaniya dengiz qo'shiqlarida Fantaziya, ning mashhur tarkibiy qismidir Promsning oxirgi kechasi yilda Britaniya.

"Shanty" uslubidagi yangi kompozitsiyalar

Musiqiy uslubi shanties shuningdek, 19-asrdagi qo'shiq uslubiga taqlid qilish uchun yaratilgan va shunchaki uyg'otuvchi iboralar va belgilar musiqiy xususiyatlari orqali dengiz madaniyatini uyg'otish uchun mo'ljallangan yangi musiqiy kompozitsiyalarni ilhomlantirdi. Masalan, Sten Rojers Qo'shiq, "Barretning xususiy xodimlari "an'anaviy uslubda kuylangan va dengiz tarixidagi latifaga oid so'zlarga ega bo'lgan, ishonchli dengiz baladini yaratgan va dengiz musiqasi ijrochilarining repertuariga kiritilgan.^{[iqtibos kerak ]} Xalq qo'shiqchisining yana bir yangi bastalangan qo'shig'i Stiv Gudman, "Linkoln Park Pirates", "Way, hey, how me em" degan iborani ishlatib, ashaddiy xorlarga taqlid qilib, ayni paytda o'z mavzusidagi "qaroqchilikni" uyg'otmoqda.^{[iqtibos kerak ]} Televizion shou uchun mavzu qo'shig'i SpongeBob SquarePants shanty-ga o'xshash qo'ng'iroq va javob tuzilishga ega va an'anaviy "Odamni puflamoq" ga mos keladigan ohangdor ibora bilan boshlanadi, ehtimol bu belgi "dengiz ostida ananasda yashaydi".^{[iqtibos kerak ]} Mavzu Gilligan oroli shantli tuzilish va uslubdan ham ilhomlangan.^{[iqtibos kerak ]} "Shanty" deb nomlangan yangi kompozitsiya va ushbu janrning ko'zga ko'ringan xususiyatlari o'rtasidagi yanada jumboq aloqaning misoli "The Pogues" "Shanty Shanty" nomli qo'shiqni yozib oldi.^[173] Shanty janrida baham ko'radigan yagona xususiyat - bu 6/8 metr ("Blow the Man Down" kabi taniqli shanties tomonidan namoyish etilgan).^{[iqtibos kerak ]}

Ingliz bastakori Maykl Maybrik (taxallus Stiven Adams) 1876 yil qo'shiqning yuz ming nusxasini sotgan Nensi Li Dengizchilik uslubida, arxitipal dengizchilarning rafiqasi haqida Frederik Weatherly so'zlari bilan. Qo'shiq 1882 yilgi javobni keltirib chiqardi Syuzi Bell avstraliyalik bastakordan Frederik Augustus Paker Port-Artur (Avstraliya) da joylashgan Britaniyaning uzoq koloniyasida ^[174]

Kino va televidenieda

Kinofilmlarda shinam repertuardagi qo'shiqlar paydo bo'ldi. Ular ko'pincha tegishli ish sharoitida, ba'zida hatto kema kontekstida tasvirlanmaydi va ko'p marotaba ularni dramaga rang va qiziqish uyg'otadigan anaxronizmlar deb tasniflash mumkin. Quyida an'anaviy shanty repertuarni o'z ichiga olgan taniqli filmlarning namunalar ro'yxati keltirilgan.

• Xayoliy kema (1935): "Viski Jonni", "Nyu-York qizlari", "Jonni Hiloga tushing", "Salli Braun"
• Bounty-ga qarshi qo'zg'olon (1935): "Mast dengizchi" (faqat kuy), "Jonni osgan"
• Mardlar sardorlari (1937): "Odamni puflang", "Mast dengizchi"
• Arvoh kemasi (1943): "Odamni zarba qiling"
• Mushuk odamlarining la'nati (1944): "Ruben Ranzo"
• Ajoyib kutishlar (1946): "Salli Braun"
• Treasure Island (1950): "Jonni Hiloga tushing" (faqat kuy)
• Barcha bayroqlarga qarshi (1952): "Bowline ustidagi yo'l"
• Mobi Dik (1956): "Tush gullaringga tushinglar" ("Qonli qizil atirgullar" nomi bilan), "Uzoqqa turing, mening Jonniim", "Amsterdamning xizmatkori (A-Roving)", "Peddi Doylning etiklari", "Salli Braun , "" Ruben Ranzo "
• Qaroqchilar (1956–1957): "Ertalab shamollarni puflang", "Amsterdamning xizmatkori", "Oh Shenandoah", "Ispaniyalik xonimlar", "Odamni pastga ur", "Jonni Hiloga tushing" va boshqalar.
• Billi Budd (1962): "Jonni osish"
• Ildizlar (1977): "Boulinni tortib oling", "Xayriyat, Jou" - brig Yakkashox
• Yolg'iz kaptar (1989): "Meni pastdan yuqoriga ko'taring" (aka "Viski-O")
• Periskop pastga (1996): "Odamni puflamoq"
• Mobi Dik (1998): "Nyu-York qizlari", "Cape Cod qizlar" ("Avstraliyaga bog'langan"), "Eshak minish" va "Haul Away Joe"
• Nyu-York to'dalari (2002): "Nyu-York qizlari"
• Mobi Dik (2011): "Pasttekisliklar uzoqda", "Siz shamolni shamol bilan esing", "Qonli qizil atirgullar", "Cho'chqa ko'zli odam", "Jonni qoldiring", "Julni uzoqlashtiring"
• Treasure Island (2012): "Pasttekisliklar mening Jonim"
• Katta portlash nazariyasi (2012): "Odamni zarba qiling"
• Chiroq (2019): "Doodle Let Me Go"

Video o'yinlarda

• Yilda Assassin's Creed IV: Qora bayroq - davomida o'rnatilgan Qaroqchilikning oltin davri - o'yinchi xarakteri, qaroqchi Edvard Kenvey, ekipaji safarda qo'shiq aytadigan bir qancha dengiz shantiyalarini to'plashi mumkin.^[175][176]
• Yilda Assassin's Creed Rogue - 18-asrning o'rtalarida o'rnatilgan - dengiz shanties futbolchi belgisining kemasida bo'lganida mavjud Morrigan. Ba'zilari darhol mavjud, boshqalari esa to'planishi kerak.^{[177][178][179][180]}
• Yilda Red Dead Redemption 2 sobiq dengizchi Simon Pirsonning personaji kontsertda o'ynab, lagerda dengiz shantini "Homeward Bound" ni kuylaydi.^[181]
• Yilda Abadiyat ustunlari II: O'lik olovi, agar o'yinchining kema ekipaji yuqori ruhiy ko'rsatkichga ega bo'lsa, o'yinchi o'yin atrofida sayohat qilganda dengiz shantlari o'ynaladi. dunyodagi.^[182] Ushbu dengiz shantieslarining barchasi haqiqiy dengiz shantiesiga asoslangan bo'lib, matni matnlari o'yinning xayoliy olamidagi belgilar, joylar va voqealarga havolalar qo'shish uchun o'zgartirilgan (o'yinni ishlab chiquvchilar, Obsidian Entertainment, shunga o'xshash narsani qildi kovboy qo'shiqlari yilda Fallout: Nyu-Vegas ):
  • Asosidagi "Aim'Spirente"Santianna "
  • "Eski aravani birga aylantirish" asosida yaratilgan "Eski Beratning g'ildiragini aylantir".
  • "Ishonchli dengizchi" filmi asosida "Sodiq dengizchi"
  • "Heave Away my Lendry", "Heave Away My Johnny" asosida
  • "Haul Away Joe" filmi asosida "Haul Away and Go"
  • "Qora to'p chizig'i" asosida "Deadfire Lines"

Shuningdek qarang

• Yelkanli kema
• Ishchi qo'shiq
• Harbiy kadastr
• Dengiz musiqasi ijrochilarining ro'yxati
• Dengiz musiqa festivallari ro'yxati

Izohlar

Tashqi havolalar

• Jon Uordning "Shanties and Sea Songs" veb-sahifasi ba'zi taniqli nashr etilgan to'plamlardan yig'ilgan qo'shiq so'zlarini o'z ichiga oladi.
• YouTube-da "Yetti dengizdan shanties" loyihasi tarkibiga 400 dan ortiq shanties va dengiz qo'shiqlarining namunali chiqishlari kiritilgan Sten Xugill shu nomdagi eng katta bosma to'plam.
• Shanties and Sea Songs veb-sahifasi Shimoliy Amerikadagi shantli jonlanish ijrochilari orasida mashhur bo'lgan va ulardan olingan matnlar va qo'shiqlar tinglanishi mumkin bo'lgan albomlarga havolalar mavjud.
• Contemplator.com, "Dengiz qo'shiqlari" bo'limi qo'shiq daftarlaridan yig'ilgan, ko'milganga mos keladigan so'zlari bor MIDI musiqa fayllari.
• Shanty va Seasong xalqaro assotsiatsiyasi, asosan Germaniya va Gollandiyada joylashgan, festivallar, nashrlar va ijro guruhlarining homiyligi orqali dengizchilar qo'shiqlarini targ'ib qiladi.
• Bilgemunki radiosi qaroqchilar mavzusidagi musiqaga bag'ishlangan onlayn / podkast radioeshittirish, shu jumladan an'anaviy uslubdagi ashaddiy ijrochilar va "pirat rok" ijrochilari.
• Bordel-de-Mer Dunyo bo'ylab dengizchilar qo'shiqlariga bag'ishlangan frantsuz Internet-radio-shousi.
• Achchiq oxir dunyo bo'ylab bo'ladigan dengiz musiqa festivallarining to'liq ro'yxatini o'z ichiga oladi.
• Vinchester, Klarens, ed. (1937), "Dengiz shanties", Dunyo mo''jizalarini etkazib berish, 523-528-betlar dengiz shanty haqida tasvirlangan hisobot