[Ads-l] da-dah! ta-dah! (was Re: Cap/Kap)

[Peter Reitan]

>From "The Common Sense of Music," by Sigmund Spaeth, Boni and Liveright 
(1924), page 181, on HathiTrust.

[Begin excerpt]
"Harmonious Perfection.  You cannot add anything to that chord without 
spoiling the effect, or simply repeating tones already marked 'present.' 
  It is complete in itself, even though you can take a whole left hand 
full of one-three-five-eight to give it more range and solidity.  It is 
the chord that the minstrels play as the interlocutor says, 'Gentlemen, 
be seated.'

It marks the finish of the bareback riding act in the circus, when the 
beautiful lady leaps lightly to the tanbark from her well-upholstered 
steed; and it has introduced many a stump speaker or political candidate 
to a crowd far less harmonious than the band that stimulated its 
enthusiasm."
[End Excerpt]

Accompanying the text is an illustration of a chord played twice, first 
as a sixteenth note, followed by a hole note with a birdseye hold symbol 
above it; the chord is a C major chord c-e-g-c starting at middle c in 
treble cleff staff, and the two c's below middle c in the base cleff 
staff; two words corresponding to the two consecutively played chords 
appear above the chord - "TA-DAH!"

Onomatapoeia for two consecutively played chords which at some point 
took on a particular meaning because of its repeated use preparatory to 
or upon completion of certain types of performances - or borrowed from 
the Kilongo word for behold - you be the judge.

This will be my final visit to this thread.

Ta-Dah!!!

------ Original Message ------
From: "Z Sohna" <zrice3714 at gmail.com>
To: ADS-L at listserv.uga.edu
Sent: 8/4/2021 11:35:57 AM
Subject: Re: da-dah! ta-dah! (was Re: Cap/Kap)

>---------------------- Information from the mail header -----------------------
>Sender:       American Dialect Society <ADS-L at LISTSERV.UGA.EDU>
>Poster:       Z Sohna <zrice3714 at GMAIL.COM>
>Subject:      Re: da-dah! ta-dah! (was Re: Cap/Kap)
>-------------------------------------------------------------------------------
>
>Please forgive the delay, I only recently happened upon your [Lawson=E2=80=
>=99s]
>reply to the post regarding *tada/tadau* =E2=80=98behold!, look!=E2=80=99, =
>=E2=80=98look at the
>result!=E2=80=99.
>
>
>
>I saw that you [Lawson] forwarded a text by Goethe featuring four musical
>notes. The musical notes were as follows: /da da ta da/ (These same notes
>appear in the English =E2=80=9Ctranslation=E2=80=9D that you forwarded.)  Y=
>ou then
>suggested (implicitly or otherwise) that this text =E2=80=93 be it Goethe=
>=E2=80=99s
>original text or the =E2=80=9Ctranslation=E2=80=9D -  was an early citation=
>  of *tada*
>=E2=80=98behold!=E2=80=99, =E2=80=98look!=E2=80=99, =E2=80=98look at the re=
>sult!=E2=80=99. I address that below.  I also
>sent the original Goethe text to a native German speaker from Hesse to have
>it translated for good measure. The translator was generous enough to
>translate the entire text, taking no artistic liberties =E2=80=93 and gave =
>me his
>permission to post his translation here. I=E2=80=99ve included it at the en=
>d of
>this post.
>
>
>
>There is absolutely nothing in the original work by Goethe - nor in the
>English author=E2=80=99s translation, for that matter - that can lead someo=
>ne to
>believe in good faith that what is meant there is the US=E2=80=99 /tada/ =
>=E2=80=98behold!=E2=80=99,
>=E2=80=98look!=E2=80=99, =E2=80=98look at the result!=E2=80=99 =E2=80=93 wh=
>ether said twice in succession (Goethe
>writes /da da ta da/) or once. As it pertains to the relevant verses =E2=80=
>=93
>i.e., that of Goethe=E2=80=99s =E2=80=9CSinger=E2=80=9D and =E2=80=9CFirst =
>Yager=E2=80=9D =E2=80=93 the stage direction is
>identical in Goethe=E2=80=99s text and the translation (contrary to your ea=
>rlier
>claim). Goethe uses the German *intoni(e)rend* as stage direction which
>bears the following semantic meaning(s):
>
>
>
>a.     =E2=80=98to begin to sing, to break out in song, begin to play a son=
>g=E2=80=99 (p.c.)
>
>b.     =E2=80=98sing or play the first few bars of something=E2=80=99 (Oxfo=
>rd)
>
>c.     =E2=80=98start to sing or play something=E2=80=99 (Oxford)
>
>d.     =E2=80=98play or sing the melody with clean/soft intonation=E2=80=99=
>  (Oxford)
>
>e.     =E2=80=98to intone something=E2=80=99 (i.e., =E2=80=98say or recite =
>with little rise and
>fall of the pitch of the voice=E2=80=99 (Oxford)
>
>f.      =E2=80=98to tune (an instrument)=E2=80=99 (i.e., =E2=80=98to adjust=
>  (a musical instrument)
>to the correct or uniform pitch=E2=80=99) (Oxford)
>
>
>
>The English =E2=80=9Ctranslator=E2=80=9D chose the =E2=80=98tune an instrum=
>ent=E2=80=99 definition for
>his/her translation. Thus, it is disingenuous to claim or suggest that the
>stage direction in the English translation is somehow different from
>Goethe=E2=80=99s text; it is not different =E2=80=93 only its placement in =
>the verse varies
>from the original. Goethe places =E2=80=9Cintoni(e)rend=E2=80=9D in parenth=
>eses just
>*before* the musical notes /da da ta da/; the English translation features
>the equivalent stage direction in italics immediately *after* the very same
>musical notes. As an aside, based on the dialogue I am more inclined to
>believe that Goethe intended one of the other definitions of intoni(e)rend
>listed above (not that this matters to me, this is irrelevant as it
>pertains to my point). I suspect that the intended meaning is =E2=80=9Csing=
>=E2=80=9D
>because,
>
>
>
>1.     Goethe first includes the opera stage direction *recitativo*,
>defined as:  =E2=80=98musical declamation of the kind usual in the narrativ=
>e and
>dialogue parts of opera and oratorio, sung in the rhythm of ordinary speech
>with many words on the same note=E2=80=99 (Oxford)
>
>
>
>2.     The Singer states in *recitativo*:
>
>Wo so viel V=C3=B6lker sich versammeln [Gloss: Where so many peoples gather=
>]
>
>Da mag ein jeder *singen* und stammeln [Gloss: Everyone may like to *sing*
>and stammer.]
>
>*(Intoni[e]rend)* [Gloss: Begin to sing or play something/Intone/Tune an
>instrument]
>
>*Da dah! Ta dah!*
>
>
>
>3.     The First Yager immediately states:
>
>Ein narrisher Wicht! [Gloss: A foolish gnome!]
>
>Der Kerl er *singt* schon wenn er *spricht*. [Gloss: The guy, he already
>*sings* when he *speaks*.]
>
>LINK:
>https://babel.hathitrust.org/cgi/pt?id=3Dmdp.39015014835410&view=3D1up&seq=
>=3D313&skin=3D2021&q1=3Dta-dah
>
>
>
>4.     There is no mention made of The Singer playing the zither anywhere
>in the dialogue or stage directions. The zither is only explicitly
>mentioned in the very beginning as being on The Singer=E2=80=99s person. Si=
>nce
>Goethe would have been well aware (as a native speaker of German) of the
>confusion simply writing =E2=80=9Cintoni(e)rend=E2=80=9D would=E2=80=99ve c=
>aused (given its
>numerous definitions) =E2=80=93 I would imagine that if he meant =E2=80=9Ct=
>uning his
>instrument=E2=80=9D =E2=80=93 which is quite different from the first or se=
>cond definitions
>listed above =E2=80=93 that he would=E2=80=99ve written: =E2=80=9Cseine Zit=
>her intoni(e)rend=E2=80=9D.
>
>
>
>Whatever the case, whether a melody sung by The Singer or strummed on his
>instrument, those musical notes clearly bear no semantic correspondence
>with the US=E2=80=99 *tada* =E2=80=98behold!=E2=80=99, =E2=80=98look!=E2=80=
>=99, =E2=80=98look at the result!=E2=80=99. There is
>absolutely nothing in Goethe=E2=80=99s text that is being presented for one=
>=E2=80=99s view
>or gaze and absolutely nothing in Goethe=E2=80=99s text (nor in the transla=
>tion)
>that would make the US=E2=80=99 /tada/ =E2=80=98behold!=E2=80=99, =E2=80=98=
>look!=E2=80=99, =E2=80=98look at the result!=E2=80=99
>make sense semantically. So, it seems very disingenuous to present random
>musical notes on this mailing list =E2=80=93 sung or strummed =E2=80=93 and=
>  claim (or
>implicitly suggest) that it indicates a European origin for the Native
>Black American (and US, for that matter) *tada/tadau* =E2=80=98behold!=E2=
>=80=99, =E2=80=98look!=E2=80=99,
>=E2=80=98look at the result!=E2=80=99 The problematic nature of this sort o=
>f simplistic
>reasoning, lack of intellectual curiosity, and patent disinterest in
>Africanisms in the United States was the whole point of my original post.
>
>
>
>I won=E2=80=99t abuse my own intelligence by equating shared orthographic f=
>orm or
>phonetic correspondence with actual semantic correspondence or shared
>origin. I have no interest in random orthographic forms. (Even The Wedding
>March is sung with those notes, it doesn=E2=80=99t indicate or suggest sema=
>ntic
>correspondence or shared origin!) And no linguist worth his or her salt can
>base their arguments on mere shared orthographic forms and actually expect
>to be taken seriously as a linguist or scholar.
>
>
>
>Again, the approach of intellectual curiosity would involve, for example,
>an analysis of the tone (since Kikongo is a tonal language, not that it is
>very relevant in the transmission of Africanisms), vowel length, and
>syllabic stress of the Kikongo *tala* / *tadi* =E2=80=98behold!=E2=80=99, =
>=E2=80=98look!=E2=80=99, =E2=80=98look at
>the result!=E2=80=99; and a search for evidence of other Bakongo/Kikongo (o=
>r other
>African, for that matter) musical phrases or input in US
>language/utterances, =E2=80=9Cshowbusiness=E2=80=9D, and carnival culture.
>
>
>
>Instead, I=E2=80=99ve been implicitly asked to reimagine American music and=
>  musical
>innovation as the product of =E2=80=9Cwhites=E2=80=9D,  questioned as to wh=
>ether someone
>had =E2=80=9CBlack friends=E2=80=9D, presented with random musical notes/me=
>lody with no
>semantic correspondence as supposed evidence of a European origin, and
>implicitly asked to ignore the historical record (including the American
>lexicographer=E2=80=99s/enthusiast=E2=80=99s much-preferred written citatio=
>ns), all in an
>effort to assert Europe as a mythical point of origin for a Kikongo-derived
>Africanism. (Thankfully, all of this is captured here for the historical
>record.) I won=E2=80=99t engage in willful ignorance and intellectual indol=
>ence.
>
>
>
>It is also disingenuous to present 19th century Europe on this mailing list
>as if it was the last bastion of =E2=80=9CAryan purity=E2=80=9D. Contrary t=
>o what is being
>implicitly suggested in the preceding post regarding Goethe, Europe does
>not live in a bubble and has not since at least the early colonial period.
>Goethe=E2=80=99s own Weimar (located in Hesse) was frequented by Americans =
>as
>reflected in Goethe=E2=80=99s own diaries and the historical records of Hes=
>se.
>Moreover, Hesse (to which Goethe was native) has historical ties with the
>United States and documented exposure to the musical traditions of the
>early progenitors of Native Black Americans; when Hessians were
>commissioned by the British and sent to the US to fight for the British
>crown, the Black progenitors of Native Black Americans served in these
>Hessian military regiments as soldiers and =E2=80=93 notably =E2=80=93  mil=
>itary musicians.
>Moreover, the progenitors of Native Black Americans (whether Africans or
>=E2=80=9CCreoles=E2=80=9D) were enslaved in Europe, most notably in Britain=
>. The Scots
>dictionary has a number of words of clear African origin that only first
>occur =E2=80=93 predictably =E2=80=93 during the Transatlantic Holocaust. I=
>=E2=80=99m not even
>going to touch on the known and well-documented evidence of Africans
>enslaved in western Europe or living among the general populations of
>Europe.
>
>
>
>This will be my last response (and visit) to this thread.
>
>
>
>Kind regards,
>
>Z. Sohna
>
>
>
>::TRANSLATION OF GOETHE TEXT::
>
>
>
>*First Yager:*
>
>There's another one coming across,
>
>he is certainly from Italy.
>
>
>
>*Second Yager:*
>
>What do you want with your zither?
>
>You look like a *Hochzeitbitter* [someone who handles invites to and
>provides entertainment at a wedding]
>
>
>
>*First Yager:*
>
>The fool is so *b=C3=A4nderreich* [ornamented with lots of ribbons/bands],
>
>his funny country you recognize immediately.
>
>
>
>*Singer:*
>
>Your turmoil/riot/commotion, who wants that?
>
>Be polite! Because I sing you something.
>
>
>
>*Second Yager:*
>
>Then we will hear something new;
>
>but be careful not to disturb him!
>
>
>
>*First Yager:*
>
>Nothing new! Same old story!
>
>He is in love, I already see it!
>
>
>
>*Singer:*
>
>Where so many peoples gather,
>
>everyone may like to sing and stammer.
>
>
>
>Da dah! Ta dah!
>
>
>
>*First Yager:*
>
>A foolish gnome!
>
>The guy, he already sings when he speaks.
>
>
>
>*Singer:*
>
>I must go into the field, I want to avoid you,
>
>even if my heart disagrees with me,
>
>I will part from your nearness,
>
>From my love I cannot.
>
>
>
>Into the field! That means not to avoid;
>
>Because my soul does not part.
>
>Yes, high pleasures await me
>
>And I do my duty.
>
>
>
>I want into the field! Why not part?
>
>Yours be the tear, mine the duty.
>
>Now farewell! It is not pain;
>
>I remain yours! Forget me not.
>
>
>
>*First Yager:*
>
>Forget me not, that is a bad encounter!
>
>Who wants to live, if he cannot forget?
>
>Forget! Yes! Forget oneself
>
>That is the art, that is how it shall be!
>
>With enemies I've competed,
>
>with girls, and with bottles of wine.
>
>
>
>*Second Yager*
>
>It is not right to disturb the Guest;
>
>We want to hear that one more time.
>
>To defeat the enemy, that is (a) joke.
>
>And he who is still alive will always nibble,
>
>There are girls, are bottles;
>
>But be also have a sort of heart,
>
>The little one shall move/touch us [by/while singing].
>
>
>
>*First Yager*
>
>I am already sleeping, let yourselves be seduced.
>
>
>
>*Singer*
>
>(repeats his song).
>
>
>
>*Second Yager*
>
>Quite right! The farewell is a game!
>
>Now it will get serious and better and better [literally: always better]:
>
>May your song be a sharp knife,
>
>The [knife] point to the foe, the handle to me.
>
>
>
>*Closing Chorus*
>
>And so the poet has said the truth [literally: the true thing],
>
>As we all now know.
>
>You younglings are, as it now stands [?],
>
>keen for the march and the dispute/conflict.
>
>Remember us in the bloody battle,
>
>And as you have accomplished the work/labor, the great one,
>
>So bring us what you have taken from us.
>
>
>
>*Singer (Solo, quasi parlando)*
>
>Your presence [or present, as in time]
>
>So dear and prized/valued!
>
>
>
>*Chorus*
>
>So we sincerely welcome you [literally: So you are cordially/sincerely
>welcome to us]
>
>
>::END OF TRANSLATION::
>
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