A lullaby (/llba/), or a cradle song, is a soothing song or piece of music that is usually played for (or sung to) children (for adults see music and sleep). The purposes of lullabies vary. In some societies, they are used to pass down cultural knowledge or tradition. In addition, lullabies are often used for the developing of communication skills, indication of emotional intent, maintenance of infants' undivided attention, modulation of infants' arousal, and regulation of behavior.[1] Perhaps one of the most important uses of lullabies is as a sleep aid for infants.[2] As a result, the music is often simple and repetitive. Lullabies can be found in many countries, and have existed since ancient times.[3]
Lullabies tend to share exaggerated melodic tendencies, including simple pitch contours, large pitch ranges, and generally higher pitch.[11] These clarify and convey heightened emotions, usually of love or affection. When there is harmony, infants almost always prefer consonant intervals over dissonant intervals. Furthermore, if there is a sequence of dissonant intervals in a song, an infant will usually lose interest and it becomes very difficult to regain its attention.[12] To reflect this, most lullabies contain primarily consonant intervals. Tonally, most lullabies are simple, often merely alternating tonic and dominant harmonies.
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In addition to pitch tendencies, lullabies share several structural similarities. The most frequent tendencies are intermittent repetitions and long pauses between sections.[13][14] This dilutes the rate of material and appeals to infants' slower capacity for processing music.
Rhythmically, there are shared patterns. Lullabies are usually in triple meter or 6/8 time, giving them a "characteristic swinging or rocking motion."[15] This mimics the movement a baby experiences in the womb as a mother moves. In addition, infants' preference for rhythm shares a strong connection with what they hear when they are bounced, and even their own body movements.[16] The tempos of lullabies tend to be generally slow, and the utterances are short.[11] Again, this aids in the infant's processing of the song.
Lullabies almost never have instrumental accompaniments. Infants have shown a strong preference for unaccompanied lullabies over accompanied lullabies.[17] Again, this appeals to infants' more limited ability to process information.
Lullabies are often used for their soothing nature, even for non-infants. One study found lullabies to be the most successful type of music or sound for relieving stress and improving the overall psychological health of pregnant women.[18]
Lullabies are often used to pass down or strengthen the cultural roles and practices. In an observation of the setting of lullabies in Albanian culture, lullabies tended to be paired with the rocking of the child in a cradle. This is reflected in the swinging rhythmicity of the music. In addition to serving as a cultural symbol of the infant's familial status, the cradle's presence during the singing of lullabies helps the infant associate lullabies with falling asleep and waking up.[20] Kogan and Gintsburg, in a study of the mainly preliterate, non-media-exposed people on the island of Soqotra, found that lullabies in this culture shared many of the features of lullabies in the western and oriental tradition: the repetition of 'nonsense syllables', the creation of a warm affective space, and the allusions to ancient customs and beliefs. On the other hand, these lullabies lacked the 'counting elements' found in other traditions, and defined safety as a spiritual space, while danger was conceptualised as both physical and spiritual.[21]
Additional research by Jayne M. Standley has demonstrated that the physiological responses of prematurely delivered infants undergoing intensive care can be regulated by listening to gentle lullabies through headphones. In addition to slowing heart and respiration rates, lullabies have been associated with increased oxygen saturation levels and the possible prevention of potentially life-threatening episodes of apnea and bradycardia.[23] Gentle music can also provide stimulation for premature infants to behave in ways that boost their development and keep them alive. Lullabies can serve as a low-risk source of stimulation and reinforcement for increasing nipple sucking (feeding) rates, providing infants with the nutrition they require for growth and development. Lullabies are thus associated with encouraging the rapid development of the neurological system and with a shorter length of hospitalization.[24]
Many lullabies, regardless of the meaning of their words, possess a peaceful hypnotic quality. Others are mournful or dark, like a lament. The Gaelic lullaby "Ba, Ba, Mo Leanabh Beag" was written in 1848 during the potato famine, which caused much hardship in the Scottish Highlands. The song mentions soft potatoes, the mother's situation, and her fears for her child.[27] In the 1920s, poet Federico Garca Lorca studied Spanish lullabies and noted the "poetic character" and "depth of sadness" of many of them. Lorca's theory was that a large part of the function of the lullaby is to help a mother vocalize her worries and concerns. In short, they also serve as therapy for the mother.[15]
Combined with lament, lullaby can have "restorative resounding" properties for hospice inpatients and their families. Lullabies typically soothe people through the awake/sleep transition, and similarly can soothe people through the life/death transition. Music therapists have called these tunes "lullaments", that which sustain the spirit, support psychological structure, and enable resilience during times of vulnerability to the effects of adversity. Lullaments are music-contextualized expressions of attachment and detachment, sadness/tears and happiness/laughter, privilege and loss, nurturance and grief, deterioration, stasis and moving forward.[28]
Lullabies written by established classical composers are often given the form-name berceuse, which is French for lullaby, or cradle song. The most famous lullaby is the one by Johannes Brahms ("Wiegenlied", 1868). While there has been no confirmation, there are many strong arguments that Brahms suffered from a sleep disorder known as sleep apnea. It is speculated (based on lullabies' utility as a sleep aid) that this was part of his inspiration for composing "Wiegenlied."[31]
Chopin's "Berceuse" is a composition for solo piano. Other famous examples of the genre include Maurice Ravel's Berceuse sur le nom de Gabriel Faur for violin and piano; the Berceuse lgiaque by Ferruccio Busoni; the "Berceuse" from the opera Jocelyn by Benjamin Godard; the "Berceuse" by Igor Stravinsky which is featured in the Firebird ballet, and Lullaby for String Quartet by George Gershwin. The English composer Nicholas Maw's orchestral nocturne, The World in the Evening, is subtitled "lullaby for large orchestra". German composer's Paul Graener last movement of his suite From The Realm of Pan is entitled "Pan sings the world a lullaby".
"Durmete nio, durmete ya, que si no viene el coco y te comer" (Go to sleep child, go to sleep now, otherwise the boogie man will come and eat you) is a cradle song sung by parents to advise children to go to sleep soon.
In Hindi and in many Indian languages, the lullaby is called "Lori". Mostly, lullabies are sung in folk languages. Lullabies have been also an integral part of Indian cinema. Many lullabies were written and composed in the fifties, such as:
In the Malayalam language, there is a rich collection of traditional lullabies, known as "tharaattu Pattu". One of the most famous is "Omanathinkal Kidavo", written and composed by poet lyricist Iravi Varman Thampi who is widely known as Irayimman Thampi. This lullaby was written for the queen of Travancore to sing to her son young prince Swathi Thirunal, who later became the king and a famous musician (composed many Keerthanas in a Raga Dheerasankarabharanam commonly known as Sankarabharanam).
In the Odia language, a lullaby is called a Nanabaya gita. A book in the same name by Nanda Kishore bal that was published in two volumes in 1934 is a major compilation of the known lullabies in the language.[32]
In the Philippines, the song is known as the oyayi. The province of Batangas has a very specialized form of lullaby known as the huluna. Though only composed of simple words, it is notable for being very difficult to sing, due to the lengthy melismas. Like many traditional songs from Spain, it is full of fioriture yet unlike many of the western type songs, it has no time signature. Sa Ugoy ng Duyan is a popular Filipino lullaby song composed by Lucio San Pedro with lyrics by Levi Celerio in 1948.
In Vietnamese, lullabies are called "bi ht ru". One famous Vietnamese lullaby is the song, "u v du". Vietnamese lullabies are hard to sing because of their extended melismas. The lullabies usually include pastoral scenes of villages, bamboo bridges, rice fields, farming, and meals made by a mother. They usually have a melancholy tone.
"Laay laay, laay, laay, gol-e laaleh" (Persian: ) is one of the most famous and oldest Persian lullabies which comes from the Gorgan region in North-Eastern Iran.[34]
Many medieval English verses associated with the birth of Jesus take the form of a lullaby, including "Lullay, my liking, my dere son, my sweting" and may be versions of contemporary lullabies.[36] However, most of those used today date from the seventeenth century onwards. Some of the best known English-language lullabies originate from the US, notably "Bye, baby Bunting" and "Hush, Little Baby".
"Der Mond ist aufgegangen" ("The moon has risen"), "Guten Abend, gute Nacht" ("Good evening, good night"), "Weit du, wie viel Sternlein stehen" ("Do you know how many stars there are?") and "Schlaf, Kindlein, schlaf" ("Sleep, dear child, sleep") became widely known in the 18th and 19th century and still are. 152ee80cbc
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