Context
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Choral Music: The Road to Harmony and Peace (Video Presentation)
​Dr. Janmohamed speaks on personal compositional influences, often mixing various aspects of personal lived experiences, positionality, and cultural.
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Fusing Art & Nature in Song, Lydia Adams, p. 8 (Article)
Provides brief explanation on "Sun on Water" from the Amadeus Choir of Toronto's perspective.
Language Guide
IPA and Translation Guide (As provided on publishers website)
Surya
[suryɑ]
Sun, Supreme Light.
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Nayno(n) se nayn milavo, mere Saheb
[nɛ nɔ̃ se nɛ nə milɑ vɔ mere sɑhɛbə]
Let my eye meet with yours, my Lord/Master/Beloved
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De profundis clamavi ad te Domine:
[dɛ prɔfun dis clɑmɑvi ɑd tɛ dɔ mi nɛ]
Out of the depths have I cried unto Thee, O Lord:
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Domine exaudi vocem meam
[dɔ mi nɛ egzaudi vɔtʃɛm mɛam]
Lord, hear my voice
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Latin Text: Originates from the Book of Psalm Chapter 130, Verses 1 and 2.
The Book of Psalm (or Tehilim) is a shared text between Judaism and Catholicism. In Catholicism it is read on Good Friday alongside Psalms 6, 32, 38, 51, 102, and 143, it is part of the seven Penitential Psalms. In Judaism it is used on Days of Awe between the Jewish New Year and the Day of Atonement (Yom Kippur). ​
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The Psalms: A Doorway to Jewish-Catholic Dialogue, p. 13 (Article)
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Surya, Mark Cartwright (Article)
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The second line of text comes from the Ismaili Ginan "Ab Teri Mohabbat" - Ginan 8, Pir Shams, p. 9. (Book)
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Ginan Central, University of Saskatchewan (Digital Database)
Ginans are “individual hymns and poems that were composed by various preacher-saints to propagate Ismaili Islam in the Indian subcontinent."
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Ginan "Ab Teri Mohabbat", University of Saskatchewan (Website)
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Cultural Context/Pedagogy
Translating Ismaili Muslim Experience in Canada: Integrative Choral Pathways of Belonging, Hussein Janmohamed (Dissertation)
Chapter: 1.2 Islam and the role of music and sound in Muslim cultures (pp. 5-6)
Chapter 1.5 Muslims and music education: Refractions of binaries (pp.17 - 20)
Chapter 1.7 My community music practice at the contact zone (influences on compositions, testimonials, etc. ) (pp. 27-32)
Chapter 7.5.1 Your music is too religious (pp. 257 - 260)
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Explore more about Islamic Art, Music, and Tradition in the music classroom: OMEA-Aga Khan Museum Music Initiative (Teaching Packages)