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Romani music

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Romani musicians at a wedding in the Czech Republic in 2005 (left), Romani musician in France in 1874 painted by Camille Corot (right)
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Romani music (often referred to as Gypsy or Gipsy music, which is often considered a derogatory term)[1][2][3][4][5][6] is the music of the Romani people, an ethnic-minority group concentrated in parts of Europe.[7]

Historically nomadic, though now largely settled, the Romani people have long acted as entertainers and tradesmen. In many of the places Romani live they have become known as musicians. The wide distances travelled have introduced a multitude of influences of: French, German, Greek, Indian, Persian, Romanian, Slavic, Spanish and Turkish musical traditions.[8]

It is difficult to define the parameters of a unified Romani musical style, as there are many differences in melodic, harmonic, rhythmic and formal structures from region to region. Lyrics to Romani songs are often sung in one or more dialects of the Romani language, and dance frequently accompanies Romani music performance.[9]

The quintessentially Spanish flamenco is to a very large extent the music (and dance, or indeed the culture) of the Romani people of Andalusia.[10]

Romani folk music

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Romani folk music, a style not based upon the folk music of the countries in which they reside, is relatively rare. However, it is distinct from any other folk music style. It is mainly vocal and consists of slow plaintive songs and fast melodies which may be accompanied by dancing. The fast melodies are accompanied with tongue-clacking, hand-clapping, mouth-basses, clicking of wooden spoons and other techniques.[11] Romani folk music in the countries of the Balkans often incorporate the Romani language. In some other countries however, knowledge and use of the language has diminished significantly over the centuries, with many Romani people not speaking any Romanes.[12][13]

There are five main components found in Romani folk music. The first is the use of three voices or parts: the melodic line, the terce and the quint, either through vocalization or instruments. The second is syncopation, where the music starts right after a beat while maintaining a consistent rhythm. The third is having the music played in different phrases, meaning that the entrance and exit of different musical themes are felt at different times throughout a song either through rhythm or instruments. The fourth is harmony, where a minor key center is often used instead of a major one. The last is singing, where natural vocal abilities are emphasized.[14]

Due to various events and developments, performance became less emphasized amongst non-Romani populations in parts of Europe, and was sometimes prohibited. As a result, Romani minorities in these countries began to take professional entertainment spots, and performed at events such as weddings, baptisms, funerals and circumcisions.

As the Romani people do not have a nation state (Romanistan), they were often forced to create their own living spaces within the countries they settled. Musical traditions from the countries where they lived were incorporated into their own music such as instruments, languages and subject matter of the music itself.

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Most Romani music is built upon certain folk music traditions of the countries where they have migrated through or settled. Local music is adopted and performed – usually instrumental – and, slowly, it is transformed into Romani styles, which are usually more complex than the original styles. In its turn, Romani music has greatly influenced the local music.

This regional aspect of Romani music is vividly expressed in the documentary Latcho Drom, which follows Romani music from Northern India through Egypt, Turkey, Romania, Hungary, Slovakia, and France, ending in Spain.[15]

Balkans

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Popular styles of Romani music within the Balkans include Tallava and Manele. Tallava was formed by the Romani minority in Kosovo in the 1990s.[16] The genre of Tallava was later adopted among the Ashkali group. Tallava is common in Albania. Manele originated from the Roma minority in Romania who came from Istanbul . Played by Roma musicians (Lăutari) during late 18th to early 19th century. This genre has influences from other music genres such as Greek (Laïko, Arabesque Pop [some heavy duty variety called Skiladiko]) and Bulgarian (Chalga). It also blended with Turkish (Arabesque), Arabic (Arabic pop music), Serbian (Turbo-folk) and Albanian music.[17]

Bulgaria

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Due to the significant Romani population in Bulgaria, this ethnic group's music is very popular in the country. Chalgamata music is also played by Romani musicians in Bulgaria.[18]

Hungary

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Panna Cinka

The Rajkó Orchestra and Folk Ensemble is known for preserving Romani music, dance and costume culture in Hungary since 1952. Their work carries on the traditions of century-old generations. Their performances can be seen at a number of venues, among others at the Danube Palace[19] of Budapest during the season between 1 May and 31 October.

Traditionally there are two types of Romani music: one rendered for non-Romani audiences (sung in Hungarian), and the other, rendered for Romani audiences (typically sung in Romani). The music performed for outsiders is known as "Gypsy music". They call the music they play among themselves "folk music".[20]

In the early 19th century, Romani musicians came to the forefront of national music. During the Hungarian Revolution of 1848 in Hungary, Romani bands played their music for soldiers before and after the battle to encourage and entertain them. After the loss of the war, these musicians gained a lot of respect from the country. Romani music became a symbol of desired freedom.[21]

Romania

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Wandering musicians in the wine gardens of Transylvania (Pennell, 1893)

The Lăutari were traditional Romani musicians, playing at various events (weddings, funerals, etc.)[22]

The manele genre which is very popular in Romania is performed by Romanian musicians and Romani musicians.[23] It is thought to have developed amongst Romani people who migrated from East Thrace, carrying oriental influences. It is generally thought of as lower class due to being associated with the Roma.[24]

Serbia

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Romani musical styles spread through Serbia during the Ottoman period.[25]

Turkey (East Thrace)

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Roma in Turkey, concentrated in European Turkey, are known for their musicianship. Their urban music brought echoes of classical Turkish music to the public via the meyhane or taverna. This type of fasıl music (a style, not to be confused with the fasıl form of classical Turkish music) coupled with food and alcoholic beverages is often associated with the underclass of Turkish society, though it also can be found in more "respectable" establishments in modern times.[26]

Roma have also influenced the fasıl itself. Played in music halls, the dance music (oyun havası) required at the end of each fasıl has been incorporated with Ottoman rakkas or belly dancing motifs. The rhythmic ostinato accompanying the instrumental improvisation (ritimli taksim) for the belly-dance parallels that of the classical gazel, a vocal improvisation in free rhythm with rhythmic accompaniment. Popular musical instruments in this kind of fasıl are the clarinet, violin, kanun and darbuka. Clarinetist Mustafa Kandıralı is a well known fasıl musician.[27]

France

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Gypsy jazz is popular in France, and was primarily innovated by Romani jazz guitarist and composer Django Reinhardt.[28]

Spain

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The Calé Roma in Spain have contributed significantly to the Andalusian musical tradition known as flamenco. The genre is often associated with Romani people as it developed amongst the Romani minority, although it is based upon folkloric music traditions of southern Spain. A number of famous flamenco artists are Romani.[29]

Russia

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A choir in Russia was the Sokolovsky choir.

In 1931, a public Romani theatre, Romen Theatre, has been established in Moscow incorporating Romani music and dance into theatrical performances.[30]

See also

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References

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  1. ^ Dalzell, Tom (2007). The new Partridge dictionary of slang and unconventional English (Reprint. ed.). London [u.a.]: Routledge. p. 943. ISBN 978-0415259378.
  2. ^ Merriam-Webster's pocket guide to English usage. Springfield, MA: Merriam-Webster. 1998. p. 178. ISBN 0877795142.
  3. ^ Garner, Bryan A. (2009). Garner's modern American usage (3rd ed.). New York: Oxford University Press. p. 405. ISBN 978-0195382754.
  4. ^ Baskin, [by] H.E. Wedeck with the assistance of Wade. Dictionary of gypsy life and lore. New York: Philosophical Library. ISBN 0806529857.
  5. ^ Garner, Bryan A. A dictionary of modern legal usage (3rd ed.). New York: Oxford University Press. p. 400. ISBN 0195384202.
  6. ^ Bolaffi, Guido (2002). Dictionary of race, ethnicity and culture (1. publ., [Nachdr.]. ed.). London: Sage. p. 291. ISBN 0761969004.
  7. ^ Encyclopedia of Music in the 20th Century. p. 268.
  8. ^ PhD, Bruce D. Heald (27 November 2012). Gypsies of the White Mountains: History of a Nomadic Culture. Arcadia Publishing. ISBN 978-1-61423-804-1. Retrieved 4 December 2023 – via Google Books.
  9. ^ "What is Romani music?". Tumblr. Retrieved 8 October 2017.
  10. ^ Sturman, Janet (2019). The SAGE International Encyclopedia of Music and Culture. SAGE Publications. ISBN 978-1-4833-1774-8 – via Google Books.
  11. ^ Zigeunermusik, Balint Sarosi, Budapest 1970, in English, German and Hungarian edition, see chapter 3
  12. ^ Wilkinson, I.K. (2009). Gypsy music. Grove Music Online. Oxford Music Online.
  13. ^ Racova, Anna (2017). "ON THE VITALITY AND ENDANGERMENT OF THE ROMANI LANGUAGE IN SLOVAKIA" (PDF). Slovak Academy of Sciences.
  14. ^ "Rroma MusicDie Musik der RromaLa Musique des Rroma". Rroma.org. Retrieved 23 December 2017.
  15. ^ Romani music at IMDb
  16. ^ Samson 2013, p. 79.
  17. ^ Bloomsbury Encyclopedia of Popular Music of the World, Volume 11.
  18. ^ Silverman, Carol (24 May 2012). Romani Routes: Cultural Politics and Balkan Music in Diaspora. OUP USA. ISBN 978-0-19-530094-9. Retrieved 4 December 2023 – via Google Books.
  19. ^ "Programs in Budapest". Gotohungary.net. Retrieved 8 October 2017.
  20. ^ "The music of the Roma in Hungary [Rombase]". rombase.uni-graz.at. Retrieved 8 April 2019.
  21. ^ "Csemer Géza: Fejezetek a magyar cigányzene történetéből". www.sulinet.hu. Retrieved 8 April 2019.
  22. ^ Manele in Romania: Cultural Expression and Social Meaning in Balkan Popular Music.
  23. ^ Bloomsbury Encyclopedia of Popular Music of the World, Volume 11.
  24. ^ Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse.
  25. ^ Koskoff, E. (2008). The Concise Garland Encyclopedia of World Music. Vol. 1. New York; London: Routledge. p. 472. ISBN 978-0-415-99403-3.
  26. ^ The Garland Encyclopedia of World Music: The Middle East.
  27. ^ Broughton, Simon; Ellingham, Mark; Trillo, Richard (4 December 1999). World Music: Africa, Europe and the Middle East. Rough Guides. ISBN 978-1-85828-635-8. Retrieved 4 December 2023 – via Google Books.
  28. ^ Rice, Timothy; Porter, James; Goertzen, Chris (25 September 2017). The Garland Encyclopedia of World Music: Europe. Routledge. ISBN 978-1-351-54426-9. Retrieved 14 December 2023 – via Google Books.
  29. ^ Piotrowska, A.G. (2013). Gypsy Music in European Culture: From the Late Eighteenth to the Early Twentieth Centuries. Northeastern University Press. p. 81. ISBN 978-1-55553-838-5.
  30. ^ Gypsy Music: The Balkans and Beyond.

Bibliography

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  • Broughton, Simon, "Kings and Queens of the Road". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 146–158. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
  • Balint Sarosi, "Zigeunermusik" (Gypsy music), Budapest 1970, in English, German, Hungarian
  • Samson, Jim (2013). Music in the Balkans. BRILL. pp. 77–79. ISBN 978-90-04-25038-3.
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