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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 sometimes considered a derogatory term)[1][2][3][4][5][6] is the music of the Romani people who have their origins in northern India but today live mostly in Europe.[7]

Historically nomadic, though now largely settled, the Romani people have long acted as entertainers and tradesmen. In many of the places Romanies live they have become known as musicians. The wide distances travelled have introduced a multitude of influences of: Arabic, Byzantine, French, Germanic, Greek, Hungarian, Indian, Persian, Romanian, Slavic, Spanish, Turkish and Jewish musical forms.[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 people sometimes also perform Hip hop.[11]

Original Romani music

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Original Romani folksongs, not derived from the countries where the Roma live, are relatively rare. This particular folk music 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.[12]

There are five main components that are found throughout Romani music of various territories. 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.[13]

The development of Romani music dates back to the playing of instruments such as lutes in the late 1400s in Hungary and Italy. Roma would perform with non-Roma as entertainers in any aspect of performance. Eventually, as organized religion gained traction, performance became less emphasized and sometimes prohibited for non-Roma populations, so Roma filled all professional entertainment spots. They also performed at life events such as weddings, baptisms, funerals and circumcisions.

Because there is no one nation state for Roma, they were often forced to create their own living spaces within the countries they settled. Musical and cultural influences were taken from the countries where they lived and incorporated into their own music such as instruments, languages and subject matter of the music itself. Some songs incorporate the Romani language.[14]

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Most Romani music is based on the folk music of the countries where the Roma went 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. Among these the Hungarian versions have become best known, although examples of Romani music in other countries also endure.[15]

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.[16]

Bulgaria

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Due to the significant Romani population in Bulgaria, this ethnic group's music is very popular. Chalgamata music is also played by Romani musicians in Bulgaria.[17]

Hungary

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Panna Cinka

The Rajkó Orchestra and Folk Ensemble is known for preserving Hungarian Roma music, dance and costume culture 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[18] 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, the other is made within the Romani community.  The music performed for outsiders is called "gypsy music", which is a colloquial name that comes from Ferenc Liszt. They call the music they play among themselves "folk music".[19]

In the early 19th century, Romani musicians became the representatives 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 the symbol of desired freedom.[20]

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.)[21]

The manele genre which is very popular in Romania is supported by Romani ethnic musicians, too.[22]

It is thought of as having been made by Turkish Romani which brought Oriental influences mixed with Roma music and dance. It is generally thought of as lower class due to being associated with the Roma.[23]

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.[24]

Serbia

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

Spain

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The Romani people of Spain (Iberian Kale people) have contributed significantly to the Andalusian musical tradition known as flamenco. And is widely recognised as Romani music considering it was made by Roma as a response to oppression. Flamenco is closely associated to this ethnicity and a significant proportion of famous flamenco artists are Iberian Kale people.[26]

Turkey

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Roma are known throughout Turkey 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.[27]

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.[28]

Balkans

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A typical type of Romani music is known as Tallava. Tallava was originated by the Roma minority in Kosovo in the 1990s.[29] The genre of Tallava was later adopted among the Ashkali group. Tallava is common in Albania. 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.[30]

Western Europe

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Gypsy Jazz is popular in France.[31]

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. ^ Sturman, Janet (26 February 2019). The SAGE International Encyclopedia of Music and Culture. SAGE Publications. ISBN 978-1-5063-5337-1.
  12. ^ Zigeunermusik, Balint Sarosi, Budapest 1970, in English, German and Hungarian edition, see chapter 3
  13. ^ "Rroma MusicDie Musik der RromaLa Musique des Rroma". Rroma.org. Retrieved 23 December 2017.
  14. ^ Wilkinson, I.K. (2009). Gypsy music. Grove Music Online. Oxford Music Online.
  15. ^ The Concise Garland Encyclopedia of World Music, Volume 1.
  16. ^ Romani music at IMDb
  17. ^ 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.
  18. ^ "Programs in Budapest". Gotohungary.net. Retrieved 8 October 2017.
  19. ^ "The music of the Roma in Hungary [Rombase]". rombase.uni-graz.at. Retrieved 8 April 2019.
  20. ^ "Csemer Géza: Fejezetek a magyar cigányzene történetéből". www.sulinet.hu. Retrieved 8 April 2019.
  21. ^ Manele in Romania: Cultural Expression and Social Meaning in Balkan Popular Music.
  22. ^ Bloomsbury Encyclopedia of Popular Music of the World, Volume 11.
  23. ^ Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse.
  24. ^ Gypsy Music: The Balkans and Beyond.
  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. ^ 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.
  27. ^ The Garland Encyclopedia of World Music: The Middle East.
  28. ^ 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.
  29. ^ Samson 2013, p. 79.
  30. ^ Bloomsbury Encyclopedia of Popular Music of the World, Volume 11.
  31. ^ 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.

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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