Ganga (music)

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Ganga is a traditional polyphonic chant that is mainly used by Croatians in the rural areas of the adjacent high altitude regions of western Herzegovina , the Dalmatian hinterland and southwestern Bosnia .

In the drawn out monotonous singing, a lead singer usually leads through the singing of the melody and the text. Then other singers join in and accompany him with rhythmically modulated vocalises on "a" or "e". Ganga is probably an onomatopoeic word for a song category with the linguistic context of gangati , "singing monotonously and drawn out, doing a ganga ". A comparison with other languages ​​in the Balkans and Eastern Europe shows in Macedonian gangoli , "speaking through the nose", in Romanian ganguri, gongai and similar, "lallen", gunguni, "Coo (from pigeons)", also Albanian gungát , in this meaning from ancient Greek . Albanian gungallë means "cicada".

There are usually three or four male or female singers involved in the songs. It is unusual for both sexes to sing the same song together.

In the past, Croatians and Bosniaks often sang Ganga songs together. Ganga texts also contain political content that is often nationalist and has dealt with experiences from the Croatian and Bosnian wars since the 1990s . In this respect, they represent the opposite pole to the nationalistic Serbian epic songs that are performed with the string gusle .

Popular Croatian musicians include Ganga as an ethnic element in their songs, for example the pop-folk singer Mate Bulić .

distribution

In western Herzegovina ( Bosnia and Herzegovina ):

In the Dalmatian hinterland ( Croatia ):

  • Imotska ganga , in the area around Imotski ( Imotska krajina )

In southwestern Bosnia (Bosnia and Herzegovina):

literature

  • Ankica Petrović: Perceptions of Ganga . In: The World of Music . tape 37 (2) , no. 2 , 1995, p. 60-71 .

Web links

Individual evidence

  1. ^ Dieter Christensen: Categories of polyphonic songs from the village of Gabela, Herzegovina. In: Nino Pirrotta (Ed.): Essays for a Humanist: An Offering to Klaus Wachsmann. The Town House Press, New York 1977, p. 109
  2. Ankica Petrović, 1995, p. 68