Roma music

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Schnuckenack Reinhardt Quintet 1972 in Mainz

The music known as Roma or Gypsy music (often also called Gipsy music ) is as different as the living and cultural spaces of the various Roma groups. They are always influenced by the various forms of music and the reception habits in the respective majority societies . Therefore, neglecting space and time, it is forbidden to assume that "Roma" music is even in the beginning homogeneous. They do not exist any more than there are “the” Roma.

The history of the music represented by Roma is primarily shaped by its adaptation to the entertainment needs of the surrounding societies.

General

“The music of the Roma is so diverse that one cannot speak of Roma music. Similarly heterogeneous as the various Roma groups also raises their music is. "As this quote conveys, there was and is a common stock of music composed or Roma played like him as a language, the novel has, according to the majority opinion of the research does not . The music of Roma is as diverse as their regions and subgroups. The music of the Burgenland Roma is essentially shaped by elements from Hungarian folk music.

Fanfare Ciocărlia at the international world music and land art festival “Sheshory-2006”, Ukraine
Gipsy Kings , concert in 2007
Gipsy.cz live at the Pulse Festival in London (2007)
Kocani Orchestra with Beirut Band
78s by Victor des Quintette du Hot Club de France : Swing Guitars (1936)
Taraf de Haïdouks 2008
Ektomorf at Rock The Lake 2007
Biréli Lagrène (2006)
Adrian Coriolan Gaspar , 2007

According to Oskar Elschek, the Roma have repeatedly displaced their own musical identity in favor of the host country. Nevertheless, genuine Roma music did exist in the past, as it still does today.

Harmonics and melodies are very different. Using the example of the region of Southeast Europe: "Songs by Slovenian Roma, for example, are based on major scales, songs by Serbian Vlach Roma, on the other hand, are based on 'modal' ladders, while songs by Roma in Macedonia and southern Serbia are often based on the 'Phrygian' scale." Typical for this Space is music that shows Turkish influence, but this does not only apply to music made by Roma. Another characteristic common design element for Roma musicians is that they interpret music less as something fixed. They prefer improvisation.

Professional musicianship was and is an essential method of acquiring material and social resources. Music also plays an important role in the social and cultural life of families. Traditional musical socialization is non-written and familiar. Children grow into the music profession so early. This is especially true for the families of professional musicians, so that “musician dynasties” develop. Contrary to the stereotype of the majority of society, music is therefore not “in the blood of gypsies”, but is appropriated early on. Roma musicians, unlike many Roma, expressly acknowledge their membership of the minority in other gainful occupations, if they do not even expressly emphasize it as a supportive factor. The activity of Roma musicians is usually positive, not negative. The fact that this is not only an ascription from outside, but is also passed on within the Roma themselves, can be demonstrated by means of the Roma fairy tales, in which the music profession has a much more positive connonation than in fairy tales from other traditions. The violin is of particular importance as an instrument. Even today, Roma musicians are known to a large public, although the cliché of "Gypsies" as singing, dancing and making music has not least been shaped after the image of the musicians.

The popular equivalent of a fictional "Roma music", as found in everyday discourse, but also in older musical literature, is a no less fictional "Gypsy music" (Italian musica gitana , English gypsy music , French musique tzigane ) .

  • The collective category asserts general common characteristics. It is based on the fundamental similarities of the performance as well as the harmony and melody . It thus leads to generalizations which, on closer examination, may require revision.
  • Today's musicology has developed other ways of looking at things. “The term 'gypsy music'” is “a diffuse collective term for a multitude of musical trends”.
  • "Gypsy music" also means not only music by "gypsies", but also music by composers and musicians of the majority in society in an imagined gypsy style.
  • It can also be seen that ensembles that produce "Gypsy music" often consist of both Roma and non-Roma musicians, and therefore cannot be considered "Gypsy music" (or "Roma music") from their performative side, but only as music under this label.

Examples of the mutual penetration of music by the majority of society and music produced by Roma are the Spanish and Hungarian musical traditions, to which influences up to the Viennese classical music are ascribed.

Spain

Spanish professional musicians and dancers have established a widely respected musical tradition with flamenco since the mid-19th century. According to a long-handed myth, flamenco originated in the isolated environment of some Gitano families in Andalusia . The theory of the invention of flamenco by Spanish gitanos is now considered scientifically refuted. Gitanos took up the form of flamenco later. Their early protagonists were mainly members not of the minority, but of the Andalusian bohemians, who referred to the traditions of a presented subculture of “traveling” artists, including contemporary “gypsy and traditional fashion”. Flamenco used stylistic elements from Spanish-majority social and oriental-Moorish music. Professional musicians of the Spanish Kalé ("Gitanos") appropriated this music and developed it further. World famous virtuosos of flamenco such as Manitas de Plata or José Reyes belong to the minority.

Flamenco was folklorized as the “music of the gitanos”, which is still valid today in popular understanding. In the meantime, in the course of strong commercialization, it has absorbed a variety of different influences: pop music, Latin American, Arabic, African and jazz elements. A large part of the flamenco artists do not belong to the Gitano minority.

Hungary

The music of Hungarian Roma musicians is another example of the pragmatic processing of music forms by the majority of society as well as of the construction of "gypsy music" by the majority of society.

In the last decade of the 18th century "gypsy chapels" were built in the cities. They performed in concert halls as well as in cafes and inns. The Csárdás is derived from the inn ("Csárda"). Their instrumentation is described differently. Violin and double bass have always been and are part of it. Clarinet, brass instruments, cymbal (dulcimer) and other instruments can join in.

Hungarian folk music, as it was also played by the Roma, has been widely regarded as "gypsy music" since the 19th century. The fashion of the “style hongrois” prevailed in European salons. The "gypsy scale (French mode hongrois; English gipsy scale)", as it is z. B. found in Liszt and which is not specific to Roma music, is considered a feature of the construct of a Hungarian-romantic "gypsy music". “Roma ensembles with western-composed music” appeared in Romanian cities around 1815. The Hungarian Rom János Bihari (1764–1827) “was so highly regarded at the Viennese court around 1814 that he even played before the Congress of Vienna.” In addition to waltzes and mazurkas in the 19th century, Hungarian Roma musicians took part in the 20th century also modern dances like foxtrot and tango in their repertoire.

The music that Roma musicians play for their people at their own festivals has little to do with this "gypsy music". “The really traditional music of the Hungarian Roma comes [...] almost entirely without instruments; it is a distinctive mixture of a cappella singing and percussion. "

Turkey

The fast music style çiftetelli from Turkey in 4/4 rhythm with emphasis on the first and fourth beat is influenced by Roma playing styles and spread from Turkey as Tsifteteli in the Balkans , as did the ensemble type with a big drum tapan and usually two cone oboes zurna .

Romania, Bulgaria

In Romania and Bulgaria, Roma maintain the Manea music style , which is based on stylistic elements from Turkish music .

See also

literature

  • Anita Awosusi (Ed.): The Music of the Sinti and Roma (= series of publications by the Documentation and Cultural Center of German Sinti and Roma ), Heidelberg 1996–1998, 3 volumes:
  • Max Peter Baumann (Ed.): Music of the Roma. Ethnicity, Identity and Multiculturalism. VWB-Verlag, Berlin 1996, ISBN 3-86135-700-3 ( The world of music , No. 38.1; English).
  • Ursula Hemetek: Roma and Sinti. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, ISBN 3-7001-3046-5 .
  • Jens Kaufmann: 500 years of world music. The music of the Sinti and Roma. In: Christina Kalkuhl, Wilhelm Solms (ed.): Antiziganism today. I-Verb.de, Seeheim 2005, ISBN 3-9808800-2-8 , pp. 115–121 ( contributions to research on antiziganism , vol. 2).
  • Charles Kei, Angeliki Keil: Bright Balkan Morning - Romani Lives and the Power of Music in Greek Macedonia , Wesleyan University Press, 2002
  • Anja Tuckermann : Listening to Sinti and Roma. A musically illustrated journey through the cultural history of the Sinti and Roma from the beginnings to the present, with over 40 music examples from the cultural area. Silberfuchs-Verlag, Tüschow 2011, ISBN 978-3-940665-25-6 ( audio book , 1  audio CD and booklet ; speakers: Rolf Becker , Anne Moll ).

documentary

  • The broken sound by Wolfgang and Yvonne Andrä, D 2012. Documentary on the common roots of Jewish Klezmer and Lautari music of the Roma in Bessarabia .

Web links

Remarks

  1. ↑ http://ling.kfunigraz.ac.at/~rombase/ped/data/musik.de.pdf , p. 1.
  2. ^ Bálint Sárosi: Gypsy Music . Atlantis Musikbuch-Verlag, 1977, pp. 23 and 41 ff.
  3. ^ Max Matter: Lied und popular Kultur / Song and Popular Culture - Yearbook of the German Folk Song Archive , Waxmann Verlag GmbH, Münster, 2003, page 255.
  4. ↑ Note: Important research contributions on the music of the Slovak Vlach Roma come from the music ethnologist Dušan Holý, Zbyněk Andrš and the ethnomusicologist Katalin Kovalcsik (see The music of the Roma in Bohemia and Moravia )
  5. ↑ http://ling.kfunigraz.ac.at/~rombase/ped/data/musik.de.pdf , p. 5.
  6. ↑ Rosemarie Tüpker : Music in fairy tales. Reichert-Verlag, Wiesbaden, 2011. pp. 33-76, 96-134, 166 ISBN 978-3-89500-839-9
  7. ^ Heinz Mode / Milena Hübschmannová : Gypsy tales from all over the world. Volumes I to IV, Insel-Verlag Leipzig, 1983–85
  8. ↑ See e.g. B. the website of KG Hofheim ("Singing, dancing, making live music and having fun on and behind the stage, that was and is the motto of the gypsy group!"): [1]  ( page no longer available , search in Web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. .@1@ 2Template: Dead Link / www.kg1900hofheim.com  
  9. ↑ Brockhaus Riemann Musiklexikon, Vol. 2, Mainz 1977, p. 718.
  10. ^ Wulf Konold , Alfred Beaujean: Lexikon Orchesterusik - Romantik, Mainz 1989, p. 397.
  11. ↑ Marion A. Kaplan / Beate Meyer, Jüdische Welten (Eds.), Göttingen 2005, p. 179.
  12. ^ Tibor Istvánffy: On the reception of Hungarian (gypsy) music by Haydn, Mozart and Beethoven. In: Anita Awosusi (Ed.): The Music of the Sinti and Roma Vol. 1: The Hungarian Gypsy Music, pp. 101–126.
  13. ↑ Kirsten Bachmann: Flamenco (dance) - On the instrumentalization of a myth in the Franco era . Logos Verlag Berlin, Berlin 2009, pp. 11, 15
  14. ^ Gerhard Steingress: About Flamenco and Flamenco customers. Selected Writings 1988–1998. Berlin / Hamburg / Münster 2006, p. 35.
  15. ↑ http://ling.kfunigraz.ac.at/~rombase/ped/data/musik.de.pdf , p. 4.
  16. ↑ http://ling.kfunigraz.ac.at/~rombase/ped/data/musik.de.pdf ; http://roma-und-sinti.kwikk.info/?page_id=364 .
  17. ↑ Archived copy ( Memento of the original from September 27, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Max Peter Baumann: "We go the ways without borders ..." - To the music of the Roma and Sinti. In: Music, Language and Literature of the Roma and Sinti. Edited by Max Peter Baumann (Intercultural Music Studies, Vol. 11), Berlin 2000. @1@ 2Template: Webachiv / IABot / web.uni-bamberg.de
  18. ↑ Brockhaus Riemann Musiklexikon, Volume 2, Schott, Mainz 1977, p. 718
  19. ↑ Jens Kaufmann: 500 years of world music. The music of the Sinti and Roma. In: Christina Kalkuhl / Wilhelm Solms (eds.): Antiziganismus heute (Contributions to Antiziganismusforschung, Vol. 2), Seeheim 2005, pp. 115–121, here: p. 117.
  20. ^ Music and Minorities, Proceedings of the 1st International Council for Traditional Music (ICTM) Study Group Music and Minorities. International Meeting, Ljubljana, 2000, 178 ff.
  21. ↑ The Broken Sound in the Internet Movie Database (English)
  22. ↑ The Other Europeans in: The broken sound , website of the film
  23. ^ Sonja Vogel: Without tradition , Taz , April 19, 2012
  24. ^ Stefan Franzen: Salvage mission in Bessarabian , Badische Zeitung , June 12, 2012