Romani music

The music of the Roma is as different as the living and cultural spaces of the groups are different. Always it is also influenced by the music of their majority social neighbors.

The history of the music of the Roma is characterized by the adaptation to the majority society music and entertainment needs because they always serve primarily for livelihood and had to respond to the majority of society handset. Thus developed Roma musicians in their own edits especially a generally popular entertainment music.

A homogeneous in its essential aspects music, which would be typical for the Gesamtethnie the Roma, or even for one of its sub-groups, there is not thus.

General

" The music of the Roma is so diverse that one can not speak of a Roma music. Similarly heterogeneous as the various Roma groups also their music represents " a common nucleus of Roma composed or played music, like the Romany language as it has, there is no opinion of the majority of the research. So the music of the Roma of Burgenland is essentially characterized by elements from Hungarian folk music, while the flamenco is influenced by Moorish and Spanish majority of social music.

After Oskar Elschek the Roma had repressed their own musical identity in favor of the host country again and again. However, earlier and even now existed very well be a genuine music of the Roma.

Harmony and melody fall out quite differently. The example of the South East Europe region: " Songs of the Slovenian Roma use the major scales, songs Serbian Vlach Roma, modal ', and songs of the Roma in Macedonia and southern Serbia, frequently on the' Phrygian ' scale based. " Typical of this space is a music that can recognize Turkish influence, but what is true not only for music, which is made by Roma. as yet shall roughly characteristic common design element for Roma musicians that they interpreted less as something established, static music. pull the improvisation.

The professional musicians activity was and is an important method of acquiring material and social resources. Music also plays in the social and cultural life of the families play an important role. The traditional musical socialization is not writing and family. Children grow up so early into the music profession. This is particularly true for the families of professional musicians, so that " musician dynasties " trained. Contrary to the majority of social stereotype is therefore not music " gypsy blood ", but is appropriated early. Roma musicians profess unlike many Roma in other gainful activities explicitly to their belonging to the minority, if they do not explicitly state even as a supportive moment. The activity of Roma musicians is usually positive, not a negative connotation. Your Stick romanticized stereotypes on. Roma musicians are therefore known to a large public in this capacity. The cliché of " gypsies " as singing, dancing and playing music forms, not least after the image of musicians.

The popular corresponding to a fictitious " music of the Roma " as she finds in everyday discourse, but also in older music professional literature, is no less fictional " gypsy music" (Italian musica gitana, Eng. Gypsy music, French musique tzigane ).

• The collective category maintains general common features. It starts from the basic similarities of the lecture as well as the harmony and melody. It thus leads to generalizations that may be in need of revision for detailed viewing.
• Today's musicology has partially developed a different approach. "The term ' gypsy music ' " is " a diffuse collective name for a variety of musical currents ".
• "Gypsy music " means beyond not only the music of " gypsies ", but at the same time a majority of social music composers and musicians in an imagined gypsy style.
• Also on display is that ensemble, the " gypsy music" produce, often consist of both Roma and from non- Roma musicians, including from its performative side not as "gypsy music " can apply ( or " music of the Roma ") but only as music under this label.

Exemplary of the interpenetration majority of social music and produced by Roma music are the Spanish and Hungarian tradition of popular music.

Spain

Spanish professional musicians, dancers have established with the flamenco since the mid-19th century, a widely acclaimed musical tradition. After a long traditional myth of flamenco had arisen in the isolated environment of some gypsy families in Andalusia. The theory of the invention of Flamenco by Spanish gypsies is now considered scientifically disproved. However Gypsies attacked the form of flamenco later. In its early protagonists, it was all about relatives not the minority, but the Andalusian Bohème, based on the traditions of an imaginary subculture of " moving " artists, as well as on contemporary "gypsy and traditional fashion ," referring. The elements of style Spanish- majority society and Oriental Moorish music Flamenco used. Professional musicians of the Spanish Kale ( " Gypsies " ) lent themselves to this music, they developed further. World-renowned virtuoso of flamenco as Manitas de Plata or José Reyes belong to a minority.

Flamenco has experienced as " music of the gypsies " a folklorization that the popular understanding is valid until today. In the meantime he has taken a variety of different influences in the wake of strong commercialization: pop music, Latin American, Arab, African and jazz elements. A large part of flamenco artists heard the Gitano minority not to.

Hungary

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

In the cities emerged in the last decade of the 18th century " gypsy bands ". They performed in concert halls as well as in cafés and pubs. From Tavern ( " CSÁRDA "), the Czardas is derived. Their instrumentation is described differently. Always belonged and belong violin and contrabass to do so. Clarinet, Brass, Cymbal ( Dulcimer ) and other instruments are emerging.

Hungarian folk music as it was also played by Roma, since the 19th century was widely regarded as " gypsy music". It sat by the fashion of the "style hongrois " in European salons. The " gypsy scale (French fashion hongrois; . Engl gipsy scale) ," as it finds, for example, with Liszt and is not specific to music of the Roma, is a characteristic of the construct of a Hungarian- romantic " gypsy music". " Roma ensembles with west - composed music " appeared around 1815 on the Romanian cities. The Hungarian Janos Bihari Rome (1764-1827) " was at the Viennese court around 1814 already in such high regard that he even played in front of the Congress of Vienna. " Waltzes and mazurkas side in the 19th century Hungarian Roma musicians participated in the 20th Century also modern dances such as foxtrot and tango into their repertoire.

The music, the Roma musicians play for their people on their own festivals, has not much to do with this " gypsy music". " The really traditional music of the Hungarian Roma comes [ ... ] almost entirely without instruments; it is a distinctive blend of a capella vocals and percussion. "

Turkey

A native of Turkey, fast music style Çiftetelli in 4/4-Rhythmus with emphasis on the first and fourth beat is influenced by Roma game modes and spread from Turkey in the Balkans.

Romania, Bulgaria

In Romania and Bulgaria, the Roma share the music style Manea, based on stylistic elements of Turkish music.