The Iberian double-skinned square frame drum known as the adufe, the pandeiro quadrado (Portuguese), or the pandera cuadrado (Spanish) is played almost exclusively by women, and is a legacy from the medieval period.
While Spanish and Portuguese women play various round-frame drums, the square drum has particular roles in several aspects of secular, religious, and ritual life. The songs women sing while playing the drum reflect their thoughts, concerns, and circumstances.
This according to “‘This drum I play’: Women and square frame drums in Portugal and Spain” by Judith R. Cohen (Ethnomusicology forum XVII/1 [June 2008] 95–124; RILM Abstracts of Music Literature 2008-2708).
Singing by the pan, a women’s folk tradition known as tepsijanje (“panning”), was documented in Bosnia and Herzegovina during the Ottoman period.
Recent research has shown that tepsijanje is still popular, especially with Muslim and Roman Catholic populations in Bosnia and Herzegovina. It is a rare example of a nonmusical object—in this case, a cooking pan—functioning as a musical instrument.
This according to “Examples of an interesting practice: Singing along the pan” by Jasmina Talam, an essay included in Studia instrumentorum musicae popularis. II (Münster: Monsenstein und Vannerdat, 2011 251–56; RILM Abstracts of Music Literature 2011-49486).
Thirty years after the making of his film series on Swiss yodeling, Hugo Zemp returned to his investigation of the particular yodel style—called jüüz—of Muotatal, a small valley in the Swiss Prealps.
Shot in the early 1980s, the earlier films presented the traditional jüüz sung at work or while socializing, in contrast to stage presentations of yodel choirs, which are federated in a national association under the direction of choral conductors.
Wondering how the situation had evolved in the second decade of the 21th century, Zemp went back and found a 37-year-old man whom he had filmed singing with his parents and sisters 30 years earlier. During his adolescence, like many teenagers, Bernhard was enthusiastic about American rock and country music (which he still performs), but when he watched the old films he felt the urge to return to the tradition that he had learned during his childhood. With five friends from his village he founded a traditional group, Natur Pur, to revive casual singing.
Zemp’s new film, Swiss yodelling: 30 years later (Kanopy Streaming, 2015) shows performances in various situations, including singing with women and teaching at a workshop. Informal conversations between the singers, where humor is not absent, treat serious topics around tradition and change.
Flamenco purists may carp at Paco de Lucía’s incorporation of classical, Afro-Cuban, and jazz elements into his music, but no one can deny his prodigious knowledge of flamenco’s traditions or his ability to perform it like no other guitarist before him.
He insisted that all of his musical explorations and innovations are based on a solid commitment to flamenco tradition. “Everything I have heard has influenced me as a musician. But I have been careful about putting it in the music—my flamenco is not a fusion. I have always been careful that it doesn’t lose the essence and the roots and the traditions of flamenco. I have incorporated other styles, but they have not altered the philosophy of my music.”
This according to “Flamenco buena: Paco de Lucia’s guitar sings” by Felix Contreras (JazzTimes XXXIV/6 [July–August 2004] p. 44).
Initially the Ottoman Empire lacked the important ceremonial symbol of a Western-style national anthem, and each sultan from Mahmud II onwards commissioned a march for that purpose. Accordingly, the imperial march of Abdülhamid II was Hamidiye marşı(or Ey velinimet-i âlem, the first words of the text). Before the annexation of Bosnia Hamidiye marşı was of marked political importance there, and the march’s symbolic value made it an integral part of the musical program of various Bosnian Muslim entertainments.
Another frequently performed Ottoman march was Cezayir marşı (Turkish Cezayir “Algiers, Algeria”, or Dezair, as it was known in Bosnia). This march is often attributed to Giuseppe Donizetti (Gaetano’s brother, above); the reference to Algeria is probably due to the French invasion of that Ottoman province in 1830.
This according to “Ottoman music in Habsburg Bosnia-Herzegovina (1878–1918)” by Risto Pekka Pennanen, an essay included in 6. međunarodni simpozij “Muzika u Društvu”: Zbornik radova/6th international symposium “Music in Society”: Collection of papers (Sarajevo: Muzikološko Društvo BiH, 2009, pp. 81–91).
Ilmari Krohn was the founder of the Finnish school of ethnomusicology, and he was one of the first to develop lexicographical methods for the classification and study of traditional music.
Krohn derived support and inspiration from the Suomalaisen Kirjallisuuden Seura, which pioneered the collection of Finnish folklore and the publication of Kalevala, the Finnish national epic. He was also influenced by the historic-geographic method in folklore, originated by his father Julius and his older brother Kaarle.
The main focus of Krohn’s approach was on the collection, classification, and publication of traditional songs, not ethnography or the musicians themselves. The principles Krohn laid were later adopted by Bartók and Kodály, and then spread to a number of European countries.
This according to “History, geography, and diffusion: Ilmari Krohn’s early influence on the study of European folk music” by Erkki Pekkilä (Ethnomusicology L/2 [spring–summer 2006] pp. 353–59).
Today is Krohn’s 150th birthday! Below, a 1977 recording of his Rukous (Prayer).
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On this first day of May, let’s look at a vivid depiction of Dublin May Day customs from a ballad that was first published in 1843, though it was already flourishing at least 60 years earlier.
De May Bush takes place amid a longstanding feud between the Liberty and Ormond factions—weavers and butchers, respectively—and revolves around the tradition of selecting, cutting, and guarding a handsome May Bush throughout the night before May Day. The vigil involved much revelry and drinking, and on this particular occasion the butchers fell asleep and the weavers stole their May Bush. The butchers’ leader exacted revenge in the form of driving a bull into the heart of the weavers’ turf to wreak havoc and create mayhem.
Like the song itself, the action depicted is a performance genre; the theft of the bush resembles the recurrent motif of the abduction of a bride. The butchers and the weavers were just as capable of manipulating multivalent social language as they were of ribald, full-bodied expression in song—complementary performance genres that meet around the May Bush.
This according to “May Day and mayhem: Portraits of a holiday in eighteenth-century Dublin ballads” by Cozette Griffin-Kremer, an essay included in The flowering thorn: International ballad studies (Logan: Utah State University, 2003, pp. 101–27).
Above, an Irish hawthorn, a popular choice for the May Bush; below, a tourist video shows decorated May Bushes in Galway.
The young Scottish traditional singer Jean Redpath shared a New York apartment with Bob Dylan in the early 1960s; she went on to make more than 40 recordings, not least the astonishing project she embarked upon with the American composer Serge Hovey, to record all of the songs composed and collected by Robert Burns.
Hovey arranged 323 Burns songs for her, matching them to their original melodies, often with imaginative contemporary orchestral arrangements. Redpath recorded seven albums of these arrangements, which were critically acclaimed, and went on to make other Burns albums as well.
This according to “Jean Redpath, MBE” by Jim Gilchrist (The Scotsman, 23 August 2014).
On New Year’s Eve men and boys in Urnäsch, Switzerland, disguise themselves in various costumes and, bearing harnesses with heavy bells, walk in groups from house to house; at each house they sing wordless yodels. The custom is called Silvesterklausen, and the men and boys are known as Silvesterchläus.
At the crack of dawn they march off in single file. Arriving at a house, they shake their bells rhythmically to announce their presence. The inhabitants are expecting them, and the husband and wife step out to greet them; the wife bears a tray with a bottle and glasses.
The Silvesterchläusen then form a circle and sing polyphonic yodels, which are received with great favor by the household. Each visitor is offered a drink; the yodelers accept their drinks, shake hands with their hosts, and march off to the next house.
The kolijani-koleda event on Krk, which takes place in the Christmas and New Year period, is marked by processions moving from house to house expressing good wishes, together with a choosing-the-king custom. Through changes and innovations this ritual has ensured its firm entrenchment in the consciousness of the people.
The symbolic presentation of village unity moves from the secular to the religious sphere; their mutual permeation is constant and inseparable, and the performance of the ritual is the present expression of collective identity and feelings. The dialectical relationship between tradition and revival is confirmed in the interweaving of the old pre-Christian symbols (although they are expressed with new meaning or just repeated as a rule) with the most contemporary expressions of identity.
This according to “The kolijani ritual event on the island of Krk, Croatia: Continuity or revival?” by Tvrtko Zebec (Yearbook for traditional music XXXVIII  pp. 97–107). This issue of Yearbook for traditional music, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.
Above and below, excerpts from a 1989 documentary on kolijani in Dubašnica.
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