Tarmi Rićmi
Gesperrt
doina ist eine rumänische volksmusik richtung.
es ist eine sehr spezielle art von musik.
wird entweder nur mit instrumenten gespielt flöte geige usw oder noch mit sang dazu.
ist so ne art trauer gesang.
aufjedenfall haben leute die sich damit beschäftigt haben herausgefunden das es diesen stil auch in albanien ukraine und sogar mitlleren osten gibt.
Béla Bartók discovered the doina in Northern Transylvania in 1912 and he believed it to be uniquely Romanian. After he found similar genres in Ukraine, Albania, Algeria, Middle East and Northern India, he came to the belief that these are part of a family of related genres of Arabo-Persian origin.[SUP][2][/SUP] He particularly linked the Romanian doina to the Turkish/Arabic Makam system. Bartók's conclusions were rejected by some Romanian ethnomusicologists, who accused Bartók of anti-Romanian bias. Nevertheless, the similarities between the Romanian doina and various musical forms from the Middle East have been subsequently documented by both non-Romanian,[SUP][3][/SUP] and Romanian[SUP][4][/SUP][SUP][5][/SUP] scholars. Until the first half of the 20th century, both lăutari[SUP][5][/SUP] and klezmer musicians[SUP][6][/SUP] were recorded using a taksim as an introduction to a tune. The taksim would be later replaced by the doina, which has been described as being similar, though not totally identical to the taksim. Romanian ethnomusicologist and musician Grigore Leşe, after performing with a group of Iranian musicians, noticed that the doinas of Maramureş have "great affinities" with the Arabo-Persian music.[SUP][7][/SUP]
The doina is a free-rhythm, highly ornamented (usually melismatic), improvisational tune.[SUP][8][/SUP] The improvisation is done on a more or less fixed pattern (usually a descending one), by "stretching" the notes in a rubato-like manner, according to the performer's mood and imagination. Usually the prolonged notes are the fourth or fifth above the floor note.
The peasant doinas are mostly vocal and monophonic and are sung with some vocal peculiarities that vary from place to place: interjections (măi, hei, dui-dui, iuhu), glottal clucking sounds, choked sobbing effects, etc.[SUP][4][/SUP] Instrumental doinas are played on simple instruments, usually various types of flutes, or even on rudimentary ones, such as a leaf. The peasant doina is a non-ceremonial type of song and is generally sung in solitude, having an important psychological action: to "ease one's soul" ("de stâmpărare" in Romanian). Grigore Leşe believes that, while scholars describe in great detail the technical aspects of the doina, they fail to understand its psychological aspects. Doinas are lyrical in aspect and their common themes are melancholy, longing (dor), erotic feelings, love for nature, complaints about the bitterness of life or invocations to God to help ease pain, etc.
Unlike peasant doinas, lăutar and klezmer doinas are usually accompanied and played on more complex instruments (violin, pan-pipe, cymbalom, accordion, clarinet, tarogato, etc.). Also, unlike peasant doinas, lăutar and klezmer doinas are mostly played as an introduction to another tune, usually a dance.
In the regions of Southern Romania, Romani lăutari developed a type of doina called "cântec de ascultare" (meaning "song for listening", sometimes shortened to "de ascultare" or simply "ascultare"). The "cântec de ascultare" spread to other regions of Romania, with local particularities.
Before being studied by ethnomusicologists, the doina type of song was known by many names varying from region to region throughout Romania and Moldova, "doina" being one of them. It was Constantin Brăiloiu, director of the National Archive of Folk Music, who proposed that the word "doina" be used to described all these songs.
The origin of the word "doina" is unknown. It could be an old Indo-European term, since a similar form (daina) can be found in Latvia and Lithuania with the meaning of "folk song".
Another possible derivation is from the Serbian word "daljina" meaning "furthering", because most doinas are about the feeling of "dor" - a Romanian word for "intensely missing" (similar to German Sehnsucht and Portuguese Saudade).
But it should be noted that Dimitrie Cantemir mentions "Doina" in his Descriptio Moldaviae among a series of old pre-Christian (Dacian) deities, persistent in popular oral tradition, adding that "Doina, Doina" is a starting phrase incantation in many folk songs.
In the region of Maramureş the word "horă/hore" is still the most commonly used. The Maramureş "horă/hore" is not related to the word "horă" found in southern and eastern Romania, which comes from the Greek "choros", meaning "(circle) dance", but is derived from the Latin "oro/orare", meaning "to say/saying".
It is a Romanian word which translates into "shepherd's lament" or "shepherd's longing",[SUP][citation needed][/SUP] which helps explain why doinas can be very melancholy, but have melodies that are rather poignant and heartfelt.
hier auf english.
interessant ist das der rumänische ethnomusicologist und musiker grigore lese nachdem er mit iranischen musikern aufgetreten ist bemerkt hat das es grosse änlichkeiten zu dem doina stil aus der maramures region gibt.
Horea lung
so ne art cobanflöten musik.
Hora lungă (Cîntec lung, Rom., literally 'long song'), is a Romanian regional folksong style characterized by the union of a lyrical text and improvisational melody.[SUP][1][/SUP]
Also called hora lunga or horea lunga, (hora here is derived from the Romanian word meaning 'oration').[SUP][2][/SUP]
The singing may be accompanied by a combination of the shepherd's flute, a leaf held between the lips and used as a reed, a bagpipe, and nonnative instruments.
Characteristics[edit]
A variant of the doina, the Hora lungă characteristics are: strong instrumental character, very ornamented, and indeterminate content structure.[SUP][3][/SUP] The musician may freely stretch or compress its rhythm, and often will highly ornament each note.
History[edit]
Discovered by Béla Bartók in the Romanian Northern Transylvania counties of Maramureş and Satu-Mare in 1912-1913. Bartók studied evidence of or listened to similar music in central Algeria, Ukraine, and Persia. Subsequent research has revealed similar music found as far west as Albania and Algeria, and as far east as India, Tibet, western China, and Cambodia.[SUP][4][/SUP]
Artists[edit]
Doin
hier wieder aus der maramures region.
man achte auf die gesänge und denn ganz besonderen stil fast hypnotisch
was haltet ihr davon? im wikipedia artikel steht das es das auch in albanien und der ukraine gibt.
kennt ein albaner hier sowas änliches
ich find hat fast schon was mysthisches.ganz eigen aber interessant.
meine theorie ist das dass ne alt dakisch/thrakische tradition sein muss
es ist eine sehr spezielle art von musik.
wird entweder nur mit instrumenten gespielt flöte geige usw oder noch mit sang dazu.
ist so ne art trauer gesang.
aufjedenfall haben leute die sich damit beschäftigt haben herausgefunden das es diesen stil auch in albanien ukraine und sogar mitlleren osten gibt.
Béla Bartók discovered the doina in Northern Transylvania in 1912 and he believed it to be uniquely Romanian. After he found similar genres in Ukraine, Albania, Algeria, Middle East and Northern India, he came to the belief that these are part of a family of related genres of Arabo-Persian origin.[SUP][2][/SUP] He particularly linked the Romanian doina to the Turkish/Arabic Makam system. Bartók's conclusions were rejected by some Romanian ethnomusicologists, who accused Bartók of anti-Romanian bias. Nevertheless, the similarities between the Romanian doina and various musical forms from the Middle East have been subsequently documented by both non-Romanian,[SUP][3][/SUP] and Romanian[SUP][4][/SUP][SUP][5][/SUP] scholars. Until the first half of the 20th century, both lăutari[SUP][5][/SUP] and klezmer musicians[SUP][6][/SUP] were recorded using a taksim as an introduction to a tune. The taksim would be later replaced by the doina, which has been described as being similar, though not totally identical to the taksim. Romanian ethnomusicologist and musician Grigore Leşe, after performing with a group of Iranian musicians, noticed that the doinas of Maramureş have "great affinities" with the Arabo-Persian music.[SUP][7][/SUP]
The doina is a free-rhythm, highly ornamented (usually melismatic), improvisational tune.[SUP][8][/SUP] The improvisation is done on a more or less fixed pattern (usually a descending one), by "stretching" the notes in a rubato-like manner, according to the performer's mood and imagination. Usually the prolonged notes are the fourth or fifth above the floor note.
The peasant doinas are mostly vocal and monophonic and are sung with some vocal peculiarities that vary from place to place: interjections (măi, hei, dui-dui, iuhu), glottal clucking sounds, choked sobbing effects, etc.[SUP][4][/SUP] Instrumental doinas are played on simple instruments, usually various types of flutes, or even on rudimentary ones, such as a leaf. The peasant doina is a non-ceremonial type of song and is generally sung in solitude, having an important psychological action: to "ease one's soul" ("de stâmpărare" in Romanian). Grigore Leşe believes that, while scholars describe in great detail the technical aspects of the doina, they fail to understand its psychological aspects. Doinas are lyrical in aspect and their common themes are melancholy, longing (dor), erotic feelings, love for nature, complaints about the bitterness of life or invocations to God to help ease pain, etc.
Unlike peasant doinas, lăutar and klezmer doinas are usually accompanied and played on more complex instruments (violin, pan-pipe, cymbalom, accordion, clarinet, tarogato, etc.). Also, unlike peasant doinas, lăutar and klezmer doinas are mostly played as an introduction to another tune, usually a dance.
In the regions of Southern Romania, Romani lăutari developed a type of doina called "cântec de ascultare" (meaning "song for listening", sometimes shortened to "de ascultare" or simply "ascultare"). The "cântec de ascultare" spread to other regions of Romania, with local particularities.
Before being studied by ethnomusicologists, the doina type of song was known by many names varying from region to region throughout Romania and Moldova, "doina" being one of them. It was Constantin Brăiloiu, director of the National Archive of Folk Music, who proposed that the word "doina" be used to described all these songs.
The origin of the word "doina" is unknown. It could be an old Indo-European term, since a similar form (daina) can be found in Latvia and Lithuania with the meaning of "folk song".
Another possible derivation is from the Serbian word "daljina" meaning "furthering", because most doinas are about the feeling of "dor" - a Romanian word for "intensely missing" (similar to German Sehnsucht and Portuguese Saudade).
But it should be noted that Dimitrie Cantemir mentions "Doina" in his Descriptio Moldaviae among a series of old pre-Christian (Dacian) deities, persistent in popular oral tradition, adding that "Doina, Doina" is a starting phrase incantation in many folk songs.
In the region of Maramureş the word "horă/hore" is still the most commonly used. The Maramureş "horă/hore" is not related to the word "horă" found in southern and eastern Romania, which comes from the Greek "choros", meaning "(circle) dance", but is derived from the Latin "oro/orare", meaning "to say/saying".
It is a Romanian word which translates into "shepherd's lament" or "shepherd's longing",[SUP][citation needed][/SUP] which helps explain why doinas can be very melancholy, but have melodies that are rather poignant and heartfelt.
hier auf english.
interessant ist das der rumänische ethnomusicologist und musiker grigore lese nachdem er mit iranischen musikern aufgetreten ist bemerkt hat das es grosse änlichkeiten zu dem doina stil aus der maramures region gibt.
Horea lung
so ne art cobanflöten musik.
Hora lungă (Cîntec lung, Rom., literally 'long song'), is a Romanian regional folksong style characterized by the union of a lyrical text and improvisational melody.[SUP][1][/SUP]
Also called hora lunga or horea lunga, (hora here is derived from the Romanian word meaning 'oration').[SUP][2][/SUP]
The singing may be accompanied by a combination of the shepherd's flute, a leaf held between the lips and used as a reed, a bagpipe, and nonnative instruments.
Characteristics[edit]
A variant of the doina, the Hora lungă characteristics are: strong instrumental character, very ornamented, and indeterminate content structure.[SUP][3][/SUP] The musician may freely stretch or compress its rhythm, and often will highly ornament each note.
History[edit]
Discovered by Béla Bartók in the Romanian Northern Transylvania counties of Maramureş and Satu-Mare in 1912-1913. Bartók studied evidence of or listened to similar music in central Algeria, Ukraine, and Persia. Subsequent research has revealed similar music found as far west as Albania and Algeria, and as far east as India, Tibet, western China, and Cambodia.[SUP][4][/SUP]
Artists[edit]
Doin
hier wieder aus der maramures region.
man achte auf die gesänge und denn ganz besonderen stil fast hypnotisch
was haltet ihr davon? im wikipedia artikel steht das es das auch in albanien und der ukraine gibt.
kennt ein albaner hier sowas änliches
ich find hat fast schon was mysthisches.ganz eigen aber interessant.
meine theorie ist das dass ne alt dakisch/thrakische tradition sein muss
. Aber super jetzt lerne ich endlich wieder einen kennen. In meiner Klasse war ein Walache und der war sehr dunkel , wie ein Roma. Aber auf Youtube habe ich dann Reportagen gesehen und die Walachen dort sahen nicht gerade aus wie Roma und das hat mich bissel durcheinander gebracht. Ihr seid ja gar keine Roma , oder ? Bitte nicht als Beleidigung auffassen, aber ich kenne mich nicht aus und habe mit Rade (so heißt er ) leider keinen Kontakt, sonst würde ich ihn fragen.