The Albanian Rroma Music
In Albania, as well as in Kosovo, Rroma orchestras use accordions,
clarinets and also Bouzoukis. Their style of music is a mixture of Turkish and
Greek music. One passes from
songs, based mostly on one voice, which remind one of Arabic music, to
instrumental pieces which are almost sirtakis.
The Bulgarian Rroma Music
Up until recently, the mere existence of Rroma in Bulgaria was almost
denied. Officially, there were less than 50'000 Rroma in all of Bulgaria before
the fall of the communist regime. The truth is, however, different. One now
estimates that about 800'000 Rroma live in Bulgaria, often in appalling
conditions, in Ghettos and utter poverty.
While the Bulgarian Rroma culture is one of the oldest in Europe, dating
back to the 12-13th century, very little is known about it. For example, very
few archives have been set-up, and for music, almost nothing is available to a
researcher. Several ethno-musicologists have pointed out that there's a missing
link in the development of European Rroma music, namely Bulgaria.
Even now, the Rroma themselves know little about their own musical
heritage. It is thus important to produce a record of Bulgarian Rroma music,
free from the Western influences (even Rap!) that are now found there.
The Bulgarian Rroma music shows several different styles, depending on
the region and the ethnic group of the musicians. To simplify to the extreme,
one can distinguish five main styles:
• Lovara and Kelderara: These two
groups of Rroma have a very specific style of music. As in other European
countries, their style is mostly based on oral improvisations without any
musical instruments.
• North West: In the region of
Din, along the northern Yugoslav border, orchestras are often composed entirely
of brass instruments. This tradition is also found in part of what is now
Macedonia.
• North East: In this region, a
strong Rumanian influence can be found in the musical style as well in the
instruments played. The cymbalum is, for example, present in these formations.
• South West: The music of that
region is very similar to the one found in Macedonia. Zurnas, originally
introduced by the Turks, are the main in-strument.
• South: This is what could be
described as the "most" Bulgarian style. In fact, nowadays Rroma
orchestras of Bulgaria mostly play this kind of music, with clarinets,
saxophones, accordeon, guitar, bass and percussions. The style of music shows a
strong Middle Eastern influence.
Czech and Slovak Republics
In Slovakia, the music is very strongly influenced by the Hungarian restaurant style. In fact, it is sometimes hard to distinguish it from what can be heard in Hungary. In the Czech Republic, we have almost no clue to what the original Rroma music was like.
The Hungarian Rroma Music
Before even starting this description, one has to stress that the real
Rroma music in Hungary does not have any violins, cymbalum or as a matter of
fact, any instrument. Guitars and mandolins where added in the 19th century.
This music is based on percussions and basses. Both are provided by the human
voice and by milk cans (!) or spoons and tambourines. One singer usually sings
the ballad, while the others sing basses and percussions. This music is in fact
closer to the Kelderara and Lovara style which can be found through out Europe.
Besides this authentic music, another style evolved, mostly played by
Rroma from Transylvania and by settled Rroma (who do not speak Rromanes any
more). This style, the so-called restaurant music, is what is best known in the
west. It is a mixture of Hungarian folk songs, Transylvanian influences with a
touch of Viennese music. One has to stress that this music is not Rroma music
but rather, music played by Rroma.
The Moldovan Rroma Music
This region has developed a very particular style of music. Its harmonies
are also reminiscent of flamenco, its rhythms are more oriental while its way
of playing and singing is Romanian -slow voices, fast instruments-. The songs
are, however, very close to the simple Russian Rroma music. The whole blended
in a totally unique style.
The Polish Rroma Music
The Rroma in Poland, while having suffered enormously during World War II
and the German occupation, have nevertheless been allowed to travel freely till
1961. This freedom of travel and trade has maintained a relatively strong Rroma
culture in this country which can still be heard in the music. While this music
is certainly influenced by the Russian Rroma music, it has specifics of its
own. First, it is based on accordions and violin, with possibly a clarinet, and
second, its rhythms are definitely Polish. Mazurkas, valses and even Polonaises
are frequent in this folklore. Contrary to the Russian style, Polish Rroma base
their music more on instruments than on voice. Choirs are not heard and
usually, there is only one singer. The typical Rroma terces and quints are made
by the instruments and not the voices.
The Romanian Rroma Music
Contrary to the usual beliefs, Romanian Rroma music does not present a
unified style. In fact, most recordings one hear from that country are Romanian
folk songs played by Rroma. There are 3 main styles of Rroma music in Romania.
• Transylvania: This part of
Romania was until 1918 part of Hungary. In fact, the so-called Hungarian music
comes from that region. It is entirely based on the Cymbalum, violins, bratsch
and bases. The string instruments play in chords, almost like a unique
instrument, while the violin plays the melody. Depending on the cases, the
cymbalum takes a role of accompaniment or of soloist. Very few of the pieces
are sung. Rhythms and harmonies are definitely Hungarian and the rhythm is
rather sedate.
• Romania: There, the accordeon
and flutes (a Romanian influence) are added to the orchestras. Contrary to
Romanian folk songs, the Rroma rhythms are slower, but the instruments play at
a fast tempo. This duality - slow voice, fast instruments - is what really
distinguishes this music from the Transylvanian one. Harmonies are also more
oriental as well as the rhythms. Several songs and melodies have the
characteristic 7/8 or 7/9 rhythms.
• Banat: This region is located
near the Yugoslav-Transylvanian -Bulgarian borders. The influences of all these
regions can be felt. The orchestras are in fact playing mostly with brass
instruments, plus a cymbalum, 2while playing a music which is closer to the
Transylvanian one.
The Russian Rroma music
According to old Russian chronicles, the first Rroma arrived in Russia in
the 15th century. Since musical instruments were banned in Russia between the
14th and 17th century, the Russian Rroma, as the Russians themselves, created a
musical tradition based on choirs.
In the 18th century, a unique instrument appeared: the seven string
guitar. Until very recently, this was almost the only instrument played by Russian
Rroma. This guitar, tuned in G-major, allows for melodic bass lines as well as
harmonies which may remind one of jazz music. Percussions were, of course,
always present, be it kitchen utensils such as spoons and pots, tambourine or
"body-percussions" such as steps, snaps and hand claps.
The tradition of Rroma choirs reached its peak in the 19th century and
continued till the revolution. Cabarets, featuring Rroma musicians, such as the
"Yar" in Moscow were renowned, and have been described in Russian literature,
(i.e. Pushkin). During that period, the Russian Rroma co-opted the Russian
style of musical romances. The violin appeared, imported by Rroma from the
Balkan who were attracted to Russia by the popularity of Rroma music.
Besides this style, old songs were played at home, in ad-hoc formations
and only among Rroma. In spite of revolution, wars, famines or emigration this
Rroma musical heritage survived.
The Ukrainian Rroma Music
This music has nowadays almost disappeared and been replaced by Russian
Rroma music. When heard, it is based on the cymbalum and is close to the
Moldavian style.
The Western European Music
• Gypsy Jazz: This brand of Rroma music was created by Django Reinhardt in the 1930's, together with Stéphane Grapelli. It is a blend of Jazz and traditional Rroma music like the one from the Kelderara and Lovara. This style is almost the only music one hears in northern France and Germany.
• Flamenco: No description needed here, except, possibly that while still played mostly by Rroma, it is sung in Spanish since Rromanes was forbidden since the fall of the Muslim kingdoms in Spain.
Rroma Music from the Ex-Yugoslavia
• Vojvodina Music: The Vojvodina,
currently a part of Yugoslavia, was till the end of World War I part of the
Austrian Empire. A large Hungarian minority thus still lives there. Many Rroma,
often living under difficult conditions, have settled in Rroma villages and in
cities like Novi-Sad. After the break-up of Yugoslavia, many of them left the
region, in order to find better jobs but also so as to avoid a blatant
discrimination.
The Rroma music from the Vojvodina emerged from a mixture of different
styles. As the Vojvodina was a border region to the Ottoman Empire, the Turkish
harmonies and rhythms can easily be recognised, and having been a part of
Hungary, strong Hungarian influences exist. This music evolved in Rroma camps
as a dance and party music and is almost entirely played and sung by men. The
violin plays the prominent role, a bit like a "Balletmeister". In fact,
one can still see violin players who sing and play by themselves for small
gatherings in villages.
Besides this solo instrument, tamburitsas can also be heard. This
instrument, also found in Austria's Burgenland, is a four string guitar tuned
in quart. Typical formations from the Vojvodina have three such tamburitsas,
one lead, which plays the terce to the violin's variations, one for rhythm, and
one alto which takes the lower quint and melodic bass lines. A bass usually
completes such orchestras.
Contrary to the Rroma music of Serbia, the rhythm is rather stately but full of syncopes. A lead singer, usually the violinist sings the melody, often alone, and the other singers provide the rhythmic part, singing the bass and second voice.
One style of this music has already been described above. There are, however, several different Rroma musics in what was Yugoslavia.
• Serbian Music: The basis of the
Rroma orchestras in this country is the accordeon and the violin. In contrast
with the music from the Vojvodina, the rhythms are much more orientals; 7/9, 11/13 are usual.
• Macedonia: Two different kinds
of music coexist in this country. First, brass orchestras which are almost
exclusively used for weddings and funerals, as illustrated in Kusturitsa's
movies. An older version of this kind of music exists, where all brass
instruments are replaced by zurnas, a Turkish instrument related to clarinets.
The other style is reminiscent of Flamenco music. They also use brass
instruments but from the harmonies, one could think one listens to music from
Andalusia.
• Kosovo: See Albania.
• In Croatia, Slovenia and Bosnia, most of the different Yugoslav styles coexist. It is very difficult to find out what the original music was, especially since most of the groups are now playing with electrical instruments.