Musical Styles

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 Koratien, Slowenien und Bosnien, 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.

Die albanische Rroma Musik

In Albanien als auch im Kosovo benutzen Roma-Orchester Akkordeons, Klarinetten und Busukis. Ihr Stil ist eine Mischung von türkischer und griechischer Musik. Die Lieder, meist nur vokal intoniert, erinnern an arabische Musik, während die instrumentalen Stücke schon beinahe Sirtakis sind.

Die bulgarische Rroma-Musik

Bis vor kurzem wurde die Existenz von Rroma in Bulgarien beinahe verneint. Nach offiziellen Angaben gab es vor dem Fall des kommunistischen Regimes weniger als

50 000 Rroma in ganz Bulgarien. Die Wirklichkeit sieht aber anders aus. Heute schätzt man, dass ungefähr 800 000 Rroma in Bulgarien leben, oft unter erschreckenden Bedingungen, in Ghettos und extremer Armut.

Auch wenn die bulgarische Rroma-Kultur eine der ältesten Europas ist, sie reicht bis in 12. – 13. Jahrhundert zurück, weiss man kaum etwas darüber.Archive für die Musik wurden beispiesweise nicht eingerrichtet und für die Forscher steht dementsprecht nichts zur Verfügung. Einzelne Ethno-Musikologen haben bestätigt, dass sie keinen Link für die Entwicklung der europäischen Rroma-Musik gefunden haben, namentlich in Bulgarien.

Heute wissen selbst die Rroma wenig über ihr musikalisches Erbe. Dies macht es um dringlicher, bulgarische Rroma-Musik, frei von den Einflüssen westlicher Musik (auch von Rap!), aufzuzeichnen.

Die bulgarische Rroma-Musik weist verschiedene Stile auf, die von der Region und der ethnischen Gruppe der Musiker abhängt. Vereinfacht kann man von fünf Hauptstilrichtungen ausgehen:

Lovara und Kelderara: Diese beiden Rroma-Gruppen haben einen sehr spezifischen Musikstil. Wie in anderen europäischen Ländern ebenfalls, basiert er hauptsächlich auf vokalen Improvisationen ohne Einsatz von Instrumenten.

Der Nordwesten: In der Region Vidin, entlang der ehemaligen jugoslawischen Grenze, setzen sich die Orchester oft nur aus Blechinstrumenten zusammen. Diese Tradition findet sich ebenfalls in einem Teil des heutigen Mazedonien.

Der Nordosten: In dieser Gegend ist der Einfluss Rumäniens in der Musikrichtung stark spürbar, insbesondere was die gespielten Instrumente anbelangt. Das Zimbal ist beispielsweise ein wichtiger Bestandteil in der Formation.

Der Südwesten: Die Musik ähnelt jener Mazedoniens. Zurnas, ursprünglich von den Türken eingeführt, sind die Hauptinstrumente.

Der Süden: Hier findet sich das, was allgemein als bulgarisch Musik bezeichent wird. Tatsächlich spelen die heutigen Rroma-Orchester Bulgariens meist in diesem Stil, mit Klarinetten, Saxophonen, Akkordeon, Gitarre, Bass und Schlagzeug. Der Stil der Musik ist geprägt vom Einfluss der Musik des Mittleren Ostens.

Tschechische und Slowakische Republik

In der Slowakei ist die Rroma-Musik stark von der ungarischen Restaurantmusik beeinflussst. In Wirklichkeit ist sie kaum von der Musik in Ungarn zu unterscheiden. In der Tschechischen Republik hingegen hat es praktisch keine Hinweise mehr, wie dort die Rroma-Musik ursprünglich getönt haben könnte.

Die Ungarisch Rroma Musik

Um es Vorweg zu nehmen, die eigentliche Rroma-Musik Ungarns hat weder Violinen, Zimbale oder, um es kurz zu machen, überhaupt Instrumente. Gitarre und Mandoline kamen erst im 19. Jahrhundert hinzu. Diese Musik basiert auf Perkussionen und Bässen. Beides wird mit der menschlichen Stimmen, mit Milchkannen (!), Löffeln und Tamburinen gemacht. Ein Sänger singt gewöhnlich die Ballade, während die anderen die Bässe und Perkussionen singen. Diese Musik ist dem Kelderara- und Lovara-Stil nahe, der in ganz Europa zu finden ist.

Neben diese authentische Musik hat sich ein anderer Stil hervorgebracht, der meist von Rroma aus Transylvanien und den Rromungri (die übrigens kaum mehr Rromanes sprechen) gespielt wird und im Westen wohl der bekannteste ist, die sogenannte Restaruant-Musik. Dies ist eine Mischung aus ungarischen Volksliedern, transsylvanischen Einflüssen und einem Touch von Wiener Musik. Hier kann jedoch nicht von Rroma-Musik gesprochen werden, sondern Musik, die von Rroma gespielt wird.

Die Moldauische Rroma Musik

Die Harmonien ähneln jenen des Flamenco, die Rhythmen sind eher orientalisch, und die Art des singens und Spielens ist rumänisch, lansame Stimmen, schnelle Instrumente. Die Lieder sind dennoch mit der einfachen russischen Rroma-Musik verwandt. Zusammen ergibt dies einen einzigartigen Stil.

Die Polnische Rroma Musik

Den Rroma in Polen, die während des Zweiten Weltkrieges unter der deutschen Besatzung enorm gelitten haben, war es bis 1961 erlaubt, frei zu reisen. Die Reise- und Handelsfeiheit führte dazu, dass die Rroma ihre Kultur relativ gut erhalten konnten, was auch in ihrer Musik Asuddruck findet. Trotz deutlicher Einflüsse russischer Rroma-Musik weist diese Besonderheiten auf. Erstens basiert sie auf Akkordeon und Violine, gelegentlich ergänzt durch die Klarinette, und zweitens sind die Rhythmen eindeutig polnisch. Mazurkas, Walzer und sogar Polonaisen sind häufig. Im Gegensatz zu dem russischen Stil benutzen die polnischen Rroma für ihre Musik eher Instrumente als die Stimmen. Chöre sind unbekannt, und gewöhnlich gibt es nur einen Sänger. Die typischen Rroma-Terzen und –Quinten werden mit Instrumenten und nicht mit Stimmen intoniert.

Die Rumänische Rroma Musik

Im Gegensatz zur gängigen Auffassung besteht die Rroma-Musik in Rumänien nicht aus einem einheitlichen Stil. Tatsache ist aber, dass die meisten Aufnahmen, die man aus diesem Land hört, rumänische Volkslieder sind, die von Rroma gespielt werden. Drei Hauptstile prägen die Rroma-Musik in Rumänien.

Transsylvanien: Dieser Teil von Rumänien war bis 1918 unter ungarischer Herrschaft. Die sogenannt ungarische Musik stammt aus dieser Region! Sie basiert fast ausschliesslich auf Zimbalen, Geigen, Bratschen und Bässen. Die Saiteninstrumenten spielen in Akkorden, fast wie ein einziges Instrument. Die Geige übernimmt die Melodie, die Zimbale übernehmen etnweder die Begleitung oder die Soli. Gesang kommt selten vor. Rhythmen und Harmonien sind eindeutig ungarisch, und der Rhythmus ist eher gemässigt.

Rumänien: Das Orchester ist hier ergänzut durch Akkordeon und Flöten (rumänischer Einfluss). Anders als bei rumänischen Volksliedern sind die Rroma-Rhythmen langsamer, doch die Instrumente spielen in schnellem Tempo. Diese Dualität, langsame Stimme, schnelle Instrumente, ist der entscheidenden Unterschied zu den transsylvanischen Musik. Die Harmonien und Rhythmen aber sind orientalischer. Zahlreiche Lieder und Melodien zeichnen sich durch einen 7/8- oder 7/9-Rhythmus aus.

Banat: Diese Region befindet sich in der Nähe der serbisch-transsylvanisch-bulgarischen Grenze. Die Einflüsse all dieser Gegenden können herausgespürt werden. Die Orchester sind meist mit Blechinstrumenten plus einer Zimbal bestückt und ihre Musik jener Transsylvaniens ähnlich.

Die Russiche Rroma Musik

Aus alten russischen Chroniken ist bekannt, dass die ersten Rroma im 16./17. Jahrhundert in Russland eingetroffen sind. Da Musikinstrumente in Russland zwischen dem 14. und 17. Jahrhundert verboten waren, kreierten die russischen Rroma, wie die Russen selbst, eine musikalische Tradition, die auf Chören aufbaute.

Im 18. Jahrhundert kam ein einzigartiges Instrument auf: die 7saitige Gitarre. Bis vor kurzem ist diese Instrument fast ausschliesslich von russischen Rroma gespielt worden. Diese Gitarre, auf G-Dur gestimmt, erlaubt sowohl melodische Basslinien als auch Harmonien, die an Jazz erinnern. Perkussionsinstrumente waren selbstverständlich zur Hand: in der Küche. Löffel und Töpfe, Tamburine oder „Körper-Perkussionen“ wie Steppen, Mit-den-Fingern-Schnippen und Klatschen.

Die Tradition der Rroma-Chöre erreichte ihren Höhepunkt im 19. Jahrhundert und dauerte bis zur Revolution. Kabaretts mit Rroma-Musikern, wie das „Yar“ in Moskau, waren bekannt und sind in der russischen Literatur (z.B. bei Puschkin) beschrieben worden. Während dieser Periode übernahmen die Rroma den Stil der russischen Romanzen. Die Geige wurde eingeführt. Rroma aus dem Balkan, die sich von Russland aufgrund der Popularität der russischen Rroma-Musik angezogen fühlten, brachten sie mit.

Neben diesen Stilen gab es die alten Lieder, die in Ad-hoc-Formationen zuhause und nur, wenn die Rroma unter sich waren, erklangen. Trotz der Revolution, Kriegen, Hungersnöten und Emigration hat diese musikalische Tradition bei den Rroma überlebt.

Ukrainische Rroma Musik

Diese Musik ist heutzutage kaum mehr anzutreffen. Statt dessen wird russische Rroma-Musik gespielt. Wo man sie noch hört, ist das Hauptinstrument die Zimbal. Der Stil gleicht jenem von Moldawien.

Westeuropa

Zigeuner-Jazz: Diese Art Rroma-Musik schuf Django Reinhardt zusammen mit Stéphane Grapelli in den 30er Jahren. Es ist eine Mischung von Jazz und tradtioneller Rroma-Musik wie jene der Kelderara und Lovara. Dieser Stil ist fast ausschliesslich in Nordfrankreich und Deutschland verbreitet.

Flamenco: Hier braucht es wohl keine Beschreibung. Anzumerken ist höchstens, dass der Flamenco auch heute noch meist von Rroma gespielt wird. Er wird auf spanisch gesungen, da Rromanes nach dem Fall des muslimischen Königreiches in Spanien verboten wurde und eute kaum noch präsent ist.

Rroma Musik aus dem ehemaligen Jugoslawien

Wojwodina: Die Wojwodina war bis zum Ende des Ersten Weltkrieges Teil des österreichisch-ungarischen Kaiserreiches. Daher lebt dort immer noch eine zahlreiche ungarische Minderheit. Viele Rroma haben sich in dieser Gegend in Rroma-Dörfern und in Städten wie Novi-Sad niedergelassen. Sie leben dort unter äussert schwierigen Bedingungen. Nach dem Zusammenbruch Jugoslawiens haben viele von ihnen die Region verlassen, um bessere Arbeit zu finden und auch, um der latenten Diskriminierung zu entgehen. Die Rroma-Musik der Wojwodina entstand aus einer Mischung veschiedener Stile. Als die Wojwodina eine Greznregion zum Ottomanischen Reich war, drangen türkische Harmonien und Rhythmen in die Musik ein. Da die Wjwodina abar auch von den Ungarn besetzt wurde, existieren auch stark ungarische Einlüsse. Diese Musik entstand in den Rroma-Lagern als Tanz- und Festmusik und wird fast nur von Männern gespielt und gesungen. Die Geige spielt eine wichtige Rolle, zu vergleichen mit jener eines Ballettmeisters. Tatsächlich bekommt man heute noch bei kleinen Dorfanlässen den Geigenspieler, der sowohl singt als auch spielt, zu sehen.

Neben diesem Soloinstrument sind die Tamburitsas zu hören. Dieses Instrument, eine 4saitige Gitarre, auf Quartintervalle gestimmt, wird u. a. im Burgenland (Oesterreich) gespielt. Typische Formationen der Wojwodina haben drei solcher Tamuburitsas, eine, die die Terz zu den Variationen der Geige übernimmt, eine für den Rhythmus und eine für den Alt, der die tiefe Quinte und die melodischen Basslinien übernimmt. Ein Bass vervollständigt normalerweise eine solche Orchesterformation. Im Gegensatz zu der Rroma-Musik aus Serbien ist der Rhythmus hier ziemlich statisch, jedoch voll von Synkopen. Die erst Stimme wird gewöhnlich vom Geiger gespielt, oft als Solpartie. Die anderen Stimmen geben den Rhythmus, den Bass und die zweite Stimme ab.

Daneben gibt es noch mehrere andere Musikstile in den Gebieten des ehemaligen Jugoslawien.

Serbien: Die Basis der Rroma-Orchester in diesem Land bilden das Akkordeon und die Geige. Im Gegensatz zu der Musik in der Wojwodina ist der Rhythmus orientalisch, gewöhlich handelt es sich um Takte von 7/9 und 11/13.

Mazedonien: Zwei verschiedene Musikstile koexistiern in diesem Land. Zuerst das Brass Orchester, welche vor allem nur für Hochzeiten und Beerdigungen, wie in den Filmen von Kusturica, benutzt wird. Eine ältere Version dieses Stiles existiert, wo die Brassinstrumente durch die Zurnas, ein türkisches Instrument, ähnlich wie die Klarinette,ersetzt sind.

Die zweite Stilrichtung im Land erinnert an den Flamenco. Auch hier werden Brassinstrumente verwendet, doch wer die Harmonien hört, vermeint die Musik aus Andalusien zu hören.

Kosovo: Siehe Albanien.

Kroatien, Slovenien und Bosnien: Hier koexistieren verschiedene Stile aus dem ehemaligen Jugoslawien. Es ist sehr schwierig herauszufinden, welches die originale Musik war, vor allem auch seit die meisten Gruppen heute mit elektrischen Instrumente spielen.

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.

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