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European Voices III. the Instrumentation And Schriften zur Volksmusik Band 25 Veröffentlichungen des Instituts für Volksmusikforschung und Ethnomusikologie an der Universität für Musik und darstellende Kunst Wien gegründet von Walter Deutsch geleitet von Ursula Hemetek Open Access © 2017 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR Ardian Ahmedaja (ed.) European Voices III The Instrumentation and Instrumentalization of Sound Local Multipart Music Practices in Europe In commemoration of Gerlinde Haid CD-ROM with 65 audio and 32 video examples included 2017 böhlau verlag wien köln weimar Published with the support from the Austrian Science Fund (FWF): PUB 398-G26 Open access: Except where otherwise noted, this work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung: Bei einer Hochzeit in der Stadt Tetovo, Mazedonien, Juli 2004. Foto: Ardian Ahmedaja. © 2017 by Böhlau Verlag Ges.m.b.H & Co. KG, Wien Köln Weimar Wiesingerstraße 1, A–1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Korrektorat: Daniela Beuren, Wien Umschlaggestaltung: Michael Haderer, Wien Satz: Michael Rauscher, Wien Druck und Bindung: Generaldruckrei, Szeged Gedruckt auf chlor- und säurefrei gebleichtem Papier Printed in the EU ISBN 978-3-205-20513-5 Open Access © 2017 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR Table of Contents Ursula Hemetek Foreword ....................................... 9 Ardian Ahmedaja Introduction ..................................... 11 I. Sound and Society 1. Prologue Philip V. Bohlman “But Glorious It Was” – The Pilgrim’s Progress and the Musical Instrumentation of the Heavenly Host ................ 23 2. Of Alps and Pennines ............................. 44 Thomas Nußbaumer The Role of Multipart Music and Sounds in Gerlinde Haid’s Conception of Musica Alpina ..................................... 45 Ian Russell The Performance Roles and Dynamics of a Christmas Carolling Tradition in the English Pennines ............. 65 3. South-Western Europe Enrique Cámara de Landa Polyphonic Arrangements for a Monodic Tradition : Rituals and Musical Creativity in Present-Day Soria ............... 87 Jean-Jacques Castéret At the Bottom of the Ethnomusicologist’s Bin … : Multipart Singing Territories, Musical Logics and Self-Presentation Strategies ................. 101 5 Table of Contents Ignazio Macchiarella It is a Matter of Amalgam. Constructions of Sound Image in Multipart Singing Practices .......... 121 II. Performance as Instrumentation 1. The Baltics Žanna Pärtlas The Changing “Sound Ideal” as a Social Marker in Seto Multipart Songs ... 141 Daiva Račiūnaitė-Vyčinienė Sound Instrumentation in Lithuanian Multipart Music Practice : The Relationship between the Individual and the Collective in Music-Making Processes ............................. 161 Anda Beitāne The Sound of Medņeva : Local Multipart Singing Practice as an Instrument of Identity in North-Eastern Latvia ............... 183 2. Central and Eastern Europe Rudolf Pietsch Sound Aspects Caused by the Formation of Intentional and Accidental Multipart Instrumental Music, Illustrated by Selected Examples ........ 203 Lujza Tari Multipart Phenomena in Hungarian Folk Music Regarding the Instrumentation and Instrumentalization of Sound ....... 223 Speranţa Rădulescu “I hear the drum, but I can’t see it !” The Main Accompanying Instrument and Its Emblematic Sound ........ 237 6 Open Access © 2017 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR Table of Contents III. Tradition, Revival, Practice Bernard Garaj Towards the Instrumentation of Sound in a Band Consisting of String Instruments and Bagpipes .................. 249 Ulrich Morgenstern Imagining Social Space and History in European Folk Music Revivals and Volksmusikpflege. The Politics of Instrumentation ................. 263 Walter Deutsch Some Remarks on Multipart Singing in Austrian Folk Music .......... 293 Notes on Contributors ............................... 309 List of Audio Examples ............................... 315 List of Video Examples ............................... 333 Index ......................................... 343 7 Open Access © 2017 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR Foreword The focused research on Multipart Music in Europe at the Department of Folk Music Research and Ethnomusicology was started in 2003 thanks to the initiative of Ard- ian Ahmedaja. As he acknowledges in his introduction, his research has been funded since then by the Austrian Science Fund (FWF) and was intensively supported by the former director of the institute, Gerlinde Haid. The accompanying international symposia that were held three times so far had the title European Voices, as did the resulting publications. This is now already the third volume, all of them published in a series of the department (Schriften zur Volksmusik). The department owes this to the indefatigable energy of Ardian Ahmedaja. The initial research focus has grown into an international Research Centre for European Multipart Music which is one of the most prestigious projects of the department at international level. The ability to attract a considerable number of colleagues to collaborate constantly and actively is a special quality of Ardian Ahmedaja, who has become one of the most respected international experts in the field. The ICTM Study Group on Multipart Music was also established upon his initiative in 2009 and held its first meeting in 2010. The study group has held regular meetings since then, which were always fol- lowed by publications. The research and the publications of Ardian Ahmedaja have considerably broad- ened the scope of the institute’s activities and have intensified its international involve- ment. As its current director I am very grateful for that. To complement the advantages concerning the international standing of the de- partment and the relevance of the topic itself, I would like to add some thoughts on methodology and theory, which came to my mind when reading the text. Due to my age and my relatively long professional life in ethnomusicology I have attended quite a number of international ethnomusicological events and have been involved in many activities and joined many international organizations. I have learned about the simi- larities and differences in regional and national ethnomusicological approaches in dif- ferent parts of the world. Over many years I discussed the research history of folk music research and ethnomusicology with Gerlinde Haid, due to the special situation of our department, which has both aspects in its name. There does not seem to be a consensus on either the definition of the subject or that of the object of research in our discipline, and there are a lot of conflicting arguments. What I find extraordinary in this volume, however, is the reconciliation of conflicting tendencies in ethnomusicol- ogy such as “music in context” versus “music as text” , the “Russian school” of ethno- musicology versus “Western” approaches, “folk music research” versus “ethnomusi- 9 Ursula Hemetek cology” in the sense of das Fremde und das Eigene (otherness and the self) (see Grupe 2005) and systematic versus comparative approaches. The book offers a wide range of different methodologies and theories applied to European multipart music, and there- fore functions as a convincing argument that complex phenomena need manifold ap- proaches. European multipart music is such a thrilling topic that it can obviously over- whelm conflicts and establish an initiative which leads to the joining of forces. This is something extraordinary which our department first of all owes to Ardian Ahmedaja, and of course to all the colleagues who have contributed to this volume, including such celebrities as Walter Deutsch, the founder of our department and local nestor of folk music research in Austria, and the US-based scholar Philip Bohlman, one of the best-known ethnomusicologist worldwide. In the name of our institute I extend my sincerest thanks to all the people who cooperated so inspiringly in the multipart choir of European voices. Ursula Hemetek References Grupe, Gerd, ed. 2005. Musikethnologie und Volksmusikforschung in Österreich : Das ‘Fremde’ und das ‘Eigene’ ? Musikethnologische Sammelbände 20. Aachen : Shaker. 10 Open Access © 2017 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR Introduction The understanding of instrumentation in music literature has been closely connected for a longer period with instruments, the potential they offer for musical performance, their sound qualities and fusion possibilities. This has been the case since the first printed handbook on musical instruments Musica getutscht und ausgezogen (1511) by Sebastian Virdung. Its aim was the classification of instruments according to the ways of sound production (stringed, wind and percussion instruments). Among later publications, Michael Praetorius’s famous Syntagma musicum (1614/15, 1619) should be mentioned. Even today, it is an important reference for the musical performance practice of the time as well as for the construction and clas- sification of musical instruments (particularly
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