Romani music is the music of theRomani people.[1]In the English language, Romani people have long been known by theexonymGypsies orGipsies and this remains the most common English term for the group.[2] Some Roma use and embrace this term while others consider it to be derogatory or anethnic slur.[2][3][4][5][6][7][8]
Historicallynomadic, though now largely settled, the Romani people have long acted as entertainers and tradesmen inEurope. In many of the places Romani live they have become known as musicians. The wide distances travelled have introduced elements fromIndian,Persian,Armenian,Turkish,Balkan,German andFrench music.[9]
It is difficult to define the parameters of a unified Romani musical style, as there are differences in melodic, harmonic, rhythmic and formal structures from region to region. Lyrics to Romani songs may incorporate one or more dialects of theRomani language, and dance frequently accompanies Romani music performance.[10]
The quintessentially Spanishflamenco is to a very large extent the music (and dance, or indeed the culture) of the Romani people ofAndalusia.[11]
Romanifolk music, a style based solely on Romani musical traditions and not on the traditions of the country in which they reside, is relatively rare. It is mainly vocal and consists of slow plaintive songs and fast melodies which may be accompanied by dancing. The fast melodies are accompanied with tongue-clacking,hand-clapping, mouth-basses, clicking of woodenspoons and other techniques.[12] Romani folk music in the Balkans typically incorporates, or is sung entirely in, the Romani language. In some other countries however, knowledge and use of the language has diminished significantly over the centuries, with many Romani people not speaking anyRomanes.[13][14]
There are five main components found in Romani folk music. The first is the use of three voices or parts: the melodic line, the terce and the quint, either through vocalization or instruments. The second is syncopation, where the music starts right after a beat while maintaining a consistent rhythm. The third is having the music played in different phrases, meaning that the entrance and exit of different musical themes are felt at different times throughout a song either through rhythm or instruments. The fourth is harmony, where a minor key center is often used instead of a major one. The last is singing, where natural vocal abilities are emphasized.[15]
Due to various events and developments, performance became less emphasized amongst non-Romani populations in parts of Europe, and was sometimes prohibited. As a result, Romani minorities in these countries began to take professional entertainment spots, and performed at events such as weddings, baptisms, funerals and circumcisions.
As the Romani people do not have a nation state (Romanistan), they were often forced to create their own living spaces within the countries they settled. Musical traditions from the countries where they lived were incorporated into their own music such as instruments, languages and subject matter of the music itself.
Most Romani music is built upon certain folk music traditions of the countries where they have migrated through or settled. Local music is adopted and performed – usually instrumental – and, slowly, it is transformed into Romani styles, which are usually more complex than the original styles. In its turn, Romani music has greatly influenced the local music.
This regional aspect of Romani music is vividly expressed in the documentaryLatcho Drom, which follows Romani music from Northern India through Egypt, Turkey, Romania, Hungary, Slovakia, and France, ending in Spain.[16]
Popular styles of Romani music within the Balkans includeTallava andManele. Tallava was formed by the Romani minority inKosovo in the 1990s.[17] The genre of Tallava was later adopted among the Ashkali group. Tallava is common in Albania. Manele originated from the Roma minority inRomania who came fromIstanbul . Played by Roma musicians (Lăutari) during late 18th to early 19th century. This genre has influences from other music genres such as Greek (Laïko, Arabesque Pop [some heavy duty variety called Skiladiko]) and Bulgarian (Chalga). It also blended with Turkish (Arabesque), Arabic (Arabic pop music), Serbian (Turbo-folk) andAlbanian music.[18]
Due to the significantRomani population in Bulgaria, this ethnic group's music is very popular in the country.Chalgamata music is also played by Romani musicians in Bulgaria.[19]
The Rajkó Orchestra and Folk Ensemble is known for preserving Romani music, dance and costume culture in Hungary since 1952. Their work carries on the traditions of century-old generations. Their performances can be seen at a number of venues, among others at the Danube Palace[20] of Budapest during the season between 1 May and 31 October.
Traditionally there are two types of Romani music: one rendered for non-Romani audiences (sung in Hungarian), and the other, rendered for Romani audiences (typically sung in Romani). The music performed for outsiders is known as "Gypsy music". They call the music they play among themselves "folk music".[21]
In the early 19th century, Romani musicians came to the forefront of national music. During theHungarian Revolution of 1848 in Hungary, Romani bands played their music for soldiers before and after the battle to encourage and entertain them. After the loss of the war, these musicians gained a lot of respect from the country. Romani music became a symbol of desired freedom.[22]
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TheLăutari were traditional Romani musicians, playing at various events (weddings, funerals, etc.)[23]
Themanele genre which is very popular in Romania is performed byRomanian musicians and Romani musicians.[24] It is thought to have developed amongst Romani people who migrated fromEast Thrace, carrying oriental influences. It is generally thought of as lower class due to being associated with the Roma.[25]
Romani musical styles spread through Serbia during the Ottoman period.[26]
Roma in Turkey, concentrated inEuropean Turkey, are known for their musicianship. Their urban music brought echoes of classicalTurkish music to the public via themeyhane ortaverna. This type offasıl music (a style, not to be confused with thefasıl form of classical Turkish music) coupled with food and alcoholic beverages is often associated with theunderclass of Turkish society, though it also can be found in more "respectable" establishments in modern times.[27]
Roma have also influenced the fasıl itself. Played in music halls, the dance music (oyun havası) required at the end of each fasıl has been incorporated with Ottomanrakkas orbelly dancing motifs. The rhythmicostinato accompanying the instrumental improvisation (ritimli taksim) for the belly-dance parallels that of the classicalgazel, a vocal improvisation in free rhythm with rhythmic accompaniment. Popular musical instruments in this kind of fasıl are the clarinet, violin,kanun anddarbuka. ClarinetistMustafa Kandıralı is a well known fasıl musician.[28]
Gypsy jazz is popular in France, and was primarily innovated by Romani jazz guitarist and composerDjango Reinhardt.[29]
TheCalé Roma in Spain have contributed significantly to theAndalusian musical tradition known asflamenco. The genre is often associated with Romani people as it developed amongst the Romani minority, although it is based upon folkloric music traditions of southern Spain. A number of famous flamenco artists are Romani.[30]
A choir in Russia was theSokolovsky choir.
In 1931, a public Romani theatre,Romen Theatre, has been established in Moscow incorporating Romani music and dance into theatrical performances.[31]
