Centres of Polyphony


Most Romanian traditional vocal music is monophonic (solo or unison), although there are some “rudimentary forms of heterophony and polyphony” in some regions in some p ains sung by girls during evening working parties (Bihor); and children’s songs connected to different dance-games, found all over the country” (Apan, 2000:879). the most developed traditions of polyphonic singing in Romania. Their songs are always performed by two groups in antiphon, either in unison or in polyphony. G. Marcu distinguishes two vocal polyphonic styles among Macedonians in Romania: the first one is connected to “Pinderi” (Macedonians from the Pindul mountains) a Gramusteni” (mostly from Epir – northern Greece), and the second one is connected to “Farsheroti”, a shepherd population from North Greece and the Albanian district of Corcea. In the first style most of the singers sing the main tune in unison (or heterophonic) style. The rest sing the second part (often the drone). In both styles t ation of parts is often based on dissonant “barbarian” intervals (Dumitrescu, 1977:12).

The tradition of polyphonic singing is particularly strong among the Far a of singing individually or homophonically. If you hap melismas and the rubato-style free flow of the musical composition. Polyphonic singing is mostly threepart, w ng by a big group of singers. Here are typical examples of Macedonian polyphony from Romania: ony is very widely spread. Let us have a brief look at each articular genres, as Valeriu Apan mentions. He names the following exceptions: “funeral songs sung by two groups of women (in some parts of Banat, Transylvania, and Oltenia); laments sung by a woman leader and a group of women (Banat); songs sung by mixed groups of men and women during the nights of death vigils (Moldavia); wedding ceremonial songs sung by men (Bihor) and mixed groups (Hunedoara-Transylvania); carols sung by men (south Transylvania); quatr And of course, the so-called “Aromanians” (Macedonians) who came to Romania from different regions of the Balkans have nd “he vertical coordin sheroti Macedonians, who constitute the second polyphonic style: “The Farsheroti Macedonians can hardly accept the ide pen to ask one of them to sing by himself, he will answer that he cannot unless he has someone to ‘cut his voice’ and at last one more to accompany him. And this is true, indeed. The tunes of the Farsheroti are built in such a way as to make them unable to achieve the complete musical shape unless sung by a group” (Marcu, 1977:41-42). Another specific feature of the Farsheroti singing style is the wide use of ith two main melodic lines, singing against a background of a drone bass sung by a big group of singers.

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