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"Microtonal Klapa": Northern Adriatic Kanat Singing versus Dalmatian Klapa Singing (CROSBI ID 44476)

Prilog u knjizi | izvorni znanstveni rad

Primorac, Jakša "Microtonal Klapa": Northern Adriatic Kanat Singing versus Dalmatian Klapa Singing // Proceedings of the Second Symposium by the International Council for Traditional Music (ICTM) Study Group on Music and Dance in Southeastern Europe: held in Izmir, Turkey 7-11 April 2010. / Ivancich Dunin, Elsie ; Özbilgin, Mehmet Öcal (ur.). Izmir: International Council for Traditional Music (ICTM) ; Ege University State Turkish Music Conservatory, 2011. str. 86-94

Podaci o odgovornosti

Primorac, Jakša

engleski

"Microtonal Klapa": Northern Adriatic Kanat Singing versus Dalmatian Klapa Singing

In villages and small towns of Northern Adriatic area in Croatia, a particular and unique microtonal musical system has persisted until the present times. The two-part singing style kanat comprises its widespread style of vocal music. This microtonal singing is fairly strange, distant, and unusual to a contemporary average listener who grew up in the Western musical system. It is commonly perceived as "rough" or "unrefined". The traditional kanat experienced two significant stylizations in the 20th century. Art choral music inspired by kanat has gained great affirmation and recognition in 1920s and 1930s, when composer Ivan Matetić Ronjgov excerpted only tone rows from various structural specifics of kanat and created a music theory about the so-called Istrian scale. He believed that it is useful to perceive Istrian scale as diatonic music when translated into art music. In the area of popular folk music, main and proclaimed goal of the festival Melodies of Istria and Kvarner, founded in 1964, has been to incorporate elements of kanat melodies into popular songs, also based upon the theory of Istrian scale. On the other hand, four-part diatonic klapa singing penetrated from Dalmatia to Northern Adriatic from 1960s to 1990s, when it became exceptionally popular there. The crucial aesthetic division between traditional kanat and klapa songs is in the common oral perception of their music structure. In last four decades, klapa songs are perceived as "smooth" or "gentle" urban music expression with acceptable and attractive meaning. In this period, neither the traditional kanat in its original form nor its stylizations attracted Northern Adriatic klapa singers significantly. The author aims to provide support for his belief that a strong transformation of music-aesthetical views and tastes in the Northern Adriatic created an ongoing situation in which klapa groups mostly pushed out and basically replaced older groups that performed traditional kanat. While klapa and kanat are similar in that they are essentially vocal and chamber expressions, commonly perceived as traditional music, many Northern Adriatic inhabitants accept the klapa singing of their neighbour because it is, from their point of view, much nicer, more urban and Mediterranean than kanat.

Istria, Kvarner, traditional singing, kanat, klapa, microtonality

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Podaci o prilogu

86-94.

objavljeno

Podaci o knjizi

Proceedings of the Second Symposium by the International Council for Traditional Music (ICTM) Study Group on Music and Dance in Southeastern Europe: held in Izmir, Turkey 7-11 April 2010.

Ivancich Dunin, Elsie ; Özbilgin, Mehmet Öcal

Izmir: International Council for Traditional Music (ICTM) ; Ege University State Turkish Music Conservatory

2011.

978-975-483-882-4

Povezanost rada

Etnologija i antropologija