engleski

Mornarski akord: komparativno istraživanje tradicijskog pjevanja u području Quattro Province, na Jonskim otocima i u Dalmaciji

This work presents the findings of comparative research on specific traditional homophonic singing and complementary popular vocal-instrumental music as practiced in three regions: (1) Cori d’ osteria from the Quattro Province area of the northwestern Apennines and some older types of popular music of northern Italy ; (2) traditional kantades, arietes, and arekia from the Greek Ionian Islands ; and (3) Dalmatian klapa from Croatia. In musical (sound) structure and aesthetics, these types of musical expressions are quite similar, almost identical in many respects. Also, they are mutually akin in various social and cultural elements, even though their verses are set in different languages and there are no significant sociocultural connections among the three areas nowadays. However, the fact that parts of Italy, Greece, and Croatia were much more connected in the distant past than they are today makes one assume that these types of music could have shared the same origins. In the first section the author identifies six shared elements of traditional singing in three areas. While searching the Internet, he compared sound structures and performance practices and noticed very remarkable similarities. In every compared aspect, there is a certain level of similarity, to a lesser or greater degree, depending on various elements of the sound structure, text, and performance style: (1) melodic structure, (2) harmonic structure, (3) lyric love songs, (4) performance context of serenate and mattinate, (5) performance style, (6) unidirectional musical influence from Italy to Greece and Croatia. Also, there are many Italian terms for folk music in Ionia and Dalmatia. In the second section the author demonstrates some general similarities of melodic and sound structures in Italy, Greece, and Dalmatia by sharing examples drawn from YouTube, enhanced by simple notational transcriptions. Next three sections combine the methods of history and music anthropology. After passing through different processes of transformation and conservation during the twentieth and the beginning of the twenty-first centuries, the musical expressions in three areas presently occupy diverse positions in terms of status, influence, and popularity on local, regional, national, and international stages and in the media. Nowadays, they act as the main musical brands of their own regions. That is why it is exceptionally interesting to compare various aspects of their contemporary performances, as well as the musical worlds of their social formations. The third section is dedicated to the comparison of sonorous chordal singing in Dalmatia before 1967 and in the Quattro Province today, while in the fourth section the author contrasts gentle urban singing in the Ionian Islands and Dalmatia. Finally, the fifth section considers multipart singing with instrumental accompaniment in all three regions. Regarding historical dilemmas (sixth section), the author discovers that significant musical innovations occurred in northern Italy in the late 1700s and the early 1800s during the time of pre-Romanticism and early Romanticism. At that same period, cultural and musical ties of Ionia and Dalmatia with Venice and Trieste were especially intensive. The folk chordal singing as a new appealing sound structure extended over northern Italy and from there it spread into the Ionian Islands and Dalmatia. Especially sailors, Italians, Greeks and Croats, who navigated together and socialized in port taverns performed and promoted this type of singing. All presented examples of specific relationship of sound and history have demonstrated a strong historical connection among northern Italian, Ionian, and Dalmatian folk singing cultures from the beginning of the nineteenth century, and perhaps earlier, to the mid-twentieth century. After analyzing examples drawn from the Internet and examining chosen historical sources, the author arrived at the conclusion that among sailors of different ethnicities in the northern Mediterranean area and the upper Adriatic in particular there existed a little-known and yet widespread type of vocal expression. That is why this musical similarity in three different regions can be explained as a consequence of centuries-long mutual maritime connections but also of the long-term Italian political and cultural influence on the Ionian Islands and Dalmatia. The fact that archaic chordal singing is not present in Venice and Trieste today, but only in isolated and distanced Quattro Province is not surprising since such phenomena of isolated areas managing to preserve certain archaic music styles are present all over the world. The author presumes that Quattro Province type of singing in the 1800s was popular in the large area of northern Italy. Also, he supposes that Venice and Trieste were the focal points of this singing. All his presumptions derive from the fact that there wasn't any documented musical exchange between Ionia and Dalmatia. The main encounter among them occurred only in or across Venice and Trieste. Still, to be sure, further thorough research in archival sound recordings, notational transcriptions, and other documents would need to be implemented.

Quattro Province, Jonski otoci, Dalmacija, canti d'osteria, arekia, klapa

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