Music
Folk music is the oldest form of Romanian musical creation, characterized by great vitality; it is the defining source of the cultured musical creation, both religious and lay. Conservation of Romanian folk music has been aided by a large and enduring audience, and by numerous performers who helped propagate and further develop the folk sound. two of them, Vasile Pandelescu, and Dumnitru Zamfira are one of the most famous examples of Romanian folk musicians. Before the major incorporation of more modern instruments that found their way into Romanian folk music, older instruments such as the Tobă (Double-Headed Drum, also knows as the Tabul or Davul), Surlă (also known as the Zurna in other parts of the Balkans), Caval (Ancient Shepherds Pipe), Cobză (An ancient instrument related to the Arabic Oud), Vioară (Violin), Cimpoi (Balkan Bagpipe), and the Tamburină (Tambourine, more commonly used during the times under Phanariote, and Ottoman influence), were also commonly used in folk music before the introduction on some slightly more modern elements such as the widely used Accordion, and Clarinet. Folk music, oftentimes is accentuated with clapping, yells of tongue rolling, shouts, and whistles.
The religious musical creation, born under the influence of Byzantine music adjusted to the intonations of the local folk music, saw a period of glory between the 15th-17th centuries, when reputed schools of liturgical music developed within Romanian monasteries. Russian and Western influences brought about the introduction of polyphony in religious music in the 18th century, a genre developed by a series of Romanian composers in the 19th and 20th centuries.
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Famous quotes containing the word music:
“The music stopp’d, and I stood still,
And found myself outside the Hill,
Left alone against my will,
To go now limping as before,
And never hear of that country more!””
—Robert Browning (1812–1889)
“All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it.”
—Jean Cocteau (1889–1963)
“As for the terms good and bad, they indicate no positive quality in things regarded in themselves, but are merely modes of thinking, or notions which we form from the comparison of things with one another. Thus one and the same thing can be at the same time good, bad, and indifferent. For instance music is good for him that is melancholy, bad for him who mourns; for him who is deaf, it is neither good nor bad.”
—Baruch (Benedict)