Man talks about music while throwing ball at dog.png This video is my attempt at deconstructing one of the most common misconception that beginners in ethnomusicology often fall prey to: the automatic assumption that musical styles are dictated by national, ethnic or linguistic categories. For example, people ask why music from northern Greece is similar to southern Bulgarian music: the implied logic within the question is that music is supposed to line up perfectly with a country's borders, and that as soon as one moves into the borders of another country, the music is supposed to suddenly change completely. Another example is the question: "how come Greek music is similar to Middle-Eastern music, when they are European?" This question implies that music is dictated by the mostly arbitrary, human-made division of Europe/Asia, and also implies that Greek cities right next to the border of Turkey should somehow have more of a similarity with Irish music, also European, than the music right next to them. These two examples overlook the fundamental factor that forms similarity in musical styles: physical proximity. National, ethnolinguistic, continental, religious, or whatever other categorisations are largely, and for the most part, completely irrelevant when it comes to the emergence of similar musical styles. The absurdity of questions like "why do Greek and Turkish music sound similar?" become evident by simply looking at geography: the two countries are right next to one another, and therefore will exchange more ideas. That is the simple reason why their music sounds similar. The failure to consider this simple factor leads many people unfamiliar with ethnomusicology to approach similar musical styles with flawed approaches: such as explaining similarities between Kurdish and Serbian music due to a common Indo-European root, completely overlooking how non-Indo-European cultures also have equally similar music, and in the process, implying non-factual ideas of "Indo-European" music, whilst there is no such thing musicologicaly. Musical styles constitute their own category, and have their own geographical zones and borders. These may partially overlap with ethnolinguistic, religious or political borders, but they are not dictated by them, and in approaching musicology, we must not project national or ethnic categories onto it: music has its own borders.
@@greygamertales1293 It’s not a perfect category by any stretch of the imagination, but it’s such a ubiquitous term in modern discourse that it’s impossible not to use. I also don’t love the term, but our love for terms and the practical necessity to communicate ideas that everybody can understand are not always the same
I finally realised how your channel _actually_ works. The dog is the brain of operations. It wrote the script for all of the videos, wrote all of the songs, played all the instruments _at once_ - and he knows more languages than an average man does. If I was you, I'd drop the whole musicology cover and start filiming "genius dog does X" videos to earn millions of views. Who knows, the dog might even give you some percentage of the profit. -this must be the single most insane conspiracy theory I ever made-
3:15 While I do agree with the "no indo-european clothing" statement, "Fashion" is actually a category that works very well analogous to the no-music-borders statement. Especially folk costumes. For example if you look at folk costume boots, you can see how the designs "flow" through different regions and how they are connected. There is one caveat with folk costumes, though: What we know today as "traditional folk costume of a certain region" is usually just a tiny excerpt from a very long and fluid history of fashion. We tend to underestimate how much variation - even in the medieval times - there was in fashion... I guess that is also a nice parallel to music styles. It get's very muddy throughout history, regional styles and even just variation of taste even in one place.
That’s a very nice parralel! Indeed traditional clothing doesn’t match national borders; often neighbours on both sides of a country will dress similarly
Your work, videos, information, presentation, personality, are all as amazing as ever. I, as an Ossetian, am extremely happy that you, a fellow Iranic person, recognised/ mentioned Ossetians' existence, nevermind their music, because 1) I'm your fan 2) it's rare amongst other Iranics to know about Ossetians 3) it's rare in the world in general 4) Ossetians very rarely get acknowledged in the English speaking world and in online world 5) I have wished for years/wish that you would create and feature Ossetian music on your channel, so having it be menrioned is great for me :) I am glad that Ossetian music could be an example for you to use, and an excellent one at that. Please continue these fascinating video essays that I watch as highly enlightening and interesting entertainment!
I couldn't understand that it was you in the thumbnail in the beginning. And the weird thing is: that your look in the thumbnail is what I would call the definition of a how a traditional Cretan looks. Keep the good job.
Haha yeah in Crete everybody thought I was a local. Problem was they’d start talking to me and I already struggle with understanding standart Greek so the Cretan accent is even more difficult for me-it sounds super beautiful though
Instruments can be shared further and faster than written languages. Especially between neighboring nations. Just depends on how the instruments are adapted to places further and further away from the location it was first created.
Came here through your discussion with Luke. Love your videos, especially those were you discuss music at length. When it comes to the fact of certain musical provinces sounding like the same thing to non-initiates ("Arabic and Iranian music sound the same"), a very similar phenomenon happens in architecture. As with music, a bit of exposition to the art form will lead the person to realize the differences and the similarities. But the interesting thing is that music is much more fluid than other artforms.
Very good comparison-for the life of me I can’t tell the difference between Roman and Greek architecture from Antiquity. I know that there are objective parameters that differentiate if I familiarise myself enough to perceive the differences, but right now, as far as my perception is concerned, they’re the same
I love the fact that you said there is no Indo European food because it’s so accurate, like take Germanic and Iranian speaking peoples, both part of the Indo European language right? But if you look at the cuisines yeah there’s not much resemblance. Good vid as always farya! ✌️
@@Alim-od2uz Quite true, of course that could be said about many languages I mean not all Turkic languages sound the same yet they are still part of the same language group.
But across Oghuric, Oghuz, Kypchak, and Siberian you will still find same grammatical procedures and the like. This is why they are in same language family, and are Shaz Turkic instead of Lir Turkic.
@@Alim-od2uz There is. The resemblance might not be obvious, just as “daughter” and “dokhtar,” are not obviously similar, but they are when researched in detail.
@@faryafaraji that few of words, yes, but.. one can also say "büyük" is similar to "bozorg". And also grammatically, modern Persian has more similarity to Asian languages like Turkish than to something like German. My point is that 18th century researchers were trying to present a branching tree model, like evolution of species, for languages, which is I think was wrong because species cannot interbreed but languages, like music, can.
Thank you for finally naming and explaining what that vocal style at 4:30 is. Now I can finally explain some of our folk songs to people without having to call it Witcher Wailing Noises. Anyway, thanks for continuing to post these musical rants. I've always loved learning more about how vague and complicated our ideas of Culture really are, and especially these inconvenient things like musical similarity that get brushed under the rug because they unsettle nationalistic impulses.
@@faryafaraji I am sure I have heard at the very least similar singing techniques in Romania, which is not Slavic linguistically, but has of course been in extreme close proximity to Central European Slavic cultures as well as Balkanic Slavic cultures and Eastern Slavic cultures. A youtube channel, Fabr1s, uploads Romanian folk music from different regions, with different styles. It's interesting. Edit: Thanks for the heart, but now it is gone since I edited this comment. :P
That’s a great idea! I think there’s two levels at which a map can be drawn: a macro-level and a micro-level map. The micro-level map would have to take into account all regional styles within and overlapping between countries, like Thracian and Nisiotika in Greece, or Northern and Khorasani in Iran etc. At this point I’m only familiar enough with Greek, Iranian and Turkish when it comes to micro divisions of regional music. But a macro-level map is more easily drawn: it’s an undeniable fact that two large musical super-systems exist in Eurasia starting from India and going west: the Western system and the Eastern system, the latter I sometimes call Oriental. To give you some basic idea of that map, I see the Oriental macro-province as having India as its easternmost edge, and it covers the Middle-East, Greece and Northern Africa in their entirety. The Balkans, Southern Spain and the Southern Caucasus are in my estimation, the borders of this macro-province, but it’s essential to view these two systems not as boxes with neat borders, but rather two overlapping circles like a venn diagram. Balkanic music is both Western and Eastern, it’s not categorisable as one or the other, and instead operates in the transitional zone between both. Same for Andalusia in Spain and the Southern Caucasus. So if you’re in Greece, you’re still firmly in the Oriental zone. By Bulgaria, you’re leaving it, by Transylvania, there’s only some elements of it, and by the time you’re in Hungary, you’ve completely transitioned into the Western musical system. I’ll look into visualising this with an actual map at some point, but the essential thing to keep in mind is that the “borders” are Venn diagram, gradual transitions, both on the macro level and on a smaller regional scale. Thracian music also gradually transitions into central Balkan music to the north, and gradually into mainland Greek into the south, etc.
@@faryafaraji I would say the Iranian musical map would correspond in overall to the beginning of the Qajar era where Armenia, Azerbaijan, East Georgia and west Afghanistan were united and the southern Bandari styles would be closer to gulf Arabs and Iraqi.Also, in the south east in Balochistan it is similar to Indian and Afghan styles of music and in North western kurdish regions it resembles to Anatolian peninsulas musics.
@@faryafarajithe North Caucasus I believe should also be included in that Eastern Western and even Steppe region overlap. The Circassians, Chechens, Dagestanis and others have an "Eastern" musicology. There are even Osetians in the North Caucasus and they are the Westernmost Iranian ethnicity I believe, somewhat more isolated from the larger Iranian groups.
I wonder if the map of musical styles would more resemble the map of cuisine styles than the ethnolinguistic one. Food and (folk)music are of the level of culture that is tied to a place, to its people, transmitted from person to person, and that an invading empire can not change by simply imposing a new religion, language, and governing system. It is less true now that we have access to any food or music style on the planet, but still people are attached to their home food, their folk music. But I would guess a music style map compared to an ethnolinguistic one shows the push and pull of political powers, of places that once similar in culture have been "artificially" (through uniformized education, news laws and cultural practices coming from the top and not from the people...) made to belong to another political area, but again, what area hasn't? I have a few times gotten chocked up and emotional by beautiful architecture, even before I learned to differentiate styles, I would rather loose hearing than sight. Thank you for all your amazing content, I don't know if I'm the only one, but I would love a type of video where you show us the process of recreating an old song, from the research to the recording... etc.
"...I don't know if I'm the only one, but I would love a type of video where you show us the process of recreating an old song, from the research to the recording... etc." THIS THIS THIS
That’s a really interesting point yeah; cuisine maps would probably overlap far more with musical ones than etholinguistic ones, it’s a funny comparison at first glance but actually really interesting
In biology we see similar synchronicities in convergent evolution where two completely unrelated species develop similar phenotypes such as Wings in bats and with birds. Clearly, bats and birds do not have a common ancestor that also had me so we shouldn't look at two things that appear the same from that alone that it is because of their shared meaning although they do go back to a common ancestor. We have to provide other forms of evidence that proves that this was a feature that existed with that common ancestor to say when in all originates. The fact is, bags and volume is objects all makes similar sounds when it pushes air through a narrow hole and people from different time periods throughout the world learned how to do this. I love how you explained it such a sophisticated way that relates to my background in training all while hearing the abrupts squeak of a dog chew toy.
Very interesting. Or as I was thinking during the video 'Dog. Dog. Dog. Dog. Lookit a doggy. Dog. Dog.Doggy. Dog. Dog.' Also I've heard about coureur des bois songs but wasn't able to find much when I searched online for them so might be good for future videos. All the best.
Such an intelligent observation and definitely spot on how language families are totally different than what you called 'musical provinces'. Probably due to the fact that music evolves much faster and dynamically compared to language, whereas characteristics of language families are really persistent across centuries.
I think it is extremely difficult to define any musical borders on the map, without heavily simplyfying traditional regional music concepts. For example, when we talk about traditional Greek music, it's not like we refer to one type of music, we are talking about thousands of different types of music that are found within the region the Greeks live or lived. Of course, the music on the one and the other side of the borders is going to sound similar, but that doesn't mean that the traditional music of south Greece is going to sound the same, because it doesn't have (land) borders with other countries. In fact, it is extremely diverse. The melismatic type of songs (of particular Greek style) that are sung a capella (or accompanied by a laouto and a clarinet/flute) are very specific to the regions of Thessaly, Central Greece, and the Peloponesse and they are found nowhere else in Greece, not in any other parts of the world. But at the same time, other types of music can be found in Thessaly that are extremely similar to the music of Epirus for example (which are neighbouring regions within Greece). This is why you can't clearly define borders of music anywhere. With that being said, there CAN be differences between neihbouring cultures. For example you mentioned Thracian music, I agree most of it sounds alike (although I do not know about Turkish Thracian music, since I can only find 1 or 2 songs in RU-vid, nothing more) but the Kaba Gaida, which is the most Bass-like bagpipe in all of Europe and the Middle east as far as I know is almost exclusively used in the Bulgarian part of Thrace (with the minor exception of 3-4 Greek villages on the Greek-Bulgarian border), while the Greeks of Thrace use the classic Balkan mainland Bagpipe which the Bulgarians call Djura Gaida (which is more high-pitched than the Kaba gaida). The funny thing about traditional music is that it can be completely different if you take 2 villages with a few km distance between each other (like for example the songs from a village in Greek Macedonia and Thrace could include the use of the Macedonian lyra (which has a more gritty sound than most balkan lyras, and is lower-pitched) and the Pipiza (a small scale zourna) with specific musical modes, while the songs played in a nearby village could include the use of the Gaida and the Kaval with the use of different musical modes. At the same time, the bagpipe that is played in the Cyclades and the Dodecanese (Tsampouna) and the one used in Crete (Askomantoura) is extremely similar to the Bagpipe of Pontus (Tulum) hundreds of miles away (while in the in-between regions, no such instrument is played) (I am reffering to the size of the bagpipe, the use of the double reed, and its distinct 'kind of out-of-tune' sound). It's not bad to sometimes oversimplify things as long as someone later gets to know the extreme diversity and beauty of the traditional music of each region (or specific village lol).
Very true; I guess there’s “levels” of simplification that one can approach musicology with. On a surface level, Iranian and Greek music are basically the same when compared when Peruvian or Chinese traditions, but on a more detailed level, they’re unique; on a more detailed level, one has to recognise as you said that Iranian and Greek are both umbrellas with regionals styles, and then on a *very* detailed level even regional traditions themselves have their own mini-regional, atomistic divisions, like you described with Thracian.
This channel is a perfect example of something I didn't know I wanted until I found it. I am deeply fascinated by the existence of geographical divisions between musical paradigms. One that has caught my attention is that of a certain style found in Tanzania that employs a pentatonic scale consisting entirely of the overtone series. It has the property of treating the tritone like a consonance, which incidentally is also a property of some Afro-American derived music. Academic sources on this are disappointingly scarce.
Something to add to this is that (at least for me) its interesting how stringed instruments never appeared in the pre-columbian americas. There are a few purported arctic native american string instruments but as far as I know they came about due to contact with the europeans and are so obscure ive never found a recording of them.
another great video I also agree that music is beyond than a simple plain generalisation appart from indoeuropean music, we also get other terms such as "mediterranean" music, which i think should be more of an example of how many cultures can differ by alot. Spanish,Italian,Tunisian,Egyptian,Greek,Turkish,Israeli,Lebanese. We may find shared simularities but someone will also notice the gigantic differences.
It is an analysis of a wise man not only in appearance. Ethnic origins are undeniable values but they must not be a reason for conflict but for confrontation. I hope that one day mankind will free itself from that feeling of belonging that makes it doubtful about others. As an Italian philosopher says: "cultures are roots that must converge and unite upwards, not sinking downwards where one eliminates the other to occupy her space"
C'est bien que certains se soient intéressés à la linguistique et qu'ils aient appris qu'il existe une grande famille de langues indo-européennes. C'est dommage en revanche qu'ils se soient arrétés là et n'aient pas découvert le concept de continuum linguistique car finalement, c'est plutôt ça qui est transposable en une sorte de continuum stylistique musical car l'un comme l'autre ne se soucient pas vraiment des frontières étatiques. Après, je m'y connais pas assez pour dire si la musique reste plus uniforme au sein de ces bassins que la langue dans son continuum. En tout cas, très satisfaisant de voir ton toutou jouer comme ça !
It seems to me that music would be more analogous to trade routes. When people interact they exchange goods and cultures. Though I have no Balkan blood of which I am aware, I fell instantly in love with Balkan music when I was a teen. I love the complex rhythms. In my old age, I tend to listen to Serbian music most because I think it combines the Balkan patterns with the Slavic mysticism. Though one must admit Ajde Jano is rather frivolous. Bulgarian music has more in common with Turkish music than Eastern European as does Albanian.... Some Romanian music is very light and Eastern European flavored, then you have the kind of music influenced by Anton Pann which is heavily influenced by Turkish music. I recently saw a video by some Caucasian Georgian ladies I follow who sang an Anton Pann song and I think, if we had more of that we would have less wars. Sigh. I just stumbled across your music and it is wonderful. However, I am 70, disabled on SS, would be unable to play ball with a dog, so I can not financially support you. But I love your music if that counts for anything.
It's a lot like how languages influence each other, Misrilou has "ay ya habibi, ay ya leleli oh" which is Arabic and the term "Misri" is Arabic for an Egyptian (representing the Greek communities who used to live in Egypt). All this stuff coalesces in proximity to one another, like a woven thread.
Believe it or not, when I saw the title, the first thing that came to mind was "yeah, like how Bulgarian and Thracian Greek music sound identical!". Btw, there is something very evocative bagpipes and percussions, it sounds so primal. You can easily picture the pre-Hellenic Thracians who have been lost to history dancing to the same tunes from time immemorial. And for anyone looking, the song is "2 Paidia Romia Paidia" played by Yannis Dobridis (interesting name btw, you can read the whole modern history of Macedonia in that name alone)
Agreed! I’m generally skeptical of claims of ancientness in music, but bagpipes are one of the universal instruments in the western part of Eurasia and they are attested in Ancient Greece. The 7/8 rythm, which is super characteristic of Thracian music is also attested in Ancient Greece, so the Thracian tradition might be one of the oldest in terms of sound in the Balkans
I think there are intersections between neighbors. I like this as an example (Originally Polish but now Polish, Ukrainian and Russian): Hej Sokoly. They used to have three versions but they deleted the Russian since Feb 24, 2022. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7nAsTU9gpKI.html
1:56 It's crazy to think how much is just lying there ready to be found, so many questions answered, so many new questions asked. But no one will ever find it
@@faryafaraji Youre welcome bro , I also appreciate that you have discussed about my country's musical tradition wich rarely gets talked by foreign media , all they know is Zorbas, Mykonos, Tzatziki & Souvlaki
@@makedonas_ellhnas HAHAHA that’s so true, I actually filmed a 20-30 minute ish video when I was in Greece about this subject, the video is basically me ranting throughout beaufiful locations about how there’s more to Greek music than Zorba, it should be out in a month at most
I hope you will make more such videos soon! I like your music, but there are too few such ethnomusicologists as yourself on youtube who can talk intelligently about these things.
Как насчëт карт "музыкальных регионов" с вашими дополнениями? С соответствующей штриховкой, диффузией и т.д. Понятное, в разное время чуть разный итог будет. Ну, несколько карт сделать.
Nice video although I'd say the part about Polish music sounding more Austrian or German is a bit misleading😅 I'd say it's fullu only true for Pomerania and Silesia. The rest of the Poland has more "Russiany" sounding music nonetheless with a noticable difference. Nonetheless there's also the characteristic Polish polka that exists alongside the more eastern sounding music but it's definitely in the minority. German sounding music was promoted by the Polish American diaspora. Back here even pop songs (disco polo) sounds a lot of the times more eastern. I'm a member of the Polish Ethnographic Society btw.
Greetings my friend. Thank you for your amazing insight and research on this topic. Where would you place Southern French and Italian music? I ask because they are areas diverse in themselves. Thank you!
They’re both undeniably Western music in its most classic term, given that the traditions arisen in both areas were foundational to modern Western music, from the Ars Nova of the High Middle-Ages to Italian Renaissance music :)
Can you make a spotify please ? I really wanna add your songs to a playlist ! Your the best ancient music person i know i listen to "Sons of Mars" daily
What da dog doin'? I enjoy your informal style vlog entry too, but I do hope to see specific topics covered at length as well. Interesting choice of topic this time around, glad to see this get a more broad overview before you narrow down on a point or subtopic in here :)
I have a favor to ask you... Could you tell me what song is playing in the background in 9:04 when you talk about Polish and Slovakian music? Thank you! Great content 😊
@@faryafaraji Thank you for taking the time and answering. That's very interesting. There are two possibilities, either you confused Slovakia and Slovenia (that happens a lot) or the Slovaks have the exact same song, which would be super interesting discovery. Thanks again, I always look forward to your videos!
I took the term from Curt Sach’s book The Rise of Music in the Ancient World; it’s outdated on some levels but it does a good job at outlining how the music provinces map out on a macro level
Music holds no language, it holds beauty and sound which means it will CROSS political, racial, cultural, and often even natural borders. If there is trade, communication, and even war, then there will be an exchange of music. Music doesn't have 'borders' so much as it has a flow.
There’s no sources dedicated to the concept of how music doesn’t match national borders; the sources instead will be those touching on each musical style. So books on the history of Arabic music will highlight its historical connection with Greek music, etc. It’s the analysis of individual musical styles that brings about the conclusion that I discuss in the video :)
@@faryafaraji Makes sense! Could you provide any sources on Bulgarian Gaida and Thracian Gaida? Also, I've became interested recently in ethnomusicology and would love to get to know more about it. Any sources?
In Turkey, we consider Muslim Romanus as Turkish. We call them "Patriyot". In my family tree, there are Patriyots. Therefore, it's very normal for our music to be similar to the Greeks.
what with the slavic influence on the european music, form of music, instruments?? As a slavic person i would say there are similarities between east/central/west lavs. The similarities are in the words of the lyrics. Same song sung in Poland would e singed in the centre of syberia
As you said: the similarity is in the lyrics. But that’s a linguistic aspect, which retains my main point, that Slavic is a linguistic family, and consistent similarities will operate mainly on the linguistic level. I understand that lyrics overlap with music in the sense that they are sung, but lyrics are not musical data in the same sense that notes, modes, frequencies, playing techniques etc are. As for Slavic influence on European music, semantics are important here. All people living in a region influence the people they come in contact with. The Serbs and Bulgarians certainly influenced their Balkanic neighbours, and the Russians certainly influenced theirs, but this influence can only be linked to each individual culture. Let’s suppose that Serbian polyphony influenced Abanian or Greek polyphony. The kind of polyphony that Serbs employ has nothing to do with being Slavic. Slavicness plays no part in the polyphony of the Serbs-being in the Balkans does. Therefore I’d just call Serbian influence on Albanian music Serbian influence, not Slavic influence, because the term Slavic would imply that the influence Serbs brought is a consistent feature across all the Slavic cultures, and that’s not the case in music. Again, apart from the white voice, there are no consistent musical features that are bound to the Slavic language family, no more than there is for the Germanic or Romance family. Same goes for instruments: Slavs split around the 7th century, and in order to call instruments “Slavic,” they would need to be instruments that were used uniquely by the Proto-Slavs, and later bound specifically to only the Slavic peoples, but again, no such instruments exist; in fact I don’t know of any instruments that are bound uniquely to one ethnolinguistic family
Посмотрите таких исполнителей, как Кирилл Богомилов(в инструментарии) или группу "Сколот" (не так чисто, но заметно и в инструментариии, и в пении) . Ощутите влияние. / не реклама, Farya Faraji, не баньте, пожалуйста /
Славянская музыка - есть. Просто последующие этнические группы в большинстве своëм мало от неë взяли, вплоть до смены инструментов. "Гусли" ("psaltery") засвидетельствованы даже в самых древних источниках по славянам, да только в результате некоторых произошедших исторических событий они систематически уничтожались. А вот у соседних финно-угорских народов, которые их у славян и заимствовали - такого давления не было. Вот и смешалось понятие...но в этом ничего дурного нет.
Instruments are not enough to constitute an entire musical system. There is such a thing as Slavic music in the sense of the sum total of all the music of Slavic cultures. There’s no such thing as a Slavic musical system however, and a few instruments are not enough to constitute the latter. The Gusli is also attested after the Proto-Slavic split, and mentionned only in East Slavic cultures. It’s not present in other Slavic music, therefore there’s no reason to claim it as a universal instrument that is representative of the Slavic family as a whole. As for the Balkanic Gusle, it’s another instrument that only shares the same name, which again harkens back to my main point: Slavic is a linguistic category and will consistently link Slavs linguistically, but this consistent linking does not operate musically
Знаете, воды Мексиканского залива втекают в в Карибское море, а то - в Атлантику - но это не значит, что всех троих не существует. Это всего лишь значит, что есть области взаимопроникновения, и есть более высокая общность( мировой Океан), который не отменяет всех своих составляющих. Так же и здесь. Ну так и культуры часто вырываются за пределы этнических групп, их создавших, и часто теряют с ними связь - но происхождение и прежние истоки это не отменяет, не так ли?
Yeah but you’re taking for granted that ethnic groups create musical styles, that’s not how it works. Musical systems aren’t the product of one ethnic group or of only one country. Musical systems are the continuous product of constant traveling back and forth between borders, states, regions, etc. Music development doesn’t work like object inventions do. One company can invent one tool, and then that tool can be picked up and used by other companies. Music doesn’t work like that. Musical elements aren’t the product of one ethnic group that produces them entirely and then is picked up ready-made by other cultures, but of the complex interaction that flows back and forth between them. It's not just the current presence of music that flows between borders: the formation of musical systems is shaped by flowing between all kinds of borders, to the point where its impossible to trace a source back to one ethnicity or one country. Throughout human history, there are very few musical element that historians have managed to pinpoint back to one ethnicity only. Balkan polyphony cannot be said to be either Serbian or Albanian or Greek; eastern melismas cannot be said to be either Iranian or Arabic or Spanish, etc, neither in their current presence nor in their source. Oceans and rivers can easily be traced back to one source but not music.
Несподівався тут наших українських побратимів побачити! Життя було би набагато спокійніше, якщо би Путлер не об'явив "Начало специальной военной операции".
Man explains music theory while wrestling ball from dog's mouth.gif (To unlock the .mp4 format, purchase more frames for a monthly subscription of just CA$9.99/month)
