Istrian scale
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"Istrian scale" refers both to a "unique"<ref name="EvansAbraham">Thammy Evans, Rudolf Abraham (2013). Istria: Croatian Peninsula, Rijeka, Slovenian Adriatic, p.17. Template:ISBN.</ref> musical scale and to the folk music genres from Istria and Kvarner which use that scale.<ref name="UNESCO">"Two-part singing and playing in the Istrian scale", UNESCO.org.</ref> It is named for the Istrian peninsula. Istrian folk music is based on a distinctive six-tone musical scale (the so-called Istrian scale), and the peninsula's two-part, slightly nasal singing. The two-part singing and playing in the Istrian scale, a traditional singing practice characteristic of the Istrian region and the north Adriatic coastal area and islands, was inscribed in UNESCO's List of Intangible Cultural Heritage in 2009.<ref>Antos, Zvjezdana; Fromm, Annette B.; and Golding, Viv (2017). Museums and Innovations, p.78. Cambridge Scholars. Template:ISBN. Cites: [1].</ref>
Genres include kanat and tarankanje; techniques include nasal tone, variation and improvisation, and resolution to the unison or octave; and instruments include double reeds such as sopele, shawms, bagpipes, and other instruments such as flutes and tambura lutes.<ref name="UNESCO"/> It was first named by Ivan Matetić Ronjgov early in the twentieth century,<ref name="EvansAbraham"/> assisting his study and notation of Croatian music.
DescriptionEdit
Non-equal-tempered,<ref name="EvansAbraham"/><ref name="Dario">Marušić, Dario. "Reception of Istrian Musical Traditions", Musicology 7/2007 (VII) ("Reception of Istrian Musical Traditions", doiSerbia).</ref> the scale could approximately be notated as: E-F-G-ATemplate:Music-BTemplate:Music-CTemplate:Music [hexatonic] (see: enharmonic), the first six notes of an octatonic scale on E. It may be thought of in various ways, such as the Gregorian Phrygian mode with lowered 4th, 5th, and 6th degrees (on E: E-F-G-ATemplate:Music-BTemplate:Music-CTemplate:Music-D [heptatonic]).<ref name="Hrvatske">Template:Cite book</ref> Performances feature diaphony and the Phrygian cadence (in E: F and D moving to E).<ref name="Hrvatske"/>
Though, "relative intonation var[ies] considerably from example to example [and between instruments],"<ref name="Dario"/> the scale has also been described as derived from just intonation: subharmonics seven to fourteen (approximately D, E, F, GTemplate:Music, ATemplate:Music, BTemplate:Music, C, D')({{#if:Istrian mode subharmonics 14 through 7 on C.mid|{{#ifexist:Media:Istrian mode subharmonics 14 through 7 on C.mid|<phonos file="Istrian mode subharmonics 14 through 7 on C.mid">Play with one voice</phonos>|{{errorTemplate:Main other|Audio file "Istrian mode subharmonics 14 through 7 on C.mid" not found}}Template:Category handler}}}} and {{#if:Istrian mode subharmonics 14 through 7 on C with two voices.mid|{{#ifexist:Media:Istrian mode subharmonics 14 through 7 on C with two voices.mid|<phonos file="Istrian mode subharmonics 14 through 7 on C with two voices.mid">with two voices</phonos>|{{errorTemplate:Main other|Audio file "Istrian mode subharmonics 14 through 7 on C with two voices.mid" not found}}Template:Category handler}}}}).<ref name="Ruland">Ruland, Heiner (1992). Expanding Tonal Awareness, p.43. Rudolf Steiner. Template:ISBN. Described by Kathleen Schlesinger on the Greek aulos</ref>
In Haydn's String Quartet in F minor, Op. 20 No. 5,<ref name="EvansAbraham"/> something like the Istrian mode, but without its top note, is found.<ref name="Roots"/> Uroš Krek's Inventiones ferales (1962) uses the scale, "in a disguised manner".<ref>(2001). Muzikološki zbornik: Musicological annual, Volumes 37–39, p.86. Template:Full</ref> Tartini may have studied the scale,<ref name="EvansAbraham"/> and Bartók took note of the scale.<ref name="Ruland"/> Karol Pahor's cycle of 15 pieces, Istrijanka (1950), was the result of study of the Istrian mode, as was Danilo Švara's Sinfonia da camera in modo istriano (1957).<ref>Ray Robinson, Regina Chĺopicka, eds. (2003). Studies in Penderecki: Penderecki and the avant garde, p.137. Template:ISBN.</ref> The Istrian mode occurs in Josip Štolcer-Slavenski's Balkanofonija (1927).<ref>Samson, Jim (2013). Music in the Balkans, p.381. Brill. Template:ISBN.</ref>
Throughout the areas of Istria and the Kvarner Gulf the distinctive vocal singing has spread, consisting of alternating half and whole steps, which, particularly in older singers' and instrumentalists' renditions, are untempered. The songs are sung by pairs of singers (male, female, or mixed) in a characteristic two-part polyphony in minor thirds (or major sixths) with a cadence to a unison or an octave. Singers distinguish the higher (na tanko "thin") part from the lower (na debelo "fat").<ref>Rice, Timothy; Porter, James; and Goertzen, Chris (2017). The Garland Encyclopedia of World Music: Europe, unpaginated. Routledge. Template:ISBN.</ref>
See alsoEdit
ReferencesEdit
Further readingEdit
- Bezić, Jerko. "Yugoslavia, Folk Music: Croatia", New Grove Dictionary 2:594.
External linksEdit
- "Two-part singing and playing in the Istrian scale" (UNESCO), YouTube.com.
- "Few words about traditional Istrian Music and Dance", Istria from Smrikve.
- "The folk music of Krk Island", Gold and Silver Dots.
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