![]() ![]() This last Romanian învârtita rhythmic cell variation has a Hungarian ‘long, short, short, long’ rhythmic cell within it: Now here are the five most common rhythmic cells of învârtita melodies: The last audio clip was an example of the basic învârtita accompaniment rhythm. Not only are these rhythmic cells ascribed Hungarian or Romanian labels in Transylvanian music, they are also considered exclusive – even when the two are combined. This cell, divided as 4+3+3, is what musicologists call an aksak rhythm, literally meaning “limping.” You can hear it in the accompanying instruments in this clip: The other cell is used in some învârtita dance music, labeled as Romanian: You can hear it at the beginning of this clip and throughout: The most often used examples are two basic rhythmic cells commonly found in Transylvanian music. One cell is used regularly in csárdás dance music, labeled as Hungarian: While everyone seems to agree that much of the music from the area around Cluj is so mixed that one cannot unravel the influences and divide them into a neat and tidy binary, Hungarian and Romanian folk music scholars and aficionados still claim that certain musical characteristics belong to one ethnic group or the other. ![]() ![]() In my quest for understanding the folk musics of Transylvania, I learned quickly that there is an ongoing separation of Romanian music and Hungarian music. ![]()
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December 2022
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