Italy is located in southern Europe, bordering France, Switzerland, Austrlia and Slovenia.
Italian Musical Genres
Pizzica – A popular dance from Salento, Italy. It is the precursor of the tarantella. The origin of the pizzica comes from the pizzicato, the bitten, farm workers that were bitten by the tarantula spiders. The pizzicate fell ill and in order to heal, they would enter into a trance and danced for hours until they recovered. The typical instruments used were tamburello, guitar, fisarmonica and violin. It was popular music that anyone could play.
Saltarello – A fast two-step dance from Italy whose name comes from jump. However, only expert dancers hop. The dancers are accompanied to the sound of the guitar, mandolin, tambourine and/or the drum.
Tammurriata – Traditional songs and dances of southern Italy accompanied by the tammorra tambourine.
Sardinian Tenores
The Tenores style of singing is the proof of the existence of polyphony in ancient age on the island of Sardinia. But it is difficult to establish precisely the origins of Tenores singing because of the entangled history of Sardinia, full of domination by other civilizations, such as the as the Phoenicians, Carthaginians, Romans, Arabs and Spaniards.
Some historians, in relation to the archaeological discoveries (a little bronze statuette representing a man singing), guess the story of Tenores begins around 3,000 years ago. The traditional singing is related to shepherd life, to their loneliness, only in touch with nature.
Often, the Tenores singing is accompanied by the evocative traditional dances and costumes
The a tenore song is a “polyvocal” form in four parts, typical of the middle-north of Sardinia, where each part has to be sung by one single male singer (cantore). As each part can not absolutely be doubled, the group of Tenores has to be composed of four people.
The formal structure of the a tenore song can be essentially defined as a canto ad accordo, that is a melodic line, performed by a soloist, sa ‘oghe (the voice), which is accompanied by chords made by the other three cantori (singers). Sa oghe, the leader of the group, both sing the text and leads the singing, choosing the tone, the tempo, the speed, the length, and the tonal shifting. The other parts are usually called su bassu, sa contra and sa mesu oghe.
Su bassu, the lowest pitched voice, normally sings one single note repeating it continuously an octave below the basic note of the melody of sa boghe, thus determining the fundamental of the chord. Its role is fundamental to give solidity to the harmonic and rhythmical structure.
Sa contra works in close collaboration with su bassu, performing the some rhythmical structure tuned a fifth above the latter. Su Bassu and sa contra together form the rhythmical base for the other two voices.
Sa mesu oghe, relatively freer than the previous voices, is higher than sa oghe and can color and ornate the singing, and complete the harmonic structure, strictly formed by major chords. The three parts which accompany sa oghe, perform a rhythmic and harmonic base, pronouncing non-sense syllables (syllables without meaning) which vary from area to area (bim-bò, bim-bam-bò, etc.).
The ethnomusicologist Pietro Sassu has been the first to consider the group (gruppo) which sings a tenore not as a choir but as an “integration among four soloists” {Sassu 1982}, because, despite their often sought homogeneity and fusion, each element approaches his part in a personal way, and with a certain freedom of variation: the purpose is the fusion of the voices, not the anonymous overlapping of sounds.
To define the group of the four singers, of their way of singing, the term tenore (in the singular form to indicate the four cantori) or Tenores (the components) is certainly the most wide-spread, even if in some villages they use terms like su cuntrattu, su cussertu or su cuncordu. According to the villages, then, these terms sometimes indicate the group of the four singers, sometimes only the choir of the three elements who accompany the soloist.
One of the peculiarities which makes the a tenore song a characteristic and well known genre is the particular timber of su bassu and sa contra. These two parts use, in fact, a guttural timbre, obtained employing the resonance of the oral cavity and the nasal one, in a particular way.
The origins of the a tenore song is one of the must difficult and uncertain subject among the experts. One thesis, perhaps the most poetic, but not the most scientific one, claims that the a tenore song originated a long time ago among the Sardinian shepherds in the lonely countryside; su bassu may reproduce, by imitation, the lowing of the ox, sa contra, the bleating of the sheep, and sa mesu oghe the sound of the wind.
Different indications are given by the ethnomusicologist Ignazio Macchiarella who, studying the interweaving of written tradition with the oral one, as far as the canto ad accordo or falsobordone (basically a chordal structure corresponding to that of a tenore song) is concerned, points out how this polyvocal form cannot be traced back before the 15th century (Macchiarella 1995).
Up to now studies don’t go further. No one knows when the a tenore song originated, but it’s very probable that at the end of the year 400, it was already present.
This article is based on a text provided courtesy of Tenores di Bitti.
Italian Musicians
Acquaragia Drom
Actores Alidos
Agricantus
Alessandra Belloni
Alexian Santino Spinelli
Ambrogio Sparagna
Andrea Piccioni
Aramirè
Aria Corte
Beppe Gambetta
Bonifica Emiliana Veneta
Canzoniere Grecanico Salentino
Din delòn
Dounia
Elena Ledda
Enzo Favata
Enzo Fina
Eugenio Bennato
Fiamma Fumana
Furias
Gai Saber
Gianmaria Testa
Kosovni Odpadki
Lucilla Galeazzi
Pietrarsa
Roberto Catalano
Musicalia
Musicàntica
Nakaira
Nuova Agricola Associazione
Radiodervish
Tenores di Bitti “Mialinu Pira”
Tenore “S. Gavino” Oniferi
Spaccanapoli
Tammurriata Di Scafati
Tendachënt
X Darawish
