I’ve already mentioned some of the more accessible bibles of ethnomusicology, like the works of Bruno Nettl, Susan McClary, Ruth Finnegan, Christopher Small, Paul Berliner, and Ciaran Carson. Another justly popular one is the slim tome by
- Bernard Lortat-Jacob, Sardinian chronicles (1995, with CD; first edition 1990, in French).
How I envy Bernard his fields of study—apart from Sardinia, also Morocco, Romania, Albania…! As with flamenco (first of three posts here), he explores the riches of regional folk cultures around the Mediterranean, integrating changing musical and social practices into everyday life—which is precisely what fieldwork should be about (see also fieldwork tag).
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I’ve introduced the riches of the regional folk cultures of Italy here. The concept of “Italy” is rather recent anyway, and there’s still a huge amount to explore in its regional traditions. So taxonomy falls short again: to subsume the folk culture of Sardinia under Italy is no more suitable than discussing Tibetan or Uyghur cultures under China (ha). And it’s another illustration how very blinkered is our search for sun and sea (cf. fado, football, and Fátima).
Sardinian chronicles is popular not only by virtue of its brevity and its engaging style, akin to travel writing, but from its rich ethnographic observation and its musical, social, and indeed psychological detail, with a series of encounters with individual musicians and their families—musicking as part of social interaction within changing local communities.
Like the late lamented Antoinet Schimmelpenninck for China, Bernard is gifted with a natural rapport. And as he unpacks his own involvement, his delights and tribulations form part of the picture. Sardinian chronicles has become a model for later texts—certainly mine (not least my latest film and book).
Despite the luxury tourist enclaves of latter years, the poverty of Sardinia is striking, far from the glamorous life of Tuscany or north Italy. Vendettas remains chronic among Sardinian shepherds—like the feuds of rival clans in south Fujian, and child chimney-sweeps, among the traditional heritages that UNESCO won’t be supporting…
Complementing his book, this beautiful 1989 film by Bernard (with Georges Luneau) makes a fine introduction to various kinds of musicking in Sardinian life:
Here one truly feels the “red-hot sociality” attributed to Chinese temple fairs.
Canto a tenores
This style of a cappella vocal quartet (see e.g. from 16.40 in the film above) is one of the most entrancing vocal sounds anywhere in the world, let alone in Europe. Its sound ideal makes a fascinating contrast with that of the Swedish psalm—more for Lomax’s Cantometrics to explore. Though recently, inevitably, sucked into the heritage razzmatazz (nowhere is safe!) and a regular guest on the world-music circuit, commodification can’t hijack its presence in local society.
- Canti di passione (1996; French edition 1998),
with photos by Bachisio Masia—a brilliant innovation of a scholarly work on folk liturgy which doubles as a coffee-table book!
Like Berliner’s Lives in jazz, it is just as detailed in musical as in social analysis—and as with Indian music, or indeed Madonna, a basic grasp of musical features can only enhance a more physical and intuitive response. Apart from the wonderful scenes in Bernard’s film (from 28.26), some video from 1992:
Here the magical canto a cuncordu vocal style evokes that of the secular tenores.
The launeddas (Sachs–Hornbostel #422.3!!!) is another microcosm, with its locally renowned players and makers. With three pipes (one drone, two melodic), it’s a very distant cousin of the Chinese sheng mouth-organ. Again, Bernard’s film has some insightful scenes (from 46.14).
An early pioneer of launeddas studies was Andreas Bentzon (1936–71):
The minimalists would love the constant imperceptible transformations in these riffs!
Prominent among the masters with whom Bentzon studied were Efisio Melis and Antonio Lara (yet more rivals who made a tactical truce!). Their recordings from 1930 and 1961 are featured on a fine CD.
I haven’t yet caught the launeddas in situ, but I was delighted to hear the great Luigi Lai at the City of London festival in 1998, to which I had invited the equally distinguished qin master Lin Youren.
The manic melodic quality of the style is the basis for that of the organetto—one accordion type that Annie Proulx doesn’t quite cover (and to lower the tone, Captain Pugwash perhaps sowed the seed for my generation in Britain). A brief appreciation (of the organetto, not Captain Pugwash, as Nina Stibbe would explain) features below.
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By contrast, to show the limitations of casual visits by an outsider like me, here are some vignettes from a holiday I spent there with my partner from Mantua in the summer of 1998, when Bernard affably introduced us to his adopted village of Irgoli—his chapter about which in Sardinian chronicles is itself a kind of love song, with beautiful insights on guitar song (another major genre) in the bar.
And despite the ethnographic riches of, um, Chiswick, it’s ironic that I should be writing all this stuck here, sweltering (insert suitable headline here)—I should be there! I guess it’s called work–life balance.
Our hosts Totore Vacca and Doloretta are friendly—warm and natural. There are lots of musos around. We get by with speaking Italian, though of course they all speak Sardinian together.
On our first evening we go along to a festa for children’s singing, meeting the breezy, nay manic, organetto star Totore Chessa (see e.g. here and here; also featured in Bernard’s film above, and on the Sardinian chronicles CD). Totore uses his big fisarmonica (rather than his organetto) to accompany our hosts’ daughter Francesca. To conclude, the local priest makes a speech that reminds me of a Chinese cadre: family, pride, culture, blah blah.
One evening Totore drives us, manically, to the festa of Santa Margherita Bultei. The gig on a stage in the piazza is furnished with loud amplification. Several groups of dancers perform, one of which Salvatore accompanies, with singers and guitar. The other dance groups have their own organetto accompanists; and there are three groups of tenores, including the fine group from Orgosolo. An old codger goes round liberally dispensing local wine. This sure beats the Nether Wallop church fête.
The costumes seem rather fabricated to me, but it doesn’t affect the authenticity of the performances. The parameters of the music seem simple, narrow, but it’s still hard to grasp.
After the festa ends at 2.15am, the local organetto player Mario Bande invites Totore back to his place for a drink—which turns into an all-nighter. We’re tired enough after the long festa, unprepared for this further private party, but given that Totore is our lift, we tag along with some of the dancers. Their animated talk is incomprehensible, even to my Italian partner; yet if we had managed to understand more, it would have been a wonderful insight into local musical values. Story of my life…
The two of them are subtly sounding each other out. Mario’s uncle and grandfather were great players, and the latter collected many folk pieces, some of which Salvatore is said to have ripped off.
First Mario brings out various instruments for Totore to try out and appraise, then they have a protracted argument about the uniqueness of local dance styles. Totore, defending himself against the taint of plagiarism, makes the point that there can be no evidence that such pieces originated in this one village alone.
They’re not just arguing passionately about aesthetics (the local dancers are also vocal in support of the Bultei faction), with all the loving exploration of craftsmanship of instrument-making that Annie Proulx describes, but they also have a deep and insatiable need to keep playing and dancing. As soon as anyone even tries out a phrase, the dancers can’t help gyrating—a contagious kind of dancing mania. Everyone (except us!) gets involved. Eventually the party winds down, with diplomatic decorum apparently maintained, though we’re not privy to the nuances of their probings.
Totore is pure, other-wordly, childlike, living only for the organetto. He talks just the way he plays, in quickfire bursts and abrupt cadences, always upbeat, hectic, alert to the spark of the moment. People know he’s different.
Here he is with Luigi Lai in 2011:
Back to my notes, covered in wine and suntan lotion:
Totore drives just like he plays too. Still chattering away, he navigates the mountain roads at breakneck speed as the sun rises. He clearly know the roads as well as he knows his keyboard—like Daoist Li Bin as he chases round doing funerals in Yanggao. We get back to Irgoli by 7am. Only later that day do we learn that a shepherd had been shot dead at the edge of the village at 5am—another victim of local vendettas.
Another evening we take our hosts for a pizza in Orosei. They’re keen to go to a screening of Titanic. We make excuses—another of those moral dilemmas of the fieldworker. Solidarity (“Becoming at One with the People”) suggests that we try and share their world, but hey, we’re on holiday… Instead we find Totore Chessa propping up the bar. He drops in next day to invite us to another festa, but we’ve agreed to go to a gara poetica poetry joust in Orosei—which is no longer quite like this:
(As often I tend to cite older clips because they hint at change—more recent footage is easily found!)
On a visit to the museum at Nuoro we get a glimpse of how very much life has changed in Sardinia. Then Bernard and Maria arrive; after a trip to the beach we go to the wedding of their friends, where the tenores di Bitti and a group from Castelsardo are singing. As in China, this is how to experience folk music, rather than in sanitized stage renditions. Sure, it’s all a continuum…
And of course this is yet another instance of the diversity of all the cultures of Europe (like those of China, or Africa) from which Some Brits now seek to isolate themselves…
See also Musics of Crete.