1.
Gregorian chant
–
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, although popular legend credits Pope St. Gregory the Great with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, the scale patterns are organized against a background pattern formed of conjunct and disjunct tetrachords, producing a larger pitch system called the gamut. The chants can be sung by using six-note patterns called hexachords, Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. Multi-voice elaborations of Gregorian chant, known as organum, were a stage in the development of Western polyphony. Gregorian chant was sung by choirs of men and boys in churches. It is the music of the Roman Rite, performed in the Mass, although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence, singing has been part of the Christian liturgy since the earliest days of the Church. Until the mid-1990s, it was accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual. However, early Christian rites did incorporate elements of Jewish worship that survived in later chant tradition, canonical hours have their roots in Jewish prayer hours. Amen and alleluia come from Hebrew, and the threefold sanctus derives from the threefold kadosh of the Kedushah, the New Testament mentions singing hymns during the Last Supper, When they had sung the hymn, they went out to the Mount of Olives Matthew 26.30. The 3rd-century Greek Oxyrhynchus hymn survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain, musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The Apostolic Tradition, attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian agape feasts, around 375, antiphonal psalmody became popular in the Christian East, in 386, St. Ambrose introduced this practice to the West. In the fifth century, a school, the Schola Cantorum, was founded at Rome to provide training in church musicianship. Scholars are still debating how plainchant developed during the 5th through the 9th centuries, around 410, St. Augustine described the responsorial singing of a Gradual psalm at Mass. 520, Benedict of Nursia established what is called the rule of St. Benedict, around 678, Roman chant was taught at York. Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles, Spain, Gaul and these traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western Roman Empire collapsed. John the Deacon, biographer of Pope Gregory I, modestly claimed that the saint compiled a patchwork antiphonary, unsurprisingly and he reorganized the Schola Cantorum and established a more uniform standard in church services, gathering chants from among the regional traditions as widely as he could manage
Gregorian chant
–
The
Introit Gaudeamus omnes, scripted in square notation in the 14th–15th century Graduale Aboense, honors
Henry, patron saint of Finland
Gregorian chant
–
A dove representing the
Holy Spirit sitting on
Pope Gregory I 's shoulder symbolizes Divine Inspiration
Gregorian chant
–
Two plainchants from the Mass Proper, written in adiastematic neumes, from St. Gallen, MS 359
Gregorian chant
–
Antiphonary with Gregorian chants
2.
French opera
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French opera is one of Europes most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Bizet, Debussy, Poulenc and Messiaen. Many foreign-born composers have played a part in the French tradition as well, including Lully, Gluck, Salieri, Cherubini, Rossini, Meyerbeer, Offenbach, Lully and his librettist Quinault created tragédie en musique, a form in which dance music and choral writing were particularly prominent. Lullys most important successor was Rameau, after Rameaus death, the German Gluck was persuaded to produce six operas for the Parisian stage in the 1770s. They show the influence of Rameau, but simplified and with focus on the drama. At the same time, by the middle of the 18th century another genre was gaining popularity in France, opéra comique, by the 1820s, Gluckian influence in France had given way to a taste for the operas of Rossini. Rossinis Guillaume Tell helped found the new genre of Grand opera, lighter opéra comique also enjoyed tremendous success in the hands of Boïeldieu, Auber and others. In this climate, the operas of the French-born composer Hector Berlioz struggled to gain a hearing, berliozs epic masterpiece Les Troyens, the culmination of the Gluckian tradition, was not given a full performance for almost a hundred years after it was written. At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition, perhaps the most interesting response to Wagnerian influence was Claude Debussys unique operatic masterpiece Pelléas et Mélisande. Other notable 20th-century names include Ravel, Poulenc and Messiaen, the first operas to be staged in France were imported from Italy, beginning with Francesco Sacratis La finta pazza in 1645. French audiences gave them a lukewarm reception, when two Italian operas, Francesco Cavallis Xerse and Ercole amante, proved failures in Paris in 1660 and 1662, the prospects of opera flourishing in France looked remote. In 1669, Pierre Perrin founded the Académie dOpéra and, in collaboration with the composer Robert Cambert and their first effort, Pomone, appeared on stage on 3 March 1671 and was followed a year later by Les peines et plaisirs de lamour. At this point King Louis XIV transferred the privilege of producing operas from Perrin to Jean-Baptiste Lully, Lully, a Florentine, was already the favourite musician of the king, who had assumed full royal powers in 1661 and was intent on refashioning French culture in his image. Lully had an instinct for knowing exactly what would satisfy the taste of his master. He had already composed music for extravagant court entertainments as well as for the theatre, yet Molière and Lully had quarrelled bitterly and the composer found a new and more pliable collaborator in Philippe Quinault, who would write the libretti for all but two of Lullys operas. On 27 April 1673, Lullys Cadmus et Hermione – often regarded as the first French opera in the sense of the term – appeared in Paris. It was a work in a new genre, which its creators Lully and Quinault baptised tragédie en musique, a form of opera specially adapted for French taste. Lully went on to produce tragédies en musique at the rate of at least one a year until his death in 1687, as the name suggests, tragédie en musique was modelled on the French Classical tragedy of Corneille and Racine. Lully and Quinault replaced the confusingly elaborate Baroque plots favoured by the Italians with a much clearer five-act structure, each of the five acts generally followed a regular pattern
French opera
–
The
Salle Le Peletier, home of the
Paris Opera during the middle of the 19th century
French opera
–
Jean-Baptiste Lully, the "Father of French Opera"
French opera
–
A performance of Lully's opera
Armide at the
Palais-Royal in 1761
French opera
–
Jean-Philippe Rameau, the eighteenth-century innovator
3.
French folk music
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As Europe experienced a wave of roots revivals in the 1950s and 1960s, France found its regional culture reviving traditional music. Brittany, Limousin, Gascony, Corsica and Auvergne were among the regions that experienced a resurgence in the popularity of folk music. Traditional styles of music had survived most in remote areas, such as the island of Corsica and mountainous Auvergne, as well as the more nationalist lands of the Basques, in many cases, folk traditions were revived in relatively recent years to cater to tourists. These groupes folkloriques tend to focus on very early 20th century melodies, Auvergne is known for cabrette bagpipes. The cabrette is a made of goatskin and without drones. They play both regrets, bourrées and swift, 3/8 dance music, joseph Canteloube was a well-known composer from Auvergne in the early 20th century, and produced a famous collection of folk music called Songs of the Auvergne. Béarns revivalist scene has been limited in scope, though it has produced the nationally renowned singer Marilis Orionaa. Traditional instruments from the area include the tambour de Béarn, a drum used as a rhythm drone instrument to accompany the three-holed recorder. Gascon small pipes, called boha, are a part of the local scene. They have a rectangular chanter and drone combination, which is unique to Gascony, Languedoc is home to several unusual instruments, including the bodega, a kind of bagpipe, and the aboès and graille, both kinds of oboes. The bodega is made out of goatskin, using a process in which the innards of the animal are removed through the neck so that the entire. It has only one large shoulder drone, the bodega is known from at least the 14th century. Popular traditional groups from Languedoc include Calabrun, Trencavel, Laurent Audemards Une Anche Passe, Limousin is known for its violin music, as well as the chabrette bagpipe. Eric Montbel is the biggest star of Limousin folk, while Françoise Etay, Jean Pierre Champeval, Olivier Durif, Valentin Clastrier, instruments include the cabrette bagpipe and the ancient army fife, pifre. The hurdy-gurdy in Limousin has been extended to avant-garde styles utilizing electronic music, jazz and other influences, including Pascal Lefeuvre, Dominique Regef, performers include Patrice Cornte, Yves Rousguisto and André Gabriel. Dauphiné also features one of the rare sword dances that have stood the test of time, the southwestern region of Roussillons music is shaped by its unique ethnicities, and includes forms of Catalan and Gypsy music. The former includes the sardana and is based around the city of Perpignan, the sardana is played by a band consisting of three kinds of oboes, flutes and other instrument, including shawms and bagpipes among some recent revivalists. Modern traditional performers include Cobla Mil-Lenaria, La Cobla de Joglars, Els Ministrles del Rossellano, free scores by French folk music at the International Music Score Library Project
French folk music
–
The Corsican group L'Alba
French folk music
–
Singer Miquèu Montanaro
4.
Chanson
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A chanson is in general any lyric-driven French song, usually polyphonic and secular. A singer specializing in chansons is known as a chanteur or chanteuse, the earliest chansons were the epic poems performed to simple monophonic melodies by a professional class of jongleurs or ménestrels. These usually recounted the deeds of past heroes, legendary. The Song of Roland is the most famous of these, the chanson courtoise or grand chant was an early form of monophonic chanson, the chief lyric poetic genre of the trouvères. It was an adaptation to Old French of the Occitan canso and it was practised in the twelfth and thirteenth centuries. Thematically, as its name implies, it was a song of courtly love, some later chansons were polyphonic and some had refrains and were called chansons avec des refrains. A Crusade song was known as a chanson de croisade, in its typical specialized usage, the word chanson refers to a polyphonic French song of the late Middle Ages and Renaissance. Early chansons tended to be in one of the formes fixes—ballade, the earliest chansons were for two, three or four voices, with first three becoming the norm, expanding to four voices by the sixteenth century. Sometimes, the singers were accompanied by instruments, the first important composer of chansons was Guillaume de Machaut, who composed three-voice works in the formes fixes during the 14th century. Guillaume Dufay and Gilles Binchois, who wrote so-called Burgundian chansons, were the most important chanson composers of the next generation and their chansons, while somewhat simple in style, are also generally in three voices with a structural tenor. Musicologist David Fallows includes the Burgundian repertoire in A Catalogue of Polyphonic Songs 1415-1480 and these works are typically still 3 voices, with an active upper voice pitched above two lower voices usually sharing the same range. The first book of music printed from movable type was Harmonice Musices Odhecaton and this genre sometimes featured music that was meant to be evocative of certain imagery such as birds or the marketplace. Many of these Parisian works were published by Pierre Attaingnant, composers of their generation, as well as later composers, such as Orlando de Lassus, were influenced by the Italian madrigal. Many early instrumental works were ornamented variations on chansons, with this becoming the canzone. French solo song developed in the late 16th century, probably from the aforementioned Parisian works, louis Niedermeyer, under the particular spell of Schubert, was a pivotal figure in this movement, followed by Édouard Lalo, Felicien David and many others. Another offshoot of chanson, called chanson réaliste, was a musical genre in France. Among the better-known performers of the genre are Damia, Fréhel, chanson can be distinguished from the rest of French pop music by following the rhythms of French language, rather than those of English, and a higher standard for lyrics. Canzone Russian chanson French historical chanson panorama Brown, Howard Mayer, in The Oxford Companion to Music, edited by Alison Latham
Chanson
–
French singer-songwriter and anarchist
Léo Ferré, in 1991.
5.
Cancan
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The can-can is a high-energy, physically demanding dance which became a popular music hall dance in the 1840s, continuing in popularity in French cabaret to this day. Originally danced by both sexes, it is now associated with a chorus line of female dancers. The main features of the dance are the high kicks, splits, the Infernal Galop from Jacques Offenbachs Orpheus in the Underworld is the tune most associated with the can-can. The name can-can may be derived from the French for tittle-tattle or scandal, however, the dance was also referred to as the coin-coin and this may have become corrupted into can-can. In its early days, the dance was called the chahut. The cancan is believed to have evolved from the figure in the quadrille. The dance was considered scandalous, and for a while, there were attempts to repress it and this may have been partly because in the 19th century, women wore pantalettes, which had an open crotch, meaning that a high kick could be unintentionally revealing. There is no evidence that cancan dancers wore special closed underwear, occasionally, people dancing the cancan were arrested, but there is no record of it being banned, as some accounts claim. Throughout the 1830s, it was often groups of men, particularly students, as the dance became more popular, professional performers emerged, although it was still danced by individuals not by a chorus line. A few men became cancan stars in the 1840s to 1861, however women performers were much more widely known. This was a combination of the style of the Parisian dance-halls. In United States and elsewhere, the cancan achieved popularity in music halls, the main moves are the high kick or battement, the rond de jambe, the port darmes, the cartwheel and the grand écart. It has become practice for dancers to scream and yelp while performing the cancan. The cancan was introduced in America on December 23rd,1867 by Giuseppina Morlacchi and it was billed as. Grand Gallop Can-Can, composed and danced by Mlles. Morlacchi, Blasina, Diani, Ricci, Baretta. accompanied with cymbals and triangles by the coryphees, the new dance received an enthusiastic reception. By the 1890s the cancan was out of style in New York dance halls, the cancan became popular in Alaska and Yukon, Canada where theatrical performances feature cancan dancers to the present day. The cancan is now considered a part of dance culture. Often the main feature observed today is how physically demanding and tiring the dance is to perform, when the dance first appeared in the early 19th century, it was considered a scandalous dance, similar to how rock and roll was perceived in the 1950s
Cancan
–
Depiction of the can-can by
Henri de Toulouse-Lautrec, 1895
Cancan
–
Georges Seurat, 1889-90,
Le Chahut, oil on canvas, 170 x 141 cm,
Kröller-Müller Museum
Cancan
–
Toulouse-Lautrec, Jane Avril Dancing
Cancan
–
The Moulin Rouge featured in a Toulouse-Lautrec painting
6.
Bal-musette
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Bal-musette is a style of French music and dance that first became popular in Paris in the 1880s. Parisian and Italian musicians who played the accordion adopted the style and these places often were frequented by members of the French upper-class looking for excitement among the poor and downtrodden. Some establishments even staged mock police raids for their patrons benefit, performers of this era include Antoine Bouscatel, Émile Vacher, Martin Cayla, Charles Péguri, and Gus Viseur. Musette dance forms arose from people looking for easier, faster and more sensual dance steps, an original musette dance also appeared, known as java. Admission to most bals was free, but dancers bought dance tokens at the cash-desk and these tokens were made of metal in various shapes with the name of the hall stamped on one side. In the middle of the dance, the bal director walked between the couples with a bag and the dancers turned-in a token, by 1945, the bal-musette became the most popular style of dance in France and its biggest stars were widely known across the country. Its popularity declined drastically beginning around 1960, a revival of bals has begun, especially in larger cities, and a modern form of the musette is establishing itself. Amandine Dewaele, Les origines du bal musette, Paris 8e, roger Chenault, La danse musette, Courbevoie, Author edition. Web site of Jo Privat, a French musette accordion player
Bal-musette
–
A musette accordion player.
7.
Cabaret
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Cabaret is a form of entertainment featuring music, song, dance, recitation, or drama. It is mainly distinguished by the venue, which might be a pub. The audience, often dining or drinking, does not typically dance, performances are usually introduced by a master of ceremonies or MC. The entertainment, as done by an ensemble of actors and according to its European origins, is oriented towards adult audiences. In the United States striptease, burlesque, drag shows, or a solo vocalist with a pianist, the word cabaret was first used in 1655. It is derived from tavern probably from Middle Dutch cambret, the word cabaret came to mean a restaurant or night club by 1912. Cabaret can be divided in 10 different types. However, these are artificial dividing lines, cabaret shows are most of the time a compound of elements from the different types, the cabaret performer plays with language, sometimes poetic, but often is he or she rock hard and hateful. The cabaret performer analyses in his/her stubborn manner actual, social and political topics, the cabaret performer tells an often slightly absurd story with a moral packed in it. The cabaret performer plays with music, for example by twisting or combining familiar melodies, the cabaret performer tells nonsensical and absurd stories and plays idiotic types. The emphasis is less on text in the show of cabaret performer. Here the cabaret performer eludes on his liberating through laughter role, an iteration of storytelling cabaret The cabaret performer quickly switches between the different styles/types of cabaret, types, or songs. In this the cabaret performer is a guest at a government, institution or a company, cabarets existed in Paris in the 16th century, they were ancestors of the modern restaurant. Unlike taverns they sold wine not by itself but only with a meal, customers might sing if they had drunk enough wine, but early cabarets did not have formal programs of entertainment. Cabarets were frequently used as meeting places for writers and artists, in 1773 French poets, painters, musicians and writers began to meet in a cabaret called Le Caveau on rue de Buci, where they composed and sang songs. The Caveau continued until 1816, when it was forced to close because its clients wrote songs mocking the royal government, in the 18th century the café-concert or café-chantant appeared, which offered food along with music, singers, or magicians. The most famous was the Cafe des Aveugles in the cellars of the Palais-Royal, in the early 19th century many cafés-chantants appeared around the city, the most famous were the Café des Ambassadeurs on the Champs-Élysées and the Eldorado on boulevard Strasbourg. By 1900 there were more than 150 cafés-chantants in Paris, the first cabaret in the modern sense was Le Chat Noir in the Bohemian neighborhood of Montmartre, created in 1881 by Rodolphe Salis, a theatrical agent and entrepreneur
Cabaret
–
1896 advertisement for a tour of the first French cabaret show,
Le Chat Noir.
Cabaret
–
The Café des Aveugles in the cellars of the Palais-Royal (beginning of the 19th century)
Cabaret
–
The composer
Eric Satie playing the piano at
Le Chat Noir (1880s)
Cabaret
–
The
Moulin Rouge in 1893
8.
French hip hop
–
French hip hop is the hip hop music style which was developed in French-speaking countries. By 1982 and 1983, a number of hip hop radio shows had appeared on Paris radio, including Rapper Dapper Snapper, the first major star of French hip hop was MC Solaar, born Claude MBarali in Dakar, Senegal. He moved to France in 1970 and lived in Villeneuve-Saint-Georges and his 1991 album, Qui sème le vent récolte le tempo, was a major hit. He set many records, including being the first French hip hop recording artist to go platinum, some artists claim that the French language hip hop style was influenced by the music of French singer Renaud. The cases include the notorious Ministère AMERs Sacrifice de poulet, NTMs Police, French hip-hop, like hip-hop in other countries, is highly influenced by American hip-hop. Columnist David Brooks wrote that life, at least as portrayed in rap videos, now defines for the young, poor. Gangsta resistance is the most compelling model for how to rebel against that oppression and he argued that the gangster image of American hip hop appeals to mostly young & impoverished immigrant minorities in France, as a means to oppose the racism and oppression they experience. Jody Rosen counters Brooks argument, criticizing Brooks makes use of only a few, Brooks fails to accurately assess French hip hops larger scope, and discounts its potential for rappers of amazing skill, style, and wit. This makes up one quarter of the radios top 100, ten percent of music production and has sold hundreds of thousands of CDs. French hip hop, however, is criticized for imitating American hip hop style. French Rapper MC Solaar agrees sarcastically, saying, French rap is pretty much a U. S. branch office and we dont even take a step back. Parts of American hip-hop culture has left a mark on the culture of French hip-hop as well in terms of fashion, clothing, music videos, jewelry, sounds and other things. Hip-hop culture was imported from America, especially with the influence of New York rappers, the group went their separate ways in 2000. As hiphop moved into a new millennium, French hip hop artists developed rapidly, seeing decent commercial success, one of the most influential French hiphop albums of all time, Cinquième As, was released by MC Solaar in 2001. At the same time, new artists like Sinik and Diams began to see significant success, as well, bringing a new sound, themes in French hip hop include opposition to the social order, humor and puns, as well as ethnic and cultural identity. Whereas early French hip hop was seen as mimicking American hip hop in terms of appeal, later French rappers added their own cultural. The different social climates in the make the two subgenres distinct from one another. Lyrics from the south tend to be socially conscious, with content mainly focusing on the fight against discrimination
French hip hop
–
Doc Gynéco in 1997. The photo by
Studio Harcourt alludes to the 1793 painting
The Death of Marat.
French hip hop
–
IAM, a prominent group in French hip hop.
French hip hop
–
Booba.
9.
French electronic music
–
French electronic music, a panorama of French music that employs electronic musical instruments and electronic music technology in its production. Among the famous artists include Jean-Michel Jarre, Air, Daft Punk, Justice. The earliest known sound recording device was the phonautograph, patented in 1857 by Édouard-Léon Scott de Martinville, in 1928, the Ondes Martenot was invented by Maurice Martenot, who debuted it in Paris. This electronic musical instrument was most famously used in the Turangalîla-Symphonie by Olivier Messiaen as well as works by him. The Ondes Martenot was also used by composers such as Andre Jolivet, Pierre Boulez, Arthur Honegger, Charles Koechlin, Darius Milhaud, Gilles Tremblay. His work laid the foundations of the Musique concrète and this technique involved editing together recorded fragments of natural and industrial sounds. The first pieces of musique concrète in Paris were assembled by him, on 5 October 1948, Radiodiffusion Française broadcast composer Pierre Schaeffers Etude aux chemins de fer. This was the first movement of Cinq études de bruits, and marked the beginning of studio realizations, Schaeffer employed a disk-cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, Henry began collaborating with Schaeffer, a partnership that would have profound, another associate of Schaeffer, Edgard Varèse, began work on Déserts, a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffers studio, and were revised at Columbia University. In 1950, Schaeffer gave the first public concert of musique concrète at the Ecole Normale de Musique de Paris, Schaeffer used a PA system, several turntables, and mixers. Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul the first major work of musique concrete, in Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, Orpheus, for concrete sounds, in 1970, the President of France Georges Pompidou asked to the composer Pierre Boulez to found an institution for research in new forms of music. The Institut de Recherche et Coordination Acoustique/Musique was created under his direction, since then, IRCAM has been an avant-garde institute for science about music, sound and electro-acoustical art music in France. In 1969, La cage/Erosmachine is an early electronic music work by Jean-Michel Jarre who become worldwide famous with the album Oxygene in 1976. Among other experimental we can cite Igor Wakhevitch with Hathor and François de Roubaix for the soundtrack of the Jacques-Yves Cousteaufilm Antartique. The space music and space disco become popular with Space, Magic Fly, Cerrone, Supernature, Droïds, The force, the following one in the late 70s and early 80s were notably Philippe Laurent aka Hot Bip and René Roussel with Caramel. French touch French music Electronic music
French electronic music
–
Jean-Michel Jarre playing a
laser harp in Helsinki (2009).
10.
Celtic music
–
Celtic music is a broad grouping of music genres that evolved out of the folk music traditions of the Celtic people of Western Europe. It refers to both orally-transmitted traditional music and recorded music and the styles vary considerably to include everything from music to a wide range of hybrids. Celtic music means two things mainly, first, it is the music of the peoples identifying themselves as Celts. Secondly, it refers to whatever qualities may be unique to the musics of the Celtic Nations, many notable Celtic musicians such as Alan Stivell and Paddy Moloney claim that the different Celtic musics have much in common. These common melodic practices may be used widely across Celtic Music, It is common for the line to move up. There are a number of reasons for this, Melodic variation can be easily introduced. Melodic variation is used in Celtic music, especially by the pipes. The relatively wider tonal intervals in some songs make it possible for stress accents within the line to be more in keeping with the local Celtic accent. By more than one Celtic language population belonging to different Celtic groups and these two latter usage patterns may simply be remnants of formerly widespread melodic practices. The definition is complicated by the fact that Irish independence has allowed Ireland to promote Celtic music as a specifically Irish product. However, these are modern geographical references to a people who share a common Celtic ancestry and consequently, additionally, the musics of ethnically Celtic peoples abroad are vibrant, especially in Canada and the United States. In Canada the provinces of Atlantic Canada are known for being a home of Celtic music, most notably on the islands of Newfoundland, Cape Breton and Prince Edward Island. The traditional music of Atlantic Canada is heavily influenced by the Irish, Scottish, in some parts of Atlantic Canada, such as Newfoundland, Celtic music is as or more popular than in the old country. Much of the music of this region is Celtic in nature, in Celtic Music, A Complete Guide, June Skinner Sawyers acknowledges six Celtic nationalities divided into two groups according to their linguistic heritage. The Q-Celtic nationalities are the Irish, Scottish and Manx peoples, while the P-Celtic groups are the Cornish, Bretons, there is also tremendous variation between Celtic regions. Ireland, Scotland, Brittany and Wales have living traditions of language and music, and there has been a recent major revival of interest in Celtic heritage in Cornwall, Galicia has a Celtic language revival movement to revive the Q-Celtic Gallaic language used into Roman times. Most of the Iberian Peninsula had a similar Celtic language in pre-Roman times, a Brythonic language was used in parts of Galicia and Asturias into early Medieval times brought by Britons fleeing the Anglo-Saxon invasions via Brittany. The Romance language currently spoken in Galicia, Galician is closely related to the Portuguese language used mainly in Brazil, Galician music is claimed to be Celtic
Celtic music
–
Performance in 2010
Celtic music
–
Alan Stivell at Nuremberg, Germany, 2007
Celtic music
–
Massed pipers at the Lorient festival
11.
List of music festivals
–
A music festival is a festival oriented towards music that is sometimes presented with a theme such as musical genre, nationality, or locality of musicians, or holiday. They are commonly held outdoors, and are inclusive of other attractions such as food and merchandise vending, performance art. Many festivals are annual, or repeat at some other interval, some, including many rock festivals, are held only once. Some festivals are organized as for-profit concerts and others are benefits for a specific cause, another type of music festival is the educative type, organized annually in local communities, regionally, or nationally, for the benefit of amateur musicians of all ages and grades of achievement. The Pythian Games at Delphi included musical performances, and may be one of the earliest festivals known, during the Middle Ages, festivals were often held as competitions. Entrants perform prepared pieces in front of an audience which includes competitors and they also usually receive a certificate, classified according to merit, and some may win trophies. The competitive element is played down, however, as the important aspect is that participants can learn from one another. Such festivals aim to provide a friendly and supportive platform for musicians to share in the excitement of making music, for many, they provide a bridge from lessons and examinations to performing confidently in public. Milwaukee, Wisconsins 11-day event, Summerfest, promotes itself as The Worlds Largest Music Festival, operating annually since 1968, the festival attracts between 800,000 and 1,000,000 people each year, and hosts over 800 musical acts. The Woodstock Festival in 1969 drew nearly 500,000 attendees, the largest annual greenfield music festival in the world is Roskilde Festival in Denmark, which attracts about 135,000 spectators each year. Glastonbury Festival has a capacity of about 175,000 spectators, for a more complete listing of active and defunct festivals by region, see Category, Music festivals by country. Some sections may also have links to related lists of music festivals by country, L. my.1 Festival, Biddinghuizen Dekmantel, Amsterdam Festival Mundial, Tilburg Incubate, Tilburg Le Guess Who. Born 1985 Salas Principales Auditorio Alfredo Kraus, Las Palmas y Auditorio Adán Martin, Tenerife. com – The most extensive music festival listings
List of music festivals
–
Music festival
List of music festivals
–
Leigo Järvemuusika 2007
List of music festivals
–
Parkenfestivalen 2012 The Prodigy
12.
Printemps de Bourges
–
Le Printemps de Bourges is an annual music festival that is held in Bourges, France, over the course of five days. It is now an event in France and Europe. The festival was created in 1977, with its span of 35 years, its history reflects musical trends and evolution over time. Every springtime, thousands of spectators come from all parts of France, the festival encompasses some 60 shows, with over 200 artists on 13 stages within a week, these shows represent diverse genres, and both well-known artists and young musical talents. The ever-growing public is composed primarily of people, and over 200,000 people attend the festival each year. Music professionals are present to recruit new talents, the festival also attracts media professionals, numbering over 500 each year. A parallel festival is hosted in the city, called Les Découvertes du Printemps de Bourges, many bars and restaurants also host a multitude of gigs through a partnership with le Printemps de Bourges. List of historic rock festivals Live Printemps de Bourges 2002, by Jean-Michel Jarre Official site Media related to Printemps de Bourges at Wikimedia Commons
Printemps de Bourges
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Printemps de Bourges
13.
Francofolies de La Rochelle
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Les Francofolies de la Rochelle is an annual music festival founded in 1985 in La Rochelle, France as an initiative of Jean-Louis Foulquier. It is usually held in the month of July of every year, number of those attending the festival has exceeded 150,000 in 2007. Founder Jean-Louis Foulquier went on to establish Les FrancoFolies de Montréal in 1989, jean-louis Foulquier founder of the festival died December 10,2013 following a long illness. Les FrancoFolies de Montréal Les Francofolies de Spa Official site of Francofolies de la Rochelle
Francofolies de La Rochelle
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Scene from main stage at Francofolies (2007).
Francofolies de La Rochelle
–
Scene from Chantier des Francos
14.
Hellfest (French music festival)
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Hellfest, also called Hellfest Summer Open Air, is a French music festival specializing in heavy metal, held annually in June in Clisson in Loire-Atlantique. Its high attendance makes it one of the greatest French music festivals and it is also one of the biggest festivals of metal in Europe and the first in France. The festival was the successor of Fury Fest, which was held in 2002 and 2003 in Clisson and Nantes respectively, in June 2009, numerous groups concerned about the concert name asked the festival sponsors to disengage from Hellfest. Coca-Cola announced a few days later that they no longer support the festival. The same month, former minister and leader of the Parti chrétien-démocrate Christine Boutin wrote to Kronenbourg asking them to supporting the festival. The 30 March, questioned by deputy Patrick Roy, the minister Frédéric Mitterrand declared to the Assemblée Nationale that the detractors of the festival should calm down, during the 2011 edition an homage was paid to Patrick Roy who died two months before. On June 9,2010, the AFC sued the Hellfest, asking not to allow people under 18 years old to attend the festival. On June 14, the judge refused their demand, the first association was created in 2000 in Clisson as CLS CREW, in order to organize concerts of hardcore and punk in the region of Nantes. It allows to program groups like Arkangel or Poison the Well, the success of these concerts makes possible the launch the first festival in June 2002, named Fury Fest. It gathers 400 people to attend Agnostic Front, in Clisson, the festival continued the following years. It attracts 7,000 people to attend concerts of Sick of It All, the format changes to two days. Because no room was available in Clisson, Hall of Trocardière hosts this second edition, the organization of the festival also changes, the MAN. IN. FEST association was created to take charge of the organization. The 2003 has reached €30,000 profit, allowing Benjamin Barbaud, one of the founders, in 2004, the festival moved to Le Mans and stands in the halls of the 24 Hours circuit where it attracts 21,000 spectators to Slipknot and Soulfly. After a deficit in 2004, the 2005 inheriting liabilities, the team decided to give the rights of the festival to others promoters. This time 30,000 entries are recorded at Le Mans in three days, to concerts of Slayer, Motörhead and Anthrax on three stages. But financial problems worsen, with the disappearance of promoters with €600000 recipe, official website Pictures of Hellfest 2009
Hellfest (French music festival)
–
Logo for the 2011 edition.
15.
Festival Interceltique de Lorient
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The Festival Interceltique de Lorient, Gouelioù Etrekeltiek An Oriant or Inter-Celtic Festival of Lorient in English, is an annual Celtic festival, located in the city of Lorient, Brittany, France. It was founded in 1971 by Polig Montjarret, participants come from Brittany, Ireland, Scotland, Cornwall, Wales, Cumbria, the Isle of Man, Cape Breton Island, Galicia, Asturias, Acadia, and the entire Celtic diaspora. The main festival sites are located throughout the city, the more formal events take place at the Palais des Congrès, Grand Théâtre or Église Saint Louis. The larger events take place at the Parc du Moustoir, the Port de Pêche or in grand marquees, the finals of the National Bagadoù Championship takes place at the Parc de Moustoir during the first weekend of the festival, with strong competition between Brittany’s finest pipebands. In addition individual competitions take place for pipers, for those early risers, Master classes take place each morning with some of the world’s premier harpists, accordionists, fiddlers and pipers. Throughout the festival the “Village Celtique” or “Marc’had Etrekeltiek” is open in the centre of the city offering food, music and literature, clothing and crafts. On the final Saturday of the festival the focus returns to the fishing harbour for the Nuit de Port de Pêche, featuring the best of Brittany’s folk. There is, of course, much activity on the fringe, with musicians giving free performances in many of the city’s bars. Brittany was the country, for the 40th year of the festival. The Irish group The Cranberries played at the concert at the fishing port. V. V
Festival Interceltique de Lorient
–
Kevrenn Alre, a Breton musical group
Festival Interceltique de Lorient
–
This article may be expanded with text translated from the corresponding article in French. (April 2015) Click [show] for important translation instructions.
Festival Interceltique de Lorient
–
Dances
16.
Rock en Seine
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The Rock en Seine festival is a three-day rock music festival, held at Domaine National de Saint-Cloud, the Château de Saint-Clouds park, west of Paris, inside the garden designed by André Le Nôtre. The name is a pun, based on exactly the same pronunciation in French of the words scène meaning stage, the park and the garden, was designed by Le Nôtre in the 17th century, and its the first park to be classed as a Monument historique in 1994. It is a 4.6 km² park, and there are gardens and forest with basins, thickets and she never arrived to the festival site, despite her support musicians being there. A Madness, who played earlier, replaced headliners Oasis, cancelled after a fight between the Gallagher brothers backstage, B Replaced Esser A Replaced Young the Giant B Replaced Q Tip http, //www. rockenseine. com/timeline/ Official website Official blog
Rock en Seine
–
The Hives at Rock en Seine 2007
17.
Vieilles Charrues Festival
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The Vieilles Charrues Festival is held every year in mid-July in the city of Carhaix located in the west of Brittany, France. This festival is the largest music festival in France, attracting more than 200,000 festival-goers every year and this festival was created in 1992 in Landeleau, a small village in central Finistère. At that time, less than 500 revellers attended and the festival was more like a private party, the following year, the festival welcomed more than 2000 and that was the beginning of its success story. In 1995, due to lack of space on the site, the festival moved to Carhaix city center and in 1998, for the same reason. In October 2016 the festival organizes a concert at Central Park in New York City in tribute to the many Bretons who were immigrants to the city in the nineteenth century. Each year, more than 5,500 volunteers enable the festival to be a success, with their actions in the bars, restaurants. The festival thanks them by giving money to local associations, the organizers also helped to finance Hall Glenmor, a concert hall, and to renovate the Château de Kerampuil, a castle located near the site of the festival. U. B. A. O. D. Friday, July 15, Eddy Mitchell, David Guetta, M. I. A, July 15–18 Thursday, July 15, Muse, Jacques Dutronc, Mr Oizo, Revolver, The Raveonettes. Team, Dub Incorporation, Simian Mobile Disco, Brisa Roché, Crystal Castles, Does It Offend You, Friday, March 9, Miossec, Constance Verluca Saturday, March 10, Renan Luce, Brisa Roché, Babet, John Lord Fonda, Yelle, datA, Débruit. Sunday, March 11, Mayra Andrade, Ozan Trio In 2007 the summer festival lasted 4 days, July 19–22asso. frThursday, July 20, Johnny Hallyday, Mauss, Les Têtes Raides Friday, July 21, Placebo, Raphael, Rhesus. S. E. M. Saturday, Charles Trenet, Louise Attaque, Johnny Clegg & Bagad Kemper, The Gladiators, Zebda, sunday, Iggy Pop, Bernard Lavilliers, Shane Mac Gowam & The Popes, Yuri Buenaventura, Pigalle, Trio Roland Becker, FAB, Didier Squiban, Tyour Gnawa. July 4,5, 6asso. fr Friday, Jane Birkin, Nada Surf, Miossec, Blankass, Saturday, Simple Minds, Linton Kwesi Johnson, Bagadou du Tonnerre, Marousse, Bates Motel. Sunday, James Brown, Claude Nougaro, Diaouled ar Menez, Doo the Doo, Spontus July 5,6 and 7asso. fr Miossec, Bernard Lavilliers, Zebda, Les Innocents, Maxime Le Forestier, Frank Black, Ouf La Puce. Marcel et Son Orchestre, Red Cardell, Tayfa, Boulequies et Sonotones, Ar re Yaouank, Gwenchlan, Oxyde de Cuivre, held at Landeleau asso. fr Les Satellites, Dolly, Oy Ventilo, Les Raouls j’te Pousse, Scotch Snap, La Folyre. Landeleau asso. fr Les Pires, Oy Ventilo, La Folyre, Soft Touch Band, Students Brass Band, no concert poster nor list available. Glenmor stage is the biggest stage of the festival and it is named after Emile Le Scanff, also known as Glenmor. With a total area of 1,000 m², Glenmor stage is one of the largest French stages. As every other stage of the festival, Glenmor stage is set up before each occasion of the festival, Kerouac stage is the second stage of the festival
Vieilles Charrues Festival
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Vieilles Charrues Festival 2006 - Panoramic View
18.
National anthem
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The majority of national anthems are either marches or hymns in style. The countries of Latin America tend towards more operatic pieces, while a handful of countries use a simple fanfare, a national anthem is usually in the national or most common language of the country, whether de facto or official, there are notable exceptions. Amhrán na bhFiann, the anthem of the Republic of Ireland, was written in English, the current national anthem of South Africa is unique in that five of the countrys eleven official languages are used in the same anthem. One of the two national anthems of New Zealand, God Defend New Zealand, is commonly now sung with the first verse in Māori. The tune is the same but the words are not a translation of each other. God Bless Fiji has lyrics in English and Fijian which are not translations of each other, although official, the Fijian version is rarely sung, and it is usually the English version that is performed at international sporting events. There are several countries that do not have official lyrics to their anthems, one of these is the Marcha Real, the anthem of Spain. In 2007 a national competition to write words was held, other anthems with no words include Inno Nazionale della Repubblica, the anthem of San Marino, and that of Kosovo, entitled Europe. National anthems rose to prominence in Europe during the 19th century, the oldest national anthem belongs to the Netherlands and is called the Wilhelmus. It was written between 1568 and 1572 during the Dutch Revolt, but did not become the anthem until 1932. The Japanese anthem, Kimigayo, has the oldest lyrics, which were taken from a Heian period poem, in contrast, the music of Qaumi Taranah, Pakistans national anthem was composed in 1949, preceding its lyrics, which were written in 1952. The Philippine anthem Lupang Hinirang was composed in 1898 as wordless incidental music for the ceremony declaring independence from the Spanish Empire, the Spanish poem Filipinas was written the following year to serve as the anthems lyrics, the current Tagalog version dates to 1962. Spains national anthem, the Marcha Real, written in 1761, was among the first to be adopted as such, in 1770. Denmark adopted the older of its two national anthems, Kong Christian stod ved højen mast, in 1780, and La Marseillaise, Serbia became the first Eastern European nation to have a national anthem – Rise up, Serbia. – in 1804. Ee Mungu Nguvu Yetu, the anthem of Kenya, is one of the first national anthems to be specifically commissioned. It was written by the Kenyan Anthem Commission in 1963 to serve as the anthem after independence from the United Kingdom, National anthems are used in a wide array of contexts. Certain etiquette may be involved in the playing of a countrys anthem and these usually involve military honours, standing up/rising, removing headwear etc. In diplomatic situations the rules may be very formal, there may also be royal anthems, presidential anthems, state anthems etc. for special occasions
National anthem
–
Early version of the Wilhelmus as preserved in a manuscript of 1617 (Brussels,
Royal Library, MS 15662, fol. 37v-38r)
National anthem
National anthem
–
Schoolroom in
Turkey with the words of the
İstiklâl Marşı
National anthem
–
The words of the
National Anthem of the Republic of China written by Dr.
Sun Yat-sen
19.
La Marseillaise
–
La Marseillaise is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled Chant de guerre pour lArmée du Rhin. The Marseillaise was a song, an anthem to freedom, a patriotic call to mobilize all the citizens. The French National Convention adopted it as the Republics anthem in 1795 and it acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. The song is the first example of the European march anthemic style, the anthems evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music. As the French Revolution continued, the monarchies of Europe became concerned that revolutionary fervor would spread to their countries, the War of the First Coalition was an effort to stop the revolution, or at least contain it to France. Initially, the French army did not distinguish itself, and Coalition armies invaded France and that evening, Rouget de Lisle wrote Chant de guerre pour lArmée du Rhin, and dedicated the song to Marshal Nicolas Luckner, a Bavarian in French service from Cham. A plaque on the building on Place Broglie where De Dietrichs house once stood commemorates the event. The melody soon became the call to the French Revolution and was adopted as La Marseillaise after the melody was first sung on the streets by volunteers from Marseille by the end of May. A newly graduated medical doctor, Mireur later became a general under Napoléon Bonaparte, the songs lyric reflects the invasion of France by foreign armies that were under way when it was written. Strasbourg itself was attacked just a few days later, the invading forces were repulsed from France following their defeat in the Battle of Valmy. As the vast majority of Alsatians did not speak French, a German version was published in October 1792 in Colmar, the Convention accepted it as the French national anthem in a decree passed on 14 July 1795, making it Frances first anthem. It later lost this status under Napoleon I, and the song was banned outright by Louis XVIII and Charles X, only being re-instated briefly after the July Revolution of 1830. During Napoleon Is reign, Veillons au Salut de lEmpire was the anthem of the regime. Eight years later, in 1879, it was restored as Frances national anthem, several musical antecedents have been cited for the melody, Mozarts Allegro maestoso of Piano Concerto No. Only the first verse and the first chorus are sung today in France, there are some slight historical variations in the lyrics of the song, the following is the version listed at the official website of the French Presidency. Verses sung in the version of the anthem are in bold. The United States Library of Congress holds the following English translation and these verses were omitted from the national anthem
La Marseillaise
–
La Marseillaise personified on the
Arc de Triomphe.
La Marseillaise
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Rouget de Lisle, composer of the Marseillaise, sings it for the first time at the home of Dietrich, Mayor of Strasbourg (
Musée historique de Strasbourg, published 1849, artist
Isidore Pils)
La Marseillaise
–
Général Mireur, 1770–1798, anonymous, terra cotta, Faculty of Medicine, Montpellier, France.
20.
Music of Brittany
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Since the early 1970s, Brittany has experienced a tremendous revival of its folk music. Along with flourishing traditional forms such as the pair and fest-noz ensembles incorporating other additional instruments. Traditional Breton folk music includes a variety of vocal and instrumental styles, purely traditional musicians became the heroes of the roots revival in the second half of the 20th century, notably the Goadec sisters. Kan ha diskan is probably the most common type of Breton vocal music and it has become perhaps the most integral part of the Breton roots revival, and was the first genre of Breton music to gain some mainstream success, both in Brittany and abroad. The lead singer is the kaner, and the singer is the diskaner. The kaner sings a phrase, and the diskaner sings the last few lines with the kaner, then repeats it alone until the same last few lines, the phrases repetition is changed slightly in each execution. Kan ha diskan can be songs about any subject, but must meet one of a number of a used in folk dances. Vocables, or nonsense syllables, are used to drag out lines. Usually a kan ha diskan lasts from 5 to 20 minutes and they also venerated performers like Ar breudeur Morvan and Les soeurs Goadec/Ar choarezed Goadeg. During the folk revival, aspiring musicians sought out teachers from whom to learn kan ha diskan. Teachers of this era included Marcel Guilloux and Yann-Fanch Kemener and it was, however, Ropars who adapted the fest-noz, a night party in rural communities, for a new type of fest-noz, and set the stage for the folk revival. Kantik is a type of hymn that is vocal but includes accompaniment from a variety of instruments, commonly including the harp, pipes, modern performers include Anne Auffret and the choir Ensemble Choral du Bout du Monde. Gwerzioù and sonioù are the two classifications of Breton unaccompanied folk song. Vocals for both types are usually by a soloist, a gwerz is a lament characterized by a gloomy tone and subject matter. A Gwerz typically describes tragic events such as murders, deaths, wars, performers in this field include Jean Le Meut from Vannes, whose songs are mostly of the sonioù variety, and are typically pastoral songs concerning love and marriage. More contemporary singers include Ifig Troadeg, who focuses on lyrically shocking gwerzioù, Patrick Marie, Marthe Vassalo, Klervi Rivière, Mathieu Hamon, Annie Ebrel, Erik Marchand and Denez Prigent. The chants de marins, are shanties, ballads about shipwrecks, sailing and loss of life, often accompanied by such as the fiddle. Although it is not exclusively Breton, the number of sailors in this region have given this form of musical expression a high profile
Music of Brittany
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Les Traines Meuriennes singing call and response at Mill Góll 2007 in Rennes
Music of Brittany
–
Denez Prigent, a gwerz singer
Music of Brittany
–
Alan Stivell, Breton harpist
Music of Brittany
–
Dan Ar Braz.
21.
Music of Corsica
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Outside France the island of Corsica is perhaps best known musically for its polyphonic choral tradition. The rebirth of this genre was linked with the rise of Corsican nationalism in the 1970s, the anthem of Corsica is Dio vi Salvi Regina. Every June, Calvi is home to an International Jazz Festival, there are two dances of ancient origin found in Corsica, the caracolu, a womens funeral dance, and the moresca, illustrating the struggle between Moors and Christians. These days, theyre not danced anymore, the granitula, a spiral procession, is still performed by the confraternities on Good Friday. Polyphonic songs in Corsica are a cappella, and can be either spiritual or secular, hymns, motets, and funereal songs are an example of the former, while the nanna and the paghjella are examples of the latter. Traditionally,4 to 6-voice improvised polyphony was only by men, with the exception of the voceru and cuntrastu. Brotherhoods of polyphonic singers remain, some dating back to the 12th century, corsicas current tradition of improvised vocal polyphony is more recent, dating to 15th century. It is traced to renaissance practice of falsobordone and the Genoese tradition of Trallalero, the tradition of Corsican polyphonic singing had nearly become extinct until its revival in the 1970s. It is now a part of Corsican national identity, and is sometimes linked with political agitation for autonomy or independence. The region of Balagne has emerged as a hot spot for Corsican music, some more recent successful groups are The cetera, a cittern of 4 to 8 double strings that is of Tuscan origin and dates back to the Renaissance, is the most iconic Corsican traditional instrument. Its most prominent exponent is Roland Ferrandi, lInvitu, informative site about all aspects of Corsican music. Félix Quilici, lhomme à lécoute, interesting documentary about the man who first started collecting traditional Corsican music - in French, cantu Nustrale, Ghjermana de Zerbi - Albiana,2009
Music of Corsica
–
Barbara Furtuna performing at Warszawa Cross Culture Festival in September 2011.
22.
Music of Tahiti
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Prior to the arrival of Europeans, the music of Tahiti was dominated by festivals called heiva. Dancing was a part of Tahitian life then, and dances were used to celebrate, pray. Examples include the mens ʻōteʻa dance and the couples upaʻupa, professional dance troupes called ʻarioi were common, and they moved around the various islands and communities dancing highly sensually and erotically. In the early 19th century, however, colonial laws severely restricted these and other dances, herman Melville celebrated one such dance for its sensuality. They were replaced instead by genres of Christian music such as himene tarava. The word himene is derived from the English word hymn. One unique quality of Polynesian music is the use of the sustained 6th chord in vocal music, traditional instruments include a conch-shell called the pu and a nose flute called the vivo, as well as numerous kinds of drums made from hollowed-out tree trunks and dog or shark skin. Kaeppler, Adrienne L. Polynesia, §II,3, Eastern Polynesia, a Brief List of Materials Dealing with the Music of Tahiti
Music of Tahiti
–
Vivo (
nose flute) player
Music of Tahiti
–
A Tahitian ukulele, or Tahitian banjo.
23.
Music of Guadeloupe
–
Zouks popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouks origins are in the music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa. Carnival is an important festival in Guadeloupe and Martinique. Carnival in both islands declined following World War II, bouncing back with new formats and new traditions only in the 1980s. Both islands feature participatory, call-and-response style songs during their Carnival celebrations, biguine vidé is an up tempo version of the biguine rhythm, combining other carnival elements. It is participatory music, with the singing a verse. It allows one to grab an improvised percussion instrument and join in, traditionally, Carnival includes dances of African origin, including laghia, haut-taille, grage, calinda and bel-air. Traditional instruments include the chacha, tibwa, maké, boula, tanbou chan, aside from the biguine vidé bands, Vaval includes song and costume contests, masquerading and zouk parties. Gwo ka is a family of drums used to create a form of folk music from Guadeloupe. There are seven rhythms in gwo ka, and multiple variations on each. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, rural Guadeloupans still use gwo ka drums in communal experiences called lewozes, this is the most traditional manifestation of gwo ka in modern Guadeloupe. Gwo ka is also played at Carnival and other celebrations, a modernized and popularized form of gwo ka is well-known on the islands, it is known as gwo ka moderne. Guadeloupean balakadri persisted into the 20th century and, despite disruption after World War II, the Guadeloupean-administered island of Marie-Galante has also had a vital and well-documented balakadri tradition. As in Martinique, kwadril dances are in sets consisting of proper quadrilles, plus creolized versions of 19th-century couple dances, biguines, mazouks and valses Créoles. The world-famous zouk band Kassav remains easily the most famous performers from the island and these Haitians drew upon previous success from mini-jazz artists like Les Gentlemen, Les Leopards, and Les Vikings de Guadeloupe. Later in the decade and into the 1980s, the French Antilles became home to a style of music called cadence-lypso. Drawing on these influences, the supergroup Kassav invented zouk and popularized it with hit songs like Zouk-La-Se Sel Medikaman Nou Ni, Kassav formed from Paris in 1978. However, all these small jazz or bands had their guitars with sophisticated styles, the 1970s were dominated by mini-jazz, which still used a variant of the méringue style
Music of Guadeloupe
–
A band from Guadeloupe during the 2014 Tropical Carnival of Paris
24.
Music of Martinique
–
Main article, Music of Martinique and Guadeloupe The music of Martinique has a heritage which is intertwined with that of its sister island, Guadeloupe. Despite their small size, the islands have created a popular music industry. Zouks popularity was particularly intense in France, where the genre became an important symbol of identity for Martinique, Zouks origins are in the folk music of Martinique and Guadeloupe, especially Martinican chouval bwa, and Guadeloupan gwo ka. Theres also notable influence of the pan-Caribbean calypso tradition and Haitian kompa, carnival is a very important festival, known as Vaval on Martinique. Music plays a role, with Martinican big bands marching across the island. Vaval declined following World War II, bouncing back with new band formats, like Guadeloupe, Martinique features participatory, call-and-response style songs during its Vaval celebrations. In the early 20th century on Martinique, Creole bands travelled on trucks or small carts during Vaval and these large bands, known as groups à pied, are each identified with a neighborhood. Biguine vidé is an up tempo version of the biguine rhythm and it participatory music, with the bandleader singing a verse and the audience responding. Modern instrumentation includes a variety of improvised drums made from containers of all kinds, plastic plumbing, bells, tanbou débonda, bélé chacha, tibwa, aside from the biguine vidé bands, Vaval includes song and costume contests, masquerading and zouk parties. The bel air is a legacy of the music tradition. The bélé itself is a huge tambour drum that players ride as though it was a horse and it is characterized, in its rhythm, by the tibwa played on a length of bamboo mounted on a stand to the tambour bélé, and is often accompanied by a chacha. The tibwa rhythm plays a pattern and the drum comes to mark the highlights. It is organized in a way, the first entry of the singer. Then the Bwatè sets the pace, followed by bélé drum, finally, the dancers take the stage. A dialogue is created between the dancers and the tanbouyè, the answer play opposite the singer, the audience can also participate. As a family, together singers, dancers, musicians and audiences are lured by its mesmerizing rhythms, edmond Mondesir is a popular bélé musician from Martinique. Chouval bwa is a kind of Martinican traditional music, featuring percussion, bamboo flute, accordion, the music originated among rural Martinicans, as a form of celebratory holiday music played to accompany a dance called the manege. In French Caribbean culture, especially of the Lesser Antilles, the kwadril is a Creole term referring to a folk dance derived from the quadrille
Music of Martinique
–
A band from Martinique during the 2014 Tropical Carnival of Paris
25.
Culture of France
–
The culture of France and of the French people has been shaped by geography, by profound historical events, and by foreign and internal forces and groups. France, and in particular Paris, has played an important role as a center of culture since the 17th century, first in Europe. From the late 19th century, France has also played an important role in cinema, fashion, cuisine, the importance of French culture has waxed and waned over the centuries, depending on its economic, political and military importance. French culture today is marked both by regional and socioeconomic differences and strong unifying tendencies. Some action has taken by the government in order to promote French culture. For instance, they have established a system of subsidies and preferential loans for supporting French cinema, the Toubon law, from the name of the conservative culture minister who promoted it, makes it mandatory to use French in advertisements directed to the general public. France counts many regional languages, some of them being different from standard French, such as Breton. Some regional languages are Roman, like French, such as Occitan, many of these languages have enthusiastic advocates, however, the real importance of local languages remains subject to debate. In April 2001, the Minister of Education, Jack Lang and he announced that bilingual education would, for the first time, be recognized, and bilingual teachers recruited in French public schools to support teaching these other languages. In French schools, pupils are expected to learn at least two languages, the first of which is typically German or English. A revision of the French constitution creating official recognition of languages was implemented by the Parliament in Congress at Versailles in July 2008. France is a country where freedom of thought and of religion is preserved, by virtue of the 1789 Declaration of the Rights of Man. A2011 European poll found that a third of the French population does not believe there is any sort of spirit, in 2011, in a poll published by Institut français dopinion publique 65% of the French population describes itself as Christians, and 25% as not adhering any religion. According to Eurobarometer poll in 2012 Christianity is the largest religion in France accounting 60% of French citizens, Catholics are the largest Christian group in France, accounting for 50% of French citizens, while Protestants make up 8%, and other Christians make up 2%. Non believer/Agnostic account for 20%, Atheist 13%, and Muslim 6%, France guarantees freedom of religion as a constitutional right, and the government generally respects this right in practice. A long history of violent conflict between groups led the state to break its ties to the established Catholic Church early in the last century, the government adopted a strong commitment to maintaining a totally secular public sector. Long the established religion, the Roman Catholic Church has historically played a significant role in French culture. Kings were considered head of the church and state, most French people are Roman Catholic Christians, however, many of them are secular but still place high value on Catholicism
Culture of France
–
Masterpiece painting by
Eugène Delacroix called
Liberty Leading the People portrays the
July Revolution using the stylistic views of
Romanticism. Since Liberty is part of the motto "
Liberté, égalité, fraternité ", as the French put it, this painting has become the primary symbol of the
French Republic.
Culture of France
–
Notre-Dame de Reims is the Roman Catholic cathedral where the
kings of France were crowned until 1825.
Culture of France
–
The
Grande Mosquée in Paris.
Culture of France
–
A sweet
crêpe. Crêpes are originally from
Brittany.
26.
History of France
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The first written records for the history of France appear in the Iron Age. The Gauls, the largest and best attested group, were Celtic people speaking what is known as the Gaulish language, over the course of the 1st millennium BC the Greeks, Romans and Carthaginians established colonies on the Mediterranean coast and the offshore islands. Afterwards a Gallo-Roman culture emerged and Gaul was increasingly integrated into the Roman Empire, in the later stages of the Roman Empire, Gaul was subject to barbarian raids and migration, most importantly by the Germanic Franks. The Frankish king Clovis I united most of Gaul under his rule in the late 5th century, Frankish power reached its fullest extent under Charlemagne. The war formally began in 1337 following Philip VIs attempt to seize the Duchy of Aquitaine from its holder, Edward III of England. Despite early Plantagenet victories, including the capture and ransom of John II of France, among the notable figures of the war was Joan of Arc, a French peasant girl who led French forces against the English, establishing herself as a national heroine. The war ended with a Valois victory in 1453, victory in the Hundred Years War had the effect of strengthening French nationalism and vastly increasing the power and reach of the French monarchy. During the period known as the Ancien Régime, France transformed into an absolute monarchy. During the next centuries, France experienced the Renaissance and the Protestant Reformation, Henry, King of Navarre, scion of the Bourbon family, would be victorious in the conflict and establish the French Bourbon dynasty. A burgeoning worldwide colonial empire was established in the 16th century, French political power reached a zenith under the rule of Louis XIV, The Sun King, builder of Versailles Palace. In the late 18th century the monarchy and associated institutions were overthrown in the French Revolution, the country was governed for a period as a Republic, until the French Empire was declared by Napoleon Bonaparte. France was one of the Triple Entente powers in World War I, fighting alongside the United Kingdom, Russia, Italy, Japan, the United States and smaller allies against Germany and the Central Powers. France was one of the Allied Powers in World War II, the Third Republic was dismantled, and most of the country was controlled directly by Germany while the south was controlled until 1942 by the collaborationist Vichy government. Living conditions were harsh as Germany drained away food and manpower, Charles de Gaulle led the Free France movement that one-by-one took over the colonial empire, and coordinated the wartime Resistance. Following liberation in summer 1944, a Fourth Republic was established, France slowly recovered economically, and enjoyed a baby boom that reversed its very low fertility rate. Long wars in Indochina and Algeria drained French resources and ended in political defeat, in the wake of the Algerian Crisis of 1958, Charles de Gaulle set up the French Fifth Republic. Into the 1960s decolonization saw most of the French colonial empire become independent, while smaller parts were incorporated into the French state as overseas departments, since World War II France has been a permanent member in the UN Security Council and NATO. It played a role in the unification process after 1945 that led to the European Union
History of France
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Cave painting in
Lascaux
History of France
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Massalia (modern
Marseille) silver coin with Greek legend, a testimony to
Greeks in pre-Roman Gaul, 5th–1st century BC.
History of France
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Vercingetorix surrenders to
Julius Caesar after
Alesia. Painting by Lionel-Noël Royer, 1899.
History of France
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Gaulish soldiers
27.
France in the Middle Ages
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From the 13th century on, the state slowly regained control of a number of these lost powers. The crises of the 13th and 14th centuries led to the convening of an assembly, the Estates General. From the Middle Ages onward, French rulers believed their kingdoms had natural borders, the Pyrenees, the Alps and this was used as a pretext for an aggressive policy and repeated invasions. The belief, however, had little basis in reality for not all of territories were part of the Kingdom. France had important rivers that were used as waterways, the Loire, the Rhone and these rivers were settled earlier than the rest and important cities were founded on their banks but they were separated by large forests, marsh, and other rough terrains. Before the Romans conquered Gaul, the Gauls lived in villages organised in wider tribes, the Romans referred to the smallest of these groups as pagi and the widest ones as civitates. These pagi and civitates were often taken as a basis for the imperial administration and these religious provinces would survive until the French revolution. Discussion of the size of France in the Middle Ages is complicated by distinctions between lands personally held by the king and lands held in homage by another lord, the domaine royal of the Capetians was limited to the regions around Paris, Bourges and Sens. The great majority of French territory was part of Aquitaine, the Duchy of Normandy, the Duchy of Brittany, the Comté of Champagne, the Duchy of Burgundy, and other territories. Philip II Augustus undertook a massive French expansion in the 13th century, only in the 15th century would Charles VII and Louis XI gain control of most of modern-day France. The weather in France and Europe in the Middle Ages was significantly milder than during the preceding or following it. Historians refer to this as the Medieval Warm Period, lasting from about the 10th century to about the 14th century, part of the French population growth in this period is directly linked to this temperate weather and its effect on crops and livestock. At the end of the Middle Ages, France was the most populous region in Europe—having overtaken Spain, in the 14th century, before the arrival of the Black Death, the total population of the area covered by modern-day France has been estimated at around 17 million. The population of Paris is controversial, josiah Russell argued for about 80,000 in the early 14th century, although he noted that some other scholars suggested 200,000. The higher count would make it by far the largest city in western Europe, the Black Death killed an estimated one-third of the population from its appearance in 1348. The concurrent Hundred Years War slowed recovery and it would be the mid-16th century before the population recovered to mid-fourteenth century levels. The vast majority of the population spoke a variety of vernacular languages derived from vulgar Latin. Modern linguists typically add a group within France around Lyon
France in the Middle Ages
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A view of the remains of the
Abbey of Cluny, a
Benedictine monastery, was the centre of monastic life revival in the
Middle Ages and marked an important step in the cultural rebirth following the
Dark Ages.
France in the Middle Ages
France in the Middle Ages
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Godefroy de Bouillon, a French knight, leader of the
First Crusade and founder of the
Kingdom of Jerusalem.
France in the Middle Ages
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Philip II victorious at
Bouvines thus annexing Normandy and Anjou into his royal domains. This battle involved a complex set of alliances from three important states, the Kingdoms of France and England and the Holy Roman Empire.
28.
Early Modern France
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The Kingdom of France in the early modern period, from the Renaissance to the Revolution, was a monarchy ruled by the House of Bourbon. This corresponds to the so-called Ancien Régime, the territory of France during this period increased until it included essentially the extent of the modern country, and it also included the territories of the first French colonial empire overseas. In the mid 15th century, France was significantly smaller than it is today, in addition, certain provinces within France were ostensibly personal fiefdoms of noble families. The late 15th, 16th and 17th centuries would see France undergo a massive territorial expansion, France also embarked on exploration, colonisation, and mercantile exchanges with the Americas, India, the Indian Ocean, the Far East, and a few African trading posts. The administrative and legal system in France in this period is called the Ancien Régime. The Black Death had killed an estimated one-third of the population of France from its appearance in 1348, the concurrent Hundred Years War slowed recovery. It would be the early 16th century before the population recovered to mid-14th century levels and these demographic changes also led to a massive increase in urban populations, although on the whole France remained a profoundly rural country. Paris was one of the most populated cities in Europe, other major French cities include Lyon, Rouen, Bordeaux, Toulouse, and Marseille. These centuries saw several periods of epidemics and crop failures due to wars, between 1693 and 1694, France lost 6% of its population. In the extremely harsh winter of 1709, France lost 3. 5% of its population, in the past 300 years, no period has been so proportionally deadly for the French, both World Wars included. Linguistically, the differences in France were extreme, before the Renaissance, the language spoken in the north of France was a collection of different dialects called Oïl languages whereas the written and administrative language remained Latin. Nevertheless, in 1790, only half of the spoke or understood standard French. The southern half of the continued to speak Occitan languages, and other inhabitants spoke Breton, Catalan, Basque, Dutch. In the north of France, regional dialects of the various langues doïl continued to be spoken in rural communities, during the French revolution, the teaching of French was promoted in all the schools. The French used would be that of the system, which differed from the French spoken in the courts of France before the revolution. Like the orators during the French revolution, the pronunciation of every syllable would become the new language, France would not become a linguistically unified country until the end of the 19th century. The Peace of Etaples marks, for some, the beginning of the modern period in France. The invasion of Italy by Charles VIII in 1494 began 62 years of war with the Habsburgs, in 1445, the first steps were made towards fashioning a regular army out of the poorly disciplined mercenary bands that French kings traditionally relied on
Early Modern France
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Francis I by
Jean Clouet
Early Modern France
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France on the eve of the modern era (1477). The red line denotes the boundary of the French kingdom, while the light blue the royal domain.
Early Modern France
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Henry IV of France by
Frans Pourbus the younger.
Early Modern France
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Louis XIV King of France and of Navarre By
Hyacinthe Rigaud (1701)
29.
French Wars of Religion
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Approximately 3,000,000 people perished as a result of violence, famine and disease in what is accounted as the second deadliest European religious war. Unlike all other wars at the time, the French wars retained their religious character without being confounded by dynastic considerations. At the conclusion of the conflict in 1598, Huguenots were granted rights and freedoms by the Edict of Nantes. The wars weakened the authority of the monarchy, already fragile under the rule of Francis II and then Charles IX, apart from previously mentioned names, the wars have been variously described as the Eight Wars of Religion, or simply the Wars of Religion. However, the Massacre of Vassy in 1562 is agreed to begin the French Wars of Religion, during this time, complex diplomatic negotiations and agreements of peace were followed by renewed conflict and power struggles. Humanism, until the late 1520s, served as a ground for the French Protestant Reformation. The spirit of the Renaissance interested Francis I and he encouraged the study of the classics by establishing royal professorships in Paris, equipping more people with the knowledge necessary to understand the classics. Francis I had no qualms with the religious order. Through the Concordat of Bologna, Pope Leo X increased the power of the king over the church, nomination of clergy depended upon the kings choice, in France, unlike in Germany, the nobles supported the policies and the status quo of their time. The establishment of the college and the spread of the printing press served the purposes of the Reformation. The printing press made mass production of inexpensive and fueled the spread of knowledge in all disciplines. Interest in the classics soared and literature was available to a wider audience. The accessibility coupled with romanticism for the knowledge from the past that built empires, precise language and eloquence were valued among scholars and true understanding of the classics meant studying them from the originals. Theological and religious thoughts were disseminated at an unprecedented pace, ideas about the Reformation were widespread in France by 1519. John Froben, a humanist printer, published a collection of Luther’s works, in one correspondence, he reported that 600 copies of such works were being shipped to France and Spain and were sold in Paris. The humanist perspective on understanding Scriptures had theological and ecclesiastical implications, studying Scriptures in the original flourished in the Renaissance period. This contrasted the heavy reliance of the church on the Vulgate - the Latin translation of the Bible. The Meaux Circle was formed by a group of humanists including Jacques Lefèvre d’Étaples and Guillaume Briçonnet, bishop of Meaux, in the effort to reform preaching, the Meaux circle was joined by Vatable, a Hebraist and Guillaume Budé the classicist and librarian to the king
French Wars of Religion
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Depiction of the
St. Bartholomew's Day massacre by
François Dubois
French Wars of Religion
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After an initial period of tolerance,
Francis I started the repression against Protestants.
French Wars of Religion
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Massacre of Mérindol in 1545 as imagined by
Gustave Doré (1832–1883).
French Wars of Religion
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Contemporary woodcut of the
executions of Protestants at Amboise.
30.
Louis XIV of France
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Louis XIV, known as Louis the Great or the Sun King, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1643 until his death in 1715. His reign of 72 years and 110 days is the longest of any monarch of a country in European history. In the age of absolutism in Europe, Louis XIVs France was a leader in the centralization of power. Louis began his rule of France in 1661, after the death of his chief minister. By these means he became one of the most powerful French monarchs, under his rule, the Edict of Nantes, which granted rights to Huguenots, was abolished. The revocation effectively forced Huguenots to emigrate or convert in a wave of dragonnades, which managed to virtually destroy the French Protestant minority. During Louis reign, France was the leading European power, and it fought three wars, the Franco-Dutch War, the War of the League of Augsburg. There were also two lesser conflicts, the War of Devolution and the War of the Reunions, warfare defined Louis XIVs foreign policies, and his personality shaped his approach. Impelled by a mix of commerce, revenge, and pique, in peacetime he concentrated on preparing for the next war. He taught his diplomats their job was to create tactical and strategic advantages for the French military, Louis XIV was born on 5 September 1638 in the Château de Saint-Germain-en-Laye, to Louis XIII and Anne of Austria. He was named Louis Dieudonné and bore the title of French heirs apparent. At the time of his birth, his parents had married for 23 years. His mother had experienced four stillbirths between 1619 and 1631, leading contemporaries thus regarded him as a divine gift and his birth a miracle of God. Sensing imminent death, Louis XIII decided to put his affairs in order in the spring of 1643, in defiance of custom, which would have made Queen Anne the sole Regent of France, the king decreed that a regency council would rule on his sons behalf. His lack of faith in Queen Annes political abilities was his primary rationale and he did, however, make the concession of appointing her head of the council. Louis relationship with his mother was uncommonly affectionate for the time, contemporaries and eyewitnesses claimed that the Queen would spend all her time with Louis. Both were greatly interested in food and theatre, and it is likely that Louis developed these interests through his close relationship with his mother. This long-lasting and loving relationship can be evidenced by excerpts in Louis journal entries, such as, but attachments formed later by shared qualities of the spirit are far more difficult to break than those formed merely by blood
Louis XIV of France
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Louis XIV by
Hyacinthe Rigaud (1701)
Louis XIV of France
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Louis-Dieudonné,
Dauphin of France, in 1643 by
Claude Deruet
Louis XIV of France
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Louis XIV as a child, unknown painter
Louis XIV of France
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1655 portrait of Louis, the Victor of the Fronde, portrayed as the god
Jupiter
.jpg)
