The Fifth International Symposium on Traditional Polyphony ...

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THE NOTION OF SO CALLED GYPSY MUSIC AND
THE TRADITION OF IMPROVISATION
ANNA PIOTROWSKA (POLAND)
Studying Romany music is connected in the modern ethnomusicology with the basic acknowledgment
that music of Roma people – commonly, even stereotypically labelled as Gypsy music – is in fact represented
by various groups and sub-groups, predominantly found in Europe but also in (for example) Middle East or
South Asia. In other words the collective term Gypsy music refers to musical cultures as different as Spanish
flamenco, Balkan brass orchestral music or Russian choir tradition. Many separate Romany groups cultivate
music that “varies tremendously from region to region and from group to group” (Tcherenkov, Laederich,
2004: 703). Despite such an ostensible variety of styles Gypsy music is also believed to encompass a set of
common features such as – among others – shared social and cultural values (Kertesz-Wilkinson, 2001: 613)
or even certain musical parameters and elements (Tcherenkov, Laederich, 2004: 703-705). One of the most
prevailing association is connected with perceiving so called Gypsy music (i.e. music performed by any Gypsies)
as improvisational art. In 2001 in a short, yet persuasive article published in New York Times Michael Beckerman
came up with the theory claiming that the phenomenon of Gypsy music can be characterized according to a
simple formula: I + V = E where I stands for improvisation, V for virtuosity and E for emotions or expressiveness
(Beckerman, 2001). <strong>The</strong> choice of terms used in the equation seems deeply rooted in the 19 th century tradition
of perceiving Gypsy music and not coincidently refers to such notions as spontaneity or emotions embedded in
the romantic Western art tradition. However, it was in the mid 19 th century when improvisatory practices among
professional European musicians began to be less valued and seemed to bear less and less importance. This new
situation coincided with the scholarly ‘discovery’ of Gypsy music and with hindsight may lead to the question
whether – directly or perhaps indirectly – associating Gypsy music with improvisation had any influence on the
new approach and evaluation of improvisation in music?
From the historical perspective searching for the simple answer what Gypsy music is has been since the
19 th century a challenge for European intellectuals. Especially since the publication of Franz Liszt’s book
Des Bohemiens et de leur musique en Hongrie in 1859 Gypsy music has been a constant cause of academic
disputes. Knowledge on Gypsies in general and on Gypsy music especially was very scant in Europe before
the 19th century. It did not extend far beyond the boundaries of legends and common beliefs propagated by
chronicles or stage plays. In this context Liszt’s work constituted a major breakthrough in the study of Gypsy
music. Not only was it an attempt of scholarly work, but it also contributed much to promoting Gypsy music
throughout the whole Europe. Yet, it was this book that also stirred a lot of confusion around Gypsy music
in Hungary and triggered off the discussion about the problem of its authenticity and the relation between
Gypsy and Hungarian music.
<strong>The</strong> tradition of Gypsy musicians in Hungary had a long history. Accounts of Gypsy musicians are preserved
documenting their presence near Buda in 1489 (Kertesz –Wilkinson, 2001, 614). When studying the Gypsy
in general became popular in the end of the 18 th century, although authors focused on their origins, customs,
language, etc., they would also mention the unusual musicality of Gypsies giving as examples Hungarian
Gypsies. In 1787 H. Grellman wrote about a Gypsy Barna Mihaly known as Magyar Orpheus (Grellman, 1810: