在克罗地亚的达尔马提亚边远地区,奥耶康吉双声部演唱方式由两名或多名(男或女)歌手表演,他们使用的嗓音颤音技巧非常独特。领唱者的演唱气息有多长,每首歌曲持续的时间就有多长。旋律的基础有限,大多是半音阶的曲调,而歌词主题丰富多样,从爱情到政治以及当前的社会问题,范围很广。奥耶康吉的保存流传归功于当地的传承人组织,他们坚持传播这些技巧和知识,在克罗地亚和世界各地的节日里代表他们的村庄演唱。尽管传统上奥耶康吉是口头传承的,而现在,地方的民间艺术团体内部的、有组织的培训和音频视频手段在其传承上发挥着越来越多的作用。然而,个人的颤音技巧和许多双声部方式的存留,还极大地依赖于有才能的、有技巧的歌手,依赖于他们的表演能力,以及将其知识传授给新生代的能力。近来的冲突、使该地区人口减少的农村向城市的移民,以及生活方式的变化,都导致了演唱者数量的急剧减少,导致了许多古老的独唱风格和类型的消失。

In the remote areas of Dalmatia, Croatia, Ojkanje’s double-vocal singing style is performed by two or more (male or female) singers who use a unique voice vibrato technique. How long the singer’s singing breath is, and how long each song lasts. The basis of melody is limited, mostly half-scale tunes, and lyrics are rich and varied, from love to politics and current social problems, a wide range. Ojkanje’s preservation is due to local heirs, who insist on spreading these skills and knowledge to sing on behalf of their villages at festivals in Croatia and around the world. Although Ojkanje has traditionally been verbally inherited, there is now an increasing role in the transmission of organized training and audio and video means within local folk art groups. However, individual vibrato skills and the persistence of many double-vocal methods also rely heavily on talented and skilled singers, on their ability to perform, and on the ability to pass on their knowledge to the new generation. Recent conflicts, rural-urban migration, which has reduced the population in the region, and changes in lifestyles have led to a sharp decline in the number of singers, leading to the disappearance of many ancient solo styles and types.


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