Treujenn-gaol
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Treujenn-gaol
The treujenn-gaol (Breton: ''cabbage stalk'') is the Breton term for the clarinet as used in Breton music. The term 'treujenn gaol' was originally a pejorative term invented by bombard players who found the newer instrument encroaching on their livelihood. The clarinet arrived in Brittany in the 18th century. The most traditional Breton clarinet is an older type of instrument with 13 or even fewer keys, in contrast to the modern 'Boehm' instrument commonly used in contemporary music in France. Classical musicians in the 19th century discarded older instruments in favor of newer designs from makers such as Boehm, Albert, etc. replacing the formerly ubiquitous 13-key clarinet in the 19th century. These discarded instruments eventually found their way into the hands of folk musicians and the 'treujenn gaol' was born. After a decline in use in traditional music in the early 20th century, the instrument was revived in the 1970s for use in pairs of instruments (much like the bombard a ...
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Breton Music
Since the early 1970s, Brittany has experienced a tremendous revival of its folk music. Along with flourishing traditional forms such as the bombard- biniou pair and fest-noz ensembles incorporating other additional instruments, it has also branched out into numerous subgenres. Traditional Breton music 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 (Maryvonne, Thasie, and Eugénie). At the end of the 19th century, the vicomte Theodore Hersart de la Villemarqué's collection of largely nationalistic Breton songs, '' Barzaz Breiz'', was also influential, and was partially responsible for preserving Breton traditions. Vocal music Kan ha diskan (roughly translated as ''call and response singing'') is probably the most common type of Breton vocal music, and is the most typical style to accompany dance music. ...
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