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The Doina ((:ˈdojna)) is a Romanian musical tune style, possibly with Middle Eastern roots, customary in Romanian peasant music, as well as in Lăutărească. It was also adopted into Klezmer music.〔(The Jews of North America )〕 Similar tunes are found throughout Eastern Europe and the Balkans. In some parts of the Balkans this kind of music is referred to as scaros or scaru. ==Origins and characteristics== Béla Bartók discovered the ''doina'' in Northern Transylvania in 1912 and he believed it to be uniquely Romanian. After he found similar genres in Ukraine, Albania, Algeria, Middle East and Northern India, he came to the belief that these are part of a family of related genres of Arabo-Persian origin.〔(Béla Bartók Essays )〕 He particularly linked the Romanian doina to the Turkish/Arabic ''Makam'' system. Bartók's conclusions were rejected by some Romanian ethnomusicologists, who accused Bartók of anti-Romanian bias. Nevertheless, the similarities between the Romanian ''doina'' and various musical forms from the Middle East have been subsequently documented by both non-Romanian〔(The Romanian Doina )〕 and Romanian〔(Hora lunga (doina, cantec lung) )〕〔World Library Of Folk And Primitive Music Vol 17: Romania - Linear Notes by Speranța Rădulescu〕 scholars. Until the first half of the 20th century, both lăutari〔 and klezmer musicians〔Stacy Phillips - ''Klezmer collection for C instruments''〕 were recorded using a ''taksim'' as an introduction to a tune. The ''taksim'' would be later replaced by the ''doina'', which has been described as being similar, though not totally identical to the ''taksim''. Romanian ethnomusicologist and musician Grigore Leşe, after performing with a group of Iranian musicians, noticed that the ''doinas'' of Maramureş have "great affinities" with the Arabo-Persian music.〔(Interview with Grigore Leşe )〕 The ''doina'' is a free-rhythm, highly ornamented (usually melismatic), improvisational tune.〔Peter van der Merwe - ''Origins of the Popular Style''〕 The improvisation is done on a more or less fixed pattern (usually a descending one), by stretching the notes in a rubato-like manner, according to the performer's mood and imagination. Usually the prolonged notes are the fourth or fifth above the floor note. The peasant ''doinas'' are mostly vocal and monophonic and are sung with some vocal peculiarities that vary from place to place: interjections (''măi'', ''hei'', ''dui-dui'', ''iuhu''), glottal clucking sounds, choked sobbing effects, etc.〔 Instrumental ''doinas'' are played on simple instruments, usually various types of flutes, or even on rudimentary ones, such as a leaf. The peasant ''doina'' is a non-ceremonial type of song and is generally sung in solitude, having an important psychological action: to "ease one's soul" (''de stâmpărare'' in Romanian). Grigore Leşe believes that, while scholars describe in great detail the technical aspects of the ''doina'', they fail to understand its psychological aspects. ''Doinas'' are lyrical in aspect and their common themes are melancholy, longing (''dor''), erotic feelings, love for nature, complaints about the bitterness of life or invocations to God to help ease pain, etc. Unlike peasant ''doinas'', lăutar and klezmer ''doinas'' are usually accompanied and played on more complex instruments (violin, pan-pipe, cymbalom, accordion, clarinet, tarogato, etc.). Also, unlike peasant ''doinas'', lăutar and klezmer ''doinas'' are mostly played as an introduction to another tune, usually a dance. In the regions of Southern Romania, Romani lăutari developed a type of doina called ''cântec de ascultare'' (meaning "song for listening", sometimes shortened to ''de ascultare'' or simply ''ascultare''). The ''cântec de ascultare'' spread to other regions of Romania, with local particularities. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「doina」の詳細全文を読む スポンサード リンク
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