Germany WEATHER

Saturday, 14 October 2023

German schlager Music

 

ABOUT German Schlager Music

 

Schlager music  is a style of European popular music that is generally a catchy instrumental accompaniment to vocal pieces of pop music with simple, happy-go-lucky, and often sentimental lyrics. It is prevalent in Central, Northern and Southeast Europe (in particular Germany,

Austria, Albania, Bulgaria, Finland, Slovakia, Slovenia, Serbia, Croatia, Poland, Hungary, Romania, Switzerland, Scandinavia, and the Baltic states), and also (to a lesser extent) in France, Belgium, and the Netherlands). In the United States it is also known as 'entertainer music' or 'German hit mix'.

 

 Typical Schlager tracks are either sweet, sentimental ballads with a simple, catchy melody or light pop tunes. Lyrics typically center on love, relationships, and feelings. The northern variant of Schlager (notably in Finland) has taken elements from Nordic and Slavic folk songs, with lyrics tending towards melancholic and elegiac themes. Musically, Schlager bears similarities to styles such as easy listening.

 The German word Schlager is also a loanword in some other languages (such as Hungarian, Lithuanian, Serbian, Russian, Hebrew, and Romanian, for example), where it retained its meaning of a "(musical) hit". The style has been frequently represented at the Eurovision Song Contest and has been popular since the contest began in 1956,although it is gradually being replaced by other pop music styles.

Over time, Schlager music has gradually shifted on to electronic music rather than generic pop music, due to its widespread use of synthesizers throughout its various implementations in recent decades.

 

Country Music

 https://zeno.fm/radio/radio-sam-country-germany/

 

ABOUT Country  Music


 

 

The legends of South African country music . The legends are Lance James, Barbara Ray, Bobby Angel, Matt Hurter and Tommy Dell , Alan Ladd, Cheree, JJ Stephens and Jason Bradleyand many other Country Stars and Legends.
Bobby Angel


 
 
Lance James has more than 60 albums to his name, the worst of which was recorded way back in the 60s already! Lance is known as the Big Daddy of South African country music and has received many awards during his career of almost 50 years. The ATKV dubbed him "a living icon", and Vonk magazine recently gave him a "Lifetime Achievement" for his contribution to the South African music industry.
Lance also recorded various albums with Queen of Country Barbara Ray. Barbara emigrated fron Scotland to South Africa in die mid-60s, and has since become a household name. Twenty-two of her albums went gold, and she won many awards for her contribution to country music. Barbara is especially well-known for her hits "I don"t wanna play house" and "Down the Mississippi", and also tours with one of SA"s other great country legends, Bobby Angel.
Bobby Angel has been known as the King of Country since he took the music world by storm with his 1975 hit, "You ask me to". Many more hits followed, and his latest release, "Wals van die lewe", confirmed Bobby"s status as evergreen musician.
Tommy Dell, also known as The Killer, and Sally Vaughn represented South Africa in Nashville in 1984. The main singer of the Elvis group The Jordanaires was highly impressed with Dell"s work: "I"ve never seen a singer from another country command so much respect from an audience". No wonder, since nine of Tommy"s albums went gold ... while "Teddy Bear" and "Little Rosa" earned this artist double golden awards.Matt Hurter has been well-known in the South African country music industry for 40 years now. He is the current president of the South African Country Music Association and it was he who founded the SA Country Farm and managed it for 11 years. Matt is working on a new album at the moment, a large part of which will be music he himself wrote.
Alan Ladd was born in Lusaka, Zambia, in 1966. He and his 12 brothers and sisters (among whom was the legendary singer, Kupido) emigrated to South Africa in 1976. Ten years later, he recorded his first "seven single", with one of his own songs, Daddy, also on it. He attained great success as singer/songwriter in the years that followed, and his last two albums were released in 2006. The first, The Country Gospel CD, reached platinum status within two months, and sold more than 44 500 copies. The second, My Hart Klop Country, sold more than 37 000 copies within four months.

 
 
 
Lance James and Barbara Ray - Folk, Vocal, Solo and Group Musician - Johannesburg
Lance James is a top class performer, who can assist you with making your function a memorable success. He remains one of the most-in-demand entertainers, working solo and with other popular artists in South Africa.
Lance James is a versatile, bilingual performer who specialises in Corporate functions, Concerts, Dances, Barn dances, Weddings, Shopping Centre promotions, and In-store promotions. He is considered as one of the top entertainers ever in South Africa, and has an excellent rapport with his audiences.
Winner of six SABC Sarie Awards, a "Loony's Award for his contribution to entertainment, plus an Honorary Award from ATKV Centurion, Beeld and Pretoria Afrikaanse Sakekamer for his contribution to Afrikaans music. Lance has appeared in many top Television Shows, is a well established Master of Ceremonies, as well as a well known Radio Broadcaster, currently broadcasting on Radio Today, "Keep It Country". Lance started recording in 1962, and to date over 60 Lance James Albums have been released.




 

Lance released "Lance James sing Dankie en ander Treffers” in 1997, "Vriendskap" in 1998, "20 Gewildste Treffers" in 1999, and "No Charge" in 2001. In 1998/99 various other Lance James C.D.'s were re-issued plus "The Heart and Soul" double album. Vrouekeur recorded the best “Country Performance” on CD for the year 2002 was Lance James on the album "Sing a Lekker Liedjie". In 2003, he also released “Till a Tear becomes a Rose” with new singer Joey Lane. Lance can also be heard on the “Back to Bapsfontein” CD which was released in September 2003, and “Toeka 2” by Steve Hofmeyr released early 2004. Lance released "One Day At A Time" Golden Gospel Hits in October 2004.
TOMMY DELL
Tommy Dell (gebore Thomas Albert Berry, 1942 in Oos-Londen) is 'n Suid-Afrikaanse country-sanger. Hy is veral bekend vir sy treffer Teddy Bear. Van sy ander treffers sluit in Little Rosa en Don't worry about me.

 

 

 

 

 

Diskografie

  • My God Loves Me, HOEZIT MUSIEK
  • From The Heart, SELECT
  • Lag Jou Sopnat "10 jaar later", 2005 HOEZIT MUSIEK
  • Deck Of Cards, UNIVERSAL
  • The Heart And Soul Of Tommy Dell, 1999 CRESCENDO
  • Lag Jou Sopnat Met, 1996 UNIVERSAL
  • The First Ten Years Of Tommy Dell LP
  • Caroline And Tommy LP
  • Me And My Songs LP
  • Country Gentleman
  • Teddy Bear, GALLO
  • Friends, 1980 SOUNDS SUPER

Tommy Dell - Teddy Bear

 



 

Country (also called country and western) is a genre of
popular music that originated with blues, church music such as Southern gospel and spirituals, old-time, and American folk music forms including Appalachian, Cajun, Creole, and the cowboyWestern music styles of New Mexico, Red Dirt, Tejano, and Texas country. Its popularized roots originate in the Southern and Southwestern United States of the early 1920s.

 

Country music often consists of ballads and dance tunes with generally simple forms, folk lyrics, and harmonies often accompanied by string instruments such as banjos, electric and acoustic guitars, steel guitars (such as pedal steels and dobros), and fiddles as well as harmonicas.Blues modes have been used extensively throughout its recorded history.

The term country music gained popularity in the 1940s in preference to hillbilly music; it came to encompass Western music, which evolved parallel to hillbilly music from similar roots, in the mid-20th century. In 2009, in the United States, country music was the most listened to rush hour radio genre during the evening commute, and second most popular in the morning commute.

The term country music is used today to describe many styles and subgenres. The origins of country music are found in the folk music of working class Americans and blue-collar American life. It has been inspired by American popular music, and American folk music which had its roots in Celtic music, early music of the British Isles, singing cowboys, corrido, ranchera, norteño, French folk music, African-American music, and other traditional folk music traditions.



The main components of the modern country music style date back to music traditions throughout the Southern United States and Southwestern United States, while its place in American popular music was established in the 1920s during the early days of music recording ,Country music was "introduced to the world as a Southern phenomenon."

Immigrants to the southern Appalachian Mountains, of the Southeastern United States, brought the folk music and instruments of Europe, Africa, and the Mediterranean Basin along with them for nearly 300 years, which developed into Appalachian music. As the country expanded westward, the Mississippi River and Louisiana became a crossroads for country music, giving rise to Cajun music. In the Southwestern United States, it was the Rocky Mountains, American frontier, and Rio Grande that acted as a similar backdrop for Native American, Mexican, and cowboy ballads, which resulted in New Mexico music and the development of Western music, and its directly related Red Dirt, Texas country, and Tejano music styles. The U.S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum.Historians have also noted the influence of the less-known Johnson City sessions of 1928 and 1929,and the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage

The first generation emerged in the 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. James Gideon "Gid" Tanner (1885–1960) was an American old-time fiddler and one of the earliest stars of what would come to be known as country music. His band, the Skillet Lickers, was one of the most innovative and influential string bands of the 1920s and 1930s. Its most notable members were Clayton McMichen (fiddle and vocal), Dan Hornsby (vocals), Riley Puckett (guitar and vocal) and Robert Lee Sweat (guitar). New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records (series 15000D "Old Familiar Tunes") (Samantha Bumgarner) in 1924, and RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music the Carter Family. Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s.

During the second generation (1930s–1940s), radio became a popular source of entertainment, and "barn dance" shows featuring country music were started all over the South, as far north as Chicago, and as far west as California. The most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood, many featuring the king of the "singing cowboys", Gene Autry. Bob Wills was another country musician from the Lower Great Plains who had become very popular as the leader of a "hotstring band," and who also appeared in Hollywood westerns. His mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie".

The Legends of South Africa Singers

The third generation (1950s–1960s) started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods, became popular among poor communities in New Mexico, Oklahoma, and Texas; the basic ensemble consisted of classical guitar, bass guitar, dobro or steel guitar, though some larger ensembles featured electric guitars, trumpets, keyboards (especially the honky-tonk piano, a type of tack piano), banjos, and drums. This sound had its roots in the Native American, Hispano, and American frontier music of the Southwestern United States and Northern Mexico, including Western, honky tonk, ranchera, and corrido. By the early 1950s a blend of Western swing, country boogie, and honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre; rockabilly was also a starting point for eventual rock-and-roll superstar Elvis Presley, who would return to his country roots near the end of his life. Beginning in the mid-1950s, and reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee; Patsy Cline and Jim Reeves were two of the most broadly popular Nashville sound artists, and their deaths in separate plane crashes in the early 1960s were a factor in the genre's decline. Starting in the early 1950s, and during the mid-1960s, Western singer-songwriters such as Michael Martin Murphey and Marty Robbins rose in prominence as did others, throughout Western music traditions, like New Mexico music's Al Hurricane. The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock.

Fourth generation (1970s–1980s) music included outlaw country with roots in the Bakersfield sound, and country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a series of hugely successful songs blending country and folk-rock musical styles. By the mid-1970s, Texas country and Tejano music gained popularity with performers like Freddie Fender. During the early 1980s country artists continued to see their records perform well on the pop charts. In 1980 a style of "neocountry disco music" was popularized. During the mid-1980s a group of new artists began to emerge who rejected the more polished country-pop sound that had been prominent on radio and the charts in favor of more traditional "back-to-basics" production; this neotraditional movement would dominate country music through the late 1980s and was typified by the likes of George Strait. Attempts to combine punk and country were pioneered by Jason and the Scorchers, and in the 1980s Southern Californian cowpunk scene with bands like the Long Ryders and Mojo Nixon.

During the fifth generation (1990s), country music became a worldwide phenomenon. Two types of artists enjoyed mainstream popularity: neotraditionalists such as Alan Jackson, and the more broadly popular stadium country acts, in particular Garth Brooks.

The Chicks became one of the most popular country bands in the 1990s and early 2000s.

The sixth generation (2000s–present) has seen a certain amount of diversification in regard to country music styles. It has also, however, seen a shift into patriotism and conservative politics since the 9/11 Terrorist Attacks, but twenty years later, many are saying the genre is finally starting to move away from that.The influence of rock music in country has become more overt during the late 2000s and early 2010s. Most of the best-selling country songs of this era were in the country pop genre, such as those by Lady Antebellum, Florida Georgia Line, Carrie Underwood, Trixie Mattel, Orville Peck and Taylor Swift.Hip hop also made its mark on country music with the emergence of country rap

The first commercial recordings of what was considered instrumental music in the traditional country style were "Arkansas Traveler" and "Turkey in the Straw" by fiddlers Henry Gilliland & A.C. (Eck) Robertson on June 30, 1922, for Victor Records and released in April 1923.Columbia Records began issuing records with "hillbilly" music (series 15000D "Old Familiar Tunes") as early as 1924.

The first commercial recording of what is widely considered to be the first country song featuring vocals and lyrics was Fiddlin' John Carson with "Little Log Cabin in the Lane" for Okeh Records on June 14, 1923.

was the first country singer to have a nationwide hit in May 1924 with "Wreck of the Old 97".The flip side of the record was "Lonesome Road Blues", which also became very popular. In April 1924, "Aunt" Samantha Bumgarner and Eva Davis became the first female musicians to record and release country songs. Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the decade and into the 1930s. Other important early recording artists were Riley Puckett, Don Richardson, Fiddlin' John Carson, Uncle Dave Macon, Al Hopkins, Ernest V. Stoneman, Blind Alfred Reed, Charlie Poole and the North Carolina Ramblers and the Skillet Lickers.The steel guitar entered country music as early as 1922, when Jimmie Tarlton met famed Hawaiian guitarist Frank Ferera on the West Coast.

Jimmie Rodgers and the Carter Family are widely considered to be important early country musicians. From Scott County, Virginia, the Carters had learned sight reading of hymnals and sheet music using solfege.Their songs were first captured at a historic recording session in Bristol, Tennessee, on August 1, 1927, where Ralph Peer was the talent scout and sound recordist.A scene in the movie O Brother, Where Art Thou? depicts a similar occurrence in the same timeframe. Rodgers fused hillbilly country, gospel, jazz, blues, pop, cowboy, and folk, and many of his best songs were his compositions, including "Blue Yodel",which sold over a million records and established Rodgers as the premier singer of early country music. Beginning in 1927, and for the next 17 years, the Carters recorded some 300 old-time ballads, traditional tunes, country songs and gospel hymns, all representative of America's southeastern folklore and heritage.

Derived from the traditional Western, including Red Dirt, New Mexico, Texas country, Tejano, and honky-tonk musical styles of the late 1950s and 1960s. Songs such as the 1963 Johnny Cash popularized "Ring of Fire" show clear influences from the likes of Al Hurricane and Little Joe, this influence just happened to culminate with artists such as Ray Price (whose band, the "Cherokee Cowboys", included Willie Nelson and Roger Miller) and mixed with the anger of an alienated subculture of the nation during the period, outlaw country revolutionized the genre of country music."After I left Nashville (the early 70s), I wanted to relax and play the music that I wanted to play, and just stay around Texas, maybe Oklahoma. Waylon and I had that outlaw image going, and when it caught on at colleges and we started selling records, we were O.K. The whole outlaw thing, it had nothing to do with the music, it was something that got written in an article, and the young people said, 'Well, that's pretty cool.' And started listening." (Willie Nelson)The term outlaw country is traditionally associated with Willie Nelson, Jerry Jeff Walker,Hank Williams, Jr., Merle Haggard, Waylon Jennings and Joe Ely.It was encapsulated in the 1976 album Wanted! The Outlaws.

Many Western and Outlaw country music artists maintained their popularity during the 1980s by forming supergroups, such as The Highwaymen,Texas Tornados, and Bandido.

Country pop

Country pop or soft pop, with roots in the countrypolitan sound, folk music, and soft rock, is a subgenre that first emerged in the 1970s. Although the term first referred to country music songs and artists that crossed over to top 40 radio, country pop acts are now more likely to cross over to adult contemporary music. It started with pop music singers like Glen Campbell, Bobbie Gentry, John Denver, Olivia Newton-John, Anne Murray, B. J. Thomas, the Bellamy Brothers, and Linda Ronstadt having hits on the country charts. Between 1972 and 1975, singer/guitarist John Denver released a series of hugely successful songs blending country and folk-rock musical styles ("Rocky Mountain High", "Sunshine on My Shoulders", "Annie's Song", "Thank God I'm a Country Boy", and "I'm Sorry"), and was named Country Music Entertainer of the Year in 1975. The year before, Olivia Newton-John, an Australian pop singer, won the "Best Female Country Vocal Performance" as well as the Country Music Association's most coveted award for females, "Female Vocalist of the Year". In response George Jones, Tammy Wynette, Jean Shepard and other traditional Nashville country artists dissatisfied with the new trend formed the short-lived "Association of Country Entertainers" in 1974; the ACE soon unraveled in the wake of Jones and Wynette's bitter divorce and Shepard's realization that most others in the industry lacked her passion for the movement.

During the mid-1970s, Dolly Parton, a successful mainstream country artist since the late 1960s, mounted a high-profile campaign to cross over to pop music, culminating in her 1977 hit "Here You Come Again", which topped the U.S. country singles chart, and also reached No. 3 on the pop singles charts. Parton's male counterpart, Kenny Rogers, came from the opposite direction, aiming his music at the country charts, after a successful career in pop, rock and folk music with the First Edition, achieving success the same year with "Lucille", which topped the country charts and reached No. 5 on the U.S. pop singles charts, as well as reaching Number 1 on the British all-genre chart. Parton and Rogers would both continue to have success on both country and pop charts simultaneously, well into the 1980s. Country music propelled Kenny Rogers’ career, making him a three-time Grammy Award winner and six-time Country Music Association Awards winner. Having sold more than 50 million albums in the US, one of his Song "The Gambler," inspired multiple TV movies, with Rogers as the main character.  Artists like Crystal Gayle, Ronnie Milsap and Barbara Mandrell would also find success on the pop charts with their records. In 1975, author Paul Hemphill stated in the Saturday Evening Post, "Country music isn't really country anymore; it is a hybrid of nearly every form of popular music in America."

During the early 1980s, country artists continued to see their records perform well on the pop charts. Willie Nelson and Juice Newton each had two songs in the top 5 of the Billboard Hot 100 in the early eighties: Nelson charted "Always on My Mind" (No. 5, 1982) and "To All the Girls I've Loved Before" (No. 5, 1984, a duet with Julio Iglesias), and Newton achieved success with "Queen of Hearts" (No. 2, 1981) and "Angel of the Morning" (No. 4, 1981). Four country songs topped the Billboard Hot 100 in the 1980s: "Lady" by Kenny Rogers, from the late fall of 1980; "9 to 5" by Dolly Parton, "I Love a Rainy Night" by Eddie Rabbitt (these two back-to-back at the top in early 1981); and "Islands in the Stream", a duet by Dolly Parton and Kenny Rogers in 1983, a pop-country crossover hit written by Barry, Robin, and Maurice Gibb of the Bee Gees. Newton's "Queen of Hearts" almost reached No. 1, but was kept out of the spot by the pop ballad juggernaut "Endless Love" by Diana Ross and Lionel Richie.The move of country music toward neotraditional styles led to a marked decline in country/pop crossovers in the late 1980s, and only one song in that period—Roy Orbison's "You Got It", from 1989—made the top 10 of both the Billboard Hot Country Singles" and Hot 100 charts, due largely to a revival of interest in Orbison after his sudden death.The only song with substantial country airplay to reach number one on the pop charts in the late 1980s was "At This Moment" by Billy Vera and the Beaters, an R&B song with slide guitar embellishment that appeared at number 42 on the country charts from minor crossover airplay. The record-setting, multi-platinum group Alabama was named Artist of the Decade for the 1980s by the Academy of Country Music.

 

 

 

 

Boere Music

 

ABOUT Boere Music


SOUTH AFRICAN BOERE MUSIC AND VOLK MUSIC

Hartlik welkom by die webtuiste van die SUD AFRIKAANSE MUSIK BLAD van Germany wat sedert 2014 toegewy is aan Tradisionele Boeremusiek, ons volkskat en kleinnood.

Ons nooi almal uit om meer oor die SUD AFRIKAANSE MUSIK BLAD en ons tradisionele boeremusiek te wete te kom en dan saam op te pas en uit te bou. Lees meer oor hierdie besonderse styl van konsertina spel asook die verskillende ander instrumente. Daar word ook verwys na verskillende orkeste, hulle opnames en die geskiedenis van die Tradisionele Boeremusiekklub van Suid-Afrika.
U word uitgenooi om nuus of biografiese inligting van persone en orkeste by te voeg – Vandag se algemene kennis en alledaagse gebeurtenis vorm die grondslag van môre se geskiedenis. U bydrae kan keer dat hierdie erfenis vir ewig verlore gaan.




Boeremusiek is a folk music style in South Africa and Namibia. It comes from European musical traditions and is cultivated by the Boers. It is closely linked to the Boer dance form Sokkie. Boeremusiek is a light, happy and simply structured dance music that is played by bands (Boereorkes; German for example: "Burenorchester"). It is performed for dance or at festivals. The focus is on the concertina, which is played in many variations, or the accordion. In addition, piano and harmonium, but also guitar, bass guitar, double bass and banjo are used. The melodies are played in major keys. The dances include Scottish, Polka, Waltz, Mazurka, Quadrille and Vastrap. The vastrap originated in South Africa and is a kind of quick step. Well-known interpreters include Klipwerk Orkes and Klipwerk Lêplek, Danie Gray, Hennie de Bruyn en die Kitaarkêrels and Nico Carstens (1926–2016), whose piece Zambezi, composed in the 1950s, became internationally known, including through recordings by Acker Bilk and James Last. Most of the time the music is played by men, often at an advanced age. Boeremusiek is occasionally combined with rock music, hip hop and other styles of music. The use of the concertina remains typical. In the 19th century, there were British military bands in the Cape Colony, which also played to dance. The music was recorded and adapted by the South African Boers. The concertina played a major role: In 1902 alone, 97,315 concertinas were introduced from Germany. In the 1930s, records with Boeremusiek were recorded for the first time, including by the Vyf Vastrappers ("Fünf Vastraper"), the Vier Transvaalers ("Vier Transvaalers") ) and the Ses Hartbrekers ("Six Heartbreakers"). In the 1970s the Boeremusiek lost its popularity. As a countermeasure, the Konsertinaklub van Suid-Afrika, later Tradisionele Boeremusiekklub van Suid-Afrika, was founded in 1981 ("Traditional Boeremusiekklub von South Africa"). It represents the traditional form of Boeremusiek. The actual reason for the foundation was the desire to provide the grave of the musician Faan Harris with a tombstone. In 1989 the Boeremusiekgilde van Suid-Afrika ("Boeremusiekgilde von South Africa"), the Boeremusiek in al sy forme ("in all variants"), through to the use of electrical instruments



 







Biography 

Klipwerf Orkes

Klipwerf's current members are from diverse backgrounds, but like all before them, they still bring home the goodies!

Hentie Visagie and his sons, Johann and Kobus, together with Nicol Louw started Klipwerf Boereorkes in 1969. They became enormously popular virtually overnight, and following the natural flow of things, recorded their first album almost 20 years later - in 1988.
Since 1990 Klipwerf Orkes (namechange!) has been recording an album per year, and because of the unique style, demand for public performance has doubled and redoubled. Klipwerf has become a household name in South Africa, sparking countrywide performances.

With sales in excess of 900 000 records, Klipwerf Orkes is the most successful South African tradisional band ever. Of their 25 albums and three DVDs, 22 have reached Gold status, and six Platinum.

Featuring the talent of IAN ROBERTS, the Radio Kalahari Orkes has toured the length and breadth of our land. No dorp they have visited will ever be the same again.

But that’s a good thing. No, really. Except for Pofadder but we won’t talk about that.

Irreverent, toe tapping musiek that smells, tastes and sounds like the veld, the air and the ryhthm of windmills on the dusty landscape.

Music that is thick with the kick of mampoer jong!

Featuring the Accordion / Trekorrel (sies man what you thinking?), the Fiddle/ Viool (this oke can play -tjoe), Guitar/Kitaar, Drums/Dromme, Castanets ( wat ?), Mouth Organ / Mondorrel (you think you funny with your jokes hey?), Penny Whistle and Bass /Bas.

Plus (of kohss) lekker vocals to some brilliant tunes from then and now sung by the pretty Krummelpoppie and the ouens. A little Rock ‘n Roll, Ghoema, Latin and Africana music in a rainbow fusion.

 

Rolenda en Janus Heystek spelen traditionele muziek

 






Is volksmuziek wel of geen echte muzieksoort? Het antwoord is niet belangrijk. Vast staat wel dat er niet een soort volksmuziek bestaat, maar wel honderden. Ieder land heeft in de loop der eeuwen als gevolg van cultuurverschillen zijn eigen volksmuziek ontwikkeld. Zo zijn er grote verschillen per land ontstaan. Mede afhankelijk ook of die wordt gespeeld in de stad of op het platte land. Soms alleen instrumentaal, andere weer hebben er een tekst bij geschreven om zo uitdrukking te kunnen geven aan bijvoorbeeld liefde of verzuchtingen over een strijd dat een volk heeft moeten leveren. Voor- en tegenspoed wisselen elkaar in de teksten af. Het zijn vaak de traditionele liedjes die in de loop der eeuwen door het gewone volk werden gezongen en mondeling doorgegeven. Het bevestigt de behoefte voor het in stand houden van oude klanken. Een voorbeeld daarvan zijn de vele Shantykoren die Nederland telt. Ook in Zuid-Afrika wenst men de muzikale herinneringen aan de oude Boeren tijd hoog te houden. We hebben het dan over “Boeremusiek”.

 

Ons broedervolk, de Afrikaners en/of Boeren in Zuid-Afrika, hebben een geheel eigen, levendige en vrolijke volksmuziek ontwikkeld met de concertina als het middelpunt. Dit is een kleine accordeon die vanwege zijn geringe gewicht en grootte tijdens de Grote Trek in 1836 mee kon worden genomen. ’s Avonds als een overnachtingsplek was gevonden werd rond de vuren gezongen wat saamhorigheid bevorderde.

 

Oprichting orkest

De behoefte aan deze muzieksoort is blijven bestaan. Het is dan ook niet vreemd dat vijf jaar geleden in Kaapstad drie jonge muzikanten hun liefde tot de traditionele boerenmuziek uitspraken. Het waren Wynand Smit, Daantjie Kotze en Rejean Viljoen die, ondanks dat zij zelf niet van De Kaap afkomstig waren, een zelfde idee hadden over deze muziek. Een orkest met de naam “Kaapland Boere-Orkes” werd opgericht.

Toen begon het zoeken naar geschikte muzikanten voor een gezamenlijk juiste sound van de Boerenmuziek. Zo kwamen ze ook bij Rolenda Theunissen Heystek die banjo speelt en haar zoon Janus die op een basgitaar speelt. Andere leden van het orkest zijn Wynand Smit (gitaar), Ernest Geel (gitaar), Christo Wiese (accordeon) en Daantjie Kotze (concertina) hij is ook de leider van het gezelschap. Samen spelen zij gezellige en ongecompliceerde muziek en weten een schare getrouwen te trekken. Ze zijn graag geziene gasten op tal van festiviteiten in Zuid-Afrika. Zij spelen nu muziek gebaseerd op de Nawalandse en Transvaalse stijl met een herkenbare Kaapse invloed.

Boere Danse

 

[Bron: Die ontstaan en ontwikkeling van Boeremusiek - W.A. Schultz]

Die term boeredans word in hierdie verband gebruik as 'n kollektiewe term omdat dit die kenmerkende dansvorms behels wat aan die betrokke boeremusiekwysies gekoppel word. lnderwaarheid kom al hierdie danse, behalwe die vastrap, vanaf oorsee. Maar al het die danse oorsee ontstaan, het hulle hier ingeburger geraak en 'n besondere karakter aangeneem as gevolg van die kenmerkende eienskappe van boeremusiek.

Die danse wat in Europa se balsale gewild geraak het, het stadig versprei en Engeland die laaste bereik. Daarvandaan het dit betreklik gou na Amerika en Suid-Afrika versprei. In Engeland het verskeie groot danssale gedurende die 18de eeu tot stand gekom, waarvan Almack's die bekendste was. Dit sal interessant wees om te let op die danse wat teen die middel van die 19de eeu in Engeland se balsale gedans was, want dit sal ongetwyfeld 'n weerspieëling vind in die danse wat in Kaapstad gewild was.
Die vernaamste danse in hierdie genre is die wals, polka, seties en masurka, maar daar is 'n ander "indringer", waarvan die ouers onbekend is, en wat in die omgangstaal die vastrap genoem word.

Die Masurka
Grove beskryf die mazurka as 'n Poolse volksdans wat op die vlaktes van Mazovië rondom Warskou ontstaan het. Die bewoners van die gebied was bekend as Mazurs, en hulle danse wat uit die argaïse polska ontwikkel het, was in ander lande as mazurkas bekend. Die musiek van die dans is in 3/4-maat, met 'n kragtige beklemtoning van of die tweede, of die derde maatslag, wat gepaard gaan met 'n klop van die dansers se skoen. Gewoonlik neem die danser 'n statiger houding in as by die wals. Die dansers improviseer hulle eie bewegings; daar bestaan geen gevestigde voorskrifte in verband met danspatrone nie. Daar is gewoonlik 'n groep van 8 of 12 pare dansers, maar soms enige onbepaalde getal danspare. Die begeleiding van die vroegste masurkas was op 'n duda, 'n soort doedelsak, gespeel. Oorspronklik was daar ook by die dans gesing. Die dans het reeds gedurende die l6de eeu ontstaan en gedurende die 17de eeu deur die hele Pole en omliggende lande versprei. Nadat die dans deur die hoër klasse van Parys aanvaar is, het die dans Engeland vroeg in die 19de eeu bereik. The Observer van 25 April 1830 skryf asof die dans onlangs ingestel was, of binekort bekend gestel sou word. Rust beweer egter dat die dans eers in 1845 in Engeland bekend geraak het. Miskien is dit waar dat die dans reeds in 1830 in Engeland bekend gestel is en dat dit eers teen 1845 algemeen bekend en gewild geraak het. Vanaf Londen het die dans ook na die VSA versprei. Na die verdeling van Pole het die dans ook in Rusland bekend geraak.

Die groot aantal masurkas wat Chopin gekomponeer het gee 'n aanduiding van hoe gewild die musiekstyl van die masurka was. Ander Poolse en Russiese komponiste het ook klassieke musiek in die masurkastyl gekomponeer.

Daar bestaan 'n advertensie van Monsieur Hus, wat aandui dat die masurka teen 24 April 1848 in die Kaap bekend was. Dit is natuurlik moontlik dat die Britse militêre orkeste bladmusiek van die jongste musiekstukke sou ontvang het, sodat ons met 'n redelike mate van sekerheid kan aanvaar dat die dans ongeveer dieselfde tyd wat dit in die VSA bekend geraak het na die Kaap gekom het.

G.B.S. Darter het in 1853 'n musiekwinkel in Kaapstad geopen, waar hy ingevoerde bladmusiek verkoop het. Die musiekwinkel van Adney het reeds op 6 November 1845 bladmusiek van polkas kon voorsien. Suid-Afrikaners sou dus die jongste oorsese dansmusiek kon bekom. Daar bestaan altyd nog die moontlikheid dat die militêre orkeste van die jongste gewilde wysies aan die breë publiek sou bekendstel.

Die Suid-Afrikaanse Musiekensiklopedie verstrek die volgende interessante inligting wat, onder andere, betrekking het op die masurka:

R. Bands het moontlik saam met die Ryksmagte as 'n blaser na Suid-Afrika gekom. Na sy ontslag het hy in Queenstown gaan woon, waar die naam Bands 40 jaar lank opduik. Bands, die dorp se sipier, was die eerste dirigent van die Queenstown Volunteer Band vanaf 1864, toe hulle maandeliks, of tweemaandeliks, promenadekonserte gehou het in die bekende Hexagon, of in die park. Bands was 'n komponis van dansmusiek; op die Queens Birthday Ball in Maart 1874 het die program van 21 items vier van sy werke ingesluit. Hy het die volgende masurkas gekomponeer:

Gedurende die tagtigerjare het verskeie ander Suid-Afrikaanse komponiste masurkas gekomponeer byvoorbeeld:

Konsertinas

A concertina is similar to an accordion and is the lead instrument in most Boeremusiek bands. There are many different types of concertinas, which is why Boeremusiek has so many unique sounds and styles, and the construction the concertina is what makes the different sounds in the Boeremusiek band; it depends on where the slots and holes are put makes the difference on the sound that the concertina makes.

Other instruments that might be in a Boeremusiek band would be piano accordions, button harmonicas, accordions, pianos, harmoniums and the guitar, and sometimes, a cello or bass guitar may be seen.

The sound of a Boeremusiek band may depend on what region the band is from, seeing that Boermusiek’s intent is to be informal, instrumental dance music.

Today, there are many successful Boeremusiek bands that have recorded albums. Some famous bands and individual artists today include Klipwerf Boereorkes, Danie Grey, Nico Carstens, Taffie Kikkilus, Brian Nieuwoudt, Samuel Petzer, Worsie Visser and Die Ghitaar Man

Boeremusiek Instrumente
'n Verskeidenheid van instrumente word in Tradisionele Boeremusiek gebruik. Die instrumente wat hier genoem word verteenwoordig 'n kort opsomming. Die samestelling van instrumente wissel van orkes tot orkes. Die instrument samestelling van 'n spesifieke orkes verander ook soms per geleentheid wanneer musikante gedurende die optrede van instrument verwissel.

A concertina is similar to an accordion and is the lead instrument in most Boeremusiek bands. There are many different types of concertinas, which is why Boeremusiek has so many unique sounds and styles, and the construction the concertina is what makes the different sounds in the Boeremusiek band; it depends on where the slots and holes are put makes the difference on the sound that the concertina makes.

Other instruments that might be in a Boeremusiek band would be piano accordions, button harmonicas, accordions, pianos, harmoniums and the guitar, and sometimes, a cello or bass guitar may be seen.

The sound of a Boeremusiek band may depend on what region the band is from, seeing that Boermusiek’s intent is to be informal, instrumental dance music.

Today, there are many successful Boeremusiek bands that have recorded albums. Some famous bands and individual artists today include Klipwerf Boereorkes, Danie Grey, Nico Carstens, Taffie Kikkilus, Brian Nieuwoudt, Samuel Petzer, Worsie Visser and Die Ghitaar Man

Boeremusiek Instrumente
'n Verskeidenheid van instrumente word in Tradisionele Boeremusiek gebruik. Die instrumente wat hier genoem word verteenwoordig 'n kort opsomming. Die samestelling van instrumente wissel van orkes tot orkes. Die instrument samestelling van 'n spesifieke orkes verander ook soms per geleentheid wanneer musikante gedurende die optrede van instrument verwissel.

Die konsertina is meestal die hoofinstrument in 'n Boereorkes. Die Afrikaanse volksname vir konsertinas verdeel die instrument in twee breë kategorieë nl."Engelse konsertinas" en "Boerekonsertinas". Die onderskeid word gemaak op grond van die konstruksie tegniek en fisiese voorkoms van die instrument asook die aard van die klank wat dit voortbring.

Boerekonsertina
Engelse Konsertina

Die klassifisering slegs op grond van voorkoms veroorsaak verwarring omdat die internasionale benaming van konsertinas die klassifisering op grond van die knoppie uitleg doen. Instrumente wat op die oog af dieselfde fisiese voorkoms het kan radikaal van mekaar verkil.

Die konstruksie tegniek van Engelse konsertinas gebruik 'n radiale toonkamer uitleg om die fluitjies te huisves.

Daar is verskillende knoppie rangskikkings en die noot wat voortgebring word kan wissel wanneer die instrument gedruk of getrek word. Elkeen het oor die jare ontwikkel tot 'n spesifieke styl binne boeremusiek en hier volg 'n paar voorbeelde. Kitaar

Die ritme kitaar vorm die grondslag van begeleiding en 'n boereorkes sonder ten minste een kitaar is ondenkbaar. Die aanslag is sterk ritmies en kan soms die melodie aanvul. Wanneer die kitaar as hoof instrument aangewend word is die karakter steeds onmiskenbaar as Boeremusiek met ritme begeleiding.

Banjo

Net soos met die kitaar word die banjo as ritme instrument sowel as hoof instrument aangewend. Die Ukulele het die voorkoms van 'n banjo en is heelwat kleiner.

Trekklavier

Die trekklavier sowel as die knoppies akkordeon was vir 'n lang tyd in 'n mindere mate in boeremusiek aangewend. Daar is deesdae 'n herlewing onder musikante met hierdie instrument.

Piano Accordions as well as Button Accordions and Button Harmonicas are mostly used for accompaniment. There are also bands that feature them as the lead instrument.

Traporrel en klavier

Die traporrel en klavier word deesdae meestal vir begeleiding aangewend. Tant Bettie Ferns en Chris Buys en Ben Bester het bekendheid verwerf met die traporrel. Tant Carolina Leeson het traporrel sowel as klavier bespeel. Jim Muller was 'n leidende eksponent van die klavier.

Die Settees
Die herkoms van die settees kan terug herlei word na die schottiche, met musiek soos die van die polka, maar stadiger. Dit was 'n sosiale volks-dans vir pare, wat waarskynlik in Duitsland ontstaan het. Dit was 'n gewilde balsaaldans in Europa en Amerika gedurende die 19de eeu. Verskillende dansvorms word beoefen maar die algemene danswyse is drie vinnige passe en 'n huppelpas. Terwyl die dansers rondom die dans-vloer beweeg, draai hulle om mekaar, of varieër hulle dansbewegings. Die musiek is in 2/4 of 4/4 tydmaat.

Grové beskryf die schottisch as 'n rondedans, soos die polka, maar stadiger. Daar is nie ooreenstemming oor die oorsprong van die dans nie. Die dans kon moontlik ontwikkel het deur die invoeging van walswysies in die ecossaice, en na die verdwyning van laasgenoemde het dit voortbestaan as 'n wals in 2/4 tydmaat. Die dans is in 1848 in Engeland bekend gestel as 'n Duitse polka. Twee variante wat bekend was as die Schottisch Boheme en polka tremblante was in 1840 in Parys bekend gestel. Die ecossaice was 'n soort kontradans wat gedurende die vroeë 19de eeu ontstaan het. Dit was 'n vinnige, energieke dans; die musiek was gewoonlik in 2/4 tydmaat. Daar was gewoonlik vier figure, in opeenvolgende kombinasies, deur die danspare gedans. Mettertyd is dansbewegings soos die van die wals uitgevoer.

Volgens Francis Rust was die schottisch in Engeland gewild vanaf 1848 tot 1880. Sy sê die dans was vroeër in Beiere bekend onder die naam Rheinlander. Die schottisch was reeds in 1840 in Parys bekend, en dit was waarskynlik voor 1848 in Engeland bekend gestel.

Daar bestaan 'n advertensie van Miss Woolf, wat vanaf 15 Maart 1849 onderrig in die schottisch (benewens ander danse) sou gee. Geeneen van die advertensies van die ander dansmeesters verwys na die schottisch nie, wat weereens daarop dui dat die dans eers nadat dit in Engeland bekend geraak het na die Kaap gekom het.

Charles Holt, 'n Suid-Afrikaanse komponis, komponeer in 1854 'n musiekstuk met die titel "Darling Schottische" vir die klavier, wat deur die Kaapstadse firma Saul Solomon & Kie., Longmarketstraat 61, gedruk is.

Op 24 Julie 1860 het 'n Britse oorlogskip, die Euryalus, in Tafelbaai aangekom met 'n vrag betonblokke wat vir die breekwater bestem was. Daar het ook 'n belangrike besoeker aan wal gestap - Prins Alfred, die seun van Koningin Victoria. Die hoofdoel van sy besoek was om namens die Koningin die seremonie in verband met die aanleg van die breekwater by te woon.

Die koms van die Prins het blykbaar die musikante geïnspireer want verskeie komposies wat met die Prins, of met sy besoek in verband staan, het die lig gesien. 'n Mej. Kannemeyer het die "Euryalus Waltz" vir die geleentheid gekomponeer. Anna Bender-Brink beskryf die komposisie as "verreweg die aantreklikste stukkie musiek wat ooit van die Kapenaars in hierdie tyd verskyn het". In dieselfde tydperk verskyn daar van WM Ireson in een publikasie die volgende komposisies:

Hierdie twee werke is opgedra aan "Colonel Eustace and The Officers of the Cape Royal rifles" Die voorafgaande gegewens dui klaarblyklik daarop dat die seties teen 1854 so ingeburger was dat plaaslike musikante in hierdie mussiekstyl gekomponeer het.

What is boermusic?

This is a question that has experts pondering for years and can not be answered without a measure of controversy. In short we, The Traditional Boer Music Club, can define Boermusic as instrumental folk music, dating from the period during which the people who practiced it where internationally know as "Die Boere" (The Boers) of South Africa. It is informal music that is played in a distinctive way and was primarily intended as accompaniment for social dancing. For the purpose of this conversation we exclude other kinds of Afrikaans music from the same period like ballads, serenades and music aimed at passive audiences.

What is the Character of Boermusic?

It is nearly impossible to put the rich variety of feeling elements, nuances and sounds that form the essence of Boermusic into words. It is an "experience" of strong and unique character that can not be described in music science terms. The concertina was, and is still to this day, the top lead instrument in Boermusic. Apart from the different types of concertinas that are found in Boer music, there are different dance rhythms and variations in accompaniment. It is striking how each artist often develops a unique and recognizable style. Just as amazing is how the different types of concertinas as well as the different geographical regions created divergent disciplines within Boermusic.

What are the origins of Boermusic?

The origins of Boermusic is like a vine with entangled roots and the development has to be distilled from history and myth. The earliest writings contained no reference to the term "Boermusic" or "Boere orkes" (Boermusic band). It is therefor necessary to search for clues that point to the music in question as light, cheerful, informal and indigenous dance music and not formal or classical music. For that we have to follow references to music-, dance- and song habits during the course of history to determine the inception of Boermusic and how it developed.

Boermusic is largely European in origin and it would be a misconception to think that it was brought to South Africa by the early settlers. Most of it was imported fairly recently but aquired a flavour of its own and remained in vogue here long after it went out of fashion abroad.

How did it get to South Africa?

Whenever a certain dance became popular in Europe or anywhere else, it was not long before it was introduced in the Cape by military bands of the British Empire. Whenever they were off duty, they hired themelves out for parties, weddings and other social events. There where dance masters who taught the new dances to the locals and from there
it spread into the hinterland. It acquired a local flavour and character of it's own in the process. A large volume of Boermusic was consequently composed by local musicans, as is still the case today.

There where also music teachers who noted down local tunes. The first person to do this was Charles Etienne Boniface (1787-1853) who arrived in the Cape in February 1807