In the khelimaske gila, the dance songs, rhythm instruments play an important role. The lyrics are subordinate and often consist of syllables without meaning, as the main function is to accompany the dance. Typical onomatopoeic syllables include hip hop, hoppa or la, la, la. The traditional music practice used whatever utensils were available or easily accessible, such as jugs, cooking spoons and water vessels, as music instruments. They were often accompanied by snapping fingers or clapping hands. In the dance songs, the oral bass, which is produced with the voice, articulated in syllables, and used for rhythmic accompaniment, is particularly noteworthy. The oral bass represents a combination of rhythmic accent and functional bass and is considered an essential characteristic of the songs.

Musical Structure

The function of dance songs is, as the name suggests, to accompany dancing. They are usually in 2/4 or 4/4 measure and use short-phrased melodies in both minor and major keys. The text often consists only of syllables that do not carry meaning but are onomatopoeic. The increase in tempo throughout the song is essential. However, the great tension inherent in these songs is not only created by the agogic component but also by the rhythmic diminution of the original melody.

Sources and further information:

• Hemetek, Ursula. Mosaik der Klänge. Musik der ethnischen und religiösen Minderheiten in Österreich. Wien: Böhlau, 2001.
• Fennesz-Juhasz, Christiane. 2011. „Expertise Fennesz-Juhasz. Lieder der Lovara,“ UNESCO Österreich. Lieder der Lovara. Zugriff am 04.03.2024. PDF
• Heinschink, Mozes. F. 2010. „Expertise Heinschink. Lieder der Lovara.“ UNESCO Österreich. Lieder der Lovara. Zugriff am 04.03.2024. PDF