Medieval music by The Tornals . It will blow your Socks off Hurryken Production.

Formé en 2006, Tornals rassemble musiciens & jongleurs d'un large univers avec une volonté commune : embraser les foules avec une générosité débordante.Hurryken Production Pour réjouir un maximum d'auditoire, Tornals mélange savamment des thèmes originaux & authentiques de musiques anciennes de nombreux horizons avec des arrangements audacieux, festifs et aux sonorités très actuelles. Soutenez TORNALS, http://www.myspace.com/tornals ... pour écouter leur album FAREM TOT PETAR http://www.facebook.com/pages/TORNALS/117383100746 http://tornalsmusic.musicblog.fr/2778653/Tornals-a-son-blog/ Le Medieval Rock est un genre musical dérivé du folk rock et du hard rock et dont les sonorités évoquent la musique médiévale. Le medieval rock se caractérise par l'usage d'instruments médiévaux ou de la Renaissance, tels que la cornemuse, la chalémie, la vielle à roue ou la harpe, ainsi que d'instruments modernes utilisés en musique rock tels que la guitare électrique, la guitare basse, les instruments de percussion ou le synthétiseur. Outre les instruments, la thématique médiévale peut également se trouver dans le texte des chansons. Instruments used to perform mediaeval music still exist, but in different forms. The flute was once made of wood rather than silver or other metal, and could be made as a side-blown or end-blown instrument. The recorder has more or less retained its past form. The gemshorn is similar to the recorder in having finger holes on its front, though it is actually a member of the ocarina family. One of the flute's predecessors, the pan flute, was popular in mediaeval times, and is possibly of Hellenic origin. This instrument's pipes were made of wood, and were graduated in length to produce different pitches. Mediaeval music uses many plucked string instruments like the lute, mandore, gittern and psaltery. The dulcimers, similar in structure to the psaltery and zither, were originally plucked, but became struck in the 14th century after the arrival of the new technology that made metal strings possible. The bowed lyra of the Byzantine Empire was the first recorded European bowed string instrument. The Persian geographer Ibn Khurradadhbih of the 9th century (d. 911) cited the Byzantine lyra, in his lexicographical discussion of instruments as a bowed instrument equivalent to the Arab rabāb and typical instrument of the Byzantines along with the urghun (organ), shilyani (probably a type of harp or lyre) and the salandj (probably a bagpipe).[1] The hurdy-gurdy was (and still is) a mechanical violin using a rosined wooden wheel attached to a crank to "bow" its strings. Instruments without sound boxes like the jaw harp were also popular in the time. Early versions of the organ, fiddle (or vielle), and trombone (called the sackbut) existed. The music of the troubadours and trouvères was a vernacular tradition of monophonic secular song, probably accompanied by instruments, sung by professional, occasionally itinerant, musicians who were as skilled as poets as they were singers and instrumentalists. The language of the troubadours was Occitan (also known as the langue d'oc, or Provençal); the language of the trouvères was Old French (also known as langue d'oil). The period of the troubadours corresponded to the flowering of cultural life in Provence which lasted through the twelfth century and into the first decade of the thirteenth. Typical subjects of troubadour song were war, chivalry and courtly love. The period of the troubadours wound down after the Albigensian Crusade, the fierce campaign by Pope Innocent III to eliminate the Cathar heresy (and northern barons' desire to appropriate the wealth of the south). Surviving troubadours went either to Portugal,Spain, northern Italy or northern France (where the trouvère tradition lived on), where their skills and techniques contributed to the later developments of secular musical culture in those places. The music of the trouvères was similar to that of the troubadours, but was able to survive into the thirteenth century unaffected by the Albigensian Crusade. Most of the more than two thousand surviving trouvère songs include music, and show a sophistication as great as that of the poetry it accompanies. The Minnesinger tradition was the Germanic counterpart to the activity of the troubadours and trouvères to the west. Unfortunately, few sources survive from the time; the sources of Minnesang are mostly from two or three centuries after the peak of the movement, leading to some controversy over their accuracy. Among the Minnesingers with surviving music are Wolfram von Eschenbach, Walther von der Vogelweide, and Niedhart von Reuenthal.

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