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Furiant
A furiant is a Bohemian folk dance characterized by its rapid tempo and usage of irregular changing rhythms, hemiolas and syncopation. Furiants are usually written in the time signature 3
4, with off-beat accents that divide their first two measures into three duple units (2
4). The furiant is danced in pairs. The dance became very popular in Bohemia during the 19th century, and many Czech composers such as Antonín Dvořák and Bedřich Smetana wrote furiants in their compositions.
Besides the dance, the word is also used in the Czech language to describe a stubborn, arrogant, boastful person with bloated self-confidence. The word is recorded in the Czech language since the end of the 18th century, then meaning "a rebel" or "a disturber of peace". In this meaning, it appears in Jan Antoš' 1777 opera "De Rebellione Boemica Rusticorum" and in the ballad "Chvála sedláků", also from the 1770s.
It is unclear how the dance became known under the name "Furiant", and the origin of its name is controversial. John Paul Bohumil Dudek suggested the word comes from the Latin word furians, through one way or another. In Bohemia, Farmers were often attributed with attributes connected to the word in its other meanings in Czech, including unrest, hubris, and arrogance (for example, in Ladislav Stroupežnický's 1887 play "Naši furianti"); It is possible that the close connection between the dance and farmers has led to the dance' naming. Moreover, other Bohemian folkdances with mixed meter were also termed with related names such as the "Sedlák" (farmer) or the "Kozel" (billy goat). Ladislav Urban wrote in his book "The Music of Bohemia" (1919):
Besides the Polka, there is another Czech folk-dance with characteristic wild rhythm: The Furiant, which means a boasting farmer.
— Urban, L. (1919). The Music of Bohemia. Part I. p. 21. Czechoslovak Arts Club of New York City; D. B. Updike, The Merrymount Press.
Other explanations for the name were suggested as well: Jaroslav Markl proposed the word arrived through French influence during the Napoleonic wars, and a possible connection to an earlier German dance by the name "Furie" was proposed as well in German circles. A dance in the that name is found in Johann Joachim Quantz's Versuch einer Anweisung die Flöte traversiere zu spielen (1752) and in Daniel Gottlob Türk's Klavierschule (1789).
Sedlák, sedlák, sedlák, ješte jednou sedlák. sedlák, sedlák, sedlák, je velký pán; on má pás na břiše a na svém kožiše tuli-, tuli-, tuli-, tu-, tulipán …
Ta jeho Mařena, ta je obdařena samej-, samej-, samej- ma dukátama.
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Furiant
A furiant is a Bohemian folk dance characterized by its rapid tempo and usage of irregular changing rhythms, hemiolas and syncopation. Furiants are usually written in the time signature 3
4, with off-beat accents that divide their first two measures into three duple units (2
4). The furiant is danced in pairs. The dance became very popular in Bohemia during the 19th century, and many Czech composers such as Antonín Dvořák and Bedřich Smetana wrote furiants in their compositions.
Besides the dance, the word is also used in the Czech language to describe a stubborn, arrogant, boastful person with bloated self-confidence. The word is recorded in the Czech language since the end of the 18th century, then meaning "a rebel" or "a disturber of peace". In this meaning, it appears in Jan Antoš' 1777 opera "De Rebellione Boemica Rusticorum" and in the ballad "Chvála sedláků", also from the 1770s.
It is unclear how the dance became known under the name "Furiant", and the origin of its name is controversial. John Paul Bohumil Dudek suggested the word comes from the Latin word furians, through one way or another. In Bohemia, Farmers were often attributed with attributes connected to the word in its other meanings in Czech, including unrest, hubris, and arrogance (for example, in Ladislav Stroupežnický's 1887 play "Naši furianti"); It is possible that the close connection between the dance and farmers has led to the dance' naming. Moreover, other Bohemian folkdances with mixed meter were also termed with related names such as the "Sedlák" (farmer) or the "Kozel" (billy goat). Ladislav Urban wrote in his book "The Music of Bohemia" (1919):
Besides the Polka, there is another Czech folk-dance with characteristic wild rhythm: The Furiant, which means a boasting farmer.
— Urban, L. (1919). The Music of Bohemia. Part I. p. 21. Czechoslovak Arts Club of New York City; D. B. Updike, The Merrymount Press.
Other explanations for the name were suggested as well: Jaroslav Markl proposed the word arrived through French influence during the Napoleonic wars, and a possible connection to an earlier German dance by the name "Furie" was proposed as well in German circles. A dance in the that name is found in Johann Joachim Quantz's Versuch einer Anweisung die Flöte traversiere zu spielen (1752) and in Daniel Gottlob Türk's Klavierschule (1789).
Sedlák, sedlák, sedlák, ješte jednou sedlák. sedlák, sedlák, sedlák, je velký pán; on má pás na břiše a na svém kožiše tuli-, tuli-, tuli-, tu-, tulipán …
Ta jeho Mařena, ta je obdařena samej-, samej-, samej- ma dukátama.