Flairck - Unintended Revival

Abstract

The 1970s and 1980s saw a folk music revival that spread around the world. During that time many new bands were formed, including Flairck. Despite Flairck's reluctance to classify their music as folk music, they are often classified as such because of the use of specific folk instruments and elements of folk music. For example, in order to classify their compositions, interviewers and critics called it 'symphonic folk' and 'open air chamber music', which also refers to folk music. In this thesis, I compare the definitions of 'music rivival' by Caroline Bithell, Juniper Hill, Owe Rönstrom, Neil V. Rosenberg and Mark Slobin. In addition, I will review Alan Jabbour's concept of 'instrumental folk revival'. This thesis focuses on Flairck's second single, Voorspel in Sofia, as a case study due to its use of the nai: a lăutari panflute. This is an instrument about which little is known, but which is key to answering the main question. Hence, this thesis will discuss the origin and organology of this instrument. Through defining ‘folk music revival’, an analysis of the transcription of Voorspel in Sofia, and information about the nai, I argue to what extent Flairck's music can be linked to the concept of 'folk music revival'. Although Flairck originally composed in their own particular style, given the information about the nai and the arguments of various scholars, I can conclude that the members of Flairck can indeed be considered revivalists.