2021 Volume 67 Issue 1 Pages 17-33
This article concerns the Italian folk dance tarantella, in particular the pastorales of the Lucanian
region. It examines their unique musical rhythm as embodied in the techniques of the musicians
and dancers, thereby illuminating the physical aspects common to the music and dance. It explores
the relationship between playing techniques of the zampogna, an Italian bagpipe indispensable in
pastorale, and the musical rhythm, based on the organology of the zampogna and the musical structure
of pastorale.
This reveals that the pastorale’s ternary rhythm (♩ ♪), produced through the zampogna player’s
“closing to opening” fingering, is felt through the player’s singular bodily motion of “closing” and emphasizes
the accented or dance beat by stressing the “closing” motion alternately blending with the
drone. The rhythm is also manipulated through the speed and timing of the “closing” motion so the
player can freely perform both binary and ternary rhythms.
Examination of the “right foot to left foot” dance step in a ternary rhythm reveals that the dancer
engages the rhythm with a single bodily motion, stepping firmly with the right foot; the dancer
stresses the downbeat, that is, the dance beat by stomping forcefully with the right foot for sufficient
time; and the dancer can change the rhythm from ternary to binary by manipulating the
weight and duration of the step.
In conclusion, the rhythmic relationship between the binary and ternary of tarantella can be interpreted
as “interchangeable and fluid,” rather than “ambiguous,” as had been argued. The rhythmic
characteristic of tarantella is shared between the music and the dance, because the embodied
rhythms of the zampogna player and the dancer correspond.