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As is the case for many Canadian musical traditions, the fiddle is the most commonly associated instrument with Québec traditional music. Despite this association, however, the violin did not travel over with the first colonists to New France. It came over first in the mid-17th century and then flourished in New France during the 18th century, animating the bals of society and folk alike. Though its presence excited the wrath of Québec’s clergy, it was clear even at such an early date that dancing and fiddling were essential components of the Québécois character. As a quote from 1767 attests: “Il est inutile de vous dire qu’il y avait des violons. On ne donne pas un repas au Canada sans violons. Quelle race de danseurs.” (Quoted in Joyal 2005) [digitalist's translation: “It is useless to tell you that there were violins. You can't give [~have] a meal in Canada without violins. What a breed of dancers.”]

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By the late 19th century and early 20th century, a distinctly Québécois vision of traditional music had developed from diverse influences such as Irish instrumental tunes, Scottish stepdancing, European dance forms, old French songs and 78rpm records from the US and Canada. As the recording era dawned, the fiddle would rise to the fore as the premier instrument of Québec, followed closely by the accordion.

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As Québec moved toward more radical self-definition in the 1960s, young musicians and fans created a folk revival of sorts that continues to this day. The group most famous for leading this revival was La Bottine Souriante (The Smiling Boot). Founded in 1976 in the musical town of Joliette, this folk super-group is still going strong 30 years later! Made up originally of young musicians and singers drawn from the Québécois folk revival of the 1960s, the band has seen many musicians move through its ranks and is currently made up entirely of the next generation of folk musicians in Québec. In the band’s first incarnation, lasting from 1976 to 1989, La Bottine set the template for all Québec trad bands to come with a main instrumentation of fiddle and accordion, a vast repertoire of traditional chansons à réponse or call-and-response songs and the immediate aural signifier of French-Canadian seated clogging, or la podorythmie. This period saw the seminal albums La Traversée de l’Atlantique and Chic & Swell. These two albums are the best introduction available to the traditional songs and dances of Québec.

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The ceinture fléchée [sɛ̃tyʁ fleʃe] (French for "arrowed sash"; English: L'Assomption sash or "arrow sash") is a type of colourful sash, a traditional piece of Québécois clothing linked to at least the 17th century (of the Lower Canada, Canada East and early confederation eras). The Métis also adopted and made ceintures fléchées (Métis-French or Michif translation: "Sayncheur Flayshii" or "Saenche(i)ur Flechey") and use them as part of their national regalia. Québécois and Métis communities share the sash as an important part of their distinct cultural heritages, nationalities, attires, histories and resistances. While the traditional view is that the ceinture fléchée is a Québécois invention, other origins have been suggested as well including the traditional fingerwoven Gaelic crios. According to Dorothy K. Burnham who prepared an exhibit on textiles at the National Gallery of Canada in 1981, and published an accompanying catalogue raisonné, this type of finger weaving was learned by residents of New France from Indigenous peoples.[1][2] With European wool-materials, the syncretism and unification of Northern French and Indigenous finger-weaving techniques resulted in the making of Arrowed Sashes. L'Assomption Sash is the oldest known sash design; produced by Québécois habitants or artisans.

digitalist posted:

Literally A Person posted:

Someone write me a novel sized post about taiko drumming