MUSIC OF BRITTANY AND BRETON OR BRETON SPEAKERS MUSIC
(Sonerezh Breizh ha Sonerezh breton pe brezhonek)

In the book, I discussed the dual meaning of identity expressions, on the one hand citizen or subjective, and on the other hand objective, which is more clearly suggested by two words in Breton. Similarly, there is a “citizen” Music of Brittany: encompassing everything played from the Marches to the island of Ouessant, whether traditional, classical, jazz, rock, reggae, hip-hop, or North African. And there is a Breton music with its own characteristics. These vary in degree of differentiation, from the slightest to the most pronounced.

You can simply passively enjoy the benefits gained by activists, consuming festoù-noz and bagadoù without any reflection on the future.
On the contrary, you can be aware that nothing is permanent, that without willpower, it will quickly come to an end. No chance for particularisms that are completely submerged in the otherness of a society governed outside Brittany.

My reflection was that it was necessary to seek what is most profoundly distinct here, to understand what gives meaning to the name Breton. We are no longer talking about citizenship, nor the democratic reflex of the majority. We dig into the ground to uncover the buried treasure.
There are misplaced sensitivities. The fact that logic leads to doing so in the heart of Lower Brittany and not at the gates of Mayenne has nothing to do with a value judgment. Aesthetic trends, for example, may become more ” archaic” the farther they move from the center of Europe. The coasts, open to external influences, must be considered separately. 

An unavoidable fact (among many others) is the influence of language on music (stress accents, of course, but many other elements). In a related field, the habits of poetic writing (oral or not) also play a role. 

Returning to archaisms, this is why I highlighted “archaic” themes using defective pentatonic scales (out of taste and pedagogy): Suite des Montagnes, the intro of Pop-Plinn, the one from Suite-Sudarmoricaine, Metig, Spered hollvedel, An dro…
I understood that our swings benefit from hypnotic rhythmic overlays (in non-written interpretations), various binary-ternary combinations and anticipations, cyclic phases not aligned with phrases, somewhat obscuring the obviousness of downbeats or upbeats.
I have observed a rejection of overly apparent symmetries, a refusal of pure and simple repetition.
The playing of the sonneurs de couple taught me special rubato and the weightlessness of marches and gwerzioù.
The treujenn-gaol, the Vannetais bombards, Mme Bertrand, the Goadec sisters, and others have shown me various non-classical temperaments.
I have noticed a marked propensity for ornamentation in certain areas.
My ears have grown accustomed to a craving for harmonics and a taste for high-pitched sounds (seemingly countering the humid air!).
And I have observed the omnipresence of various overlapping patterns.
This is where Brittany stands out the most, and where everything I’ve just mentioned can be found.