Matthias Loibner

Hurdy-gurdy is a drone‑based musical style centered on the hurdy-gurdy (vielle à roue), a string instrument sounded by a rosined wheel turned with a crank. Melodies are played on keyed chanterelle strings while one or more bourdon (drone) strings provide a continuous tonal bed. A distinctive "buzzing" bridge (the trompette or chien) can be engaged rhythmically by subtle wrist accents on the crank, turning the instrument into its own rhythm section. The genre draws on medieval, Renaissance, and rural European folk dance traditions (especially from central France, Iberia, and Central/Eastern Europe), but it also thrives in contemporary folk revival and experimental settings. Typical repertoire includes bourrées, waltzes, marches, and modal airs in Dorian, Mixolydian, and Aeolian modes, performed solo or with companions such as bagpipes, diatonic accordion, fiddle, and frame drums.

Medieval music refers to the diverse sacred and secular musical practices of Europe between the fall of the Western Roman Empire and the dawn of the Renaissance. It spans more than eight centuries, from early monophonic chant to the first notated polyphony. Core features include the use of church modes rather than major/minor, extensive reliance on vocal music (Latin sacred chant as well as vernacular song), and the progressive development from unmeasured chant to rhythmic modal notation and, later, mensural notation. Texture evolves from monophony (plainchant, troubadour songs) to organum, conductus, and the motet, culminating in complex isorhythmic works by the late 13th–14th centuries. Secular traditions—troubadours and trouvères in France, Minnesänger in German lands, and the Iberian Cantigas—coexisted with and influenced sacred practice. Instruments such as the vielle, harp, psaltery, recorder, shawm, hurdy-gurdy, and portative organ often doubled or accompanied voices, though much music remained purely vocal.