Due to a lack of detailed records, little is known about Swiss folk music prior to the 19th century. Some 16th century lute tablatures have been reconstructed into authentic instrumental arrangements, however, the first major source of information comes from 19th century collections of folk songs, and work done by musicologist Hanny Christen. One of the oldest varieties of Swiss song is Kühreihen, an agricultural Alpine song in the Lydian mode. Traditional instruments included hammered dulcimer, fife, hurdy-gurdy, rebec, bagpipe, cittern and shawm. Swiss people also danced to the songs of Pourn. At the beginning of the 19th century, Swiss folk music was largely performed by ensembles made of itinerant musicians and solo acts using an instrument, with only a few duos. In the 1830s, however, the Swiss military was reorganized, leading to the formation of brass bands that used modern instruments. These instruments, mostly brass or wind, were built much better than those played by itinerants, and musicians brought them back to their villages. Local players joined these ensembles, which played dance music for festivals and other celebrations. Dance styles included schottisch, mazurka, waltz and polka.
In 1829, the accordion was invented in Vienna, and it had spread to Switzerland by 1836. The accordion was popular because it was relatively easy to play and cheap to acquire, and took only one musician to play the melody and accompaniment. By the 1850s, the accordion was an integral part of Swiss folk music, and semi-professional ensembles were appearing to play at large social dances. Alongside the brass bands came string instruments like violins and a double bass; string bands soon began to displace the older brass bands. The accordion, however, did not make an appearance in these dance bands until about 1903, and it eventually replaced the two violins which had become standard. Typically, the accordionist was the only band member who couldn't read sheet music, and the practice arose that only the clarinetist, who played the melody, used sheet music, and the rest of the band improvised accompaniment.
Following World War 1, Switzerland became more heavily urbanized, and music moved to cities like Zürich. Rural folk music became the most popular style for middle-class audiences, and musicians like Joseph Stocker became renowned across the country. Stocker knew his audience liked the exotic appeal of rural music, and so he bought traditional costumes from Unterwalden for his band. This was the beginning of laendlermusic.
In the urban areas of Switzerland, folk music began to mix with new styles, like jazz and the foxtrot, while the saxophone replaced the clarinet. Beginning in the 1930s, the Swiss government began to encourage a national identity distinct from Germany and other neighbors. Laendlermusic became associated with this identity, and grew even more popular.
Following World War 2, however, laendlermusik quickly grew less popular with the influx of imported styles. The field also grew less diverse, with more standardized band formats and only four or five dances in the repertoire. By the 1960s, trios consisting of two accordions and a double bass were the most common format, and many Swiss people felt it was a civic duty to preserve this tradition and guard it against change. They have largely succeeded in preventing change, but the field has grown much less popular and stagnant. There are still popular performers, such as Res Schmid, Willi Valotti, Markus Flueckiger, Dani Haeusler and Carlo Brunner, but the total fanbase has shrunk enormously.
Appenzell
The rural Appenzell region is a major center of folk music. While other parts of Switzerland adopted the accordion (Langnauerli and Schwyzerörgeli) in the 19th century, Appenzell kept the violin and hammered dulcimer. Appenzell Quartetts were popular throughout Switzerland playing string quartets adding Austrian influences to popular acclaim. More recently, the band Appenzeller Space Schöttl has added psychedelic and other avant-garde influences to the music.
