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  • 00:02

    [INAUDIBLE] some contests bring together the creme de lacreme of European performing art.Some are up and coming.Some of those are well-established,something particularly reflected in the entriesfrom Russia and Britain.The Russians have put their faith in six womenfrom the tiny village of Buranovoon the edge of the Ural Mountains.

  • 00:23

    Basing their numbers in a mixtureof the local language, Udmurt, English, and Russian.Sextets over time, farm workers and school teachers,aged between 43 and 76, performing costumes and bark

  • 00:44

    shoes that have been handed down over the years.While they may rehearse in the village hall,they are already used to bigger stages.Fame has taken them to France, Finland, Hungary, and Estonia.But they insist that their feet are still firmly on the ground.[SPEAKING UDMURT]We don't see ourselves as stars.

  • 01:05

    We just know we're grannies.Everybody says, stars, stars.And we find it funny.But we're not celebrities.We're just normal people who like to sing.As Russia tries its luck with the Babushki,five times winner, Britain, has also opted for experience.1960s crooner, Engelbert Humperdinck,will take on the best that Europe has to offer.

  • 01:27

    The 75-year-old has not had a Top 10 British singlefor 42 years.But he reckons his decades in show businesswill stand him in good stead.How am I going to tackle this performance?I'm going to tackle it with all the experience that I've had.And I'm going to tackle it with sincerity.

  • 01:48

    And it's all in the performance on the night.You know, it's in the performance.Song is great and it's up to the performerto put it over in the right way.Oh, and Nikki won it for Azerbaijan last year,striking a blow for the young, but with the Russian Granniesand Humperdinck in town, another triumph

  • 02:09

    for youth over experience is by no means guaranteed on Saturdaynight.

Competitions are a mainstay of contemporary musical life, having long provided opportunities for outstanding performers and composers to be identified and rewarded. However, the immense popularity today of “reality” television contests such as The X Factor risks misrepresenting a competition scene whose formats, ideals, and participants are much more varied. Young or established, amateur or professional, solo or ensemble, musicians of all kinds can choose to compete in a vast number of competitions. At the amateur, local level, for example, battle-of-the-bands-type events, intercollegiate glee club contests (particularly in the United States), and rap battles thrive. “Open mic” nights and other industry showcases, while not necessarily classed as official competitions, are also hosted by innumerable bars, pubs, and clubs, giving valuable exposure to singers, bands, and singer-songwriters vying for bookings and record deals. At the same time, as music competitions have diversified over the last half-century, so questions on their legitimacy have gradually grown louder.

Historical Context

The earliest known musical contests took place alongside the Pythian Games (6th century B.C.E.), from which a new, prize-winning class of musician emerged. Similar traditions were forged centuries later in Wales, as bards competed in eisteddfodau (festivals) ca. 700 C.E. More influential, puys were guilds established to patronize music and poetry; these flourished across northwest Europe and particularly in northern France (e.g., the medieval poetical society Puy d'Arras), attracting troubadours and trouvères to perform. As puys evolved into competition-based festivals and gained popularity in the 15th century, new treatises on performance and composition scrutinized the emerging links between competition and adjudication. The modern understanding of competitive music making dates back to late-18th-century Britain, with its panoply of brass band contests; competitions for choirs, singers, and solo instrumentalists; as well as its revival of the eisteddfodau.

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