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Zedník hudebníkem, hudebník kazatelem, kazatel zahradníkem. Zkoumání populární hudební kultury v Jižní Africe

100%
Zdralek V.
Hudební věda (Musicology)
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2008
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vol. 45
|
issue 1-2
179-194
EN
This article is meant, first, as a brief introduction to South African music studies and some of its specific problems for the Czech (ethno)musicological community, second, as a summary of some recent developments in the field, and third, perhaps most importantly, as a starting point for the author research in the South African popular music culture. As a red thread, one basic idea goes through the whole text: the problem of essentialism and binary oppositions, how (if it is possible) to go beyond and what methods one can choose to reach this goal. Drawing on particular examples, he pleads for a broadly based cultural analysis, new comparative approach and ethnographically informed local-scale studies. His findings and suggestions are based on his immediate experience with the South African environment - lasting more than fourteen months between 2005 and 2008 - as both a student and field researcher in popular music culture in South Africa and Lesotho.
2

THE LAMENT - BETWEEN EXPERIENCE AND THEATRICAL PERFORMANCE

80%
Dahlig P.
Musicology Today
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2006
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vol. 3
153-166
EN
The lament, which is the expression of grief for the dead, has an enormous potential for intercultural research and for studies of different social groups within a particular culture, and therefore it inspires musicological and folkloristic comparative analyses. These studies take on individual profiles in different countries: semiotic (in Russian), psychological (Ukraine), axiological (Belarus) or, as in the case of Polish researchers –interpretations concern the form of the lament (pre-stanzaic, continuous) and treat it as a deposit of structural beliefs in verbal texts. Several aspects of the lament, such as beliefs as its basis, affects and socio-cultural conventions are investigated by the author. Among the features typical of the theatricalisation inherent in this stylization of grief the question of socio-cultural compensation is discussed, also in relation to musical composition. The author points out that the process of disappearance of the ritual lament from the folk culture in Western Europe was compensated in the expression of individual grief in musical art.
3

ON THE INTERDEPENDENCIES BETWEEN LIFE STYLE AND THE STYLE OF SPRING CAROLS OF THE PEOPLE OF PODLASIE

80%
Dadak-Kozicka K. J.
Musicology Today
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2006
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vol. 3
127-152
EN
The authoress stresses the need for integrated research into folklore, which would place the analysis and interpretation of songs in the context of a ritual or a performance situation, defining its place and function in a given ritual and its dramatic development and establishing the place of a given ritual within the annual or familial cycle. Such a perspective is important for interpreting the songs' symbolism and for investigating the interdependencies between the content, expression and style of the songs, and the purpose of the ritual. The differentiation of style of extant ritual songs can bring insight to the differentiations in the lifestyle of those who created and sang them. These interdependencies are analysed in the spring songs repertoire of the Podlasie region.
4

BULGARIAN MULTIPART SINGING IN THE SHOPS REGION - STRUCTURE AND SOUND (Wieloglosowosc szopska - struktura i brzmienie)

80%
Grozdew-Kolacinska W.
Przegląd Muzykologiczny
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2003
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issue 3
143-172
EN
This article presents the results of field research carried out in Bulgaria. The subject of the study was multipart female singing in the Shops region. Analysis of the seasonal ceremonial songs focuses on vocal sounding, its psycho-acoustic and physiological aspects, musical structures and cultural context. Special attention was paid to local terminology used by folk singers who can also tell about musical construction and ways of performing. Antiphonal singing is predominantly diaphonic on the background of the bourdon. The voices are divided into leading and accompanying parts and are strictly organized as to the number of singers and their location. The pitches are sometimes shaky, the singers used to rough-sounding intervals, in particular seconds. The seconds are intentionally intoned so as to experience the acoustic properties of this interval known elsewhere as 'dissonance'. The performers have a predilection for shrill vocal timbres and for high dynamic levels. Specific manners of performance include advanced melismatic ornamentation and closing exclamations. Musical articulation seems to be more important than clear pronunciation of the text. The singers make the most even of the phonic qualities of the words so as to gain the desired musical and expressive value. Multipart singing in the investigated region is a highly complex and dynamic phenomenon. There is no single criterion by which to classify these songs.
5

THE MULTICULTURAL NATURE OF MOUNTAIN-FOLK MUSIC IN POLAND

80%
Przerembski Z. J.
Musicology Today
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2004
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vol. 1
116-130
EN
The article is devoted to various historical and cultural aspects of music traditions in the mountain regions of Poland. It is an attempt at describing the sense of ethnic distinctiveness among the inhabitants of the Tatra and Beskidy mountains, their attitude towards visitors and the role, which these visitors played, as well as the impact of their culture on artists and intellectuals. The author shows how these reciprocal relations evolved over the centuries, e.g. the conflict between magical thinking characteristic of mountain folk traditions and the missionary work of Catholic Church. He puts forward a hypothesis that the changes in the musical repertoire were brought about by the value-judgments of researchers there. This led to the elevation of the supposed 'original' stylistic elements, artificial selection and in consequence unnatural stylistic and formal unity of the Podhale music, which is in fact characterized by the assimilation of various ethnic influences, linked to subsequent stages of settlement in the region. The author also analyzes the reasons of historical changes in the instruments used by musicians there, as well as transformations of performance conditions up to present day.
6

FIELDWORK, DOCUMENTATION AND SYSTEM OF EVALUATION OF THEIR RESULTS

80%
Elschekova A.
Ethnomusicologicum
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2005
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vol. 4
29-36
EN
Every research is based on three aspects: the special system of questions, the advanced hypothesis, and the manner of evaluation the attained results. All the phases have at disposal applied methods and theoretical essentials, to realize them. Empirical research is based on cognitive processes, which need a psychosocial analysis, directed to the researcher as well as to the person giving the asked information. Only in this case we are able to appreciate the reliability and 'objectivity' of the presented data, To fulfil these demands ethnomusicology use the most sophisticated and exact medial tools, much more exhaustive than any of ethnological and anthropological research or the humanities in general use. The same importance has the system of administration, the archival work and all the safeguarding procedures in order to preserve the documents and records for the future in irreducible quality. The mentioned aspects are analysed on hand of research activities of two personalities: Béla Bartók and Karol Plicka, concerning their methodology of fieldwork as well as the attained results. In general: to evaluate the results we have to have in mind objective and subjective aspects concerning the fieldwork process and its use.
7

ON THE PLAYING STYLE AND REPERTORY OF POLISH BAGPIPE PLAYERS

80%
Przerembski Z. J.
Musicology Today
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2006
|
vol. 3
167-188
EN
The earliest sources of history of bagpipes in Poland mention mainly the circumstances under which they were played. Iconographic sources confirm the presence of the instrument in Poland from at least the first half of the 14th century. Two centuries later, chronicles mention bagpipe players in cappellas employed at the courts of kings and nobles, sometimes also in city and military bands. From such sources as tax censuses and literature of the period it is known that bagpipe players provided dance music during weddings and parties at city and country inns, accompanied religious processions and welcoming celebrations. Traces of information about the repertory of Polish bagpipe players during the first Commonwealth of Poland and Lithuania are found in extant compositions, as reminiscences of bagpipe melodies, mostly in works associated with pastoral themes. Particularly in the 17th and the first decades of the 18th centuries Polish bagpipe music was fashionable. Among those who appreciated it were Ph. Telemann and J. S. Bach. The nature, repertory, performances styles, and place of bagpipe music in later epochs are also described, taking into account changes in the contemporary folklore practice.
8

INSTRUMENTAL MUSIC AND DANCE IN THE TRADITION OF POLISH COMMUNITIES IN THE VILNIUS REGION (Muzyka instrumentalna i taniec w tradycjach spolecznosci polskiej na Wilenszczyznie)

80%
Nowak T.
Przegląd Muzykologiczny
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2003
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issue 3
81-108
EN
The article presents some results of his field research carried between 1997 and 2001 in Vilnius region. It focuses on a topic not sufficiently studied in song-oriented ethnomusicology, namely instrumental practice - the kinds of instruments, social image and activities of instrumentalists. Special attention is paid to dance tradition. The author could find only 19 instrumentalists of the older generation who play dulcimer, fiddle or accordion. The traditional set of instruments includes the dulcimer, fiddle and one-sided small drum (tambourine). Historical sources confirm the existence of the musical bow and numerous aerophones connected with shepherding, such as flutes and horns. Until the 19th century the region was visited by players on hurdy-gurdies and bagpipes. The evolution of the accordion in the 20th century can be well illustrated in the region. The author discusses the process of cultural changes, e.g. the influence of broadcasting and folk ensembles, comparing historical data with contemporary interviews. His typology of local dances which comprises ritual, social, and play dances refers to the older ones of the 1930s. Dances and dance behaviour are described in a detailed way also by the performers themselves. The text presents local knowledge also on value system, e.g. standards of excellence in musical and dance performance, and generally it preserves the cultural heritage of the Polish national minority in Lithuania.
9

TRANSFORMATIONS OF MULTI-ETHNIC MUSICAL CULTURES OF NORTH-EASTERN POLAND

80%
Dadak-Kozicka K. J.
Musicology Today
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2004
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vol. 1
96-115
EN
The image of nineteenth-century Polish folklore as documented by Oskar Kolberg emerges as multidimensional and organic. It has been the deciding factor in ensuring the continuity of traditional culture, which now, under the influence of fast-developing civilization of the modern times, seems inevitably doomed to extinction. Cut off from its religious-philosophical foundations, rituals, genres and functions, the folklore loses much of its artistic and educational value. The authoress asks several questions concerning this topic; the effects of the impoverishment of rituality, the reasons of uniqueness and value of regional traditions, the possibilities of the regeneration of folklore and its character (local, national or supranational). Three studies analyzing the repertory in relation to changing conditions in three frontier regions of North-Eastern Poland (Szczytno area in Mazuria - epresenting Polish-German, Catholic-Protestant boundary; Punski-Sejnenski region - Polish-Lithuanian boundary; Podlasie - Polish-Belarussian, Catholic-Orthodoc neighborhood) are presented, to provide a rich material for the discussion on these aspects of music traditions subjected to historical, political and sociological pressures.
10

ON THE HISTORY OF THE FIRST PHONOGRAPH RECORDS IN SLOVAKIA: THE CORRESPONDENCE OF KAROL MEDVECKÝ AND ANDREJ KMET DURING 1901

80%
Urbancova H.
Slovenský národopis (Slovak Ethnology)
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2006
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vol. 54
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issue 1
5-29
EN
Private correspondence belongs to the important secondary historical sources. In the complex social and political conditions during the break of 19th and 20th centuries it was the key communication medium for the Slovak intellectuals. It facilitated creating the net of professional and personal contacts which served as a basis for the formation of the Slovak cultural life and its further development after 1918. The private correspondence between Karol A. Medvecký (1875-1937) and Andrej Kmet (1841-1908) helped to reconstruct the history of the first audio records of the Slovak folk songs and their public presentation in the context of the contemporary social and political situation. Karol Medvecký used phonograph for recording songs during the summer 1901 in the village Detva while preparing ethnographic monograph about this village. He came to Detva as a chaplain in 1899. In modern terms, he had a possibility to conduct stationary field research of the numerous forms of the traditional culture. On one side, the use of audio documentation facilitated collecting material, on the other side it allowed to record folk songs and instrumental music in an authentic form which is not possible to recognize from the score. This scientifically based approach was accompanied by the romantic effort to rescue vanishing cultural values which were observed by the last witness - the collector. Medvecký used for records the device which was purchased in cooperation with Béla Vikár, the author of the first phonograph records of the folk songs in Europe. Part of these records was later published in the monograph Detva (1905). At present damaged Medvecký's phonograph barrels are waiting for the evaluation of the possibility of their audio renewal.
11

CHANGING PARADIGMS AND CONCEPTS OF EUROPEAN ETHNOMUSICOLOGY - BETWEEN PAST AND PRESENCE

80%
Elschek O.
Ethnomusicologicum
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2004
|
vol. 3
219-227
EN
The main tendencies of European folk music research are discussed. Starting with literary and aesthetic aspects in the 18th and 19th century, continuing to folk music research, comparative and ethnomusicological, systematic as well as music anthropological paradigm, which are interrelated with the leading personalities of the field. Their names and main activities are summarized. Definitions are related to traditional music and the objectives we are investigating. The process of research is described, starting with fieldwork, the primary evaluation of the gathered material, the process of its analysis and classification, as to the proposed topics and special studies. The aims of our studies play a decisive role, if they are directed to editorial, source-critical, theoretic, methodical questions, or if they understand traditional music as a historical remnant. It is important to notice that our approach and understanding of traditional music is an important aspect, which can influence our research results. We can understand music as a vivid, open and permanently changing phenomenon, or look upon it, as to something damned for disappearance. They are often part of a national, regional concept, of a school tradition, which deeply determine our access to the questions we have to answer. The following paradigms have been analyzed: - the rescuing paradigm, - that of identification of the researcher with the phenomena, - the structural-comparative one, - the socio-cultural and the - synthesizing paradigm.
12

THE PRESENT STATE OF RESEARCH OF THE TRADITIONAL VOCAL MUSIC IN SLOVAKIA

80%
Urbancova H.
Ethnomusicologicum
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2004
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vol. 3
17-31
EN
In the 60ties we had a fruitful cooperation between folk song, instrumental and dance research, which influenced vocal research backward as an autonomous field. They developed to a wider field with special themes and interdisciplinary relations. The contribution joins to papers of A. Elscheková and S. Burlasová, presented on the 1st Ethnomusicological seminar (1970), and reflects the investigation of the last 30 years. Our considerations refer mainly to the 90ties, when important changes have been accomplished, influenced by external and internal processes. From fieldwork to archival investigations, to short time fieldwork, focusing on restricted topics, having in mind European relations, connected with new methods and technical aspects. We shall concentrate our interest to the working procedures with the material collected, without taking into account fieldwork and editorial issues. They firstly depend on the research and disciplinary context; musicology - ethnomusicology, ethnology - folkloristic, literary research anthropology, sociology etc. Our evaluation is based on ethnomusicological aspects. There is a change of the concept of folk song, traditional song, having in mind their function, changing from song to vocal music at all, its social meaning, function, holder etc. , and in interpreting them also as a marginal phenomenon. The topics are shifted - bearer, repertory, song genre, minorities, urban ethnomusicology etc., which are in the front of interest. The transition has influenced also further special themes as: variation process, multi-part music, text-music relations, function, musical structure etc. The processing has been attached by the computer use, in building e.g. databases, catalogues, and applying sound analysis. The shifting from autonomous structural view to contextual analysis was important for a better understanding, including also the proper music structure and its mutual text relations.
13

OH THE DIFFUSION OF MUSICAL CULTURES

80%
Bielawski L.
Musicology Today
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2004
|
vol. 1
9-15
EN
The study of diffusion of musical cultures is related more to the level of individual and social life than to such topics as the level of musical language, performance, composition and musical environment studies. While the latter emphasizes more stable elements, cultural diffusion brings out the elements of dynamics and change. History is always connected with the ideologies dominant at the time, there are also many levels of history, and each presents the problem of differentiation and mutual diffusion of cultures. Research programmes dealing with these subjects - the one by Alan Lomax, as well as the studies of Polish ethnomusicologists (Anna Czekanowska, Bozena Muszkalska) are discussed. It is noted that researchers have abandoned the idea of grand syntheses, tending to study small ethnic groups and cultural changes. The author points out that the diffusion of cultures has often been linked to violence and to the resistance to it. He also expresses hope that European heritage in music will be considered beyond the often artificially enforced national divisions.
14

CESTY BÉLU BARTÓKA ZA SLOVENSKOU ĽUDOVOU PIESŇOU Z POHĽADU JEHO KOREŠPONDENCIE

70%
Hugyivár Sebök A.
Musicologica Slovaca
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2012
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vol. 3 (29)
|
issue 1
107 – 113
EN
Béla Bartók gathered folk songs in Slovakia during the years 1904 – 1918. Based on Bartók’s correspondence from this period as hitherto published in Hungarian, the author has excerpted information about his journeys to Slovakia. In chronological order she elucidates the regions where he conducted fieldwork, the localities of his collecting activity, his contacts with singers, and the situations accompanying his documentation in the field. From the correspondence there is selected citation of Bartók’s commentary, which is valuable as the authentic testimony of an ethnomusicologist from his journeys in search of folk song and folk music.
15
Content available remote

THE USE OF THE TERM ETHNOMUSICOLOGY IN UKRAINE AND POLAND BETWEEN 1928 AND 1939

70%
Dahlig P.
Muzyka
|
2009
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vol. 54
|
issue 1(212)
51-56
EN
It has been generally assumed that the term 'ethnomusicology' was introduced by Jaap Kunst in 1950. Searches carried out in Ukrainian libraries by Bohdan Lukaniuk, professor of ethnomusicology from Lvov, show that the dating of this terminological innovation needs to be moved back to 1928. Klyment Kvitka, a prominent researcher (alongside Filaret Kolessa) of Ukrainian folklore, published, during the early twentieth century, texts which refer to 'ethnomusicology' as a discipline devoted to oral musical works (folk songs by themselves, instrumental works by themselves), in contrast to music ethnography, which examines the oral tradition in its cultural context, and in contrast to musicology, which studies written-composed music. From the beginning of the twentieth century Ukrainian researchers, characteristically, concentrated on the analysis and classification of folk songs. The transfer and functioning of the term 'ethnomusicology' in Poland may have been facilitated by the flow of ideas during musicological conferences, exchange of publications between scholars (e.g.. Kvitka-Chybinski), or training/lectures for cultural activists (Kamienski-Batko). However, it is also possible that the term 'ethnomusicology' was invented independently by Lucjan Kamienski in 1934, as demonstrated by Jan Steszewski. In February 1939 Walerian Batko published a definition of ethnomusicology as a young discipline researching collections of folk songs. Bohdan Lukaniuk hypothesises that the spread of this name for that branch of musicology in the West and in the USA may have been mediated by Mieczyslaw Kolinski (born in 1901 and based in Poland until 1923, then in Berlin until 1933), who collaborated with Jaap Kunst; however, this requires an examination of the whole of Kolinski's output. In accordance with the early definition of ethnomusicology, Kolinski concentrated on the analysis and measurement of the music of the world's cultures with no reference to its context. The history of the term testifies to the continuing need to trace the geneaology of the concepts involved above and beyond the language barriers in Europe. In the history of defining ethnomusicology we see that the term stays the same, but its meaning and range changes over time. What is apparent is the evolution of the term, from defining analysis and classification of pure musical works (the European profile of ethnomusicology) to its 'Americanisation', i.e. to being used to refer to the study of music in the context of performance, society and culture in general.
16

STANISLAW BRZOZOWY (1901-1983) AS A CLASSIC AMONG FOLK SINGERS (Stanislaw Brzozowy (1901-1983) jako klasyk wsród spiewaków ludowych)

70%
Dahlig P.
Przegląd Muzykologiczny
|
2003
|
issue 3
5-22
EN
S. Brzozowy was one of the best singers in Northeastern Poland (Kurpie region in Northern Masovia). His repertoire was recorded several times between 1952-1979 and qualities of his performance mark him as a model representative of the archaic vocal culture in Kurpie. He could sing all types of songs including those not characteristic of male singers (wedding songs). Singing was for him a way of life, all the more that he spent much time in forests ('Green Wilderness'). His artistic perception was highly integrated. He was inspired also by the visual elements of landscape and nature (a tree, an animal and so on). Brzozowy also composed songs, but this does not mean that he invented each song, but rather he 'put everything in order' in the chosen song, modifying it slightly. While singing, he was completely absorbed in proper performance. His role among folk singers could be described as 'classical', because the musical tradition and actual performance created a state of equilibrium and presented the most mature expression of the local culture, including all specific manners of singing, e.g. harmonic tones in the beginnings and ending of songs, ornaments and timbre of voice. An interview with Brzozowy revealed his aesthetic attitudes, a characteristic tenderness, a sense of humour and a deep attachment to his environs.
17

MILAN LICHARD A JEHO TEÓRIA SLOVENSKEJ ĽUDOVEJ PIESNE

70%
Urbancová H.
Musicologica Slovaca et Europaea
|
2006
|
vol. 23
58-116
EN
In the 19th century a folk song motivated musical-theoretical way of thinking in Slovakia in a close connection with a composition practice of adaptation and harmonization. The theory of Slovak folk song in Milan Lichard's (1853-1935) work documents permeation of this orientation till the 20th century. Lichard linked to older opinions concerning analogy between folk tunes and historical forms of modality of the European Antiquity and the Middle Ages. He developed the idea to form an original theory based on a comparison between the folk songs and a 'medieval' modal system. On this base Lichard determinated three musical-stylistic layers of the folk song ('medieval' modality, the harmonic major-minor, 'heterogeneous' scales), which he interpreted in genetic-developmental and inter-ethnical context.
18

KATEDRA ETNOLÓGIE A ETNOMUZIKOLÓGIE FF UKF V NITRE V DVADSAŤROČNEJ RETROSPEKTÍVE A JEJ AKTUÁLNOM DIANÍ

61%
Jágerová M.
Etnologické rozpravy (Ethnological Disputes)
|
2012
|
vol. 19
|
issue 1-2
10 – 25
EN
University education in the field of ethnology in Slovakia began to write its history in 1921 within the frame of the Comenius University in Bratislava. Twenty years ago the idea of creation of a new department of education in this field was established in Nitra, at the Faculty of Education, at that time, today Constantine the Philosopher University in Nitra. This paper summarizes development of the Department of Ethnology and Ethnomusicology in Nitra – it presents not only the circumstances of its creation, the process of its formation from the different aspects, but also outlines the current status, perspectives and future direction of this department.
19

RODOVÝ ASPEKT VO VÝSKUME ĽUDOVEJ PIESŇOVEJ KULTÚRY NA SLOVENSKU

61%
Urbancová H.
Musicologica Slovaca
|
2016
|
vol. 7 (33)
|
issue 1
5 - 18
EN
Gender studies are among the least developed research areas in ethnomusicology in Slovakia. The gender aspect has, however, been integrated into the majority of Slovak works devoted to folk song, music and dance tradition. It has become part of several research themes and circles, where its role has been that of a partial standpoint. This study summarises the results thus far of the application of the gender aspect in selected research circles (genres, multi-part singing and dance types). Special attention is given to studies on women in traditional song culture, which began to appear in Slovakia from the turn of the 1980s, focused on tradition bearers, song genres and mental images.
20

THE GREETING-SONG 'VIRU REGI' FOR THE 90TH ANNIVERSARY OF THE REPUBLIC OF ESTONIA (Juba juubilar juubeldab: 'Viru regi' Eesti Vabariigi 90. sunnipaevaks)

61%
Labi K.
Mäetagused
|
2010
|
vol. 44
109-128
EN
In 2007, Estonians were asked to write a song, 'Viru regi', in the style of the old Estonian folksong 'regilaul' as a gift for the 90th anniversary of the Republic of Estonia. 6,500 verses from nearly 650 authors were received, formed into a 373-verse greeting-song by a group of folklorists. This paper analyzes the verse structure, poetic devices and language of the verses people sent to 'Viru regi', comparing them to old folksongs and folksong-imitating epos 'Kalevipoeg' (1853-1862). While the 8-syllabic trochaic rhythm of the 'regilaul' was followed quite regularly (though in a simplified form prevalent also in 'Kalevipoeg'), the main poetic devices thereof, alliteration and parallelism, are less familiar to modern Estonians. The present-day is indeed revealed in the language of the verses: the frequent archaic word forms of 'regilaul' are used quite seldom and inaccurately, the dialectal features act rather as archaisms, the content frequently reflects the modern world, conveyed by contemporary concepts and foreign words. Still the old 'regilaul' and its poetic codes associate with the ethnic originality and cultural heritage of Estonians, being one of the ethnic markers which are also used in the national self-representation of Estonia.
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