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1

PIESŇOVÝ ŽÁNER TRÁVNIC V SLOVENSKEJ ZBOROVEJ HUDBE 20. STOROČIA

100%
Gotthardová K.
Musicologica Slovaca
|
2019
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vol. 10 (36)
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issue 2
217 – 238
EN
Meadow songs (lúčne piesne, trávnice) are a folk song genre which was widespread in the mountain regions of Slovakia, as part of the traditional song repertoire of women. They caught the attention of collectors and composers, in connection with the formation of a Slovak national and cultural identity in the 19th century. During the 20th century they acquired a central significance for several generations of Slovak composers. The traditional singing of the meadow songs gave inspiration to composers in terms of musical form, multipart singing, metre and rhythm, harmony, sonorousness, and the line-up of singers in the choir. Taking the example of selected composers and their compositions for choirs, an analysis is made of the diverse approaches in their treatment of the folk model. The analysis identified several stages in the composers’ work with folk material: from simple arrangements to re-stylisations where the composer has altered the original folk tune more significantly.
2

THE KULKUL DRUMS IN THE CULTURE OF BALI (Bebny szczelinowe 'kulkul' w kulturze balijskiej)

100%
Nowak T.
Przegląd Muzykologiczny
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2009
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issue 7
133-162
EN
The article discusses the usage of kulkul drums which have been used for centuries on the island of Bali. The history of these instruments is sparsely documented, yet both their presence in almost all the spheres of social life and in comparative material from neighbouring regions suggest that the use of the kalkul could have had a place before the Hindu influences. The contemporary instruments are of a type suspended vertically, beaten from the outside, and made of wood (Michelia champaka, Michelia alba, Artocarpus heterophyllus) or of bamboo. The details of construction and the sounds made depend on the function of a particular drum and on the context of its use. The inhabitants of Bali distinguish particular types of these instruments according to their locality, namely: kulkul pura, kulkul puri, kulkul banjar (desa, subak), kulkul seka, kulkul umah, kulkul kubu. Some of the motifs played on these instruments are known on the whole island: kulkul num pit (num pang), kulkul kelayu sekar, kulkul nganten (mati), kulkul ngayah (gotong-royong), kulkul bulus. The relationship between the instruments and the motifs performed have been compiled in the form of a scheme which was interpreted in the context of the contemporary culture of Bali with the reference to the symbols and ideas deeply rooted in religious ceremonies (a cosmic mountain, an opened gate) and the social customs (a dichotomy jero-jaba).
3

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

100%
Elschek O.
Ethnomusicologicum
|
2004
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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.
4
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Velké housle lidového instrumentáře Lužických Srbů

88%
Kalina P.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 1
22 – 31
EN
The study provides an ethno-organological picture of big fiddle used by Lusathian Sorbs (Wends): a unique string chordophone from the folk music instrumentarium of the smallest Slavic nation. As to its construction, the instrument is a three-string bowed chordophone, belonging to the family of medieval fiddles. It is about 640 mm long, with a flat back board and a highly arched top board. The strings were tuned in d1–a1–e2. The big fiddle of Lusathian Sorbs was used exclusively in the Catholic region of the western Upper Lusatia, its oldest form dates back only to the 19th century The big fiddle repertoire was recorded mainly in the late-18th century Kral´s Fiddle Songbook, and in the collections of Ludvik Kuba and Adolf Cerny from the 19th century. The study also comments on the folk revival of the instrument and highlights the role of musician Jurij Mencl: after his initiative, first copies of big fiddle were made and first revival ensembles were established, which further developed the big fiddle playing. In the early 19th century, the big fiddle had impact on the construction of another folk string instrument, called skřipky in Czech dialect, which was played predominantly in German speaking areas around the town of Jihlava (in the present day Czech Republic). There, the pioneering instrument maker was a German carpenter Johann Bernesch, who came to the region from the Upper Lusatia in the early-19th century.
5

THE SONG 'LA LLORONA' IN THE MEXICAN MUSIC (Piesn 'La Llorona' w muzyce meksykanskiej)

88%
Dubrawska-Stepniewska J.
Przegląd Muzykologiczny
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2009
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issue 7
115-132
EN
The article deals with the topic of a legendary female figure named Llorona, which became popular in the Mexican tradition and Mexican popular music from the 16th century to today. The first part of the article presents the legend of Llorona and focuses on two figures that strongly influenced the contemporary view of her, that is on the mythical, Aztec goddess Cihuacóatl, and on Malinche, an Indian woman from the period of the conquistadors, and on her symbolic meaning in Mexican folklore. The second part of the article concentrates on the song La Llorona. Apart from analysis of its text and music, some examples of the performances of that song by various Mexican folk-groups, which endow them with the characteristics of their regional music, are discussed. Also the figures of two Mexican singers, Chavela Vargas and Lili Downs are considered as the outstanding interpreters of La Llorona.
6

INTERDISCIPLINÁRNE KONTEXTY KRESÁNKOVEJ TEÓRIE O SLOVENSKEJ ĽUDOVEJ PIESNI

75%
Urbancová H.
Musicologica Slovaca
|
2013
|
vol. 4 (30)
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issue 2
187 – 196
EN
Jozef Kresánek’s monograph (1951) Slovenská ľudová pieseň zo stanoviska hudobného (Slovak folk song from the musical standpoint) is fundamental significance for Slovak musicology. Here the author summarised the currently existing findings on Slovak folk song and music and revaluated them on a modern methodological basis, forming a systematically compact genetic-historical theory. Its foundation is the concept of “folk musical thinking” and its development on the territory of Slovakia. He synthesises insights from a number of scholarly disciplines: musical folkloristics and comparative musicology of the first half of the 20th century, music theory, music historiography, musical sociology, and partly also musical aesthetics and musical psychology. The interdisciplinary context of his research has already incorporated all the attributes of an integrated model of musicology. Jozef Kresánek afterwards applied this model in the entirety of his scholarly work and thus influenced the further evolution of Slovak musicology.
7

PROCESJE, DOŻYNKI, FESTIWALE... CYKLICZNE FORMY DZIAŁALNOŚCI LUDOWYCH ZESPOŁÓW ŚPIEWACZYCH W POLSCE

75%
Kasprzyk D.
Etnologické rozpravy (Ethnological Disputes)
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2017
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vol. 24
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issue 2
48 - 61
EN
In 2015 Wrocław foundation "Ważka" in cooperation with some Polish scientific institutions organized a project: "Local folk groups – an ethnographic laboratory". The project was financed by the Ministry of Culture and National Heritage. The organizers studied 96 folk groups active in Rural Women's Circles in 4 voivodships. It was established that their activities concentrate round periodical events, mainly official ones such as local harvest festivals, historic anniversaries, annual reviews etc. Some of them accompany church holidays: Easter, Christmas, Corpus Christi. Folk groups' activities are also connected with local initiatives of various organizations and local celebrations. The periodical character of these activities triggers specific preparations and determines the repertoire as well as the division of duties among group members.
8
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'NATIONAL CULTURAL ELEMENTS' AND ADVERTISING THE INTERNATIONAL TOURISM IN THE SOVIET TOURIST AGENCIES DURING THE BREZHNEV ERA 1964-1984

75%
Zhuk S.
Sprawy Narodowościowe
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2010
|
issue 36
7-25
EN
Using the archival documents and personal interviews as historical sources, this essay analyzes the ideological problems of advertising international tourism in the main travel agencies of the Soviet Union during the Brezhnev era, 1964-84. These agencies, Inturist, a Tourist Department of the Soviet Trade Unions and a Communist Youth League's organization Sputnik, encountered problems with advertising from the early beginning of their history. In the 1960s and the 70s they created special departments responsible for propaganda and advertising or advertising and mass media in Inturist. On the one hand, these tourist agencies had to provide interesting information to attract more Soviet and foreign tourists and more financial sources. On the other hand, the most attractive elements in advertising Soviet tourism were various national elements of different Soviet nationalities, including their costumes, music and handicrafts. As a result, such efforts exposed the limits of Soviet cultural homogenization project during the stage of developed socialism. In practice, it led to serious problems for the representatives of the Soviet tourist agencies in foreign countries. The most dangerous problem was nationalism. The essay explores how the problems of national identity were tied to advertising Soviet Union travel to foreign tourists as a new strategy of the Soviet tourist agencies during late socialism before perestroika. Despite strict KGB and ideological regulations, new 'national' forms of advertising such as folk music survived after 1984 and contributed to expansion of tourism, which brought increased profits and influence to the leaders of the local tourist agencies.
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