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1

PROCESSES AND TENDENCIES OF RENEWING IN MAKING FOLK MUSIC INSTRUMENTS

100%
Garaj B.
Ethnomusicologicum
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2005
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vol. 4
197-208
EN
Slovak folk music instruments are permanently changing. The paper documents the changes taking place in the last 10-15 years. Besides of social, economic a culture changes, those caused by organizations etc. are supplemented by concrete musical and technical aspects, as: actualization, adaptation, changing of function and place, stratigraphy, deepening specialization and professionalism in making instruments, watching their technologies, material, the used tools, principles of construction, contributing also to individual variability, tendencies of unification and norms. An important role played by festivities, festivals, meetings of the makers of instruments, also schools, workshops and many other events can accelerate interest. Media, internet access, media editions of CD a DVD improves the possibilities for the use of musical instruments in new function and social setting, e.g., the foundations of special societies for different instruments.
2

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

100%
Nowak T.
Przegląd Muzykologiczny
|
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

El sonido de los metales: el angel músico de la trompeta s. i. Catedral de Valencia, España

100%
Sancho J. L. D., Ordóñez Y. R.
Polonia Sacra
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2011
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issue 29(73)
293-305
EN
Musical instruments such as trumpet, tuba and horn were traditionally associated with royal dignity because of their sound and color. Biblical texts contain plenty of references to metallic musical instruments which were used for different purposes: as a signal of war, summoning the assembly, in the context of bereavement, or worship. An excellent illustration are the angels-musicians painted on the vault of the chancel of the cathedral in Valencia. There are two angels as heralds, who play on metal trumpets, announcing judgment, which is marked with a gold color of the instruments. These poetic images are used by theology to explain a religious event and explain in this way the Gospel message.
4
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K súčasnému stavu využitia inštrumentára malých dychových hudieb na Slovensku

100%
Sandtnerová M.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
|
issue 1
42 – 47
EN
Despite the missing thorough attention paid to the establishment of brass bands in tradition of folk instruments in Slovakia, there is no question about their significant participation in forming this tradition. The ensemble appearance of brass instruments has undergone some changes during the last thirty years. Those changes concern both the tendencies to professionalize the brass bands, and the new procedures in arrangement and composer’s work for this genre. Apart from the predominant limitations in expressions, the harmonic and metric and rhythmical structure of brass bands have to be equal with, we are now witnesses of mixing the genres in their interpretation. It is not only the moment of dance and entertainment functions of small brass bands that comes to the fore; the demands made on the players are increasing because of the concert repertoire composed for solo instruments and the interpretation of popular dance music and film melodies. As said by many brass music fans – the contemporary advantage of this genre consists in its ability to play almost everything.
5

MUSIKINSTRUMENTE UND MUSIKAUSÜBUNG IN DER EISENZEIT MITTELEUROPAS – ANHAND VON BILDQUELLEN UND ORIGINALFUNDEN

100%
Eibner A., Eibner C.
Slovenská archeológia (Slovak Archaeology)
|
2020
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vol. 68
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issue suppl 1
113 – 125
EN
Besides the already traditionally widely treated Iron Age music instruments, which slightly overstep the field of Situla Art, special attention is paid here to the musicians. In this paper the string and wind instruments known from the East Hallstatt region as well as Situla Art and forms of lyres from West Hallstatt region will be presented. Additionally, small figurines and original finds provide evidence of auloi, syringes made of various materials and carnices (these, however, from the La Tène period). Bells and ideophones are also attested in West Hallstatt region. Special attention is paid to the music practice, social status as well as the gender role of music players. Besides singing, many dance forms are attested; especially in East Hallstatt region the female musicians and dancers must be emphasized.
6
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Nově objevená vyobrazení středověkých hudebních nástrojů v Kouřimi

100%
Matousek L.
Hudební věda (Musicology)
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2009
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vol. 46
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issue 1-2
5-30
EN
The recent discovery of medieval murals of more than twenty angels playing musical instruments, on the vault of St. Catherine's crypt in St. Stephen's Church in Kourim, Central Bohemia, represents a rich contribution to organology. The Kourim murals are considered the largest fully preserved set of images of music instruments from the High Middle Ages in the Bohemian Lands. The paintings were created at the beginning of the 15th century. Around the mid-15th century they were whitewashed, and thus spared later changes; it is therefore possible to believe them to be faithful documents of their time. The murals represent commonly used, as well as rare, instruments. Of greatest importance here is the mural of the tromba marina, enriching current knowledge about the use of this instrument from geographical and chronological points of view. With the help of a detailed description and comparison with other period sources, the article attempts to shed more light on music instruments used at the turn of the 14th and 15th centuries.
7

THE FACE OF NAMCAPA. ON THE ROLE OF MUSIC IN THE ANDEAN MYTH

100%
Gruszczynska-Ziolkowska A.
Musicology Today
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2007
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vol. 4
17-37
EN
The musicological and linguistic analysis of pre-Spanish Andean myths contained in 16th century texts written in Quechua language in the Huarochiri region, popularized in the 20th century in its Spanish translation by José Maria Argueadas 'Dioses y hombres de Huarochiri', reveals several interesting aspects of sound and music idea in the Andean tradition. Sound phenomena are omnipresent in these tales, both those cosmological, and those linked to rituals. Music instruments, singing and dancing are frequently mentioned in the context of the world's creation. The role of music linked to ceremonial dances was also to confirm relationships between inhabitants of different worlds. The authoress interprets the texts, by juxtaposing them with the contemporary practice of the ritualized dancing-and-singing practices activities, where sonoric identification with the supernatural beings is realized in the form of exclamations, reciting and dialogues, executed by the males in falsetto voice. The analysis of the myths permits to state that all the sound phenomena obey some specific logic and that music, being in part the divine and in part the human creation, becomes at last their common means of communication.
8

CRAFT AND INDUSTRY EXHIBITIONS IN BRESLAU (WROCŁAW) IN 1852 AND 1857 AS A REFLECTION OF THE DEVELOPMENT OF MUSICAL INSTRUMENT MAKING IN THE REGION

88%
Gul J.
Musicologica Slovaca
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2023
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vol. 14 (40)
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issue 2
246 - 258
EN
Crafts and industry exhibitions have been of profound significance to economic and cultural history globally. As they included musical instruments, especially pianos, they had a significant impact on the development of musical instrument making, creatively stimulating instrument makers and giving them the opportunity to compare different products and introduce innovations. In addition, the exhibitions had an important impact on musical life. The focus of the author’s interest is on musical instruments presented at important industry exhibitions held in Breslau, Silesia (now Wrocław, Poland) in 1852 and 1857.
9
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Lidový houslař Martin Kuča ze Strážnice (1888–1967)

88%
Höhn J.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 3
205-211
EN
The essay, which speaks about folk violin-makers, tries to create a certain model for the approach to that specific part of Czech music culture. Such a model is based on the thorough organological analysis of maintained instruments made by one of the producers. Martin Kuca from Straznice, a farmer and wine-grower, who made his music instruments just for laughs, has been chosen as an example. Three of the safeguarded instruments made by him are a part of collections at the National Institute of Folk Culture in Straznice (violin, viola and baset/violoncello); the other instruments are owned by his family. Purity in workmanship of his string instruments and their carefully worked construction bear witness to quite high level of folk violin making in Moravia and hopefully refute deep-routed theses on imperfection of musical instruments made by folk producers. The instruments themselves as well as the condition of aids (moulds) and tools used by violin maker Martin Kuca show, inter alia, the carefully worked-out technological procedures.
10

MUSICAL SUBJECTS IN THE ICONOGRAPHIC PROGRAMME OF THE ST. NICOLAS BAROQUE CHURCH IN GASAWA (Tematy muzyczne w programie ikonograficznym barokowego kosciola sw. Mikolaja w Gasawie)

88%
Grabiec D.
Przegląd Muzykologiczny
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2011
|
issue 8
27-66
EN
This article is an attempt at interpreting some musical representations which are part of the iconographic programme of baroque paintings from 1705-1706 in St. Nicolas church in Gasawa (Northern Poland). These paintings, which were discovered accidentally during the renovation at the end of the 1990s, contain several popular themes concerning sacred music. The consecutive chapters discussed such issues as the representations of King David with his harp, St. Cecilia with her organ, the baroque, the church instrumental ensemble, the music of the angels, the trumpets of the archangels announcing the Last Judgement, and the infernal music which presages the torment inflicted on the ear. The aim of the author is to consider the issues of this musical iconography on a broader scale in the investigation of ancient musical instruments and of musical practice. Such research has hitherto been neglected by Polish musicologists.
11
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„Neroztavili se“: cimbál a asimilace české minority v Texasu

75%
Johnston J. A.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
|
issue 1
32 – 41
EN
Ethnomusicologists have often viewed music as a marker of cultural identity. Music may also have a more aktive role, however, in the hands of musicians, listeners, and dancers, to recreate, redefine, and fashion elements of new identities. This article explores this tension by introducing the cimbalom, an instrument familiar to many (at least in central Europe) in an unfamiliar setting. The article presents historical and archival research about the survival of the cimbalom and its use among Czech immigrants to Texas in the United States. Commonly described in Texas as a “dulcimer,” the instrument’s use in Texas is widely remarked upon in Texas museums and heritage documents, but it is not widely known outside the small Czech heritage communities Texas. A particular focus is placed on the heritage of the “Baca Band,” a longstanding family musical group that built and maintained the cimbalom in the town of Fayetteville, Texas. The article focuses on two main aspects of the instrument’s significance to Czech immigrants in Texas: the tension between the maintenance of cultural traditions and the creation of new ones, and the role of the instrument in the resurgence of ethnic awareness in the United States of the late twentieth century. In addition, the article contributes to research on old-time ethnic music, the history of recording of ethnic music in the United States, and the use of archival sources to investigate music in community life.
12
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Smyčcové nástroje Štěpána Šopíka ve sbírkách Národního ústavu lidové kultury ve Strážnici

75%
Höhn J.
Národopisná revue (Journal of Ethnology)
|
2012
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vol. 22
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issue 3
206 – 213
EN
The essay is devoted to the production of folk violinmaker and musician Štěpán Šopík from the ethnographic area of Moravian Kopanice. Through the analysis of his products safeguarded in the collection at the National Institute of Folk Culture in Strážnice, the author thereof tries to characterize the Šopík´s works setting them against another folk violinmaker, Martin Kuča from Strážnice. The workmanship of the string instruments made by Š. Šopík substantiates his focus especially on the functionality of an instrument while its aesthetical feature is put in the shade. Four of the Šopík´s safeguarded musical instruments are in the collections at the National Institute of Folk Culture in Strážnice (three violins and a baset/violoncello); some other instruments are in the possession of the Jan Amos Komenský´s Museum in Uherský Brod.
13

K ŠPECIFIKÁM HUDBY FRANTIŠKÁNOV NA MORAVE V 17. A 18. STOROČÍ: POZNÁMKY K DEJINÁM HUDBY V PROVINCII BOHEMIAE SANCTI WENCESLAI

75%
Kačic L.
Musicologica Slovaca
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2011
|
vol. 2 (28)
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issue 2
207 - 229
EN
The study consists of the notes on the topic of Franciscan music in the 17th and 18th century in St. Wenceslaus Province (Provincia Bohemiae Sancti Wenceslai), based on sources in the monasteries at Dačice and Moravská Třebová. During the 17th century the specific features of music in this province included – besides an emphasis on cultivation of the traditional Gregorian chant (treatises by P. Modestus Märstein) and new composition in the so called measured chant – much greater space afforded to non-Franciscan composers in the repertoire of the Mass. Some of these compositions became part of the basic repertoire also in the neighbouring Austrian province of St. Bernardin of Sienna. The Czech province probably had closer contacts not only with Franciscans in Slovakia but also in the Tyrol. Evidence of this is the simplified type of Franciscan poly-choral music (two single-voice choirs) in the 18th century, when in reality this music could be presented in double choir only in St. Wenceslaus Province. In the terms of practical performance it is the use of other instruments alongside the organ, though in a lesser degree than in the neighbouring provinces.
14
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Termín „lidový hudební nástroj“ a funkce hudebních instrumentů v oblasti etnokulturních tradic (na příkladu Moravy)

75%
Höhn J.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 1
13 – 21
EN
The essay pays attention to the issue of understanding the term “folk music instrument” within the context of Czech musicological and ethnomusicological literature and its relation to social changes in the territory of the Czech Republic in the 20th century. As a certain way out of non-uniformity of definitions, the author offers using a periphrastic term “musical instruments of folk culture”, or “musical instruments of ethnocultural traditions”. The term “folk”, whose meaning underwent wide changes in European context during the last two centuries, is excluded because it is also very difficult to relate it to the social situation in the secod half on the 20th century. Musical instruments used within the corresponding space, become the content of musical and instrumental culture relating to the changed society and maintained ethnocultural traditions (original, transformed and modern ones). The functional point of view becomesthe main factor.
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