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1

REMARKS ON ARAB SCHOLARSHIP IN THE ARABIC POPULAR SIRA AND THE SIRAT SAYF IBN DI YAZAN

100%
Gazakova Z.
Asian and African Studies
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2005
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vol. 14
|
issue 2
187-195
EN
The subject, which is going to be discussed here, represents a brief description of the general direction of 20th century research in the field of Arab popular epic and the Sirat Sayf ibn DI Yazan conducted by Arab scholars and literary critics. Despite the fact that some of the studies which are mentioned in the following pages are out of date, discussing them is still profitable because they offer a complex review of the gradual development of scholarly opinion on the Arabic popular sira, which was marked until recently by many misconceptions and methodological confusion.
2

LETÁKOVÉ PÔSTNE PIESNE A ICH MELÓDIE V CIRKEVNEJ A ÚSTNEJ TRADÍCII

100%
Ruščin P.
Musicologica Slovaca
|
2023
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vol. 14 (40)
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issue 1
55-92
EN
The historical layers of Lenten broadside songs (broadside ballads) and their genre variants, in relation to literary and musical style. Hagiographic and Passion epic songs, and their connection with medieval hymnography. The Passion lament and the Passion private lyric; their central status in the Baroque style layer of Lenten songs. Lenten songs with a didactic purpose, and their connection with the era of Enlightenment absolutism. The problem of the free relation between melody and text in Lenten songs and the relativity of style unity in their textual and musical components.
3

THE LAMENT OF ONEGA-VEPS WOMAN ON THE GRAVE OF HER HUSBAND (Maaratledes ennast suulises esituses. Aanisvepsa naise itk oma mehe haual)

100%
Arukask M., Lashmanova A.
Mäetagused
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2009
|
vol. 42
55-75
EN
While conducting fieldwork in Russian Karelia, the authors encountered in an abandoned forest village of Yashozero the last native inhabitant - an almost 80 years old Veps woman Maria. There, at noon on 11 July 2005, at the lake-side cemetery, Maria lamented to her husband. Her lament, rich in archaic words and concepts, is more a one-sided dialogue than a monologue. It is possible to point out three different features in the lament as a performance. (1) Lament is addressed to the person residing in the grave. At the same time the lamenter defines oneself as a person on the edge - her senses are extremely responsive to the perspective beyond the grave as well as (2) to personal life and the problems linked to it. These two perspectives alternate and sometimes almost rival in Maria's lament text. (3) The third perspective of a lament is the sense of surroundings derived from the real situation or, more accurately, from other people currently at the cemetery. In the lamenting situation it was possible to notice Maria's ability to switch from the poetic recitative of a lament to regular speech, from the other side and/or personal orientation to current reality.The text of the lament examined in the article is relatively unstable as the performance situation was occasional rather than closely following the ritual order. Primordial fear of the dead, psychological problems and possibly also a new personal inclination towards the deceased vary all the time and are expressed in the composition and poetic language of the lament text. But instead of the historical naturalistic, wild and desolate Karelia, Maria's lament narrates about a traditional society gnarled in the Soviet cataclysm of the 20th century. Instead of a typical Karelian family one sees an increasing commitment to the problems of a modern core family, which has been drawn apart by the renewed society that separates children from the parents both in life and death. There are the desires and doubts of a woman, touched by emancipation, which wait to be expressed in the lament use. Burial lament links the person, the world(s) and the mental culture in an existentially dramatic situation, where there is little left of what is art or entertainment.
4

THE ORIGIN AND DEVELOPMENT OF 'OSMOHLASNIK' CHANTS IN THE SUBCARPATHIAN REGION

100%
Panca D.
Slavica Slovaca
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2005
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vol. 40
|
issue 2
144-157
EN
The liturgical chant in the Byzantine Empire is organized in a system of eight modes, characterized by the scales and typical melodical formulas. This system was imported to Kievan Rus and here it was soon changed and reintoned, so that it is hard to recognize today its byzantine origin. It became a basis of the later Russian, Galician and Carpathian chant, especially the melodies for 'irmoi' and 'stikhera'. The importing of Byzantine melodies continued in the 14th 17th centuries through Moldova and Valahia. Simple melodies for 'troparia', missing in the Kievan tradition, their kalophonic versions (so called Bulgarian chant) and many other melodies for the firm liturgical texts enriched the ecclesiastical singing of Galicia and the Carpathian region. In the Carpathian plain chant, both layers, the Kievan and Bulgarian, were transmitted mostly orally. The melodies have been simplified and sometimes also partially shifted to different scales. A historical research can trace some of the changes and in the case of the Bulgarian chant its Byzantine origin and even proximity to contemporary Byzantine chant can be proved. Questioning the origin of the Carpathian plain chant we can say that, in spite of a strong influence of orality, the main liturgical melodies have ancient roots and cannot be considered a local folklore. Presence of a more recent Byzantine music also does not alow to treat the Carpathian chant as if it were only a south-western version of the Russian 'znamenny' chant.
5

LETÁKOVÉ TLAČE AKO PRAMEŇ MARIANSKÝCH LEGIEND. K DVOM PIESŇOVÝM TYPOM Z ÚSTNEJ TRADÍCIE

75%
Urbancová H.
Musicologica Slovaca
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2010
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vol. 1 (27)
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issue 1
122-145
EN
The study of Marian legends has proven that song sheets served as a model for several song types known from the oral tradition. The two so far unknown Marian song-legends documented only in one village in Slovakia (Zablatie by Trencin - Povazie region) could be incorporated into the Slovak repertory thanks to their models – song sheets, the products of the domestic printing works from the second half of the 19th and first half of the 20th century (Skalica, Banska Bystrica, Levoca). The song types from the local tradition of this village bring two new topics (“Death of Mary and Assumption”, “Revelation of Mary to orphans”), thus widening the Marian cycle of legend songs reconstructed in the Slovak traditional singing to 18 topics. The existence of printed song sheets demonstrates a wider territorial spreading of the song type than originally proven by the number and localization of records from the oral tradition, being dependent of the collector’s concept.
6

TROJKRÁĽOVÉ PIESNE A KOLEDY V SLOVENSKOM REPERTOÁRI Z ÚSTNEJ TRADÍCIE

75%
Urbancová H.
Musicologica Slovaca
|
2018
|
vol. 9 (35)
|
issue 2
200 – 237
EN
Traditional songs and carols for the feast of the Epiphany (Three Magi) were sung during ritual processions with carol-singing as a part of folk games, and also independently as a song with a wish. The Slovak repertoire from the oral tradition includes two different song types, which were associated exclusively with this feast and they are widespread in most of the regions of Slovakia. In the text component, apart from individual sequences of the Three Magi story, there are also contaminations from further layers of the Christmas repertoire (secular carols and pastoral songs). The tunes have stylistic features which mark them out from the historical layers of traditional Slovak music culture. They are indicative of connections with an analogous repertoire from other regions of Central Europe on the one hand and on the other hand with the repertoire from hymn books as a part of the written tradition.
7

ÚVAHY O VÝZNAME NIEKTORÝCH BUDHISTICKÝCH DEDINSKÝCH SLÁVNOSTÍ V OBLASTIACH HORNÝ KINNAUR A ZÁPADNÝ TIBET

63%
Jahoda C.
Slovenský národopis (Slovak Ethnology)
|
2011
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vol. 59
|
issue 4
385 – 400
EN
This paper deals with the question of meaning in the case of two Buddhist villages’ festivals or communal ritual performances in Upper Kinnaur and Western Tibet. For this purpose, the model of ´script´, ´ritual stage´ and the dynamic or constrained (re-) production of meaning (s) as they were employed by Joanna Pfaff-Czarnecka and Andre Gingrich in recent contributions to the debate on ritual theory in social and cultural anthropology are discussed. A particular focus is thereby on the emic aspects in the notion of ´script(s) ´. On the basis of two ethnographic case studies, including also relevant textual sources and local Buddhist concepts, it is suggested that what is termed ´script´ should be conceptualized in a wider sense that also includes visual and material aspects as well as music and dance. With regard to methodology and the assessment of the dynamics of the ritual process, the inclusion of a diachronically perspective and a greater variety of sources and aspects emerges as expedient for studies of this kind in village communities of Western Tibet and adjacent Tibetan-speaking areas in north western India.
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