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1

BAROQUE ORGAN CASES WITH ANGELIC MUSICIANS: JOHANN FRANCISEK JANECEK AND THE EMBELLISHMENT OF HIS ORGANS

100%
Koter D.
Hudební věda (Musicology)
|
2009
|
vol. 46
|
issue 3
241-260
EN
The paper discusses five instruments made by the organ-builder Johann Francisek Janecek, who originated from a Bohemian or Moravian family, and who worked in Celje in Slovenia in the 18th century. Five of his preserved organs are embellished with angelic musicians: King David with the harp or St. Cecilia with the organ. The organ cases and figures with musical instruments bear certain resemblances to the work of the Bohemian and Moravian organ-builders. The paper also mentions some characteristics of the organ preserved in the church of Saint Catherine in Prague, made by Martin Janecek and Jan Storck between 1734 and 1741.
2

THE USE OF QUESTIONNAIRES IN THE RESEARCH OF INSTRUMENTAL MUSIC

51%
Mikusova L.
Ethnomusicologicum
|
2005
|
vol. 4
103-122
EN
Organology is mainly based on fieldwork, data collection and the following study and analysis of the gathered data. Key problems are the origin and development of folk music instruments, their structure, technology, description, classification, acoustic and musical analysis. Organology has an interdisciplinary structure. In the last years an increase of the concepts took place, by using challenging questionnaires, surveys, socio-cultural techniques, empirical and experimental methods, collecting and interpreting data in direct and indirect forms. To master these demands a series of formulas have been worked out in the Ethnomusicological Department in the 50s, which are used as to the present-day. They were permanently enlarged and supplemented in accordance with the new requirements and topics of the actual research. The formulas are presented in the paper.
3
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Velké housle lidového instrumentáře Lužických Srbů

44%
Kalina P.
Národopisná revue (Journal of Ethnology)
|
2011
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vol. 21
|
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.
4
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Termín „lidový hudební nástroj“ a funkce hudebních instrumentů v oblasti etnokulturních tradic (na příkladu Moravy)

38%
Höhn J.
Národopisná revue (Journal of Ethnology)
|
2011
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vol. 21
|
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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