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1

ZBIERKA KAROLA PLICKU AKO JEDEN Z PRAMEŇOV KRESÁNKOVEJ PRÁCE O SLOVENSKEJ ĽUDOVEJ PIESNI

100%
Timková M.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
235 - 245
EN
During the period 1940 – 1943 Jozef Kresánek worked as an official of the Musical Section of Matica slovenská in Martin. Here he had the opportunity to make acquaintance, among other sources, with the extensive manuscript collection of Slovak folk songs by Karol Plicka. Kresánek, when processing this collection for the first time, gained knowledge which he afterwards put to use in his synthetic work Slovenská ľudová pieseň zo stanoviska hudobného (Slovak folk song from the musical standpoint) (1951, 21997). Here he used Plicka’s manuscript records of Slovak folk songs to illustrate individual styles in Slovak folk singing. Apart from adopting selected extracts, Kresánek relies in this work on the various studies by Plicka, establishing continuity and simultaneously revaluating them in the light of his own knowledge.
2

MOTÍV SMRTI V SLOVENSKÝCH ĽUDOVÝCH USPÁVANKÁCH

100%
Kulíková T.
Slovenská literatúra (Slovak Literature)
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2023
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vol. 70
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issue 5
520 – 535
EN
Although the primary function of the lullaby is coded in the very word that designates it, its secondary functions are equally important – they have been shown to have an impact on child development and mental health of the performer. The act of singing a lullaby creates a specific communicative situation in which the recipient does not fully understand its lyrics. Usually, the communicative act also only involves the performer and the child and the uniquely intimate moment that emerges creates an opportunity for the expedient to express all their thoughts – even the most unpleasant ones. The psycho-hygienic function comes to the fore and provides the performer with a space for introspection. This dimension is often reflected in the texts of lullabies in negative motifs, such as death. In various allegorical forms, death is present in as many as one in five Slovak folk lullabies. In careful interpretative analysis, it is possible to detect subtle differences in the meaning of motifs that may not originally refer to death. On this basis, death motifs can be divided into primary ones, which always symbolise death (black earth, church, river, covering/throwing, ringing of the bells, calling of a close person from the other world) and secondary ones, which acquire this meaning by updating individual motifs or whole recurring stanzas in the vertical structure of the text.
3

K FONOGRAFICKÝM NAHRÁVKAM KAROLA ANTONA MEDVECKÉHO NA HOREHRONÍ. PIESNE Z BEŇUŠA (1903)

88%
Urbancová H.
Musicologica Slovaca
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2023
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vol. 14 (40)
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issue 2
283 - 309
EN
The collection of phonograph cylinders used by the Slovak ethnographer Karol Anton Medvecký (1875 – 1937) documents the first sound recordings of traditional music made on the territory of Slovakia. Content reconstruction has been performed on this collection, providing information about the documented repertoire and clarifying the contemporary context in which the recordings were undertaken. Medvecký carried out sound recordings of folk music using a phonograph, especially in the places where he was employed. Having done this in the villages of Detva (1901) and Veľké Pole (1902 – 1903), in the course of 1903 he realized a sound documentation of Slovak folk singing in the village of Beňuša in the Horehronie region. Although the physical decay of the recordings has gone so far as to make a restoration of their sound impossible, preserved historical sources and comparative material have enabled a hypothetical reconstruction of the documented repertoire to the extent of eight songs. This repertoire refers to the genres of love songs, military songs, humorous songs and narrative songs.
4

MILAN LICHARD A JEHO TEÓRIA SLOVENSKEJ ĽUDOVEJ PIESNE

88%
Urbancová H.
Musicologica Slovaca et Europaea
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2006
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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.
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