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1

KARNEVALIZOVANÉ OBRAZY V ĽUDOVEJ PIESNI

100%
Hamar J.
Slovenský národopis (Slovak Ethnology)
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2017
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vol. 65
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issue 3
261 - 289
EN
Thematically, this article focuses on the interpretation of carnival pictures in folksongs. In terms of source material, it is based on published sources, mostly songs from the author’s field research conducted in Slovakia, including a comparative reflection of the repertoires of other Slavic nations (Czechia, Moravia, Trans-Carpathia, Poland and Serbia). The author concentrated on that part of the traditional repertoire which relates to the laughter carnival culture from the point of view of archetypes, as highlighted by M. M. Bachtin in his work François Rabelais and the Folk Culture of the Middle Ages and Renaissance. This mainly relates to the aestheticism and poeticism of the carnival world and the grotesque concept of the body in folk songs. The article presents this issue through pictures of eating and drinking; food and drinks; personal hygiene; emptying and excrements, sexual acts, the human body; old-age, death and after-death life; animals and things.
2

SLOVENSKÁ ĽUDOVÁ PIESEŇ V POHĽADE HUDOBNÉHO HISTORIKA DOBROSLAVA ORLA

100%
Urbancová H.
Musicologica Slovaca
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2022
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vol. 13 (39)
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issue 2
233-252
EN
Czech musicologist Dobroslav Orel (1870–1942) incorporated Slovak musical folklore into the domain of his scholarly interests after his move to Bratislava in 1919. His article Teorie o lidové písni slovenské [Theory of the Slovak Folk Song] (1928) brought an idea of the historical church music influences on Slovak folk singing and became part of the evolution of opinions on the fundamentals of Slovak musical folklore, its genesis, musical style features, inter-ethnic and inter-cultural connections. Orel regarded Slovak musical folklore in the form of live tradition as an independent field of musicological research. The historical sources of Slovak folk song and music were, in his view, part of the history of music and a research object for historical musicology.
3

THE PRESENT STATE OF RESEARCH OF THE TRADITIONAL VOCAL MUSIC IN SLOVAKIA

100%
Urbancova H.
Ethnomusicologicum
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2004
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vol. 3
17-31
EN
In the 60ties we had a fruitful cooperation between folk song, instrumental and dance research, which influenced vocal research backward as an autonomous field. They developed to a wider field with special themes and interdisciplinary relations. The contribution joins to papers of A. Elscheková and S. Burlasová, presented on the 1st Ethnomusicological seminar (1970), and reflects the investigation of the last 30 years. Our considerations refer mainly to the 90ties, when important changes have been accomplished, influenced by external and internal processes. From fieldwork to archival investigations, to short time fieldwork, focusing on restricted topics, having in mind European relations, connected with new methods and technical aspects. We shall concentrate our interest to the working procedures with the material collected, without taking into account fieldwork and editorial issues. They firstly depend on the research and disciplinary context; musicology - ethnomusicology, ethnology - folkloristic, literary research anthropology, sociology etc. Our evaluation is based on ethnomusicological aspects. There is a change of the concept of folk song, traditional song, having in mind their function, changing from song to vocal music at all, its social meaning, function, holder etc. , and in interpreting them also as a marginal phenomenon. The topics are shifted - bearer, repertory, song genre, minorities, urban ethnomusicology etc., which are in the front of interest. The transition has influenced also further special themes as: variation process, multi-part music, text-music relations, function, musical structure etc. The processing has been attached by the computer use, in building e.g. databases, catalogues, and applying sound analysis. The shifting from autonomous structural view to contextual analysis was important for a better understanding, including also the proper music structure and its mutual text relations.
4

OZDOBNÝ SPEV SLOVÁKOV V STAREJ PAZOVE (SRBSKO): DOKUMENTÁCIA, TRANSKRIPCIA, ANALÝZA, INTERPRETÁCIA

88%
Lomen K.
Musicologica Slovaca
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2021
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vol. 12 (38)
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issue 2
155 – 253
EN
The employment of ornaments in the traditional singing of Slovaks in Stará Pazova locality (Vojvodina, Serbia) is a rare phenomenon, and not only in terms of traditional song culture from the territory of Slovakia. It is also unusual in comparison with other Slovak localities in Vojvodina, where it scarcely ever occurs at the present time. This article offers a survey of the history of documentation of embellished singing in Stará Pazova, as well as the representation and occurrence of ornaments in the particular musical style layers in this locality’s song repertoire. A basic typology of ornaments is proposed, and three styles of embellished singing are characterised, while attention is drawn also to the importance of the performance aspect. In conclusion, there is a summary account of the hypotheses offered hitherto on the origin of embellished singing in this locality, to which the author adds another based on her current research.
5

CESTY BÉLU BARTÓKA ZA SLOVENSKOU ĽUDOVOU PIESŇOU Z POHĽADU JEHO KOREŠPONDENCIE

88%
Hugyivár Sebök A.
Musicologica Slovaca
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2012
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vol. 3 (29)
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issue 1
107 – 113
EN
Béla Bartók gathered folk songs in Slovakia during the years 1904 – 1918. Based on Bartók’s correspondence from this period as hitherto published in Hungarian, the author has excerpted information about his journeys to Slovakia. In chronological order she elucidates the regions where he conducted fieldwork, the localities of his collecting activity, his contacts with singers, and the situations accompanying his documentation in the field. From the correspondence there is selected citation of Bartók’s commentary, which is valuable as the authentic testimony of an ethnomusicologist from his journeys in search of folk song and folk music.
6

GROTESKNÁ KONCEPCIA TELA V ĽUDOVEJ PIESNI

88%
Hamar J.
Etnologické rozpravy (Ethnological Disputes)
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2022
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vol. 29
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issue 1
55 – 67
EN
The concept of a grotesque body was brought into the history of art and aesthetics by Mikhail Mikhailovich Bakhtin in his work François Rabelais and the folk culture of the Middle Ages and the Renaissance. The so-called carnival body represents in a broader context a literary tropic in which the idea of an ideal human anatomy stands in contrast to the carnival imagery of the body. The grotesque conception of the body in a folk song is applied against the background of the carnival and the principles represented by the undercurrent of the folk imagination. The world in which fish fly and birds swim in the water represents the world “on the contrary”. The human body is depicted in a similar way. The individual bodily organs act independently in the representation of the whole body, just as in ordinary social practice the “ideal” body acts in its unity of the whole. There is also an ambiguity of the human body present in the folk song, when a child and an old man meet in one body, the body receives and excretes, the body arises and at the same time the same body disappears. In terms of the poetics of the carnival human body in the folk song, we find a number of comic images, rich metaphor, but also expressiveness and the use of forbidden words.
7

'THERE I FOUND A BONE PIPE': ON THE FOLK SONGS AND SELF-IDENTIFICATION OF LAINE MAGI (Saalt ma loudse luidso lutu ehk Hiiumaal elava vorukesest parimusekandja Laine Magi regilauludest ja enesemaaratlusest)

88%
Kommus H.
Mäetagused
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2009
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vol. 41
123-134
EN
The article discusses written and video material recorded from Laine Magi, a folklore informant who was born in Voru County, South Estonia, but is living on the island of Hiiumaa. The materials were recorded during the folklore collection on the islandi in 2004-2007. The collected materials include fifteen Kalevala-metric end-rhymed folk songs (regilaul) in dialect and literary language. A more detailed discussion involves three Kalevala-metric folk songs in Voru dialect: 'Veli ai usso' (Brother Drove Me out), a song about family relationships 'Vanamiis minno kose' (An Old Man Proposed Marriage to Me'), a song about proposing marriage, and 'Vaikene olli' (When I Was Young), a song about orphanhood. These three songs are analysed from the angle of formal rules and dialectal language, and the collected material is discussed from the aspect of the performer's biography and the social context.
8

„Vinnetou se z okna směje.“ Současná folklorní poezie dětí

75%
Votruba A.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2007
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vol. 94
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issue 4
377-409
EN
The article focuses on the problem of contemporary children's folklore in the Czech Republic - specifically, on songs and rhymes that include names of famous personalities or of film and literary heroes. These songs circulate in children's groups by word of mouth, without any intervention from part of adults. They are characterized by coarse expressions and unsophisticated childish humor. Precisely because of their coarseness these folklore forms are being passed on outside the influence of adults. Even though on the first sight these songs are simple parodies on songs popular at given moment, in fact many of them have outlived several generations. The oldest song included in our collection has been passed over for at least 70 years. Of course, songs about celebrities loose some of their currency with the passing of the time - for example, the rhymes about famous sportsmen. In the 1990s, a song about Soviet astronautics died out, due to the fact that the propaganda that stimulated its humorousness also disappeared. The most popular heroes of children's poetry are the personalities from movies based on books of Karl May (Vinnetou, Old Shatterhand etc.), as well as some famous historical personalities. Besides, there are songs about pop singers, less frequent are those about politicians or sportsmen. Also, there are only few about fairy tales personalities. Melodically these songs are based either on folk songs, or on current hits or theme tunes from TV series. Those children's songs based on traditional songs proved to have much longer lifespan.
9

INTERDISCIPLINÁRNE KONTEXTY KRESÁNKOVEJ TEÓRIE O SLOVENSKEJ ĽUDOVEJ PIESNI

75%
Urbancová H.
Musicologica Slovaca
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2013
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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.
10

ZBERATEĽKY SLOVENSKÝCH ĽUDOVÝCH PIESNÍ K ÚČASTI ŽIEN NA ZBERATEĽSKOM HNUTÍ 19.STOROČIA

75%
Urbancová H.
Musicologica Slovaca
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2017
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vol. 8 (34)
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issue 2
188 – 230
EN
The participation of women in the 19th century collecting movement has hitherto received only marginal attention. Taking the example of Slovakia, evidence is provided of the contribution of women to the documentation of folk songs. Using published editions of songs and manuscript sources, a database was produced of 46 women who were active in collecting Slovak folk songs from the early years of the 19th century to 1918, with overlaps also into the more recent period. The majority of these women collectors came from the Slovak intelligence, whose core membership came from the middle class/bourgeoisie. Based on the collected song material, we explored a hypothesis on how gender category (identity) influenced the results of collecting work. A definition of women’s concept of collecting was deduced from the contemporary preference for the national language and the role of women in its diffusion in private and public life (focusing especially on the texts of the songs) and from analysis of the genre structure of the documented song repertoire.
11

RODOVÝ ASPEKT VO VÝSKUME ĽUDOVEJ PIESŇOVEJ KULTÚRY NA SLOVENSKU

75%
Urbancová H.
Musicologica Slovaca
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2016
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vol. 7 (33)
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issue 1
5 - 18
EN
Gender studies are among the least developed research areas in ethnomusicology in Slovakia. The gender aspect has, however, been integrated into the majority of Slovak works devoted to folk song, music and dance tradition. It has become part of several research themes and circles, where its role has been that of a partial standpoint. This study summarises the results thus far of the application of the gender aspect in selected research circles (genres, multi-part singing and dance types). Special attention is given to studies on women in traditional song culture, which began to appear in Slovakia from the turn of the 1980s, focused on tradition bearers, song genres and mental images.
12

WOMEN AS FOLK SONG COLLECTORS IN SLOVAKIA. FROM ROMANTIC NATIONALISM TO THE BEGINNINGS OF MODERN RESEARCH

75%
Urbancová H.
Slovenský národopis (Slovak Ethnology)
|
2021
|
vol. 69
|
issue 4
570 - 588
EN
Collecting activities were an important cultural and social phenomenon in the 19th century Europe. Women also participated in these activities, although in many cultures their role and the results of their collecting work have not yet been adequately evaluated. Taking the example of Slovakia, it is possible to highlight the contribution of women in collecting folk songs, while encompassing those features which are specific to the regional circumstances. Women took part in all important collecting projects of the 19th century in Slovakia. Reconstruction of their socio-cultural background highlighted the fact that at the inception of these projects women of the aristocracy and gentry were active collectors. The majority of female collectors came from families of the Slovak intelligentsia, who belonged to the middle class. By the end of the 19th century many such families had become part of the contemporary elite of Slovak society. We focus on two research questions: 1, how did the gender category of the collector condition the record of song material (an aspect of the collection concept); and 2, what contribution did women’s collecting activities make to the study of traditional song culture (an aspect of the collected material). A definition of women’s concept of collecting, with primary orientation on song lyrics, was deduced from the 19th century preference for the national language and the role of Slovak women in its diffusion in private as well as public life, and from analysis of the genre structure of the collected material. The romantic concept of collecting in Slovakia is compared with an early concept of documentation at the beginning of the 20th century which derived from abroad, although some of its elements were beginning to take effect also in domestic collecting activities.
13
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„Vícehlasí“ v českých lidových písních: několik textovělingvistických sond do jejich textury

51%
Daneš F.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
|
2012
|
vol. 73
|
issue 4
312-324
EN
This paper demonstrates the mutual relations between the various “voices” in Czech folk songs and the way in which these voices can be identified. The introductory section characterizes the specific features of the songs: the concision and condensation of their structure, as well as their emotionality of expression. The second section is devoted to the analysis of a selected corpus of folk songs from the perspective of heteroglossia. Their texture appears as a net of relations and functions which operate on different levels, stand in mutual complementarity, partly overlapping, and show differing relevance. Using methods of text linguistics, the author concentrates on two relations and functions – speech acts and compositional functions – as well as personal attitudes. The analysis focuses on utterances with the communicative function of appeal, i.e. on the interrogative and addressing turns which are quite frequent in Czech folk songs, on their interactive structure and modes of direct and indirect speech. The author shows that the song genre has two faces: it is a compact combination of verbal text and its musical part (the tune) which may appear to be uneven in their mutual relations. The last section deals with the phenomenon of intertextuality in the song structure.
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