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

100%
Urbancova H.
Ethnomusicologicum
|
2004
|
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.
2

MARTIN KMEŤ (1926 – 2011) – ETNOMUZIKOLÓG VOJVODINSKÝCH SLOVÁKOV

88%
Sklabinská M.
Musicologica Slovaca
|
2019
|
vol. 10 (36)
|
issue 1
7 – 45
EN
In the course of the 20th century many writers attempted to define the distinctive cultural code of the Slovaks in Vojvodina, the historical Slovak enclave in Serbia. The musicologist, music teacher, composer and performer Martin Kmeť (1926 – 2011), who came from this enclave, produced work in ethnomusicology especially which surpassed those local limits and won him a place in the broader context of ethnomusicology in Central Europe. He documented, analysed, classified, and comparatively studied the Slovak folk songs of Vojvodina, and based on this, he defined the specific qualities of the music and musical imagination of those belonging to that enclave. The aim of this study is to elucidate the ethnomusicological achievement of Martin Kmeť and, using the knowledge that he attained in his works, to point to some specific aspects of the musical culture of Slovaks in Vojvodina in the area of traditional folk music.
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