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1

Hudební folklorismus v Polsku: historický přehled

100%
Dahlig P.
Národopisná revue (Journal of Ethnology)
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2016
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vol. 26
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issue 1
44 - 55
EN
The aim of the article is to show how the ethno/musicologists, folklorists, music teachers, broadcasting people a.o. have influenced traditional peasant culture in time of basic transformation during the 20th century, and how they have contributed to its documentation and understanding. This review has an exemplary character. Each European country has its own history in this respect. The text has three parts. In the first one, the folklore is confronted with a social history, especially with the process of withdrawal of the isolation in peasants communities and with the filtering of traditional music while it gained new realms of circulation. The second one is dedicated to generations of ethnomusicologists, who created and discovered new topics enlarging the range of ethnomusicology and concept of folklorism towards the cultural and social studies. The third part is connected with contemporary functions of music traditions and roles of ethnomusicologists with the stress on the applied ethnomusicology. The comments on the applied ethnomusicology summarize the author’s experience gained during field research since 1975 and try to present how the past in the realm of traditional culture and music is transformed in the contemporaneity or, rather, how the history becomes united within the contemporary time. The text is closed with a self-reflection of the ethnomusicologist, because “objective” folklore studies are hardly to be imagined, and the individual self-criticism remains as well useful as necessary.
2
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Viennese Czechs dance the “Czech Beseda” : form and meaning of the dance in the 21st century

100%
Skořepová Z.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2018
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vol. 105
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issue 4
379-398
EN
The Czech Beseda dance represented an important and frequently chosen piece of salon dances repertoire in the Czech Lands which was often danced from the 1860s, through the era of the First Czechoslovak Republic and the period of the Protectorate of Bohemia and Moravia. However, only few dancers are able to dance the Beseda today. Both in the past and present, the Beseda represented an element of Czech culture, which has been frequently evoked, revived and practiced among Czech emigrants and expats abroad. Till the present it is possible to observe dancing of the Czech Beseda at social gatherings and cultural events of the Viennese Czechs. Through a theoretical perspective of ethnomusicology, respectively anthropology of dance, the aim of this study is to reply to following research questions: which form of the Czech Beseda do the contemporary Viennese Czechs dance? Where and in which contexts is it possible to encounter the Beseda dance with? Who is interested in learning and dancing the Beseda in Vienna today and why? Who does teach the Beseda in Vienna and how is it transmitted? Why the Beseda is important for the contemporary Viennese Czechs, which values and meanings are associated with the dance?
3
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Gender in Traditional Music: An Overview of the New Challenges Related to Polish Ethnomusicology in the 21st Century

100%
Tracz A.
Kwartalnik Młodych Muzykologów UJ
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2020
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issue 2(45) ENG
105-120
EN
The subject of the article is to present the feminist trend in Western ethnomusicology and then to compare it with the state of research in Poland. The query included the latest Western musicological and ethnomusicological literature, as well as the known sources about gender in Polish traditional music. The author, based on the experience gained during the field research carried out in recent years, indicates possible changes in conducting and analysing the field in order to obtain more accurate knowledge about gender performativity in Polish folklore.
4
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Płeć w muzyce tradycyjnej – przegląd nowych wyzwań badawczych etnomuzykologii polskiej XXI wieku

100%
Tracz A.
Kwartalnik Młodych Muzykologów UJ
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2020
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issue 2(45)
109-126
EN
The subject of the article is to present the feminist trend in Western ethnomusicology and then to compare it with the state of research in Poland. The query included the latest Western musicological and ethnomusicological literature, as well as the known sources about gender in Polish traditional music. The author, based on the experience gained during the field research carried out in recent years, indicates possible changes in conducting and analysing the field in order to obtain more accurate knowledge about gender performativity in Polish folklore.
5

Applied Folkloristics in Hungary: Case Táncház – Módszer

88%
Murin I., Agócs G.
Národopisná revue (Journal of Ethnology)
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2019
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vol. 29
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issue 1
56 - 64
EN
The media success of the Hungarian and Slovak folklore show has anew opened up a discussion about the current forms of folklorism. Less known is the development of folkloristics that it has passed through ­ beginning with theoretical schools of historical and musical folklore to its application to public sphere. The contemporary folklorism boom in Hungary is associated with the attempt of Hungarian folklorists´ to renew the older forms of Hungarian traditional culture by means of scenic (art) and public presentations. These best practice methods (UNESCO) become theoretical and methodological concepts of Hungarian folklorists and ethnomusicologists. The aim of this study is to inform the readers with Hungarian schools of historic and music folklore research, which are directly related to the applied method, also called Táncház - módszer. The study is one of the reflections concerning discussions within folklorism ­ scenic art versus public spread, and creation versus citation of folklore contents.
6

Vícemístná etnografie: příklady aplikace v současných antropologických a etnomuzikologických výzkumech

88%
Seidlová V.
Národopisná revue (Journal of Ethnology)
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2016
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vol. 26
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issue 2
110 - 121
EN
The author aims to introduce and contextualize the model of multi-sited ethnography which was suggested by the American anthropologist George E. Marcus as a conceptual and methodological approach to the field research of mobile cultural phenomena and global cultural interactions. The author illustrates the concept with examples of the already implemented anthropological and ethnomusicological research which either inspired this model or used it, as well as with the design of her dissertation research, which deals with transnational musical flows of mantras from India to the Czech Republic. The text also indicates possible limits and challenges brought by this still experimental way that is an alternative to the traditional model of ethnography. Following the anthropologist James Fergusson, the author thinks that the multi-sited ethnography should not replace the “single-sited” ethnography, but rather extend the methodological spectrum.
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Locating the Choreomusical : The Case of European and American Dance Fiddling

88%
Quigley C.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2016
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vol. 103
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issue 4
515-536
EN
This essay takes the term choreomusical as a starting place for discussion of attention to the study of music and dance relationships within ethnomusicology and ethnochoreology. Extending this neologism, choreomusicology has been proposed as a distinct disciplinary perspective on its own. Recent publications advocating for the usefulness of this joint research perspective have begun to establish this terminology more generally. Explicit studies of music-dance as a unitary phenomenon in performance, however, long predate this development, particularly in the closely connected fi elds of ethnomusicology and ethnochoreology. This history is here acknowledged, tracing interest in this research topic to major founding figures in both disciplines, as they took shape in the 1950s. An examination of the application of the choreomusical perspective to the case of European and American dance fi ddling provides examples of how such inquiry has been carried out and identifi es emergent methods which make use of advances in digitally based sound and movement analysis. A more nuanced usage of the terms is advocated.
8

Tantsumuusika ja tantsud Kuusalu rannas

88%
Kont-Rahtola A.
Mäetagused
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2011
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vol. 49
93-114
EN
This paper consist an analysis of the music and dances of Kuusalu coastal area culture during the first half of the 20th century. Kuusalu parish is known as one of the richest in the North-Estonian folk culture. About two hundred instrumental tracks and notations, mostly dance music, and hundreds of dance manuscripts have been collected from this region. The collected material is located mainly in the Museum of Estonian Literary in the department of the Estonian Folklore Archives, Estonian Theatre and Music Museum in the department of the Music. Content and quality of the dance recordings are essentially very different. They vary from full transcripts to more general descriptions if the dance is known or not. Recorded music and written materials from the archives are from the period of 1905–1938. My goal is to find out where, how much and what were the dances and instrumental pieces in Kuusalu parish. The data are presented by the villages. As a result, I got a versatile overview about the variation of the dances. It turned out that some villages had clearly different dance repertoires. In the villages where there were good musicians, there was also active dance culture. Comparison of both instrumental and dance music is essential to understand their development. This can be used as a tool to evaluate spreading and development of different folk music pieces.
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The Function and genesis of the musical instrument “trombita” with special focus on the Hutsul region

88%
Cząstka-Kłapyta J. M.
Balcanica Posnaniensia Acta et studia
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2016
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vol. 23
187-196
PL
The question of the origins and cultural impact of music cultivated by the Vlachs on the Carpathian music heritage is relatively poorly examined in the previous literature. This is mostly because of insufficient ethno-historical data sources, the short time of detailed documentation of rural folklore, and the collective character of music, which often goes beyond the boundaries of nationality. Most of the previous works dealing with the problem of the Vlachs’ impact on the Carpathian music folklore were presented as a short comments. One of the still unresolved issues is the origin of the shepard’s trumpets (trombitas, horns) in the territory of the Carpathians. It is widely known as “trombita” (the Western Carpathians, Poland), „trembita” (the Ukrainian Carpathians), „trubyela”, „bucium”, and „tulnic” (Romania). They are among the wide type of instruments known by ancient Slavs. According to principal hypothesis these instruments originated in Asia and were transferred to the Carpathian Mountains by migrating Indo-European peoples. Alternative hypothesis suggests that “trembita” was brought to the Carpathians by migrating Roman legionaries, who used this instrument for the signaling functions. The occurrence of these instruments coincides clearly with the area of the Wallachian settlement, allowing the presupposition that the spread of trombita in the Carpathians is linked with the Wallachian colonisation. The problems outlined in this article concerns the spatial distribution and typology of Carpathian trumpets as well as their functions with special focus on the Hutsul region (the Eastern Carpathians, Ukraine), where they still perform important ritual and magical functions, mainly during carolling. The analysis of the function of trombita in this context allows to define its place and importance in the pastoral tradition.
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Výzkum lidové duchovní písně v 21. století a metodické inspirace Václava Frolce

88%
Frolcová V.
Národopisný věstník
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2012
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vol. 29_(71)
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issue 2
5-16
EN
The author defines spiritual folk song as asubject of ethnology of the present and ethnomusicology, and focuses on the contribution of this research to interdisciplinary hymnology. It represents one of the options of critical use of the model of ethnographic research of the present village performed by Václav Frolec with team at the Masaryk University in Brno in the 1970s and 1980s It is a thematic concept of research and a qualitative method which goes from the chronology of sources to the study of cultural continuity and cultural changes. The author modifies this methodology for research on songs and presents three case analyses 1. Current forms of ritual communication and the change from the spiritual to the secular function of songs; 2. Two contexts of Baroque songs and contemporary culture; 3. Social function of the renewed customs and the origin of new Marian songs. Within this concept, ethnomusicology and ethnology of the present are part of historical ethnology.
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Česká etnomuzikologie na začátku 21. století (poznámky k vývoji oboru)

88%
Toncrová M.
Národopisný věstník
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2013
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vol. 30_(72)
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issue 2
35-42
EN
The contribution includes several remarks on the subject matter of the study of the contemporary Czech ethnomusicology. Some topics and methods are based on the research conducted in the second half of the 20th century: monographical study of singers and musicians, singing skills of the youngest generation, singing in the city with the use of sociological methods.Other methods developed after 1989, e.g. the study of religious songs and their relation to secular songs.The area which has seen remarkable development during the last twenty years is publishing, especially the publication of song editions in printed and audio forms. Interdisciplinary cooperation is also developing, namely cooperation with music studies, history, psychology, literary science or linguistics, especially with regard to the study of ethnic stereotypes, contemporary ethnocultural tradition, liturgical songs or fair traditions.The contemporary research in the field of ethnomusicology goes beyond the area of the so-called “genuine folk songs” and includes various genres belonging to the area of non-artificial music.
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Fotografie jako ikonografický pramen pro studium lidové hudby

88%
Blahůšek J.
Národopisný věstník
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2009
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vol. 26_(68)
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issue 1
63-71
EN
In the case of the research interest in the musical instruments and folk music, the iconological research must be based on such historical iconograms, which document the folk culture in any way and then select relevant evidence from such a whole. It is always necessary to apply a critical perspective and to verify the depicted information. Some types of iconograms facilitate this perspective to some extent. Their documentary value may be great when the depicted situation is not stylized. We mean above all the photographic sources from the second half of the 19th and the first half of the 20th century. As this study states by means of a commented specification, already at that time there was a considerable interest in documentation of folk culture in the area of Central Europe. And so was it in the Czech lands. Thanks to it, there are preserved source documents which may thus become an object of the musical-iconological research.
13

Elava rahvalaulu juurde joudmine: Herbert Tampere teadlaseisiksuse kujunemine

88%
Särg T.
Mäetagused
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2022
|
vol. 82
81-130
EN
The article analyses the life and activity of Estonian ethnomusicologist and folklorist Herbert Tampere (1909-1975), as well as the research history of Estonian folk songs until 1945, also paying attention to the influence of the Estonian Folklore Archives and its head Oskar Loorits. The historical background to Tampere’s activity is the establishment of independent statehood in Estonia (1919) after Estonians had existed as an ethic minority group subjected to the ruling classes of other nationalities for hundreds of years. The scientific and cultural background is constituted by the development of European folkloristics and ethnomusicology and the increasing prestige of folk music and non-western music in Europe, which contributed to the rise of the cultural self-awareness of Estonians as a nation with oral lore different from Indo-European culture. The approach is framed with the metaphor of life and death, which in Herderian way of thinking corresponded to the growth and fading of a nation and its creation. In the 1930s, Tampere brought into the discourse of the Estonian folk song, seemingly in opposition with the gradual fading of the living lore and complaining thereabout, a turn in writing about it, unexpectedly confirming that the folk song was alive. The older folk song started to disappear from public use in the 19th century, when people lost interest in its performance and the newer European folk music style spread more widely. At the same time, they tried to overcome the national inferiority complex that had developed due to existence as a lower class, as well as the oral culture considered as a sign of backwardness, creating on the basis of folklore a new national-language and valuable European literary culture. To accomplish this, the old, evolutionally lower traditional culture had to be abandoned. Writings about the dying folk song helped to encourage people to collect folklore and create distance with the past. In the 20th century, with the development of Estonian national self-awareness and literary culture and the rise of the nation’s self-esteem, and on the other hand the recession of Eurocentric and evolutionist way of thinking in the world of science, a new interest appeared in the structure and performance of the folk song, and it started to be increasingly appreciated and considered as living. Such changes in rhetoric indicate how reality is reflected subjectively, according to standpoints and circumstances. Considering the fact that in the 19th-century social evolution theory folklore and literary culture were attributed to different development stages of a nation, the nation with low self-esteem, striving for literary culture in the 19th century, could be satisfied with the dead folk song, yet in the 20th century, in the light of new culture concepts, it could be declared alive again. In summary it can be said that the following factors helped Tampere achieve a novel approach to folk songs in his research. 1. Tampere came from a talented and educated rural home, in which music and literature were appreciated and in whose neighbourhood different music styles were practised. His interests and skills were shaped by good education at schools with remarkable music teachers and an early contact with folklore collection at the Estonian Students’ Society. 2. Good philological education from the University of Tartu and work at the Estonian Folklore Archives, becoming familiar with folklore collections as well as other young folklorists and linguists, especially cooperation with Oskar Loorits, Karl Leichter, and Paul Ariste, added knowledge of newer research trends, such as ethnology and experimental phonetics. Maybe, paradoxically, the absence of higher music education, which would have directed the young man towards other music ideals, was positive in this respect. 3. The knowledge acquired of the methods and way of thinking in comparative music science provided a theoretical basis for understanding, valuing, and studying non-western music. Professional work was also supported by the development of sound recording and -analysis. 4. The immediate contact with living folk music already in his childhood and later on, when collecting folklore, elaboration of folk songs in the archives and compiling voluminous publications made this manner of expression more familiar. Tampere must have enjoyed the performance of at least some of the regilaul songs as he mentioned nice impressions and the need to delve deeper; also he recorded, studied, and introduced these songs to the public. 5. The heyday of national sciences and national ideals in the Republic of Estonia valued engagement in folklore as the basis of cultural identity. The first folk music reproductions appeared, such as folk dance movement and runic verse recitals at schools, which was why the issues of performance started to be noticed and studied. Oskar Loorits supervised the study and publication of the most Estonian-like (in his own opinion) folklore – folk songs – and it was probably also his influence that made Tampere study the problem of scansion, to systematize and study folk songs, and compile publications.
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Digitisation of Folklore Archives: A Crisis of Tradition or Its ‘New Life’ on the Internet? The Example of Adolf Dygacz’s Collection

88%
Krajewska A.
Kwartalnik Młodych Muzykologów UJ
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2020
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issue 3(46) ENG
67-86
EN
The process of digitising archives, a universal trend in the last decade, also concerns music resources, thus offering new functionalities to their users. Its effects can facilitate researchers’ work since digital material is readily available and easy to locate. The questions that remain open concern the status of oral history contained in those audio-visual documents, its value and durability, the current results and possible consequences of making these materials accessible on a mass scale, as well as the effectiveness of multidimensional grassroots initiatives, such as cooperation on building virtual collections of materials. What possibilities open up for the musical folklore archives that are currently being discovered? Can digitisation suddenly make them more valuable in the eyes of the society? In this paper, I attempt to diagnose the problem of musical archive digitisation on the example of the ethnomusicological collection of Adolf Dygacz. I stress the importance of local history, which is a common subject in the humanities and has always been part of folklore studies but was not considered in the light of memory studies until very recently.
15
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Digitalizacja archiwów folklorystycznych – kryzys tradycji czy nowe życie w sieci? Przykład zbiorów Adolfa Dygacza

88%
Krajewska A.
Kwartalnik Młodych Muzykologów UJ
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2020
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issue 3(46)
71-89
EN
The process of digitising archives, widespread in the previous decade, has not omitted musical resources, and offers their users new functionalities. These measures can improve researchers’ work, as digital material is easy to localise and access. However, a question still remains of the subject of oral history, which acts like audiovisual documents, of its value and durability, the present results and the consequences of the common access to the materials. It is also a question of the effectiveness of multidimensional grassroot initiatives, such as creating common virtual collections of materials. What possibilities have we got for the folklore musical archives currently being discovered? Will their digitisation make them suddenly valuable in the society? In this text, the author attempts to diagnose the problem of digitisation of musical archives as exemplified by the ethnomusicological collection of Adolf Dygacz. The author highlights the importance of local history that is typical for human studies, which has always been part of folklore studies, but has not been considered in the light of memory studies until recently.
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Druhé životy lidové hudby : folklorní hnutí jako pojítko mezi tradicí a individuální tvořivostí

75%
Kratochvíl M.
Hudební věda (Musicology)
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2017
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vol. 54
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issue 4
455-466
EN
This study is devoted to the phenomenon of the contemporary revival of folk music, to questions of the approach to its various forms, and to relationships with the organized folklore revival movement. It employs the theoretical concepts of Christopher Small and Thomas Turino, which allow the linking of music with the context in which it is performed. Three examples of the present-day revival of folk music in the Czech Republic are used to show how the same music can be employed for very different goals. Besides these difference, it also draws attention to the role of the organized folklore movement, i.e. a network of ensembles, festivals, and other institutions. The influence of this movement can be found in most forms of the revival of folk music, where it manifests itself both as a source of music education for the participants and as a regulatory instrument for evaluation of what elements are or are not understood as permissible.
CS
Studie Matěje Kratochvíla je věnována fenoménu současného návratu folklorní hudby. Na základě teoretického konceptu Christophera Smalla a Thomase Turina se autor zabývá problematikou propojením hudby s kontextem, v němž je provozována. Ilustruje to na třech příkladech ze současné folklorní scény v České republice, na nichž dokládá, jak rozdílný výsledek má způsob a kontext použité téže hudby.
17

Hudba jako antropologické zrcadlo menšiny na příkladu výzkumu hudebních aktivit současných vídeňských Čechů

75%
Skořepová Honzlová Z.
Národopisná revue (Journal of Ethnology)
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2016
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vol. 26
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issue 2
132 - 143
EN
The study opens with an introductory section devoted to a brief presentation of the concept of minority and its definition. Based on comparison of the situation in Europe and the United States, as well as in different scholarly disciplines, the author aims to show main differences in its conceptualization and usage in the humanities, social sciences and law. On the background of the discipline´s development from comparative musicology to ethnomusicology, or musical anthropology, changes in the concept of minority and related research problems are outlined. At the beginning of the discipline, scholars focused on musical marginality embodied in non-European and predominantly rural European music in pursuit of its inclusion to the hypothetical timeline of musical development. While some scientists still continue documenting the music of endangered ethnic/national minorities, anthropology of music tends to study musical activities with respect to wider issues, such as music and identity negotiation among minority members, music and migration, etc. Finally, the author presents main questions, theoretical concepts, methodology and a summary of conclusions of her own research on musical activities of the contemporary Czech minority in Vienna, which was realized in the years 2012–2015.
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The Turnarounds: identita vídeňských Čechů třetí a čtvrté generace a rakouská hudební interkultura

75%
Skořepová Z.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2022
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vol. 109
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issue 1
9-33
EN
The swing-rock revival band The Turnarounds can be considered one of the significant examples of the music and dance activities in the contemporary Czech Vienna field. This study is a music anthropology contribution about the identity of the third and fourth generations of the descendants of Czech migrants to Vienna. The study responds to the questions of whether and how The Turnarounds’ members refer to their Czech identity and to their own, (if partial) Czech roots, to their ancestors’ migration experience, and to their own (in)activity in the associations created by other members of this minority. Drawing from an analysis of the activities of The Turnarounds, the study shows the relationship between third- and fourth-generation Viennese Czechs’ sense of belonging, their subjective concept of their homeland, and their aim of targeting an audience in the majority society of Vienna and thereby situating themselves in Austria’s intercultural music scene.
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Myśli i dzieło Oskara Kolberga jako inspiracja dla współczesnego etnomuzykologa

75%
Grozdew-Kołacińska W.
Lud
|
2014
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vol. 98
63-80
EN
The paper is a concise synthesis of deliberations based on the ideas of Kolberg (extracts) subjectively selected by the author. The main problems analyzed in the paper are: music as the subject of high priority in documentation and research, as well as the idea of methodical holistic documentation. The paper presents two weaknesses of modern ethnomusical gathering and archiving methods which are of utmost importance. Firstly, research centers and researches themselves are dispersed, and so is the object of the studies, musical material, which has recently been gathered intensively both by scientists and amateurs. Secondly, resources are not worked on with due consideration to their merits, especially if the work is undertaken by an individual hobbyist. Subsequently, the paper focuses on the idea of popularization of traditional music and its practical and theoretical aspects, which have been presented in the context of Oskar Kolberg’s comprehensive musical education, his music-making, and the meaning of these for his academic thought and the attitude towards his own interest in the research and documentation of music. The aforementioned practical aspect also concerns his exquisite organizational skills during his fieldwork. The theoretical aspect is the praise of erudition and versatility of his interests which were reflected in his academic thought, his journalistic work, and deep concern for the top quality of his editorial work.
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„Music as Heritage: Historical and Ethnographic Perspectives”, red. Barley Norton, Naomi Matsumoto, London–New York 2019 Routledge (= SOAS Musicology Series) ISBN-10: 1138228044; ISBN-13: 978-1138228047

75%
Popławska M.
Muzyka
|
2022
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vol. 67
|
issue 2
166-170
EN
Book Review of: Music as Heritage: Historical and Ethnographic Perspectives, eds. Barley Norton, Naomi Matsumoto, London–New York 2019
PL
Recenzja książki: Music as Heritage: Historical and Ethnographic Perspectives, red. Barley Norton, Naomi Matsumoto, London–New York 2019
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