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1
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Wziął braciszek strzelbiczkę, trafił myśliweczka w główeczkę… O (nie)konwencjonalnych użyciach zdrobnień w polskich pieśniach ludowych

100%
Prorok K.
LingVaria : Półrocznik Wydziału Polonistyki UJ poświęcony zagadnieniom języka i językoznawstwa
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2018
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issue 25
163-178
EN
The paper attempts to specify the function of diminutives in folk songs, and to find to what degree they can be considered a reliable source in the reconstruction of the linguistic image of the world. The starting point are the findings of Jerzy Bartmiński who distinguished five main functions of diminutives in folk songs: intellectual (communicating smallness), emotional (communicating endearment), rhythm-creating, rhyme-creating, and structural-poetic (signalling the style of the folk song: affectionate, tender, and noble). An analysis of lyrics where diminutives appear frequently and, unusually for them, in contexts of pejorative nature (e.g. in the wife’s description of how she killed her husband: zabiłam go drewienkiem w komórce pod okienkiem), allows the author to formulate a hypothesis that the structural-poetic function of diminutives is not only to establish a “tender and gentle” style in order to evoke positive emotions (create a positive image of the world), but also to evoke negative emotions (and create a negative image of the world). In pejorative texts, partially desemantized diminutives with their conventional tenderness and gentleness, can either soften the evil and the horror of the depicted world, neutralize negative emotions, or they can create such a sharp contrast with the “heartless” story which is being told, that the evil and dread of the world are intensified together with negative emotions. But this diversity of functions that diminutives can play in folk songs, ther partial desemantization and conventionality, render them particularly difficult to analyze, and a reasearcher of the linguistic image of the world should approach them with caution.
2

Rahvalaulud ja rahvamuusika Virumaal

100%
Ruutel I.
Mäetagused
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2017
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vol. 67
41-74
EN
The article discusses folk songs in Virumaa region, starting from their earliest forms until today. Like Estonian folk songs in general, folk songs in Virumaa are also divided into two main historic-stylistic layers: the ancient or runo verse (in Finland usually called Kalevala-metric or runosong) and the newer or end-rhymed folk songs. The former is a unique cultural phenomenon, the poetic-musical style of which is known only at Baltic-Finnic peoples, whereas the latter, by their form and music, are close to the folk songs of European peoples in the past few centuries. Between the two, there is a smaller group of so-called transitional folk songs. Virumaa region is part of the northern Estonian linguistic and cultural area, which also covers western Estonia and the islands, and which can be regarded as the cradle of ancient classical Estonian culture. This was the region of the earliest permanent farming as well as transfer to cultivating economy, which brought about sedentary settlement, the formation of the oldest Estonian villages and patriarchal extended family. It was probably here that in the last millennium B.C. – in the later development stage of the Proto-Baltic-Finnic language – the (Kalevala-metric) runo verse folk song was born, which spread all over Estonia and also to other Baltic-Finnic peoples. The oldest types of Estonian runosong (regilaul) are thought to have emerged in northern Estonia. Connection with the historical tradition of the region has persisted until today. In recent years the creation of new modern runosongs has gained impetus. Although the purity of form often leaves to be desired, they are a living proof of the vitality of the runo verse.
3
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Ukrainian Folk Song Creativity as a Means of Education of Younger School Students in the Conditions of the New Ukrainian School

100%
Koval T., Kolesnik K., Grab O.
Viae Educationis
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2023
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issue 2
19-24
EN
The upbringing of a comprehensively and harmoniously developed personality of a younger student in the new Ukrainian school is one of the most important tasks at the present stage of development of society, in which the enrichment of the spiritual world of the child involves the formation of creative potential and internal culture, ensuring the spiritual unity of generations. The upbringing of young citizens should be aimed primarily at the development of their humanistic feelings, the formation of national and universal values. Considerable attention is focused on the process of forming the personality of a junior high school student by means of Ukrainian folk songs, which are very deep in their wisdom and contain a huge educational, health and educational potential. Therefore, the revival of folk song culture is of great importance in the education of students of the new Ukrainian school. In the course of a theoretical analysis, the educational opportunities of Ukrainian folk art are determined. The necessity of focusing the attention of younger schoolchildren on the ideological didactic nature of a folk song is justified, because song folklore is a polysystemic means of personality formation, since it affects both the spiritual, intellectual, emotional and other spheres of a person, morally and psychologically sets him to work, and a successful theoretical and methodological the use of ethno-pedagogical means ensures the aesthetic development of students, a high culture of perception of various types of art. The pilot experiment made it possible to draw conclusions about the level of relations of modern elementary schoolchildren to Ukrainian folk songs, and determined the basic skills and abilities of students to use folk songs. The results obtained indicate the need to introduce such forms of work into the educational process of the elementary school that would deepen knowledge of the Ukrainian folk song, activate children’s interest in the origins of national song folklore through spiritual and practical activities. The proposed forms of educational work with primary school students, aimed at aesthetizing their relationship to Ukrainian folk songs.
4

Stereotyp urody w pieśniach ludowych z powiatu sokólskiego

88%
Ancypo M.
Rocznik Przemyski
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2014
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vol. 50
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issue 2: Literatura i Język
55-76
EN
The article is devoted to the peasant stereotype of “beauty” recorded in the folk songs of the Sokółka region (the Podlaskie province). The reconstruction of the image of the “physical beauty of a human” has been narrowed down to the most frequent in the collected material names for parts of the face, like: eyes, eyebrows, mouth. The text analyzes in detail the ways of valorizing the physiognomies of men and women as well as lyrical functions performed by descriptions of the characters’ physical appearance. The study considers wide cultural connotations, necessary for correct understanding of the folk texts. The performed analysis proves that speaking of the beauty of the song characters one speaks in fact of the traits of their character and their morality.
5

Moravské písně milostné – nedoceněný milník moravské hudební folkloristiky

88%
Toncrová M., Uhlíková L.
Národopisná revue (Journal of Ethnology)
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2017
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vol. 27
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issue 1
44 - 59
EN
The study sets out the first scientifically treated Czech edition of songs – Moravské písně milostné [Moravian Love Songs] prepared by the composer Leoš Janáček and the philologist Pavel Váša, and published in parts between 1930 and 1937. The authors assess the collection´s importance, explain the reasons why its publishing lasted for more than twenty years (and Janáček did not live to see it), set out an unusual structure of the edition as well as possible causes for the insufficient appreciation of the work. They state that within the Czech context, the publication is a unique event in publishing for more reasons: 1. it can justly be described as the first scientifically treated edition of one sort of songs in the Czech folkloristic research; 2. based on a peculiar conception, mainly by Leoš Janáček, the material is divided into groups of songs based on the relationship between the musical and the literary component as well as the psychic and the emotional effect; 3. it is the first scientific edition supplemented with a lot of registers, although that part of the work has not overcome initial difficulties yet and it has introduced many inaccuracies into the collection; as a collection of love songs from Moravia and Silesia, it represents an important stage of development on the way to a model edition of scientific type.
6

Elava rahvalaulu juurde joudmine: Herbert Tampere teadlaseisiksuse kujunemine

88%
Särg T.
Mäetagused
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2022
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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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Raudy – genologia i ewolucja gatunku

88%
Wulczyńska M.
Przegląd Wschodnioeuropejski
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2011
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vol. 2
357-372
EN
The author of the article makes an attempt to reconstruct genology of raudos pagan funeral songs, which occur within Lithuanian folklore. Raudos as lamentations belong to the oral culture. Known since pagan times, for centuries have been handed down from generation to generation. Pagan raudos were never written and knowledge about them is drawn on the basis of the few mentions in historical chronicles and documents. A few records, that are often inconsistent sources of information, became the starting point for hypothetical reflection on Lithuanian lamentations. In this text it is tried to determine the specific qualities of raudos, and also the development and evolution of internally diverse genre.
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Kramářská píseň jako inspirační zdroj české písně lidové (na základě analýzy textových i melodických variant písně Jaký mám trápení...)

88%
Thořová V.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2010
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vol. 97
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issue 1
51-74
EN
The oral tradition preserved several dozens of folk songs that arose out of the broadside ballads. In these cases the broadside ballad was shortened, the strophes that included verses and formulations not reflecting the popular experience were omitted and the vulgar words replaced by formulations typical for folk song. The tolkative character of the broadside ballad was substituted by the concise way of folk song. The texts were supplemented by folk melodies. These statements can be proved by the case of the song Such a sorrow I have, cloth trousers… that arose out of the broadside ballad. This folk song existed in many textual and melodic variants and under various incipits on the whole territory of Bohemia and parts of Moravia and Slovakia. Some formulations in the broadside ballad indicate its origin in the period of 1811–1816, while the folk song appeared for the first time in the collection of K. J. Erben from the year 1864. In published and manuscript collections were ascertained in the whole 23 textual and 18 melodic variants. The tunes come out of the traditional melodies and usually imitated some concrete folk song. The songs are mostly dance songs, in triple time, mostly in the rhythm of „sousedská“, ländler or round-and-round („kolečko“). The instrumental recordings of closing parts of some songs as well as the notes of the collectors prove that these songs accompanied the dance at dance evenings or weddings. Their humorous text and dance rhythm probably contributed to their popularity and wide spreading, especially on occasions of high-spirited wedding celebrations. The song had been preserved in oral tradition, in numerous variants, for almost 200 years, and this constitutes one of the main attributes of a folk song.
9
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Pragmatické aspekty ve folklorní slovní zásobě

88%
Nejedlý P.
Linguistica Copernicana
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2011
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issue 2(6)
195-202
EN
The pragmatic aspect of lexical meaning can have a specific function in some lexical units; e.g. the excessive use of both demonstrative verbs and diminutives is a characteristic feature of the Czech (or Moravian) folk song. The function of the pragmatic part of their lexical meaning is - in comparison with other texts - modified: these linguistic components function primarily as a signal of the genre itself.
10
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Statistická analýza rytmického zúžení jako příspěvek k otázce rytmické stavby lidové písně u západních Slovanů

75%
Votruba A.
Studia Ethnologica Pragensia
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2018
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issue 2
103-147
EN
Rhythmic narrowing (Rhythmusverengerung) was first described by Hungarian ethnomusicologist and composer Béla Bartók. It is the specific structure of the melody of a song which is usually connected with rhymes repeated twice with the same syllable (aabb), while on the 1st and 4th rhymes have a larger number of bars than the 2nd and 3rd rhymes. A number of bars could be assigned to particular rhymes according to the scheme 3–2–2–3, 4–3–3–4, etc. Béla Bartók considered this phenomenon typical for Slovak folk songs. Similar ideas were proposed by Slovak musicologist Jozef Kresánek, who also proposed a hypothesis about the evolutional connection between the genesis of this structure and the development of harmonic thinking. The author of this study presents, on a larger body of statistically analysed material, that rhythmic narrowing is typical, not only for Slovak, but also for Czech song. The area whith the most abundant distribution is from Eastern Bohemia through Moravia to the Central and Eastern Slovakia border. Polish Silesia could be also added to this area — the part which was not settled by German speaking people before 1945. Rhythmic narrowing is much less widespread among the neighbouring nations — the rest of Poland, Hungary and the Ukraine. It has not been found at all in German, Sorbian, Lithuanian and Serbian folk song collections.
11

Pieśń ludowa w kształtowaniu świadomości fonologicznej dziecka

75%
Osowicka-Kondratowicz M.
Język Polski
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2018
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vol. 98
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issue 3
108-118
PL
W artykule wskazano na zasadność wykorzystania pieśni ludowej w programach kształtowania świadomości fonologicznej u dzieci w wieku przedszkolnym 
i wczesnoszkolnym. Przedstawiono, jakie kompetencje i sprawności są aktywizowane podczas nauki przez dzieci tekstu gwarowego oraz śpiewania pieśni ludowych. W podsumowaniu stwierdzono, że odpowiednio dobrana pieśń ludowa może być skuteczną formą ćwiczenia świadomości fonologicznej w procesie nabywania języka przez dzieci.
EN
In this article the legitimacy of using folk songs to form phonological awareness among children at preschool and early-school age was shown. It was depicted what competence and skills are activated when children learn local dialect texts and sing folk songs. It was concluded that a properly selected folk song can be an effective form of phonological awareness practice in the process of language acquisition by children.
12
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Obrázky z domova: Pražská sbírka německých lidových písní - Fond německých oblastí, 1894-1945

75%
Suchomelová M.
Národopisný věstník
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2011
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vol. 28_(70)
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issue 1
61-70
EN
For several decades after 1945, any attempts for applied research of ethnologically important and from the point of view of contemporary anthropological sciences extensive archival collections of Adolf Hauffen and Gustav Jungbauer, known as Prague collection of German folk songs - German areas fund, 1894-1945 (Pražská sbírka německých lidových písní - Fond německých oblastí, 1894-1945), was impossible. Among its treasures, there are particularly Sudeten regional song repertoire, the largest one outside German-speaking countries, and collections of variants of verbal folklore, ethnographic records, questionnaires as well as varied pictorial material from amateurs as well as exact ethnographic lineament and photodocumentation. only in 1993, after restoration and inventory, was it possible to make the collection available to the public. The collection of German folk songs originated from collecting activities in several historical periods from the late XIX century to the mid-XX century. Documentation and archival files were originally arranged and in fact left in the new arrangement according to the criterion of the main areas of German-speaking population - Bohemian Forest, Cheb area, Northwest, Northern and Eastern Bohemia as well as Moravia, silesia and slovakia. At the end, varia and prints are included as well as records of the working committee and the correspondence of the originator. The inventory of the collection fund is complemented by indexes; it refers to 980 inventory units in the extent of 80 archival cartons (i.e. 10 rm).
13
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A Mother-In-Law on Her Son-In-Law… (The Problem of Hidden Semantics of the Family Relations)

75%
Czerwiński P.
Slavia Orientalis
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2022
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vol. LXXI
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issue 2
14
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Materiały Kolbergowskie a metodologia badań folklorystycznych

75%
Grochowski P., Wróblewska V.
Lud
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2014
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vol. 98
41-62
EN
This article is an attempt to take a critical look on Oskar Kolberg’s works in the context of modern methodological standards, which are accepted in the folklore research. The analysis of specific qualities of Kolberg’s material, (e.g. the way of obtaining ethnographical data, organizing them and preparing for print) leads to a few conclusions. An ambitious and innovating project (an attempt to show the connections between folk texts and folk culture in general) was partly realized, because in Kolberg’s works there is a characteristic dissonance. Some texts are placed in the group with descriptions of habits, beliefs and rituals, some in the separate sections associated with literature (e.g. “Folk novels”, “Songs”, “Proverbs”). And the third group consists of dances. The entire material is divided in two basic sections. The first one includes texts, which are recognized as closely connected with cultural context and this connection is emphasized. The second section includes texts, which are treated as autonomous and their links with other elements of folk culture are omitted and marginalized. It appears that Kolberg, despite his very modern, holistic approach to culture research, stayed in the strong influence of philological and musicological paradigms. They were not harmoniously combined, but competed which each other and gained “local victories” in particular areas of research.
15
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Myśli i dzieło Oskara Kolberga jako inspiracja dla współczesnego etnomuzykologa

75%
Grozdew-Kołacińska W.
Lud
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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.
16

Nomina propria v Kladských písničkách

63%
Pastyřík S.
Onomastica Slavogermanica
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2019
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vol. 31
89-93
EN
Czech folk songs, which at the beginning of the previous century were written down in Kłodzko by the collector and ethnographer J.Š. Kubín, have undergone changes determined by the local specificity. In the article the author also describes changes caused by a transfer of folk songs from the centre to the peripheries.
17

Lati rahvalaulud Johann Gottfried Herderi kogus

63%
Paškevica B.
Mäetagused
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2016
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vol. 65
55-76
EN
The handwritten Latvian folk songs in Johann Gottfried Herder’s manuscripts collection at the Prussian Cultural Heritage Manuscript Department of the Berlin State Library (also known as “Livonian collection”, as titled by Leonid Arbusow) are a testimony of the folk songs collection campaign at Herder’s request in 1777 and 1778. The authors who responded to Herder’s request and collected, commented, and translated Latvian folk songs have been identified in some cases, but there are also manuscripts of unidentified authorship; the identity of their authors has been widely discussed in previous studies. In the present study, handwritings in documents held at the National Library of Latvia, the Academic Library of the University of Latvia, the National Archive of Latvia, and the Historical Archive of Latvia have been compared and all collectors of Latvian folk songs in Herder’s personal archives have been identified. It has been found that the unidentified handwritings belong to Heinrich Baumann, Gustav Bergmann, Jakob Benjamin Fischer, and August Wilhelm Hupel. It has been discovered that manuscripts No. 50 and No. 53.1 of Herder’s personal archives were written by Gustav Bergmann; manuscript No. 51 was written by Jakob Benjamin Fischer (it includes texts from the 50th manuscript by Baumann and the 52nd manuscript by Bergmann as well as some original texts which were missing in both Baumann’s and Bergmann’s manuscripts); manuscript No. 52 was written by Gustav Bergmann, and manuscript No. 53.2 was written by August Wilhelm Hupel. Herder selected parts of manuscripts No. 50, 51, and 52 to publish them in a separate section titled “Fragments of Latvian Songs” (Fragmente lettischer Lieder) in his collection “Folk Songs” (1778/1779). Encompassing six texts, “Fragments of Latvian Songs” is the first set of Latvian folk songs in Herder’s volume. There is also a second collection, titled “The Song of the Spring” (Frühlingslied) in which five texts are included. The original handwritten texts of “The Song of the Spring” have not been found in Herder’s personal archives in the Berlin State Library; therefore it must be assumed that Herder received yet another handwritten collection of folk songs which has been lost. For this reason, the number of songs in the lost collection remains unknown as well. Considering that “Fragments of Latvian Songs” were selected from eighty submitted texts (which included different variations of the same song), we can assume that “The Song of the Spring” has been similarly selected from a wider amount of texts according to rigid principles known only to Herder himself. Thanks to the cooperation of Livonian authors, Herder had a broad collection of Latvian folk songs in his possession.
18

O LUBELSKIEJ KARTOTECE KOLĘDOWEJ

63%
Maksymiuk-Pacek B.
Rocznik Przemyski
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2018
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vol. 54
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issue 2(22): Literatura i Język
131-139
EN
The article is a presentation of the Lublin carol register which is located in the “Ethnolinguistic Archive” Laboratory of the Institute of Polish Philology at the Maria Curie-Skłodowska University in Lublin. The Laboratory collection consists of 1821 phonograms from field recordings from the years 1960-2017 that encompassed various genres of songs and spoken folklore. At the beginning of the 1990s, carol texts were separated from the collection and work on their descriptive-faceted description according to the principles formulated in the Literatura Ludowa (No 4-6, 1979) began. Currently, the carol register contains 6035 texts taken from 97 Polish publications (before 2000) and field recordings. It functions in both computerized (the KarKol database) and paper form. For the KarKol database, special indexes of incipits, sources, geographical names, genres as well as key words were elaborated. One can use the register in the “Ethnolinguistic Archive” Laboratory at the Maria Curie-Skłodowska University in Lublin.
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Recenzja wystawy „Życie jako pieśń. Z teki profesora Adolfa Dygacza” oraz katalogu jej towarzyszącego

63%
Turek K.
Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"
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2020
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vol. 8
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issue 8
154-161
PL
Wystawa „Życie jako pieśń. Z teki profesora Adolfa Dygacza” została zorganizowana przez Muzeum „Górnośląski Park Etnograficzny w Chorzowie” w 2020 roku. Kuratorami wystawy oraz autorami towarzyszącego jej katalogu są Krzysztof Bulla i Agata Krajewska. Kompozycja wystawy wraz z przygotowanym katalogiem tworzą spójną w treści, rzeczową i logicznie rozplanowaną całość. Ekspozycja poświęcona jest materiałom archiwalnym zachowanym w tece folklorystycznej profesora Adolfa Dygacza, wybitnego znawcy tradycyjnej kultury muzycznej Górnego Śląska i Zagłębia Dąbrowskiego. W odrębnym fragmencie wystawy prezentuje sylwetkę uczonego, jego życie, działalność zawodową, pedagogiczną i społeczną, zwłaszcza rozległy obszar jego zainteresowań i rezultatów badawczych sfinalizowanych w wielu studiach i pracach naukowych, edycjach śpiewnikowych oraz szkicach popularno-naukowych. Głównym tematem poznawczym wystawy pozostaje obszerny zbiór pieśni ludowych, udokumentowanych przez Adolfa Dygacza podczas długoletniej pracy terenowej i naukowo-badawczej. Archiwalny zasób materiałów źródłowych rozplanowano w czytelne bloki tematyczne – tablice informacyjne, opracowane poprawnie i szczegółowo, z przykładami tekstów i melodii pieśni oraz planszami zabytkowych instrumentów ludowych i szklanych. Obszerną ekspozycję uzupełniono poglądowymi nagraniami muzycznymi i audiowizualnymi. Uczestnicy wystawy mają więc możliwość wyboru interesujących ich zagadnień, umiejscowionych w odrębnych tablicach tematycznych. Podjęte przedsięwzięcie organizacyjne, wystawiennicze i naukowe ma rangę szczególnie ważkiego dokumentu, jest bowiem pionierskim, odkrywczym i doniosłym wydarzeniem, które wyraźnie i trwale wpisuje się w krajobraz współczesnej kultury Górnego Śląska i Zagłębia Dąbrowskiego.
EN
The exhibition “Life as Song. From the Portfolio of Professor Adolf Dygacz” was organized by the Museum “Upper Silesian Ethnographic Park in Chorzów” in 2020. The curators of the exhibition and the authors of the accompanying it catalog are Krzysztof Bulla and Agata Krajewska. The composition of the exhibition together with the prepared catalog form a coherent in the terms of its content, factual and logically planned whole. The exhibition is devoted to archival materials preserved in the folklore portfolio of Professor Adolf Dygacz, an outstanding expert in the traditional musical culture of Upper Silesia and the Dąbrowa Basin. In a separate part, the exhibition presents the scientist, his life, professional, pedagogical and social activity, especially the extensive area of his interests and research results collected in many studies and scientific works, songbook editions and popular science study sketches. The main subject of the exhibition is an extensive collection of folk songs, documented by Adolf Dygacz during many years of his field work and research. The archival resource of source materials was arranged into clear thematic blocks – information boards, correctly and precisely prepared, with examples of texts and song melodies, and boards of antique folk and glass instruments. The extensive exhibition has been complemented with illustrative music and audiovisual recordings. Therefore, the participants of the exhibition have the opportunity to choose only elements of their interest, which are placed in separate thematic boards. The organizational, exhibition and scientific project undertaken has the rank of a particularly important document, as it is a pioneering, revealing and momentous event that clearly and permanently fits into the landscape of contemporary culture of Upper Silesia and the Dąbrowa Basin.
20

Uczucia wyrażane za pomocą języka ciała w pieśniach ludowych z Warmii i Mazur

63%
Wełpa A.
Prace Językoznawcze
|
2009
|
issue 11
247-259
EN
Most information is represented through nonverbal messages. This standard also concerns feelings which can be expressed by gestures, mimics and different ways of behaviour. Body language presented in the folk songs discussed in this article is classified in the following categories: happiness, love, tenderness, sadness, anger and disdain. The provided analysis shows that some mimics is common for two or more different feelings, such as laughter signifying either happiness or disdain. Moreover, the examination displays that sadness is frequently expressed by certain types of behaviour e.g. crying, wringing one’s hands or wiping one’s eyes. The article visualizes the abundance of methods allowing for demonstration of feelings in folk artistic activity.
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