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1

PIESŇOVÝ REPERTOÁR OBCE DOHŇANY. ZO ZÁPISOV KAROLA PLICKU

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Timková M.
Musicologica Slovaca
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2011
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vol. 2 (28)
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issue 2
251 – 273
EN
Karol Plicka (1894–1987) was one of the 20th century Czech and Moravian collectors who worked in Slovakia during the interwar period, making a fundamental contribution to developing the concept of the folk song, as applied in collecting practice within Slovakia. By probing the records of Slovak folk songs from Dohňany village (Trenčín region), the study gives a close-up view of Plicka’s collecting method (making transcriptions directly in the field) and technique of recording (melodic and textual rough copy, fair copy). Plicka’s records from Dohňany village were subjected to a source critique, on the basis of which the number of song units was established, i.e. the overall extent of the song repertoire documented in this village (72 songs). The song records were analysed not only in terms of the technique of entry-making but also of the genre structure and musical-stylistic characterisation of the repertoire recorded.
2

REVITALIZÁCIA DUCHOVNÝCH HODNÔT V OBDOBÍ MOROVEJ EPIDÉMIE: PÍSEŇ O MOROVÝM NAKAŽENÍ (1759)

100%
Blažencová Ľ.
Slavica Slovaca
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2021
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vol. 56
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issue 3
378 - 389
EN
The study focuses on the issue of revitalizing values that are coming to the fore in times of crisis in society during the difficult times accompanied by the plague epidemic. The focus of the research is The Song of the Plague Infection, which was printed in Trnava in 1759 and it is about the plague epidemic in the town of Místek in Moravia in 1710. It describes the situation of death and the crisis of spiritual values. The plague is seen as God’s punishment for the sins of the people. In this borderline near-death situation, people turn to Saint Rochus, the protector against the plague, for help. At the core of the song is a description of his pious life and acts of mercy, where the song appeals for a change in people’s behaviour. The song draws attention to the changes in spiritual values, in the intent of the Baroque period that should guide man on the path of faith.
3

PIESNE JÁNA MÓRYHO (1892 – 1978) NA THÁKUROVE BÁSNE

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Bárdiová M.
Musicologica Slovaca
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2011
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vol. 2 (28)
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issue 2
230 – 250
EN
The award of the Nobel Prize for Literature in 1913 to the Bengali writer, philosopher and teacher Rabindranath Tagore (1861 – 1941) for the collection Gitanjali created considerable interest in his work in Europe and America. One of the first writers who set his poems to music was the Czech composer J. B. Foerster; others included Leoš Janáček and Alexander Zemlinsky, of the Slovak composers Alexander Albrecht and the others. In 1923 Ján Móry (1892 – 1978) composed Tagore Album, op. 12, a cycle of 14 songs for vocals and piano, which was issued in printed form by the Ries & Erler publishing house in Berlin. This cycle enriched the work inspired by Tagore’s poetry in Czecho-Slovak and European musical culture.
4

K VARIABILITE BALADY V ĽUDOVOM SPEVE

100%
Urbancová H.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 1
5 – 32
EN
The traditional Slovak repertoire includes two groups of ballads, differing in terms of genesis and development: ballads from the oral tradition, and ballads with a model in printed song sheets. The category of song type provided the starting point for a study of their variability, making it possible to follow the variant process in a broader circle of song variants. In three selected cases the author has been able to illustrate the forms in which the variant process affected several layers of the song structure, the textual poetics, and the musical style. Besides variant changes of the action and its episodes, there was also a regrouping of features relating to type and musical style, resulting from the song’s adaptation to a different singing occasion. These changes prove that the ballad’s variability is closely connected with the genesis and development of the song type and also with the social function of singing.
5
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Pieśni urzeczywistnienia w buddyzmie tybetańskim

100%
Gablankowska-Kukucz J.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
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2011
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issue 4(18)
147-154
EN
The tradition of writing songs which express spiritual experiences (Sans. dohā, Tib. mgur) of their authors came to Tibet from India, along with tantric practices. These poems deal with the most personal aspects of spiritual path – the personal insight, yearning for solitude, recollecting one’s own guru etc. Uniting doctrinal teachings with the beauty of metaphoric language, the poems are often a skillful means for teaching. In this paper author shows some examples of poems and discusses their educational role in Tibetan Buddhism.
6

PIESNE Z REPERTOÁRU SÚČASNÍKOV EVY STUDENIČOVEJ. K NEZNÁMYM ZÁPISOM KAROLA PLICKU Z OBCE MORAVSKÝ SVÄTÝ JÁN

100%
Timková M.
Musicologica Slovaca
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2017
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vol. 8 (34)
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issue 2
313 – 333
EN
Karol Plicka (1894–1987) documented a song repertoire from the singer Eva Studeničová in the village of Moravský Svätý Ján in the early 1920s. He regarded this woman as an exceptional figure among singers, who transcended the limits of the local culture. This article is devoted to a reconstruction of the records of songs which Plicka acquired from other singers in this village. The song records not only contribute to comparison of song variants and rendition styles but they also reveal the contemporary condition and preservation of traditional singing in the local culture. Based on source criticism, a song repertoire extending to 88 songs from 12 singers was identified. This song material represents a valuable supplement to Plicka’s register of songs from Eva Studeničová and provides an opportunity to compare the exceptional singer with several bearers of the local song tradition.
7

CONTEMPORANEITY VERSUS TRADITION: LUO FUʼS SONG OF EVERLASTING REGRET, IN COMPARISON WITH THE POEM OF THE SAME NAME BY BAI JUYI

88%
Zhang Cziráková D.
Asian and African Studies
|
2019
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vol. 28
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issue 2
223 – 252
EN
This study compares two poems with the same name, namely Bai Juyi’s and Luo Fu’s Song of everlasting regret, with an emphasis on the life and achievements of the fashionable poet Luo Fu, who was one of the main representatives of Modernism in Taiwan. The comparison takes into account the different historical and general context as well as the means of expression of the authors. It deals with the problem of reinterpretation of old texts and also examines to what degree they have become the inspiration for the contemporary writer, why the poet known for his modernist practices returns to the traditional Tang poems to what extent his poem is innovative as well as the way it handles the theme outlined in the original poem.
8

KRESÁNKOV POHĽAD NA HUDOBNÝ TVAR A JEHO ZOBRAZOVACIE SCHOPNOSTI NA PRÍKLADE MAHLEROVEJ PIESNE DAS IRDISCHE LEBEN

88%
Lindtnerová J.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
265 - 275
EN
Musical thinking and its three spheres – the sonoristic, dynamic and thematic spheres – were among the most fundamental phenomena which Jozef Kresánek explored in his musicological research. Musical thinking is a fundamental phenomenon not only in composition but also in performance, listening, reception and reflection. Hence, musical thinking is thus a common factor in all musical activities, as well as in musicology itself and its disciplines. The paper is devoted particularly to thematic musical thinking, whose basis is musical forms. The author considers Kresánek’s definition of musical forms, their division into three main groups, and the fundamental characteristics of musical forms, as well as the depictive capacities of music. Following on from these theoretical premises in the second part of the paper there is an analysis of structure and significance in Mahler’s song Das irdische Leben.
9

ON THE BORDERS OF GENRES. COMMUNICATION SITUATIONS AND INTERGENRE FORMS IN TRADITIONAL SONG CULTURE (Na hranici zanrov. Komunikacne situacie a medzizanrove formy v tradicnej piesnovej kulture)

88%
Urbancova H.
Slovenský národopis (Slovak Ethnology)
|
2009
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vol. 57
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issue 2
162-175
EN
The study of song genres carried until recently has been marked by a prevailing orientation towards the 'text'. Within the scope of genre classifications, hybrid forms appeared as ambivalent and fragmentary. In this article the view on the traditional song genres is enriched by boundary genre forms. These enable us to study the process of how song genres exhibiting a different level of relationship and interconnection become hybridised at the level of song lyrics and music-style signs.
10

TRANSFORMACE HUDEBNÍCH FOLKLORNÍCH PROJEVŮ V PROCESU TRADOVÁNÍ (SE ZŘETELEM K SITUACI NA PŘELOMU TISÍCILETÍ)

88%
Toncrová M.
Etnologické rozpravy (Ethnological Disputes)
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2009
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vol. 16
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issue 1-2
95 – 103
EN
Folklore is coming into confrontation with other kinds of non – artificial music, which contributes to its perception and acceptance, for example through various forms of adaptation and other way of making use of them other than in the folklore genres. At presence a folk song is not related just to a particular locality or region; popular songs are sung in many places; in some case all over the country. Modern technologies are having an impact on the consciousness of the contemporary folklore (internet). This must be evaluated critically. For this is a system accessible and open to practically everyone. These transformations can be observed on the basis of contemporary research in the Czech lands; however, the situation may differ in other environments.
11

LETÁKOVÉ TLAČE AKO PRAMEŇ MARIANSKÝCH LEGIEND. K DVOM PIESŇOVÝM TYPOM Z ÚSTNEJ TRADÍCIE

75%
Urbancová H.
Musicologica Slovaca
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2010
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vol. 1 (27)
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issue 1
122-145
EN
The study of Marian legends has proven that song sheets served as a model for several song types known from the oral tradition. The two so far unknown Marian song-legends documented only in one village in Slovakia (Zablatie by Trencin - Povazie region) could be incorporated into the Slovak repertory thanks to their models – song sheets, the products of the domestic printing works from the second half of the 19th and first half of the 20th century (Skalica, Banska Bystrica, Levoca). The song types from the local tradition of this village bring two new topics (“Death of Mary and Assumption”, “Revelation of Mary to orphans”), thus widening the Marian cycle of legend songs reconstructed in the Slovak traditional singing to 18 topics. The existence of printed song sheets demonstrates a wider territorial spreading of the song type than originally proven by the number and localization of records from the oral tradition, being dependent of the collector’s concept.
12

TRADIČNÁ KULTÚRA SLIEZKA V KONTEXTE GLOBALIZÁCIE

75%
Smolińska T.
Etnologické rozpravy (Ethnological Disputes)
|
2009
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vol. 16
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issue 1-2
6 – 18
EN
Popular songs in Upper Silesia followed so-called Disco Polo music and they are referred to as traditional songs, “Silesian folk” or “Silesian szlagry” (Silesian hits). This very unique repertoire is the subject of the author ś scientific focus. She carries out a preliminary evaluation of the repertoire of popular banda that make references to the Silesian folklore and folk culture. The “Silesian szlagry” are based on the melodic of German popular songs and the melodic lines of Polish songs are used less often. All lyrics are written in the Silesian dialect. Their evaluation from the literary perspective shows that they are quite often written ad hoc: sometimes sentences and plots miss finishing touches; repetitions, rhymes and refrains are inconsistent; it is difficult to find the uniform metrical patterns; and the song writers make use of unjustified mental shortcuts and clichéd descriptions.
13

ČESKÉ LITERÁRNE INŠPIRÁCIE V HUDOBNEJ TVORBE JÁNA LEVOSLAVA BELLU

75%
Lengová J.
Musicologica Slovaca
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2012
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vol. 3 (29)
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issue 1
45 – 84
EN
The composer Ján Levoslav Bella (1843 – 1936) maintained close contacts with personalities of Czech musical culture, especially in the years 1868 – 1881 and 1921 – 1936. Tanks to this he took a more intensive interest in Czech literature, which ultimately led to his taking a number of Czech literary models to set to music. The following works are extant: choirs to words by František Sušil (St. Cyril’s Deathbed Prayer) and Adolf Heyduk (Little White Shirt, I’m a Great Lady!), songs for the voice and piano Good Night and To the Singers to words by Eliška Krásnohorská, the opera fragment Jaroslav and Laura according to the verse drama by Václav Pok Poděbradský, and a song for higher bass and orchestra Credo to words by Jaroslav Martinec. The study is centred on analysis of individual works, taking into account the circumstances of their emergence and reception.
14

TROJKRÁĽOVÉ PIESNE A KOLEDY V SLOVENSKOM REPERTOÁRI Z ÚSTNEJ TRADÍCIE

75%
Urbancová H.
Musicologica Slovaca
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2018
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vol. 9 (35)
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issue 2
200 – 237
EN
Traditional songs and carols for the feast of the Epiphany (Three Magi) were sung during ritual processions with carol-singing as a part of folk games, and also independently as a song with a wish. The Slovak repertoire from the oral tradition includes two different song types, which were associated exclusively with this feast and they are widespread in most of the regions of Slovakia. In the text component, apart from individual sequences of the Three Magi story, there are also contaminations from further layers of the Christmas repertoire (secular carols and pastoral songs). The tunes have stylistic features which mark them out from the historical layers of traditional Slovak music culture. They are indicative of connections with an analogous repertoire from other regions of Central Europe on the one hand and on the other hand with the repertoire from hymn books as a part of the written tradition.
15
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(„Ich grolle nicht” w „Cudzoziemce” Marii Kuncewiczowej. O pieśni z perspektywy interdyscyplinarnej

75%
Sokalska M.
Studia Europaea Gnesnensia
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2014
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issue 9
23-42
PL
The paper focuses on the song as a syncretic, literary-musical genre. The appearance of song quotes in a novel (Cudzoziemka by Maria Kuncewiczowa) represents an interesting case, which may nevertheless be examined from purely literary perspective. However, a more profound interdisciplinary reading, which combines the elements of analysis of a piece of prose and a piece of music, enables a better interpretation of this particular motif in the novel.  
16

PRINCÍP BALADICKOSTI V DIELACH JÁNA LEVOSLAVA BELLU A TADEÁŠA SALVU

75%
Lengová J.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 1
58 – 76
EN
This analysis of selected works on ballad poetry by Ján Levoslav Bella (1843 – 1936) and Tadeáš Salva (1937 – 1995) addresses structural-formal aspects, the relationship of texts and music, semantics, and musical symbolism. J. L. Bella composed three ballad songs for vocals and piano: Sehnsucht (ca. 1905) in German, Románc (ca. 1905) in Hungarian and Gajdoš Filúz (Filúz the Bagpiper, 1927) in Slovak. They are distinguished by a highly composed form, integrity of the vocal and instrumental components, and rich musical symbolism. T. Salva created the first Slovak television opera Margita a Besná (Margita and the Fury) for soprano, contralto, sixteen-voice mixed choir and a silent dancer (1971), on the model of a ballad by J. Botto. He worked freely with the musically arranged text, in the typical manner of literary adaptations. Salva used the technique of limited aleatory, sound blocks, and the timbral capacities of the human voice. The differentiated compositional approaches of both authors stem from their individual musical poetics, the different genre form, and the change of music-stylistic paradigm.
17
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BAROKOVÁ DUCHOVNÁ PIESEŇ AKO ŽIVÝ ODKAZ CYRILO-METODSKÉHO DEDIČSTVA

75%
Lauková S., Kaizerová P.
Konštantínove listy
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2020
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vol. 13
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issue 2
137 - 152
EN
Cantus Catholici (1655) was the first printed Slovak Catholic hymn book. In the foreword, its compiler, the Jesuit Benedikt Szőllősi, refers to the Cyrillo-Methodian mission which proves the mission’s importance for the development of Slovak national identity. Even in the Baroque period, the authorization of the use of the Slavonic liturgy by Pope Adrian II was an accepted argument to support the creation of a “folk” hymn book. Ancient ancestry of religious songs, their popularity among people and their use in non-sacral space were emphasized. The compiler of the hymn book Cantus Catholici approached the selection and modification of songs in a specific way. The fact that the hymn book was addressed to the folk influenced the process of selecting songs which were well-known and popular (Christmas songs, Easter songs, songs for Lent, etc.). The songs had to be faithful to the creed and authentic in terms of their historicity and popularity among people on the territory of modern Slovakia. In his foreword, Benedikt Szőllősi highlights the idea of shared Slavic integrity and unity, and considering territorial and historical criteria, his selection gives strong preference to the Czech context. One of the sources of inspiration for Szőllősi’s work was an older hymn book Písně katolické [Catholic songs] (1622) compiled by Jiřík Hlohovský and published in Olomouc. Studied hymn books – Slovak Cantus Catholici and Czech Písně katolické [Catholic songs] – come from different national and cultural milieus.They both have shaped and added to the richness of European baroque cantional heritage. Their comparison shows that the Czech hymn book Písně katolické [Catholic songs] by Hlohovský was one of the main sources for the Slovak hymn book, although their interconnectedness was creative and original.
18

DESCENDANTS OF THE DRAGON: THE DRAGON AS A SYMBOL OF CHINESE NATIONAL IDENTITY

63%
Zhang Cziráková D.
Asian and African Studies
|
2023
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vol. 32
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issue 1
60 - 82
EN
The dragon has a unique position in Chinese mythology and it used to be a symbol of the emperor. This article explores the Chinese attitude to the dragon as a mythical ancestor of all Chinese. It focuses on the popular song “Descendants of the Dragon” by the Taiwanese singer Hou Dejian and its influence on Chinese national identity. The song was created in 1978 and became popular. Later, the dragon became the symbol of Chinese people resident not only in the People’s Republic of China (PRC) but also Chinese people living in Taiwan as well as in the Chinese diaspora. The song appeared at the right time when the longing for the motherland by Chinese people living in Taiwan correlated with the political need of the PRC to find a common symbol. The dragon as an apolitical mythological creature has been adopted as a common ancestor for all Chinese people on the basis of its lyrics. It has been used in the PRC since 1988 to replace political narratives, reinforce the feeling of national identity and find features connecting all Chinese people around the world. A new version of the song shows the attitude of those who have been born and have grown up outside of China but still consider themselves the heirs of Chinese culture and traditions.
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