Wyniki wyszukiwania - Biblioteka Nauki

1

CHANGING PARADIGMS AND CONCEPTS OF EUROPEAN ETHNOMUSICOLOGY - BETWEEN PAST AND PRESENCE

100%

Elschek O.

Ethnomusicologicum

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2004

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tom 3

219-227

EN

The main tendencies of European folk music research are discussed. Starting with literary and aesthetic aspects in the 18th and 19th century, continuing to folk music research, comparative and ethnomusicological, systematic as well as music anthropological paradigm, which are interrelated with the leading personalities of the field. Their names and main activities are summarized. Definitions are related to traditional music and the objectives we are investigating. The process of research is described, starting with fieldwork, the primary evaluation of the gathered material, the process of its analysis and classification, as to the proposed topics and special studies. The aims of our studies play a decisive role, if they are directed to editorial, source-critical, theoretic, methodical questions, or if they understand traditional music as a historical remnant. It is important to notice that our approach and understanding of traditional music is an important aspect, which can influence our research results. We can understand music as a vivid, open and permanently changing phenomenon, or look upon it, as to something damned for disappearance. They are often part of a national, regional concept, of a school tradition, which deeply determine our access to the questions we have to answer. The following paradigms have been analyzed: - the rescuing paradigm, - that of identification of the researcher with the phenomena, - the structural-comparative one, - the socio-cultural and the - synthesizing paradigm.

2

PROCESJE, DOŻYNKI, FESTIWALE... CYKLICZNE FORMY DZIAŁALNOŚCI LUDOWYCH ZESPOŁÓW ŚPIEWACZYCH W POLSCE

75%

Kasprzyk D.

Etnologické rozpravy (Ethnological Disputes)

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2017

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tom 24

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nr 2

48 - 61

EN

In 2015 Wrocław foundation "Ważka" in cooperation with some Polish scientific institutions organized a project: "Local folk groups – an ethnographic laboratory". The project was financed by the Ministry of Culture and National Heritage. The organizers studied 96 folk groups active in Rural Women's Circles in 4 voivodships. It was established that their activities concentrate round periodical events, mainly official ones such as local harvest festivals, historic anniversaries, annual reviews etc. Some of them accompany church holidays: Easter, Christmas, Corpus Christi. Folk groups' activities are also connected with local initiatives of various organizations and local celebrations. The periodical character of these activities triggers specific preparations and determines the repertoire as well as the division of duties among group members.

3

INTERDISCIPLINÁRNE KONTEXTY KRESÁNKOVEJ TEÓRIE O SLOVENSKEJ ĽUDOVEJ PIESNI

75%

Urbancová H.

Musicologica Slovaca

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2013

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tom 4 (30)

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nr 2

187 – 196

EN

Jozef Kresánek’s monograph (1951) Slovenská ľudová pieseň zo stanoviska hudobného (Slovak folk song from the musical standpoint) is fundamental signiﬁcance for Slovak musicology. Here the author summarised the currently existing ﬁndings on Slovak folk song and music and revaluated them on a modern methodological basis, forming a systematically compact genetic-historical theory. Its foundation is the concept of “folk musical thinking” and its development on the territory of Slovakia. He synthesises insights from a number of scholarly disciplines: musical folkloristics and comparative musicology of the ﬁrst half of the 20th century, music theory, music historiography, musical sociology, and partly also musical aesthetics and musical psychology. The interdisciplinary context of his research has already incorporated all the attributes of an integrated model of musicology. Jozef Kresánek afterwards applied this model in the entirety of his scholarly work and thus inﬂuenced the further evolution of Slovak musicology.

4

'NATIONAL CULTURAL ELEMENTS' AND ADVERTISING THE INTERNATIONAL TOURISM IN THE SOVIET TOURIST AGENCIES DURING THE BREZHNEV ERA 1964-1984

75%

Zhuk S.

Sprawy Narodowościowe

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2010

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nr 36

7-25

EN

Using the archival documents and personal interviews as historical sources, this essay analyzes the ideological problems of advertising international tourism in the main travel agencies of the Soviet Union during the Brezhnev era, 1964-84. These agencies, Inturist, a Tourist Department of the Soviet Trade Unions and a Communist Youth League's organization Sputnik, encountered problems with advertising from the early beginning of their history. In the 1960s and the 70s they created special departments responsible for propaganda and advertising or advertising and mass media in Inturist. On the one hand, these tourist agencies had to provide interesting information to attract more Soviet and foreign tourists and more financial sources. On the other hand, the most attractive elements in advertising Soviet tourism were various national elements of different Soviet nationalities, including their costumes, music and handicrafts. As a result, such efforts exposed the limits of Soviet cultural homogenization project during the stage of developed socialism. In practice, it led to serious problems for the representatives of the Soviet tourist agencies in foreign countries. The most dangerous problem was nationalism. The essay explores how the problems of national identity were tied to advertising Soviet Union travel to foreign tourists as a new strategy of the Soviet tourist agencies during late socialism before perestroika. Despite strict KGB and ideological regulations, new 'national' forms of advertising such as folk music survived after 1984 and contributed to expansion of tourism, which brought increased profits and influence to the leaders of the local tourist agencies.