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K HARMONIZÁCII SLOVENSKÝCH ĽUDOVÝCH PIESNÍ V PRVÝCH EDÍCIÁCH KLAVÍRNYCH ÚPRAV Z 30. ROKOV 19. STOROČIA

100%

Ferková E.

Musicologica Slovaca

2019

tom 10 (36)

nr 1

131 – 147

This paper elucidates the findings of an analytical probe into the basic harmonic thinking and technique evidenced in the musical reworking of Slovak folk songs in the first published editions of piano adaptations. The authors of these adaptations were musically educated members of the Slovak intelligentsia and collectors. Martin Sucháň (1792–1841) and Vladislav Füredy (1794– 1850) did creditable work in the 1830s for the promotion of Slovak folk songs by compositional arrangements. Piano arrangements were intended to make the songs accessible to a wide musical and non-musical public, mainly through domestic music-making. The arrangements carry signs of the composers’ musical inventiveness, but they are marked also by a certain measure of amateurism. While they document several procedures typical of the composer, there are also some instances of defective knowledge of the conventional procedures for working on chords and their changes and harmonic functions, the construction and use of cadences, and other established structures and relationships in contemporary art music (composed music). In the published editions one can also find some errors in the notation; these, however, might originally have stemmed from the publisher’s negligence rather than the composer’s ignorance.

PIESNE Z OBCE LAZY POD MAKYTOU V ZÁPISOCH KAROLA PLICKU

100%

Timková M.

Musicologica Slovaca

2013

tom 4 (30)

nr 1

104 - 135

The manuscript collection of Karol Plicka (1894 – 1987) is one of the most important historical sources of the Slovak folk songs from the first half of the 19th century. Based on the manuscript records from the village Lazy pod Makytou (in Trenčín region) Plicka’s method of field work and mode of recording songs (melodic and textual rough copy, melodic fair copy) are analysed. Source criticism of his records not only became the starting point for reconstruction of the song repertoire collected in this village but also laid the basis for editing Plicka’s records of the musical component of the songs.

SPEV AKO FORMA SPRÁVANIA

100%

Tóth L.

Etnologické rozpravy (Ethnological Disputes)

2022

tom 29

nr 1

77 – 92

Singing is a part of human life; its roots go back to the distant past. Over the course of the twentieth century, the purposes, and functions of singing in the life of the societies have undergone considerable modification. The transmission of traditional values and phenomena involves the preservation of original functions of folk songs. In the field of vocal music culture, the transmission of values, takes place in self-education circles, in the systemic framework of education and public education, or with personal intellectual motivation. Such transmission however cannot lead to the continuation of traditional functions of folk songs, since in these contexts we can usually expect a modification of the functions of singing. We analyse in detail the functions of singing as a form of behaviour that have been developed in traditional folk culture. Through the paper we draw attention to the issue of preserving the content and aesthetic values of folk song in contemporary societies and in the context of various forms of education.

POZOSTALOSŤ KAROLA PLICKU A PROBLÉMY JEJ SPRACOVANIA

88%

Timková M.

Musicologica Slovaca

2015

tom 6 (32)

nr 1

62 – 85

The literary remains of Karol Plicka (1894 - 1987) have been lodged since the second half of the 1980s in the Slovak National Museum in Martin. The paper is devoted to the history and the current state of the remains, describes the manner of their processing and identifies their content. It is centrally concerned with providing a picture of the manuscript notebook records of Slovak folk songs, which form the core of Plicka's literary remains.

HARMONICKÉ PREFERENCIE AKO ŠTÝLOVÝ ZNAK SKLADATEĽSKEJ POETIKY. PRÍSPEVOK K CHARAKTERISTIKE ÚPRAV ĽUDOVÝCH PIESNÍ PRE KLAVÍR MILOSLAVA FRANCISCIHO

75%

Ferková E.

Musicologica Slovaca

2017

tom 8 (34)

nr 2

169 – 187

This article presents an application of software instruments for detection and quantification of the incidence of eleven chords of classical harmony in three groups of songs. The first two groups consist of selections from piano adaptations of Slovak folk songs by Miloslav Francisci entitled Trávnice I (Haymaking Songs I: a selection of 78 compositions from 100) and Trávnice II (Haymaking Songs II: a selection of 13 compositions from 100). The third is a group of 38 original songs by Ján Levoslav Bella, which we acquired already in digital form in MIDI format. The software instruments are described in the article, and in the tables of results of computer analysis of the three groups we present findings on the percentage incidence of the individual chords in each song individually. This result may be regarded as new information about the harmonic preferences of the composers, in terms of the selection of chords for harmonisation and musical creation. Between Francisci and Bella there is an obvious difference in preference: Bella worked with a greater variety of types of chords, and in this regard his compositional style is more complex and expressively more multiform.