Wyniki wyszukiwania - Biblioteka Nauki

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SVADOBNÉ PIESNE V SLOVENSKEJ ZBOROVEJ TVORBE 20. STOROČIA

100%

Gotthardtová K.

Musicologica Slovaca

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2023

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tom 14 (40)

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nr 1

114-135

EN

This article is concerned with compositional arrangements of the traditional repertoire of wedding songs for choral singers. The authors of the arrangements were composers active in Slovakia during the 20th century. Their compositions are analysed in terms of selection of the song model for treatment, while also looking at the significance and status of individual songs in the context of the wedding ceremony. The musical analysis is directed at compositional work (differentiated according to the degree of recomposition) with folk material. A further object of analysis is the dramaturgic construction of compositions, and work with the semantics of the wedding song repertoire, from the viewpoint of the composer.

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PO STOPÁCH BÉLU BARTÓKA – PIESŇOVÁ TRADÍCIA V OBCI DRAŽOVCE PRI NITRE

100%

Hugyivár Sebők A.

Musicologica Slovaca

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2018

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tom 9 (35)

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nr 1

125 – 137

EN

Slovenské ľudové piesne, a collection of Slovak folk songs by Béla Bartók (1881–1945) was produced on the basis of field research conducted in the years 1906–1918. The three parts of this collection were published gradually only from the middle of the 20th century (1959, 1970, 2007). The greater part of the song material from the Ponitrie region in this collection comes from the village of Dražovce (109 entries). In the article we address the influence of Bartók’s collecting activity on the development and contemporary state of the song tradition in the village of Dražovce. We trace the memories of local inhabitants of Bartók’s collecting work, handed down in this village as part of local memory. Comparison of the historical entries with the contemporary register highlights not only the long life of part of this repertoire with its variant mutations, but also the powerful awareness among the inhabitants of Bartók’s activity in this village.

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ON THE HISTORY OF THE FIRST PHONOGRAPH RECORDS IN SLOVAKIA: THE CORRESPONDENCE OF KAROL MEDVECKÝ AND ANDREJ KMET DURING 1901

100%

Urbancova H.

Slovenský národopis (Slovak Ethnology)

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2006

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tom 54

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nr 1

5-29

EN

Private correspondence belongs to the important secondary historical sources. In the complex social and political conditions during the break of 19th and 20th centuries it was the key communication medium for the Slovak intellectuals. It facilitated creating the net of professional and personal contacts which served as a basis for the formation of the Slovak cultural life and its further development after 1918. The private correspondence between Karol A. Medvecký (1875-1937) and Andrej Kmet (1841-1908) helped to reconstruct the history of the first audio records of the Slovak folk songs and their public presentation in the context of the contemporary social and political situation. Karol Medvecký used phonograph for recording songs during the summer 1901 in the village Detva while preparing ethnographic monograph about this village. He came to Detva as a chaplain in 1899. In modern terms, he had a possibility to conduct stationary field research of the numerous forms of the traditional culture. On one side, the use of audio documentation facilitated collecting material, on the other side it allowed to record folk songs and instrumental music in an authentic form which is not possible to recognize from the score. This scientifically based approach was accompanied by the romantic effort to rescue vanishing cultural values which were observed by the last witness - the collector. Medvecký used for records the device which was purchased in cooperation with Béla Vikár, the author of the first phonograph records of the folk songs in Europe. Part of these records was later published in the monograph Detva (1905). At present damaged Medvecký's phonograph barrels are waiting for the evaluation of the possibility of their audio renewal.

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POZOSTALOSŤ KAROLA PLICKU A PROBLÉMY JEJ SPRACOVANIA

88%

Timková M.

Musicologica Slovaca

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2015

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tom 6 (32)

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nr 1

62 – 85

EN

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.

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KLAVÍRNE ÚPRAVY SLOVENSKÝCH ĽUDOVÝCH PIESNÍ V TLAČENÝCH EDÍCIÁCH 19. STOROČIA

88%

Urbancová H.

Musicologica Slovaca

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2018

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tom 9 (35)

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nr 1

28 – 102

EN

There were four published editions of piano arrangements of Slovak folk songs by domestic (Slovak) composers (M. Sucháň 1830; V. Füredy 1837; M. Francisci 1892, 1893; A. Piťo – J. N. Polášek 1905, 1906) in the period from the 1830s to the early years of the 20th century. The aim was to define typologically the song repertoire which composers’ worked on (models and their selection), to elucidate the editions of arrangements of Slovak folk songs for piano (publishers, authors, compositional processing), and to identify the sociocultural period associations of these editions, from the ethnomusicologist’s point of view. A hypothesis was tested, regarding to what extent the printed editions of piano arrangements of Slovak folk songs influenced the codification of a certain core repertoire in Slovakia and contributed thus towards forming the national identity of Slovaks.

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SLOVENSKÉ ĽUDOVÉ PIESNE V KLAVÍRNYCH ÚPRAVÁCH VLADIMIRA REBIKOVA

75%

Ferková E.

Musicologica Slovaca

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2023

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tom 14 (40)

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nr 1

93-113

EN

This article is devoted to researching and characterising the arrangements (especially in the area of harmony) of the Slovak folk songs which were selected and compositionally processed for vocal and piano by the Russian composer Vladimir Rebikov (1866 – 1920) at the turn of the 20th century. The set of 25 song arrangements confirms that the composer accomplished his creative processing on the lines of his own artistic principles. What this involved was an extension and embellishment of the harmonic course, which despite its modernity remained within the bounds of the tonal or modal thinking typical for extended tonality and for a modality tending towards musical impressionism. The usual connection of the content of songs to the major key in positively attuned songs, with minor solutions where the contents have a negative or sorrowful sound, is purposefully used in Rebikov’s arrangements. Also typical of the harmonic plan is a cadence progression, with a predominance of sevenths, or modal and unfinished harmonic solutions where they reinforce the significance of the text of the songs.