In this article, the primary focus is the tradition of brass bands and orchestras in the lifestyles of Samogitia’s towns and villages in the 20th–21st century. This music-making from Lithuania’s western region (Lith. Žemaitija) is no doubt related to the development of Lithuania’s musical culture as a whole. Therefore, on the basis of historical sources, the author briefly covers the development of ensembles in the Grand Duchy of Lithuania. The formation of brass ensembles’ tradition was particularly impacted by the celebrations of Catholic Church holidays and solemn processions (particularly in the 17th–18th century), and later – manor orchestras and music schools (end of the 18th–19th century). It was in Samogitia that music-making with brass instruments thrived until the very beginning of the 21st century. The author, on the basis of data collected mainly during fieldworks, reveals the role of brass bands in this region’s folk piety, family and community customs, this tradition’s changes.
{"title":"Dęte orkiestry i zespoły w tradycyjnej kulturze Żmudzi, Litwa","authors":"Rūta Žarskienė","doi":"10.12775/lse.2018.57.07","DOIUrl":"https://doi.org/10.12775/lse.2018.57.07","url":null,"abstract":"In this article, the primary focus is the tradition of brass bands and orchestras in the lifestyles of Samogitia’s towns and villages in the 20th–21st century. This music-making from Lithuania’s western region (Lith. Žemaitija) is no doubt related to the development of Lithuania’s musical culture as a whole. Therefore, on the basis of historical sources, the author briefly covers the development of ensembles in the Grand Duchy of Lithuania. The formation of brass ensembles’ tradition was particularly impacted by the celebrations of Catholic Church holidays and solemn processions (particularly in the 17th–18th century), and later – manor orchestras and music schools (end of the 18th–19th century). It was in Samogitia that music-making with brass instruments thrived until the very beginning of the 21st century. The author, on the basis of data collected mainly during fieldworks, reveals the role of brass bands in this region’s folk piety, family and community customs, this tradition’s changes.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47770518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper deals with the issue of brass bands’ contests in Poland and is analysed using both the diachronic and systematic approaches. The sources for this inquiry are the international literature relating to the working class contest phenomena and the outcome of my ethnomusicological field research conducted in 2001–2005 in the Mazovia region (Central Poland). I briefly examine the history of contests of brass bands in Poland since the interwar period. The systematic part deals with different aspects of contesting, which include motivations of musicians, organisers’ assumptions, performed repertoire, as well as evaluation criteria. I explore the structure of brass band contest and its roles in bands’ development. The national, multileveled format of musical contest, is described in relation to the fireman band movement, which was being animated by the Main Board of Voluntary Fire Brigades – a non-musical organisation, and corresponds with the well-researched phenomenon of brass band movement in Great Britain.
{"title":"Konkursy orkiestr dętych w Polsce jako ekspresja ruchu społeczno-muzycznego","authors":"Maciej Kierzkowski","doi":"10.12775/lse.2018.57.10","DOIUrl":"https://doi.org/10.12775/lse.2018.57.10","url":null,"abstract":"This paper deals with the issue of brass bands’ contests in Poland and is analysed using both the diachronic and systematic approaches. The sources for this inquiry are the international literature relating to the working class contest phenomena and the outcome of my ethnomusicological field research conducted in 2001–2005 in the Mazovia region (Central Poland). I briefly examine the history of contests of brass bands in Poland since the interwar period. The systematic part deals with different aspects of contesting, which include motivations of musicians, organisers’ assumptions, performed repertoire, as well as evaluation criteria. I explore the structure of brass band contest and its roles in bands’ development. The national, multileveled format of musical contest, is described in relation to the fireman band movement, which was being animated by the Main Board of Voluntary Fire Brigades – a non-musical organisation, and corresponds with the well-researched phenomenon of brass band movement in Great Britain.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66616200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wspolczesne postrzeganie roznych typow flamenco jest znacząco zroznicowane. Ta rozbieznośc widoczna jest wśrod milośnikow flamenco, wykonawcow i w postawach akademickich. Autorka analizuje niektore z roznic, ktore powtarzają sie w dyskusjach naukowych dotyczących flamenco. Rozwaza role omawianego gatunku w debatach etnicznych i jego miejsce w kulturze hiszpanskiej. Zwraca rowniez uwage na antagonizm miedzy tradycyjnym i wspolczesnym lub „czystym” i komercyjnym pokazem flamenco. Dyskusje te są cześcią – jak wyjaśnia to choreografka Michelle Heffner Hayes (2009: 4) – „sprzecznych narracji o historii flamenco” i przyczyniają sie do zlozonego i wieloaspektowego obrazu tej formy sztuki.
{"title":"Flamenco: współczesne dylematy badawcze","authors":"M. Wieczorek","doi":"10.12775/lse.2018.57.06","DOIUrl":"https://doi.org/10.12775/lse.2018.57.06","url":null,"abstract":"Wspolczesne postrzeganie roznych typow flamenco jest znacząco zroznicowane. Ta rozbieznośc widoczna jest wśrod milośnikow flamenco, wykonawcow i w postawach akademickich. Autorka analizuje niektore z roznic, ktore powtarzają sie w dyskusjach naukowych dotyczących flamenco. Rozwaza role omawianego gatunku w debatach etnicznych i jego miejsce w kulturze hiszpanskiej. Zwraca rowniez uwage na antagonizm miedzy tradycyjnym i wspolczesnym lub „czystym” i komercyjnym pokazem flamenco. Dyskusje te są cześcią – jak wyjaśnia to choreografka Michelle Heffner Hayes (2009: 4) – „sprzecznych narracji o historii flamenco” i przyczyniają sie do zlozonego i wieloaspektowego obrazu tej formy sztuki.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49573962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Streszczenie: Artykuł jest poświęcony zagadnieniom tradycyjnej kultury muzycznej Polaków mieszkających w zachodniej części Republiki Białorusi, na Grodzieńszczyźnie. Na podstawie analizy zarejestrowanego w trakcie własnych badań terenowych repertuaru, autorka wyróżnia najważniejsze jego cechy muzyczne. Kultura muzyczna badanej społeczności zostaje ujęta z perspektywy repertuaru pamiętanego oraz obecnie praktykowanego. Część repertuaru tradycyjnego wraz z jej depozytariuszami odchodzi do świata minionego, z kolei otaczająca rzeczywistość warunkuje współczesne funkcjonowanie kultury muzycznej oraz formy jej prezentacji. Wyniki ankiety dźwiękowej oraz przeprowadzonych wywiadów etnograficznych posłużyły próbie opisania obrazu własnej kultury, funkcjonującej w świadomości białoruskich Polaków.
{"title":"Niektóre aspekty tradycyjnej kultury muzycznej mniejszości polskiej na Grodzieńszczyźnie","authors":"Anastasiya Niakrasava","doi":"10.12775/lse.2018.57.09","DOIUrl":"https://doi.org/10.12775/lse.2018.57.09","url":null,"abstract":"Streszczenie: Artykuł jest poświęcony zagadnieniom tradycyjnej kultury muzycznej Polaków mieszkających w zachodniej części Republiki Białorusi, na Grodzieńszczyźnie. Na podstawie analizy zarejestrowanego w trakcie własnych badań terenowych repertuaru, autorka wyróżnia najważniejsze jego cechy muzyczne. Kultura muzyczna badanej społeczności zostaje ujęta z perspektywy repertuaru pamiętanego oraz obecnie praktykowanego. Część repertuaru tradycyjnego wraz z jej depozytariuszami odchodzi do świata minionego, z kolei otaczająca rzeczywistość warunkuje współczesne funkcjonowanie kultury muzycznej oraz formy jej prezentacji. Wyniki ankiety dźwiękowej oraz przeprowadzonych wywiadów etnograficznych posłużyły próbie opisania obrazu własnej kultury, funkcjonującej w świadomości białoruskich Polaków.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47338508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Resumen: El timple es un pequeño cordófono tradicional del archipiélago canario (región ultraperiférica del Reino de España). Por su morfología, es semejante al ukelele o al guitarró, pero difiere en que la parte trasera del timple es curva. En este trabajo de investigación se aborda el estudio del timple desde dos perspectivas: organológica y acústica. Para la realización del estudio se analizaron instrumentos cedidos por La Casa – Museo del Timple, ubicada en el municipio de Teguise en la isla de Lanzarote (Islas Canarias). Con objeto de estructurar el análisis de la investigación se propone y se valida un sistema de catalogación por grupos de timples en el que se tienen en consideración distintos aspectos como la funcionalidad y respuesta acústica de cada grupo para su definición.
timple是加那利群岛(西班牙王国最外围的地区)的一种小型传统弦乐器。在形态上，它类似于尤克里里或吉他，但不同之处在于timple的背面是弯曲的。本文从两个角度对timple进行了研究:器官学和声学。为了进行这项研究，我们分析了位于兰萨罗特岛(加那利群岛)特吉斯市的Casa - Museo del Timple提供的仪器。为了构建研究分析的结构，提出并验证了一个按音高分组的编目系统，其中考虑了不同方面，如每个组的功能和声学响应的定义。
{"title":"Validación de parámetros para la clasificación acústica-organológica del timple","authors":"P. Casal, Rubén Picó Vila, V. Pastor","doi":"10.12775/lse.2018.57.08","DOIUrl":"https://doi.org/10.12775/lse.2018.57.08","url":null,"abstract":"Resumen: El timple es un pequeño cordófono tradicional del archipiélago canario (región ultraperiférica del Reino de España). Por su morfología, es semejante al ukelele o al guitarró, pero difiere en que la parte trasera del timple es curva. En este trabajo de investigación se aborda el estudio del timple desde dos perspectivas: organológica y acústica. Para la realización del estudio se analizaron instrumentos cedidos por La Casa – Museo del Timple, ubicada en el municipio de Teguise en la isla de Lanzarote (Islas Canarias). Con objeto de estructurar el análisis de la investigación se propone y se valida un sistema de catalogación por grupos de timples en el que se tienen en consideración distintos aspectos como la funcionalidad y respuesta acústica de cada grupo para su definición.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48255138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The director Andrzej Baranski can be seen as portraying local, mundane life. His oeuvre presents a personal vision of our reality. It is a vision devoid of emotions, Polish myths and Romantic cliches; instead, it is delicate and filled with a detached humour. The artist interprets the world from afar, so to speak; like an anthropologist. Niech gra muzyka (Let the music play) is a 72-minute film consisting of six etudes relating the fortunes of provincial musicians. The narration is unusual, partly realistic, partly fairy-tale; it presents strange happenings in the lives of the protagonists, village musicians, as if they were heroes of folk tales or creatures from folk belief.
导演安杰伊·巴兰斯基(Andrzej Baranski)可以看作是在描绘当地平凡的生活。他的作品展现了我们对现实的个人看法。这是一个没有情感、波兰神话和浪漫主义陈词滥调的愿景;相反，它是细腻的，充满了超然的幽默。可以说，艺术家从远处解读世界;就像人类学家一样。Niech gra muzyka(让音乐演奏)是一部72分钟的电影，由六首练习曲组成，讲述了省级音乐家的命运。叙事方式不同寻常，部分现实，部分童话;它呈现了主人公——乡村音乐家生活中的奇怪事件，仿佛他们是民间故事中的英雄或民间信仰中的生物。
{"title":"Niech gra muzyka – o filmie Andrzeja Barańskiego. Powracający temat","authors":"Krystyna Piątkowska","doi":"10.12775/LSE.2018.57.11","DOIUrl":"https://doi.org/10.12775/LSE.2018.57.11","url":null,"abstract":"The director Andrzej Baranski can be seen as portraying local, mundane life. His oeuvre presents a personal vision of our reality. It is a vision devoid of emotions, Polish myths and Romantic cliches; instead, it is delicate and filled with a detached humour. The artist interprets the world from afar, so to speak; like an anthropologist. Niech gra muzyka (Let the music play) is a 72-minute film consisting of six etudes relating the fortunes of provincial musicians. The narration is unusual, partly realistic, partly fairy-tale; it presents strange happenings in the lives of the protagonists, village musicians, as if they were heroes of folk tales or creatures from folk belief.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66616277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A modern metropolis is an artificially created landscape brimming with a vast variety of significant places, public spaces that mark the historical past, streets with flows of transport, and internet networks that transmit information at lightning speed; it is a landscape with numerous cultural institutions and even with locations where these institutions are concentrated (cultural industries). Traditional culture lives on in such a complex urban structure yet in modest conditions, small premises, or abandoned spaces. Hardly will a resident of Vilnius, who is not interested in it, detect any signs of its existence, but more curious burghers know that they can visit various events associated with traditional culture. Traditional culture has adapted itself: it has found a shelter and has taken root like moss on a stone. This research was carried out by participating in the folklore movement of Vilnius, by taking part in various events and carefully observing them. Having scrutinized the musical scene, the author found some connections between the changes that traditional music underwent in earlier times and the historical shifts she has witnessed in her own lifetime.
{"title":"Zmiany w kulturze litewskiej XX i XXI wieku. Muzyka ludowa w Wilnie","authors":"Austė Nakienė","doi":"10.12775/lse.2018.57.04","DOIUrl":"https://doi.org/10.12775/lse.2018.57.04","url":null,"abstract":"A modern metropolis is an artificially created landscape brimming with a vast variety of significant places, public spaces that mark the historical past, streets with flows of transport, and internet networks that transmit information at lightning speed; it is a landscape with numerous cultural institutions and even with locations where these institutions are concentrated (cultural industries). Traditional culture lives on in such a complex urban structure yet in modest conditions, small premises, or abandoned spaces. Hardly will a resident of Vilnius, who is not interested in it, detect any signs of its existence, but more curious burghers know that they can visit various events associated with traditional culture. Traditional culture has adapted itself: it has found a shelter and has taken root like moss on a stone. This research was carried out by participating in the folklore movement of Vilnius, by taking part in various events and carefully observing them. Having scrutinized the musical scene, the author found some connections between the changes that traditional music underwent in earlier times and the historical shifts she has witnessed in her own lifetime.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49415385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article presents the history of documentation of multi-part singing in Poland and the state of research on this subject. The multi-part singing as the musical and culture phenomenon is regionally limited and can be recorded in Carpathian Mountains and in the north-eastern borderland where the multi-part singing remains in some parishes the common heritage of Poland and Lithuania till today. There are also numerous examples of spontaneous heterophony in Polish-Belorussian and Polish-Ukrainian musical traditions, but the singing in parallel thirds prevails, particularly among members of the Orthodox Church. The prerequisite of the multipart singing is a slow tempo, not typical of folk songs in ethnic Poland. The review of sources and living practice allow to discuss three historical layers of multipart singing in Poland: 1) the oldest one – heterophony or diaphony in fifths documented since the 15th century, 2) three-part mixed choir influenced by the church practice since the 18th century (north-eastern part of Poland) and 3) parallel thirds in female groups wherever the school-youth-choirs were introduced and the mixed choir movement e.g. in Silesia since the 19th century. Thus the multi-part singing has become both a sign of regional-ethnic specificity and the result of the cultural development.
{"title":"Tradycyjny śpiew wielogłosowy w Polsce w perspektywie etnomuzykologii","authors":"Piotr Dahlig","doi":"10.12775/LSE.2018.57.02","DOIUrl":"https://doi.org/10.12775/LSE.2018.57.02","url":null,"abstract":"The article presents the history of documentation of multi-part singing in Poland and the state of research on this subject. The multi-part singing as the musical and culture phenomenon is regionally limited and can be recorded in Carpathian Mountains and in the north-eastern borderland where the multi-part singing remains in some parishes the common heritage of Poland and Lithuania till today. There are also numerous examples of spontaneous heterophony in Polish-Belorussian and Polish-Ukrainian musical traditions, but the singing in parallel thirds prevails, particularly among members of the Orthodox Church. The prerequisite of the multipart singing is a slow tempo, not typical of folk songs in ethnic Poland. The review of sources and living practice allow to discuss three historical layers of multipart singing in Poland: 1) the oldest one – heterophony or diaphony in fifths documented since the 15th century, 2) three-part mixed choir influenced by the church practice since the 18th century (north-eastern part of Poland) and 3) parallel thirds in female groups wherever the school-youth-choirs were introduced and the mixed choir movement e.g. in Silesia since the 19th century. Thus the multi-part singing has become both a sign of regional-ethnic specificity and the result of the cultural development.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66615920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The author discusses the issue of extreme socuio-cultural attitudes observable in the city milieus associated with traditional and folk music in Poland. He presents them in the context of two categories: those of “homeliness” and “multiculturalism”, pointing to the signs of a hermetic stance towards some universal values derived from the musical heritage, as well as to the ideologization of those values and an instrumental approach to them. He also discusses the problem of the superficial nature of the knowledge concerning the sources of both native and foreign musical traditions that constitute the inspiration and the basis for artistic practices. He also gives examples of “good practice” in the area of intercultural dialogue in the areas of traditional music and music inspired by it.
{"title":"Muzyka tradycyjna i folkowa w Polsce – dialog międzykulturowy vs. hermetyzacja swojskości","authors":"Weronika Grozdew-Kołacińska","doi":"10.12775/lse.2018.57.03","DOIUrl":"https://doi.org/10.12775/lse.2018.57.03","url":null,"abstract":"The author discusses the issue of extreme socuio-cultural attitudes observable in the city milieus associated with traditional and folk music in Poland. He presents them in the context of two categories: those of “homeliness” and “multiculturalism”, pointing to the signs of a hermetic stance towards some universal values derived from the musical heritage, as well as to the ideologization of those values and an instrumental approach to them. He also discusses the problem of the superficial nature of the knowledge concerning the sources of both native and foreign musical traditions that constitute the inspiration and the basis for artistic practices. He also gives examples of “good practice” in the area of intercultural dialogue in the areas of traditional music and music inspired by it.","PeriodicalId":32491,"journal":{"name":"Lodzkie Studia Etnograficzne","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66615472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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