The task of this contribution is to point to the complexity of the Dalmatian folklore urban song dalmatinska folklorna gradska pjesma as a musical phenomenon, and to show, taking into account all the ...research conducted so far, why the Dalmatian folklore urban song is the subject of ethnomusicological research.
"" Im vorliegenden Beitrag wurde die noch immer zu wenig bekannte musikethnologische Tätigkeit von M. Gavazzi dargestellt. Sein Interesse dafür zeigte er schon 1918 in seiner Dissertation über die ...Rhythmik der kroatischen Volkslieder. Späterbehandelteer den volkstümlichen kirchlichen Gesang, machte Notenaufzeichnungen von Volksliedern, schrieb über Musikinstrumente. Seine musikethnologische Studien brachten wesentliche Neuerungen in die kroatische Musikethnologie.
Članak započinje opisom osnovnih glazbenih osobina dalmatinske folklorne gradske pjesme i objašnjenjem pojma. Pridjev “gradska” prikriva činjenicu da su se te pjesme pjevale i u selima još od početka ...20. stoljeća, no opravdan je zbog gradskog ili prigradskog porijekla većine tih pjesama. Tipično je da neke od njih potječu iz naselja u kojima su gradski i seoski način života bili međusobno isprepleteni. Razvoj glazbene kulture u dalmatinskim gradovima i gradićima, uz razvijenije tonske odnose, doveo je u 19. stoljeću do durskog tonskog načina. U tome smislu pridjev “gradski” indirektno upućuje na glazbeno razvijeniji napjev.
Pregled radova i zbirki pokazuje da su svi istraživači, od potkraj 19. stoljeća do 1977. (F. K. Kuhač, L. Kuba, V. Bersa, B. Širola, A. Dobronić, V. Žganec, S. Bombardelli, J. Bezić), dalmatinsku folklornu gradsku pjesmu smatrali vrijednim predmetom etnomuzikoloških istraživanja. Budući da prikupljena građa obuhvaća niz različitih slojeva, neki su od spomenutih istraživača naglašavali višeslojnost dalmatinske folklorne gradske pjesme.
lm vorliegenden Beitrag wurde die noch immer zu wenig bekannte musikethnologische Tätigkeit von M. Gavazzi dargestellt. Sein Interesse dafür zeigte er schon 1918 in seiner Dissertation über die ...Rhytmik der kroatischen Volkslieder. Späterbehandelteer den volkstümlichen kirchlichen Gesang, machte Notenaufzeichnungen von Volksliedern, schrieb über Musikinstrumente. Seine musikethnologische Studien brachten wesentliche Neuerungen in die kroatische Musikethnologie.
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Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
U nastojanju da pokaže temeljna obilježja tradicijske glazbe dalmatinskih otoka —
— geografski priznatoga hrvatskoga mediteranskoga područja — autor je krenuo od
dostupnoga glazbenog gradiva, ...prikupljenoga u proteklih stodvadesetak godina. Pokazali
su se različiti stilovi glazbovanja, i u istom kraju i na različitim otocima, zabilježeni u
različitim razdobljima. Međusobno različitih bilo je i među primjerima koji su bili
zabilježeni otprilike u isto vrijeme. Rad izlaže primjere različitih oblika glazbenoga
izražavanja u napjevima koledarskih pjesama, kao i u napjevima svadbenih pjesama i
primjerima crkvenog pučkog pjevanja.
Glazbovanje dalmatinskih otočana odlikuje i njihova otvorenost prema oblicima
glazbenoga izražavanja što potječu iz drugih društvenih sredina, iz drugih krajeva, tako i iz
susjedne Italije. To vrijedi i za zabavno plesne melodije i za poneke napjeve
tradicionalnoga otočkog crkvenog pučkog pjevanja. Autor smatra da su upravo miješanje
stilova i raznolikosti u glazbi dalmatinskih otočana jedno od njezinih bitnih obilježja.
Prior to the establishment of the Institute, rare and modest in volume
ethnomusicological research was carried out by the Department for Folk Music of the
Ethnographic Museum in Zagreb (1921-1948) ...while folk songs were collected by the
Archive of Folk Songs of the Croatian Authors' Association in Zagreb (1943-1945). In its
Department for Musical Folklore the Institute (1948- ) with well-organized external
associates collected a large volume of material in the first twenty years of its existence. In
the seventies the research approach widened. Research was conducted of older and newer
forms, of the manifoldness and diversity of folk music and dance, of the continuity and
changes in tradition, of processes of acculturation and transformation of musical and dance
phenomena. By accepting and applying the theory of communication in the eighties the
subject of ethnomusicological researches started to be determined according to the specific
way of life of musical and dance phenomena in the direct communication of relatively small
groups of performers and listeners.
Acculturation as a Possibility for the Survival of Folk Music. Dealing with what is known as positive acculturation, this approach takes into consideration that position of folk music in which its ...more skilled though usually untrained singers and players spontaneously and gladly accept phenomena from alien musical cultures. The study of published transcriptions of folk music records points to typical models of individual styles as well as to interesting transitional forms. An insight into the phenomena of acculturation in Croatia is offered here by four musical examples: an old rural song in a tonal series of successive half-tones (ex. 1), an example of urban folk music (ex. 2, same performance as in ex. 1), a transitional form (ex. 3a) and its obvious pattern (ex. 3b, a partisan song from the second world war). In connection with the subject of this communication some new discoveries seem important. According to V. Vodušek, the fundamental features of folk music, either in its birth or in its transmission are not its consciously, premeditated, musically educated, but its improvisatory and spontaneous activities. This viewpoint shads new light on indications that processes of positive acculturation exercise no or almost no influence on the fundamental features of folk music mentioned. There are changes in means and forms of musical expression only. If spontaneity is one of the essential characteristics of folk music, then it seems understandable that people - performers and listeners of folk music - will, in a differently organized and conditioned life, look for a different, though spontaneous, way of musical expression, on the basis of their own motivations and needs. The acculturated folk music is to a considerable extent the consequence of such efforts. The more it responds to the musical needs of a particular human community, the more it is performed, the more it will be alive. Finally, acculturation makes possible the survival of folk music even in more developed social environments.
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