The paper presents France Marolt’s endeavours spanning many years to acquire the recording devices that he planned to use for documenting folk music in the field, as well as for his research work and ...various forms of educational and cultural activities. The main focus is on researching the circumstances in which sound recordings on gramophone records were made in collaboration with Radio Ljubljana, and on the first sound collection of the Institute of Ethnomusicology ZRC SAZU, which consisted of these records. The records have a special documentary value and, combined with archival documents, convey Marolt’s view of folk music.
Like most activities in the gramophone industry, recording sacred music appears to have been linked with trade and profit. Through the example of gramophone records released by the Ljubljana ...Cathedral Choir and the Adria Singers from the USA, one can see that favourable market results depended upon a number of factors. By comparing the popularity of recordings of these two choirs, with the number of surviving records, one can conclude that the sale of sacred music lagged behind that of secular.
Like most activities in the gramophone industry, recording sacred music appears to have been linked with trade and profit. Through the example of gramophone records released by the Ljubljana ...Cathedral Choir and the Adria Singers from the USA, one can see that favourable market results depended upon a number of factors. By comparing the popularity of recordings of these two choirs, with the number of surviving records, one can conclude that the sale of sacred music lagged behind that of secular.
Procese razumevanja glasbe kot niza pojavov, ki so tesno povezani z IT praksami iskanja glasbe v slovenski raziskovalni skupnosti, skiciramo s treh osnovnih vidikov: etnomuzikološkega, ...bibliotekarskega (bistvenega, ko se glasbi približamo računalniško) in IT. Članek ocenjuje doprinos teh perspektiv k razumevanju glasbe, in predlaga, da tri obravnavane perspektive niso poljubne.
Folk dance ensembles within minority ethnic communities (Albanian, Bosniak, Montenegrin, Croatian, Macedonian and Serbian) in Slovenia were formed in the 1990s, after the breakup of Yugoslavia. The ...authors present the key reasons for the folklore activities that contributed to the emergence of the so-called minority folk dance ensembles, describe their beginnings and how they eventually became organized, institutionalized, and integrated into the amateur culture system in Slovenia. The goal of minority folk dance ensembles is to dance for ethnic roots, but at the same time, the desire to enrich the cultural space in their new county and to integrate into society in which they live.
Folk dance ensembles within minority ethnic communities (Albanian, Bosniak, Montenegrin, Croatian, Macedonian and Serbian) in Slovenia were formed in the 1990s, after the breakup of Yugoslavia. The ...authors present the key reasons for the folklore activities that contributed to the emergence of the so-called minority folk dance ensembles, describe their beginnings and how they eventually became organized, institutionalized, and integrated into the amateur culture system in Slovenia. The goal of minority folk dance ensembles is to dance for ethnic roots, but at the same time, the desire to enrich the cultural space in their new county and to integrate into society in which they live.
Premda su gramofonske ploče sa snimkama iz Slovenije i Hrvatske proizvodile različite diskografske tvrtke, na počecima glazbene industrije u tim je zemljama važnu ulogu imala tvrtka Gramophone ...Company. Detaljna analiza njezine dokumentacije pokazuje da su snimke u Zagrebu i Ljubljani za tu tvrtku učinjene u razdoblju od 1902. do 1912. Neke od tih snimaka nastale su u najranijem razdoblju proizvodnje gramofonskih ploča uopće, prije nego što su to dosad pretpostavljali slovenski i hrvatski istraživači. Snimke u Ljubljani (oko 160) i Zagrebu (gotovo 600) za tu su diskografsku kuću u navedenom razdoblju učinila dvojica snimatelja, braća Franz i Max Hampe iz Berlina. Tako velikim brojem snimaka obuhvatili su raznolike izvođače, od poznatih opernih pjevača, glumaca i vokalnih skupina do zanimljivih instrumentalnih sastava (npr. tamburaškog zbora) i različitih puhačkih orkestara. Snimljeni repertoar sadrži popularne pjesme iz opera i opereta domaćih autora, govorene točke i kuplete iz šaljivih scenskih djela te marševe za vojničke puhačke orkestre. Tradicijska (narodna) glazba također je dobro zastupljena. Sustav alfanumeričkih kodova za matrice i ploče u kataloškim popisima kojima je tvrtka Gramophone Co. označavala pojedine snimke otkrivaju važne informacije o veličini ploče, tehnologiji snimanja, snimatelju, vrsti snimljenog sadržaja, području na kojem je sadržaj snimljen i za čije je tržište namijenjen, a na osnovi tih podataka je moguće odrediti i godinu snimanja. Rane snimke Gramophone Co. odražavaju prepletenost kulture Slovenaca i Hrvata. Mnogi su hrvatski umjetnici u svoj repertoar uključili slovenske pjesme koje su očigledno bile popularne i u Hrvatskoj. Važnu ulogu u tome imali su i slovenski umjetnici koji su djelovali u Hrvatskoj. Snimke na starim gramofonskim pločama danas svjedoče o zvučnoj sastavnici kulture na ovim prostorima na početku prošloga stoljeća i zbog svoje povijesne vrijednosti s pravom se mogu smatrati važnom glazbenom baštinom.
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