Razlike između kulturnog razvoja različitih zemalja Zapadne i Istočne Europe povijesno su bile veoma znatne, osobito u multietničkim društvima koja su stoljećima imala burnu povijest. Put umjetnosti ...na Kosovu ima svoju specifičnu povijest koja nastaje kao posljedica povijesnih, političkih i društvenih okolnosti. Naime, glazba (u pisanom obliku) u ovoj sredini bila je potpuno nepoznata sve do druge polovice 20. stoljeća jer se dotad glazbena tradicija prenosila u usmenom obliku. Najvažniji dio glazbene tradicije bio je bogat glazbeni folklor. Albanski folklor sadrži elemente stare glazbene tradicije pomiješane s utjecajem i elementima iz drugih zemalja, poput turske, romske, grčke i slavenske glazbe, pa su općenito kultura, umjetnost i glazba na Kosovu predstavljene kao živahna mješavina mnogih civilizacija. Počevši od stranih znanstvenika u prvoj polovici 20. stoljeća, a nastavivši se i u studijama učenjaka s Kosova u drugoj polovici istog stoljeća, albanski folklor, njegovo prikupljanje i proučavanje, bio je glavni promotor u razvoju etnomuzikologije i historijske muzikologije na Kosovu. Djelo Lorenca Antonija predstavlja najraniji trag etnomuzikoloških djela lokalnog znanstvenika. On je 1927. započeo prikupljanje glazbenog folklora. Otvaranjem Etnomuzikološkog sektora (1970) u Folklornom odjelu Albanološkog instituta stvorene su bolje mogućnosti za sustavna istraživanja. Uz L. Antonija na prikupljanju, istraživanju i objavljivanju albanskog glazbenog folklora radili su Shefqet Pllana, Bahtir Sheholli, Rexhep Munishi i drugi znanstvenici. S druge strane, historijska muzikologija na Kosovu nije uspjela slijediti korak po korak kompozicijsko stvaralaštvo i glazbenu aktivnost, pa se nikada nije uspjela realizirati na istim razinama kao druga glazbena područja.
Na temelju odabranih snimaka istaknutih pjevača sevdalinke, koji su vezani uz različite društvene kontekste njezina izvođenja – Nikola Stojković 1937, Sofka Nikolić potkraj 1920-ih i Zaim Imamović ...1950-ih, kao i relevantnih komparativnih snimaka iz tih i kasnijih desetljeća, u radu se analiziraju značajke glazbene interpretacije ovoga žanra. U tome se autorica oslanja na pojedine postupke i identificirane elemente za analizu razvijene u okviru studija snimljene glazbe, uključujući i korištenje softvera koji olakšavaju analizu, a paralelno s time, vodeći se težnjom za kulturno utemeljenom analizom, na tumačenja glazbene interpretacije koja su pružili relevantni sugovornici. S obzirom na vremensku distancu od primarnih aktera analiziranih primjera, takvi su »sugovornici« ponajprije stručnjaci za sevdalinku iz razdoblja bližih dobu njihova nastanka i ujedno njezini poklonici, a medu njima se ističe Vlado Milošević sa svojom studijom iz 1964. godine.
Bell ringing and bell chiming are presenting a valuable part of Slovenian cultural heritage, which is reflected in an extremely rich vocabulary that is part of our everyday reality and communication. ...The dictionary brings about 1035 expressions from the fields of amateur and professional engagement with bell ringing and bell chiming. It unveils the bells as a versatile musical instrument of cultural, ethnomusicological, artistic and also, in the case of older bells, of historical value. In addition to the modern terms, it contains some past terms, as well as many dialectal words, including the ones from vocabulary of Slovenians living in the neighboring countries. The monolingual design of the explanatory terminological dictionary is exceeded by the addition of English equivalents and the English-Slovene dictionary. This enables that also international scholars and bell experts gets acquainted with the special features of Slovenian bell ringing and bell chiming. The dictionary is intended for professionals from different fields of science, as well as for bell ringing experts, bell chimers, as well as everyone attracted by the sounds of our soundscapes. The authors of the dictionary would like to encourage new research of this kind, and especially would like that campanology gets appropriate position in the field of profession and science in Slovenia and abroad.
U niz hrvatskih etnomuzikologa 20. stoljeća ubraja se i Miroslav Vuk Croata – sakupljač glazbenoga blaga hrvatske sakralne i svjetovne popijevke. Kao mlad suradnik poznatoga etnomuzikologa Vinka ...Žganca, nastavio je njegovo djelo: od zaborava je sačuvao znatan dio duhovne tradicijske glazbene baštine – kako u Hrvatskoj tako i u zemljama gdje žive Hrvati (Austrija, Mađarska, Slovačka i Moravska) – prikupljajući, zapisujući i tonski snimajući, pučke crkvene i svjetovne popijevke. Prikupljeni je materijal uredio i za života objavio. Etnomuzikološka darovitost Vuka Croate došla je do izražaja i u glazbenim obradama pučkih popijevaka za razne zborove duhovnoga i svjetovnoga sadržaja. Posebno je vrijedan njegov doprinos istraživanjima narodnih, svjetovnih i crkvenih popjevaka (jački) Hrvata iz Gradišća. Već iz samih naslova popijevki uočavaju se osobitosti mjesnoga govora. U njegovim glazbenim zbirkama (pjesmaricama) potvrđuje se nedvojbena motivska i glazbena povezanost većega broja popijevaka sa srodnim popijevkama u domovini, kao što se otkrivaju i neke tematske i glazbene posebnosti nove sredine u kojoj žive Hrvati, čuvajući svojim starim jezikom popijevku, a popijevkom jezik, odnosno jednim i drugim svoj nacionalni identitet.
A great number of Croatian ethnomusicologists from the 20th century include Miroslav Vuk Croata – a collector of the musical treasures of Croatian sacral and secular folklore melodies. As a young collaborator of the famous ethnomusicologist Vinko Žganec, he continued his work: he retained a significant part of the spiritual traditional musical heritage from the forgetfulness – both in Croatia and in the countries where Croats (Austria, Hungary, Slovakia and Moravia) live, collecting, noting down and sound recording sacral and secular folklore melodies. He edited and published the material he had collected during his lifetime. The ethnomusicological talent of Vuk Croatae has become prominent in the musical tales of folk melodies for various choirs of spiritual and secular content. What is particularly valuable is his contribution to the research of folk, secular and ecclesiastical folklore melodies traditionally called (»jački«) from Burgenland Croats. Already from the titles of these melodies the peculiarities of the local speech are noticed. His music anthology confirms the undeniable motive and musical connection of a large number of folklore melodies with related melodies in the homeland, as they reveal some thematic and musical particularities of the new milieu in which Croats live, keeping alive the folklore melody with their old language and old language with the folklore melody, or one with the other, thus preserving its national identity.
Matija (Matt) Arko, known to family and friends as Hojer (Hoyer), was born in Slovenia. He emigrated to the States as a teenager, bringing alongside his love for music and the accordion. Music became ...an important part of his life and his Hoyer instrumental trio became extremely popular amongst Slovenians as well as emigrants of other nationalities. By mixing elements of Slovenian traditional music and various popular American genres of the time, he created the foundations of the polka music, the appeal of which crossed ethnic boundaries and later on achieved general popularity. Most of Matija Arko’s tunes have been recorded on gramophone records, which give us insight into his musical activities and the history of Slovenian music in the USA. Very little is known in his homeland about Matija Arko, known in the States as Matt Hoyer, and his musical endeavours. This publication (‘Music From Both Sides. Gramophone Records Made by Matija Arko and the Hoyer Trio’) aims to shed light on his activities and music.
Rezimirajući Bublinu glazbeno-pedagošku i znanstvenu aktivnost, možemo zaključiti da je riječ o izuzetno kvalitetnom i polivalentnom glazbeniku, znanstveniku i glazbenom pedagogu. Gotovo da je ...nemoguće utvrditi u kojem je području Buble uspješniji. On je vrlo plodan znanstvenik koji u sebi sjedinjuje praktičnost terenskog istraživača s erudicijom znanstvenika, a sve to oplemenjuje umjetničkom aurom.
S druge strane, u svojstvu glazbenog pedagoga Buble je kreirao nove i unaprijedio postojeće nastavne programe i cjelokupnu visokoškolsku glazbenu nastavu. Odgojio je velik broj glazbenih znanstvenika i glazbenih praktičara, nesebično im pružajući znanja i sposobnosti koje posjeduje.
The book's main goal is to present one of the Slovenian folk dances, štajeriš (Steierisch or Steirisch), from choreological and dance-anthropological perspective. The introductory chapter frames the ...topic geographically, temporally and theoretically and provides the basis for the following two extensive chapters. The first part of the book is focused on the dance itself. It presents morphological and structural analysis of dance, leading to a morphological-structural analysis of the Slovenian štajeriš, with the primary structure derived from the number of dancers. In the second part of the book, the focus shifts from a dance to men. It starts off by presenting the syncretism of a dance, music and song in the štajeriš, to later focus on the role and meaning in man’s life, with the last section discussing the relationship between the men and the dance, where the dance is treated as a medium trough which both verbal and nonverbal communications is made possible. The central chapters are rounded off by a short chapter on the state of the štajeriš today, where it actually no longer lives among the people, but appears only as the revival of the past. In appendix, the book presents three previously unpublished records (Kinetography Laban scores) of štajeriš.
The monograph deals with the musical practice of bell chiming, which is part of folk music tradition in Slovenia, as well as in some other European countries. Bell chiming is the rhythmic chiming of ...church bells, which is nowadays a fairly popular musical practice among the older and younger generations alike. The book is based on modern research and, where appropriate, comparatively approaches the material from a historical and geographical point of view. Apart from its musical analyses, which present structural and formational elements of bell-chiming tunes in detail, the book also discusses sociological questions, such as the role of bell chiming in the clerical and also in the secular context, the manner of musical transfer, the performativity of musical practice and the roles of the sexes in bell chiming. Bell chiming is placed within the broader context of European chiming. The detailed discussion of bell chiming in both Germany and Croatia refutes the old myth of bell chiming as a Slovenian national speciality.
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