Název: World music, flamenco, klezmer and traditional folk music in Slovakia
Zdrojový dokument: Musicologica Brunensia. 2020, roč. 55, č. 2, s. 25-40
Rozsah
25-40
-
ISSN1212-0391 (print)2336-436X (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/MB2020-2-2
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/143574
Type: Článek
Jazyk
Licence: CC BY-SA 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
This contribution studies the authentic characteristics of ethnic music in contemporary world music played in Slovakia with respect to original, national, and universal features. It is unclear what, in actual fact, original ethnic music is, and to determine its authenticity requires tracking the chronology of changes in a retrospective look from the present to the past. The author evaluates the Central European adoption of Jewish, Andalusian, Arabic and Moorish music, as well as Slovak folk music, jazz, rock and pop. By comparing the melody, harmony, rhythmic patterns, modes, sound, and musicians' performances, she explores folk, jazz, rock, and pop music elements in selected compositions from the repertoires of the Slovak bands Los Remedios and Preßburger Klezmer Band, and the singer Zuzana Mojžišová. Although the musicians claim to play authentic ethnic music, they could not resist multicultural influences. Renditions usually vary from imitation to quotations and paraphrases; in the studied excerpts, however, new structures have been formed by synthesis. The analysis of the Phrygian mode was quite problematic, because, due to the impacts of global music, this mode has ambivalent tendencies and could also be perceived as Hypoaeolian. The current combination of heterogeneous cultures suggests an eclectic stage in the development of world music.
Note
This research received financial support from VEGA Agency 1/0015/19.
Reference
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[12] BARBOT, Baptiste – LUBART, Todd. Creative Thinking in Music: Its Nature and Assessment through Musical Exploratory Behaviors, Psychology of Aesthetics, Creativity and the Arts, vol. 6, No. 3, 2012, p. 231–242. | DOI 10.1037/a0027307
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[16] BOHLMAN, Philip V. Jewish Music and Modernity. New York: Oxford University Press, 2008.
[17] BOHLMAN, Philip V. – PLASTINO, Goffredo. Jazz Worlds, World Jazz. University of Chicago Press, 2016.
[18] BROWNER, Tara. Music of the First Nations: Tradition and Innovation in Native North America. University of Illinois Press, 2009.
[19] CERCHIARI, Luca – CUGNY, Laurent – KERSCHBAUMER, Franz. Eurojazzland. Jazz and European Sources, Dynamics, and Contexts. Boston: Northeastern University Press, 2012.
[20] FERNÁNDES, Lola. Flamenco Music Theory: Rhythm, Harmony, Melody, Form. Mel Bay Publications, 2005.
[21] GREW, Sydney. National Music and the Folk-song. The Musical Quarterly, vol. 7, No. 2, Apr. 1921, 172–185. | DOI 10.1093/mq/VII.2.172
[22] HOLTON, Robert. Globalisation's Cultural Consequences, The Annals of the American Academy of Political and Social Science, Dimensions of Globalization, vol. 570, July 2000, p. 140–152. | DOI 10.1177/000271620057000111
[23] HOLÚDOVÁ, Anna. Základy hry na jednoradovú heligónku [The Basics of Playing the One-Row Heligonka], (published by the author, 2003).
[24] HOOD, Mantle. The Reliability of Oral Tradition, Journal of the American Musicological Society, vol. 12, No. 2–3, Summer-Autumn 1959, p. 201–209. | DOI 10.2307/829541
[25] HORÁKOVÁ, Jadranka. Piesňová kultúra Chorvátov v okolí Bratislavy [The Song Culture of Croats Living near Bratislava], Musicologica Slovaca et Europea XVIII, Bratislava: Asco, 1993, 65–106.
[26] JASLOVSKÝ, Marian. Remedios: Stále nové možnosti flamenca [Remedios: Ever New Possibilities of Flamenco] Sme Kultúra, 24 February 2005, URL: https://kultura.sme.sk/c/1944550/remedios-stale-nove-moznosti-flamenca.html.
[27] KAPCHAN, Deborah A. – TURNER STRONG, Pauline. Theorizing the Hybrid, The Journal of American Folklore, vol. 112, No. 445, Summer, 1999, p. 239–253. | DOI 10.2307/541360
[28] KARPELES, Maud. Some Reflections on Authenticity in Folk Music, Journal of the International Folk Music Council, vol. 3, 1951, p. 10–16. | DOI 10.2307/835763
[29] KUBIŠ, Cyril. Reflexia flamenca na Slovensku, [Reflections on Flamenco in Slovakia] Musicologica.eu, vol. 2, 2012, URL: http://www.musicologica.eu/?p=682.
[30] LÁBSKY, Miroslav. Rozhovor s Jurajom Pecníkom, umeleckým vedúcim Vrchárskeho podpolianskeho orchestra. "Vo folklóre je stále čo objavovať" [An Interview with Juraj Pecník, Artistic Director of the Vrchársky Podpoliansky Orchestra. "There Is Always Something to Discover in Folklore"], Tradícia a súčasnosť (Osvetový ústav), vol. 5, No. 2, 2006, p. 63–66.
[31] LARKEY, Edward. Austropop: Popular Music and National Identity in Austria. Popular Music. A Changing Europe vol. 11, No.2, May 1992, pp. 151–152. | DOI 10.1017/S0261143000004980
[32] MORAVČÍK, Vladimír. K regionálnym rozdielom slovenskej ľudovej hudobnej kultúry na príklade tradície sláčikových združení obcí Zázrivá a Terchová [Regional Differences of Slovak Folk Music Exemplified by Fiddle Ensembles from the Villages of Zázrivá and Terchová] Musicologica.eu, vol. 1, 2019, URL: http://www.musicologica.eu/?p=388.
[33] MORGENSTERN, Ulrich. The Role and Development of Musical Instruments in European Folk Music Revival and Revitalization Movements. Some Common Trends. In: Traditional Music and Dance in Contemporary Culture(s), (Jana AMBRÓZOVÁ – Bernard GARAJ, eds.), Constantine The Philosopher University, Nitra: 2019, p. 10–17.
[34] PELLEOVÁ, Andrea. Traditional Song Genres of the Hungarian Ethnic Group in Medveš in the Gemer Micro-region, Musicologica Istropolitana III, Bratislava: Stimul, 2004, p. 213–257.
[35] SERNA, Desi. Phrygian Mode Song, Music Theory.com, website blog, 2011, URL: http://www.guitar-music-theory.com/video/phrygian-mode-song/.
[36] URBANCOVÁ, Hana. Mariánske legendy v ľudovom speve. Príspevok k typológii variačného procesu [Marian Legends in Folk Songs. A Contribution to the Typology of the Variation Process]. Bratislava: AEPress, 2007.
[37] WEISSMAN, Dick – FOX, Dan. A Guide to Non-Jazz Improvisation: Piano and Keyboard. Mel Bay Publications, 2009.
[38] ZAJACOVÁ ZÁBORSKÁ, Ľubica. Slovenská scéna world music [The Slovak Scene of World Music] Bratislava: CoolArt, 2009.
[2] URL: http:www.musicologica.eu/?p=388.
[3] URL: https:hc.sk/hudba/teleso-detail/2632.
[4] URL: https:www.showportal.sk/detail/hudba/skupina_banda.
[5] CD Remedios: Vendaval, Hevhetia, 2004, HV 0009-2-331.
[6] CD Pressburger Klezmer Band: Mit Libe... S láskou, Hevhetia, 2006, EH 0004-2-331.
[7] CD Zuzana Mojžišová, Pyramída, 2004, RB 0293-2331.
[8] APPADURAI, Arjun. Putting Hierarchy in Its Place, Cultural Anthropology, Place and Voice in Anthropological Theory, vol. 3, No. 1, Feb. 1988, p. 36–49. | DOI 10.1525/can.1988.3.1.02a00040
[9] APPADURAI, Arjun. Modernity at Large. Cultural Dimensions of Globalization. Minneapolis, MN: University of Minnesota Press, 1996.
[10] APPADURAI, Arjun. Disjuncture and Difference in the Global Cultural Economy, Theory, Culture & Society, vol. 7, 1990, p. 295–310. | DOI 10.1177/026327690007002017
[11] ATKINSON, David. Folk Songs in Print: Text and Tradition, Folk Music Journal, vol. 8, No. 4, 2004, p. 457.
[12] BARBOT, Baptiste – LUBART, Todd. Creative Thinking in Music: Its Nature and Assessment through Musical Exploratory Behaviors, Psychology of Aesthetics, Creativity and the Arts, vol. 6, No. 3, 2012, p. 231–242. | DOI 10.1037/a0027307
[13] BELIŠOVÁ, Jana. From Rom-pop to SuperStar: Contemporary Forms of presenting Roma Music in Slovakia. Traditional Music and Dance in Contemporary Culture(s), (Jana AMBRÓZOVÁ – Bernard GARAJ, eds.), Nitra: Constantine The Philosopher University, 2019, p. 54–79.
[14] BOHLMANN, Philip V. The Study of Folk Music in the Modern World. Bloomington and Indianapolis: Indiana University Press, 1988.
[15] BOHLMAN, Philip V. World Music. A Very Short Introduction. New York: Oxford University Press, 2002.
[16] BOHLMAN, Philip V. Jewish Music and Modernity. New York: Oxford University Press, 2008.
[17] BOHLMAN, Philip V. – PLASTINO, Goffredo. Jazz Worlds, World Jazz. University of Chicago Press, 2016.
[18] BROWNER, Tara. Music of the First Nations: Tradition and Innovation in Native North America. University of Illinois Press, 2009.
[19] CERCHIARI, Luca – CUGNY, Laurent – KERSCHBAUMER, Franz. Eurojazzland. Jazz and European Sources, Dynamics, and Contexts. Boston: Northeastern University Press, 2012.
[20] FERNÁNDES, Lola. Flamenco Music Theory: Rhythm, Harmony, Melody, Form. Mel Bay Publications, 2005.
[21] GREW, Sydney. National Music and the Folk-song. The Musical Quarterly, vol. 7, No. 2, Apr. 1921, 172–185. | DOI 10.1093/mq/VII.2.172
[22] HOLTON, Robert. Globalisation's Cultural Consequences, The Annals of the American Academy of Political and Social Science, Dimensions of Globalization, vol. 570, July 2000, p. 140–152. | DOI 10.1177/000271620057000111
[23] HOLÚDOVÁ, Anna. Základy hry na jednoradovú heligónku [The Basics of Playing the One-Row Heligonka], (published by the author, 2003).
[24] HOOD, Mantle. The Reliability of Oral Tradition, Journal of the American Musicological Society, vol. 12, No. 2–3, Summer-Autumn 1959, p. 201–209. | DOI 10.2307/829541
[25] HORÁKOVÁ, Jadranka. Piesňová kultúra Chorvátov v okolí Bratislavy [The Song Culture of Croats Living near Bratislava], Musicologica Slovaca et Europea XVIII, Bratislava: Asco, 1993, 65–106.
[26] JASLOVSKÝ, Marian. Remedios: Stále nové možnosti flamenca [Remedios: Ever New Possibilities of Flamenco] Sme Kultúra, 24 February 2005, URL: https://kultura.sme.sk/c/1944550/remedios-stale-nove-moznosti-flamenca.html.
[27] KAPCHAN, Deborah A. – TURNER STRONG, Pauline. Theorizing the Hybrid, The Journal of American Folklore, vol. 112, No. 445, Summer, 1999, p. 239–253. | DOI 10.2307/541360
[28] KARPELES, Maud. Some Reflections on Authenticity in Folk Music, Journal of the International Folk Music Council, vol. 3, 1951, p. 10–16. | DOI 10.2307/835763
[29] KUBIŠ, Cyril. Reflexia flamenca na Slovensku, [Reflections on Flamenco in Slovakia] Musicologica.eu, vol. 2, 2012, URL: http://www.musicologica.eu/?p=682.
[30] LÁBSKY, Miroslav. Rozhovor s Jurajom Pecníkom, umeleckým vedúcim Vrchárskeho podpolianskeho orchestra. "Vo folklóre je stále čo objavovať" [An Interview with Juraj Pecník, Artistic Director of the Vrchársky Podpoliansky Orchestra. "There Is Always Something to Discover in Folklore"], Tradícia a súčasnosť (Osvetový ústav), vol. 5, No. 2, 2006, p. 63–66.
[31] LARKEY, Edward. Austropop: Popular Music and National Identity in Austria. Popular Music. A Changing Europe vol. 11, No.2, May 1992, pp. 151–152. | DOI 10.1017/S0261143000004980
[32] MORAVČÍK, Vladimír. K regionálnym rozdielom slovenskej ľudovej hudobnej kultúry na príklade tradície sláčikových združení obcí Zázrivá a Terchová [Regional Differences of Slovak Folk Music Exemplified by Fiddle Ensembles from the Villages of Zázrivá and Terchová] Musicologica.eu, vol. 1, 2019, URL: http://www.musicologica.eu/?p=388.
[33] MORGENSTERN, Ulrich. The Role and Development of Musical Instruments in European Folk Music Revival and Revitalization Movements. Some Common Trends. In: Traditional Music and Dance in Contemporary Culture(s), (Jana AMBRÓZOVÁ – Bernard GARAJ, eds.), Constantine The Philosopher University, Nitra: 2019, p. 10–17.
[34] PELLEOVÁ, Andrea. Traditional Song Genres of the Hungarian Ethnic Group in Medveš in the Gemer Micro-region, Musicologica Istropolitana III, Bratislava: Stimul, 2004, p. 213–257.
[35] SERNA, Desi. Phrygian Mode Song, Music Theory.com, website blog, 2011, URL: http://www.guitar-music-theory.com/video/phrygian-mode-song/.
[36] URBANCOVÁ, Hana. Mariánske legendy v ľudovom speve. Príspevok k typológii variačného procesu [Marian Legends in Folk Songs. A Contribution to the Typology of the Variation Process]. Bratislava: AEPress, 2007.
[37] WEISSMAN, Dick – FOX, Dan. A Guide to Non-Jazz Improvisation: Piano and Keyboard. Mel Bay Publications, 2009.
[38] ZAJACOVÁ ZÁBORSKÁ, Ľubica. Slovenská scéna world music [The Slovak Scene of World Music] Bratislava: CoolArt, 2009.