Добірка наукової літератури з теми "Slovak traditional music"

The Slovak Republic (SR) established diplomatic relations with the Republic of Belarus (RB) in January 1993. Bilateral relations between two Slavic countries, which are historically not burdened with negative experience or problems, are developing in several areas. In recent years, an unprecedented development of Slovak-Belarusian relations can be observed, which is mainly associated with an active political dialogue between the two countries. Bilateral relations are developing in the fields of economics, education, tourism, as well as in the cultural sphere.The main pillar of Slovak-Belarusian cultural ties is the Agreement on Cooperation in the Field of Culture and Art, which was concluded between the Ministry of Culture of the Slovak Republic and the Ministry of Culture of the Republic of Belarus in 2005 in Minsk. Currently, there is close cooperation between individual cultural institutions in the field of music, fine arts, literature, as well as intensive cooperation between museums, galleries and libraries. Cultural cooperation between the SR and BR is so actively supported not only by the Slovak and Belarusian ministries of culture, but also by diplomatic missions in both countries.An important milestone in the intensification of mutual cultural ties is the exhibition dedicated to O.P. Mariks, the founder of Belarusian theatrical scenography of Slovak origin, in Bratislava in 2018, the exhibition by Z. Graus Rudavsky “Touch of Slovakia. Picture. Object. Jewel” in Minsk in 2016, the publication of translations of the poems of the great Belarusian poet Y. Kupala in 2017, as well as the publication of publications by the Belarusian author N. Trus about the visit of a Belarusian writer to the territory of modern Slovakia in 1935.Great potential for mutual Slovak-Belarusian cultural cooperation can be observed in the exchange of traditional folklore ensembles. Musical groups present their cultural heritage at various cultural events that are held not only in Slovakia (Slavica Festival, Dozhinki — festival-fair of toilers of the village, etc.), but also in Belarus (Slavic Bazaar in Vitebsk; etc.). Opportunities for cooperation between the SR and Belarus, i.e. culturally and geographically similar countries are very wide. The aim of the article is to identify the specifics and dynamics of Slovak-Belarusian cultural cooperation at the present stage.

В статье рассматриваются жизнь и творчество словацкого композитора Ильи Зельенки (1932-2007) в контексте общественно-политической ситуации, сложившейся в Чехословакии во второй половине XX века. В его наследии, сочетающем эстетику авангарда, модерна и постмодерна, видна картина развития словацкой музыки на протяжении 50 лет. Композитор долго искал собственный стиль, обращаясь к сериализму, алеаторике, сонористике и электронной музыке, сочиняя произведения в духе классиков XX века. Он явился первым в Словакии создателем серийного произведения (Второй квинтет для фортепиано, 1958), алеаторического и сонористического («Освенцим», 1959), электроакустического (музыка к кинофильму «65 000 000», 1962). Вторая симфония (1961) была им написана в стиле Прокофьева, что вызвало дискуссию на тему подражания и оригинальности. В начале творческого пути Зельенка выступил против использования народных мотивов в современной музыке, а позже пересмотрел эту точку зрения и в своих самых известных сочинениях обращался к фольклору. Зельенка создал собственный стиль благодаря оригинальным способам работы с музыкальным материалом, которые получили названия «лудизм» и «клетка» («микросерия»). The article explores the life and work of Slovak composer Ilja Zeljenka (1932-2007) in the context of the socio-political situation in Czechoslovakia in the second half of the 20 century. His work exemplifies the fusion of avant-garde, modernist, and postmodernist aesthetics and illustrates the picture developmental pattern of Slovak music over fifty years. The composer searched for his own style for a long time, turning to serialism, aleatorics, sonoristics and electronic music, composing works in the spirit of the classics of the 20 century. He was the first to write a Slovak serial composition (Second piano Quintet, 1958), sonoristic and aleatoric pieces (“Oswicim,” 1959), as well as an electroacoustic work (music for the film “65 000 000,” 1962). His 1961 Symphony No. 2 composed in the style of Prokofiev aroused discussion on imitation and originality. At the beginning of his career, Zeljenka had opposed the use of folk music motifs in contemporary compositions, but he later reconsidered this stance and his most performed pieces became those utilizing traditional folk sources. Employing the original elements called “ludism” and “cell” (“microserie”), Zeljenka ultimately created his own signature style.

Milan Adamčiak is a Slovak composer, cellist and musicologist; creator of acoustic objects, installations and unconventional musical instruments; a performer, visual artist and experimental poet. Traditionally trained but influenced by Cagean and Fluxus poetics, he created from the late 1960s until the mid-1990s a large body of work that transgressed the conventional definitions of art creativity and quickly moved toward the concepts of opera aperta, action music and various intermedia forms. At the same time he was experimenting with electronic media, he created several pieces of electroacoustic music and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. The author considers Adamčiak's intermedia in the context of philosophical and aesthetical thought, revealing mutual correspondences, apparent as well as hidden.

Within the varied repertoire of songs sung in the course of the traditional village wedding ceremony in Slovakia, specific songs were performed—usually by women without instrumental accompaniment—at particular, mostly ritual moments with context-appropriate texts to one or two recurring, locally identified wedding tunes called svadobné nôty. Today, these songs are still known by village people and are occasionally also performed within or outside the wedding context. Moreover, this phenomenon of a common local wedding melody seems to be spread among the wedding traditions of central, southern, and eastern Europe, sharing the name (svadobný hlas, svadbarski glas, svatovski glas) and similar features (Važanová 1999).

As an overt response to the Soviet bloc invasion of Czechoslovakia, Karel Husa’s Music for Prague 1968 makes an obvious nationalistic statement. In his foreword to the published score, Husa describes Prague’s use of the Hussite war song “Ktož jsú boží bojovníc” as its most important unifying motive. He says this song has long been “a symbol of resistance and hope.” The author does not debate the work’s nationalistic intent, he finds remarkable that, in 1968, Husa was an American citizen, teaching at Cornell, and using compositional techniques not frequently associated with Eastern European nationalism. If musical nationalism (expressed by folkloric elements) in Eastern European countries can be used to express primacy over avantgarde music, Music for Prague 1968 presents the opposite — a traditional war song submersed in an entirely Western European/American musical language. The study examines several portions of the composition to demonstrate the ways in which Husa expresses his nationalism in a non-nationalistic manner, including chromatic transformations of the Hussite song; the integrally serial third movement, in which unpitched percussion instruments are intended to represent the church bells of Prague; and the opening movement’s non-tonal bird calls, intended to represent freedom. Furthermore, Music for Prague 1968 uses a Western avant-garde language in a way that Husa’s other overtly nationalistic post-emigration pieces (Twelve Moravian Songs, Eight Czech Duets, Evocations of Slovakia) do not. In this light, it will be seen that Music for Prague 1968 fills a special role in Husa’s nationalistic display.

Three-part bagpipes could be designated as multinational musical instruments since they are and were found in Serbia, Croatia, Hungary, Slovakia, the Ukraine and Romania. In order to determine the movement of their circulation in the past, it is important to investigate the influences that the different cultures had on one another. The central area of the vast territory where they were used coincides with the territory of Hungary when it was part of the Austrian Empire. From that fact it can be deduced that the presence of bagpipes as a common cultural element was the result of the influence of the Hungarian conquest. Another interpretation is based on data concerning Serbian migrations. The area where three-part bagpipes are spread significantly coincides with that of Serbian cultural influences. This finding is supported by linguistic research. The instrument related to bag-pipes, the double clarinet ("diple"), a traditional instrument of the Serbs, and the singing "on the bass" (a vocal counterpart of the harmonical structure of three-part bagpipes), mark the musical features that are characteristic only of Serbs and Croats, and are not found among other peoples that use three-part bagpipes. It is a delicate matter to differentiate the roles of those two peoples because of their common origins and centuries of close proximity on the territory that has recently gained the status of the republic of Croatia. However, on the basis of known data it seems that the key-role was played by Serbs. Such research is important for investigating typologies and stylistic stratigraphies of Serbian traditional music.

The year of 1968 was also marked by unrest and riots in the stands of Maracanã stadium. In a period of poor performance of their teams, groups of young football fans threw themselves into the fight against directors of big clubs in Rio, through protests, demonstrations and even marches outside Rio de Janeiro’s stadium. Inspired by the international slogan Youth Power, these newly formed groups adopted similarly a critical stand on the traditional model of supporters, the “Charangas” (small music bands), originated in the 1940s, characterized by the prevalence of a single charismatic leader, recognized by the Club and by the majority of its fans. During the 1970s, the dissident Young Supporters Groups are established on the sports scene and make possible the emergence of a multitude of small and medium-sized associations, giving the supporting activity associative and cultural meanings, recreational and social, until then non-existent in a period of civil-military dictatorship (1964-1985). By gathering these events derived from the serial reading of journalistic narratives, obtained in sports newspapers archives, this article aims to show how a particular type of association, based on club idolatry, took shape on a national and international scale in the 1960s, 1970s and 1980s, and assumed historical and cultural particularities in professional football in Rio de Janeiro. We sought to demonstrate how this phenomenon from the second half of the 20th century met the new demands for participation and differentiation of urban populations, especially its young protagonists, in an increasingly competitive, massified and commodified professional field.

The article describes the background of historical Gutshul traditional fiddler Demyan Lyndyuk ('Popychyn') (1919-1959), from the Kosmach village of Kosiv region of Ivano-Frankivsk. The historical research were undertaken on the ground of historical data, received at 2006 from the Demyans' niece Maria Ivasyuk, as well as from Kovalivka vilage Ivan Sokoluik-the-fiddler, who made the valuable contribu- tion unto research, and played from memory two tunes by D. Lyndyuk, which he recollected as they were played by Demyan himself. Appended to the article the transcription of one of these Demyan Popychyn tunes, prepared by Lviv Music Academy post-graduate Yarema Pavliv at 2018. This tune is the virtuoso stanza of Gutsulka suite, composed of four stanzas, the tunes unfolding by varaitive conbina- torics principle of four related or contrasting, finely embellished melodic motives. This piece, and moreover, the second one, 'Song Tune', are characteristic of Demyan Lyndyuks' performing manner, marked by inventive and exqusite melodic style, cheracteristic of Gutsul regional tradition. As appears, Demyan Lyndyuk ('Popy- chyn') were one of the most prominent representatives of the latter, the father- founder of which were Vasyl Vandzaruk, followed by fully-fledged fiddlers and teachers Dmytro Gudymyak, Vasyl Pozhodzhuk, Ivan Menyuk, Mykhaylo Slochak, Kyrylo Lyndyuk, and, in contemporary tradition, Ivan Sokolyuk. Among these names the proud of the place belongs to Fiddler Demyan Lyndyuk ('Popychyn'), who made outstandng contribution into frourishing of Gutsul instrumental and vocal musicianship. The life of this fiddler were short, but very intense and deserved to be preserved by grateful memory of coming generations of outstanding fiddlers of Kosmach-Shepit tradition of kosiv region.

This thesis explores the significance of a Slovak traditional music and dance performance in Melbourne in October 2007 by Lucnica: Slovak National Folklore Ballet’. While the troupe represents a genre of traditional music performance that is revered by many Slovaks, it is also criticized in the community and scholarly narratives as being ‘artificial’. This thesis shows that Lucnica’s performances are deeply significant, however, and that they constitute a legitimate form of music folklore practice for performers and Slovak audiences, embodying the Slovak landscape and history, despite artistic modifications. However, by taking an interactional viewpoint, this thesis shows that on foreign soil, complex meanings were thrown into relief. While Lucnica’s stated mission is to spread Slovak traditional music culture abroad, it was found that in multicultural Melbourne, Lucnica’s performance generated a variety of discursive strands. The same performance confirmed and celebrated Slovak ethnicity for Slovak Australians, and at the same time, contributed to the discourse of British hegemony and marginalization of the same. A second, but equally important focus of the thesis, is that it addresses the dialectic between theory and data. Ethnographic notes were analyzed according to Goffman’s model for non-verbal interaction, an ethnographic interview was analyzed according to the methods of Conversation Analysis, and an audience survey was conducted. These varied data and methodologies were unified by adopting an over-arching Foucauldian theoretical framework, thus aligning theory, data, and methodologies, and giving findings added cogency.