Dudy: dzieje instrumentu w kulturze staropolskiej
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Warszawa
Inst. Sztuki Polskiej Akad. Nauk
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 583 S. Ill., Notenbeisp. |
| ISBN: | 8389101645 |
Internformat
MARC
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| 050 | 0 | |a ML980 | |
| 084 | |a 9,2 |2 ssgn | ||
| 100 | 1 | |a Przerembski, Zbigniew |d 1952- |e Verfasser |0 (DE-588)1119116449 |4 aut | |
| 245 | 1 | 0 | |a Dudy |b dzieje instrumentu w kulturze staropolskiej |c Zbigniew Jerzy Przerembski |
| 264 | 1 | |a Warszawa |b Inst. Sztuki Polskiej Akad. Nauk |c 2006 | |
| 300 | |a 583 S. |b Ill., Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Zsfassung in engl. Sprache | ||
| 648 | 7 | |a Geschichte 1500-1900 |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Geschichte | |
| 650 | 4 | |a Bagpipe music |x History | |
| 650 | 4 | |a Bagpipe |z Poland |x History | |
| 650 | 0 | 7 | |a Sackpfeife |0 (DE-588)4178853-9 |2 gnd |9 rswk-swf |
| 651 | 4 | |a Polen | |
| 651 | 7 | |a Polen |0 (DE-588)4046496-9 |2 gnd |9 rswk-swf | |
| 689 | 0 | 0 | |a Polen |0 (DE-588)4046496-9 |D g |
| 689 | 0 | 1 | |a Sackpfeife |0 (DE-588)4178853-9 |D s |
| 689 | 0 | 2 | |a Geschichte 1500-1900 |A z |
| 689 | 0 | |5 DE-604 | |
| 856 | 4 | 2 | |m Digitalisierung BSBMuenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015689040&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015689040&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 940 | 1 | |n oe | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-015689040 | ||
| 942 | 1 | 1 | |c 780.9 |e 22/bsb |f 0903 |g 438 |
Datensatz im Suchindex
| _version_ | 1804136573141254144 |
|---|---|
| adam_text | Spis treści
Wprowadzenie
........................................................................................................................9
NAZEWNICTWO
................................................................................................................. 25
Instrument
..................................................................................................................25
Dudy
...............................................................................................................25
Gajdy
.............................................................................................................. 28
Kozioł
............................................................................................................. 29
Koza
................................................................................................................31
Kozica, kozice
............................................................................................... 33
Bąk
.................................................................................................................. 34
Chorus
............................................................................................................35
Instrument
.....................................................................................................35
Części dud
..................................................................................................................36
Grający na dudach
....................................................................................................36
Granie na dudach
..................................................................................................... 38
Przeniesienia nazw
...................................................................................................39
ZASIĘGI PRAKTYKI
DUDZIARSKIEJ
............................................................................... 43
Rozprzestrzenienie geograficzne
........................................................................... 63
Małopolska
....................................................................................................63
Krakowskie
.......................................................................................64
Sandomierskie
..................................................................................73
Lubelskie
...........................................................................................74
Śląsk
................................................................................................................77
Wielkopolska
.................................................................................................78
Mazowsze
......................................................................................................80
Pomorze
.........................................................................................................83
Za granicą
...................................................................................................... 84
Rozpowszechnienie społeczne
............................................................................... 88
Związki z tańcem
......................................................................................... 93
Na dworach
...................................................................................................%
Na obcych dworach
........................................................................ 98
Na polskich dworach
.....................................................................115
W wojsku
......................................................................................................137
W kościele
.....................................................................................................143
W miastach
...................................................................................................158
Na wsi
...........................................................................................................181
Wśród pasterzy
............................................................................................193
Wędrowni dudziarze
..................................................................................205
W waganckim i blazeńskim wcieleniu
........................................206
Z niedźwiednikami
........................................................................213
Między flisakami
............................................................................218
Wędrujący górale
...........................................................................220
Wędrujący muzykanci cudzoziemscy
........................................ 221
SYTUACJE WYKONAWCZE
.............................................................................................223
W cyklu życia
...........................................................................................................229
Chrzciny
........................................................................................................229
Wesele
...........................................................................................................229
Pogrzeb
.........................................................................................................238
W cyklu kalendarza
................................................................................................ 239
Gody
..............................................................................................................239
Zapusty
........................................................................................................ 240
Sobótka
.........................................................................................................251
Stawianie maja
............................................................................................256
Boże Ciało
.....................................................................................................259
Dożynki
........................................................................................................261
Rachunki wołoskie
.....................................................................................262
MIEJSCE W SPOŁECZEŃSTWIE
.......................................................................................263
Zarobki
......................................................................................................................263
W hierarchii społecznej
...........................................................................................270
W hierarchii symbolicznej
......................................................................................277
„Niebezpieczne związki
...........................................................................304
Legendy
...........................................................................................305
W procesach o czary
......................................................................307
„Wszeteczne skojarzenia
............................................................ 308
Kulturowe źródła
...........................................................................310
Taniec śmierci
.................................................................................312
Taniec świętego Wita
.....................................................................315
Muzykujące zwierzęta
................................................................................316
W hierarchii muzycznej
......................................................................................... 324
Pozycja realna
............................................................................................. 325
Pozycja symboliczna
..................................................................................328
W języku
...................................................................................................................334
Pochwała dud
..........................................................................................................341
CECHY DUD
........................................................................................................................347
Budowa
.....................................................................................................................350
Piszczałki
......................................................................................................351
Łączniki
........................................................................................................354
Zbiornik powietrza
.....................................................................................355
Zdobienie
.....................................................................................................359
Nadymanie
..................................................................................................361
Gra
.............................................................................................................................363
Pozycja
..........................................................................................................363
Sposób trzymania
........................................................................................364
Palcowanie
...................................................................................................364
Przechowywanie
.....................................................................................................365
Właściwości muzyczne
.......................................................................................... 366
Rodzaje dud
............................................................................................................. 369
Próba klasyfikacji
........................................................................................371
Dudy jednogłosowe
.......................................................................371
Platerspiel
...........................................................................372
Inne
......................................................................................374
Dudy dwugłosowe
........................................................................ 375
Dudy trzygłosowe
..........................................................................378
Dudy czterogłosowe
......................................................................378
Próba typologii
............................................................................................380
Kozioł
...............................................................................................381
Polnischer Bock..............................................................................383
Dudey
.............................................................................................. 387
Bock
..................................................................................................388
Hybrydy
..............................................................................388
Wnioski
...............................................................................399
Inne formy
.......................................................................................400
Obce dudy w Polsce
....................................................................................402
W zespołach muzycznych
......................................................................................404
MUZYKA DUDOWA
..........................................................................................................412
Repertuar i styl wykonawczy
................................................................................412
Ilustracje
.................................................................................................................................439
Indeks osób
............................................................................................................................491
Spis przykładów muzycznych
...........................................................................................508
Spis ilustracji
.........................................................................................................................509
Bibliografia
............................................................................................................................513
Summary
...............................................................................................................................579
7
Summary
The presented book discusses the history of the bagpipe, one of the oldest musical in¬
struments of complex construction that has been preserved in musical praxis to our
times. The significance of the bagpipe for Polish musical culture cannot be overesti¬
mated: for several centuries this had been the main instrument of its traditional cur¬
rent. Music was one of the much-loved forms of entertainment among the inhabitants
of the sprawling lands of the first Commonwealth, regardless of the social milieu. Al¬
though songs remained popular, playing different instruments was a particular favou¬
rite, and various social groups had their own preferred instruments. The bagpipe com¬
prised a more „universal instrument, and to a great extent crossed the boundaries be¬
tween particular social estates, constituting
a sui
generis „common denominator of as¬
sorted social groups. The social range of the musical activity of the pipers was wide.
True, they performed mainly in taverns in larger villages and smaller towns, but they
also played sporadically in the course of assorted court, Church or town ceremonies.
They were also constant members of royal, magnate, gentry and military musical ensem¬
bles. Bagpipers were employed for assorted reasons: a Sarmatian predilection for na¬
tive qualities, a cultivation of the eighteenth-century fashion for the pastoral-bucolic
idyll, which came from western Europe, or a more prosaic motivation
-
they were less
costly than trained musicians.
The need for bagpipe music became the cause not only of a relatively large number
of players but also the professional nature of their activity. Professional performers
were capable of adapting themselves to various repertoire and stylistic demands.
The best or the most enterprising musicians joined court ensembles. The majority ori¬
ginated from the peasant estate, but they were considered to be „loose people, exempt
from the
corvée,
not
„
bound to the land
,
and encumbered only with taxes, a status
which offered them the freedom of selecting their place of work and residence. Some
did not even seek temporary employment but conducted a vagrant lifestyle. They tra¬
versed the vast territory of the Commonwealth, playing in assorted towns and villa¬
ges, either performing alone or joining itinerant professional groups (such as bear lea¬
ders, actors or harvesters).
Next to village musicians (who played in gentry manor houses), travelling musicians
assisted in the introduction of folk music and instruments into the musical culture
of the higher social strata. This process in all likelihood followed also a reverse course:
an assimilation by folk music of the practice, repertoire, instruments and, to a certain
degree, even styles of execution characteristic for the more sophisticated art of music.
579
Similarly to other musicians, the pipers sought employment also abroad. During
the Late Middle Ages and the modern era they most frequently worked in central
Germany, especially in prosperous trade towns such as Leipzig. In doing so, they
made a direct contribution to the performance of Polish music and dances, or those
maintained in the Polish style, at the courts and among the townspeople of central
Europe and Scandinavia.
The polyphonic melodic-drone nature of a considerable majority of the bagpipe, com¬
bined with a sonority of sound, rendered it a surrogate of an ensemble. The pipers
were thus to a great extent musically self-sufficient. Their professional and itinerant
praxis was the reason why they possessed a repertoire relatively extensive in view
of the limited musical potential of the instrument; their music could meet all sorts
of requirements. The hiring of an individual piper cost less than the employment
of a whole musical ensemble. Quite frequently, therefore, bagpipers played alone,
although they also performed in instrumental ensembles, depending on the circum¬
stances.
The presented publication follows the history of the bagpipe in Old Poland, i. e.
from the Middle Ages (the second half of the fourteenth century and the fifteenth cen¬
tury), the time of the origin of the oldest and scarce traces of the use of this instrument
in our country, throughout sixteenth and seventeenth century
-
period of its
fluorite,
to the decline of the first Commonwealth, when evidence of the presence of the bagpipe
becomes increasingly rare. The author has interpreted the titular problem in accordance
with historical and ethnographic criteria. Applying methods characteristic for both
those domains, he has also made use of assorted historical sources, of which the written
ones include chronicles, diaries, accounts of journeys as well as various legal, fiscal,
court and guild documents. To this category one must add the Old Polish belles-lettres,
an indirect source, albeit one that frequently shows the cultural context of the pipers.
Just as varied are the
iconographie
sources, encompassing works of the visual arts:
painting, graphic art, and sculpture, both
mobilia
and decorations of the outer and in¬
terior surfaces of secular and religious edifices. Bagpipes and their players are at times
depicted in artefacts and, predominantly, in the illustrations and miniatures embelli¬
shing Polish and foreign books issued at the time of the first Commonwealth. As a rule,
all those sources remain incomplete and are considered in the light of knowledge about
twentieth-century bagpipe playing, an approach which often makes it possible to con¬
duct their verification, or at the very least define the degree of probability.
The historical and ethnographic aspects are reflected in the arrangement of the work,
composed of six chapters divided into yet smaller parts: Terminology, Range ofbaggpipe
praxis, Performance situations, Place in society, Features of the bagpipe and Bagpipe music.
The first chapter lists the names occurring in historical sources (proper and intermixed)
and referring to the bagpipes and their components, the musicians playing them, and
the performance itself. The author depicted the attempts conducted by assorted resear¬
chers, aimed at explaining the etymology of the terms.
580
Summary
Range
of bagpipe praxis deals with the historical presence of the bagpipe in various parts
of Poland and social environments. The author has distinguished Geographic distribution,
and cited predominantly unambiguous confirmations of bagpipe music in concrete loca¬
lities and regions of the first Commonwealth. Such data are supplemented by indirect
information obtained from various categories of sources, usually literary or
iconographie
which, as a rule, only indicate familiarity with the bagpipe in the locality to which they
refer. Social distribution takes into consideration the participation of bagpipe music in dif¬
ferent symptoms of court, military, and Church life, its role in the culture of the towns
and the countryside, as well as certain traditional social groups in which the pipers
were most active. Separate attention has been devoted to the connections between
the bagpipe and the dance, outright fundamental in the history of this instrument.
The successive chapter
-
Performance situations
-
refers to the part played by the bag¬
pipe in two natural circles distinguished in traditional culture: life and the calendar.
The author delved into the manner in which the bagpipers took part as musicians
(or otherwise) in christenings, weddings, funerals, Christmastide, Shrovetide, St. John s
Eve, Maypole festivities, harvest festivals, the so-called Walachian accounts, or the Cor¬
pus
Christi
ceremonies. In more recent times, they usually accompanied dances
and the entertainment part of the majority of these celebrations, although in the more
distant past they also fulfilled ritual functions.
In Place in society the author portrayed the social position of the pipers in Old Poland
-
both in relation to other professional groups and within the musical milieu as a whole.
In addition, he has listed all the preserved records of their earnings, and attempted
to decipher symbolic meanings associated with the instrument, bagpipe music,
and players. Pertinent data is contained primarily in literary sources (including those
of the folklore type, such as legends), rendered indelible in the language of compari¬
sons and proverbs, as well as assorted
iconographie
sources. Such symbolic expresses
opinions well enrooted in social consciousness, relating to the bagpipe in Poland
of the past, and enhancing the observations with the supposedly metaphysical associa¬
tions of the pipers. The dominating convictions were of a purely negative character
-
bagpipe music was connected with the severely criticised mores of our ancestors
and such national vices such as drunkenness, revelry, debauchery, and sensual dances.
The author tried to recreate the assorted features of the construction of the bagpipe de¬
termining its musical properties, to an extent permitted by scarce and insufficiently
precise source material (predominantly
iconographie).
This chapter (Features of the bag¬
pipe) deals with the construction properties of particular elements of the instrument,
the material out of which it was made, and the manner of its decoration. Equally infre¬
quent sources mention playing the bagpipe, and pertain to the general musical proper¬
ties of the instrument, the position assumed while playing it, the manner of holding
and fingering the bagpipe, and storage. Upon the basis of historical information, con¬
fronted with the various features of contemporary instruments, the author proposed
581
a classification and typology of the bagpipe. The accepted criteria of the classification
division is the number of pipes (melodic and drone), which makes it possible to distin¬
guish one-, two-, three- and four-voice instruments. The ensuing typology is based
on the forms of the bagpipe differentiated in Polish and foreign (chiefly German-lan¬
guage) historical sources. Knowledge about the construction is, unfortunately, inade¬
quate and to a great extent based on external traits, and sometimes upon the general
appearance of the instrument. The construction features of the bagpipe were stabilised
to different degrees, and sometimes outright mingled. Nevertheless, it appears that
among the Old Polish bagpipe instruments and certain European varieties related
to the Polish bagpipe, the most distinct were the
„kozioł ,
the
„Polnischer Bock ,
the „Dudey , the „Bock and hybrid forms. The chapter also mentions preserved infor¬
mation about the use of non-Polish types of the bagpipe in the first Commonwealth,
as well as the composition of the instrumental ensembles in which the pipers performed.
The chapter entitled Bagpipe music only to a certain degree corresponds to its title, since
the information about the manner in which the bagpipes were played and the repertoire
is even more scant. These two questions: the performance style and the repertoire, should
be, therefore, considered mainly upon the basis of data concerning the circumstances
of the performance. To a certain degree, the features of bagpipe music can be perceived
in compositions of a pastoral or dance character. Some of the works produce the im¬
pression that the authors sought inspiration in bagpipe melodies and perhaps even
quoted them; they certainly, and much more frequently, subjected them to
stylisation.
Such an approach is indicated by the names of the compositions as well as their melo¬
dic, rhythmic, tonal, and harmonic properties. Infrequent Polish monuments of this
sort are enriched by the compositions of west European authors, mainly German, con¬
nected with the Polish bagpipe.
Insufficient historical source documentation is the prime reason why the history
of the bagpipe in Old Poland contains numerous unexplained episodes, pertaining
particularly to the construction of the instruments, their musical potential, repertoire
and performance style, but also the circumstances of the performance and its cultural
context. Hence, while interpreting this problem more extensively, and against the back¬
ground of bagpipe praxis in neighbouring countries, the author resorted to foreign hi¬
storical sources, especially German or Bohemian, better preserved and with partial re¬
ferences to bagpipes, and even players, either Polish or connected with Poland. When¬
ever descriptions of the rituals or customs involving bagpipe music in Poland are
lacking, the author included accounts from other countries (usually Slavic), assuming
their hypothetical similarity. The dissemination of the bagpipe in Poland entitles us
to assume that its participation in the cultural tradition of the Poles was much wider
than it would follow from the infrequent sources preserved up to the time when this
question was first studied. Reference to non-Polish written and
iconographie
sources
is, therefore, treated not only as a comparison but also as a supplement to the highly
incomplete documentation of the art of the bagpipe in the first Commonwealth.
582
Summary
The study also contains numerous quotations from works by other authors. In all cases
requiring such an approach, mention of the bagpipe has been cited in a wider context,
significant for a better deciphering of the information relating to the instrument, and es¬
pecially the cultural contents of bagpipe praxis. The author has opted for such a solu¬
tion in order not to deprive the reader of the possibility of arriving at an interpretation
different from his own. In this instance too much of the information remains almost in¬
accessible. The specific language and manner of writing Old Polish texts brings the rea¬
der closer to the epoch, and shows better the phenomenon of bagpipe culture in Old
Poland. Quoted fragments of literary works as well as assorted illustrations possess
not only the rank of fundamental documentation but also enhance the publication
with artistic merits.
Illustrations have been included after the main text (pp.
439-490).
An index of persons,
encompassing authors of the works mentioned in the Bibliography and persons connec¬
ted with the examined topic, refers to the main text of the publication (and does not en¬
compass bibliographies or lists of illustrations and musical examples). The Bibliography
lists only those publications to which the author had referred in his work, and which
had been selected from extensive writings about the various aspects of the problem
range connected with bagpipe instruments and music. The author has also accepted
the principle, increasingly frequently applied also in our country, of writing the titles
of the books and periodicals in italics. In the case of articles included in collective
works, italics have been used for the main titles. In bibliographical records concerning
continuous and multi-part compact publications, the basic level of the division (volu¬
mes, parts, number of periodicals) has been marked with Roman numbers, and the fur¬
ther one
-
with Arabic numbers separated with comas. In reference to manuscripts
written for a period longer than a year, the bibliography and references in the funda¬
mental text give the year of the pertinent record (if it can be determined). In collective
works, the numbers of the pages of the cited study have been, as a rule, quoted after
the name of the editor (editors), and in continuous publications
-
after the number
of the series and volume of the periodical.
Translated by
Aleksandra Rodzińska-Chojnowska.
583
Bayerische
Staatsbibliothek
München
|
| adam_txt |
Spis treści
Wprowadzenie
.9
NAZEWNICTWO
. 25
Instrument
.25
Dudy
.25
Gajdy
. 28
Kozioł
. 29
Koza
.31
Kozica, kozice
. 33
Bąk
. 34
Chorus
.35
Instrument
.35
Części dud
.36
Grający na dudach
.36
Granie na dudach
. 38
Przeniesienia nazw
.39
ZASIĘGI PRAKTYKI
DUDZIARSKIEJ
. 43
Rozprzestrzenienie geograficzne
. 63
Małopolska
.63
Krakowskie
.64
Sandomierskie
.73
Lubelskie
.74
Śląsk
.77
Wielkopolska
.78
Mazowsze
.80
Pomorze
.83
Za granicą
. 84
Rozpowszechnienie społeczne
. 88
Związki z tańcem
. 93
Na dworach
.%
Na obcych dworach
. 98
Na polskich dworach
.115
W wojsku
.137
W kościele
.143
W miastach
.158
Na wsi
.181
Wśród pasterzy
.193
Wędrowni dudziarze
.205
W waganckim i blazeńskim wcieleniu
.206
Z niedźwiednikami
.213
Między flisakami
.218
Wędrujący górale
.220
Wędrujący muzykanci cudzoziemscy
. 221
SYTUACJE WYKONAWCZE
.223
W cyklu życia
.229
Chrzciny
.229
Wesele
.229
Pogrzeb
.238
W cyklu kalendarza
. 239
Gody
.239
Zapusty
. 240
Sobótka
.251
Stawianie maja
.256
Boże Ciało
.259
Dożynki
.261
Rachunki wołoskie
.262
MIEJSCE W SPOŁECZEŃSTWIE
.263
Zarobki
.263
W hierarchii społecznej
.270
W hierarchii symbolicznej
.277
„Niebezpieczne" związki
.304
Legendy
.305
W procesach o czary
.307
„Wszeteczne" skojarzenia
. 308
Kulturowe źródła
.310
Taniec śmierci
.312
Taniec świętego Wita
.315
Muzykujące zwierzęta
.316
W hierarchii muzycznej
. 324
Pozycja realna
. 325
Pozycja symboliczna
.328
W języku
.334
Pochwała dud
.341
CECHY DUD
.347
Budowa
.350
Piszczałki
.351
Łączniki
.354
Zbiornik powietrza
.355
Zdobienie
.359
Nadymanie
.361
Gra
.363
Pozycja
.363
Sposób trzymania
.364
Palcowanie
.364
Przechowywanie
.365
Właściwości muzyczne
. 366
Rodzaje dud
. 369
Próba klasyfikacji
.371
Dudy jednogłosowe
.371
Platerspiel
.372
Inne
.374
Dudy dwugłosowe
. 375
Dudy trzygłosowe
.378
Dudy czterogłosowe
.378
Próba typologii
.380
Kozioł
.381
Polnischer Bock.383
Dudey
. 387
Bock
.388
Hybrydy
.388
Wnioski
.399
Inne formy
.400
Obce dudy w Polsce
.402
W zespołach muzycznych
.404
MUZYKA DUDOWA
.412
Repertuar i styl wykonawczy
.412
Ilustracje
.439
Indeks osób
.491
Spis przykładów muzycznych
.508
Spis ilustracji
.509
Bibliografia
.513
Summary
.579
7
Summary
The presented book discusses the history of the bagpipe, one of the oldest musical in¬
struments of complex construction that has been preserved in musical praxis to our
times. The significance of the bagpipe for Polish musical culture cannot be overesti¬
mated: for several centuries this had been the main instrument of its traditional cur¬
rent. Music was one of the much-loved forms of entertainment among the inhabitants
of the sprawling lands of the first Commonwealth, regardless of the social milieu. Al¬
though songs remained popular, playing different instruments was a particular favou¬
rite, and various social groups had their own preferred instruments. The bagpipe com¬
prised a more „universal" instrument, and to a great extent crossed the boundaries be¬
tween particular social estates, constituting
a sui
generis „common denominator" of as¬
sorted social groups. The social range of the musical activity of the pipers was wide.
True, they performed mainly in taverns in larger villages and smaller towns, but they
also played sporadically in the course of assorted court, Church or town ceremonies.
They were also constant members of royal, magnate, gentry and military musical ensem¬
bles. Bagpipers were employed for assorted reasons: a Sarmatian predilection for na¬
tive qualities, a cultivation of the eighteenth-century fashion for the pastoral-bucolic
idyll, which came from western Europe, or a more prosaic motivation
-
they were less
costly than trained musicians.
The need for bagpipe music became the cause not only of a relatively large number
of players but also the professional nature of their activity. Professional performers
were capable of adapting themselves to various repertoire and stylistic demands.
The best or the most enterprising musicians joined court ensembles. The majority ori¬
ginated from the peasant estate, but they were considered to be „loose" people, exempt
from the
corvée,
not
„
bound to the land"
,
and encumbered only with taxes, a status
which offered them the freedom of selecting their place of work and residence. Some
did not even seek temporary employment but conducted a vagrant lifestyle. They tra¬
versed the vast territory of the Commonwealth, playing in assorted towns and villa¬
ges, either performing alone or joining itinerant professional groups (such as bear lea¬
ders, actors or harvesters).
Next to village musicians (who played in gentry manor houses), travelling musicians
assisted in the introduction of folk music and instruments into the musical culture
of the higher social strata. This process in all likelihood followed also a reverse course:
an assimilation by folk music of the practice, repertoire, instruments and, to a certain
degree, even styles of execution characteristic for the more sophisticated art of music.
579
Similarly to other musicians, the pipers sought employment also abroad. During
the Late Middle Ages and the modern era they most frequently worked in central
Germany, especially in prosperous trade towns such as Leipzig. In doing so, they
made a direct contribution to the performance of Polish music and dances, or those
maintained in the Polish style, at the courts and among the townspeople of central
Europe and Scandinavia.
The polyphonic melodic-drone nature of a considerable majority of the bagpipe, com¬
bined with a sonority of sound, rendered it a surrogate of an ensemble. The pipers
were thus to a great extent musically self-sufficient. Their professional and itinerant
praxis was the reason why they possessed a repertoire relatively extensive in view
of the limited musical potential of the instrument; their music could meet all sorts
of requirements. The hiring of an individual piper cost less than the employment
of a whole musical ensemble. Quite frequently, therefore, bagpipers played alone,
although they also performed in instrumental ensembles, depending on the circum¬
stances.
The presented publication follows the history of the bagpipe in Old Poland, i. e.
from the Middle Ages (the second half of the fourteenth century and the fifteenth cen¬
tury), the time of the origin of the oldest and scarce traces of the use of this instrument
in our country, throughout sixteenth and seventeenth century
-
period of its
fluorite,
to the decline of the first Commonwealth, when evidence of the presence of the bagpipe
becomes increasingly rare. The author has interpreted the titular problem in accordance
with historical and ethnographic criteria. Applying methods characteristic for both
those domains, he has also made use of assorted historical sources, of which the written
ones include chronicles, diaries, accounts of journeys as well as various legal, fiscal,
court and guild documents. To this category one must add the Old Polish belles-lettres,
an indirect source, albeit one that frequently shows the cultural context of the pipers.
Just as varied are the
iconographie
sources, encompassing works of the visual arts:
painting, graphic art, and sculpture, both
mobilia
and decorations of the outer and in¬
terior surfaces of secular and religious edifices. Bagpipes and their players are at times
depicted in artefacts and, predominantly, in the illustrations and miniatures embelli¬
shing Polish and foreign books issued at the time of the first Commonwealth. As a rule,
all those sources remain incomplete and are considered in the light of knowledge about
twentieth-century bagpipe playing, an approach which often makes it possible to con¬
duct their verification, or at the very least define the degree of probability.
The historical and ethnographic aspects are reflected in the arrangement of the work,
composed of six chapters divided into yet smaller parts: Terminology, Range ofbaggpipe
praxis, Performance situations, Place in society, Features of the bagpipe and Bagpipe music.
The first chapter lists the names occurring in historical sources (proper and intermixed)
and referring to the bagpipes and their components, the musicians playing them, and
the performance itself. The author depicted the attempts conducted by assorted resear¬
chers, aimed at explaining the etymology of the terms.
580
Summary
Range
of bagpipe praxis deals with the historical presence of the bagpipe in various parts
of Poland and social environments. The author has distinguished Geographic distribution,
and cited predominantly unambiguous confirmations of bagpipe music in concrete loca¬
lities and regions of the first Commonwealth. Such data are supplemented by indirect
information obtained from various categories of sources, usually literary or
iconographie
which, as a rule, only indicate familiarity with the bagpipe in the locality to which they
refer. Social distribution takes into consideration the participation of bagpipe music in dif¬
ferent symptoms of court, military, and Church life, its role in the culture of the towns
and the countryside, as well as certain traditional social groups in which the pipers
were most active. Separate attention has been devoted to the connections between
the bagpipe and the dance, outright fundamental in the history of this instrument.
The successive chapter
-
Performance situations
-
refers to the part played by the bag¬
pipe in two natural circles distinguished in traditional culture: life and the calendar.
The author delved into the manner in which the bagpipers took part as musicians
(or otherwise) in christenings, weddings, funerals, Christmastide, Shrovetide, St. John's
Eve, Maypole festivities, harvest festivals, the so-called Walachian accounts, or the Cor¬
pus
Christi
ceremonies. In more recent times, they usually accompanied dances
and the entertainment part of the majority of these celebrations, although in the more
distant past they also fulfilled ritual functions.
In Place in society the author portrayed the social position of the pipers in Old Poland
-
both in relation to other professional groups and within the musical milieu as a whole.
In addition, he has listed all the preserved records of their earnings, and attempted
to decipher symbolic meanings associated with the instrument, bagpipe music,
and players. Pertinent data is contained primarily in literary sources (including those
of the folklore type, such as legends), rendered indelible in the language of compari¬
sons and proverbs, as well as assorted
iconographie
sources. Such symbolic expresses
opinions well enrooted in social consciousness, relating to the bagpipe in Poland
of the past, and enhancing the observations with the supposedly metaphysical associa¬
tions of the pipers. The dominating convictions were of a purely negative character
-
bagpipe music was connected with the severely criticised mores of our ancestors
and such national vices such as drunkenness, revelry, debauchery, and sensual dances.
The author tried to recreate the assorted features of the construction of the bagpipe de¬
termining its musical properties, to an extent permitted by scarce and insufficiently
precise source material (predominantly
iconographie).
This chapter (Features of the bag¬
pipe) deals with the construction properties of particular elements of the instrument,
the material out of which it was made, and the manner of its decoration. Equally infre¬
quent sources mention playing the bagpipe, and pertain to the general musical proper¬
ties of the instrument, the position assumed while playing it, the manner of holding
and fingering the bagpipe, and storage. Upon the basis of historical information, con¬
fronted with the various features of contemporary instruments, the author proposed
581
a classification and typology of the bagpipe. The accepted criteria of the classification
division is the number of pipes (melodic and drone), which makes it possible to distin¬
guish one-, two-, three- and four-voice instruments. The ensuing typology is based
on the forms of the bagpipe differentiated in Polish and foreign (chiefly German-lan¬
guage) historical sources. Knowledge about the construction is, unfortunately, inade¬
quate and to a great extent based on external traits, and sometimes upon the general
appearance of the instrument. The construction features of the bagpipe were stabilised
to different degrees, and sometimes outright mingled. Nevertheless, it appears that
among the Old Polish bagpipe instruments and certain European varieties related
to the Polish bagpipe, the most distinct were the
„kozioł",
the
„Polnischer Bock",
the „Dudey", the „Bock" and hybrid forms. The chapter also mentions preserved infor¬
mation about the use of non-Polish types of the bagpipe in the first Commonwealth,
as well as the composition of the instrumental ensembles in which the pipers performed.
The chapter entitled Bagpipe music only to a certain degree corresponds to its title, since
the information about the manner in which the bagpipes were played and the repertoire
is even more scant. These two questions: the performance style and the repertoire, should
be, therefore, considered mainly upon the basis of data concerning the circumstances
of the performance. To a certain degree, the features of bagpipe music can be perceived
in compositions of a pastoral or dance character. Some of the works produce the im¬
pression that the authors sought inspiration in bagpipe melodies and perhaps even
quoted them; they certainly, and much more frequently, subjected them to
stylisation.
Such an approach is indicated by the names of the compositions as well as their melo¬
dic, rhythmic, tonal, and harmonic properties. Infrequent Polish monuments of this
sort are enriched by the compositions of west European authors, mainly German, con¬
nected with the Polish bagpipe.
Insufficient historical source documentation is the prime reason why the history
of the bagpipe in Old Poland contains numerous unexplained episodes, pertaining
particularly to the construction of the instruments, their musical potential, repertoire
and performance style, but also the circumstances of the performance and its cultural
context. Hence, while interpreting this problem more extensively, and against the back¬
ground of bagpipe praxis in neighbouring countries, the author resorted to foreign hi¬
storical sources, especially German or Bohemian, better preserved and with partial re¬
ferences to bagpipes, and even players, either Polish or connected with Poland. When¬
ever descriptions of the rituals or customs involving bagpipe music in Poland are
lacking, the author included accounts from other countries (usually Slavic), assuming
their hypothetical similarity. The dissemination of the bagpipe in Poland entitles us
to assume that its participation in the cultural tradition of the Poles was much wider
than it would follow from the infrequent sources preserved up to the time when this
question was first studied. Reference to non-Polish written and
iconographie
sources
is, therefore, treated not only as a comparison but also as a supplement to the highly
incomplete documentation of the art of the bagpipe in the first Commonwealth.
582
Summary
The study also contains numerous quotations from works by other authors. In all cases
requiring such an approach, mention of the bagpipe has been cited in a wider context,
significant for a better deciphering of the information relating to the instrument, and es¬
pecially the cultural contents of bagpipe praxis. The author has opted for such a solu¬
tion in order not to deprive the reader of the possibility of arriving at an interpretation
different from his own. In this instance too much of the information remains almost in¬
accessible. The specific language and manner of writing Old Polish texts brings the rea¬
der closer to the epoch, and shows better the phenomenon of bagpipe culture in Old
Poland. Quoted fragments of literary works as well as assorted illustrations possess
not only the rank of fundamental documentation but also enhance the publication
with artistic merits.
Illustrations have been included after the main text (pp.
439-490).
An index of persons,
encompassing authors of the works mentioned in the Bibliography and persons connec¬
ted with the examined topic, refers to the main text of the publication (and does not en¬
compass bibliographies or lists of illustrations and musical examples). The Bibliography
lists only those publications to which the author had referred in his work, and which
had been selected from extensive writings about the various aspects of the problem
range connected with bagpipe instruments and music. The author has also accepted
the principle, increasingly frequently applied also in our country, of writing the titles
of the books and periodicals in italics. In the case of articles included in collective
works, italics have been used for the main titles. In bibliographical records concerning
continuous and multi-part compact publications, the basic level of the division (volu¬
mes, parts, number of periodicals) has been marked with Roman numbers, and the fur¬
ther one
-
with Arabic numbers separated with comas. In reference to manuscripts
written for a period longer than a year, the bibliography and references in the funda¬
mental text give the year of the pertinent record (if it can be determined). In collective
works, the numbers of the pages of the cited study have been, as a rule, quoted after
the name of the editor (editors), and in continuous publications
-
after the number
of the series and volume of the periodical.
Translated by
Aleksandra Rodzińska-Chojnowska.
583
Bayerische
Staatsbibliothek
München |
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| geographic_facet | Polen |
| id | DE-604.BV022481697 |
| illustrated | Illustrated |
| index_date | 2024-07-02T17:48:34Z |
| indexdate | 2024-07-09T20:58:33Z |
| institution | BVB |
| isbn | 8389101645 |
| language | Polish |
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| spelling | Przerembski, Zbigniew 1952- Verfasser (DE-588)1119116449 aut Dudy dzieje instrumentu w kulturze staropolskiej Zbigniew Jerzy Przerembski Warszawa Inst. Sztuki Polskiej Akad. Nauk 2006 583 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Geschichte 1500-1900 gnd rswk-swf Geschichte Bagpipe music History Bagpipe Poland History Sackpfeife (DE-588)4178853-9 gnd rswk-swf Polen Polen (DE-588)4046496-9 gnd rswk-swf Polen (DE-588)4046496-9 g Sackpfeife (DE-588)4178853-9 s Geschichte 1500-1900 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015689040&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015689040&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Przerembski, Zbigniew 1952- Dudy dzieje instrumentu w kulturze staropolskiej Geschichte Bagpipe music History Bagpipe Poland History Sackpfeife (DE-588)4178853-9 gnd |
| subject_GND | (DE-588)4178853-9 (DE-588)4046496-9 |
| title | Dudy dzieje instrumentu w kulturze staropolskiej |
| title_auth | Dudy dzieje instrumentu w kulturze staropolskiej |
| title_exact_search | Dudy dzieje instrumentu w kulturze staropolskiej |
| title_exact_search_txtP | Dudy dzieje instrumentu w kulturze staropolskiej |
| title_full | Dudy dzieje instrumentu w kulturze staropolskiej Zbigniew Jerzy Przerembski |
| title_fullStr | Dudy dzieje instrumentu w kulturze staropolskiej Zbigniew Jerzy Przerembski |
| title_full_unstemmed | Dudy dzieje instrumentu w kulturze staropolskiej Zbigniew Jerzy Przerembski |
| title_short | Dudy |
| title_sort | dudy dzieje instrumentu w kulturze staropolskiej |
| title_sub | dzieje instrumentu w kulturze staropolskiej |
| topic | Geschichte Bagpipe music History Bagpipe Poland History Sackpfeife (DE-588)4178853-9 gnd |
| topic_facet | Geschichte Bagpipe music History Bagpipe Poland History Sackpfeife Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015689040&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015689040&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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