Dudy: instrument mało znany polskim ludoznawcom
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Warszawa
Instytut Sztuki Polskiej Akademii Nauk [u.a.]
2007
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: The bagpipe Includes bibliographical references and index |
| Beschreibung: | 538 p. Ill., Notenbeisp. 23 cm |
| ISBN: | 9788389101754 |
Internformat
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| 100 | 1 | |a Przerembski, Zbigniew |d 1952- |e Verfasser |0 (DE-588)1119116449 |4 aut | |
| 245 | 1 | 0 | |a Dudy |b instrument mało znany polskim ludoznawcom |c Zbigniew Jerzy Przerembski |
| 264 | 1 | |a Warszawa |b Instytut Sztuki Polskiej Akademii Nauk [u.a.] |c 2007 | |
| 300 | |a 538 p. |b Ill., Notenbeisp. |c 23 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Zsfassung in engl. Sprache u.d.T.: The bagpipe | ||
| 500 | |a Includes bibliographical references and index | ||
| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Bagpipe / Poland / History | |
| 650 | 4 | |a Bagpipe music / History | |
| 650 | 4 | |a Geschichte | |
| 650 | 4 | |a Bagpipe music |x History | |
| 650 | 4 | |a Bagpipe |z Poland |x History | |
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| 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=017004861&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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Datensatz im Suchindex
| _version_ | 1804138449987436544 |
|---|---|
| adam_text | Spis
tresei
Wprowadzenie
.................................................................................
,
..................................... 9
NAZEWNICTWO
................................................................................................................. 19
Instrument
................................................................................................................ 19
Dudy
............................................................................................................. 20
Gajdy
............................................................................................................ 22
Kozioł
........................................................................................................... 24
Koza, kozica, kozice,
kôzlôbarina
........................................................... 25
Bąk
.............................................................................................................. 26
Wołynka
..................................................................................................... 26
Siesieńki
........................................................................................................ 27
Części dud
............................................................................................................... 28
Grający na dudach
................................................................................................... 33
Granie na dudach
.................................................................................................. 37
Przeniesienia nazw
................................................................................................. 40
ZASIĘGI PRAKTYKI DUDZIARSKIEJ
............................................................................ 47
Rozprzestrzenienie geograficzne
...:..................................................................... 51
Wielkopolska
............................................................................................... 58
Łęczyckie
.............................................................................................. 67
Kujawy
.................................................................................................. 68
Pomorze
................................................................................................ 68
Mazow3sze
.................................................................................................... 70
Białoruś
................................................................................................. 73
Litwa
..................................................................................................... 76
Inflanty (Łotwa, Estonia)
................................................................... 80
Rosja
............................................................................................................. 81
Małopolska
.......................................................................................... 82
Opoczyńskie
................................................................................... 82
Krakowskie
..................................................................................... 82
Regiony karpackie
...................................................................................... 83
Słowacja
........................................................................................................108
Morawy, Czechy
..........................................................................................109
Łużyce
...........................................................................................................113
Kraje niemieckojęzyczne
............................................................................117
Węgry
............................................................................................................119
Rumunia
.......................................................................................................119
Kraje południowosłowiańskie
...................................................................120
Bułgaria
............................................................................................121
SYTUACJE WYKONAWCZE
..............................................................................................122
Dla „swoich
.............................................................................................................123
W cyklu życia
...............................................................................................125
Wesele
..............................................................................................125
Pogrzeb
............................................................................................149
W cyklu kalendarza
....................................................................................150
Gody, Boże Narodzenie
.................................................................150
Zapusty
............................................................................................151
Obrzędy i zwyczaje wiosenne, Wielkanoc
.................................151
Sobótka, Zielone Świątki
...............................................................152
Żniwa, dożynki
...............................................................................159
Zaduszki
..........................................................................................167
Pomiędzy pasterzami
.................................................................................167
W anturażu zbójnickim
..............................................................................183
Uświetnianie nietradycyjnych uroczystości
............................................196
Dla „obcych
.............................................................................................................198
W kręgach dworskich
.................................................................................198
W kościele
.....................................................................................................204
W wojsku
......................................................................................................206
Wmieście
......................................................................................................210
Wędrowne zarobkowanie
..........................................................................211
Nietradycyjne zarobkowanie u siebie
......................................................221
Występy zorganizowane
............................................................................223
W rzeczywistości nadprzyrodzonej
.......................................................................231
Metafizyczne związki dudziarzy
.............................................................231
Muzykujące zwierzęta
...............................................................................235
DUDZIARZE
..........................................................................................................................236
Osobowości
...............................................................................................................236
Pozycja społeczna
.....................................................................................................246
Zarobki
.......................................................................................................................253
Wytwórcy dud
..........................................................................................................255
DUDY
..................................................................................................................................... 258
Zabytki
.......................................................................................................................259
Budowa
......................................................................................................................262
Piszczałki
......................................................................... .............................264
Stroiki
............................................................................................................271
Łączniki
.........................................................................................................272
Zbiornik powietrza
.....................................................................................273
Nadymanie
...................................................................................................276
Zdobienie
......................................................................................................279
Gra
..............................................................................................................................282
Przygotowanie do gry
................................................................................282
Pozycja podczas gry
....................................................................................284
Sposób trzymania
........................................................................................284
Palcowanie
....................................................................................................285
Sposób gry
....................................................................................................285
Konserwacja, przechowywanie
..............................................................................286
Właściwości muzyczne
............................................................................................287
Brzmienie
......................................................................................................287
Skala, strój
.....................................................................................................290
Rodzaje dud
...............................................................................................................302
Próba klasyfikacji
.........................................................................................302
Dudy jednogłosowe
.......................................................................302
Dudy dwugłosowe
.........................................................................304
Dudy trzygłosowe
..........................................................................305
Dudy czterogłosowe (i bardziej rozbudowane)
........................307
Próba typologii
............................................................................................314
Typ wschodniosłowiański
............................................................320
Typ południowosłowiański
..........................................................324
Typ zachodniosłowiański
.............................................................326
Siesieńki
...........................................................................................327
Dudy, koza
......................................................................................328
Kozioł
...............................................................................................329
W zespołach muzycznych
.......................................................................................348
Solo
.............................................................................................................................357
Jednorodne zespoły dudowe
.................................................................................358
MUZYKA DUDOWA
.........................................................................................................361
Zapisy
.........................................................................................................................361
Repertuar
...................................................................................................................364
Strukturalne związki muzyki dudowej z melodiami pieśni
.................367
Repertuar pieśniowy
...................................................................................369
Pieśni religijne
.................................................................................372
Formy instrumentalne
................................................................................372
Styl wykonawczy
......................................................................................................376
Dudy solo
.....................................................................................................382
Dudy i śpiew
................................................................................................384
Dudy w kapeli
..............................................................................................386
Naśladowanie dud
......................................................................................392
Ilustracje
..................................................................................................................................401
Indeks osób
.............................................................................................................................465
Spis przykładów muzycznych
.............................................................................................477
Spis ilustracji
...........................................................................................................................478
Bibliografia
.............................................................................................................................483
Summary
................................................................................................................................526
8
Summary
The Bagpipe. An Instrument Little-Known to Polish Experts on Folklore
The tide of interest in the „peasantry and its folklore, stirred in the seventeenth centu¬
ry as a derivative of the Sarmatian predilection for all things native, grew even stron¬
ger in the eighteenth century; during the Enlightenment era it assumed a more rational
character. This period witnessed the emergence of the illusory conviction that folk cul¬
ture reflects the most ancient history of each nation and, simultaneously, is a valuable
cognitive source for historians, composers or visual artists. In the wake of the fall of
the First Commonwealth, studies relating to Polish tradition as well as its preservation
became an outright patriotic duty, indispensable for the maintenance of national iden¬
tity. In
1802,
upon the threshold of the epoch of folk studies, Rev. Hugo
Kołłątaj
for¬
mulated the theses of widely comprehended historical research, whose range encom¬
passed also culture and folklore studies. However, experts on folk culture who, in time,
were to metamorphose into ethnographers and scholars specialising in folklore, for
long did not disclose sufficient interest in rural musicians, ensembles or the instru¬
ments, which the folk performers frequently produced themselves. Even the all-sided
studies by
Oskar Kolberg
-
the many volumes of his
Lud
(The Folk) and
Obrazy etno¬
graficzne
(Ethnographic Images)
-
contain only fragmentary and scattered information,
although the factographic approach of this great ethnographer and expert on folk cul¬
ture provides us with general insight into the pertinent question.
The insufficient number of sources also pertains to bagpipe music. At the turn of the
eighteenth century bagpipes were still used in several regions of the partitioned Com¬
monwealth, and upon certain occasions were regarded as the main instrument of local
musical tradition. Nineteenth-century writings, however, made scarce mention of the
players and the bagpipe, and as a rule did so while describing folk customs and rites,
folk entertainment or the general specificity of folk songs and music.
The practical aspects of bagpipe music rarely attracted the attention of the researchers
of the period or voyagers traversing Polish lands; consequently, they registered the pre¬
sence or absence of the instruments, and sometimes even offered a general characteri¬
sation of their appearance, construction or sound. Such sources, as a rule, relate to Gre¬
ater Poland.
The above-noted lack of exhaustive sources is the reason for the obstacles encountered
while characterising the instruments played by pipers during the folk studies epoch.
Verbal and, at times, extremely general descriptions are supplemented or actually ex¬
panded by
iconographie
sources. The picturesque pipers, perceived as a relic of cul¬
tural traditions exerting a considerable impact on the imagination, comprised an exce-
526
Summary
lient
theme for the creative pursuits of painters, graphic artists or sculptors. It should
be kept in mind, however, that the artists did not always depict the bagpipe correctly.
Nor may we be certain about the place of origin of the portrayed musicians and their
instruments. The documentary value of
iconographie
sources has been often discussed
in musicological literature also in reference to the bagpipe. Nevertheless, the unque¬
stionable asset of visual-arts likenesses lies in the relatively detailed images stemming
from their specificity. Moreover, they constitute a reliable portrayal of the cultural con¬
text of bagpipe performances and the overall musical situation. It is also impossible to
overestimate the fact that some of these depictions precede their verbal successors.
Photographs of pipers, starting with the early twentieth century, possess obvious do¬
cumentary value. Reproductions of visual-arts works or photographs with „bagpipe
motifs were published in illustrated periodicals or on postcards. The fact that, as a
rule, the pipers were anonymous sitters hampers their identification or makes it out¬
right impossible.
From the last decades of the nineteenth century the progressing industrialisation and
urbanisation of the country, albeit dissimilar in various regions, contributed to a grea¬
ter or lesser degree to the social and cultural transformation of the Polish countryside.
Musical tradition too succumbed to modifications. Old songs and melodies gradually
vanished, as did the manner of their performance and certain musical instruments.
The spread of a new repertoire was accompanied by equally novel performance styles
and instruments, which made their way from manor houses and towns, and were
brought back from voyages made in search of employment and by village musicians
returning after the completion of their army service. The competitors of the bagpipe
included, first and foremost, wind instruments, especially trumpets and clarinets,
which were not only fashionable but also possessed greater musical potential. It is not
surprising, therefore, that the pipers too became increasingly less popular.
During the nineteenth century the social range of bagpipe praxis was limited to a con¬
siderable extent to the rural and peasant environment. This process was followed by a
radical fall in the number and variety of sources reflecting the art of the bagpipe. In Old
Poland the relatively most numerous sources referred to the court, military, Church, or
municipal activity of the pipers. Paradoxically, although the epoch of folk studies is
closer in time than the First Commonwealth, we know much too little about the role
played by the pipers. This holds true also for the distribution of the instruments
-
the
comparatively most concrete and numerous data originate from Greater Poland. True,
this period saw a rise of interest in folk culture, but only to a slight degree did it per¬
tain to peasant instrumental music and the instruments themselves, including pipes.
Throughout the book I use the term „folk studies also in reference to the second half
of the nineteenth century and even the beginning of the next century, when folk stu¬
dies evolved into folklore studies and ethnography, and works on folk musical art
-
into musical ethnography, ethnomusicology or anthropology of music. In doing so, I
somewhat prolong the folk studies epoch owing to the modest development of research
527
into folk instrumental music and instruments as such, including the bagpipe, in our
country. More all-embracing descriptions started to appear at the end of the nineteenth
century. First monographic studies, explorations and ethnographic or ethnomusicolo-
gical investigations involving methods and methodology did not emerge until the in-
terwar period. This was the time of the publication of such works based chiefly on mu¬
seum collections as
Instrumenty
muzyczne
luau
polskiego na Podhalu (Musical Instru¬
ments
of the Polish Peasants in the
Podhale
Region) by Adolf
Chybiński
(1924),
con¬
taining a chapter on the bagpipe, or
Dudy wielkopolskie
(The Bagpipes of Greater Po¬
land) by
Jadwiga
Pietruszynska
(1936)
and
Dudy żywieckie
(The Bagpipes of the Zy-
wiec Region) by Stefan Marian
Stoiński
(1938).
These works observe the principles of
ethnomusicology conceived as a systemic science, regardless of the historical perspec¬
tive, sometimes relegated to the margin. This holds true also for studies issued abroad,
including the excellent publication on the folk reed instruments of the southern Slavs:
Sviraljke
s
udarnim jezičkom
by
Božidar Širola,
whose second part
(Sviraljke sa mješinom:
mješnice, gajde,
dude) deals with pipe instruments
(1937:113-392).
I made use of the in¬
formation contained in these monographs only in those cases when its connection with
nineteenth-century bagpipe praxis appears to be probable.
In view of the scarcity of sources pertaining to the bagpipe and bagpipe music in eth¬
nically Polish lands during the folk studies epoch, as well as for purely comparative
reasons, I consider also symptoms of bagpipe culture in countries that were part of the
former Commonwealth or in neighbouring lands. This approach concerns primarily
the construction of pipe instruments, their musical potential, repertoire and execution
style as well as the circumstance of the performance and its cultural associations. Com¬
parisons with Polish bagpipe praxis dating from the first half of the twentieth century,
but firmly enrooted in the preceding century, will serve the verification of pertinent
conclusions.
The book is the second part of a lager whole on the bagpipe in Poland. The earlier pu¬
blished volume
-
Dudy. Dzieje instrumentu w kulturze staropolskiej
(The Bagpipe. The Hi¬
story of the
Instrument
in Old Polish Culture, Przerembski
2006) -
spans from the Mi¬
ddle Ages to the end of the First Republic. The presented volume discusses predomi¬
nantly the history of the nineteenth-century bagpipe (from the end of the eighteenth
century to the first world war). The third part, under preparation, will focus on the ex¬
tensive topic of the bagpipe from the beginning of renascent Poland to contemporary
times.
The publication is composed of six chapters entitled
Nazewnictwo
(Terminology),
Zasię¬
gi praktyki
dudziarskiej (Ranges of bagpipe praxis),
Sytuacje wykonawcze
(Performance si¬
tuations),
Dudziarze
(The pipers),
Dudy
(The bagpipe) and
Muzyka dudowa
(Bagpipe
music), divided into smaller sections. The opening chapter deals with the names (pro¬
per and intermixed) used in the folk studies epoch for defining the instrument and its
parts as well as the musician and the performance. I cite expressions used by resear¬
chers, folk terms applied by pipers, and the bagpipe vocabulary found in folklore texts.
528
Summary
Ranges
of bagpipe praxis consider the geographical distribution of the titular practice
from the end of the eighteenth century to the early twentieth century in the former
First Republic. The customs in question are directly or indirectly confirmed by the ob¬
servations made by various researchers and travellers as well as by
iconographie
and
literary sources. I discuss ethnically Polish terrains, starting with Greater Poland, which
at the time played a foremost role from the viewpoint of bagpipe music, and go on to
examine the highlands and localities with a totally unknown, uncertain or bygone acti¬
vity of the pipers. For the purpose of comparison as well as tracing mutual impacts
and routes of the dissemination of the pipers and their instruments, I expanded the
spectre of „bagpipe questions by including non-Polish countries and regions, both
those which historically belonged to the Polish-Lithuanian state and others. Political
changes transpiring after the fall of the Commonwealth were the reason why the Poles
found themselves within a wider orbit of cultural impact, relevant also for the art of
the bagpipe.
The character of nineteenth-century bagpipe praxis, whose overwhelming part was of
a folk nature, influenced the division of the chapter about Performance situations into
two main parts: the first refers to performances given by the pipers „for their own ,
and the second
-
for „strangers ( Others ). The musicians satisfied the musical needs
of their ethnic group in the course of certain rituals and customs associated with hu¬
man-life and annual cycles (mainly wedding, Christmas, springtime, St. John s Eve, or
harvest festivities) as well as less traditional celebrations. In the more conservative eas¬
tern and southern Slavonic terrains they continued to fulfil ritual functions. In the high¬
lands pipers were to be found among the shepherds and even the local brigands, al¬
though in the nineteenth century the „best days of Carpathian brigandry were alrea¬
dy part of the distant past. The peasant pipers rarely played for „strangers . Nonethe¬
less, their musical activity was registered in those social environments in which they
were found during the Old Polish era, namely, the court, the Church, and the army.
Traditionally, some of the pipers led an itinerant lifestyle. The last decades of the nine¬
teenth century witnessed the appearance of new forms of performing at places of per¬
manent residence (or the nearest environs), as a rule connected with the development
of tourism. This was also the period of the first symptoms of organising folk music
performances for an audience.
The epoch of folk studies to a certain extent „inherited the rich bagpipe symbolic of
the preceding centuries, discussed in the chapter In a supernatural reality. Folklore
sources, songs and legends confirm that pipers maintained contacts with a superna¬
tural reality for assorted good and evil purposes; this approach was concurrent with
the consciousness of nineteenth-century peasants. Texts of songs recounting animals
playing music appear to be devoid of old symbolic meanings and, as a rule, are purely
satirical.
The chapter on The pipers focuses on the personal features of the musicians. During the
Old Polish period they were the first „professionals in the traditional current of
529
musical
life, subsequently compelled to share the „labour market and even make way
for other musicians, especially the fiddlers, the clarinet players and the accordion pla¬
yers. A centuries-long leading position in traditional music, on the one hand, and the
demands made by competition, on the other hand, produced certain specific character
traits. The chapter also mentions the nineteenth-century social position of the pipers,
which was by no means always the highest, as well as their earnings. Since the musi¬
cians usually built their own instruments, I included into this chapter bagpipe produc¬
tion and the market prices of the instruments.
The pipes examines the construction of the instruments, chiefly upon the basis of in¬
formation derived from the folk studies epoch, although, as has been mentioned a-
bove, such data were rather general and scarce. The much more varied and precise
facts on the topic, obtained in the course of the research carried out during the inter-
war period, are recalled only for the sake of comparison in those instances when they
had been originally gained from pipers born in the nineteenth century. Quite possibly,
many construction features were borrowed by twentieth-century pipe producers from
the preceding century, although it would be difficult to produce unambiguous proof.
The chapter presents nineteenth-century examples of bagpipes featured at museum or
ethnographic exhibitions of the period and amassed by museums and collectors. I de¬
monstrate the construction of the particular elements of the bagpipe: its properties, the
material out of which it was built, and manner of embellishment. Other topics include
the procedure of preparing the instrument, the pose assumed in the course of the per¬
formance, the manner of holding the bagpipe, the fingering, and, finally, the conserva¬
tion and storage of the instrument. Separate attention is devoted to the musical proper¬
ties of the bagpipe
-
sound, scales and key pitches.
Knowledge about the construction of pipe instruments during the folk studies epoch
remains unsatisfactory, and in quite a few instances is based merely on external pro¬
perties described in written or
iconographie
sources. The preserved examples are scare
and no earlier than the turn of the nineteenth century. Instruments from that time,
mainly the products of folk culture, are characteristic for their organological variability
and many construction variants. Nonetheless, by relying on such incomplete historical
information and comparing it with data obtained from twentieth-century producers
who continued the old tradition, I attempted to distinguish particular types of pipes,
and proposed a classification and typology of the instruments. As in
Dudy. Dzieje in¬
strumentu w kulturze staropolskiej,
I accepted the number of pipes (melodic and drone)
as the criterion of my classification division, which made it possible to distinguish one-,
two-, three- and four-voice instruments and even more expansive varieties. By limiting
myself to organologically affiliated pipes from Slavic terrains I differentiated three
basic types of instruments: southern Slavonic, eastern Slavonic and western Slavonic.
Naturally, the latter include Polish bagpipes, among which I recognize three varieties
with an Old Polish tradition: the
siesieńka,
the
duda
and the
kozioł.
Within the same cha¬
pter, I examine the nineteenth-century praxis of pipers joining other musicians to cre-
530
Summary
ate ensembles, solo performances, or the presence of ensembles composed exclusively
of pipers.
The last chapter
-
on Bagpipe music
-
asserts that despite the scarcity and incomplete¬
ness of recorded melodies played on the bagpipe one may hazard a general descrip¬
tion of the repertoire and performance style of nineteenth-century pipers, partially by
basing oneself on a characteristic of performances from the period and a confrontation
with twentieth-century bagpipe practice. Just as in our times, there existed strong stru¬
ctural connections between nineteenth-century bagpipe music and the song melodies
that comprised the majority of the bagpipe repertoire of the period. Typically instru¬
mental melodies were rare. The style depended on whether the performance was solo
or accompanied by singing or other instruments in an ensemble. A vocal or instrumen¬
tal emulation of the specific features of the bagpipe comprised a separate phenome¬
non.
The Index encompasses authors of works listed in the Bibliography as well as persons
associated with the examined topic. It does not refer to lists of illustrations, examples
of music, and persons others than the authors mentioned in the Bibliography, and thus
deals only with the main text of the book.
Literature about the bagpipe, pipers and bagpipe music on the Continent during the
folk study epoch is impressive. The Bibliography includes only those titles, recorded as
thoroughly as possible, to which I refer in this particular study. Not always, however,
was it possible to determine the place or date of a publication, the publisher, or the
names of authors and editors. The titles of books and periodicals are written in italics.
In the case of articles issued in collective works I used italics for the main title. In bi¬
bliographical notes about continuous and multi-part compact publications the succes¬
sive levels of the division (volume, part, number of periodicals) are marked with Ara¬
bic numbers separated with commas. In collected works the numbers of cited pages
are given right after the name of the editor (s), while in cases of continuous publica¬
tions
-
after the number of the periodical.
Translated by
Aleksandra Rodzińska-Chojnowska.
531
|
| any_adam_object | 1 |
| author | Przerembski, Zbigniew 1952- |
| author_GND | (DE-588)1119116449 |
| author_facet | Przerembski, Zbigniew 1952- |
| author_role | aut |
| author_sort | Przerembski, Zbigniew 1952- |
| author_variant | z p zp |
| building | Verbundindex |
| bvnumber | BV035198372 |
| callnumber-first | M - Music |
| callnumber-label | ML980 |
| callnumber-raw | ML980 |
| callnumber-search | ML980 |
| callnumber-sort | ML 3980 |
| callnumber-subject | ML - Literature on Music |
| ctrlnum | (OCoLC)272378129 (DE-599)BVBBV035198372 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| geographic | Polen Polen (DE-588)4046496-9 gnd |
| geographic_facet | Polen |
| id | DE-604.BV035198372 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T21:28:22Z |
| institution | BVB |
| isbn | 9788389101754 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017004861 |
| oclc_num | 272378129 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 538 p. Ill., Notenbeisp. 23 cm |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Instytut Sztuki Polskiej Akademii Nauk [u.a.] |
| record_format | marc |
| spelling | Przerembski, Zbigniew 1952- Verfasser (DE-588)1119116449 aut Dudy instrument mało znany polskim ludoznawcom Zbigniew Jerzy Przerembski Warszawa Instytut Sztuki Polskiej Akademii Nauk [u.a.] 2007 538 p. Ill., Notenbeisp. 23 cm txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: The bagpipe Includes bibliographical references and index Geschichte gnd rswk-swf Bagpipe / Poland / History Bagpipe music / History 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 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017004861&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=017004861&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Przerembski, Zbigniew 1952- Dudy instrument mało znany polskim ludoznawcom Bagpipe / Poland / History Bagpipe music / History 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 instrument mało znany polskim ludoznawcom |
| title_auth | Dudy instrument mało znany polskim ludoznawcom |
| title_exact_search | Dudy instrument mało znany polskim ludoznawcom |
| title_full | Dudy instrument mało znany polskim ludoznawcom Zbigniew Jerzy Przerembski |
| title_fullStr | Dudy instrument mało znany polskim ludoznawcom Zbigniew Jerzy Przerembski |
| title_full_unstemmed | Dudy instrument mało znany polskim ludoznawcom Zbigniew Jerzy Przerembski |
| title_short | Dudy |
| title_sort | dudy instrument malo znany polskim ludoznawcom |
| title_sub | instrument mało znany polskim ludoznawcom |
| topic | Bagpipe / Poland / History Bagpipe music / History Geschichte Bagpipe music History Bagpipe Poland History Sackpfeife (DE-588)4178853-9 gnd |
| topic_facet | Bagpipe / Poland / History Bagpipe music / History 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=017004861&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=017004861&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT przerembskizbigniew dudyinstrumentmałoznanypolskimludoznawcom |