Tradiční hudba: hledání kořenů = Traditional music: searching for the roots
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Czech |
| Veröffentlicht: |
Praha
Etnologický Ústav Akad. Věd České Republiky
2010
|
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 222 S. Ill. |
| ISBN: | 9788087112434 |
Internformat
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| 245 | 1 | 0 | |a Tradiční hudba |b hledání kořenů = Traditional music: searching for the roots |c Lubomír Tyllner |
| 246 | 1 | 1 | |a Traditional music: searching for the roots |
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Datensatz im Suchindex
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|---|---|
| adam_text | Lubomír Tyllner
Traditional Music
Searching for the roots
In the past century, many valuable books dedicated to traditional music were
published in the Czech Republic. What was still missing, however, was a synoptic
monograph written by a Czech author in Czech, focused on its general features
that manifested themselves primarily in the Czech, but also overall European cul¬
ture.
Lubomir
Tyllner s book, therefore, focuses on the Western, European, but
above all Czech traditional music, drawing on the academic tradition established
in this field of study. The aim is not to present or describe concrete manifesta¬
tions of traditional music in Bohemia, Moravia, Silesia or elsewhere in Europe, but
to provide its general traits and define its principal features. The author worked
on the premise that the folk song and traditional music cannot be analyzed or
studied from just a single point of view
-
whether of ethnomusicology, folklore
studies or cultural anthropology. Quite on the contrary, the interconnectedness
of these views, theories and methods leads to an objective and comprehensive
knowledge of traditional music in its varieties, different roles and transformations
in time and space. The book also provides a rich source of professional literature
which is either concerned with or just touches on this topic. In the Czech milieu,
it is the first work of its kind which finds itself
-
by definition
-
on the border
between several social-scientific disciplines
-
just like the (often very different)
original professional backgrounds of the representatives of the traditional music
research.
Chapters and subchapters of the book.
1.
General introduction;
1.1.
Scholarly
field of interest;
1.2.
Timeline;
1.3.
Traditional music research: specifics, limitations,
trends;
1.4.
Synoptic theoretical literature written in Czech;
2.
Basic terms;
2.1.
The problem of definition;
2.2.
Culture;
2.2.1.
Musical culture;
2.2.2.
Shared musical
culture;
2.2.3.
Multiculturalism and traditional music;
2. 3.
Tradition: obstacle as
well as support;
2.3.1.
Traditional musical culture;
2.3.2.
Terminological consensus:
traditional music;
2.4.
The people or a group?
2.4.1
.Folk culture, traditional culture,
traditional folk culture;
2.4.2.
Discovered by Herder, complimented by
Rilke:
the
folk song;
2.4.3.
The song of the nation: the national song; 2.4.4.The work of the
composer and poet: the social song;
2.4.5.
Be the song from whatever source : the
popular song;
2.4.6.
On the periphery of collectors interest: street ballads;
2.4.7.
Half folk, half different: the semi-folk song;
2.4.8.
Beer Barrel Polka: pseudo-folk
music [lidovka] and the plug song of the century; 2.4.9.Folk songfulness;
2.4.10.
Folk singing;
2.4.11.
Musical instrument as the main protagonist: instrumental folk
music;
2.5.
Tönnies s
terminological legacy: society and community;
2.6.
Thoms s
220
terminological legacy: folklore;
2.6.1.
Musical folklore;
2.6.2.
The science of folk¬
lore: folklore studies;
2.6.3.
Second-hand folklore: folklorismus;
2.6.4.
Songs with
a theme: singer-songwriters, folk, folk music;
2.7.
Terminological nonsense which
succeeded: world music;
2.8.
Binary science: ethnomusicology;
3.
The origin of
the traditional music;
3.1.
Impulses, determinants, creative subject, environment;
3.2.
Spontaneity;
3.3.
How old is it?
3.4.
Anonymity;
3.5.
Who creates it?
3.6.
Origi¬
nality;
3.7.
Is it individual or collective?
3.8.
Reception, sanctioning as condition of
folksiness;
3.9.
Becoming popular, folklorisation;
4.
Ways of spread and circula¬
tion;
4.1.
Passing on;
4.2.
Orality, memory fixation;
4.3.
Tradition bearers. Interpret
and interpretation;
4.4.
Act of communication;
4.5.
The environment of traditional
music, singing and playing opportunities, the audience and folklore percipients;
4.6.
Men or women? Gender traits;
5.
Ways of change;
5.1.
Variation process;
5.2.
Assimilation;
5.3.
Adaptation process, counter-facts;
5.4.
Parallels;
5.5.
Contamina¬
tion;
5.6.
Innovation;
5.7.
The mystery of similarity, concordance and cognation;
6.
What influences its character;
6.1.
Normativeness;
6.2.
Typification, type, ster¬
eotype;
6.3.
Functionality;
6.4.
Semiotics;
6.5.
Folkloric context;
6.6.
Style and man¬
ner, musical dialect;
6.7.
Syncretism;
7.
Contradiction or symbiosis? Traditional
music
/
artistic production;
7.1.
The basic difference between the folk and art
production. In fine; Bibliography.
The author is concerned with the problems associated with the definition of
culture, tradition, the folk song and a number of other elementary terms. The defi¬
nitions he assigns to these terms are, in his view, constructs dependent on time,
culture or even particular national scientific schools. At least two centuries of re¬
search into the folk and musical culture have borne its fruit, therefore such an at¬
tempt could have been realized. The only difficulty lies in the fact that traditional
music spans over many thousands years and its general features have naturally
been changing over time. In other words: traditional music of the twentieth and
the beginning of twenty-first centuries may differ from the music of the eight¬
eenth and nineteenth centuries. It also applies to local, regional or national sin¬
gularities. Therefore mainly general phenomena and features relevant to broader
European environment are accentuated. The passage entitled Traditional music
research: specifics, limitations, trends deals with these issues in detail. Here the
possibilities and tools of ethnomusicological research are described as well as dif¬
ferent methods of processing sources (written or sound) and the rules and limits
of the ethnological field- and historical research.
The definition of traditional music draws both on the common folkloristicand
ethnomusicological methods and the cultural-anthropological phenomenon,
namely the manifestations and roles of folk music within a shared-culture com¬
munity, be it rural or pauperized urban population. Ecology and the context of
the musical folklore
-
its bearers, singers, musicians and audience, are all in focus.
Attention is also paid to the genres on the border of folksiness and to the thin
221
line between the folk and art production. The delimitation of the main features of
folksiness, however, makes it possible to avoid the simplifying postmodern trend
in which genre specifics are rather overlooked. Folklore
-
in the spirit of the struc¬
turalist Prague Linguistic Circle
-
is understood as a specific form of creation
(Jakobson,
Bogatyrev), stress laid on its semantic features and functionality within
the folk community. Stylistic periodization (as of the artistic musical culture) is re¬
fused, as opposed to the phenomenon of the period- or regional styles and the
regional musical dialect. The concluding passages are devoted to the relation¬
ship between the folk and art creation, defining the basic differences between
the two. The main difference between a folk composition and a work of art lies
basically in the contrast between collectiveness and individuality. A folk piece is
a sanctioned work of collective creation as well as the property of the folk com¬
munity. The result is usually orally passed on, in large measure anonymous, under¬
going a perpetuate variation process that generates in fact an infinite number of
-
in a way equal
-
variations. Traditional music means music on demand whereas
art music means production focused on the market. Traditional music must be
performed and adopted to stay alive; a work of art can live in the artist s drawer
for a long time without publishing. Art music is an uplifting artistic alternative
-
compared to the mundane reality of everyday life; traditional music, on the other
hand, is closely related to or directly stems from it.
Translation
Petra Nagyova
Bayerische
Staatsbibliothek
München
222
OBSAH
Předmluva ^
1.
Všeobecný úvod 15
1.1.
Badatelské pole zájmu 17
1.2.
Časový horizont 19
1.3.
Bádání o tradiční hudbě: specifika, úskalí, trendy
22
1.4.
Souhrnná teoretická díla v české literatuře
34
2.
Elementární pojmy 37
2.1.
Problém definice
39
2.2.
Kultura
41
2.2.1.
Hudební kultura
43
2.2.2.
Sdílená hudební kultura
44
2.2.3. Multikulturalismus
a tradiční hudba
46
2.3.
Brzda i opora: tradice
49
2.3.1.
Tradiční hudební kultura
51
2.3.2.
Terminologický
konsenzus:
tradiční hudba
52
2.4.
Lid, nebo skupina?
57
2.4.1.
Lidová kultura, tradiční kultura, tradiční lidová kultura
60
2.4.2. Herder
ji objevil,
Rilke
složil poklonu: lidová píseň
62
2.4.3.
Píseň národa: národní píseň
66
2.4.4.
Dílo skladatele a básníka: společenská píseň
68
2.4.5.
„Nechť píseň vyplynula z jakéhokoli pramene : zlidovělá píseň
69
2.4.6.
Na periferii sběratelského zájmu: kramářská píseň
70
2.4.7.
Napůl lidová, napůl ne: pololidová píseň
72
2.4.8. Beer
Bareli
Polka: lidovka a šlágr století
73
2.4.9.
Lidová zpěvnost
73
2.4.10.
Lidový zpěv
74
2.4.11.
Lidová hudba instrumentální
76
2.5.
Terminologický odkaz Tonniesův: společnost a společenství
78
2.6.
Terminologický odkaz Thomsův:
folklor
79
2.6.1.
Hudební
folklor
81
2.6.2.
Věda o
folkloru:
folkloristika
82
2.6.3.
Folklor
z druhé ruky: folklorismus
85
2.6.4.
Písničky o něčem: písničkáři,
folk, folk music
87
2.7.
Terminologický nonsens, který se ujal:
world music
89
2.8.
Podvojná věda: etnomuzikologie
92
3.
Jak vzniká tradiční hudba
99
3.1.
Impulzy,
determinismy, tvořivý subjekt, prostředí
101
3.2.
Spontánnost
104
3.3.
Jakje
stará?
104
3.4.
Anonymita
106
3.5.
Kdo ji tvoří?
108
3.6.
Originalita
110
3.7.
Je individuální, nebo kolektivní?
111
3.8.
Recepce, sankcionizace jako podmínka lidovosti
113
3.9.
Zlidovění, folklorizace
114
4.
Jak se šíří
117
4.1.
Tradování
119
4.2.
Orálnost, paměťová fixace
120
4.3.
Nositelé tradice. Interpret a interpretace
121
4.4.
Komunikační akt
124
4.5.
Prostředí tradiční hudby, zpěvní a herní příležitosti, publikum
a vnímatelé
folkloru
126
4.6.
Muži, nebo ženy? Genderová charakteristika
131
5.
Jak se proměňuje
135
5.1.
Variační proces
137
5.2.
Asimilace
140
5.3.
Adaptační proces, kontrafakta
141
5.4.
Paralely
142
5.5.
Kontaminace
143
5.6.
Inovace
144
5.7.
Tajemství podobností, shod a příbuzností
145
6.
Co ovlivňuje její podobu
151
6.1.
Normativnost
153
6.2.
Typizace, typ, stereotyp
155
6.3.
Funkce tradiční hudby
157
6.4.
Znakovost
162
6.5.
Folklorní kontext
166
6.6.
Sloh a styl, hudební dialekt
168
6.7.
Synkretičnost
170
7.
Rozpor, nebo symbióza? Tradiční hudba/umělecká tvorba
173
7.1.
Rozdíl v charakteru folklorního a uměleckého díla
175
Závěrem
181
Bibliografìe 183
Seznam obrazových příloh 212
Jmenný rejstřík 213
Resumé 22°
|
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| indexdate | 2024-07-09T23:59:52Z |
| institution | BVB |
| isbn | 9788087112434 |
| language | Czech |
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| spelling | Tyllner, Lubomír 1946- Verfasser (DE-588)1051545706 aut Tradiční hudba hledání kořenů = Traditional music: searching for the roots Lubomír Tyllner Traditional music: searching for the roots Praha Etnologický Ústav Akad. Věd České Republiky 2010 222 S. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Volksmusik (DE-588)4063854-6 gnd rswk-swf Volksmusik (DE-588)4063854-6 s DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024159307&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024159307&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Tyllner, Lubomír 1946- Tradiční hudba hledání kořenů = Traditional music: searching for the roots Volksmusik (DE-588)4063854-6 gnd |
| subject_GND | (DE-588)4063854-6 |
| title | Tradiční hudba hledání kořenů = Traditional music: searching for the roots |
| title_alt | Traditional music: searching for the roots |
| title_auth | Tradiční hudba hledání kořenů = Traditional music: searching for the roots |
| title_exact_search | Tradiční hudba hledání kořenů = Traditional music: searching for the roots |
| title_full | Tradiční hudba hledání kořenů = Traditional music: searching for the roots Lubomír Tyllner |
| title_fullStr | Tradiční hudba hledání kořenů = Traditional music: searching for the roots Lubomír Tyllner |
| title_full_unstemmed | Tradiční hudba hledání kořenů = Traditional music: searching for the roots Lubomír Tyllner |
| title_short | Tradiční hudba |
| title_sort | tradicni hudba hledani korenu traditional music searching for the roots |
| title_sub | hledání kořenů = Traditional music: searching for the roots |
| topic | Volksmusik (DE-588)4063854-6 gnd |
| topic_facet | Volksmusik |
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