Slovenske ljudske pesmi: 5 Pripovedne pesmi
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| Format: | Musical Score Book |
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| Language: | Slovenian |
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Ljubljana
Slovenska Matica
2007
Ljubljana Glasbenonarodopisni inštitut ZRC SAZU 2007 |
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| Online Access: | Abstract Inhaltsverzeichnis |
| Physical Description: | 955 Seiten Noten, Karten |
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| adam_text | NOTES FOR NON-SLOVENIAN READERS
SONGS ABOUT FAMILY FATES AND CONFLICTS (FAMILY BALLADS)
Nine years since the last annotated scholarly edition of Slovenske ljudske pesmi IV (Slovenian Folk Songs,
Part IV), the fifth volume has finally been published. Its conceptual structure offers 54 types of family bal-
lads with 857 versions (in addition to 62 versions of Serbian and Croatian songs in Slovenian territory) about
family fates and conflicts. They have been recorded from the 18th or 19th centuries until the present. Some
types of songs have only one version recorded in the 19th century, whereas others have up to 180 versions
that are still sung today. The edition is understandably very extensive, because all available versions are
published here regardless of their esthetic images, including those that are truncated and preserved only in
fragments; this is the best way to demonstrate the continuity in the folk songs’ creation and passing, as well
as their range throughout Slovenia. If this edition is compared to the first volume of Karel Strekelj’s Sloven-
ske ljudske pesmi, which was published in 1895 and included all ballads (not only family ballads) with over
1,000 versions, it is apparent that folk songs are still very much alive.
Although today people are mainly used to reading anthologies, it has to be emphasized that only a
scholarly edition of the material can present the whole story of individual song types and reveal the usage
of individual types in a certain time period and territory by publishing each and every version of an indivi-
dual song type, along with the entire text and melody, as well as all the necessary additional data, including
scholarly ethnotextological and ethnomusicological commentaries following the songs’ context. A scholarly
edition shows various transformations and the vitality or moribundity of individual song types. Moreover,
the published versions provide information on how the bearer’s taste and singing methods in individual histo-
rical periods change, as well as on stylistic and musical changes. This kind of publication thus makes possible
further comparative studies, which makes it a fundamental collection of Slovenian cultural heritage.
In addition to love songs, family ballads represent 34% of the entire ballad material; legendary songs
account for 42%, whereas mythological and historical songs account for only 15% of the songs. By defi-
nition, folk ballads about family fates are also called family ballads. An overview of European ballad col-
lections shows that, in addition to love songs, family songs are also quite frequent; in Lithuanian tradition
they are actually a synonym for ballads. The universality and fundamental quality of family relationships,
the similarity of life stories, and tragic plots, as well as people’s responses to them, can be similar in very
distant nations. However, they develop their own specific features because of different national traditions,
whereas the formation of the motif remains independent. Some themes and motifs are thus archetypes,
which connect people with the deepest parts of their souls, the world, and other people with similar fates
(Jung 1995: 64, 87). Songs had to contain the general human themes, interesting plots, and basic emotions
that are the stuff of which stories were created, and this is typical of the entire European ballad tradition.
Individual fates acquired a collective character, which is why they were able to pass into tradition. In this
way, adultery can be thematized very similarly by the Slovenians or the Portuguese as. for example, in the
Slovenian ballad “Nezvesta gospa s tremi strazarji (An Unfaithful Lady with Three Guards, 266/A) and
a similar Portuguese ballad titled “Dona Filomena” (Lady Philomena). The song “Moz se vrne na zenino
svatbo” (A Husband Returns Home to His Wife s Wedding, 283), which was created based on the Odysseus
motif, is known throughout the world, but it was adapted in Slovenia to suit its specific cultural context. Mo-
reover, the incest motif manifested in the Slovenian ballad “Brat umori sestro” (A Brother Kills His Sister.
273) is also known in the Hispanic world (Mexico, Chile, Cuba, etc.), with the only difference that the incest
917
NOTES FOR NON-SLOVEN JA N READERS
occurs between the father and daughter and not the brother and sister. One of the most well-known ballads
(or romancero, collections of ballads) with the eponymous title “Delgadina” eventually became one of the
intertextual antecedents in the novel Memorias de mis putas tristes (Memories of My Melancholy Whores,
2004) by Gabriel García Márquez. Some Slovenian ballads also thematized such strong and basic motifs, or
such semantically open stories, that they became the bases for many later literary works. This is especially
true for “Lepa Vida” (Beautiful Vida, 244), which is one of the most well-known archetypal women’s ballads
(over fifty literary works have been created based on it), as well as the original Slovenian ballads “Galjot”
(The Galley Rower, 284) and “Roslin in Verjanko” (Roslin and Verjanko, 274), which thematizes the Orestes
motif, the blood feud motif, and perhaps even the latent Oedipus motif. Intertextuality with these ballads is
especially frequent in contemporary Slovenian poetry (Veno Taufer, Gregor Strnisa, Milan Vincetic, etc.;
for more, cf. Golez Kaucic 2003).
The conceptual structure of family ballads, which are the subject of this analysis, follows the natural
course of life that starts the family (i.e., the path from the marriage proposal to the child). The entire series of
song types, however, indicates that, in addition to traditional Slovenian motifs and themes, there are several
generally European or Slavic motifs that connect the Slovenians with various European nations into a com-
mon cultural environment. The themes and motifs of family ballads (feudal and rural contexts, the time of
the Turkish raids, pilgrimages, etc.) is connected to reflections of social and legal conditions in the historical
periods in which individual ballads originate.
Family ballads present people’s fates that are composed of relationships in the nuclear and extended
family and show these relationships within the various social and historical frameworks of individual time
periods because the family is one of the oldest forms of human groups (Zupancic 1988: 381). Familial rela-
tionships were some of the most important relationships in people’s lives, encompassing blood relationships
(between individuals and groups), as well as artificial or spiritual relationships (fraternities and godpa-
renthood; Ravnik 1988: 384). Certainly, these groups were connected into wider social structures that had
different rules in various historical periods and that legally defined these families. In wealthier and especi-
ally rural classes, the extended family type or large families dominated. According to Vilfan, from the end
of the Middle Ages up to modern times “small families” in every generation were composed not only of the
married couple, with the master as the holder of property rights, but also their servants (Vilfan 1961: 283).
According to Herlihy, family plays a double sociological role or, in other words, various intellectuals see it as
an instrument of repression that enslaves adults and destroys children, whereas others see it as the last place
of refuge (Herlihy 1995: 113). The roles in this institution were divided very early in the Middle Ages and
they continue to be divided even today. Most of the time the pater familias predominated, whereas women
were mistresses of the house. Just as in love songs, in family ballads the European matrix of the woman is
also the most frequent in various relationships with her father, husband, and children. Children, especially
girls, were controlled and owned by their parents. The family was a micro-cell dependent on the macro-
structure of the society to which it belonged. However, sometimes relationships present in the family were
different from those in the wider social environment and therefore the role of the family was both protective
and repressive for women. Family primarily meant property; the emotional area was secondary. Therefore,
men and women had separate roles in the family. The role of the father is represented less in family ballads;
for example, the father has complete power over his daughter and can choose a bridegroom for her (237).
Perhaps this originates in the fact that the word ‘child’ meant ‘slave’ in the Slavic languages. The meaning
of the Slovenian word otrok ‘child’ in some Slavic languages is ‘slave’, the root of the word hlapec ‘servant’
may be related to the word for ‘child’ in other Slavic languages (cf. Czech pac hole, Slovak pachol a), and the
Russian word rebyata ‘children’ is connected to the word rob ‘slave’. On the one hand, this indicates an early
stage in the development of patriarchal slavery when slaves were members of the common economy and ho-
usehold and, on the other, the strong power of the family head over the children, whom he was perhaps even
allowed to sell or pawn. This is the background to the incomprehensible decisions that some fathers make
even today; for example, to bet their child when gambling or playing cards (246; Vilfan 1961: 248).
918
NOTES FOR NON-SLOVENIAN READERS
The authority of sons or brothers - that is, males - is also very strong. According to Vilfan (1961: 48),
the only master in the family pursuant to the Roman law was the father or pater familias, whereas in Slavic
law sons and brothers of the family head were also allowed to be masters. The oldest form of marriage was
purchasing and abducting the bride, which was a contract form of marriage concluded by the representatives
of both families on the basis of the purchase money for the bride (247). The woman that was getting mar-
ried left her father’s house and moved into her husband’s family house. Many women suffered a great deal
because they did not love their husbands, but were simply given away by their parents in order to increase
their own property (241 /C, 242), or were abducted (245). In family ballads, women often act on the basis of
their own emotional sense and this is when they clash with legal and sociological norms that take away their
freedom of choice and sometimes even cost them their lives (269). The songs strongly reflect family relati-
onships, but they mostly present an expressive division between masculine and feminine worlds. Women’s
living conditions depend greatly on the male part of the family and therefore one cannot speak of any parti-
cular female individuality in the family. In the Middle Ages and later, women were not equal to men either
in public or private life. They did not have any say in family law and social relations because they were
under the jurisdiction of their husbands or fathers. They generally did not have the right of inheritance. In
the Middle Ages they came under the authority of a male relative, but they had some say within the family
with regard to making decisions in matters connected with the protection and arrangement of the home.
They also played an important role in making decisions about the children. The mother’s power in deciding
her daughters’ and also sons’ fates can be seen in a series of songs (238, 239-241, 247, and 248). Daughters
inherited property from their mothers (237). Mothers could also be abducted (244). Despite having her own
property, the mother was still dependent on the male - i.e., her husband or her sons (285). In Slovenian
family ballads, the mother is depicted in two images: demanding and authoritative towards the children, or
sacrificing herself for them. The second image is less frequent because in folk songs pragmatism prevailed
over sentimentalism. The mother makes decisions about her children’s marriages; her power is absolute
and she is responsible for the death of her own daughter (247 and 248). She is self-sacrificing when she
expresses her concern about the baby she has left behind after her death, or about the children she has left
to their stepmother (249, 259, and 256/A3). Her unconditional love for the child can also be seen in song 252,
in which a mother buried alive gives birth to a child and nurses him. It is obvious that the blood or biological
relationship is the strongest, because even the cohabitation of the stepmother and stepdaughter or the stepson
and stepfather was not legally considered family; the obligation of mutual maintenance was in force, but this
was not a family in the proper sense of the word. The mother knows that the stepmother will not treat her
children well, so she makes an appeal to her or threatens her. From the legal and sociological viewpoints,
it is also clear that this kind of cohabitation mostly does not treat orphans well (256/A1, 256/A2, 257/B, and
258/C). Of course, here the element of the emotional relationship towards the child must be emphasized.
The love of the mother is usually unconditional for pure biological reasons, whereas the stepmother’s love is
merely conditional, although there is one song in which the stepmother treats her stepdaughter well (255). A
special feature of medieval individual law is the concept of specially protected persons (for example, widows
and orphans), whereby violent acts against them are especially egregious (Vilfan 1961: 248). Perhaps orphans
were indeed legally protected, but folk songs always depict them as the stepmother’s victims or as persons
that always draw the short straw precisely because of the lack of blood relationship. Within the family that
is created after the mother’s death, the motherless child is condemned to maltreatment. This is why a distinc-
tly negative role was given to the stepmother as a non-relative. The stepmother is always wicked and even
cruel and inhuman (257/B and 275). Folk creators saw the stepmother as personified evil whose acts demand
punishment; this can be supernatural (the stepmother burns in hell) or can follow the principle of “an eye
for an eye” (258/C). Folk singers operate at levels of righteousness, and therefore with the destruction of evil
the creators, and later listeners, experience some kind of satisfaction. Another negative female character
in family ballads is the mother-in-law and her hatred of her daughter-in-law because she cannot cope with
the fact that she has given birth to a son that will simply be taken away from her later by another woman;
919
NOTES FOR NON-SLOVENIAN READERS
she also does not want to lose her primacy in his emotional and everyday life, and this is why she murders
the daughter-in-law (241/C). But the murder also may not succeed (242). These two ballads also reflect the
property rights arising out of the matrimonial relationship also represented by the morning gift that the hus-
band gives his wife the first morning after their wedding. According to Dolenc, a morning gift may also be
promised in advance by the in-laws - that is, just before the wedding night or the wedding itself. However,
the morning gift is reminiscent of the purchase of the bride or the contract between two families, whereby
later the purchase money belonged to the bride (Dolenc 1942).
All of these laws were influenced more by the Church and common law than by the actual civil law.
The institution of the family (the institution of wedding and marriage) was so strong that anomalies to it
were punished as early as the Middle Ages (for example, adultery; 266/A and 268). That is, the institution of
marriage assumed the function of a blood relationship and reestablished the rights of “original” love among
new people. According to Herlihy (1995:46), marriage became more than a mere union of two people.
It can be said that the songs primarily reflect the type of paternal legal or patriarchal family in which
the family head has the power and for which strict division of men’s and women’s tasks is typical. The man
was also the one that punished the wife (270). The role of the wife was distinctly subordinate to the male
character; she had to be obedient to her husband, refrain from responding to injustice done to her, and also
tolerate her husband’s infidelity. In folk songs, women are always under some kind of protection, both emo-
tional and material. A wife had to wait for seven years after her husband’s disappearance before she could
marry again. According to Vilfan, the seven years were a sort of “locus communis of old ballads” (1996: 399).
However, the husband may also sacrifice himself if his wife has already remarried (284). The wife’s active
involvement can also be seen when she uses her intelligence and skills to save her husband from the Turkish
prison (281). Infidelity or adultery is one of the most frequent motifs, but in general the wife’s infidelity is
punished. Songs 262 to 268 thematize adultery; for example, the wife that has the audacity to have a lover
usually loses her head (type 266/C), but the adulterer is also punished (265). In Carinthia, women often said
that one must “put water in one’s mouth,” - that is, that one must keep one’s mouth shut (C). However, it was
precisely acting against her husband’s mistress that caused the tragic fate of the wife in two family ballads.
In the first, the wife poisons her husband’s mistress (269) and in the second she murders the child of her
husband’s mistress (270). Nonetheless, the singer takes the side of the mistress and the lord because murde-
ring a child is a grave crime that can only be washed away through punishment, repentance, or giving birth
to a son that must later become a priest. The singer quickly made the story into a song and developed it such
that the wife was punished immediately, whereas the husband could be unfaithful to his heart’s desire. For
the husband to take the right of revenge, which had been part of legal practice since the Middle Ages when
the lex talionis was in force, was completely appropriate in people’s minds. The wife was the property of her
husband and he could do whatever he wanted with her and the servants. It is obvious, however, that in additi-
on to infidelity and revenge, the reason for this was also the fact that in the Middle Ages an illegitimate son
could also inherit the property, despite being a servant girl’s son (271). In addition to the relationship between
the husband, wife, and children, family ballads also thematize relationships between sisters and brothers.
Tragic circumstances make two sisters unable to recognize one another (272), a brother and sister unable
to recognize one another immediately (278/A and 279/B), or a brother and sister commit incest (273), which
ends with the brother murdering his sister. Within the family, a girl did not have equal status in relation to
her brother.
Especially interesting and the most numerous in terms of versions are the songs (types 286 and 287)
about a bride that murders her own baby and a convicted child murderer, in which numerous versions the-
matize the infanticide committed by unwed mothers. In the social structure of that time, motherhood outside
of marriage resulted in shame and ostracization. According to folk moral code, the only possible punishment
for murdering a child was death, which was often caused by God, but also secular judges. In both cases,
the woman is a stigmatized unwed mother that wants to get rid of her child in some way or another. An
unwed mother was condemned in advance and it is because of this that she acted as she did, frequently out
920
NOTES FOR NON-SLOVENIAN READERS
of despair. According to Dolenc, a child murderer could be punished by being buried alive or having a stake
driven through her chest (1942: 64).
Some songs in this volume are of more recent origin and are thought to have been created in the second
half of the 19th century and up to the middle of the 20th century in northeastern Slovenia. They are also
referred to as “farewell songs” that were created based on of a real accident or murder with descriptions of
real persons, as well as times and places. They were created as a kind of dirge, songs published in flyers,
or song necrologies. In English-speaking countries this song type is known as the broadside ballad, in Ger-
man-speaking countries as the Bankelsang, and in Bohemia and Moravia as the kramarska piseh. It was only
later that they were transformed into ballads that thematize daughters’ deaths and the murder of a mother
or sons (253, 254, 276, and 277). In these songs, folk singers expressed their horror at the event, described it
picturesquely, commended the deceased, and mentioned the relatives’ sorrow. The transformation of ballads
can also be observed in which a taboo motif (for example, incest) is simply hidden in a children’s pantomime
of the song (273) or where a slow transformation of the ballad into a lyric song (268) can be seen. These songs
must be understood as historical witnesses and esthetic messages and, in a way, also as folk singers’ messages
to those listening to the songs.
Readers that do not speak Slovenian can read the summaries of the songs’ contents with short summa-
ries of scholarly annotations on the following pages. For future comparative analyses, we have decided to
add a full English translation of the typical versions of eight types of family ballads, especially the ones that
are originally Slovenian and cannot be found anywhere else, as well as the ones that are part of the European
ballad repertoire. In this way, some of the Slovenian family ballads may become the subject of folk studies
conducted by researchers outside Slovenia. The appendix includes color maps showing the ranges of the ten
types of folk songs selected throughout Slovenian ethnic territory. These may help readers abroad form an
image of where these folk songs originated and still exist today.
***
In family ballads, special methods of text formation may be seen that are also typical for other folk songs:
verses and stanzas “traveling” from one song to another, and special introductory and concluding forms
- that is, special intertextuality within folk ballads. For example, these include “Stoji, stoji (en) beli grad”
(There stands a white castle; 255 and 270), and “doli pade, omedli, / dusico spusti”(She falls down, faints, /
And gives up her soul; 269 and 241/C). For some family ballads, certain verse forms are typical, such as the
old Slavic decasyllabic verse with anacrusis (250/B and 284), three-part octameter (272), and a combination
of octameter and heptameter (286).
The associates of the SRC SASA Institute of Ethnomusicology that have prepared this volume hope that
it will bring pleasure and satisfaction to its readers, and that it will spread knowledge of Slovenian folk ballad
heritage more widely into the European cultural sphere.
Marjetka Golez Kaucic
* * *
In all of the Slovenian ballads collected to date, the heptameter (-CJ-VJ/-U-). with or without anacrusis,
predominates (at 70%). In the family ballads discussed, the octameter and heptameter couplet (called the
“pilgrim s verse”) is most strongly represented (in 354 song versions). This is followed by the heptameter
with 132 versions, and the sextameter and pentameter couplet (or the Nibelungenvers) with 64 versions. No-
netheless, the octameter or heptameter couplet is in general relatively rare in Slovenian ballads and is only a
recent phenomenon (dating from the 19th century), in the family ballads discussed, this couplet (or “pilgrim s
921
NOTES FOR NON-SLOVENIAN READERS
verse”) predominates in only three song types with a great number of versions (over 100). These are the
song types “Vdovec na zeninem grobu ’ (A Widower at His Wife’s Grave, no. 252), “Nevesta detomorilka”
(The Infanticide Bride, no. 286), and “Obsojena detomorilka” (The Condemned Infanticide, no. 287). Their
versions are similar in terms of content, metric and rhythmic structure, stanzas, and melody, which implies
that folk singers transferred them from print media or they learned them at school. In general, some recent
ballads that are still sung today are losing their diversity in terms of verse, rhythm, and melody, which was
very strong even in the 19th century. This finding, however, applies only to the songs and their versions that
started appearing and becoming known in Slovenia around the 1920s and 1930s.
Marko Terseglav
922
VSEBINA
Predgovor..................................................................................................7
Bibliografía virov in literature, posebni znaki, kratice.................................................9
DRUZINSKE PRIPOVEDNE PESMI................................................................................17
Pesmi o druzinskih usodah in konfliktih (Druzinske balade)...............................................19
237. Oce doloca usodo hcere (Zormanova Micika)...........................................................27
238. Odklonitev poroke (Ancika in Brajdika)..............................................................32
239. Smrt neveste pred poroko / A........................................................................34
240. Smrt neveste pred poroko / B.................................................................... 44
241. Smrt neveste pred poroko / C (Miada Breda) ....................................................... 50
242. Tasci se izjalovi umor snahe (Sreena nevesta).......................................................62
243. Smrt zenina pred poroko.............................................................................67
244. Zvijacna ugrabitev mlade matere (Lepa Vida) ........................................................73
245. Ugrabljena zena ne sme domov........................................................................91
246. Prisilno dalec omozena..............................................................................94
247. Smrt dalec omozene..................................................................................97
248. Z roparjem omozena (Kata, Katalena) ...............................................................103
249. Smrt matere na porodu / A..........................................................................120
250. Smrt matere na porodu / B..........................................................................121
251. Porod v grobu......................................................................................123
252. Vdovec na zeninem grobu ...........................................................................127
253. Treh hcera nagla smrt.......................................................................... 218
254. Zalostna usoda treh sinov..........................................................................227
255. Smrt rejenke.......................................................................................254
256. Maceha in sirota / Al .............................................................................256
256. Maceha in sirota / A2...............................................................................271
256. Maceha in sirota / A3.......................................................................... 281
257. Maceha in sirota / B (Sirota Jerica) ..............................................................346
258. Maceha in sirota / C (Sveta Kristina)..............................................................355
259. Mrtva rnati zagvozi macehi.........................................................................368
260. Mati iz groba tolazi siroto........................................................................371
261. Zapuscene sirote / A ..............................................................................372
261. Zapuscene sirote / B............................................................................. 374
262. Nezvesta zena pobegne mozu.........................................................................379
263. Moz kaznuje nezvesto zeno .........................................................................382
264. Presustnik in Ijubica kaznovana....................................................................387
265. Smrt presustnika ..................................................................................390
266. Nezvesta gospa s tremí strazarji I A ..............................................................392
267. Nezvesta gospa s tremi strazarji / B ..............................................................397
268. Nezvesta zena pomaga ljubimcu pobegniti............................................................445
269. 2ena da umoriti mozevo ljubico.....................................................................446
270. 2ena umori otroka mozeve ljubice...................................................................449
271. ¿ena zastrupi mozevo ljubico ......................................................................457
272. Sestra zastrupi sestro (Zarika in Sondea) .........................................................459
273. Brat umori sestro..................................................................................466
274. Pastorek umori ocima (Roslin in Verjanko)..........................................................473
275. Pastorek umori maceho ............................................................................479
276. Sin na tastovo pobudo umori mater ................................................................482
277. Oce umori sinova..................................................................................484
278. Brat in sestra se najdeta / A ....................................................................508
279. Brat in sestra se najdeta / B.....................................................................512
280. Brat in sestra ubezita iz ujetniStva..............................................................528
281. Zena resi moza iz ujetnistva......................................................................530
282. Zena noce z mozem na pot..........................................................................532
283. Moz se vrne na zenino svatbo .....................................................................533
284. Kaznjenec odkloni vrnitev k druzini (Galjot)......................................................540
285. Sinovi zavrzejo mater.............................................................................542
286. Nevesta detomorilka ..............................................................................545
287. Obsojena detomorilka..............................................................................714
DODATEK: Srbske in hrvaske pesmi na slovenskem ozemlju..................................................773
A. Grad za nevesto.....................................................................................775
B. Smrt neveste pred poroko............................................................................776
C. Molcecazena.........................................................................................777
C. Razlicni usodi dveh nevest..........................................................................778
D. Hladen moz..........................................................................................779
E. Smrt dalec omozene..................................................................................781
F. S pijancem omozena..................................................................................782
G. Maceha morilka......................................................................................783
H. Moz kaznuje nezvesto zeno...........................................................................784
I. S kom je najlepse zivela............................................................................787
J. PresuStna zena......................................................................................789
K. Hudobnatasca........................................................................................790
L. Deveta nevesta......................................................................................793
M. Ljubosumna mati umori sina.........................................................................795
N. Sestra zastrupi brata..............................................................................796
O. Uboj zaradi incesta................................................................................799
P. Bratje umorijo sestro..............................................................................802
R. Mati prepreci sinovo poroko.........................................................................803
S. Sin ubije ocima.....................................................................................805
S. Hudobni svakinji....................................................................................806
T. Moz vojak se vrne na zenino svatbo..................................................................808
U. Moz vojak se vrne domov.............................................................................810
V. Kazen za hudobne sinove in snahe....................................................................811
KAZALA..................................................................................................813
Pregled pesmi, objavljenih pri Streklju (§), in njihova uvrstitev v nasi zbirki {SLP V).................815
Kazalo pesmi po prvem verzu.............................................................................817
Kazalo pesmi po krajih in pokrajinah....................................................................826
Kazalo zapisovalcev.....................................................................................832
Kazalo pevcev in pevk...................................................................................836
Kazalo pesmi po metro-ritmicnih tipih in po kiticni strukturi besedila..............848
Podrobno kazalo pesemskih tipov in variant..............................................................850
DialektoloSke analize izbranih tipov pesmi..............................................................895
Zemljevidi razsirjenosti pesmi po slovenskem etni£nem ozemlju...........................................905
Notes for Non-Slovenian Readers.........................................................................917
Summaries of Song Contents for the Book.................................................................923
Addenda: Serbian and Croatian Songs on Slovenian Territory..............................................949
|
| any_adam_object | 1 |
| author_GND | (DE-588)1018316760 |
| building | Verbundindex |
| bvnumber | BV043337195 |
| ctrlnum | (OCoLC)951352368 (DE-599)BVBBV043337195 |
| format | Musical Score Book |
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| genre | (DE-588)4002214-6 Anthologie gnd-content |
| genre_facet | Anthologie |
| id | DE-604.BV043337195 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:23:24Z |
| institution | BVB |
| language | Slovenian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028757194 |
| oclc_num | 951352368 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 955 Seiten Noten, Karten |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Slovenska Matica Glasbenonarodopisni inštitut ZRC SAZU |
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| spelling | Slovenske ljudske pesmi 5 Pripovedne pesmi uredniki Zmaga Kumer ... Ljubljana Slovenska Matica 2007 Ljubljana Glasbenonarodopisni inštitut ZRC SAZU 2007 955 Seiten Noten, Karten ntm rdacontent n rdamedia nc rdacarrier Volkslied (DE-588)4063852-2 gnd rswk-swf Slowenisch (DE-588)4120336-7 gnd rswk-swf Erzähllied (DE-588)4152970-4 gnd rswk-swf (DE-588)4002214-6 Anthologie gnd-content Slowenisch (DE-588)4120336-7 s Volkslied (DE-588)4063852-2 s Erzähllied (DE-588)4152970-4 s DE-604 Kumer, Zmaga 1924-2008 Sonstige (DE-588)1018316760 oth (DE-604)BV007885312 5 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028757194&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028757194&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Slovenske ljudske pesmi Volkslied (DE-588)4063852-2 gnd Slowenisch (DE-588)4120336-7 gnd Erzähllied (DE-588)4152970-4 gnd |
| subject_GND | (DE-588)4063852-2 (DE-588)4120336-7 (DE-588)4152970-4 (DE-588)4002214-6 |
| title | Slovenske ljudske pesmi |
| title_auth | Slovenske ljudske pesmi |
| title_exact_search | Slovenske ljudske pesmi |
| title_full | Slovenske ljudske pesmi 5 Pripovedne pesmi uredniki Zmaga Kumer ... |
| title_fullStr | Slovenske ljudske pesmi 5 Pripovedne pesmi uredniki Zmaga Kumer ... |
| title_full_unstemmed | Slovenske ljudske pesmi 5 Pripovedne pesmi uredniki Zmaga Kumer ... |
| title_short | Slovenske ljudske pesmi |
| title_sort | slovenske ljudske pesmi pripovedne pesmi |
| topic | Volkslied (DE-588)4063852-2 gnd Slowenisch (DE-588)4120336-7 gnd Erzähllied (DE-588)4152970-4 gnd |
| topic_facet | Volkslied Slowenisch Erzähllied Anthologie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028757194&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=028757194&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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