Po jezeru bliz Triglava ...: ponarodevanje umetnih pesmi iz druge polovice 19. stoletja
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | Slovenian |
| Veröffentlicht: |
Ljubljana
Založba ZRC, ZRC SAZU
2008
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| Schriftenreihe: | Zbirka Folkloristika
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Spremna beseda Marka Terseglava na zavihku ov |
| Beschreibung: | 143 Seiten Illustrationen, Noten 24 cm |
| ISBN: | 9789612541040 |
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| 245 | 1 | 0 | |a Po jezeru bliz Triglava ... |b ponarodevanje umetnih pesmi iz druge polovice 19. stoletja |c Urša Šivic |
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| 490 | 0 | |a Zbirka Folkloristika | |
| 500 | |a Spremna beseda Marka Terseglava na zavihku ov | ||
| 505 | 8 | |a Bibliografie Seite 133-139 | |
| 546 | |a Zusammenfassung in englischer Sprache: "Po jezeru bliz Triglava" (Along the Lake near Mt. Triglav) : the popularization of art songs from the second half of the 19 century | ||
| 648 | 7 | |a Geschichte 1850-1900 |2 gnd |9 rswk-swf | |
| 650 | 4 | |a etnomuzikologija / ljudska glasba / slovenske ljudske pesmi / popularna glasba | |
| 650 | 7 | |a Vokalne pesmi / Ponarodevanje / 19.st. |2 ssg | |
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Datensatz im Suchindex
| _version_ | 1804175888172974080 |
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Vsebina
Uvod
Teoretska misel o ponarodeli pesmi in vprasanje ponarodelosti
Vloga glasbe na Slovenskem v drugi polovici 19. stoletja
Glasba na prireditvah
Prireditve slovenskih izobrazencev in mescanstva
Mnozicne prireditve
Petje v solah in vloga solskih pesmaric pri ponarodevanju
Ponarodevanje
Vzroki za ponarodevanje
Struktumi in vsebinski vzroki za ponarodevanje
Zunanji vzroki za ponarodevanje
Skladateljsko delo in razumevanje ljudskega
Nosilci ponarodelih pesmi
Ponarodela pesem in njena vloga v ljudskem pesemskem izrocilu
Vloga ponarodele pesmi v repertoarju ljudskih pesmi
Geografska razsirjenost ponarodele pesmi
Analiza
Gradivo
Metoda preucevanja
Analize izbranih zgledov
Jurij Fleisman (bes. France Preseren): Pod oknom (Luna si je, kladvo bije)
Miroslav Vilhar (bes. Miroslav Vilhar): Na jezeru (Po jezeru bliz Triglava)
Gustav Ipavec (bes. Anton Martin Slomsek): Predica (Le predi, dekle, predi)
Gustav Ipavec (bes. Johann Georg Jacobi/Valentin Orozen):
Vse mine (Kje so moje rozice)
Angelik Hribar (bes. Avgust Armin Leban): Locilev (Oj hisica ocetova)
Josip Ludvik Weiss (bes. Radoslav Razlag): Sirota (Mali ziblje, lepo poje)
Variabilnost glasbenih prvin
Melodija
Vnasanje nove mclodicne vsebine - melodicna kontaminacija
ttevensche j
cecils*3íKí.’oífrek I
V: On chen I
83
84
84
85
85
85
86
86
86
87
87
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90
90
91
91
91
92
92
93
93
94
94
94
95
95
95
97
101
102
103
129
133
140
Spremenjeni in nespremenjeni izvimi melodicni obrazci
Spremenjeni in nespremenjeni izvimi intervalni skoki
Temeljito preoblikovanje izvime melodije
Modulacija
Posamezni melodicni pojavi: melizem, okrasevanje, glissando
Ritem
Dodajanje punktiranega ritma
Nespremenjeni in spremenjeni izvimi ritmicni obrazci
Metrum
Skrajsani in podaljsani takti
Skrajsani in podaljsani izvimi taktovski nacini za polovico dobe
Skrajsani in podaljsani izvimi taktovski nacini za celo dobo
Ritardando kot vzrok za podaljsanje izvimih taktovskih nacinov
5- in 7-osminski taktovski nacin
Polimetricno preoblikovanje melodije
Temeljito spremenjen izvimi taktovski nacin
Spremenjeno akcentuiranje
Razpolovljeno in podvojeno izvimo akcentuiranje
Nespremenjena izvima (ritmicno-)metricna zasnova pesmi
Oblika
Spremenjeno sosledje delov pesmi
Izpuscanje delov pesmi
Nacina izvajanja rubaio in giusto
Nespremenjene izvime agogicne oznake
Upocasnjevanje
Pohitevanje
Nespremenjene izvime dinamicne oznake
Tempo
Vloga pesmi
Sklep
Kratice
Imensko kazalo
Priloga 1:
Izvimiki in transkripcije ljudskih variant izbranih zglcdov
Priloga 2:
Seznam ljudskih variant izbranih zgledov
Viri in literatura
Summary
“Po jezeru bliz Triglava” {Along the Lake near Mt. Triglav) -
The Popularization of Art Songs from the Second Half of the 19th Century
Summary
“Po jezeru bliz Triglava”
{Along the Lake near Mt. Triglav) — The Popularization
of Art Songs from the Second Half of the 19th Century
The topic of the present research was the Slovenian art song of the second
half of the 19th century observed as a folk song. It deals with the historical
key period in which it is hardly possible to elude the year 1848, the Spring
of Nations, the time of ideological, political, and cultural transformation in
Slovenia. In mid-century, the sung song was the pivotal musical good, the
expression of highly acknowledged Slovenian art, quantitatively and qualita-
tively it represented the culmination of productive and reproductive musical
culture in Slovenian milieu at the time. In spite of the unified subject of re-
search the results are of twofold nature: on one hand, there are the aspects of
various sciences ad an attempt to define all possible mediators in the process
of transformation, and on the other, analytical observation of thus folklorized
songs as musical matter and musical processes.
Since folklorization appears to be a process predominantly based on the
laws of oral tradition, this fact renders pinpointing impossible. The lack of
historical data adds up to its undefinability, whereas the process itself, due to
extensive spans of time, cannot be formalized into a clear system. Folkloriza-
tion is therefore to be understood as a transfer of art songs from an artistic
milieu to milieu of folxy tradition. So, taking into account available histori-
cal sources, those activities and factors had to be detected that seem to be
the representatives of general importance and influence upon the populariza-
tion and folklorization of art songs. In research, all those forms of musical
presentation of the latter half of 19th century were embraced through which
the art song supposedly passed over from the artistic, individually creative
performing milieu into that of the collective folk song heritage: it goes with-
out saying that ideological, political,didactic, sociological, and physiological
aspects were taken in consideration as well. Decisive research was dedicated
to those forms of cultural performances in which the art song played an ar-
tistic, performing art (the so-called beside of Slovenian societies and read-
ing rooms); of even greater importance-above all because the inclusion of
broader sections of the population-were explicitly social or rather political
performances (mass meetings, garden parties, and similar social gatherings).
The most important role in the process of folklorization was that of school
singing, since this very environment could include the broadest strata of the
entire population, so that Slovenian composers of that period were those
who-through various vocal genres and didactic aims-gave a crucial contri-
140
bution to the popularization of songs by embedding them in the conscience
of every individual in the Slovenian society, all which proved to be an act of
far-reaching consequences considering that, in this way, each individual be-
came a potential promoter of folk culture. Other factors-such as the choice of
songs, their sonorous realization, i. e. performance, and frequent repetition,
not to say revision, the latter being a key psychological factor-have not been
ignored either, since qualitative criteria came out to be of secondary impor-
tance, namely: a song heard many times affects feeling already in advance,
and even more so the memory of the people.
The central, analytical part of the research, deals with the folklorized song
separately from its historical, cultural, sociological, and psychological asso-
ciations. Since a folklorized song, as regards its role, equals a folk song, it is
not-from the viewpoint of the tonal material-historically conditioned. Nev-
ertheless, due to the lasting process and to its embedment in oral tradition,
it passes through a number of historical periods. In the general conscience,
a folklorized song usually exists in the role of a well-known, popular song.
However, for research procedures, it has to meet two conditions, i. e. the
knowledge of authorship, which defines it as artistic, and its variable quality,
through which belongs to the folk heritage. Considering the most unsuccess-
ful establishment of musical authorship, and in favour of a more detailed
analytical methodology, the analytical part has limited itself to six selected
examples—songs, by Jurij Fleisman Under the Window (Pod oknom), Miro-
slav Vilhar On the Lake (Na jezeru), Gustav Ipavec The Spinner (Predica)
and Everything Goes By (Vse mine), Angelik Hribar Separation (Locitev),
and Josip Ludvik Weiss An Orphan (Sirota). Examples of their folk variants
have been taken from the reach archive of the Institute of Ethnomusicology
or more precisely: from the manuscript records of the late 19th century, and
from the sound archive that has been growing ever since 1955.
Comparative analyses delves into the structure of a folklorized song pre-
suming where, in what, and to what extend the art and the folk song coincide,
or rather what are the elements an musical circumstances in which the former
is prevalent, and where does the variableness of folk creativity intrude upon
the prescribed art song. Due to oral-aural ways of reception and memorizing,
the variability of a folklorized song itself conditions unpredictable changes.
However, a thorough analysis shows that variability is limitless, though on
the other hand, that oral tradition proves a firm stability of certain models.
The present research records great variability in the behaviour of individ-
ual musical elements. As regard the rhythmic in folklorized art songs, there
is hardly any inventiveness. With the melodics it is the other way around:
on the one hand, oral tradition does not broach the basic melodic charac-
teristics, which means that thematically definable progressions remain as a
rule unchangeable, whereas intervallic complexes of thematically secondary
character allow major or minor degrees of variability. Among the modes of
variableness, contradiction of wide progressions should be mentioned, espe-
cially those moving downwards. Also wide, chordally based melodic com-
plexes appear to be too complicated for memorizing, so that their simplifi-
cation leads to many variable solutions. Dissonant intervals, irrespective of
141
their diapason, remained unchanged because their inner harmonic-always
dominant-charges are all too decisive.
The detection of variants is as important as the establishment of invariabil-
ity. Causes for invariableness are completely idiosyncratic. For example: an
explicitly isorhythmic melody does not give oral tradition the possibility of
rhythmical - metrical changes, since man’s memorizing abilities seem to find
it easier to control those melodies that are founded on contrasting thematics
than to deal with only slightly changing melodics. Oral tradition therefore
responds to contrasting metrical developments by transformations that can
reach poly metrical structures, whereas rather unified ‘original’ leaves metri-
cal characteristics predominantly unchanged. Varied intervals can be self-
sufficient, although they can cause exceptional formal changes. Because oral
tradition is not bound by the sequence of thematic embryos, new fusions,
exchanges, or rejections can occur; variability can thus affect the structure
to such degree that the resultant image is a complete formal novum-not a
variant. ‘Intrusions’ into the original are mostly possible with those com-
positional structures which make use of only slightly transformed thematic
material. On the other hand, songs with contrasting subject matter and clear-
cut formal sections seem, all by themselves, to establish the unchangeability
of the sequence of contents. Analysis has shown that among various musical
elements proneness to change can be mostly expected with the metrics; such
changes can be either particular or, which is the more usual case, a result of
idiosyncratic ways of singing. Among the latter, one should mention odd me-
tres, sequences of mixed metres, through inspiration prolonged or shortened
metrical patterns, contractions of note values-all with a view to achieve a
more advanced level of dynamic singing.
Variability of musical elements is a reflection of folk creativity. However,
what is foreign to this creativity and, the same time, a unique quality of folk-
lorized songs, appears to be interpretability of the art songs. However, this
quality is never accepted in the sense of expressiveness, of following dy-
namic and agogic signs as performing points of departure, but in accordance
with its own criteria, form novelly arranged rhythmical and metrical sections.
Such phenomena consolidate the supposition that certain songs of the vocal
folk heritage have came from the milieu of performed art music. Neverthe-
less, it is cthnomusicologically even more important that oral tradition ac-
cepts all elements of a song equally-irrespecfive of the inner (structural) or
outer (interpretative) origin-and subject them, equally again to its own rules
of transformation.
In the narrowest sense of the word a folklorized song is a folk song, the ini-
tial status of which was that of an art song with an established author. The rela-
tion between the original and its folk transformations can be revealed through
analysis. However, only on the basis of musical material alone analytical
procedures are not sufficient for understanding the process of folklorization
itself. The formalization of folklorization leaves many a chapter open, since
variability and wide circulation-to basic presumptions of a folklorized song-
are much too relative for any useful definability. Research has tried to reduce
the lack of professional criteria, or at least that of the basic-methodological
142
and analytical—ethnomusicological framework. Suffice it to say that popular
and textual research shows the problems of folklorized songs as textually
conscious, which is far from satisfactory as regards musical matter. The pro-
cess of folklorization is a temporally fictious happening that unfortunately
cannot be marked off and substantiated by historical facts. The conclusions
can be therefore-in spite of interdisciplinary endeavours-given only in the
form of presumptions. Exposed and dealt with were supposedly those most
characteristic, outer and inner, key factors which, due to a complicated bunch
of various causes, temporally fictitious happenings, and undefinabilities as
regards the musical language, cannot have given absolutely valid answers.
Prevedel/Translated by dr. Andrej Rijavec
o^yeriscne
! S * ^s o i b; i fy*h e.k j
Mi:nc.‘seri
143
|
| any_adam_object | 1 |
| author | Šivic, Urša |
| author2 | Terseglav, Marko |
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| building | Verbundindex |
| bvnumber | BV043338510 |
| contents | Bibliografie Seite 133-139 |
| ctrlnum | (OCoLC)951688041 (DE-599)BVBBV043338510 |
| era | Geschichte 1850-1900 gnd |
| era_facet | Geschichte 1850-1900 |
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| id | DE-604.BV043338510 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:23:26Z |
| institution | BVB |
| isbn | 9789612541040 |
| language | Slovenian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028758483 |
| oclc_num | 951688041 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 143 Seiten Illustrationen, Noten 24 cm |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Založba ZRC, ZRC SAZU |
| record_format | marc |
| series2 | Zbirka Folkloristika |
| spelling | Šivic, Urša Verfasser aut Po jezeru bliz Triglava ... ponarodevanje umetnih pesmi iz druge polovice 19. stoletja Urša Šivic Ljubljana Založba ZRC, ZRC SAZU 2008 143 Seiten Illustrationen, Noten 24 cm txt rdacontent n rdamedia nc rdacarrier Zbirka Folkloristika Spremna beseda Marka Terseglava na zavihku ov Bibliografie Seite 133-139 Zusammenfassung in englischer Sprache: "Po jezeru bliz Triglava" (Along the Lake near Mt. Triglav) : the popularization of art songs from the second half of the 19 century Geschichte 1850-1900 gnd rswk-swf etnomuzikologija / ljudska glasba / slovenske ljudske pesmi / popularna glasba Vokalne pesmi / Ponarodevanje / 19.st. ssg Slovenske ponarodele pesmi / 19.st. ssg Volkstümliche Musik (DE-588)4331874-5 gnd rswk-swf Volkslied (DE-588)4063852-2 gnd rswk-swf Vokalmusik (DE-588)4063783-9 gnd rswk-swf Slowenisch (DE-588)4120336-7 gnd rswk-swf Musikethnologie (DE-588)4127833-1 gnd rswk-swf Slowenisch (DE-588)4120336-7 s Volkslied (DE-588)4063852-2 s Vokalmusik (DE-588)4063783-9 s Volkstümliche Musik (DE-588)4331874-5 s Musikethnologie (DE-588)4127833-1 s Geschichte 1850-1900 z DE-604 Terseglav, Marko aft 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=028758483&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 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=028758483&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Šivic, Urša Po jezeru bliz Triglava ... ponarodevanje umetnih pesmi iz druge polovice 19. stoletja Bibliografie Seite 133-139 etnomuzikologija / ljudska glasba / slovenske ljudske pesmi / popularna glasba Vokalne pesmi / Ponarodevanje / 19.st. ssg Slovenske ponarodele pesmi / 19.st. ssg Volkstümliche Musik (DE-588)4331874-5 gnd Volkslied (DE-588)4063852-2 gnd Vokalmusik (DE-588)4063783-9 gnd Slowenisch (DE-588)4120336-7 gnd Musikethnologie (DE-588)4127833-1 gnd |
| subject_GND | (DE-588)4331874-5 (DE-588)4063852-2 (DE-588)4063783-9 (DE-588)4120336-7 (DE-588)4127833-1 |
| title | Po jezeru bliz Triglava ... ponarodevanje umetnih pesmi iz druge polovice 19. stoletja |
| title_auth | Po jezeru bliz Triglava ... ponarodevanje umetnih pesmi iz druge polovice 19. stoletja |
| title_exact_search | Po jezeru bliz Triglava ... ponarodevanje umetnih pesmi iz druge polovice 19. stoletja |
| title_full | Po jezeru bliz Triglava ... ponarodevanje umetnih pesmi iz druge polovice 19. stoletja Urša Šivic |
| title_fullStr | Po jezeru bliz Triglava ... ponarodevanje umetnih pesmi iz druge polovice 19. stoletja Urša Šivic |
| title_full_unstemmed | Po jezeru bliz Triglava ... ponarodevanje umetnih pesmi iz druge polovice 19. stoletja Urša Šivic |
| title_short | Po jezeru bliz Triglava ... |
| title_sort | po jezeru bliz triglava ponarodevanje umetnih pesmi iz druge polovice 19 stoletja |
| title_sub | ponarodevanje umetnih pesmi iz druge polovice 19. stoletja |
| topic | etnomuzikologija / ljudska glasba / slovenske ljudske pesmi / popularna glasba Vokalne pesmi / Ponarodevanje / 19.st. ssg Slovenske ponarodele pesmi / 19.st. ssg Volkstümliche Musik (DE-588)4331874-5 gnd Volkslied (DE-588)4063852-2 gnd Vokalmusik (DE-588)4063783-9 gnd Slowenisch (DE-588)4120336-7 gnd Musikethnologie (DE-588)4127833-1 gnd |
| topic_facet | etnomuzikologija / ljudska glasba / slovenske ljudske pesmi / popularna glasba Vokalne pesmi / Ponarodevanje / 19.st. Slovenske ponarodele pesmi / 19.st. Volkstümliche Musik Volkslied Vokalmusik Slowenisch Musikethnologie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028758483&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=028758483&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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