“We Have Plenty of Words Written Down; We Need Melodies!” the Purchase of the First Recording Device for Ethnomusicological Research in Slovenia

Kunej, Drago

doi:10.3986/traditio2005340110

Cited by 6 publications

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“…3 Ову врсту активности организовали су Одбор за сакупљање словеначких народних песама (Odbor za nabiranje slovenskih narodnih pesmi, уп. Kunej 2005Kunej , 2008, те Балканска комисија и Фонограмархив Царске академије наука (Die Balkan-Kommission / Phonogrammarchiv / Kaiserliche Akademie der Wissenschaften); више у: Lechleitner and Marošević 2009; Радиновић и Миловановић 2013. grammarchiv der Österreichischen Akademie der Wissenschaften), па су тако већ од 1922. Гаваци и Широла фонографом те институције снимали фолклорну музику у Хрватској (више у: Širola i Gavazzi 1931).…”

Section: апстрактunclassified

Traces of music carved in wax: The collection of phonographic recordings from the Institute of Musicology SASA

Lajic-Mihajlovic¹

2017

Muzikologija

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Phonographic recordings made on wax plates by composer Kosta P. Manojlovic and ethnologist Borivoje Drobnjakovic from 1930 to 1932 represent the oldest collection of field sound recordings in Serbia. The biggest part of the collection is preserved at the Institute of Musicology SASA. In 2017 digitalization of the recordings from those plates was completed, which made the sound content of the collection finally available to researchers. This paper presents and analyses the collection as an anthology of historical sound documents, as an incentive for contemporary ethnomusicological research and as an addition to studying the history of ethnomusicology in Serbia. After an elaboration on the prehistory of documentary field recordings of traditional music, it has been pointed to procurement of a phonograph for the Ethnographic Museum in Belgrade in 1930. There were two major expeditions, organized in 1931 and 1932 in what was then known as ?Southern Serbia?, administratively the Vardar Banovina, a province of the Kingdom of Yugoslavia (now Republic of Macedonia and the Autonomous Province of Kosovo and Metohija of the Republic of Serbia). 180 plates were made, less than a third by Drobnjakovic, and all the others by Manojlovic. Further recordings were suspended due to certain problems with masters printing; even some later attempts of dubbing did not give a complete solution. In 1964 the Institute of Musicology SASA was given an incomplete collection. Today it is comprised of 140 wax plates. It has been pointed that, primarily, traditional secular music was recorded, followed by few examples of church music. The collection is represented by the acoustic source, performance formation, repertoire, genre, style. Additionally, gender, age and professions of the singers and players were also discussed. It has been pointed to the potentials of the collection and its relevancy for the research of music and identity relation, music and migration relation, for studies of heritage and activities at the field of preserving traditional music. Given the specificity of the area from which the collection predominantly originates, it can have a significant value for social engagement in overcoming conflicts with music. Finally, the attainability of wax plates now serves as an incentive for reassessing the role of Kosta P. Manojlovic in cultural history and research of traditional music in Serbia and in the region.

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Section: апстрактunclassified

Traces of music carved in wax: The collection of phonographic recordings from the Institute of Musicology SASA

Lajic-Mihajlovic¹

2017

Muzikologija

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“…Zavedali so se potrebe po snemalni napravi, ki bi olajšala predvsem zapisovanje napevov. Čeprav so člani Odbora od vsega začetka izražali željo po zapisovanju s pomočjo snemalne naprave -fonografa, so ga lahko kupiti šele na začetku leta 1914 (Kunej 2005).…”

Section: Zbiranje Izdajanje In Izvajanje Ljudskih Pesmiunclassified

Efforts by the Slovenian Music Society to Revive Folksong Repertoire and Institutionalization of Ethnomusicology in 1934

Krstulović

2014

Traditiones

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Ohranitev in oživitev ljudske glasbene dediščine je bila po letu 1848 pomembna vsebina prizadevanj Slovencev za kulturno osamosvojitev in tudi programskih načrtov ljubljanske Glasbene matice vse od ustanovitve leta 1872. V iskanju identitete in tradicije je imela ljudska pesem reprezentativno funkcijo. Priredbe ljudskih pesmi za zbor so imele tudi prosvetno funkcijo in so zavzemale pomemben delež v založniški, šolski in koncertni dejavnosti Glasbene matice. Razprava opozarja na nekatere ideje, dogodke in dejanja iz zgodovine tega društva, ki so pripeljali do institucionalizacije glasbenonarodopisnega dela leta 1934. *** The preservation and revival of ethnic repertoire played a vital role in efforts to establish Slovenian cultural independence after 1848. This was also one of the main tasks of the Slovenian Music Society (Glasbena matica) after it was established in 1872. In the search for tradition and identity, folk songs initially had a representative function. Arrangements of folk songs also had an educational function and played a significant role in publishing, school, and concert activities. This article presents some of ideas, activities, and events from the history of the Music Society that led to the institutionalization of ethnomusicology in 1934.

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Old Gramophone Records as an Ethnochoreological Resource

Kunej

2014

Traditiones

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Ko je bil leta 1934 ustanovljen Folklorni institut, predhodnik današnjega Glasbenonarodopisnega inštituta ZRC SAZU, in so bili s tem postavljeni institucionalni temelji za raziskovanje slovenske glasbene folklore, je bilo v ustanovni listini med nalogami inštituta med drugim zapisano tudi zvočno snemanje ljudske glasbe in raziskave ljudskih plesov. Vendar sta bili ti nalogi inštituta v polnosti izpolnjeni šele mnogo let pozneje. Je pa bilo že dobri dve desetletji pred ustanovitvijo inštituta moč v Ljubljani kupiti gramofonske plošče, ki me kot etnokoreologinjo, zaposleno na inštitutu 80 let po njegovi ustanovitvi, posebej vznemirjajo in me spodbujajo k novim premislekom o ljudskem plesu na Slovenskem in njegovemu raziskovanju.Izdaje starih gramofonskih plošč sodijo v čas pred začetki slovenske etnokoreologije. Po mnenju Mirka Ramovša (1995Ramovša ( , 1980

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“We Have Plenty of Words Written Down; We Need Melodies!” the Purchase of the First Recording Device for Ethnomusicological Research in Slovenia

Cited by 6 publications

References 1 publication

Traces of music carved in wax: The collection of phonographic recordings from the Institute of Musicology SASA

Traces of music carved in wax: The collection of phonographic recordings from the Institute of Musicology SASA

Efforts by the Slovenian Music Society to Revive Folksong Repertoire and Institutionalization of Ethnomusicology in 1934

Old Gramophone Records as an Ethnochoreological Resource

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