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Theoretical Concepts in Ethnomusicology and Study of the Folklore Revival Movement: the Case of the Prague Ensemble Gaudeamus
Skořepová, Zita
This chapter discusses two theoretical concepts in ethnomusicology, their applicability to the study of the folklore movement and the potential of these concepts to widen research questions already posed, or to generate new questions. The methodology, based on oral history interviews, focuses on the individual perspective and refl ection of the participants’ activities in the past and present. How might then actors of the folklore movement be characterized as members of a specifi c cultural cohort based on their own narratives and answers to particular questions? The fi rst concept of cultural cohort comes from a book by the American ethnomusicologist Thomas Turino, Music as Social Life [2008]. Turino views different personal features, “habits”, as formative elements of a particular identity. People with similar confi gurations of these traits (thus similar identities) tend to join cultural cohorts and cultural formations. Another theoretical framework is provided by the concepts of superculture, subculture and interculture by Mark Slobin [2000]. On the one hand, the folklore movement offi cially acclaimed sources and inspirations from musical subcultures (urban people singing and dancing rural songs and dances), but, on the other hand, found its place at a supercultural music level. This concept can thus enrich our understanding of the dynamics between the superculture, subculture and interculture in the research of the folklore movement. Drawing on data concerning the Prague-based folklore ensemble Gaudeamus, the present paper outlines some preliminary fi ndings in accordance with these theoretical concepts.
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Towards a Typology of Czech Traditional Song and Music
Tyllner, Lubomír
This article therefore aims at a complex analysis of traditional music and its typology. On the basis of musical analysis, the im is to establish a typology of the Czech traditional folk song and music, to delineate historical, regional and or national features of Czech traditional music and thus help to incorporate it into a broader European musical and cultural context.
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Czech-Balkan counterpoint: Ethnography of the phenomenon Balkan music in Prague
Libánská, Alena ; Jurková, Zuzana (advisor) ; Matoušek, Vlastislav (referee) ; Skořepová, Zita (referee)
This Ph.D. thesis deals with the musical phenomenon Balkan music in Prague. The so- called Balkan music (in the sense of Shelemay's 2006 soundscape) is considered to be the result of social negotiating (counterpoint) between the agents, i.e., the Czech musicians and audience, and also those (musicians and audience) who originally come from the Balkan countries. Using the tools of ethnographic research, the thesis explores the nature of this relationship. Specifically, I focus on the very creation of the concept Balkan music in the Czech scene and the role the Balkan migration plays in its formation. It turns out that the very imagination of the 'Balkans' plays a key role in defining the phenomenon, and the form of music itself is the result of the imaginations of (an imaginary) milieu (i.e., stereotypes) that is perceived as culturally distant (Todorova 2009).
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SLOVAKIAN PROBE. Negotiation of local identity of alternative bands in Moravian Slovácko.
Svobodová, Veronika ; Jurková, Zuzana (advisor) ; Seidlová, Veronika (referee)
The goal of this musical anthropology qualitative research, mainly based on the field work, is to describe, analyze and interpret the process of construction of local identity of an alternative bands in Moravian Slovácko. The subject of this research are mainly two music bands from Slovácko - PSCrew and 12:PIET. PSCrew band represents hip-hop style and 12:PIET ranks among punk style bands. The musical production of these bands is defined (using an emic term) as an alternative folklore. With a use of theoretical concepts of stereotype and partially also retro and revival, I tried to demonstrate how these alternative musicians with an emphasis to their authenticity by the means of their musical spheres (so called soundscapes) pursue their notion of what is considered to be related to Slovácko and how the negotiation of their local identity is involved. For that the locally defined stereotypes are often used. These are typically recontextualized by its adaptation into the form that reflects the postmodern period.
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Musical aspects of the Living History phenomenon in the Czech historical fencing through the perspective of ethnomusicology
Novák, Josef ; Jurková, Zuzana (advisor) ; Seidlová, Veronika (referee)
The aim of this musical anthropology thesis focuses on "medieval music" as practiced by fans of historical fencing in the form of living history on the example of two Czech bands - Subulcus and Medieval Open Band as part of project Prácheňská manství. In my thesis I focus not only on sound and musical instruments, but also on the behavior of actors and their conceptualization of the Middle Ages, according to the concepts of music as culture of Allan Merriam, resp. of music as social life of Thomas Turino. I combine here the basic ideas of ethnomusicology with the ideas of musical memory in connection with the contemporary concepts of social memory and, last but not least, with the concepts of "golden age", nostalgia, staged authenticity and invented traditions. The point of this work is to bring about the origin and form of music that the actors understand as medieval, although not always comes the repertoire from the Middle Ages.
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Rancho Folclórico - Musical Heritage of Portugal
Chumová, Markéta ; Saláková, Magdalena (advisor) ; Palkovská, Jana (referee)
Thesis is dedicated to traditional folklore music of Portugal and introduces different kinds of traditional music. Chosen are those kinds that are even nowadays very popular and that are to be found around the country. The main focus of thesis is on music and tradition of folklore groups called Rancho Folclórico. History of Portuguese traditional music in general as well as the origins of rancho are introduced. Those are connected to the context of general Portuguese history. Furthermore, traditional musical instruments typical for rancho groups are described as well as the musical repertoire and traditional dances. The character of rancho groups, their members, rehearsals, costumes and festivals the groups preform in are closely examined. Final chapter introduces concrete activities and ideas for utilization of Portuguese traditional music in pedagogical practice. Thesis is also based on information obtained from interviews with current members of variant rancho groups. Hereafter, appendix is attached to thesis consisting mainly of photographs and video recordings taken personally by the author in Lisbon.
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