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Mapping the Individual Musical Experience in Post-Apartheid South Africa: A Bio-Ethnography of Township Dweller Lesiba Samuel Kadiaka
Zdrálek, Vít ; Matoušek, Vlastislav (advisor) ; Lucia, Christine Elizabeth (referee) ; Horáková, Hana (referee)
The dissertation is a biographical ethnography of an individual, ordinary musician and Mamelodi township dweller, Lesiba Samuel Kadiaka (*1962) in South Africa. It is based largely on fieldwork totalling more than 12 months conducted in five periods over six years between 2006 and 2011. It examines the possibilities of studying an average (rather than 'leading') musician ethnographically and their implications and consequences for wider ethnomusicological and South African music research. It makes a practical contribution to the wider debate about the relationship between individual, social, and cultural structures, and breaks new ground in its focus on the previously little known music and practices of Mr. Kadiaka's church, the Zion Christian Church. The research consisted mainly of ethnographic observations of various kinds of musical activities in which Mr. L. S. Kadiaka was involved in as a solo musician (songwriter and song singer) and as a member of the ZCC, on the one hand, and of deep interviews over the time span of six years, on the other. It consists of a biographical part dealing with his narratives about childhood in rural Ga-Mphahlele and his later life in Mamelodi township. Iconographic historical sources of a private nature are use too. The second part describes in three large...
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Music from an Objective Machine: Folk Music and the Phonograph
Kratochvíl, Matěj
Sound recording began to play a more important role in many areas of human life from the end of the 19th century. The influence of this technology was manifested the most significantly in the area of music industry, where a new form of music consumption was born with the invention and spreading of Edison’s phonograph. In addition, however, this invention influenced the sphere of science as well. The field called ethnomusicology now started to form in approximately the same time that the phonograph appeared, and it may be said that without this device ethnomusicology would have never been what it is today. The possibility of capturing the elusive musical expression, play and study it over and over again, opened a path for scientists to grasp the music cultures of the whole world without being limited by the system of European music notation. At the same time, however, sound recording brought various limitations as well as the danger of a distorted perception of sound sources, and directed the speculations of music towards certain stereotypes, with which ethnomusicology was then coping for a large part of the 20th century. In the Bohemian Lands, the awareness of the technical novelty spread relatively soon among the lay public as well as in the academic circles, but its practical application in the area of the documentation of traditional music culture in the period before World War I was relatively rare. The sound documents that have been preserved were not published until the last decades.
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Karel Weis and his sponsors
Tyllner, Lubomír
Many collections of Czech folk songs came into existence thanks to a sponsorship. Among them belongs also a fifteen-volume monument Southern Bohemia and Bohemian Forest in Songˇ(Český jih a Šumava v písni) from the 1st half of the 20th century by Czech composer Karel Weis.
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Ahead of its Time, or Small Visions Czech Folkloristics
Tyllner, Lubomír
The term vision has been understood differently, depending on its users, from artists, an politicians, to businesspeople. Visions used to be quickly overcome, or even unfulfilled. Some visions which wereahead of their time were used in research and scholarship corcennig Czech music as well (Regional Collecting Project 1819, Otakar Hostinský, Ludvík Kuba etc.).
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