Naslov
Pavo Gadanyi and Croatian Bagpiping

Autori
Ceribašić, Naila ; Duplančić, Katarina ; Šala, Nina ; Vegh, Andor

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni

Izvornik
18th Meeting of the ICTM Study Group on Folk Musical Instruments: Book of Abstracts / Jänichen, Gisa, et al. - Zagreb : Institut za etnologiju i folklOris tiku (IEF), 2011, Nepag.-nepag.

Skup
18th Meeting of the ICTM Study Group on Folk Musical Instruments

Mjesto i datum
Stubičke Toplice, Hrvatska, 13.04.2011. - 17.04.2011

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
bagpiping; bagpipes; dude; instrument making; repertoire and style of playing; etnomusicology of the individual; Croatian community in Hungary; Croatia

Sažetak
The aim of this panel is to present building and playing of a variant of dude bagpipes, based on the fieldwork conducted with Pavo Gadanyi (1932), a member of Croatian community in the village of Tótújfalu, Hungary. He is a musician who concludes the old tradition of local oral transmissions ; the rest of today’s Croatian players and builders grew up within revival movement initiated in 1980s. The type of the instrument he builds is a bellow-blown dude consisting of a chanter with four pipes and a drone, all with a beating reed of a clarinet type. The usage of this type of bagpipes, categorized in recent scholarly literature as Slavonian dude, has been documented in the Drava river area from Virovitica vicinity to the west of Baranja, both on the Croatian and Hungarian side of the river, and on the south to Daruvar and Našice vicinity, while in other parts of eastern and central Croatia have been used two other types of dude resp. gajde bagpipes (mutually different as regards the number of pipes in a chanter, the system of air supply, size, intonation, playing techniques, etc.). No matter these differences, as for their role in communities, players of these instruments were in the past the most respected rural musicians, functioning as the key entertainers and providers of music accompaniment for all main community happenings (such as feasts, weddings, dance parties). In principle, they were paid for their services and worked as soloists. As emphasized in historical sources, to gain the status of a skillful player has meant to know a wide repertoire of traditional dances and songs, to be apt in singing, and to be overall adroit in amusing others. Starting in early 20th century, gajde and dude players were gradually replaced by tambura ensembles. Their presence has been increasingly restricted to particular annual rituals and other representative and institutionally supported occasions, especially folklore festivals, supplemented in the most recent times by their engagement within tradition-based popular music scene. Likewise, the transmission of knowledge is today to the greatest extent institutionalized through schools, seminars and workshops, starting with the seminar of the Croatian School of Folklore in late 1980s onwards. How Pavo Gadanyi, as the last in the row of pre-revival bagpipers, fits to such a historical trajectory of bagpiping among Croats? Several aspects of his craftsmanship and musicianship are analyzed. Andor Vegh, who is himself a bagpiper and a pupil of Gadanyi, provides an introduction to the panel by describing key components of building and playing this type of dude. Nina Šala reveals the process of Gadanyi’s instrument making, examined in relation to existing (scarce and mainly older) literature on the topic. Katarina Duplančić elucidates Gadanyi’s repertoire and style of playing, comparing him with other pre-revival bagpipers. Naila Ceribašić depicts Gadanyi’s participation in, and significance for diverse communities, and concludes the panel by commenting Gadanyi’s case in the context of an ethnomusicology of the individual.

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti, Etnologija i antropologija

POVEZANOST RADA