Naslov
Folk Music of Završje and the Surrounding Area: a Contribution to the Study of Local Heritage

Autori
Gortan-Carlin, Ivana Paula ; Antonac Emanuela

Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni

Knjiga
Education for Development

Urednik/ci
Tatković, Nevenka ; Blažević, Iva ; Radetić-Paić Mirjana ; Ružić-Baf, Maja ; Šuran Fulvio ; Zuliani Đeni

Izdavač
Sveučilište Jurja Dobrile u Puli

Grad
Pula

Godina
2014

Raspon stranica
325-342

ISBN
978-953-7498-93-1

Ključne riječi
Istrian traditional music, Tradition and education, Istrian instruments, Završje

Sažetak
The authors of the paper examine and present the folk music of Završje and the surrounding area. The small town of Završje is situated in the north of the Istrian peninsula, in the upper Buje region, between Oprtalj and Grožnjan, on the top of a 240 meters high hill. The specificity of Istrian and Kvarnerian folk music stems from its untemperedness. Even as early as the 19th century, Istrian and Kvarnerian folk music incited the interest of the ethnomusicologist Franjo Ksaver Kuhač, Matko Brajša Rašan, Ivan Matetić Ronjgov and many others. The paper is based on ethnomusicological fieldwork, melography, the musicological research of previously recorded songs from the region and on the comparison of previous and current research. The most widespread type of folk instruments in Istria are aerophonic instruments, in which the tone is produced by the vibration of the air column, or, to put it simply, by blowing into them. These instruments are roženice (sopela, supiela), bagpipes (meh, mieh), mišnice (mišnjice), duplice (pipes, dvojnice, vidalice, volarice, ovčarice), šurle and sopelica. The aforementioned instruments are untempered, which means that the tones they generate cannot be notated because they match the character of the sung folk music of the region. In addition to the autochthonous instruments, the Istrian region adopted three instruments that originate from the ethnographic Alpine area. These are the violin (vijulina), the bass (bajs) and diatonic accordion, popularly called triještina. Unlike the autochthonous instruments, the latter ones are tempered instruments whose tones can be recorded. They are used to produce dance music, in the first place for dances originating from northern Italy (mafrina, šete paši, marća) or Austria (polka, spitz-polka, mazurka, waltz). In the past, the dance music of the northern part of Pazin region, the region of Buzet (except Ćićarija), Poreč, and the researched region of Buje was played only by gunjci, the tempered instrumental ensembles. They entertained people by playing polkas, waltzes, mazurkas and marches at weddings, village fairs and dances. While the violin was procured in music stores, the bajs was built by local master carpenters. In this paper the authors review the instruments of the aforementioned area, gunjci ensembles, craftsmen and the bajs builder Ottavio Štokovac, who lived in the village of Kolari near Završje. The Istrian region is characterized by the exchange of repertoire (which includes music and lyrics) between three ethnic groups (the Croats, Slovenes and Italians). It is evident that in the area of Završje and its surroundings Croatian and Slovenian singers more frequently perform Italian traditional songs. On the basis of the conducted research, this statement has been confirmed in the paper.

Izvorni jezik
Engleski

Znanstvena područja
Pedagogija, Znanost o umjetnosti

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