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Autori: Ćaleta, Joško
Naslov: Kontinuitet i razvoj tradicijskog glazbovanja na primjeru glazbala dalmatinskog zaleđa
( Continuity and Development of Traditional Music-making on the Example of Traditional Musical Instruments in Dalmatian Hinterland )
Izvornik: Zaštita tradicijskog glazbovanja / Safeguarding Traditional Music-Making: Istarski etnomuzikološki susreti / Istrska etnomuzikološka srečanja / Incontri etnomusicologici istriani 2003 / Ceribašić, Naila (ur.). - Roč : KUD , 2004. 143-159.
Skup: Zaštita tradicijskog glazbovanja / Safeguarding Traditional Music-Making: Istarski etnomuzikološki susreti / Istrska etnomuzikološka srečanja / Incontri etnomusicologici istriani 2003
Mjesto i datum: Roč, Hrvatska, 10-11. 05. 2003.
Ključne riječi: etnomuzikologija; organologija; glazbovanje dalmatinskog zaleđa
( ethnomusicology; organology; Dalmatian Hinterland music-making )
Besides traditional singing and dance, traditional musical instruments are integral part of traditional musical practice, and also an important component of material culture. They represent a concrete example of the continuity and development of traditional culture. The most prominent traditional musical instruments in Dalmatian hinterland are gusle, svirale and diple. The gusle, a single- or double-stringed fiddle, consist of a sound box, neck and head. An animal skin, usually a goat skin, is stretched over the sound box with an opening in the centre to produce a better sound, while one or two horse-hair strings are stretched along the entire length of the instrument up to the neck. The bow is made from a thin, strongly curved branch of hardwood and a length of horse-hair. The svirale are end-blown double-duct flutes with finger-holes. In different regions they are known by various names such as dvojnice, dvogrle, duplice, dvojke, vidulice. They are made from a single piece of wood (maple, plum, common maple or elder-tree wood), usually ornamented by various wood-carving techniques (relief carving, notching, engraving, and by burning in motifs with a heated needle). The older form of svirale has six finger-holes on one pipe with none on the other, producing the tone hums in a drawn-out manner during playing with a drone effect (6:1). The newer forms of svirale have also two pipes with the different finger-holes combination (4:3 or 5:4). The diple is a clarinet-type instrument. It has a wooden chanter with two idioglot single reeds hidden in the wooden funnel. Most of the instruments have an animal-skin bag attached to the wooden funnel (miješnice, mih, diple s mijehom). The finger-holes on the chanter are made in various combinations, from the very oldest one-part form (6:0) to the two-part combinations (6:6, 6:2, 6:3). The holes are stopped with three fingers of each hand (from the index finger downwards). Playing the diple without a bag is very strenuous and requires a special technique of circular breathing (playing na priduške). These three instruments, archaic by their centuries-long continuity, are still in the centre of attention of players, makers and researchers. It was exactly the continuity of their presence what gave me an impulse to compare their role in the past and present, relying on historical sources, from one side, and on my own years-long research in Dalmatian hinterland, from the another. The results, obtained by comparing today's players, makers and performing models with those from the past, have confirmed the lively musical practice which, significantly adapted and transformed, exists in today's contemporary world.
Vrsta sudjelovanja: Predavanje
Vrsta prezentacije u zborniku: Ostalo
Vrsta recenzije: Međunarodna recenzija
Projekt / tema: 0189003
Izvorni jezik: HRV
Kategorija: Znanstveni
Znanstvena područja:
Znanost o umjetnosti,Etnologija i antropologija

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