tautosakos darbai xxxii - Lietuvių literatūros ir tautosakos institutas

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18 GeTreTeNer TaNZ Transcription of a Hardanger fiddle tune made by Johan Halvorsens and published by Peters in Leipzig 1910 (Halvorsen 1910: 9)
Hardanger fiddle tunes as played by knut dahle, an old traditional fiddler from tinn, telemark. in his younger years dahle had learned tunes directly from famous folk fiddlers like Myllarguten and Håvard gibøen (1809–1873). now, dahle wanted to preserve the tunes for future generations. these tunes as transcribed by Halvorsen later formed the basis for grieg’s own piece Slåtter op. 72 (1902–03). While writing the music to Fossegrimen Johan Halvorsen still had the inspiring collaboration with knut dahle fresh in mind. in addition to the important role that the music played in the dramatic context, eldegard’s many enchanted depictions of nature appealed strongly to Halvorsen. the premiere took place on January 29th 1905 and Johan Halvorsen himself acted as the soloist on the Hardanger fiddle. the play was indeed a fantastic success. Fossegrimen became one of the national theater’s most popular productions ever and was presented no less than 104 times between 1905 and 1909. Halvorsen was the soloist during all the performances. With his music to Fossegrimen Johan Halvorsen also became the first composer in musical history to make use of the Hardanger fiddle in a classical orchestral setting. the most famous musical part of Fossegrimen is undoubtedly the ecstatic, devilish dancing tune “Fanitullen”, inspired by the traditional slått “Førnesbrunen” as played by the fiddler olav Moe in valdres. even if Fanitullen is based upon authentic folk music material, a great deal of this tune appears to have been composed by Halvorsen without the use of any source material. the dancing tune Fanitullen is frequently performed even as a solo piece by some of the educated and most skilled Hardanger fiddlers. in the movement “song of the master of ceremonies”, the singer is accompanied by Hardanger fiddle, solo violin and an oboe imitating the ram’s horn. the master of ceremonies sings without accompaniment during the first half of the song, while the on-stage ensemble makes use of a Hardanger fiddle gangar-motif to tie together his phrases. initially the motivic material is strongly influenced by folk music elements, but ultimately acquires a more stylized character, accompanied by the orchestral strings. in 2002 an excellent new Cd-recording of the play Fossegrimen was released by the Latvian national symphony orchestra, with the norwegian professional violinist arve Moen Bergset as the soloist on the Hardanger fiddle. The Post-romantic Period Halvorsen’s success with Fossegrimen inspired many composers to keep on writing music in a “norwegian” musical language, using elements from the Hardanger fiddle music and other parts of the traditional music in norway. However, in the first decades of the 20th century only a limited number of composers wrote music including the Hardanger fiddle, and soon even the use of norwegian elements in the music strongly decreased. this discontinuation was probably due to several reasons. new musical impulses reached norway from europe, and thus the influence from local traditional music on the different national styles was no longer an obvious part 19
Page 1 and 2: TauTosakos darbai XXXii Folklore sT
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Page 7 and 8: tautinių MažuMų tautosaka / Folk
Page 9 and 10: PRATARMĖ ISSN 1392-2831 Tautosakos
Page 11 and 12: įrašais seriją „1935-1941 met
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Page 15 and 16: STUDIA INSTRUMENTORUM MUSICAE POPUL
Page 17: and professional violinists living
Page 21 and 22: The Hardanger Fiddle Concerto it wa
Page 23 and 24: Magnar Åm (b. 1952) wrote two piec
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Page 27 and 28: Pembroke Folk and Cultural Performe
Page 29 and 30: Engagements example 2. Come Let Meh
Page 31 and 32: tambrin Band from Mont st. george.
Page 33 and 34: predominantly perform today, one pi
Page 35 and 36: „SENESNI ŽMONĖS GRIEŽDAVO NEPA
Page 37 and 38: european colonisation in the 19th c
Page 39 and 40: Fig. 6a. stopped bol flutes partial
Page 41 and 42: in the traditional music of the Ber
Page 43 and 44: the musical notation in figure 9 sh
Page 45 and 46: NoTes 1 the east african region geo
Page 47 and 48: aPPeNdiX LIST OF AEROPHONE ENSEMBLE
Page 49 and 50: No. ensemble gauta 2006-05-12 class
Page 51 and 52: as in the case of Malaysia, islam i
Page 53 and 54: on the opposite sides of the belly
Page 55 and 56: oadens towards the belly and a prot
Page 57 and 58: Fig. 3. tuning of the gambus Melayu
Page 59 and 60: in the Malaysian context, the gambu
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Page 63 and 64: modal structure of the taksim. the
Page 65 and 66: LIAUDIŠKA LIUTNIA (GAMBUS) IR SIMB
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sound and playing technique Playing
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at the homepage of the vietnam nati
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it can also be stated that traditio
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eFereNCes arana, Miranda (1999). Ne
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STUDIA INSTRUMENTORUM MUSICAE POPUL
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and manuscripts. He revealed to me
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told him that i can play it and tha
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now we can compare the traditional
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SARDINIJOS ORAS LAOSO DŪDELĖSE Gi
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The Origin of the Fujara the fujara
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a s y m b o l o f h i g h w a y m e
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a s s o c i a t i o n o f t h e f u
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Conclusions today, for slovak folk
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t h e s y m b o l i c c o n t e n t
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Harmonier’s tricks in the adyghe
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Harmonier Yury nagoev. Photo: Alla
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scheme 1. traditional dancing circl
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1. apotropaic: for driving out demo
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god would allow lightning to strike
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Fig. 2. Baptism of the bell. Photo:
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songs with rhythmic text or singing
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7 rhythmic bell chiming is a form o
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even if they do not have a striker.
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Archaeological and Cultural Context
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variant pendants: bells, crosses, c
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VARPELIAI, VARPAI IR VARPELIŲ PAVI
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i established that this custom was
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uilt after 1355 by the archbishop J
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- a kettledrummer was chosen by a l
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Łowicz, Łowicz distr. słupia, sk
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Conclusions descriptions presented
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LITAURŲ MUŠIMO TRADICIJA PER EUCH
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there is practically no knowledge a
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the museumisation of objects unites
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process. Leif eriksson had already
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a matter of re-staging, not de-stag
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Lindvall, karin (1999). Musealiseri
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focuses on the contemporary folk mu
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in a rather polemical contribution
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musical instruments in russia were
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ukraine, but also with the lute mus
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weighting of the weak beats, gives
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galaiskaia, r. B. (1980). Опыт
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IŠ NAUJŲ TYRINĖJIMŲ MIRTIS IR L
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Jokimaitienė taip nusako į tokias
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kaimynai, kelionei (dažniausiai ik
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Žemė drebėjo Ltr 3999(36); Ten t
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akivaizdu, kad kulkos-bitės folklo
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gaus veikla, prilygsta neįgyvendin
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ūsi tradiciškai, kaip ir kiti tav
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siuos laukeliuos, Kur katras tik mi
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vėlyvosiose karinėse-istorinėse
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in the battlefield is subtly supple
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nepriimtinus straipsnius spausdinę
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vėjo, kad ryžosi ją atlikti. kla
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Patriotiškas hiphopas Lietuviškas
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ankstyvojo roko ir hiphopo muzikoje
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IŠ NAUJŲ TYRINĖJIMŲ ISSN 1392-2
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organizacijos ar jų padaliniai (dr
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atkurtos organizacijos nemažą sav
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Paskutinė vakarinio laužo daina -
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Per kalendorines šventes - užgav
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ties pavadinimą, jis turi būti in
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organizacijų galima rasti grupių
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priešakyje. Bosiniu strykiniu chor
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„yra skambinęs keletą kartų pe
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evaldas vyčinas ir Jonas Lechovick
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mokymosi cimbolais būdą. uždengu
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30 ten pat, p. 75. 31 ten pat. 32 M
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aiškios gyvenimo pasakojimų fiksa
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gyvenimą pasakojo „atviru šird
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Apie folklorinius intarpus gyvenimo
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prigimties pateikėjų gyvenimo pas
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tomas venclova: „Folkloriniai rit
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mas ir mįslėje apie apynį: Vytur
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Augo augo žalias linas, Žydė žy
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Velnias ir sugalvojo įlįsti į li
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apie vargą: Vargas mums privinčia
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tūrą: Kai jaunas buvau, siūbavau
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liepia daryti tai, kas privalu: Su
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vaizduojami patiriantys smurtą. se
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clothing, dressing, covering of the
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pirmasis posmas - po melodijomis) i
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3. Ltr 2464(770). Miesca zapisu - p
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10. Ltr 2464(911). Miesca zapisu -
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16. Ltr 2464(765). Miesca zapisu -
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А я свайго мужыка с
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24. 1. a u poli vietryk bylinku ka
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Chłapcy: a my prosu wytapčym, wyt
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tojos minimų kultūrinių imperaty
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kapeliai virtę sunkiai pereinamu m
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aplinka), bet ir strategiškai pato
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4 žr. Mykolas Biržiška. anuo met
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vartojimo „kelius ir klystkelius
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SUKAKTYS ISSN 1392-2831 Tautosakos
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stropiai datuoja užrašus. Besišn
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SUKAKTYS ISSN 1392-2831 Tautosakos
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1907 m. rugpjūčio 18-19 d. buvo s
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Be pirmajame Lietuvių mokslo draug
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mokslų sričių tyrinėjimus“ 19
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pranešta, kad nario mokestį tesum
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tūros, vėliau - Lietuvių literat
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PRO MEMORIA ISSN 1392-2831 Tautosak
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„rinkime tautosaką!“ - tokiu p
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1943 m. jį uždarius, jas baigė p
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PRO MEMORIA ISSN 1392-2831 Tautosak
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Paskutinė išleista knyga - „Lie
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sią dvasinių mokslų instrumentą
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Folklore Fellows draugijos narys, d
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dėl leidyklos darbuotojų toliareg
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RECENZIJOS ISSN 1392-2831 Tautosako
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kai). dainos melodijoje gausu meliz
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nr. 1; „sausė lėnelē išdžiuo
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nepasirinktas vienodas melodijų sk
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Juozo Baldžiaus kultūrinio paliki
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nutrūkęs penkiasdešimčiai metų
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lorą, suformuluota 1936 metais Lie
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yškesniais folklorizmo pavyzdžiai
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grojimas ligavka per adventą kai k
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gistruoti visų aptiktų instrument
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ŠV. AGOTOS ŠVENTĖ ISPANIJOJE Ši
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je - iii a. sicilijoje krikščiony
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statė žymiausios didžiosios Brit
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abejo, atrodo gana kukliai šalia j
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estijos populiariojoje muzikoje: sk
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teto studentų praktikos darbų (va
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2004 METŲ LIETUVIŲ TAUTOSAKOS BIB
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22. iškasiu šulnelį: anelės Pra
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Tezės 45. international Ballad Com
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74. kavaliauskienė, aušra. Jaunų
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106. senvaitytė, dalia. ugnies die
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138. Buračas, Balys. Joninės //
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171. Penttinen, Yrjö. karo žinia
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205. žaidimai, rateliai, šokiai /
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238. Liugaitė, Modesta. on the alt
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255. Казанскене, Ванд
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278. Būgienė, Lina. - rec. kn.: F
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299. Profesoriaus stasio skrodenio
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330. Šidlauskas, aleksandras. Baly
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suTruMPiNiMai aLtM - Latviešu taut
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Mūsų autoriai vitas agurkis LLti
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Jurgita ūsaitYtė dr., LLti dainyn
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9 Sandra E. Trehub. the development
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