Traditional Multipart Singing in Poland in the Perspective of Ethnomusicology
<p>The article presents the history of documentation of multi-part singing in Poland and the state of research on this subject. The multi-part singing as the musical and culture phenomenon is regionally limited and can be recorded in Carpathian Mountains and in the north-eastern borderland whe...
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| Format: | Article |
| Language: | English |
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Polskie Towarzystwo Ludoznawcze
2018-12-01
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| Series: | Łódzkie Studia Etnograficzne |
| Subjects: | |
| Online Access: | https://apcz.umk.pl/czasopisma/index.php/LSE/article/view/18686 |
| _version_ | 1819037575060389888 |
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| author | Piotr Dahlig |
| author_facet | Piotr Dahlig |
| author_sort | Piotr Dahlig |
| collection | DOAJ |
| description | <p>The article presents the history of documentation of multi-part singing in Poland and the state of research on this subject. The multi-part singing as the musical and culture phenomenon is regionally limited and can be recorded in Carpathian Mountains and in the north-eastern borderland where the multi-part singing remains in some parishes the common heritage of Poland and Lithuania till today. There are also numerous examples of spontaneous heterophony in Polish-Belorussian and Polish-Ukrainian musical traditions, but the singing in parallel thirds prevails, particularly among members of the Orthodox Church. The prerequisite of the multipart singing is a slow tempo, not typical of folk songs in ethnic Poland. The review of sources and living practice allow to discuss three historical layers of multipart singing in Poland: 1) the oldest one – heterophony or diaphony in fifths documented since the 15th century, 2) three-part mixed choir influenced by the church practice since the 18th century (north-eastern part of Poland) and 3) parallel thirds in female groups wherever the school-youth-choirs were introduced and the mixed choir movement e.g. in Silesia since the 19th century. Thus the multi-part singing has become both a sign of regional-ethnic specificity and the result of the cultural development.</p> |
| first_indexed | 2024-12-21T08:23:35Z |
| format | Article |
| id | doaj.art-235b904ff7464cc9a56418ee06515719 |
| institution | Directory Open Access Journal |
| issn | 0076-0382 2450-5544 |
| language | English |
| last_indexed | 2024-12-21T08:23:35Z |
| publishDate | 2018-12-01 |
| publisher | Polskie Towarzystwo Ludoznawcze |
| record_format | Article |
| series | Łódzkie Studia Etnograficzne |
| spelling | doaj.art-235b904ff7464cc9a56418ee065157192022-12-21T19:10:23ZengPolskie Towarzystwo LudoznawczeŁódzkie Studia Etnograficzne0076-03822450-55442018-12-01570112810.12775/LSE.2018.57.0215574Traditional Multipart Singing in Poland in the Perspective of EthnomusicologyPiotr Dahlig0Instytut Muzykologii Wydział Historyczny Uniwersytet Warszawski<p>The article presents the history of documentation of multi-part singing in Poland and the state of research on this subject. The multi-part singing as the musical and culture phenomenon is regionally limited and can be recorded in Carpathian Mountains and in the north-eastern borderland where the multi-part singing remains in some parishes the common heritage of Poland and Lithuania till today. There are also numerous examples of spontaneous heterophony in Polish-Belorussian and Polish-Ukrainian musical traditions, but the singing in parallel thirds prevails, particularly among members of the Orthodox Church. The prerequisite of the multipart singing is a slow tempo, not typical of folk songs in ethnic Poland. The review of sources and living practice allow to discuss three historical layers of multipart singing in Poland: 1) the oldest one – heterophony or diaphony in fifths documented since the 15th century, 2) three-part mixed choir influenced by the church practice since the 18th century (north-eastern part of Poland) and 3) parallel thirds in female groups wherever the school-youth-choirs were introduced and the mixed choir movement e.g. in Silesia since the 19th century. Thus the multi-part singing has become both a sign of regional-ethnic specificity and the result of the cultural development.</p>https://apcz.umk.pl/czasopisma/index.php/LSE/article/view/18686tradycyjna wielogłosowośćheterofoniafolklor muzycznypogranicza kulturowekarpaty |
| spellingShingle | Piotr Dahlig Traditional Multipart Singing in Poland in the Perspective of Ethnomusicology Łódzkie Studia Etnograficzne tradycyjna wielogłosowość heterofonia folklor muzyczny pogranicza kulturowe karpaty |
| title | Traditional Multipart Singing in Poland in the Perspective of Ethnomusicology |
| title_full | Traditional Multipart Singing in Poland in the Perspective of Ethnomusicology |
| title_fullStr | Traditional Multipart Singing in Poland in the Perspective of Ethnomusicology |
| title_full_unstemmed | Traditional Multipart Singing in Poland in the Perspective of Ethnomusicology |
| title_short | Traditional Multipart Singing in Poland in the Perspective of Ethnomusicology |
| title_sort | traditional multipart singing in poland in the perspective of ethnomusicology |
| topic | tradycyjna wielogłosowość heterofonia folklor muzyczny pogranicza kulturowe karpaty |
| url | https://apcz.umk.pl/czasopisma/index.php/LSE/article/view/18686 |
| work_keys_str_mv | AT piotrdahlig traditionalmultipartsinginginpolandintheperspectiveofethnomusicology |