151 KB46 KB199120252014Šivic, Uršaštevilka:1letnik:24=75ISSN:0354-0316COBISSID:1745542URN:URN:NBN:SI:doc-NMHUV9GQslSlovenski etnografski muzejEtnolog. Nova vrsta (Ljubljana)etnomuzikologijafolk musickolednikiljudska glasbaljudske šegeSloveniaSlovenijaGlasba kot integralni del sodobnih koledniških šeg|The music of carol customs had been the subject of field recording by the Institute of Ethnomusicology, SRC, SASA for many decades, but torn from the context of which is it an integral part. The collaborators of the institute recorded carol songs and tunes in the same way at the other musical repertoire of (folk) singers and musicians, but it must be taken into consideration that carol singing events were rare and were more or less carried out in secret. People indeed started to abandon the custom after the Second World War (and especially after 1950), when the regime%s negative attitude towards religion and contents and activities related to religion intensified. It was only after 2001 that the focus of ethnomusicologists turned towards recording (and observing) music as part of the wider social and cultural events of carol singing, which started to re-emerge in reconstructions from the late 1980s onwards as a result of the changing socio-political climate and the regime%s fading authority. This redirection of the research focus of ethnomusicology from musical contents to context led to an initiative to examine and treat carol customs comprehensively. The present article thus deals with data collected in the course of 77 field recordings of carol customs from the2001%2014 period, and addresses the place and role music has in contemporary carol customs and its genres. The socio-cultural complexity of carol singing provides many options for observing the different roles music has in carol customs: the place of music in a custom%s structure and course, its genre classification, the form of performance, the quality of the performance, and the attitude of the performers and the locals to the custom. The music in carol customs is performed either vocally (the carol customs of Christmas and New Year, the Three Kings, Candlemas, St George's Day, St Florian's Day, and Midsummer), instrumentally (Shrovetide, carol singing for collecting wine, and the carol singing of the Bohinj otepovci), and in some cases a combination of vocal and instrumental performance. The latter form is often the best indicator of declining singing skills and reliance on instrumental accompaniment. The performers are one of the reasons for the transformative nature of carol customs and consequently their music; from this point of view the most interesting example for observing the transformative nature of the music is the carol singing of St Florian's Day, performed by a community of young lads (not a singing community). Music is thus part of a custom as 1.a vocally performed carol song (unison instead of harmony singing), 2. a vocally (unison) performed carol song, accompanied by an instrument (accordion), 3. a random song instead of a carol song, or 4. the music is left out of the custom because of the inability to perform it. Since the (folk) music in carol customs is not exempted from the general (folk) music dynamics, one of the aims of this article is to define it within the researched field and interpret it as an indicator of the transformative nature and dynamics of general changes in folk and other musicGlasba koledniških šeg je bila dolga desetletja predmet terenskega snemanja Glasbenonarodopisnega inštituta ZRC SAZU, vendar iztrgana iz konteksta, katerega integralni del je. Sodelavci inštituta so snemali koledniške pesmi in viže enakovredno drugemu glasbenemu repertoarju pevcev in godcev, pri čemer je seveda nujno upoštevati dejstvo, da so bili koledniški dogodki redki in prikriti, saj so jih, ko se je po drugi svetovni vojni (predvsem po letu 1950) zaostril odklonilni odnos do vere in z njo povezanih vsebin in dejavnosti, ljudje začeli opuščati. Šele po letu 2001 se je področje zanimanja etnomuzikologov usmerilo v snemanje (in opazovanje) glasbe znotraj širšega družbeno-kulturnega dogodka koledovanj, ki so se začela pojavljati v rekonstrukcijah od poznih osemdesetih let 20. stoletja naprej v toku družbeno-politične klime in upada moči takratne politične nomenklature. Preusmeritev raziskovalnega pogleda etnomuzikologije od glasbene vsebine h kontekstu je napeljala k pobudi za spremljanje in s tem bolj celostno obravnavo koledniških šeg. Pričujoči prispevek tako obravnava podatke, zajete na 77-ih terenskih snemanjih koledniških šeg iz obdobja 2001%2014, in govori o mestu in vlogi, ki ju ima glasba v sodobnih koledniških šegah, in o njenih zvrsteh. Družbeno-kulturna kompleksnost koledovanj razpira številne možnosti opazovanja različnih položajev glasbe v koledniških šegah: mesto glasbe v strukturi in poteku šege, njeno zvrstno umestitev, njeno izvedbeno obliko, kakovostno raven izvedbe in odnos izvajalcev in domačih do nje. Tako je glasba v koledovanjih lahko izvedena vokalno (božično-novoletno, trikraljevsko, svečniško, jurjevsko, florjanovsko in kresniško koledovanje), inštrumentalno (pust, koledovanje za pobiranje vina in koledovanje prednovoletnih bohinjskih otepovcev), v nekaterih primerih tudi vokalno-inštrumentalno. Prav slednja oblika je pogosto pokazatelj slabšanja veščine petja in zato naslanjanja na inštrumentalno spremljavo. Izvajalci so eden izmed vzrokov transformativnosti koledniških šeg in s tem tudi glasbe; s tega vidika je kot mesto opazovanja transformativnosti glasbe najzanimivejše florjanovsko koledovanje, ki ga izvaja fantovska (in ne pevska) skupnost. Glasba tako nastopa kot: 1. vokalno (enoglasno namesto večglasno) izvedena koledniška pesem, 2. vokalno (enoglasno) izvedbena koledniška pesem, ki se ji zaradi podpore priključi inštrument (harmonika), 3. poljubna pesem, ki nadomešča koledniško pesem ali pa se 4. glasba zaradi nezmožnosti izvedbe iz šege umakne. Ker (ljudska) glasba v koledniških šegah ni izključena iz splošne (ljudsko-)glasbene dinamike, je eden izmed namenov tega prispevka, da jo opredeli znotraj obravnavanega polja in jo interpretira kot znanilko transformativnosti in dinamike splošnih sprememb v polju ljudske in drugih glasbTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski etnografski muzej