The article proceeds from the human-animal relationship as presented in selected folk songs and seeks to redefine the traditional view of animals (as some sort of animate machines). Using ecological and philosophical premises, the author seeks to demonstrate that animals belong where human beings have already ensconced themselves. In analyzing animal ballads and humorous songs, the author discovers various images and roles of animals as well as human perceptions of the animal world either as a real microcosm or merely a metaphorical one. Research thus shifts from an analysis of motifs and themes to the concrete or cultural relationship of the human towards animals in folklore. It is shown that the relationship between humans and animals in folksongs is explicitly anthropocentric and based on two types of historical views on animals: the synanthropic view, which treats animals as harmful, and the anthropophilic view, which regards animals as useful; however, because of certain ethic dimensions this often switches to ironicization, concealing the horror of certain human acts towards animals.
Monograph addresses musical praxis of bell chiming – pritrkavanje, which is a part of folk music tradition in Slovenia and some other European countries. Bell chiming is a rhythmic musical expression on church bells, an extremely widespread musical practice among both older and younger generations. This book discusses current research and offers, at specific sections, comparative analysis from a historical and geographical perspective. Bell chiming is placed in the wider context of European bell-music practices, and contrary to the common view, a detailed study of bell chiming in Germany and Croatia shows that bell chiming isn’t a uniquely Slovenian musical practice. The book is a fundamental work in the field of bell chiming, as the topics presented here have rarely been discussed outside of a few popular and short scholar papers. It presents a significant contribution to the ethnomusicological and campanological field, with many of the topics also relevant to other scientific disciplines and bell chimers themselves. The book is in Slovenian language, but provides a summary in English.
The book's main goal is to present one of the Slovenian folk dances, štajeriš (Steierisch or Steirisch), from choreological and dance-anthropological perspective. The introductory chapter frames the topic and provides the basis for the following two extensive chapters. The first part of the book is focused on the dance itself. It presents morphological and structural analysis of dance, leading to a morphological-structural analysis of the Slovenian štajeriš, with the primary structure derived from the number of dancers. In the second part of the book, the focus shifts from a dance to men. It starts off by presenting the syncretism of a dance, music and song in the štajeriš, to later focus on the role and meaning in man’s life, with the last section discussing the relationship between the men and the dance, where the dance is treated as a medium trough which both verbal and nonverbal communications is made possible. The central chapters are rounded off by a short chapter on the state of the štajeriš today, where it actually no longer lives among the people, but appears only as the revival of the past.
The first volume in this series presents the folklore genre of military songs, which in terms of content can also be classified as love songs with a young man as the lyric protagonist. Songs presents all the aspect of soldiers life, from recruting till the consequences of soldiers activities. In addition to military songs, it also presents the canonized tradition of thematizing wars and the presence of soldiers in them within the broader Slovenian folksong tradition, and the collective and individual memory of soldiers that either created or sang these songs.
This article analyzes some of the most important changes in the perception of sound recordings that result from playing them at incorrect playback speeds. The playback of old 78 rpm phonograph records is highlighted because this rotation speed was standardized relatively late and various other speeds were used during the recording process. These are generally not documented and must therefore be evaluated using other sources.