The author presented the history of gathering and researching of Slovenian folk song and narrative tradition with special regards on its characteristics, genres, forms and typology and also relationships with literature. This is the first treatise, published in Russian language, which treats Slovenian song and narrative folklore in whole.
The article describes what happened to folk dance when folk dance groups transformed it from its traditional environment to the stage. In this process, the folk dance heritage was either actively or passively transformed, and subjected to the principles of public stage performance. Based on a case study of the folk dance štajeriš (Steierisch), the article describes what changes occurred, who influenced them most, and how to best protected this segment of living heritage.
The paper presents and analyzes the collecting and sound documentation carried out by the Russian folklorist J. E. Lineva, who in 1913 spent some time in Slovenia, recording in Gorenjska and Bela krajina considerable of Slovene folk songs. She made extensive use of phonograph in her research and collecting activities and some consider her the greatest Russian folklore specialist of the late 19th and early 20th century. Her successful work was familiar to many contemporary researchers into the folk music of the time, but is now almost forgotten.
Overviews of folk-song heritage consider Primož Trubar’s transcription of the beginning of a Christmas carol in his Katekizem z dvema izlagama (Catechism with Two Commentaries) to be the first transcription of a Slovenian folk song. The context reflects a judgment of society that Trubar presented in his catechism from various viewpoints and with a great deal of criticism, and it clarifies which social class Trubar regarded as being most representative of the Slovenian nation.
The article deals with Slovenian traditional singing, its techniques of leading voices and with number of voices. The most explicit ‘soundscapes’ were formed in different Slovenian regions but were formed on the basis of the first field recordings from the middle 20th century, but were significantly transformed till nowadays. The research is based on the comparison of old and new filed recording and searches for the structure elements that pass over to traditional singing mostly from choral singing and polka music.