By Timothy J. Cooley

ISBN-10: 0253344891

ISBN-13: 9780253344892

Challenging myths that mountain isolation and historic people customs outlined the tune tradition of the Polish Tatras, Timothy J. Cooley indicates that extensive touch with travelers and their extra educational relations, ethnographers, because the overdue nineteenth century assisted in shaping either the ethnic workforce often called Górale (highlanders) and the tune that they practice. Making song within the Polish Tatras finds how the traditionally comparable practices of tourism and ethnography truly created the very gadgets of vacationer and ethnographic curiosity in what has develop into the preferred inn quarter of Zakopane. This energetic publication introduces readers to Górale musicians, their present-day lives and track making, and the way they navigate a local mountain-defined id whereas engaging in worldwide song tradition. vibrant descriptions of musical performances at weddings, funerals, and gala's and the collaboration of Górale fiddlers with the Jamaican reggae workforce Twinkle Brothers are framed by way of discussions of presently influential theories when it comes to id and ethnicity and to anthropological and sociological reviews of formality, tourism, gala's, globalism, and globalization. The e-book contains a 46-track CD illustrating the wealthy number of Górale tune, together with examples of its fusion with Jamaican reggae.

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Extra info for Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians

Sample text

Just one sekund is acceptable and some believe traditional. Today two sekundy are more common, and often there are many more. The basy plays in tandem with the sekundy and is occasionally supported with a double bass, all sounding on the quarter-note beat (as most typically transcribed and as can be seen in the following figures), changing bow direction with each beat. Together the basy and sekundy produce harmonic ostinatos (repeated bass lines and “chords”), although what they play should not be considered “functional harmony” in the sense of European common practice tonal harmony.

This would seem to negate the interpretation of the word ozwodna as meaning “slowly” except that an ozwodna is generally danced much slower than a krzesana or drobna, described below. ” The distinction between pasterskie, wierchowe, and ozwodne is best thought of as a continuum from unmetered music for listening to metered music for dancing (see fig. 5). 8 an ozwodna for dancing (CD track 3). The next genre of tunes considered here bears the name of Jan Krzeptowski-Sabała, the violinist, storyteller, and mountain guide memorialized in the monument to Chałubin´ski.

At least one of the individual Go´rale musicians, Krzysztof Trebunia-Tutka, involved in this fusion project used the experience as a platform to express his own ideas about what is at the heart of Go´rale music, and to express his own agency as a musician with a long family tradition. In interviews with me, and in a song text he wrote for a later CD release, he names some of the individual ethnographers surveyed in chapter 3. Trebunia-Tutka knows what others have said and written about Go´rale music-culture, and in a deliberate move to reverse the power imbalances inherent in the relations of those who would represent Go´rale, he has made use of his new access to media and “world beat” music to broadcast his ideas.

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Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians by Timothy J. Cooley

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