DOCSLIB.ORG

Magisterská Diplomová Práce Brno 2018 Mgr. Olga Macíčková

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Magisterská Diplomová Práce Brno 2018 Mgr. Olga Macíčková MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA ÚSTAV SLAVISTIKY Magisterská diplomová práce Brno 2018 Mgr. Olga Macíčková Masarykova univerzita Filozofická fakulta Ústav slavistiky Ukrajinský jazyk a literatura Mgr. Olga Macíčková Česko-ukrajinská terminologie sémantického pole Aerofony (Чесько-українська термінологія семантичного поля Аерофони) Magisterská diplomová práce Vedoucí práce: PhDr. Petr Kalina, Ph.D. 2018 2 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. …………………………………………….. Podpis autora práce 3 Poděkování Zde bych chtěla poděkovat vedoucímu práce PhDr. Petru Kalinovi, Ph.D. za odborné vedení mé diplomové práce, cenné a přínosné rady a věnovaný čas. Rovněž bych chtěla poděkovat Ondrovi Musilovi a Marku Slanému za laskavé zapůjčení literatury. Také bych moc chtěla poděkovat svému milovanému manželi Martinu Macíčkoví za absolutní podporu během psaní této práce. 4 Obsah ÚVOD ............................................................................................................................................................................ 7 1. TEORETICKÁ ČÁST ...................................................................................................................................... 12 1.1 UKRAJINSKÁ HUDEBNÍ INSTRUMENTÁLNÍ KULTURA .................................................................................... 12 1.2 ČESKÁ HUDEBNÍ INSTRUMENTÁLNÍ KULTURA ............................................................................................. 14 1.3 SHRNUTÍ ...................................................................................................................................................... 16 2. ORGANOLOGIE .............................................................................................................................................. 19 2.1 ČESKÁ A UKRAJINSKÁ ORGANOLOGIE ......................................................................................................... 19 3. PROBLEMATIKA DEFINICE TERMÍNU AEROFON V ČESKÉ A UKRAJINSKÉ ORGANOLOGII. 23 3.1 POJEM AEROFON V ČESKÉ A UKRAJINSKÉ ORGANOLOGII ............................................................................. 23 4. ROZDÍLY V KLASIFIKACI AEROFONŮ. DĚLENÍ AEROFONŮ V UKRAJINSKÉ ORGANOLOGII. 26 4.1 DĚLENÍ AEROFONŮ V ČESKÉ ORGANOLOGII ................................................................................................. 28 5. PRAKTICKÁ ČÁST. SROVNÁVACÍ CHARAKTERISTIKA ČESKÝCH A UKRAJINSKÝCH HUDEBNÍCH TERMÍNŮ SÉMANTICKÉHO POLE AEROFONY ................................................................... 30 5.1 KOMPARACE POJMENOVÁNÍ HUDEBNÍCH NÁSTROJŮ Z ETYMOLOGICKÉHO HLEDISKA ................................. 30 5.1.1 Výpůjčky z němčiny ................................................................................................................................ 31 5.1.2 Řečtina ................................................................................................................................................... 36 5.1.3 Italština .................................................................................................................................................. 39 5.1.4 Latina ..................................................................................................................................................... 42 5.1.5 Francouzština ......................................................................................................................................... 44 5.1.6 Hebrejština ............................................................................................................................................. 46 5.1.7 Rumunština ............................................................................................................................................. 47 5.1.8 Maďarština ............................................................................................................................................. 48 5.1.9 Turečtina ................................................................................................................................................ 48 5.1.10 Perština .............................................................................................................................................. 49 5.1.11 Arabština ............................................................................................................................................ 50 5.1.12 Ugrofinské .......................................................................................................................................... 50 5.1.13 Setswanština....................................................................................................................................... 50 5.1.14 Zuluština ............................................................................................................................................ 50 5.1.15 Ruština ............................................................................................................................................... 51 5.1.16 Lužická srbština ................................................................................................................................. 51 5.1.17 Angličtina ........................................................................................................................................... 51 5.1.18 Všeslovanské ...................................................................................................................................... 52 5.1.19 Termíny, jež vznikly antroponymastickým způsobem ......................................................................... 56 5.2 NÁVRHY ...................................................................................................................................................... 59 5.3 TERMÍNY, PRO KTERÉ V UKRAJINŠTINĚ NEEXISTUJÍ EKVIVALENTY VZHLEDEM K ODLIŠNÝM REÁLIÍM ........ 62 5.4 KOMPARACE POJMŮ PODLE GRAMATICKÉHO HLEDISKA .............................................................................. 63 5.5 ODLIŠNOSTI V RODĚ .................................................................................................................................... 63 5.6 ODLIŠNOSTI V ČÍSLE .................................................................................................................................... 64 5.7 KOMPARACE PODLE VÝZNAMU ................................................................................................................... 64 ZÁVĚR........................................................................................................................................................................ 67 5 RESUMÉ .................................................................................................................................................................... 71 RÉSUMÉ .................................................................................................................................................................... 72 SEZNAM ZKRATEK ................................................................................................................................................ 73 SEZNAM POUŽITÉ LITERATURY ...................................................................................................................... 75 ČESKO-UKRAJINSKÝ SLOVNÍK SÉMANTICKÉHO POLE AEROFONY ................................................... 82 6 Úvod „…And over weariness and doubt rose up the horns like bellied sails, like canvas of the soul flung out to rising and orchestral gales…“ (R. Nathan) Magisterská práce s názvem Česko-ukrajinská terminologie sémantického pole Aerofony si klade za cíl analýzu české a ukrajinské hudební terminologie z jedné oblasti organologie, a to z oblasti dechových nástrojů z komparativního hlediska. Důvodem pro zvolení daného tématu je především osobní zájem o tuto problematiku. Protože sama hraji na knoflíkový akordeon a příležitostně učím děti i dospělé ovládat tento nástroj, který se podle obecně přijaté klasifikace řadí k aerofonům (tedy dechovým hudebním nástrojům), musím pro všechny termíny, které jsem dříve používala pouze ve svém rodném jazyce (ukrajinštině), jež se týkají jak stavby samotného nástroje, tak způsobů hry na něj, používat české ekvivalenty. Tato skutečnost mě přiměla k tomu, abych se zaměřila i na jiné dechové hudební nástroje, protože v české odborné literatuře zatím práce se stejnou nebo podobnou tematikou neexistuje. Kromě pedagogických pohnutek, bylo dalším důvodem pro zvolení výše uvedeného tématu pro mou magisterskou diplomovou práci rovněž areálové zaměření. Přesněji řečeno skrze zkoumání a porovnávání hudební terminologie pro české a ukrajinské dechové nástroje bude pravděpodobně čtenář moci nahlédnout do česko-ukrajinských hudebních vztahů ze specifického hlediska. Tato práce by mohla být zajímavá a přínosná pro všechny, kteří mají co do činění nejen s hudbou, ale také s terminologickou problematikou. Přirozeným výsledkem tohoto komparativního zkoumání se jeví vznik česko-ukrajinského slovníku s podtitulem Aerofony, kde by čtenář našel pojmy týkající se jak samotného pojmenování pro dechové nástroje současné i zaniklé a které se vyskytovaly nebo se stále vyskytují na území současné České republiky, jejich základní součásti, způsoby hry na ně a také pojmenování hráčů na jednotlivé dechové nástroje. Jelikož se bude jednat o česko-ukrajinský slovník, bude
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Following the Science
    November 2020 Following the Science: A systematic literature review of studies surrounding singing and brass, woodwind and bagpipe playing during the COVID-19 pandemic Authors: John Wallace, Lio Moscardini, Andrew Rae and Alan Watson Music Education MEPGScotland Partnership Group MEPGScotland.org @MusicEducation10 Table of Contents Overview 1 Introduction Research Questions Research Method 2 Systematic Review Consistency Checklist Results 5 Thematic Categories Discussion 7 Breathing Singing Brass playing Woodwind playing Bagpipes Summary Conclusions 14 Recommended measures to mitigate risk 15 Research Team 17 Appendix 18 Matrix of identified papers References 39 Overview Introduction The current COVID-19 situation has resulted in widespread concern and considerable uncertainty relating to the position of musical performance and in particular potential risks associated with singing and brass, woodwind and bagpipe playing. There is a wide range of advice and guidance available but it is important that any guidance given should be evidence- based and the sources of this evidence should be known. The aim of the study was to carry out a systematic literature review in order to gather historical as well as the most current and relevant information which could provide evidence-based guidance for performance practice. This literature was analysed in order to determine the evidence of risk attached to singing and brass , woodwind and bagpipe playing, in relation to the spread of airborne pathogens such as COVID-19, through droplets and aerosol.
    [Show full text]
  • CHERES Hailed to Be “The Best Purveyor of Authentic Ukrainian Folk
    CHERES Hailed to be “the best purveyor of authentic Ukrainian folk music in the United States” by the former head of the Archive of Folk Culture at the Library of Congress, Cheres brings to life melodies from the Carpathian mountains in Western Ukraine and neighboring Eastern European countries. Since its founding in 1990 by students of the Kyiv State Conservatory in the Ukraine, the ensemble has enthralled North American audiences with their rousing renditions of folk music performed on the cymbalum, violin, woodwinds, accordion, bass, and percussion. Virtuoso musicians join spirited dancers, all donned in traditional Western Ukrainian hand-embroidered garments, to paint a vivid picture of Ukrainian folk art. The musicians, most of whom are from Halychyna in western Ukraine, are united by an artistic vision to preserve their traditions. “Cheres” is actually a little known Ukrainian term for a metal- studded leather belt formerly used as a bulletproof vest during the Middle Ages. Today, the group Cheres has adopted this Medieval protective shield as their name to symbolize the safeguarding of vanishing folk art traditions from the Carpathian mountains. This seasoned ensemble has performed in nightclubs and concerts in New York City; music festivals in the Tri-State area, including Lincoln Center’s Out of Doors Festival in 2006 and Folk Parks in 2000, as well as colleges and universities on the east coast. Cheres has appeared on television on NBC’s Weekend Today show, as well as the Food Network’s Surprise! show. Tracks from their latest CD, Cheres: From the Mountains to the Steppe” have been played on WNYC’s New Sounds program, as well as other stations in the region.
    [Show full text]
  • The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions J. Wayne Johnson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Music Commons Recommended Citation Johnson, J. Wayne, "The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions" (1966). All Graduate Theses and Dissertations. 2804. https://digitalcommons.usu.edu/etd/2804 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE IDENTIFICATION OF BAS~C PROBLEMS FOUND IN THE BASSOON PARTS OF A SELECTED GROUP OF BAND COMPOSITI ONS by J. Wayne Johnson A thesis submitted in partial fulfillment of the r equ irements for the degree of MASTER OF SCIENCE in Music Education UTAH STATE UNIVERSITY Logan , Ut a h 1966 TABLE OF CONTENTS INTRODUCTION A BRIEF HISTORY OF THE BASSOON 3 THE I NSTRUMENT 20 Testing the bassoon 20 Removing moisture 22 Oiling 23 Suspending the bassoon 24 The reed 24 Adjusting the reed 25 Testing the r eed 28 Care of the reed 29 TONAL PROBLEMS FOUND IN BAND MUSIC 31 Range and embouchure ad j ustment 31 Embouchure · 35 Intonation 37 Breath control 38 Tonguing 40 KEY SIGNATURES AND RELATED FINGERINGS 43 INTERPRETIVE ASPECTS 50 Terms and symbols Rhythm patterns SUMMARY 55 LITERATURE CITED 56 LIST OF FIGURES Figure Page 1.
    [Show full text]
  • Musical Instruments of the Renaissance the Ancestor of Modern Musical
    Musical Instruments Of The Renaissance The Ancestor Of Modern Musical The Renaissance is a significant time span of history; the word implies in French "resurrection" and is extremely suitable to characterize the most fabulous authentic age in Italy. Western Europe was additionally impacted by its fundamental highlights, the recovery of learning dependent on old style sources (Greek and Latin), and the raise of ecclesiastical support, the improvement of point of view and incredible progressions of science. Albrecht Durer was the first to depict Italian craftsmanship as "renaissance". Giorgio Vasari, Giotto, Masaccio, Bruneleschi and Donatello are building up the painting workmanship to the flawlessness. Leonardo da Vinci, incredible researcher, painter and stone carver, Michelangelo built up their magnificent craftsmanship on the longing to contemplate .the nature The Renaissance was an incredible period for music instruments. Renaissance music is spoken to by ritualistic structures. Authors of consecrated music started to receive new structures, for example, "madrigal" and utilize improved instruments of the Renaissance. Hallowed new classifications showed up; the madrigale spirituale, the laude, the mass and the motet. Instrumental music was formed for viol or recorder. Most well known kinds were the toccata, the ricercar, the introduction, and the canzona. The good thought of polyphonies, the essential of the present .music, is coming from those extraordinary occasions The most significant is that the greater part of melodic present day instruments have developed structure the instruments of the Renaissance. Numerous mainstream instruments, for example, woodwind, oboe, trumpet, trombone and guitar can be followed back in the Renaissance. Wind instruments are truly identified with this period.
    [Show full text]
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
    [Show full text]
  • Program for Meet the Plumbers (April 20
    The PLUMBING FACTORY BRASS BAND Henry Meredith, Director – Meet the PLUMBERS – Music for various types of brass instruments in small and large ensembles APRIL 20, 2016 Byron United Church – 420 Boler Road (@ Baseline), LONDON, Ontario __________________________________________ TUTTI – Introducing our members according to the types of instruments they play, from the bottom up Joy, Peace & Happiness Richard Phillips (born 1962) CORNETS – The sweeter, mellower cousins of the trumpets can still sound like trumpets for fanfares! Tuba Mirum from the Manzoni Requiem (1874) Giuseppe Verdi (1813-1901), arr. H. Meredith Fanfare for Prince Henry (1984) Jeff Smallman (born 1965) BRASS BAND Instrument Predecessors –Parforce Horns for the hunt Polka Mazur & Österreichesche Jägerlied Anton Wunderer (1850-1906) Le Rendez-vous de Chasse (1828) Gioachino Rossini (1792-1868) TROMBONES – The “perfect” instrument remains basically unchanged after five centuries! Two Newfoundland Folk Songs arr. Kenneth Knowles Let Me Fish Off Cape St. Mary’s & Lots of Fish in Bonavist’ Harbor Jazz Invention No. 1 Lennie Niehaus (born 1929) More Predecessors of BRASS BAND Instruments – Valveless Trumpets - The instruments of kings Fanfares pour 4 Trompettes naturelles (1833) Sigismund Neukomm (1778-1858) Allegro & Polonaise Quartuor No. 1 – Marche François-Georges-Auguste Dauverné (1799-1874) TUBAS/ EUPHONIUMS – Bass and Baritone Horns of the Saxhorn type – Going places! Indiana Polka (from Peters’ Saxhorn Journal, Cincinnati, 1859) Edmund Jaeger, J. Schatzman Pennsylvania Polka Lester Lee (1903-1956) and Zeke Manners (1911-2000) Washington Post March (1889) John Philip Sousa (1854-1932) TUTTI – Another important place name – how the West was won Dodge City (2001) Jeff Smallman Muted CORNETS and Flugelhorns – The Pink Panther (1964) Henry Mancini (1924-1994), arr.
    [Show full text]
  • Research Report: Hybrid Clarinet Project
    STANFORD UNIVERSITY, CCRMA Research Report: Hybrid Clarinet Project Romain Michon and John Granzow December 4, 2013 In the past thirty years we have seen a wide range of studies on the physical modeling of mu- sical instruments using the waveguide technique. We now have at our disposal sophisticated models encompassing a large array of musical instruments. While the waveguide technique is both efficient and allows for the creation of effective models, it remains dependent on the precise control of the parameters of the model as well as on the quality of the excitation that is used to drive them. Many works on the control of waveguide physical models and on the modeling of nonlinear excitations have been carried out. However, the link between these two parameters is generally understudied. Indeed, for most musical instruments, the excitation is the element that has the greatest num- ber of parameters to control and is thus the hardest element to model. The properties of the bore of a clarinet for example (but this also applies to most of the woodwind and brass in- struments) can only be modified by tone holes, that are very discrete controllers (they can be opened or closed or half closed in some cases). On the other hand, the interactions between the mouthpiece and the player are extremely complex and difficult to simulate on a computer. This problem has been addressed in many ways in the past with different solutions for almost every case. Yamaha, for example, created a breath controller that worked with the VL1 synthe- sizer series1. For violins, Esteban Maestre developed a technique where the parameters of the physical model are controlled by gesture data acquired from real world performers[3].
    [Show full text]
  • Mystery Instrument Trivia!
    Mystery Instrument Trivia! ACTIVITY SUMMARY In this activity, students will use online sources to research a variety of unusual wind- blown instruments, matching the instrument name with the clues provided. Students will then select one of the instruments for a deeper dive into the instrument’s origins and usage, and will create a multimedia presentation to share with the class. STUDENTS WILL BE ABLE TO identify commonalities and differences in music instruments from various cultures. (CA VAPA Music 3.0 Cultural Context) gather information from sources to answer questions. (CA CCSS W 8) describe objects with relevant detail. (CACCSS SL 4) Meet Our Instruments: HORN Video Demonstration STEPS: 1. Review the HORN video demonstration by San Francisco Symphony Assistant Principal Horn Bruce Roberts: Meet Our Instruments: HORN Video Demonstration. Pay special attention to the section where he talks about buzzing the lips to create sound, and how tightening and loosening the buzzing lips create different sounds as the air passes through the instrument’s tubing. 2. Tell the students: There many instruments that create sound the very same way—but without the valves to press. These instruments use ONLY the lips to play different notes! Mystery Instrument Trivia! 3. Students will explore some unusual and distinctive instruments that make sound using only the buzzing lips and lip pressure—no valves. Students should use online searches to match the trivia clues with the instrument names! Mystery Instrument Trivia - CLUES: This instrument was used in many places around the world to announce that the mail had arrived. Even today, a picture of this instrument is the official logo of the national mail delivery service in many countries.
    [Show full text]
  • 'Sie Unb3tuttn3 I Gftetjo Efe(J Ift Be .Ilnte Ntttionolen Oult Ommelui
    'Sie�unb3tuttn3i gftetjo� �efe(J�ift be� .ilnte�ntttionolen oult�ommelui�tuofengenoffenfe(Jaft No. tO 2002 Address all correspondence to: ISSN 1090-1302 VIM 601 N. White St. Mt Pleasant, IA 52641 U.S.A Frederick Crane, Editor �ittunb0wttn0ig ftelja�rjf�rift ber �nternationolen IDlaultrommelbirtuofengenoffenfdjttft No. tO 2002 CONTENTS 2 Editor's Notes 6 Fred Whitlow 1916-2001 8 The Drymba among the Hutsul in the Ukrainian Carpathians: Philippe Dallais A Recent Ethnomusicological Survey Stefan Weber Caroline Briner Joel Liegme H 1\ 31 Los Mapuche y el trompe/TheMapuche and the Trompe Jose Luis Pignocchi 39 Kyrgyzstan-An Adventurous Journey Svein Westad 45 A Munnharpe for Giants 47 Ein Stammbuch des MaultrommelvirtuosenFranz Paula Koch (1761- Einfiihrung von/Intro­ 1831/ An Album of the Trump Virtuoso Franz Paula Koch (1761-1831) ductionby Manfred Hett 74 TTav�Report:Tokyo Anton Bruhin 81 A SpirideR-Shishigin :AHmHt ? 0 r I +A '' Khomus '\ Alexey Eliseyevich Kulakovskiy 100 CD Reviews 103 Patsy Cohen's Jews-Harp Band 8 9 THE DRYMBA AMONG by THE HUTSUL Philippe Dallais Stefan Weber Caroline Briner IN THE Joel Liegme /\ UKRAINIAN Neucluitel University Institute of Ethnology CARPATHIANS: Switzerland A RECENT ETHNOMUSICOLOGICAL SURVEY (In this article, we will follow VIM's practice, and use Moors: TheHutsuls Today , freshly deposited on a shelf the word trump when we refer to the instrument in of the Library of the Neuchatel UniversityInstitute of general, and drymba when we refer to the Hutsul in­ Ethnology.When he saw the photograph of a man play­ strument.) ing trump (fig. 1) he immediately felthe had to contact Mr.
    [Show full text]
  • The Tsymbaly Maker and His Craft: the Ukrainian Hammered Dulcimer in Alberta
    m Canadian Series in Ukrainian Ethnology Volume I • 1991 Tsymbaly daker and His Craft The Ukrainian Hammered Dulcimer In Alberta Mark Jaroslav Bandera Huculak Chair of Ukrainian Culture & Ethnography Canadian Institute of Ukrainian Studies Press Canadian Series in Ukrainian Ethnology THE TSYMBALY MAKER AND HIS CRAFT: THE UKRAINIAN HAMMERED DULCIMER IN ALBERTA Mark Jaroslav Bandera Publication No. 1-1991 Huculak Chair of Ukrainian Culture and Ethnography Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton, Alberta ACKNOWLEDGEMENTS This study has been possible only with the cooperation of the tsymbaly makers of east central Alberta and particularly with the support and patience of Mr. Tom Chychul. Mr. Chychul is a fine craftsman and a rich source of information on tsymbaly and the community associated with them. Mr. Chychul continues to make tsymbaly at the time of printing and can be contacted at R.R. 4 Tofield, Alberta TOB 4J0 Drawings were executed by Alicia Enciso with Yarema Shulakewych of the Spectra Architectural Group. Cover design by Kevin Neinhuis. Huculak Chair of Ukrainian Culture and Ethnography and Canadian Institute of Ukrainian Studies Press University of Alberta Canadian Series in Ukrainian Ethnology Editors Bohdan Medwidsky and Andriy Nahachewsky Canadian Cataloguing in Publication Data Bandera, Mark Jaroslav, 1957- The tsymbaly maker and his craft (Canadian series in Ukrainian ethnology ; 1) Co-published by the Huculak Chair of Ukrainian Culture and Ethnography, University of Alberta. Includes bibliographical references. ISBN 0-920862-80-2 1. Ukrainian Canadians—Alberta—Music—History and criticism. 2. Musical instruments—Construction—Alberta. 3. Cimbalom. I. University of Alberta. Huculak Chair of Ukrainian Culture and Ethnography.
    [Show full text]
  • Fomrhi-074.Pdf
    p Quarterly No. 74, January 1994- FoMRHI Quarterly BULLETIN 74 2 BULLETIN Supplement 7 Membership List Supplement 95 ANN OXJNCEIV* Eisr-i-s A Source of Boxwood and Ebony coivdiivcTLJisric^^Tioisrs 1206 Reviews: The Accounts of Thomas Oreen 1742-1790 ed. by G. Sheldrick, A Musical to Directory for the Year 1794 by J. Doane; Four and Twenty Fiddlers; The Violin 1211 at the English Court 1540-1690 by P. Holman; The New Langwill Index by W. Waterhouse; Larigot, Edinburgh TJnrv Coll of Hist Mus Inst, Catalogue, Vol.2; Eii & HJii by W. Waterhouse, A. Meyers A R. Parks J. Montagu 10 1212 What can we reasonably expect museums to provide or allow? J. Montagu 16 1213 Measuring instruments in museums & conservation M. Ransley 17 1214 Suppliers of materials D. S. GUI 18 1215 A reply to comments from various members on Comm 1174 P. Bavington 19 1216 Some observations on the 'natural' trumpet B. Barclay 20 1217 On musicologists and early music E. Segerman 21 1218 Scholarship, statistics and the minimum amount of evidence needed E. Segerman 23 1219 Well under a thousand words for the ivory ban A. Powell 24 1220 Praetorius's keyless curtals G. Lyndon-Jones 26 1221 A wizard lizard G. Lyndon-Jones 30 1222 Checklist of some of the instruments at the Stadtmuseum, Munich G. Lyndon-Jones 35 1223 On the difference between early and modem baroque reeds E. Segerman 37 1224 Augsburg revisited G. Lyndon-Jones 38 1225 C.N.C. experiment - July 1992 B. Jefferies 45 1226 Some historical notes on acid staining D.
    [Show full text]