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Dudy V Srbsku a Makedonii

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Dudy V Srbsku a Makedonii Masarykova univerzita Filozofická fakulta Ústav hudební vědy Silvana Djokić Magisterská diplomová práce Dudy v Srbsku a Makedonii Vedoucí práce: prof. PhDr. Miloš Štědroň, CSc. Brno 2010 Prohlášení Prohlašuji, ţe jsem tuto práci vypracovala samostatně s pouţitím uvedených pramenů a literatury. Brno, 20. květen 2010 Silvana Djokić Obsah Předmluva .................................................................................................................. 1 Úvod ........................................................................................................................... 2 1. Etymologie .............................................................................................................. 5 2. Zařazení dud do systematik hudebních nástrojů .................................................... 8 3. Teritoriální vymezení dud v Srbsku a Makedonii ............................................... 111 3.1. Srbsko ...................................................................................................... 111 3.2. Makedonie .................................................................................................. 12 4. Organologický popis dud ...................................................................................... 15 4.1. Dudy v Srbsku ............................................................................................ 15 4.1.1. Dvojhlasé dudy ........................................................................................ 15 4.1.1.1. Vlašské dudy ........................................................................................ 16 4.1.1.2. Makedonsko – jihomoravské dudy ....................................................... 17 4.1.1.3. Peštersko – starovlašské dudy ............................................................. 18 4.1.1.4. Levĉanské dudy .................................................................................... 19 4.1.2. Tříhlasé dudy v Srbsku ............................................................................ 20 4.1.2.1. Svrljišské dudy ...................................................................................... 20 4.1.2.2. Banátské dudy ...................................................................................... 21 4.2. Dudy v Makedonii ....................................................................................... 23 5. Výroba dud v Srbsku a Makedonii ...................................................................... 277 6. Technická stránka ladění dud ............................................................................. 355 7. Tónová řada srbských dvojhlasých dud .............................................................. 377 7.1. Základní tónová řada srbských tříhlasých dud ......................................... 377 7.2. Tónová řada makedonských dud.............................................................. 399 8. Technika hraní na dudy ........................................................................................ 42 9. Dudácké melodie ................................................................................................ 455 10. Dudácký repertoár ............................................................................................ 577 10.1. Instrumentální melodie ........................................................................... 588 10.2. Vokálně – instrumentální melodie ........................................................... 633 11. Dudáci ............................................................................................................. 666 12. Funkce dud ......................................................................................................... 70 13. Role dud v kaţdodenním ţivotě lidí .................................................................. 733 14. Dudy v lidových písních .................................................................................... 755 15. Dudy v ostatních krátkých ţánrech ..................................................................... 82 16. Dějiny dud ......................................................................................................... 844 16.1. Dudy v písemných památkách................................................................ 866 Závěr ...................................................................................................................... 944 Resumé .................................................................................................................. 955 Summary ............................................................. Chyba! Záložka není definována.7 Zusammenfassung ................................................................................................. 999 Seznam vyobrazení……………………………………………………………………….101 Seznam pouţité literatury………………………………………………………………...102 Předmluva Existuje více příĉin, které mě vedly k napsání této práce. Za nejdůleţitější povaţuji fakt, ţe se v dnešním Srbsku dudám téměř nikdo nevěnuje. Po rozhovoru s PhDr. Mirjanou Zakić jsem se rozhodla, ţe se budu zabývat tímto hudebním nástrojem a pokusím se na něj podívat z různých aspektů. Ještě v 19. století byly dudy v Srbsku velice oblíbené. Ĉasem se však na ně přestávalo hrát. Navíc v Srbsku stále neexistuje odborná literatura, která by o dudách pojednávala systematicky a v širším kontextu. Diplomová práce si klade za úkol obohatit novými poznatky jak ĉeskou tak srbskou hudební vědu. Proto bude v blízké budoucnosti celý text přeloţen i do srbštiny. Na tomto místě bych chtěla poděkovat vedoucímu práce prof. PhDr. Miloši Štědroňovi, CSc. za cenné rady a připomínky. Rovněţ děkuji Mgr. Petru Kalinovi za pomoc s rozvrţením práce a literaturou. Za vstřícný přístup děkuji pracovníkům knihovny Narodna biblioteka Srbije, kteří mi umoţnili studium literatury v době, kdy byla celá knihovna kvůli rekonstrukci uzavřena. Děkuji také odborné konzultantce PhDr. Mirjaně Vukiĉević – Zakić za poskytnutí vzácné literatury a za cenné rady týkající se obsahu práce. Děkuji Mgr. Miroslavu Jeţkovi za pomoc s anglickou verzí resumé, a taktéţ Mgr. Haně Johaně Ptáĉkové za pomoc s německou versí resumé. Za pomoc s překladem některých textů z makedonštiny děkuji Mgr. Igoru Stanojoskému Ph.D. Děkuji studentovi Akademie múzických umění v Bělehradě Borovi Miljkovićovi za obstarání nahrávek lidových dudáckých melodií. Díky němu se souĉástí práce stalo CD se skladbami, které natoĉili národní umělci ze Srbska a Makedonie. Svým nejbliţším bych chtěla poděkovat za mravní podporu, která mi při psaní práce nikdy nechyběla. Děkuji moc své rodině Mariji, Ivaně a Nikolovi Djokić. Za mravní podporu a pochopení také děkuji Jitce Karafiátové a Janu Karafiátovi. Mé upřímné poděkování patří Bc. Janu Karafiátovi za jazykovou úpravu celého textu, a také za pochopení a podporu při psaní diplomové práce. 1 Úvod Diplomová práce se zabývá dudami v Srbsku a Makedonii. Přestoţe jsou dudy zastoupeny téměř všude ve světě, nemají ve všech oblastech stejnou podobu. Například dudy, které nalezneme na území Srbska a Makedonie jsou po organologické, akustické a interpretaĉní stránce charakteristické pro balkánské území. Při hledání odborné literatury jsme narazili na dvě monografie Petra Vukosavljeviće. První nese název Gajde u Srbiji1, druhá Erske gajde2. Tyto texty však nástroj pouze struĉně popisují, a ani metodologicky nejsou na odpovídající úrovni, neboť autor vycházel převáţně z poznatků pamětníků. Petar Vukosavljević pokaţdé uvádí jméno osoby, která mu poskytla informace o nástroji. Většinou to byli lidé, kteří uţ bydleli ve větších městech a pouze matně vzpomínali na své mládí, na to, kdo v jejich vesnici hrál na dudy a jak ten nástroj vypadal. Proto se v jeho textech musíme vyrovnat s neaktuálním ĉleněním dud a s neadekvátním organologickým popisem. Kvalitní prací na tomto poli je publikace Gajdata vo Makedonija3 makedonského hudebního vědce Borivoje Dţimrevského. Autor své dílo ĉlení do třech hlavních ĉástí, jimiţ jsou: nástroj – interpret – hudba. Tato práce je přínosná z více důvodů. Kromě toho, ţe popisuje nástroj z mnoha aspektů, zaznamenává také dudácké melodie z oblasti Makedonie. V publikaci jsme našli několik informací, které se nám zdály být neúplné. Jedná se o třídění dud v Makedonii. Zatímco se v Srbsku setkáme s několika typy dud, které jsou geograficky i organologicky jasně oddělené, v Makedonii nemáme jistotu, kde se na urĉitý typ dud hraje. Autor se struĉně zmiňuje také o jiných děleních, ta jsou však natolik neúplná, ţe na jejich základě nemůţeme zjistit, kolik typů dud se v Makedonii vyskytuje ani kde se na ně hraje. Pozoruhodná je také publikace Boţidara Široly Sviraljke sa udarnim jezičkom4. Práce je zajímavá kvůli tomu, ţe v ní najdeme informace týkající se dud na Balkáně. Je pojata jako katalog všech dud, s nimiţ se Širola setkal. Autor se zabývá 1 Vukosavljević, Petar: Gajde u Srbiji. Beograd, Radio Beograd, 1979. 2 Vukosavljević, Petar: Erske gajde. Beograd, Radio Beograd, 1981. 3 Dţimrevski, Borivoje: Gajdata vo Makedonija. Skopje, Institut za folklor Marko Cepenkov, 1996. 4 Širola, Boţidar: Sviraljke sa udarnim jezičkom. Zagreb, Nadbiskup, 1937. 2 jednotlivými typy nástrojů, jejich základní rysy však neuvádí. Dovíme se pouze, jakou roli měly dudy v urĉitých vesnicích. Širola se zabývá především Chorvatskem a Bosnou, nalezneme však i zmínky o dudách v Srbsku a Makedonii. Další souĉást naší bibliografie tvoří jednotlivé ĉlánky. Většinou se jedná o příspěvky v hudebních ĉasopisech, kde autor jen struĉně popíše nástroj z organologického hlediska. Při výzkumu
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