"Our Song!" Nationalism in Folk Music Research and Revival in Socialist Czechoslovakia

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378076%3A_____%2F15%3A00469743" target="_blank" >RIV/68378076:_____/15:00469743 - isvavai.cz</a>

Výsledek na webu

<a href="http://dx.doi.org/10.1556/6.2015.56.4.7" target="_blank" >http://dx.doi.org/10.1556/6.2015.56.4.7</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1556/6.2015.56.4.7" target="_blank" >10.1556/6.2015.56.4.7</a>

Jazyk výsledku

angličtina

Název v původním jazyce

"Our Song!" Nationalism in Folk Music Research and Revival in Socialist Czechoslovakia

Popis výsledku v původním jazyce

In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folkinspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomenon: folk music research and folk music revival. A closer look reveals how the idea of state-promoted nationalism influenced the ways researchers presented their findings, how they filtered out material that was deemed unsuitable for publication, and how traditional music was revived on stage or in media by folk music and dance ensembles. Critical analysis of research materials and audiovisual documents from the 1950s and 1960s will show how censorship accompanied a folk song from its collection in the field, through publication, to a stylized production on stage or in film.

Název v anglickém jazyce

"Our Song!" Nationalism in Folk Music Research and Revival in Socialist Czechoslovakia

Popis výsledku anglicky

In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folkinspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomenon: folk music research and folk music revival. A closer look reveals how the idea of state-promoted nationalism influenced the ways researchers presented their findings, how they filtered out material that was deemed unsuitable for publication, and how traditional music was revived on stage or in media by folk music and dance ensembles. Critical analysis of research materials and audiovisual documents from the 1950s and 1960s will show how censorship accompanied a folk song from its collection in the field, through publication, to a stylized production on stage or in film.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

50404 - Anthropology, ethnology

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2015

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Studia Musicologica

ISSN

1788-6244

e-ISSN

—

Svazek periodika

56

Číslo periodika v rámci svazku

4

Stát vydavatele periodika

HU - Maďarsko

Počet stran výsledku

9

Strana od-do

397-405

Kód UT WoS článku

000392639600007

EID výsledku v databázi Scopus

2-s2.0-85019215953