The study deals with the topic of Czech-Polish relations in the context of broadside ballads production (especially pilgrim) as exemplified by Orel’s printing house in Frýdek. The study focuses on the question of how the popularity of the pilgrim sites located in the territory of
present-day Poland (Częstochowa and Kalwaria Zebrzydowska) reflected in Orel’s printing house editorial-publishing strategy. The study also deals with the topics of the existence of Czech and Polish variants of religious (especially pilgrim) songs, Orel’s other Polish-language output, and the printing house’s ties to other printing enterprises in the region of Upper Silesia.
The half-popular compositions traditionally referred to as broadside ballads are a specific type of source. Some of them reflect Biblical, legendary and historical events in Egypt and the Near East. Although the factual importance of such ballads in not great, they have some informative value, because their texts mirror the attitudes and opinions of the lower social classes, in this case clearly influenced by the antithesis of Christianity and Islam, or also Judaism. They show that the authors of broadside ballads kept alive deep-rooted stereotypes, mainly the stereotype of Turks as pagans and tyrants.
The half-popular compositions traditionally referred to as broadside ballads are a specific type of source. Some of them reflect Biblical, legendary and historical events in Egypt and the Near East. Although the factual importance of such ballads in not great, they have some informative value, because their texts mirror the attitudes and opinions of the lower social classes, in this case clearly influenced by the antithesis of Christianity and Islam, or also Judaism. They show that the authors of broadside ballads kept alive deep-rooted stereotypes, mainly the stereotype of Turks as pagans and tyrants. and Michal Klacek.
The study focuses on the phenomenon of barrel-organ playing in the context of Bohemian and Moravian streets and countryside from the beginning of its occurrence in our lands to date. The foreword describes the organologic nature of the instrument and its production. The major part of the work is a summary of available
sources about a barrel-organ player: his role in the life of people, whether during their daily encounters with an "itinerant" person, or his activity in the realm of customary tradition. The role of barrel-organ players has changed, in comparison to modern-day barrel-organ players - buskers as well as members of a
barrel-organ playing club who returned to the streets after 1989. Both lines of barrel-organ players are themes of particular chapters (Barrel-Organ and Busking; A Club of Friends of Mechanical Music and Barrel-Organs). The study ́s goal is to outline a unifying line between the historical and the contemporary practice in barrel-organ playing, as well as it explains when these trends
diverge.