After the First Partition of Poland, another crown land - Galicia (German: Galizien, Polish: Galicja, Ukrainian: Halychyna) was incorporated into the Austrian Empire; it covered current south-Polish and western-Ukrainian territories north of the Carpathians in the basin of the Vistula to Upper Dniester and Prut. Galicia featured not only a variety of ethnic groups living in it (Polish, Ukrainians, Jews, Germans, Armenians, etc.), but also a diversity in religions. The above-mentioned ethnic and religious differences were reflected in the cultural sphere whose richness of expressions drew attention of the first collectors of folk traditions among domestic authors and foreign researchers, whereby Balthasar Hacquet (1739–1815) can be mentioned as the first of them. The interest of researchers whose attention was directed rather to the National Revival and who saw in the folk culture the roots of national self-identity was based on different ideological premises. It was Pavel Josef Šafařík (1795–1861) who became the representative of Slavic ethnography and who - in cooperation with the Ukrainian (Malorossian) scholars Ivan D. Vahylevych and Jakov Holovacki - offered knowledge about Ukrainian (Ruthenian) culture in eastern Galicia. Karel František Vladislav Zap (1812–1871) was among significant Czech experts in Galicia; as a public servant he lived in Lviv at the turn of the 1830s and 1840s. His work features an effort for a critical but unbiased attitude to ethnical and economic problems of the country. The freer social life in Austria after the fall of Bach’s absolutism lead to the development of journalism. The ethnographic work of František Řehoř (1857–1899), who spent several years in the region, is of essential importance for Galicia. He published his essays, mostly of a popularizing nature, in Prague social and professional journals. His strengths included gathering of source material through field research, and collecting activities. The last important chapter of contact between Ukrainians from Galicia and the Czech lands dates back to the 1890s; it is connected with large exhibitions held in Prague and Lviv. However, the political situation in the Austro-Hungarian Empire caused their reception to be diametrically opposed. World War I, the dissolution of Austria-Hungary and the formation of the successor states ended the flow of ethnographic journalism on Galicia for the Czech reader; the Czech-Ukrainian contacts continued, however, on a different basis.
a1_This study deals with the ethnographic boundary in Moravia, which can be observed in various expressions of folk culture, but which appears most strikingly in folk music. The author does not relinquish this branch of ethnography, although he makes use of the plentiful literature existing both in the other branches of ethnography and also in the field of historical, dialectological and literary research.
In Moravia, roughly in the Eastern third, there runs a fairly shar boundary line which devides the Czechoslovak territory in the field of folk musical culture into two fundamentally distinct stylistic tracts. The boundary can be traced approximately from the south of the Pavlov Heights and the Moravian-Silesian Beskyds. It runs, then, along the Western border of the distinctive East-Moravian ethnographical regions - of Slovácko, Valašsko, Lašsko and Southern Těšín. With regard to this dividing line running through Moravia we speak in this country of the Western type of song, including the song culture of Western Moravia and Bohemia, and the Eastern type of song, covering the melodically much more numerous strata of East-Moravian and Slovakian airs.
There are considerable differences as regards both melody and rhythm between these two stylistic tracts. In Bohemian and West-Moravian songs among the fundamental melodic features are the harmonic scales, especially the clearly prevailing major pattern. The airs are frequently based on an extended triad, they delight in wide intervals and are permanently bound by the basic harmonic functions, while the most characterstic feature of the airs in the oldest stratum of the Eastern type is the pre-harmonic melodic principle and in the numerically strong next layer it is the clash of this principle with the vertical-harmonic outlook. The airs avoid the ther mechanical repetition of melodic ideas, the relationship of the two kinds of scale is roughly equal, or rather an inclination towards the minor can be found almost more frequently. Of the other melodic features of the songs in the Western style we may on the other hand mention the clear periodic and motif structure., a2_A very typical feature too is what is known as the "breaking through" or "embroidery" of the airs; this is the frequent occurrence of a pair of legato notes for which a single syllable exists in the text. Among the basic metrorhythmixcal features in the songs of the Eastern type we find a tendency to irregular construction, the absolute prevalence of the two-four time in dance songs, of course with certain remarkable peculiarities of rhythmization, and of metrical looseness in parlando songs. The song of the Western style is firmer as regards form, more transparent in rhythm and often makes use of three-four or three-eight time. Both the basic metrorhythmical features thus closely complement the features of the melody structure.
The differentiation of the two melodic styles into Western and Eastern finds good support in the geography of the Czechoslovakian territory. However these two terms are not common in this country and are not completely accepted by all investigators. Some of these have already selected the term Instrumental Song Type for the song of Bohemia and Western Moravia and for Eastern Moravia and Slovakia the term Vocal Song Type. These two different concepts are discussed. It is, however, natural that the two stylistic tracts in certain places coincide with each other and that within the two regions further areas have been formed. For example in the territory of Eastern Moravia we also speak of two larger zones or spheres: of the zone directly bound up with the Slovakian, and especially with the West-Slovakian tradition (Slovácko and Valašsko) and the zone more closely bound with the Polish-Silesian tradition (Lašsko and especially the Southern Těšín district). Both these zones are linked by inter-ethnic relationships. Certain general features of the song of the two regions spoken of continue of much further beynd the boundaries of Czechoslovakia. Relationships with the surrounding nations appear, especially with those directly neighbouring to Czechoslovakia. We cannot speak only of connections with Western European and Eastern European culture, as is sometimes done. The relationships are not everywhere simple; in places they are faint, elsewhere striking, clear at the first glance. It is not always a case of East-West, but also of the connection North-South. While the song of the Western type shows a relationship to the culture of the Northern and Western European nations, the old melodic foundation in the Eastern song regions in this country indicates rather connections with Southern Europe and then with the East., a3_The existence of two melodic stylistic tracts on the territory of Czechoslovakia, which clach with each other in Moravia and form one of the basic features of the ethnographic boundary in general, as too the development of certain ethnographic regions, cannot be placed in a one-sided relationship either as regards the oldest periods, or as regards comparatively recent historical facts. That the ethnographical borderline in Moravia did not appear suddenly is best proved by the East-Moravian melodic material itself. It shows the appropriate stylistic relationship with the East and South-East both in the oldest and in the most recent strata. A remarkable fact is that New Hungarian song which was spread throughout Moravia almost without exception only from the end of last century, does not pass beyond the border of the Eastern song type in Moravia. This can be accounted for by general conditions; resulting perhaps not only from the related development of orchestral groupings, but apparently also from the older melodic base. A fertile soil was to be found here for the acceptance also of a new musical culture which from our point of view belongs to the East.
Also it cannot be denied that facts and hypotheses presented permit us to consider an older basis for the ethnographic boundary in Moravia, it is incontrovertible that a number of different elements did not appear previous to the course of later development, with the result that the borderline became still more distinct. In further research it will be necessary to ascertain further links in the chain of development or to cut out some links which are given in certain of the subjects, in order either to make it more firm or else more adequately connected or reconstructed. At the same time it will be necessary not to take as a new starting-point merely the ethnomusicological view-point, or merely the ethnographical one, but it will be essential to carry out a still more profound synthesis of the knowledge of all the specialist branches which have anything to say on the subject., and Článek zahrnuje širší poznámkový aparát
a1_Verf. behandelt die Frage, ob man sogar nach 50 Jahren, die von Bedřich Václavek als späteste Grenze für die wiederholte Aufzeichnung aus dem Munde der weiteren Erzählergenerationen angesehen werden, den betreffenden Erzählungen noch begegnen kann. Dabei berührt er vor allen die Problematik der Mode und der Tradition und erwähnt die Gründe, die das Weiterleben oder das Aussterben der Erzählstoffe verursachen. Eine grössere Aussicht auf das Beharren der Geschichte in der mündlichen Überlieferung entsteht dann, wenn diese Erzählung auf diese oder jene Weise fest mit dem Leben der Volksgemeinschaft oder der Volksmenschen verbunden ist - wenn sie der Weltanschauung der "Produzenten" oder "Konsumenten", ihrer Vorliebe, ihrem ästhetischen Ideal, ihren Lebensschicksalen usw. entspricht. Diesem sozialpsychologischen Standpunkt kann man den eigentlichen volkskundlichen Aspekt beiordnen: Der Erzählstoff erhält sich oft dann, wenn er sich breit und tief in der lokalen Tradition eingewurzelt hat. Verf. bringt mehrere Beispiele, die im Verlauf von 50 Jahren durch wiederholte Aufzeichnungen gesammelt wurden. Besonders vergleicht er die Varianten, welche voneinander mehr als 60 Jahre entfernt sind, und welche man mit Vorbehalt als besondere Redaktion des Lenore-Typus (AaTh 365) bezeichnen kann. Im Grunde ist diese Geschichte kein Märchen mehr, sondern eine dämonologische Erzählung (Sage) mit den analogen Motiven des Lenore-Stoffes. Zum ersten Male wurden die Varianten durch Ignác Hošek im Jahre 1900 und 1903 in zwei verschiedenen Fassungen zweier miteinander verwandter Erzähler aus dem Dorfe Škrdlovice an der böhmisch-mährischen Grenze registriert, die Neuaufzeichnungen erfolgten ebenda im Jahre 1967 in zwei Varianten bei einem Gewährsmann, einem Nachkommen von Hošeks Erzähler. Diese zwei letzten Varianten ermöglichen die Feststellung der Normalform in der Interpretation des Erzählers und tragen bei zur Erkennung der Normalform der ganzen Erzählung. Die jüngere Aufzeichnung Hošeks vom Jahre 1903 bewahrt zwar die stoffliche Grundkonzeption, auf der anderen Seite aber trägt sie die Spuren einer starken individuellen Umwandlung bzw. eines allmählichen "Zersagens". Die gegenwärtigen Aufzeichnungen stehen der ersten Variante aus dem Jahre 1900 näher als der aus dem Jahre 1903. Sie erhalten treu die ererbte Tradition. and V příloze je uvedena démonologická povídka "O gránovi"
This study deals with the personality of the writer Teréza Nováková (1853-1912). The author and her work is a classic example of the domain and genre penetration at the turn of the 19th and 20th century. the attention of society turns distinctively to folk culture and ethnology now shapes up as a scientific branch. Realism dominates the literature and rural themes are very actual. Many personalities are able to interconnect science and art and to engage themselves in both directions. T. Nováková is one of them and, moreover, she brings in the publicistic and journalistic genres, as well as the aspects of struggle for women’s emancipation.