thesis

Folklore musical polonais : La Silésie

Defense date:

Jan. 1, 1997

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Institution:

Lyon 2

Disciplines:

Musicology

Authors:

Directors:

Abstract EN:

Silesia has traditionally been the common ground of communication between poles, czechs and germans but il has also been open to other influences (tatares, hungarians, jews, gypsies and valacs). It is geographically composed of a plain, the oder valley and mountainous regions, the sudeten mountains and the silesian beskide (carpathia). This study devotes itself both to the types of silesian musical folklore (syncretism, polymorphism of verse, the mixture of musical codes) as well as to the methodological context (general considerations and an analysis of the text and music of the songs as well as their variants). Silesian traditions are expressed in different ways : dwellings, craftwork, family customs particularly related to weddings, dances, dress and the making of traditional musical instruments. The silesian dialect contains archaisms long forgotten in the rest of the country. Silesian sung verse is polymorphic and varies from the short southern songs to the longer songs of the north. In analysing the melodies, particularly those of the beskides, new tools and concepts were necessary e. G. The ethnopsychological concept of rythm, the primary mountain musical cell, the ideas of the "very early" second interval (valac) autogenic modes, the concept of "deformed" and "transformed" the explanation of certain mobile degrees, of static and dynamic models and of their resting points, of "aleatorical instrumental chromaticism" and finally the collage of different types of models. Through text analysis it could be established that these songs are mostly "words of women" which refer to the transition from girl to married woman and reveal ancestral customs still prevalent in silesian society. The analysis of the songs has also uncovered certain rules concerning oral tradition.

Abstract FR:

Zone de contact entre polonais, tcheques et allemands, peuples qui ont fait son histoire, la silesie a egalement recu d'autres influences (tatares, hongroises, juives, tsiganes et valaques). On y distingue une zone de plaine, la vallee de l'oder et une zone montagneuse, les sudetes et le beskide silesien (carpates). Les specificites de son folklore musical (syncretisme, polymorphisme du vers, heterogeneite du langage musical) et le contexte methodologique (cadre general et cadre analytique du discours verbal et musical des chants et de leurs variantes) ont defini le champ de l'etude. Les traditions silesiennes s'expriment de multiples manieres: habitat, artisanat, coutumes familiales, notamment liees au mariage, danses, costumes et fabrication d'instruments de musique traditionnels. Le parler silesien contient des archaismes inexistants dans le reste du pays. Le vers populaire chante silesien est polymorphe et evolue differemment dans le cadre des chants courts du sud et des chants longs du nord. L'analyse des melodies, notamment de celles du beskide, a necessite de forger de nouveaux outils et de definir de nouveaux concepts: conception ethnopsychique du rythme, cellule montagnarde originelle, notions de seconde "tres ancienne" (valaque), d'echelles autogenes, "deformee" et "transformee", explication de certains degres mobiles, formules statiques et dynamiques et leurs points d'appui, "chromatisme instrumental aleatoire", collage de formules heterogenes. L'analyse des paroles permet de comprendre que ces chants sont pour la plupart "des paroles de femmes" ayant pour role operatoire de faciliter l'accession de la jeune fille au statut de femme mariee. La societe silesienne y apparait encore fortement marquee de pratiques ancestrales. L'analyse des chants permet aussi de definir certaines regles de la transmission orale.