Relevant bibliographies by topics / Hurdy-gurdy

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Academic literature on the topic 'Hurdy-gurdy'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Hurdy-gurdy"

1

Rokosz, Tomasz. "The Emissaries of the Wandering Beggars’ Tradition – on the Issues of Hurdy-Gurdy – Past and Present." Edukacja Muzyczna 15 (2020): 41–63. http://dx.doi.org/10.16926/em.2020.15.02.

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The subject of the wandering beggars’ songs and their functioning in culture has been discussed many times in the Polish folklore studies and ethnomusicology. In the practical sense, it could seem that the beggars’ song is a historical subject, closed a long time ago, similarly as hurdy-gurdy playing – one of its most interesting manifestations. Nevertheless, songs of hurdy-gurdy players have returned triumphantly these days, performed by amateur and professional musicians. Furthermore, we can observe the phenomenon of consolidation of musicians, not only into bands, but also in wider projects (festivals, academies, meetings of hurdy-gurdy players). The author presents a concise description of hurdy-gurdy playing traditions, the instrument itself, its song repertoire and the contemporary reconstruction of these traditions that is attempted by some environments.
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2

Platonov, Andrei, and Susan Larsen. "Platonov's THE Hurdy-Gurdy: AN INTRODUCTION." Theater 20, no. 3 (1989): 65–96. http://dx.doi.org/10.1215/01610775-20-3-65.

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3

Muskett, Michael, and Robert A. Green. "The Hurdy-Gurdy in Eighteenth-Century France." Notes 53, no. 3 (March 1997): 797. http://dx.doi.org/10.2307/899734.

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4

Romey, John. "The Hurdy-Gurdy in Eighteenth-Century France." French History 31, no. 3 (July 18, 2017): 395–96. http://dx.doi.org/10.1093/fh/crx038.

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5

Yarmola, Victoria. "Itinerant Musicians of Western Polissia: Mykola Muravets." Problems of music ethnology 17 (November 17, 2022): 33–39. http://dx.doi.org/10.31318/2522-4212.2022.17.270904.

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The person and career of the outstanding traveling musician Mykola Muravets from Western Polissia were characterized in general terms on the basis of the newly acquired expedition materials. This notorious hurdy-gurdy player was born in 1906 on the Murava farm near the village of Shtun of the Volodymyr-Volyn District, Volyn Gubernia. At the age of 11, because of burns from a fired gas shell, he completely lost his sight. The boy was distinguished by his beautiful voice and had an excellent memory and musical ear, so the fellow villagers advised his parents to send him to study with an experienced and a well-known hurdy-gurdy player by the nickname "Matiya". Having quickly mastered the basics of the instrument, Mykola began his itinerant performance activity, which was quite prolific and, in certain periods, even highly paid during the time of the Second Polish-Lithuanian Commonwealth. Besides house shows and street performances, he also performed at cathedrals, secular mass gatherings, and in fairs and markets. In 1944, the musician’s family could not avoid the calamity of the Second World War. During the events of the Volyn tragedy, the Poles burned down his house with his beloved hurdy-gurdy inside. Due to his family’s poverty, he would never manage to replace his hurdy-gurdy. However, in that moment, a new stage of his musicianship began with the transition to using another instrument - the bandonion – to continue his busking. Unlike the hurdy-gurdy playing period, when Muravets dealt mostly with invitations to holidays and celebrations, the following period encouraged the musician to do more busking. The peasants treated the busker with respect and took care of him. Whoever was richer invited him to their houses to eat, spend the night, sing songs, and gifted him with headscarves, fabric, and money. In addition to invitations to houses and street forms of busking, a very important part of Mykola’s busking was participating in religious feasts at churches and monasteries. Mykola Muravets sang akathists, prayed for the health of the living and peace of the deceased, and the offspring of livestock. His knowledge of the Psalter, the Divine Liturgy, and skill in reciting the Akathist led to the high authority of the busker and strengthened his position in the social hierarchy of the village, equating him to a clergyman. The main ritual duties consisted in mourning the deceased in his own and other villages. In addition to being honoured among the fellow villagers, Mykola Muravets was greatly respected among blind musicians, whom he repeatedly hosted at his own home for meetings. Particularly, the buskers of the entire district elected a blind man, Mikolay, as their leader. There is a genre palette in the repertoire of Mykola Muravets. At the beginning of his career, he mainly performed only religious and moralistic works, which he mainly learnt from his teacher – Matvyi Kovalchuk, and the rest later from other blind musicians during busking.Mykola Muravets died on May 22nd, 1995.
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6

Haber, Edythe. "Dancing to the Devil’s Tune: Шарманка cатаны (Satan’s Hurdy-Gurdy) by Teffi." Russian Literature 125-126 (October 2021): 109–29. http://dx.doi.org/10.1016/j.ruslit.2021.11.007.

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7

Sorokina, Svetlana P. "Barrel Organ and Organ- Grinder in Russian Fiction of the 1840s." Studia Litterarum 6, no. 1 (2021): 206–27. http://dx.doi.org/10.22455/2500-4247-2021-6-1-206-227.

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In the 1840s, barrel organ and organ grinders became a core part of the city’s folk entertainment culture as mentioned in essayistic and memoir literature. However, the references are scarce and there are no detailed descriptions existing. To study this phenomenon of folk culture, the author turns to fictional texts: Dead Souls by N.V. Gogol, “Shtoss” by M. Yu. Lermontov, “Katerina-Hurdy-Gurdy” by I.P. Myatlev, and “Savvushka” by I.T. Kokorev. The article analyzes the chain of ideas that each of these authors associates with the barrel organ and organ-grinders. In general, these views correlate with the views reflected in non-literary sources. I.T. Kokorev develops the story of the street artist in the most detailed way which may be explained by his interests in essay writing, closeness to the so-called “natural school” (a 19 th century literary trend), and personal experience.
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8

Остапенко, Александр Григорьевич, Александр Алексеевич Остапенко, Никита Михайлович Лантюхов, Сергей Дмитриевич Трубицын, Илья Александрович Боков, Андрей Олегович Калашников, and Юрий Юрьевич Громов. "ON THE ISSUE OF TRENDS AND TOOLS OF SOCIO-INFORMATIONAL GLOBAL CONFRONTATION." ИНФОРМАЦИЯ И БЕЗОПАСНОСТЬ, no. 4(-) (December 25, 2020): 519–24. http://dx.doi.org/10.36622/vstu.2020.23.4.004.

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Вниманию читателя предлагается краткий обзор интернет-прогнозов и сценариев глобального развития, спровоцированных пандемией коронавируса: цифровой контроль, перезагрузка парадигмы, эпидемия агрессии, вспышка региональных конфликтов, деградация западного либерализма, беспрецедентная информационная война. В контексте перечисленных инфодемических тенденций рассматривается инструментарий противоборства в социо-информационном пространстве, включая способы «замедления трафика» и «гиперболизации очернения», а также - приемы «отвлекающего вброса» и «шарманки». Предпочтение отдается информационно-психологическим интернет-дуэлям, в отличии от средств блокирования противника, применение которых авторы не считают эффективными в долгосрочной перспективе сетевого противодействия. The reader is offered a brief overview of Internet forecasts and scenarios of global development provoked by the coronavirus pandemic: digital control, paradigm reset, epidemic of aggression, outbreak of regional conflicts, degradation of Western liberalism, unprecedented information war. In the context of these infodemic trends, we consider the tools of confrontation in the socio-information space, including ways to "slow down traffic" and "hyperbolize denigration", as well as the techniques of "distracting stuffing" and "hurdy-gurdy". preference is given to information and psychological internet duels, in contrast to the means of blocking the enemy, the use of which the authors do not consider effective in the long term network counteraction.
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9

Nowak, Tomasz. "Revitalisation and Revival of Traditional Musical Instruments in Poland in the Context of Music Contests." Interdisciplinary Studies in Musicology 22 (December 29, 2022): 21–32. http://dx.doi.org/10.14746/ism.2022.22.2.

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This article is devoted to the issue of revitalisation and revival of traditional musi- cal instruments in Poland in the context of music competitions. Research on revival activities in Poland is rare, as is research on the phenomenon of traditional music competitions. Meanwhile, over the last nine decades, traditional music competitions have become the main environment for the public presentation of traditional music and stimulating the revival and revitalisation of indi- vidual musical phenomena. In this area, I have been conducting my own participant observations and archival research for over two decades. I understand the revival phenomenon itself and the activities that constitute it after Caroline Bithell and Juniper Hill (2013). The distinction between the terms revitalisation and revival is based on that made by Ingrid Åkesson (2006) and Ulrich Morgenstern (2019). In the text I discuss the issue of revitalisation of the Podhale bagpipes and the revival of the hurdy-gurdy. I also show that the phenomenon of the revival of musical tradi- tion is accompanied by processes of depreciation of the role, importance or presence of other instruments, such as the accordion or clarinet. I also show the important role of the activism of leading figures among both researchers and lovers of traditional music, as well as musicians and instrument builders.
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10

Strutynski, Iwan. "The Instrumental Component of the Epic Genres of the Carpathian Tradition." Problems of music ethnology 16 (December 29, 2021): 99–109. http://dx.doi.org/10.31318/2522-4212.2021.16.249654.

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If the context of the performance of ritual and dance music is described in detail in a number of monographs at the beginning and middle of the last century, then with descriptions of the existence of epic genres the situation is somewhat different. Most collections of epic songs contain verbal and musical texts, however, the context of the performance, the number of performers, and the instrumental component are not always described. The article is devoted to the epic genres of folklore of the Ukrainians of the Carpathians. The article examines the modern existence of such epic genres of Ukrainian Carpathian folklore as psalm, song-chronicle, ballad. The aim of the study is to show the epic genres of folklore of the Ukrainian Carpathians in the context of its modern existence in the Carpathian village and in connection with the instrumental tradition of the region. The study covers Eastern Galicia (Halychyna), in particular Galician Hutsulshchyna and Pokuttia (Pokucie), where the author's fieldwork took place. Modern field recordings of psalms, which were previously carried by itinerant lyre players, indicate that the works of this genre in some places have survived to this day due to their inclusion in the calendar tradition. Some of them are preserved as Christmas and Lenten songs. So, in the village Stary Lisets of the Tysmenytsa district of IvanoFrankivsk region, the psalm «About Stratenska Virgin Mary» about the siege of the monastery by the Tatars became a carol. In the Kosiv and Verkhovyna districts of Ivano-Frankivsk region (Galician Hutsulshchyna), songs-chronicles («novyny») continue to exist. This genre of Ukrainian folklore appeared in the 17th century. Songs-chronicles reflect historical events from the time of the opryshky movement to the present day and family and household dramas. In the village Khymchyn of the Kosiv region, the author of these lines was lucky to record two songs-chronicles – about Dovbush and about the First World War. The performer alternated singing with playing on a sopilka-dencivka. The author finds out ideas of the bearers of the tradition about the correct performance of songs-chronicles. The classical performance of chronicle songs is predominantly solo (one singer and one accompanist-instrumentalist). Folk ballads that exist in the modern Carpathian region can be divided into local and late ones, a significant part of which came from the Central regions of Ukraine in the 20th century. At the same time, part of the late ballads comes from the ancient ones that arose on the territory of the Ukrainian Carpathians in the 17th–18th centuries. Evidence of the 20th century and the records of modern collectors of Carpathian folklore show that the performance of ancient Carpathian ballads is close to the performance of songs-chronicles. Old Carpathian ballads are characterized by a declamatory manner of singing accompanied by a violin, hurdy-gurdy or sopilka-flute and a narrow ambitus. Old ballads are associated with individual performance and folk-professional instrumentalism. Nowadays they can be heard less often than late ballads associated with collective choral singing. To get a complete picture of the context of the existence of the ancient Carpathian ballads, it is necessary to interview the inhabitants of the villages where they were recorded in the XX – at the beginning of the XXI century – Kornych, Myshyn, Cherni Oslavy, Velykyi Klyuchiv and Kosmach.
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Books on the topic "Hurdy-gurdy"

1

Seibles, Tim. Hurdy-Gurdy. Cleveland, USA: Cleveland State University Poetry Center, 1992.

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2

Poteur, Françoise Bois. La vielle à roue en France: Répertoire et mentalités. [Paris?]: A. Zurfluh, 1996.

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3

Bono, Marcello. La ghironda: Storia, repertorio, tecnica esecutiva e costruzione. Sala Bolognese: A. Forni, 1989.

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Rault, Christian. L' organistrum, ou, L'instrument des premières polyphonies écrites occidentales: Étude organologique, iconographie. Paris: Aux Amateurs de livres, 1985.

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Green, Robert A. The hurdy-gurdy in eighteenth-century France. Bloomington: Indiana University Press, 1995.

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6

The autobiography of Donovan: The hurdy gurdy man. New York: St. Martin's Press, 2005.

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7

Allmo, Per-Ulf. Lirans hemligheter: En studie i nordisk instrumenthistoria. Stockholm: [Musikmuseet], 1985.

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Chassaing, Jean-François. La vielle et les luthiers de Jenzat. Teilhède, Combronde: Aux Amoureux de science, 1987.

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Destrem, Philippe. La vielle: Réglage et entretien = Die Drehleier : Feinabstimmung und Wartung = The hurdy-gurdy : adjustment and maintenance. Rion: Collection AMTA, 1993.

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La vielle à roue dans la musique baroque française: Instrument de musique, objet mythique, objet fantasmé? Paris: L'Harmattan, 2006.

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Book chapters on the topic "Hurdy-gurdy"

1

"The Hurdy-Gurdy." In Fourteen Little Red Huts and Other Plays, 1–86. Columbia University Press, 2016. http://dx.doi.org/10.7312/plat18128-002.

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"hurdy-gurdy, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/7604354542.

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Alpatov, Sergey. "“Katerina – Hurdy-Gurdy”: a Name – a Thing – a Sign." In Slavic & Jewish Cultures: Dialogue, Similarities, Differences, 157–68. Sefer, 2019. http://dx.doi.org/10.31168/2658-3356.2019.10.

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Judovitz, Dalia. "The Enigma of the Visible." In Georges de La Tour and the Enigma of the Visible. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277438.003.0002.

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This chapter begins with an analysis of La Tour’s allegorical paintings of blind hurdy-gurdy musicians in order to explore the deceptive, even blinding, character of ordinary vision. These renderings of music making and audition (whose invisibility defies vision and challenges the representational purview of painting) are examined in reference to his portrayals of St. Jerome and Mary Magdalene. Figuring the attainment of spiritual insight rather than sight, these devotional works attest to a contemplative mode of seeing illuminated by the biblical Word. They challenge the viewer by attempting to depict what painting cannot ultimately show: namely, spoken words, audition, the passage of time, and spiritual passions reflecting changes of heart.
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Heslop, Kate. "A Poetry Machine." In Viking Mediologies, 160–84. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9780823298242.003.0007.

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Analysis of the two manuscript versions of the Second Grammatical Treatise reveals a common interest in musical performance, which is also reflected in the treatise’s tripartite division of sound, indebted to medieval music theory. Music and grammar meet in the ars rithmica, an analytical tradition devoted to syllable-counting, often rhyming kinds of poetry usually performed to musical accompaniment. The “new poetics” of the late twelfth and thirteenth centuries, influenced by ars rithmica, posits meter as a tool for the renewal of poetry based on the best of old traditions. The influence of ars rithmica is apparent in the grammatical treatises, and its characteristic style of analysis can be traced in Háttatal’s account of the end-rhymed runhent meter. The “poetry machine” of the Codex Upsaliensis version of the Second Grammatical Treatise, a diagrammatical representation of poetic rhyme based on the conceit of a hurdy-gurdy with letter-annotated keys, demonstrates that the interrelationship between rhyme, music, and meter was virulent in a pedagogical context in late medieval Iceland, while its manuscript link with Háttatal suggests a reading of the Prose Edda compilation as an Icelandic “new poetics.”
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Conference papers on the topic "Hurdy-gurdy"

1

DOBBINS, PF. "INTRODUCING THE HURDY-GURDY." In Acoustics '93. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20545.

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