Dudy instrument mało znany polskim ludoznawcom

Gespeichert in:

Bibliographische Detailangaben
1. Verfasser:	Przerembski, Zbigniew 1952- (VerfasserIn)
Format:	Buch
Sprache:	Polish
Veröffentlicht:	Warszawa Instytut Sztuki Polskiej Akademii Nauk [u.a.] 2007
Schlagworte:	Geschichte Bagpipe / Poland / History Bagpipe music / History Bagpipe music > History Bagpipe > Poland > History Sackpfeife Polen
Online-Zugang:	Inhaltsverzeichnis Abstract
Tags:	Tag hinzufügen Keine Tags, Fügen Sie den ersten Tag hinzu!

MARC


LEADER	00000nam a2200000 c 4500
001	BV035198372
003	DE-604
005	20201022
007	t\|
008	081205s2007 xx agl\| \|\|\|\| 00\|\|\| pol d
020			\|a 9788389101754 \|9 978-83-891-0175-4
035			\|a (OCoLC)272378129
035			\|a (DE-599)BVBBV035198372
040			\|a DE-604 \|b ger \|e rakwb
041	0		\|a pol
049			\|a DE-12
050		0	\|a ML980
084			\|a 9,2 \|2 ssgn
100	1		\|a Przerembski, Zbigniew \|d 1952- \|e Verfasser \|0 (DE-588)1119116449 \|4 aut
245	1	0	\|a Dudy \|b instrument mało znany polskim ludoznawcom \|c Zbigniew Jerzy Przerembski
264		1	\|a Warszawa \|b Instytut Sztuki Polskiej Akademii Nauk [u.a.] \|c 2007
300			\|a 538 p. \|b Ill., Notenbeisp. \|c 23 cm
336			\|b txt \|2 rdacontent
337			\|b n \|2 rdamedia
338			\|b nc \|2 rdacarrier
500			\|a Zsfassung in engl. Sprache u.d.T.: The bagpipe
500			\|a Includes bibliographical references and index
648		7	\|a Geschichte \|2 gnd \|9 rswk-swf
650		4	\|a Bagpipe / Poland / History
650		4	\|a Bagpipe music / History
650		4	\|a Geschichte
650		4	\|a Bagpipe music \|x History
650		4	\|a Bagpipe \|z Poland \|x History
650	0	7	\|a Sackpfeife \|0 (DE-588)4178853-9 \|2 gnd \|9 rswk-swf
651		4	\|a Polen
651		7	\|a Polen \|0 (DE-588)4046496-9 \|2 gnd \|9 rswk-swf
689	0	0	\|a Polen \|0 (DE-588)4046496-9 \|D g
689	0	1	\|a Sackpfeife \|0 (DE-588)4178853-9 \|D s
689	0	2	\|a Geschichte \|A z
689	0		\|5 DE-604
856	4	2	\|m Digitalisierung BSBMuenchen \|q application/pdf \|u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017004861&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA \|3 Inhaltsverzeichnis
856	4	2	\|m Digitalisierung BSB Muenchen \|q application/pdf \|u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017004861&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA \|3 Abstract
940	1		\|n oe
942	1	1	\|c 780.9 \|e 22/bsb \|g 438
943	1		\|a oai:aleph.bib-bvb.de:BVB01-017004861

Datensatz im Suchindex

_version_	1819658031520022528
adam_text	Spis tresei Wprowadzenie ................................................................................. , ..................................... 9 NAZEWNICTWO ................................................................................................................. 19 Instrument ................................................................................................................ 19 Dudy ............................................................................................................. 20 Gajdy ............................................................................................................ 22 Kozioł ........................................................................................................... 24 Koza, kozica, kozice, kôzlôbarina ........................................................... 25 Bąk .............................................................................................................. 26 Wołynka ..................................................................................................... 26 Siesieńki ........................................................................................................ 27 Części dud ............................................................................................................... 28 Grający na dudach ................................................................................................... 33 Granie na dudach .................................................................................................. 37 Przeniesienia nazw ................................................................................................. 40 ZASIĘGI PRAKTYKI DUDZIARSKIEJ ............................................................................ 47 Rozprzestrzenienie geograficzne ...:..................................................................... 51 Wielkopolska ............................................................................................... 58 Łęczyckie .............................................................................................. 67 Kujawy .................................................................................................. 68 Pomorze ................................................................................................ 68 Mazow3sze .................................................................................................... 70 Białoruś ................................................................................................. 73 Litwa ..................................................................................................... 76 Inflanty (Łotwa, Estonia) ................................................................... 80 Rosja ............................................................................................................. 81 Małopolska .......................................................................................... 82 Opoczyńskie ................................................................................... 82 Krakowskie ..................................................................................... 82 Regiony karpackie ...................................................................................... 83 Słowacja ........................................................................................................108 Morawy, Czechy ..........................................................................................109 Łużyce ...........................................................................................................113 Kraje niemieckojęzyczne ............................................................................117 Węgry ............................................................................................................119 Rumunia .......................................................................................................119 Kraje południowosłowiańskie ...................................................................120 Bułgaria ............................................................................................121 SYTUACJE WYKONAWCZE ..............................................................................................122 Dla „swoich .............................................................................................................123 W cyklu życia ...............................................................................................125 Wesele ..............................................................................................125 Pogrzeb ............................................................................................149 W cyklu kalendarza ....................................................................................150 Gody, Boże Narodzenie .................................................................150 Zapusty ............................................................................................151 Obrzędy i zwyczaje wiosenne, Wielkanoc .................................151 Sobótka, Zielone Świątki ...............................................................152 Żniwa, dożynki ...............................................................................159 Zaduszki ..........................................................................................167 Pomiędzy pasterzami .................................................................................167 W anturażu zbójnickim ..............................................................................183 Uświetnianie nietradycyjnych uroczystości ............................................196 Dla „obcych .............................................................................................................198 W kręgach dworskich .................................................................................198 W kościele .....................................................................................................204 W wojsku ......................................................................................................206 Wmieście ......................................................................................................210 Wędrowne zarobkowanie ..........................................................................211 Nietradycyjne zarobkowanie u siebie ......................................................221 Występy zorganizowane ............................................................................223 W rzeczywistości nadprzyrodzonej .......................................................................231 Metafizyczne związki dudziarzy .............................................................231 Muzykujące zwierzęta ...............................................................................235 DUDZIARZE ..........................................................................................................................236 Osobowości ...............................................................................................................236 Pozycja społeczna .....................................................................................................246 Zarobki .......................................................................................................................253 Wytwórcy dud ..........................................................................................................255 DUDY ..................................................................................................................................... 258 Zabytki .......................................................................................................................259 Budowa ......................................................................................................................262 Piszczałki ......................................................................... .............................264 Stroiki ............................................................................................................271 Łączniki .........................................................................................................272 Zbiornik powietrza .....................................................................................273 Nadymanie ...................................................................................................276 Zdobienie ......................................................................................................279 Gra ..............................................................................................................................282 Przygotowanie do gry ................................................................................282 Pozycja podczas gry ....................................................................................284 Sposób trzymania ........................................................................................284 Palcowanie ....................................................................................................285 Sposób gry ....................................................................................................285 Konserwacja, przechowywanie ..............................................................................286 Właściwości muzyczne ............................................................................................287 Brzmienie ......................................................................................................287 Skala, strój .....................................................................................................290 Rodzaje dud ...............................................................................................................302 Próba klasyfikacji .........................................................................................302 Dudy jednogłosowe .......................................................................302 Dudy dwugłosowe .........................................................................304 Dudy trzygłosowe ..........................................................................305 Dudy czterogłosowe (i bardziej rozbudowane) ........................307 Próba typologii ............................................................................................314 Typ wschodniosłowiański ............................................................320 Typ południowosłowiański ..........................................................324 Typ zachodniosłowiański .............................................................326 Siesieńki ...........................................................................................327 Dudy, koza ......................................................................................328 Kozioł ...............................................................................................329 W zespołach muzycznych .......................................................................................348 Solo .............................................................................................................................357 Jednorodne zespoły dudowe .................................................................................358 MUZYKA DUDOWA .........................................................................................................361 Zapisy .........................................................................................................................361 Repertuar ...................................................................................................................364 Strukturalne związki muzyki dudowej z melodiami pieśni .................367 Repertuar pieśniowy ...................................................................................369 Pieśni religijne .................................................................................372 Formy instrumentalne ................................................................................372 Styl wykonawczy ......................................................................................................376 Dudy solo .....................................................................................................382 Dudy i śpiew ................................................................................................384 Dudy w kapeli ..............................................................................................386 Naśladowanie dud ......................................................................................392 Ilustracje ..................................................................................................................................401 Indeks osób .............................................................................................................................465 Spis przykładów muzycznych .............................................................................................477 Spis ilustracji ...........................................................................................................................478 Bibliografia .............................................................................................................................483 Summary ................................................................................................................................526 8 Summary The Bagpipe. An Instrument Little-Known to Polish Experts on Folklore The tide of interest in the „peasantry and its folklore, stirred in the seventeenth centu¬ ry as a derivative of the Sarmatian predilection for all things native, grew even stron¬ ger in the eighteenth century; during the Enlightenment era it assumed a more rational character. This period witnessed the emergence of the illusory conviction that folk cul¬ ture reflects the most ancient history of each nation and, simultaneously, is a valuable cognitive source for historians, composers or visual artists. In the wake of the fall of the First Commonwealth, studies relating to Polish tradition as well as its preservation became an outright patriotic duty, indispensable for the maintenance of national iden¬ tity. In 1802, upon the threshold of the epoch of folk studies, Rev. Hugo Kołłątaj for¬ mulated the theses of widely comprehended historical research, whose range encom¬ passed also culture and folklore studies. However, experts on folk culture who, in time, were to metamorphose into ethnographers and scholars specialising in folklore, for long did not disclose sufficient interest in rural musicians, ensembles or the instru¬ ments, which the folk performers frequently produced themselves. Even the all-sided studies by Oskar Kolberg - the many volumes of his Lud (The Folk) and Obrazy etno¬ graficzne (Ethnographic Images) - contain only fragmentary and scattered information, although the factographic approach of this great ethnographer and expert on folk cul¬ ture provides us with general insight into the pertinent question. The insufficient number of sources also pertains to bagpipe music. At the turn of the eighteenth century bagpipes were still used in several regions of the partitioned Com¬ monwealth, and upon certain occasions were regarded as the main instrument of local musical tradition. Nineteenth-century writings, however, made scarce mention of the players and the bagpipe, and as a rule did so while describing folk customs and rites, folk entertainment or the general specificity of folk songs and music. The practical aspects of bagpipe music rarely attracted the attention of the researchers of the period or voyagers traversing Polish lands; consequently, they registered the pre¬ sence or absence of the instruments, and sometimes even offered a general characteri¬ sation of their appearance, construction or sound. Such sources, as a rule, relate to Gre¬ ater Poland. The above-noted lack of exhaustive sources is the reason for the obstacles encountered while characterising the instruments played by pipers during the folk studies epoch. Verbal and, at times, extremely general descriptions are supplemented or actually ex¬ panded by iconographie sources. The picturesque pipers, perceived as a relic of cul¬ tural traditions exerting a considerable impact on the imagination, comprised an exce- 526 Summary lient theme for the creative pursuits of painters, graphic artists or sculptors. It should be kept in mind, however, that the artists did not always depict the bagpipe correctly. Nor may we be certain about the place of origin of the portrayed musicians and their instruments. The documentary value of iconographie sources has been often discussed in musicological literature also in reference to the bagpipe. Nevertheless, the unque¬ stionable asset of visual-arts likenesses lies in the relatively detailed images stemming from their specificity. Moreover, they constitute a reliable portrayal of the cultural con¬ text of bagpipe performances and the overall musical situation. It is also impossible to overestimate the fact that some of these depictions precede their verbal successors. Photographs of pipers, starting with the early twentieth century, possess obvious do¬ cumentary value. Reproductions of visual-arts works or photographs with „bagpipe motifs were published in illustrated periodicals or on postcards. The fact that, as a rule, the pipers were anonymous sitters hampers their identification or makes it out¬ right impossible. From the last decades of the nineteenth century the progressing industrialisation and urbanisation of the country, albeit dissimilar in various regions, contributed to a grea¬ ter or lesser degree to the social and cultural transformation of the Polish countryside. Musical tradition too succumbed to modifications. Old songs and melodies gradually vanished, as did the manner of their performance and certain musical instruments. The spread of a new repertoire was accompanied by equally novel performance styles and instruments, which made their way from manor houses and towns, and were brought back from voyages made in search of employment and by village musicians returning after the completion of their army service. The competitors of the bagpipe included, first and foremost, wind instruments, especially trumpets and clarinets, which were not only fashionable but also possessed greater musical potential. It is not surprising, therefore, that the pipers too became increasingly less popular. During the nineteenth century the social range of bagpipe praxis was limited to a con¬ siderable extent to the rural and peasant environment. This process was followed by a radical fall in the number and variety of sources reflecting the art of the bagpipe. In Old Poland the relatively most numerous sources referred to the court, military, Church, or municipal activity of the pipers. Paradoxically, although the epoch of folk studies is closer in time than the First Commonwealth, we know much too little about the role played by the pipers. This holds true also for the distribution of the instruments - the comparatively most concrete and numerous data originate from Greater Poland. True, this period saw a rise of interest in folk culture, but only to a slight degree did it per¬ tain to peasant instrumental music and the instruments themselves, including pipes. Throughout the book I use the term „folk studies also in reference to the second half of the nineteenth century and even the beginning of the next century, when folk stu¬ dies evolved into folklore studies and ethnography, and works on folk musical art - into musical ethnography, ethnomusicology or anthropology of music. In doing so, I somewhat prolong the folk studies epoch owing to the modest development of research 527 into folk instrumental music and instruments as such, including the bagpipe, in our country. More all-embracing descriptions started to appear at the end of the nineteenth century. First monographic studies, explorations and ethnographic or ethnomusicolo- gical investigations involving methods and methodology did not emerge until the in- terwar period. This was the time of the publication of such works based chiefly on mu¬ seum collections as Instrumenty muzyczne luau polskiego na Podhalu (Musical Instru¬ ments of the Polish Peasants in the Podhale Region) by Adolf Chybiński (1924), con¬ taining a chapter on the bagpipe, or Dudy wielkopolskie (The Bagpipes of Greater Po¬ land) by Jadwiga Pietruszynska (1936) and Dudy żywieckie (The Bagpipes of the Zy- wiec Region) by Stefan Marian Stoiński (1938). These works observe the principles of ethnomusicology conceived as a systemic science, regardless of the historical perspec¬ tive, sometimes relegated to the margin. This holds true also for studies issued abroad, including the excellent publication on the folk reed instruments of the southern Slavs: Sviraljke s udarnim jezičkom by Božidar Širola, whose second part (Sviraljke sa mješinom: mješnice, gajde, dude) deals with pipe instruments (1937:113-392). I made use of the in¬ formation contained in these monographs only in those cases when its connection with nineteenth-century bagpipe praxis appears to be probable. In view of the scarcity of sources pertaining to the bagpipe and bagpipe music in eth¬ nically Polish lands during the folk studies epoch, as well as for purely comparative reasons, I consider also symptoms of bagpipe culture in countries that were part of the former Commonwealth or in neighbouring lands. This approach concerns primarily the construction of pipe instruments, their musical potential, repertoire and execution style as well as the circumstance of the performance and its cultural associations. Com¬ parisons with Polish bagpipe praxis dating from the first half of the twentieth century, but firmly enrooted in the preceding century, will serve the verification of pertinent conclusions. The book is the second part of a lager whole on the bagpipe in Poland. The earlier pu¬ blished volume - Dudy. Dzieje instrumentu w kulturze staropolskiej (The Bagpipe. The Hi¬ story of the Instrument in Old Polish Culture, Przerembski 2006) - spans from the Mi¬ ddle Ages to the end of the First Republic. The presented volume discusses predomi¬ nantly the history of the nineteenth-century bagpipe (from the end of the eighteenth century to the first world war). The third part, under preparation, will focus on the ex¬ tensive topic of the bagpipe from the beginning of renascent Poland to contemporary times. The publication is composed of six chapters entitled Nazewnictwo (Terminology), Zasię¬ gi praktyki dudziarskiej (Ranges of bagpipe praxis), Sytuacje wykonawcze (Performance si¬ tuations), Dudziarze (The pipers), Dudy (The bagpipe) and Muzyka dudowa (Bagpipe music), divided into smaller sections. The opening chapter deals with the names (pro¬ per and intermixed) used in the folk studies epoch for defining the instrument and its parts as well as the musician and the performance. I cite expressions used by resear¬ chers, folk terms applied by pipers, and the bagpipe vocabulary found in folklore texts. 528 Summary Ranges of bagpipe praxis consider the geographical distribution of the titular practice from the end of the eighteenth century to the early twentieth century in the former First Republic. The customs in question are directly or indirectly confirmed by the ob¬ servations made by various researchers and travellers as well as by iconographie and literary sources. I discuss ethnically Polish terrains, starting with Greater Poland, which at the time played a foremost role from the viewpoint of bagpipe music, and go on to examine the highlands and localities with a totally unknown, uncertain or bygone acti¬ vity of the pipers. For the purpose of comparison as well as tracing mutual impacts and routes of the dissemination of the pipers and their instruments, I expanded the spectre of „bagpipe questions by including non-Polish countries and regions, both those which historically belonged to the Polish-Lithuanian state and others. Political changes transpiring after the fall of the Commonwealth were the reason why the Poles found themselves within a wider orbit of cultural impact, relevant also for the art of the bagpipe. The character of nineteenth-century bagpipe praxis, whose overwhelming part was of a folk nature, influenced the division of the chapter about Performance situations into two main parts: the first refers to performances given by the pipers „for their own , and the second - for „strangers ( Others ). The musicians satisfied the musical needs of their ethnic group in the course of certain rituals and customs associated with hu¬ man-life and annual cycles (mainly wedding, Christmas, springtime, St. John s Eve, or harvest festivities) as well as less traditional celebrations. In the more conservative eas¬ tern and southern Slavonic terrains they continued to fulfil ritual functions. In the high¬ lands pipers were to be found among the shepherds and even the local brigands, al¬ though in the nineteenth century the „best days of Carpathian brigandry were alrea¬ dy part of the distant past. The peasant pipers rarely played for „strangers . Nonethe¬ less, their musical activity was registered in those social environments in which they were found during the Old Polish era, namely, the court, the Church, and the army. Traditionally, some of the pipers led an itinerant lifestyle. The last decades of the nine¬ teenth century witnessed the appearance of new forms of performing at places of per¬ manent residence (or the nearest environs), as a rule connected with the development of tourism. This was also the period of the first symptoms of organising folk music performances for an audience. The epoch of folk studies to a certain extent „inherited the rich bagpipe symbolic of the preceding centuries, discussed in the chapter In a supernatural reality. Folklore sources, songs and legends confirm that pipers maintained contacts with a superna¬ tural reality for assorted good and evil purposes; this approach was concurrent with the consciousness of nineteenth-century peasants. Texts of songs recounting animals playing music appear to be devoid of old symbolic meanings and, as a rule, are purely satirical. The chapter on The pipers focuses on the personal features of the musicians. During the Old Polish period they were the first „professionals in the traditional current of 529 musical life, subsequently compelled to share the „labour market and even make way for other musicians, especially the fiddlers, the clarinet players and the accordion pla¬ yers. A centuries-long leading position in traditional music, on the one hand, and the demands made by competition, on the other hand, produced certain specific character traits. The chapter also mentions the nineteenth-century social position of the pipers, which was by no means always the highest, as well as their earnings. Since the musi¬ cians usually built their own instruments, I included into this chapter bagpipe produc¬ tion and the market prices of the instruments. The pipes examines the construction of the instruments, chiefly upon the basis of in¬ formation derived from the folk studies epoch, although, as has been mentioned a- bove, such data were rather general and scarce. The much more varied and precise facts on the topic, obtained in the course of the research carried out during the inter- war period, are recalled only for the sake of comparison in those instances when they had been originally gained from pipers born in the nineteenth century. Quite possibly, many construction features were borrowed by twentieth-century pipe producers from the preceding century, although it would be difficult to produce unambiguous proof. The chapter presents nineteenth-century examples of bagpipes featured at museum or ethnographic exhibitions of the period and amassed by museums and collectors. I de¬ monstrate the construction of the particular elements of the bagpipe: its properties, the material out of which it was built, and manner of embellishment. Other topics include the procedure of preparing the instrument, the pose assumed in the course of the per¬ formance, the manner of holding the bagpipe, the fingering, and, finally, the conserva¬ tion and storage of the instrument. Separate attention is devoted to the musical proper¬ ties of the bagpipe - sound, scales and key pitches. Knowledge about the construction of pipe instruments during the folk studies epoch remains unsatisfactory, and in quite a few instances is based merely on external pro¬ perties described in written or iconographie sources. The preserved examples are scare and no earlier than the turn of the nineteenth century. Instruments from that time, mainly the products of folk culture, are characteristic for their organological variability and many construction variants. Nonetheless, by relying on such incomplete historical information and comparing it with data obtained from twentieth-century producers who continued the old tradition, I attempted to distinguish particular types of pipes, and proposed a classification and typology of the instruments. As in Dudy. Dzieje in¬ strumentu w kulturze staropolskiej, I accepted the number of pipes (melodic and drone) as the criterion of my classification division, which made it possible to distinguish one-, two-, three- and four-voice instruments and even more expansive varieties. By limiting myself to organologically affiliated pipes from Slavic terrains I differentiated three basic types of instruments: southern Slavonic, eastern Slavonic and western Slavonic. Naturally, the latter include Polish bagpipes, among which I recognize three varieties with an Old Polish tradition: the siesieńka, the duda and the kozioł. Within the same cha¬ pter, I examine the nineteenth-century praxis of pipers joining other musicians to cre- 530 Summary ate ensembles, solo performances, or the presence of ensembles composed exclusively of pipers. The last chapter - on Bagpipe music - asserts that despite the scarcity and incomplete¬ ness of recorded melodies played on the bagpipe one may hazard a general descrip¬ tion of the repertoire and performance style of nineteenth-century pipers, partially by basing oneself on a characteristic of performances from the period and a confrontation with twentieth-century bagpipe practice. Just as in our times, there existed strong stru¬ ctural connections between nineteenth-century bagpipe music and the song melodies that comprised the majority of the bagpipe repertoire of the period. Typically instru¬ mental melodies were rare. The style depended on whether the performance was solo or accompanied by singing or other instruments in an ensemble. A vocal or instrumen¬ tal emulation of the specific features of the bagpipe comprised a separate phenome¬ non. The Index encompasses authors of works listed in the Bibliography as well as persons associated with the examined topic. It does not refer to lists of illustrations, examples of music, and persons others than the authors mentioned in the Bibliography, and thus deals only with the main text of the book. Literature about the bagpipe, pipers and bagpipe music on the Continent during the folk study epoch is impressive. The Bibliography includes only those titles, recorded as thoroughly as possible, to which I refer in this particular study. Not always, however, was it possible to determine the place or date of a publication, the publisher, or the names of authors and editors. The titles of books and periodicals are written in italics. In the case of articles issued in collective works I used italics for the main title. In bi¬ bliographical notes about continuous and multi-part compact publications the succes¬ sive levels of the division (volume, part, number of periodicals) are marked with Ara¬ bic numbers separated with commas. In collected works the numbers of cited pages are given right after the name of the editor (s), while in cases of continuous publica¬ tions - after the number of the periodical. Translated by Aleksandra Rodzińska-Chojnowska. 531
any_adam_object	1
author	Przerembski, Zbigniew 1952-
author_GND	(DE-588)1119116449
author_facet	Przerembski, Zbigniew 1952-
author_role	aut
author_sort	Przerembski, Zbigniew 1952-
author_variant	z p zp
building	Verbundindex
bvnumber	BV035198372
callnumber-first	M - Music
callnumber-label	ML980
callnumber-raw	ML980
callnumber-search	ML980
callnumber-sort	ML 3980
callnumber-subject	ML - Literature on Music
ctrlnum	(OCoLC)272378129 (DE-599)BVBBV035198372
era	Geschichte gnd
era_facet	Geschichte
format	Book
fullrecord	<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02052nam a2200505 c 4500</leader><controlfield tag="001">BV035198372</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20201022 </controlfield><controlfield tag="007">t\|</controlfield><controlfield tag="008">081205s2007 xx agl\| \|\|\|\| 00\|\|\| pol d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9788389101754</subfield><subfield code="9">978-83-891-0175-4</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)272378129</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV035198372</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">pol</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">ML980</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">9,2</subfield><subfield code="2">ssgn</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Przerembski, Zbigniew</subfield><subfield code="d">1952-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)1119116449</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Dudy</subfield><subfield code="b">instrument mało znany polskim ludoznawcom</subfield><subfield code="c">Zbigniew Jerzy Przerembski</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Warszawa</subfield><subfield code="b">Instytut Sztuki Polskiej Akademii Nauk [u.a.]</subfield><subfield code="c">2007</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">538 p.</subfield><subfield code="b">Ill., Notenbeisp.</subfield><subfield code="c">23 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Zsfassung in engl. Sprache u.d.T.: The bagpipe</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references and index</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Bagpipe / Poland / History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Bagpipe music / History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Geschichte</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Bagpipe music</subfield><subfield code="x">History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Bagpipe</subfield><subfield code="z">Poland</subfield><subfield code="x">History</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Sackpfeife</subfield><subfield code="0">(DE-588)4178853-9</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="651" ind1=" " ind2="4"><subfield code="a">Polen</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Polen</subfield><subfield code="0">(DE-588)4046496-9</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Polen</subfield><subfield code="0">(DE-588)4046496-9</subfield><subfield code="D">g</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Sackpfeife</subfield><subfield code="0">(DE-588)4178853-9</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Geschichte</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSBMuenchen</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017004861&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017004861&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Abstract</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">780.9</subfield><subfield code="e">22/bsb</subfield><subfield code="g">438</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-017004861</subfield></datafield></record></collection>
geographic	Polen Polen (DE-588)4046496-9 gnd
geographic_facet	Polen
id	DE-604.BV035198372
illustrated	Illustrated
indexdate	2024-12-23T21:22:24Z
institution	BVB
isbn	9788389101754
language	Polish
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-017004861
oclc_num	272378129
open_access_boolean
owner	DE-12
owner_facet	DE-12
physical	538 p. Ill., Notenbeisp. 23 cm
publishDate	2007
publishDateSearch	2007
publishDateSort	2007
publisher	Instytut Sztuki Polskiej Akademii Nauk [u.a.]
record_format	marc
spellingShingle	Przerembski, Zbigniew 1952- Dudy instrument mało znany polskim ludoznawcom Bagpipe / Poland / History Bagpipe music / History Geschichte Bagpipe music History Bagpipe Poland History Sackpfeife (DE-588)4178853-9 gnd
subject_GND	(DE-588)4178853-9 (DE-588)4046496-9
title	Dudy instrument mało znany polskim ludoznawcom
title_auth	Dudy instrument mało znany polskim ludoznawcom
title_exact_search	Dudy instrument mało znany polskim ludoznawcom
title_full	Dudy instrument mało znany polskim ludoznawcom Zbigniew Jerzy Przerembski
title_fullStr	Dudy instrument mało znany polskim ludoznawcom Zbigniew Jerzy Przerembski
title_full_unstemmed	Dudy instrument mało znany polskim ludoznawcom Zbigniew Jerzy Przerembski
title_short	Dudy
title_sort	dudy instrument malo znany polskim ludoznawcom
title_sub	instrument mało znany polskim ludoznawcom
topic	Bagpipe / Poland / History Bagpipe music / History Geschichte Bagpipe music History Bagpipe Poland History Sackpfeife (DE-588)4178853-9 gnd
topic_facet	Bagpipe / Poland / History Bagpipe music / History Geschichte Bagpipe music History Bagpipe Poland History Sackpfeife Polen
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017004861&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017004861&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT przerembskizbigniew dudyinstrumentmałoznanypolskimludoznawcom

Dudy instrument mało znany polskim ludoznawcom

MARC

Datensatz im Suchindex

Ähnliche Einträge