Abstract
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.
Highlights
it could seem that the beggars' song is a historical subject
we can observe the phenomenon of consolidation of musicians
The author presents a concise description of hurdy-gurdy playing traditions
Summary
Https://orcid.org/0000-0001-6666-6196 Katolicki Uniwersytet Lubelski Jana Pawła II e-mail: tomaszrok@kul.pl Aby wyjaśnić współczesny fenomen rewitalizacji instrumentu i pieśni śpiewanych obecnie z jego akompaniamentem, musimy (jedynie szkicowo) scharakteryzować tradycyjną subkulturę i pieśń dziadowską, która jest bazą, inspiracją, punktem wyjścia – swoistym wzorcem dla współczesnych artystów. Że początkowo repertuar Iwana Własiuka składał się głównie z utworów religijnych, a dopiero później lirnik wprowadzał do niego inne ludowe pieśni – przeważnie humorystyczne, które były bardziej interesujące dla słuchaczy i samego muzyka47.
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