NAZEWNICTWO TRADYCYJNEGO REPERTUARU SKRZYPCOWEGO NA PODSTAWIE PRAKTYKI INSTRUMENTALNEJ WYBRANYCH SKRZYPKÓW Z CENTRALNEJ POLSKI

Abstract

Nomenclature of the traditional violin repertoire based on the instrumental prac- tice of selected violinists from Central Poland Mazurkas and oberekas were the main musical genres performed in Central Po- land until World War I by traditional musical groups consisted initially of a violi- nist and a drummer. Depending on the sub-region, these two terms were used inter- changeably, sometimes they were considered as two different genres, and sometimes confused – for example, in Powiśle, instrumental mazurkas were called “wędrowce” (sing. “wędrowiec”), “podróżniaki” (sing. “podróżniak) or “światowce” (sing. “świa- towiec”), while in many villages near Radom, the term mazurka did not occur at all. The third commonly performed musical genre before World War I was the polka. In the interwar period and in the first years after World War II, the traditional repertoire significantly expanded to include waltzes, sztajerki (sing. sztajer or sztajerek) and tangos. The article deals with the issue of muscial genres nomenclature performed by selected violinists from Central Poland, focusing on four figures associated with the traditional violin music of the Radom region: Stanisław Lewandowski (Brogowa, b. 1933), Jan Skretowski (Borowina, b. 1941), Adam Tarnowski (Domaniów, b. 1945) and Zdzisław Kwapiński (b. in 1951 in Szymanów, from 1984 residing in Przytyk, and from the late 1980s in Radom). Another important issue is the nomenclature of single musical works performed by the aforesaid violinists, what reveals their creativ- ity as well as the rural way of perceiving music. Keywords: mazurka, oberek, polka, violin, violin music, Central Poland.