Music from Both Sides

Matija (Matt) Arko, known to family and friends as Hojer (Hoyer), was born in Slovenia. He emigrated to the States as a teenager, bringing alongside his love for music and the accordion. Music became an important part of his life and his Hoyer instrumental trio became extremely popular amongst Slovenians as well as emigrants of other nationalities. By mixing elements of Slovenian traditional music and various popular American genres of the time, he created the foundations of the polka music, the appeal of which crossed ethnic boundaries and later on achieved general popularity. Most of Matija Arko’s tunes have been recorded on gramophone records, which give us insight into his musical activities and the history of Slovenian music in the USA. Very little is known in his homeland about Matija Arko, known in the States as Matt Hoyer, and his musical endeavours. This publication is English translation of the Slovenian edition, aims to shed light on his activities and music

Prepletenost hrvatske i slovenske glazbene baštine na najstarijim gramofonskim pločama

The article focuses on the question of whether the connectivity of the Slovenian and Croatian cultural environment is reflected in the first gramophone recordings of their performers, whether these recordings were produced under similar circumstances and what role the Gramophone Company played. A detailed analysis of the Gramophone Company recordings shows that some of them belong to the very early period of gramophone record production and were made mostly in Zagreb and later in Ljubljana. The recorded material represents an important collection of sonority and, due to its historical value, can justifiably be considered a highly important part of our musical heritage.Premda su gramofonske ploče sa snimkama iz Slovenije i Hrvatske proizvodile različite diskografske tvrtke, na počecima glazbene industrije u tim je zemljama važnu ulogu imala tvrtka Gramophone Company. Detaljna analiza njezine dokumentacije pokazuje da su snimke u Zagrebu i Ljubljani za tu tvrtku učinjene u razdoblju od 1902. do 1912. Neke od tih snimaka nastale su u najranijem razdoblju proizvodnje gramofonskih ploča uopće, prije nego što su to dosad pretpostavljali slovenski i hrvatski istraživači. Snimke u Ljubljani (oko 160) i Zagrebu (gotovo 600) za tu su diskografsku kuću u navedenom razdoblju učinila dvojica snimatelja, braća Franz i Max Hampe iz Berlina. Tako velikim brojem snimaka obuhvatili su raznolike izvođače, od poznatih opernih pjevača, glumaca i vokalnih skupina do zanimljivih instrumentalnih sastava (npr. tamburaškog zbora) i različitih puhačkih orkestara. Snimljeni repertoar sadrži popularne pjesme iz opera i opereta domaćih autora, govorene točke i kuplete iz šaljivih scenskih djela te marševe za vojničke puhačke orkestre. Tradicijska (narodna) glazba također je dobro zastupljena. Sustav alfanumeričkih kodova za matrice i ploče u kataloškim popisima kojima je tvrtka Gramophone Co. označavala pojedine snimke otkrivaju važne informacije o veličini ploče, tehnologiji snimanja, snimatelju, vrsti snimljenog sadržaja, području na kojem je sadržaj snimljen i za čije je tržište namijenjen, a na osnovi tih podataka je moguće odrediti i godinu snimanja. Rane snimke Gramophone Co. odražavaju prepletenost kulture Slovenaca i Hrvata. Mnogi su hrvatski umjetnici u svoj repertoar uključili slovenske pjesme koje su očigledno bile popularne i u Hrvatskoj. Važnu ulogu u tome imali su i slovenski umjetnici koji su djelovali u Hrvatskoj. Snimke na starim gramofonskim pločama danas svjedoče o zvučnoj sastavnici kulture na ovim prostorima na početku prošloga stoljeća i zbog svoje povijesne vrijednosti s pravom se mogu smatrati važnom glazbenom baštinom

Problematika zaščite magnetofonskih zvočnih zbirk v raziskovalnih zvočnih arhivih

Čeprav magnetofonski trakovi niso bili predvideni kot dolgoročni arhivski nosilec, imajo lahko ob ustrezni uporabi in hrambi razmeroma dolgo življenjsko dobo. Vendar kaže danes veliko zvočnega gradiva, posnetega na magnetofonskih trakovih in drugih sorodnih nosilcih, znake propadanja in poškodb, in to predvsem zaradi premalo skrbnega ravnanja z njim in izpostavljanja pogojem, ki ogrožajo njegovo življenjsko dobo. V prispevku so predstavljene temeljne lastnosti magnetofonskih trakov in ohranjanje magnetofonske zvočne zbirke v GNI. Podane so smernice za varovanje takšnih, večinoma unikatnih zvočnih zbirk v raziskovalnih zvočnih arhivih. *** Even though it has not been designed for permanent storage in archives, magnetic tape can have a relatively long life expectancy – provided that it is adequately handled and stored. Yet many sound collection recorded on magnetic tape or by similar sound carriers, exhibit damage and signs of degradation. This is mainly due to improper handling and storing conditions that shorten the tape’s longevity and lead to information loss. The paper will examine the basic characteristics of magnetic tape, explain the priciples of protection and preservation of magnetic tape sound collections at the Institute of Ethnomusicology at the Scientific Research Centre of the Slovenian Academy of Aciences and Arts, and offer recommendations for protection standards of sound collections, most of which are unique, in research sound archives

Morfološke in strukturne opredelitve ljudskega plesa. Primer parnega štajeriša

Članek predstavlja potek in rezultate morfološko-strukturne analize zapisanih variant parnih oblik štajeriša na Slovenskem. Poleg metodološkega uvida v raziskovanje ljudskega plesa prispeva tudi k izgrajevanju ustrezne terminologije, saj ob tem členi in določa začetne položaje plesalcev v paru in plesne drže pri parnih oblikah obravnavanega ljudskega plesa. *** This article presents the research process and results of a morphological and structural analysis of written notations of couple’s Steierisch dances in Slovenia. In addition to its methodological approach to studying folk dances, it also contributes to the development of appropriate terminology because it analyzes and defines the initial positions of each dancer in the couple, as well as the handholds found in the couple’s forms of the selected folk dance

Nekateri pojavi plesnega folklorizma v Beli krajini do 2. svetovne vojne

Na nastanek in razvoj plesnega folklorizma v Beli krajini so odločilno vplivale različne prireditve, na katerih so domačini predstavljali svoje plesno izročilo. Avtorica v prispevku analizira nekatere izmed teh prireditev do 2. svetovne vojne, ki so pomembno sooblikovale uprizoritve ljudskega plesa. *** The origin and the development of dance folklorism in Bela krajina has been greatly influenced by different events in which local inhabitants demonstrated the dance heritage of the region. Examined are some of the events taking place prior to the Second World War that had a strong impact upon the birth of dance folklorism in that area

Transformacije ljudskega plesa v predstavitvah za »druge«. Primer treh kol iz Bele krajine

Ko so nosilci tradicije opustili izvajalsko plesno prakso »zase« in se organizirali v plesno-folklorne skupine, se je ljudski ples vse bolj spreminjal v »ples za druge«, največkrat na odru. Spremenjen kontekst ljudskega plesa je povratno vplival tudi na ples sam, saj se je ljudski ples na odru moral podrediti zahtevam javnega uprizarjanja in scenskega izvajanja. Avtorica v prispevku analizira koreološke transformacije treh belokranjskih kol (Pobelelo kole, Lepa Anka in svatsko kolo), kakor so nastale v odrskih izvedbah belokranjskih folklornih skupin. *** No longer dancing for their own pleasure, dancers of traditional dances are now organized in folk dance groups. The character of traditional dances has been transformed to fit the “others”, meaning the spectators, who usually watch dances performed on stage. This modified context has in turn affected the dance itself. In the changed circumstances, dances performed onstage have to be adapted to meet the requirements of stage performance for the public. Analyzed are choreological transformations of three circle dances from Bela krajina (Pobelelo pole, Lepa Anka, and svatsko kolo), performed by folk dance groups of Bela krajina

Slovenian Traditional Music and the Media: A Study of Early Gramophone Records

The article focuses on early commercial recorded music on gramophone records and analyses the beginnings of commercialisation and popularisation of Slovenian traditional music through new technical advances and the emergence of the gramophone industry. It is based on an analysis of a large amount of material, collected in the Digital Collection of Gramophone Records at the Institute of Ethnomusicology ZRC SAZU in Ljubljana, Slovenia, as well as on various written sources and metadata. Slovenian material on early gramophone records, known predominantly as 78 rpm records or shellac records, was being recorded for a good fifty years, from the very first recordings in the early 20th century to the end of the era of these gramophone records in the mid-1950s. Due to the characteristics of the mass medium, the traditional music, which can frequently be found on the early Slovenian gramophone recordings, moved outside its traditional and local bounds and becoming part of the culture industry and marketing. The article presents the characteristics of this medium and the recordings made on it, and shows how such recordings can help to shed new light on various aspects of traditional music. It reveals that folk tradition was adapted, popularised and transmitted for different types of audiences and raises the question of commercialism and its influence on the further development of traditional musical creativity, popularisation and contribution to the development of new popular-music genres.The article focuses on early commercial recorded music on gramophone records and analyses the beginnings of commercialisation and popularisation of Slovenian traditional music through new technical advances and the emergence of the gramophone industry. It is based on an analysis of a large amount of material, collected in the Digital Collection of Gramophone Records at the Institute of Ethnomusicology ZRC SAZU in Ljubljana, Slovenia, as well as on various written sources and metadata. Slovenian material on early gramophone records, known predominantly as 78 rpm records or shellac records, was being recorded for a good fifty years, from the very first recordings in the early 20th century to the end of the era of these gramophone records in the mid-1950s. Due to the characteristics of the mass medium, the traditional music, which can frequently be found on the early Slovenian gramophone recordings, moved outside its traditional and local bounds and becoming part of the culture industry and marketing. The article presents the characteristics of this medium and the recordings made on it, and shows how such recordings can help to shed new light on various aspects of traditional music. It reveals that folk tradition was adapted, popularised and transmitted for different types of audiences and raises the question of commercialism and its influence on the further development of traditional musical creativity, popularisation and contribution to the development of new popular-music genres

Glasba z obeh strani

Matija (Matt) Arko, known to family and friends as Hojer (Hoyer), was born in Slovenia. He emigrated to the States as a teenager, bringing alongside his love for music and the accordion. Music became an important part of his life and his Hoyer instrumental trio became extremely popular amongst Slovenians as well as emigrants of other nationalities. By mixing elements of Slovenian traditional music and various popular American genres of the time, he created the foundations of the polka music, the appeal of which crossed ethnic boundaries and later on achieved general popularity. Most of Matija Arko’s tunes have been recorded on gramophone records, which give us insight into his musical activities and the history of Slovenian music in the USA. Very little is known in his homeland about Matija Arko, known in the States as Matt Hoyer, and his musical endeavours. This publication (‘Music From Both Sides. Gramophone Records Made by Matija Arko and the Hoyer Trio’) aims to shed light on his activities and music.Matija Arko, po domače Hojer, rojen v Sodražici, se je v mladosti izselil v Ameriko in s seboj prinesel veselje do glasbe in harmonike. Glasba je postala pomemben del njegovega življenja in s svojo skupino Hoyer trio je postal zelo priljubljen med Slovenci v ZDA pa tudi med izseljenci drugih narodnosti. S prepletanjem slovenske ljudske glasbe in različnih oblik ameriške popularne glasbe tistega časa je postavil temelje t. i. polka glasbe, ki je zaradi privlačnosti prestopila etnične meje in pozneje dosegla vsesplošno popularnost. Veliko glasbe Matije Arka je dokumentirane in ohranjene na gramofonskih ploščah, ki nudijo vpogled v njegovo delo in zgodovino slovenske glasbe v ZDA. O Matiji Arku, v Ameriki bolj znanem kot Matt Hoyer, in o njegovem glasbenem ustvarjanju smo vedeli v Sloveniji zelo malo. S pričujočo knjigo želimo opozoriti nanj, na njegovo delovanje in na glasbo, ki je ohranjena na starih gramofonskih ploščah.;Matija (Matt) Arko, known to family and friends as Hojer (Hoyer), was born in Slovenia. He emigrated to the States as a teenager, bringing alongside his love for music and the accordion. Music became an important part of his life and his Hoyer instrumental trio became extremely popular amongst Slovenians as well as emigrants of other nationalities. By mixing elements of Slovenian traditional music and various popular American genres of the time, he created the foundations of the polka music, the appeal of which crossed ethnic boundaries and later on achieved general popularity. Most of Matija Arko’s tunes have been recorded on gramophone records, which give us insight into his musical activities and the history of Slovenian music in the USA. Very little is known in his homeland about Matija Arko, known in the States as Matt Hoyer, and his musical endeavours. This publication (‘Music From Both Sides. Gramophone Records Made by Matija Arko and the Hoyer Trio’) aims to shed light on his activities and music.Matija Arko, po domače Hojer, rojen v Sodražici, se je v mladosti izselil v Ameriko in s seboj prinesel veselje do glasbe in harmonike. Glasba je postala pomemben del njegovega življenja in s svojo skupino Hoyer trio je postal zelo priljubljen med Slovenci v ZDA pa tudi med izseljenci drugih narodnosti. S prepletanjem slovenske ljudske glasbe in različnih oblik ameriške popularne glasbe tistega časa je postavil temelje t. i. polka glasbe, ki je zaradi privlačnosti prestopila etnične meje in pozneje dosegla vsesplošno popularnost. Veliko glasbe Matije Arka je dokumentirane in ohranjene na gramofonskih ploščah, ki nudijo vpogled v njegovo delo in zgodovino slovenske glasbe v ZDA. O Matiji Arku, v Ameriki bolj znanem kot Matt Hoyer, in o njegovem glasbenem ustvarjanju smo vedeli v Sloveniji zelo malo. S pričujočo knjigo želimo opozoriti nanj, na njegovo delovanje in na glasbo, ki je ohranjena na starih gramofonskih ploščah

The obligation of States to repair victims of violations of economic, social and cultural rights perpetrated by non-State actors

The present research was inspired by the chance encounter of an important dissonance between the Basic Principles and Guidelines on the Right to a Remedy and Reparation for Victims of Gross Violations of International Human Rights Law and Serious Violations of International Humanitarian Law and Uganda’s nascent transitional justice policy. The latter foresaw reparations for all victims of Uganda’s civil wars while the former stated that customary international law merely encouraged but did not oblige States to repair victims of non-State actors, the victims of others. Was Uganda’s policy gratuitous? Or has public international law evolved beyond the economy of the Basic Principles and Guidelines? It is the purpose of the present text to answer these questions. The thesis is divided into three substantive chapters that are preceded by an Introduction and tied together by a brief Conclusion. The Introduction articulates the hypothesis and highlights that if correct, i.e., if there exists a rule of public international law obliging States to repair victims not their own, there exist two candidates for the content of that rule. The candidates are explored in Chapters 1 and 2. Before turning to them, the Introduction demonstrates that avenues typically proposed today are insufficient juxtaposed with the aim of making reparations a reality for victims of non-State actors. It thereby underlines that the hypothesis is not just thought-provoking but also of immense practical value. Chapter 1 first investigates the nature of the States’ obligation to protect economic, social and cultural rights, and concludes that the existing consensus as it is contained in the Basic Principles and Guidelines is that the obligation is a qualified obligation of result. It then examines the historical origins of the rule, demonstrates why it is inappropriate to apply it to the situation at hand and proposes that the obligation to protect be understood as an unqualified obligation of result instead, meaning that the State would find itself in a position of wrongfulness at the exact moment a non-State actor committed a violation. This would ipso facto create the State’s secondary obligation to repair. Lacking a conventional articulation to that effect, such a rule would have to exist in the sphere of customary international law. Chapter 2 takes under the magnifying glass the International Covenant on Economic, Social and Cultural Rights and explores the potential of the obligation of progressive realisation, the prohibition against discrimination and studies the work of the Committee on Economic, Social and Cultural Rights, substantiating the argument that the obligation to repair could be understood as a primary obligation. What we do not yet know at this point in the thesis is whether either proposition corresponds to the States’ understanding of the law. Chapter 3 therefore examines a dozen countries that have experienced a non-international armed conflict in their more or less recent past. It looks at their practice in regard to reparations, paying particular attention to whether States discriminate between victims of the State and those not of the State. As far as it can be discerned, it also analyses their understanding of public international law. The Conclusion suggests an affirmation of the hypothesis