Autor obrađuje pojavu napjeva Puče moj nastala sredinom 1980-ih godina u redovima muškoga pjevačkog ansambla Vokalisti Salone iz Solina na temelju dvaju istoimenih tradicijskih napjeva glagoljaških korijena iz Klisa i Vranjica. Prikaz nastanka takve ciljano osmišljene glazbene kombinatorike, selektirane i ciljano »presađene«, što u izvedbama svojih tvoraca i protagonista kontinuirano postoji već više od 30 godina, upotpunjen je još i kontekstualiziran svjedočanstvima samih pjevača te notnim transkripcijama i analizama izvornih pučkih crkvenih napjeva Prijekorâ tako i onoga nastala njihovim »aranžiranjem«. Osim opisa fenomena pomaka s izvorno naslijeđenoga na novoosmišljeno do izražaja dolaze i problematika i načini prezentacije tradicijskih glazbenih prinosa posredstvom klapskoga i koncertno-festivalskoga medija, ali i putem onih elektroničkih koji, pak, otvaraju daljnje mogućnosti njihove šire distribucije.The author deals with the chant Puče moj (My People), created in the 1980s in the men choir Vokalisti Salone (Salona Vocalists) of Solin, based on two traditional chants of Glagolitic roots from Klis and Vranjic. The presentation of creation of such a, selected and aimingly created music material – existing in their authors\u27 and bearers\u27 performances continuously for over 30 years now – has been added the very singers\u27 testimonies and music transcriptions and analyses of both the genuine traditional chants of Prijekori (Reproaches) and of what has been created by »arranging« them. Besides the description of the shift from the genuine and inherited to the designed and newly created, further explained are the issues and the modes of presentation of traditional music pieces through klapa and concert-festival, but also electronic media. In the light of considerations of creation and performing perpetuation of the chant Puče moj in the acting and efforts of the ensemble Vokalisti Salone, this paper could make an encouragement for similar enhancing of understandings of the continuity of change of some other Glagolitic or klapa-style chants. Although primarily created in the rehearsals, living in the performances, with the time they, in a way, most usually successfully moved away from the determinism of their source (if they had one in the first place) further to modify themselves. This way, they have become a part of a tradition that is chronologically closer to us, one that is in the process of permanent fluctuation
