Chosen singing traditions of Dalmatian Serbs : a case study of Žegar in Northern Dalmatia

Bibliogr. s. 155-156

Niniejsze badanie szczegółowo analizuje dziedzictwo muzyczne społeczności serbskiej w Žegarze. Badania z 2018 roku ujawniły unikalne pieśni i techniki wokalne, kluczowe dla codziennego życia i rytuałów w Bukovicy. Mimo wysiedleń spowodowanych konfliktami bałkańskimi, społeczność ta zachowała pieśni sięgające XII wieku. Udokumentowano około 75 utworów, w tym pasterskie, epickie i rytualne. Lokalne style śpiewu obejmują archaiczne, dysonansowe wykonania duetowe oraz nowsze formy z lat 50. Technika ojkanje, wpisana na listę UNESCO, podkreśla unikalność tej tradycji, wspieranej przez lokalnych artystów i archiwa cyfrowe. Słowa kluczowe: śpiew dalmatyński, Serbowie w Chorwacji, Žegar, ojkanje, dziedzictwo muzyczne, tradycyjna muzyka bałkańska, etnomuzykologia, pieśni epickie, techniki wokalne, UNESCO

The study of Dalmatian Serb singing traditions in Žegar, northern almatia, meticulously examines the musical heritage of this community. Research conducted in 2018 has revealed unique songs and vocal tech niques integral to daily life and traditional rituals in Bukovica. Despite being a small Orthodox Serb community displaced by Balkan conflicts, they have preserved songs dating back to the 12th century when Serbs settled in northern Dalmatia. Žegar, now with only 200 residents, was once a significant hub of Serbian musical culture, fostering renowned singers and instrument makers. Field research documented around 75 compositions, including pastoral, epic, and ritual songs. Eighteen are archived in Balkan Polyphony, and nine appear on the Łada ensemble's album. The local singing tradition in Žegar encompasses two styles: old, featuring dissonant intervals typical for duet or group performances; and new, emerging in the 1950s with perfect fifth endings and major tonality. Singers employ characteristic techniques like ojkanje, recognized on UNESCO's intangible heritage list, known for its deep vibrato and archaic charm as described by Antun Dobronić. Building trust with residents proved pivotal in understanding their cultural context and traditions and overcoming initial skepticism due to historical ethnic exclusion. Communal singing sessions revealed ancient techniques like groktalica and other forms such as kantalica and samačko pjevanje. Local artists, including Obrad Milić, still practice singing accompanied by gusle. Despite historical challenges, the Serbian community of Žegar actively preserves its musical heritage through local singing groups and safeguarding the ancient repertoires. This research highlights how these efforts strengthen cultural identity and inspire younger generations to continue the singing tradition. Documentation of the songs and customs is acces sible through the "Balkan Polyphony" virtual archive project.