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Some folk church tunes of Solin

Mirko Jankov

Puni tekst: hrvatski, pdf (3 MB) str. 157-190 preuzimanja: 681* citiraj
APA 6th Edition
Jankov, M. (2013). Nekoliko crkvenih pučkih napjeva iz Solina. Tusculum, 6 (1), 157-190. Preuzeto s
MLA 8th Edition
Jankov, Mirko. "Nekoliko crkvenih pučkih napjeva iz Solina." Tusculum, vol. 6, br. 1, 2013, str. 157-190. Citirano 08.05.2021.
Chicago 17th Edition
Jankov, Mirko. "Nekoliko crkvenih pučkih napjeva iz Solina." Tusculum 6, br. 1 (2013): 157-190.
Jankov, M. (2013). 'Nekoliko crkvenih pučkih napjeva iz Solina', Tusculum, 6(1), str. 157-190. Preuzeto s: (Datum pristupa: 08.05.2021.)
Jankov M. Nekoliko crkvenih pučkih napjeva iz Solina. Tusculum [Internet]. 2013 [pristupljeno 08.05.2021.];6(1):157-190. Dostupno na:
M. Jankov, "Nekoliko crkvenih pučkih napjeva iz Solina", Tusculum, vol.6, br. 1, str. 157-190, 2013. [Online]. Dostupno na: [Citirano: 08.05.2021.]

The author is dealing with a number of old folk church tunes that are still present in the worshiping practices of the parish church of Our Lady of Islet (Gospa od Otoka) in Solin. These tunes partly origin from the earlier Glagolitic liturgical musical heritage, on the other side leaning on the activities of two members of the ecclesiastical enlightening trends of the second half of the 18 and the early 19 centuries, Father Petar Knežević (1702-1768) and Father Paškal Jukić (1748-1806). The tunes are analysed in several layers; through various aspects of their historic, cultural, ethno-musicological, literary, socio-anthropological and liturgical determinations and rekognisabilities. Confirmed is the wide spread of the texts by Knežević and Jukić with the appertaining tunes, over an entire network of various places in the coastal and hinterland parts of Dalmatia (including also Herzegovina), that is certainly to be added also the power of their spatial and historic continuity and rootedness. This entire situation is permeated with the simultaneous existence of two main facts: the preserved initial textual and melodic patterns and richness of their numerous (local) variants, and the development of special tunes that are closely related to particular places - Solin, in this case. These qualities first and foremost relate to the vitality and live dynamism of the natural course of maturing and development of the folk (both ecclesiastical and profane) tune as a live and coherent social substance. This is evident in the singing of the Folk Singers (Pučki pivači) choir of the church of Our Lady of Islet, for many years now participating in liturgical celebrations in the Solin parish church; in their Marian (O prislavna, Božja Mati; Litanije lauretanske BDM; Veseli se, Majo Božja) and saints worshiping tunes (Stipan jur blaženi). Although it is impossible to exactly determine the age or certain of the facts related to the tunes of Solin, indirect logical conclusions still makes possible noticing a significant number of social and historic circumstances. In the background of this situation, in situ is also felt a deeper historic determination, that - sometimes more and sometimes less markedly - implies a view to the historic course from the Salonitan and the Old-Croatian ages to the times of activities of fraternities of the last few centuries. Of particular importance is the genuine tune of Solin, O prislavna, characterised by melodic richness and suggestiveness of its expression, whereas the Christmas song Stipan jur blaženi most certainly makes a successful paraphrase of the song Ovoga vrimena.

Ključne riječi
Solin; folk church singing; Glagolitic singing; Madonna and saints worshiping; Marian and saint tunes; Father Petar Knežević; Father Paškal Jukić; 18 and 19 centuries song books

Hrčak ID: 106505



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