Sirvi Autor "Pärtlas, Žanna" järgi

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Controlled Disorder in Polymusic: The Case of the Seto Wedding Song Genre Kaasitamine
(Eesti Muusika- ja Teatriakadeemia, 2020) Pärtlas, Žanna; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
The term ‘polymusic’, which has been in use in ethnomusicology since the 1990s, designates musical practices where two or more autonomous musical entities are deliberately performed in the same space and time in a largely uncoordinated manner. The musical texts – which may be the same or different – that are juxtaposed in a polymusical performance may also be performed separately; when performed together, however, they constitute a new complex hypertext which has new meanings and functions and may to some extent be musically coordinated. Nevertheless, polymusical performance always engenders some kind of musical disorder which, being deliberately produced, can be characterized as a controlled disorder. Such disorder is a means to accomplish the ritual functions to which the polymusical genres are usually related and to induce some specific psychological effects, which are often connected with the manipulation of time and space. In this study the theoretical, ethnographic and cognitive questions of polymusic are discussed with reference to the case of the kaasitamine, the Seto wedding song genre from South-East Estonia. This research reveals the different traditional forms of kaasitamine performance characterised by the different balance between coordinated and uncoordinated components, analyses the more subtle mechanisms for the creation of controlled disorder, and considers the possible psychological effects of polymusic in relation to an altered perception of time.
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Guldžahon Jussufi (koost.). 100 eesti rahvakandlemängijat ja -meistrit. XX–XXI sajand. Tallinn 2018
(Eesti Muusika- ja Teatriakadeemia, 2019) Pärtlas, Žanna; Kõlar, Anu, koostaja
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Kandlemängija Heino Sõna: muusikaline tegevus, repertuaar ja stiil
(Tartu Ülikooli Viljandi Kultuuriakadeemia ja Muusika- ja Teatriakadeemia pärimusmuusika ühisõppekava, 2022) Nõges, Kaisa; Pärtlas, Žanna
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Lõunaudmurtide laulud IV I[rina] V. Pchelovodova, N[ikolai] V. Anisimov. Udmurt folklore. Songs of Southern Udmurts. Issue IV = И[рина] В. Пчеловодова, Н[иколай] В. Анисимов. Удмурт фольклор. Лымшор пал удмуртъёслэн Кырӟан гуръёссы. IV поттэт = Удмуртский фольклор. Песни южных удмуртов. Выпуск IV. Izhevsk/Tartu: Estonian Literary Museum Scholarly Press = Ижкар/Тарту: ЭЛМ-лэн тодослыко книгапоттонниез = Ижевск/ Тарту: Научное издательство ЭЛМ, 2020, 376 lk.
(Eesti Muusika- ja Teatriakadeemia, 2023) Pärtlas, Žanna; Raju, Marju, koostaja
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Rising and Falling Tonality in Seto Multipart Songs (South-East Estonia). The Kergütämine Technique and its Functions
(2021) Pärtlas, Žanna; Stanevičiūtė, Rūta, toimetaja
Changing pitch level (tonality) in traditional unaccompanied vocal music is a widespread but little studied phenomenon (Alekseyev 1986; Ambrazevičius 2014, 2015; Scherbaum & Mzhavanadze 2020). There is a well-known tendency towards gradual upward transposition, but the focus of this study is the much rarer phenomenon of abrupt downward modulation following a gradual rise in pitch regularly practiced in the multipart songs of the Seto (Southeast Estonia) and known as kergütämine (“relief ”). This study is the first attempt to describe this unusual technique by means of an acoustic analysis of samples belonging to the “primary” tradition. The main research material is composed of nine songs performed by the choirs of three prominent Seto lead singers, Anne Vabarna (b. 1877), Kreepa Pihlaste (b. 1892), and Veera Pähnapuu (b. 1916). The results of the analysis not only allow a thorough description of this technique, but also enable us to test three main hypotheses regarding the functions of kergütämine: 1) as a practical necessity to facilitate singing; 2) as a semantic and compositional device associated with the verbal text; 3) as an ancient custom that should be maintained. As a result of the study, one further explanation is proposed, namely that a rapid pitch rise originally had an independent aesthetic value and emotional and ritual functions in the Seto tradition, and the role of kergütämine was not to restrain the rise but to promote it, giving the choir “space” for more rapid ascent.
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Saateks koostajatelt
(Eesti Muusika- ja Teatriakadeemia, 2020) Pärtlas, Žanna; Schaper, Anu; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
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Seto leelo viisitüpoloogia
(Estonian Literary Museum, 2025) Pärtlas, Žanna; Oras, Janika; Kalkun, Andreas; Eesti Muusika- ja Teatriakadeemia; Eesti Kirjandusmuuseum
“Seto leelo viisitüpoloogia” on etnomusikoloogiline ja muusikateoreetiline uurimus, mille taga on autori pikaajalised kogemused seto laulutraditsiooni uurimisel. Samal ajal on see mahukas allikapublikatsioon, mille elektrooniline vorm võimaldab mugavalt kuulata ja vaadata heli- ja noodinäiteid (veebirakenduse artiklid sisaldavad 259 noodistust), lugeda viisitüüpide ja viisitüüpide rühmade kirjeldusi ja kommentaare (223 artiklit), leida arhiiviviiteid sama viisi eri esitustele, võrrelda eri viisitüüpe ja viisivariante. Samuti annab elektrooniline vorm selgema ülevaate tüpoloogia terviklikust struktuurist ja viisitüüpide mitmetasandilisest grupeerimisest ning lihtsustab viiside ja viisivariantide otsimist eri tunnuste järgi.
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Theoretical Approaches to Heterophony
(Eesti Muusika- ja Teatriakadeemia, 2016) Pärtlas, Žanna; Pärtlas, Žanna, koostaja
Heterophony is one of the basic principles by which a multilinear texture comes about in the music of oral tradition. It can be found in many cultures both as a particular form of music making and as a component of more complex multipart practices. Heterophony is also a very intriguing topic for ethnomusicological investigation, especially if the researcher intends to describe this phenomenon at the theoretical level. The problems start with the very notion of ‘heterophony’, and in attempting to resolve them the researcher is faced with the ambiguity of such basic terms as polyphony, monophony, unison, etc. The reason why heterophonic music is especially difficult to describe using standard European terminology is that the phenomenon of heterophony, being intrinsically connected with oral and collective music creation, has no direct analogies in Western written music. The present article aims to interpret heterophony as a musical, social and psychological phenomenon, using and merging different approaches – music-analytical, anthropological and cognitive. The article also discusses the use of the ethnomusicological terminology connected with a musical texture – especially the umbrella terms for multilinear music – and searches for a more inclusive, yet differentiative and limiting definition of heterophony.
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Traditsiooniliste eesti viiulilugude interpreteerimine flöödil 1937. aastal helisalvestatud Jaan Palu lugude näitel
(Tartu Ülikooli Viljandi Kultuuriakadeemia, 2014) Paberits, Merike; Pärtlas, Žanna