This undergraduate thesis describes the organization of the Vienna-based collection campaign Das Volkslied in Österreich (Folk Song in Austria) and theoperation of the Slovenian working committee (the OSNP). In addition, the thesis focuses on the ten most important transcribers and analyzes their transcriptions of melodies and lyrics from the perspectives of musicology and dialectology. In many ways, the synthesis of findings changes the views on this campaign held to date.The undergraduate thesis Jezikovni in muzikološki pristopi zapisovalcev v zbirateljski akciji OSNP (Transcribers' Linguistic and Musicological Approaches in the OSNP collection campaign) first defines the term folk song and outlines the interest in it up to the beginning of the twentieth century. In addition, it describes the idea and circumstances that led to the government collection campaign Das Volkslied in Österreich (Folk Song in Austria). This is followed by a description how the main committee in Vienna operated, in which emphasis is placed on the Slovenian working committee, the OSNP (Slovenian Folksong Collection Committee). From 1905 to 1914, this committee's transcribers from all over Slovenia collected nearly 13,000 songs and their melodies. Two Slovenian publications containing instructions for transcribing songs-Osnovna načela (Basic Principles) and Navodila (Instructions)-are analyzed and compared with two foreign publications of the same type (i.e., Pommer's and Janáček's instructions). This is followed by a brief description of the destiny of the OSNP archive after the completion of the campaign, together with its contents. The thesis then focuses on some of the most important OSNP transcribers. First, their lives and work are studied.Based on the extant letters that they wrote to the Slovenian committee, the thesis then tries to elucidate their views on collecting and transcribing. This is followed by an analysis of their transcriptions, in which individual examples of songs are used to present their approach to transcribing melodies and lyrics. Their approaches are also evaluated and explained based on knowledge of the background of the campaign and transcribers' concrete views on transcribing songs. The study shows that, first and foremost, the transcribers' transcriptions differ in general characteristics (some are clearer that others, and some songs are accompanied by detailed information, whereas others contain hardly any additional information). Major deficiencies can be observed in some transcribers' transcriptions of the melody (especially meter and rhythm) or lyrics (transcribed in a form close to standard Slovenian, without labeling special dialectal phonetic features). An interesting view of the transcribers and committee members is revealed with regard to transcribing part-songs or harmonization: in contrast to Štrekelj's Basic Principles, Hubad's section on KLOBČAR, T. Jezikovni in muzikološki pristopi zapisovalcev v zbirateljski akciji OSNP. Dipl. delo. 157 Filozofska fakulteta. Oddelek za slovenistiko, Oddelek za muzikologijo, 2011 transcribing melodies in Instructions does not explicitly prohibit harmonization; based on the harmonization documented, which was supposed to be published in a representative sample volume in Vienna, it can be assumed that artificially constructed part-song was used to compensate for the lack of actual part-song transcriptions of folk songs. Based on the transcriptions of the lyrics, it can be assumed that only a few transcribers took into account the directions from Štrekelj's Instructions; they often labeled various special phonetic features with graphemes used in the standard language. With regard to song transcriptions by transcribers that marked phonetic features more consistently, it is possible to establish the origin of these songs or whether or not they were composed in that particular dialect. Thus, on the one hand, the origin of songs that do not contain information on the place of transcription can be determined, and, on the other, the transcriptions of some songs indicate that they were introduced into a particular dialect from elsewhere. In addition to the findings on the transcribers and their transcriptions stated above, certain features of the OSNP campaign can also be identified. It was extremely well advertised: appeals to collect songs can be found in practically all newspapers of that time. In this way the public was also informed about payment for individual songs, which indirectly made the work of the committee members and transcribers more difficult: due to the lack of funds, committee members could not immediately pay for the collected material and, because singers were informed that the campaign involved payment, they refused to sing for free. On the other hand, paying for the collected songs yielded a wealth of song transcriptions, which no other collection campaign in Slovenia ever achieved before or since.
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