EUROPEAN BAGPIPE EDUCATIONAL FORUM building EU methodology for preservation, playing and building of traditional bagpipe instruments

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1 EUROPEAN BAGPIPE EDUCATIONAL FORUM building EU methodology for preservation, playing and building of traditional bagpipe instruments Zbigniew Jerzy Przerembski The art of bagpiping in Greater Poland as an example of preserving native traditions. A brilliant Czech instrumentalist Alexander Buchner stated that "Poland is a land of bagpipes" (1995: 292). HISTORY As noted by Zbigniew Kuchowicz (1975: 354), particular social groups had their favorite instruments, while among peasants, the most popular were the bands composed of bagpipes and "Serbian" violins. However, the social scope of the musicians' activities was very broad. Although they were usually making their living in the inns of larger villages and smaller towns, they also played at various court, church, and municipal ceremonies. They were often regular members of royal, magnate, and military music ensambles. They were employed for a variety of reasons: for Sarmatian love of common culture, for pastoral fashion, or finally for a prosaic plea - they cost less than the classically educated musicians. The rich melodic-drone nature of the vast majority of different types of pipes combined with the loudness of the sound made them a substitute for a band. Pipers were largely self-sufficient musically. Their professional and wandering practice gave them a wide range repertoire, as for a quite limited possibilities of the instrument itself. They could therefore cater for different needs with their music. Hiring a single piper was cheaper than engaging the whole band. It is not easy to find the beginnings of bagpipe music in Poland. Some scholars assume that this instrument has been brought to Poland, or more generally, to Slavic lands from Asia, and that this may have already occurred in prehistoric times, eg in the ninth century. However, these are hypotheses of a non-confirmed nature. Written (literary) and iconographic sources from the second half of the 14th and 15th centuries indicate that bagpipes are known to us at least from the late Middle Ages. Since the end of the 16th century, Rzeczpospolita has burdened traditional musicians with fiscal charges. Recipient book from 1578 (and 1580) listed as tax payers "pipers" and "skoromoss" (24 silver pennies). Tax records confirm the conclusion from other historical sources that pipe art belonged in Poland of that times to the main manifestations of traditional musical activity. We find mainly the pipers in them, and very rarely other musicians: violinists, pistols or organists. From the preserved historical sources, it is clear that in the Old Polish times, the greatest number of pipers were in the Lesser Poland region, especially in the Cracow region, less in Sandomierz and Lublin voivodships. They were fewer of them in Greater Poland, Mazovia or Pomerania. They usually lived in larger farming-crafting centers, especially in small towns. Favorable conditions for their activity they had in the middling of the roads, trafficking routes. Comparison of the results of the subsequent censuses, however, shows a decrease in the number of pipers in the seventeenth century. The tragic events that affected Poland in the seventeenth century (Cossack wars, plagues in , Swedish invasion) contributed to a significant reduction and impoverishment of the population, economic depletion of cities, caused that pipers begun to lose their dominant position in traditional music practice. Their place was gradually occupied by violinists - initially still playing in bands with decreasing numbers of pipers, later alone or with other instrumentalists. Some manifestations of Polish traditional music proved attractive to the residents of other European countries. It refers especially to the so-called Polish rhythms and musical instruments, and mainly bagpipes. At least from the seventies of the 16th century to the mid of the following century, in some German manor houses, pipes with Polish organo-logical qualities were part of special music ensembles (or music besides other things), called "Bock-Pfeiffer", "Jagdpfeifer", "Wallachen", "Heyducken", "Leibhusaren" or "Kammermerhusaren". This applies especially to Saxony. 1

2 In the nineteenth century, changes in the musical or general cultural preferences of the "enlightened" classes have propelled the piping practice mainly to peasant status. In the nineteenth century, the spread of piping culture, which once covered almost all of Europe (I limit this statement to our continent only), has narrowed considerably. Nevertheless, it was still present to a greater or lesser extent in some regions of the British Isles, the Scandinavian Peninsula, Pyrenean, Apennine, Alpine, Carpathian, Balkan, Hungarian, Transylvanian, Wallachian, French, German-speaking countries and regions, such as Lusatia, Moravia, Slovakia Ukraine, Belarus, Baltic states, Russia and ethnically Polish territories of partitioned Poland. From the latter, the Greater Poland gained the dominant position, and in Lesser Poland, bagpipers remained only in the Carpathian regions (Beskidy, Podhale), to Mazovia and Pomerania they (bagpipe bands) reached mainly as wanderers. It must be remembered that in the nineteenth century there were changes in intensity or in general in the presence of piping practice in particular countries or regions. In fact, half of the 19th century was the boundary of the traditional musical activity of pipers in many countries or regions of Europe - not only in the west but also in the eastern part of the continent, more culturally conservative like Estonia (Igor Tonurist 1976: 47). The instruments that took the place of bagpipes were violins. In Western Europe no less a reason for the disappearance of bagpipes was the disappearance of fashion for this instrument in the "higher" spheres, the fashion that reappeared many times in the past centuries. The Lusatia, a part of Saxony, where a court bagpipe practice flourished, especially from the last quarter of the sixteenth to the mid 18th century, supported by the rulers of the Wettin dynasty however, in in the second half of the 19th century there remained only a few peasant bagpipers, mainly in the vicinity of Muskau)! (Jan Rawp 1976: 33). After the First World War, the importance of "top-up" initiatives to promote, stimulate and even renew lost folklore is increasing. They are taken up by lovers of folk art, at first "externalized" to local traditions (mainly rural teachers), later indigenous, eventually regional, cultural, social, even religious and political organizations or institutions. In the interwar years, the intensification of folklore activities occurred in the thirties. Undertakings after WWII were also intended to serve as a means of controlling the movement of folklore at the level of states, provinces, counties, communes, districts, mainly in the spheres of activity of local cultural institutions. More independent, but also struggling with financial difficulties, was the activity of the Housewife's Circles. The unquestionable merit of all these activities in the field of folklore is not only the protection but also the creative development of Polish culture. Nowadays, after the political changes in 1989, cultural institutions are free of direct political pressures, but often their activity is limited by insufficient funding, which has also reduced the number of folklore groups. Bands were founded primarily by teachers and regional leaders who appreciated the values of the folk culture. The first ones were already active at the beginning of the 20th century, like the groups of Silesian highlanders (Przerembski 2007: ). More began to appear after the first world war, especially in the thirties. In 1932, thanks to Jan Bzdęga initiative, the Biskupianski Band was founded in Domachowo, which was a part of Biskupiański Regional Center activity (Bishop 1979: , Czub 1997: 8). In Greater Poland region, folklore groups were also established in Chobienice, Przyprostynia and Wąchabno. The oldest folk group of Zbąszyńska Land is considered the Regional Band of Songs and Dance in Dąbrowa Wielkopolska. Already in 1923 in Dąbrówka (which was then called Great), located outside of the Polish state of that time, a "goat" band composed of local musicians was formed (previously some inhabitants of the neighboring Podmokle also played in it). Since 1929, this band has been active at the initiative of the Association of Poles in Germany, the Society of Singing under the Call of Saint Cecilia, and later in 1931 within the Dancing Group (Piglas 1989: 45). Therefore, the team was formed for a period of eight years, hence its formation with regard to dates is differentiated (Cieślińska, Krużycka, Pawłowski, Sochacka 1975b: 5; 1975: 10, 12; Białas 2000: 68; Dahlig 2002: 24). The activity of the group - led by Stefan Mathias and later by Jadwiga Maza - was largely patristic in supporting and demonstrating the national identity (Białas 2000: 68). 2

3 Rural folk groups, performing in their native and neighboring villages and towns, valorized and popularized their own folklore. Some of them went further, to large cities in different districts of Poland, and sometimes even abroad, although presentations outside their region were still very uncommon. More or less developed elements of folk rituals and customs were shown to wider audiences. Most popular were regional weddings or harvest festival, in Greater Poland also podkoziołek, "katarzynki" (Biskupizna), in Silesian Cieszyn "szkubaczki" or a show of pastoral customs of Beskid mountaineers. Scenic representations required a restriction of the creative impulse characteristic of creative folklore and the introduction of elaborate scenarios. Often, especially in the thirties, the popular drama based on popular folk traditions came up. These are Bukowiec Weddings (see s: Error: No referrer source found), Szamotuły Wedding, according to the scenario of the poet and regionalist Władysław Frąckowiak (1932), Wachąbno wedding, prepared by the teacher and regionalist Leon Kruszona (1930), or the folk wedding from nearby Koło in the Poznan region (1937), developed by the rural educator Ignacy Ziębowicz (Kozajda 2000: 135). At that time also the Wedding in Przyprostynia was created on the basis of folklore data collected in this town (and surroundings) by Antonina Woźna, the local teacher, in cooperation with Alfons Kowalski. This play was performed by the inhabitants of Przyprostynia in 1938 on the occasion of the opening of the Museum of the Zbąsk land, which was the first regional museum in the region of Poznan. Recalling this presentation - which was also the inauguration of the group's operation (founded in 1937), which adopted the name of the Regional Band "Przyprostynia Wedding" - Antonina Woźna, the founder and manager of the group, also gave some details regarding the music. We find out that "Zbąsk pipes (wedding goat), as the people called it, were supposed to play a wedding march, while the wedding couple said their farewell to the parents and guests" (1984: 17). Probably she is not referring to a "wedding goat" but to a "prewedding ceremony goat", which results from the tradition and the further Woźna s description (see below). After World War II, the folklore movement was almost completely subordinated to institutional activities. In rare cases, some pre-war initiatives (such as regional bands from Dąbrówka and Przyprostynia in Greater Poland or Milówka in Żywiec region) have been reborn. At that time, a number of new folk groups came into existence, working at various cultural, social, work (state and cooperative) organizations. The widest patronage over the folklore movement was held by the cultural houses of various levels: from the voivodship, county, to the communal ones. The second half, and especially the last quarter of the twentieth century, is characterized by the unprecedented rise of the mass media, the proliferation of mass culture leading directly to cultural globalization. Still, some folklore manifestations have been preserved until the next century, and in the limited area are still cultivated. This also applies to pipe music. According to most of the older bagpipers, the art they have cultivated since the last quarter of the 20th century has been experiencing a recession, especially in the quantitative sense, because the number of its traditional consumers has decreased. It seems, however, that this even more so applies to its qualities. Dramatic impoverishment and unification have been experienced by the once rich and pitiful repertoire and the performative style. They reduced themselves to the symbolic dimension of traditional functions connected with old rituals and dances; their place was occupied by new functions, connected with the folklore movement. Already in the last decades of the 20th century, pipe music increasingly became an elitist form of creativity. It was played, and mostly listened to by the followers of traditional music and culture, regardless of the region they came from and where they lived. It must be emphasized that the piping art is cultivated first of all where it was popularized, where the conditions for the training of its propellants were created. The bagpipes have found their place in European folk music developing since the last decades of the 20th century. In Poland, the interest of performers connected with the numerous currents of this new art, combining the characteristics of folk and popular music, is centered largely on non-polish types of bagpipes. 3

4 TRANSMITTING TRADITION Currently, bagpipers function mainly in the area of folklore, which is involved in initiatives related to the revival of national and regional traditions. We have seen these happening from the seventies and eighties of the 20 century, in the Western and Northern Europe: in Germany, France, Italy, Spain, Great Britain, Great Britain, Ireland, Denmark, Sweden, Norway, Finland; later it also included the countries of Central and Eastern Europe: Czech Republic, Slovakia, Hungary, Lithuania, Belarus. From the point of view of the Polish bagpiping practice, the activity of folk musicians from neighboring countries is significant in this field, as it influenced the activities of Polish pipers in such regions as Lusatia, Czech Republic, Moravia and Czech Silesia, Slovakia, Hungary, Ukraine, Belarus, Lithuania. Historically, the cultural links between Polish bagpipes and pipers also come from southern Slavonia and Romania, from where our Carpathian and Podkarpacie lands have been reached by Wallachian-Ruthenian shepherds starting from the 15th century, if not from the 13th to the 17th century. During the 20th century the piping practice in Poland was gradually reduced. In some areas it has vanished completely, elsewhere - thanks to the efforts of regionalists, teachers, lovers of folklore, thanks to the interest of researchers and journalists - it has managed to sustain it, and even in a way it was resurrected on the ground of folklore. Nowadays, it is mostly present in Greater Poland, where there are most of the bagpipers. Those are mostly young ones bagpipers, children who are taught to play bagpipes. Folk movement, presenting and popularizing folk music contributes to the general awareness of the need to protect, preserve and cultivate regional cultural traditions, as well as to the knowledge of it, especially among younger generations. Difficult to overestimate is the work of the curators of ancient culture in this field. Focusing here on this issue, some of the bagpipe regions must be mentioned, at least some of the most active ones. In Greater Poland and in the "Goat Region" which is located on the border of Greater Poland and Lubuskie voivodships, of the most dedicated animators, who are particularly active in the maintenance and preservation of the pipe-and-goat traditions, is Janusz Jaskulski, a Curator of Musical Instrument Museum in Poznań. He initiated a series of events devoted to bagpipes and bagpipe music (Gteater Poland Bagpipe and Goat Makers Meetings, Meetings of Carolers in Połajewo, Folk Music Competition in Kopanica, Gathering of Bagpipers of Europe in Poznań and Greater Poland, exhibitions and publishing activities). His actions are supported by Zbigniew Skoczylas from Zielona Góra, a historian and regionalist (once a clarinetist in Władysław Łackowski's band from Babimost); It was also supported by prematurely died, violinist Leonard Śliwa from Wolsztyn (grandson of the "goat" player Piotr Śliwa, a member of the "goat's club" Franciszek Hirt). All these activists were associated with the Association of Folk Musicians in Zbaszyn, patronizing regional undertakings in the field of traditional music. The initiators of the reactivation of the National Bagpipe Bands Confrontations in Poznan ( , again since 2003) are Kazimierz Budzik and Sławomir Pawliński from the Department of Cultural Animation in the Poznan Voivodship Public Library. A highly important role is also played by teacher of bagpipe music related to the Zamek Culture Center: Jan and Stanisław Wawrzyniak, Stanisław Grocholski, Marian Wasilewski and Romuald Jędraszak. Among the masters of bagpipes operating in other Wielkopolska cities are: Edward Ignys and Tomasz Kiciński (Center for Culture and Art in Leszno), Michał Umławski (Dudziarz.eu Foundation Greater Poland Region). Piotr Borowiec is active in Włoszakowice, the director of the local communal cultural center, which includes Bukówiec Górny, where there are active people in the field of folklore: Zofia Dragan and Tomasz Kiciński (animators of piping clubs and regional bands). Piotr Dahlig drew attention to the educational function of the folklore movement and its relation to tradition by musicians: "Older instrumentalists can use not only their musical skills in folklore ensembles, but they also have the opportunity to pass on to younger performers. knowledge of 4

5 traditional dance and singing. Many musicians combine the two levels of activity - the practice within the regional bands with the realization of the musical needs of their own local community [Dahlig 1993: 73]. This kind of musical activity also applies to bagpipers. In the 1930s, particularly intensified educational activity in the area of indigenous traditions, including national ones, was developed in the west of the country, where piping was still alive. This includes the conference of teachers, eg. of the Zbąszyń area in Łomnica in 1935, on which "an unanimous resolution on the cultivation and preservation of the memory of the past" was adopted. [Wagon 1984: 15]. In 1935 in Godziszewo (Greater Poland) at the conference gathered employees of education of Siedlec area, in the district of Wolsztyn. Tomasz Brudło from Wąchabno, one of the best "goat" players, performed there. In the same year, during a music course for teachers of the Poznań School District in Inowrocław, Łucjan Kamieński illustrated his lectures on folklore music with discs as well as a recording of them with participation of a piper and a violinist. Bagpipers also played in the schools in the post war period. An example of recent years is the presentation of folk from the "Goat Region" in the educational institutions of Lubuskie, Greater Poland and Lower Silesian voivodships by the Goat Band "Kotkowiacy". Thanks to the initiative of the Lubuskie Concert Office, this group (in traditional three-person composition) in appeared in 275 schools and lectured in front of a young audience totaling about 30 thousand people (Skrzypczak 2003: 8 ). This type of educational activity among bagpipers was done by "Duo with Vivat" (Katarzyna Hełpa-Liszkowska and Romuald Jędraszak), conducted in Poznan and the area since The ability to play bagpipes could be gained by self-education, by observation of bagpipers (mainly during weddings or local festivities) or by learning from them. The professional musicians were reluctant, however, to share the details of the difficult piping profession. In the piping families the art of playing was passed from father to son, or, especially in recent times, from grandfather to grandson. In relation to the Lubuskie region, Piotr Dahlig further distinguished "several informal societal encounters centered around an eminent musical personality", and also noted that all these modes of education may be combined in various proportions (1993: 93 ). Education usually lasted a few years and required long-term and laborious exercises. Essential physical strength was required, so proper piping lessons usually only began around the age of fifteen. It had been preceded by rehearsals with the melodic pipes. In Gteater Poland and in the Goat region, young ones started acquiring the art of piping first with simpler bagpipe instruments such as "siesieńki" (mouth or bellow blown) or, less often, "goats", specially built for didactic goals. This allowed them to learn on an easier instrument, such things as fingering, air bag filling, compressing the bag with an arm and stamping air to the pipe (s), and how to coordinate all these activities. Sometimes they played on other pipes, eg Franciszek Domagała from Zbąszyń did this on a "military flute of his father" (Dahlig 1993: 196). Some, especially in the Goat Region, first learned how to play the clarinet. The place where the practice was organized was often a pasture, where boys tending the flock, learned the bagpipe practice in their free time. The talented ones acquired firs skills unexpectedly quickly, at least so claimed the tales of the later bagpipe master. Wacław Łakomy from Babimost, after a week of such "pasture" exercises, was able to achieve proficiency which was suffiecient to start earning money at weddings, as he recalled, remarked Piotr Śliwa, the outstanding "goat" player from Perzyn. Łakomy like many other musicians, learned the folk repertoire and style of the performance while listening to the band during weddings. He recalled it in such a way: "when there was a wedding, if one wanted to 5

6 learn how to play, one went to every wedding, go to the window to listen to how the music is played. And those tunes were acquired later"(dahlig 1993: 208). After the Second World War, independently of these traditional methods, scientific studies began to take place within the framework of the activities of various cultural and educational institutions, primarily in the houses of culture, folklore groups, music schools. In the face of the disappearance of traditional cultural mechanisms, it is essential to maintain the practice of piping. In Greater Poland, the Stanisław Moniuszko State Music School, founded on the initiative of Antoni Janiszewski and Adam Glapa in 1950 (initially as a Countryside Circle, then as a Municipal Circle, State Music Circle, and since 1959 as a State Music School), is particularly well-deserved for the folk music of the region. It has the class of folk music that teaches how to play Greater Poland bagpipe instruments: "goats", "sierszeńki" and "mazanki". The first teacher in it, from 1950 to 1969, was probably the most famous musician Tomasz Śliwa. The methods of teaching folk instruments in the Zbąszyń school have evolved. Tomasz Śliwa, an indigenous folk musician who did not know the notes, taught in a traditional way, presenting a repertoire that the students would remember and repeat. Therefore, due to the great variability, Antoni Janiszewski "In order to shorten the learning of bagpipe playing and to facilitate the control of fingering," "in 1950 developed grip tables. These tables were used by advanced students, and in time, students who started to learn to play siesienki. This made it possible to focus the student's attention on the melody itself and learn to re-create it in the way the master presented it." "For a more accurate presentation of folk melodies to the students," Janiszewski made "a record of melodies performed by Tomasz Śliwa, sing by Paul Prusak and by many other folk musicians and folk singers" [Janiszewski 1970a: 11]. A certain facilitation for pupils was also a standardization of the notation of exercises, folk tunes and grip tables, so that the central sound was "c2", irrespective of the actual pitch while performing of a tune listed in the manual or an instrument tuning. "The youngest pipe trainers (mainly boys) started learning from" siesienki" exercises (first mouth-blown and later with bellows). The note based method of acquiring folk music, as the only source of knowledge of the folk repertoire limits the knowledge of ornaments in the way "goats" are played, and decreases the amount of melodies and their variants (2000: 109). Failure of the creative aspect in the executive style does not, of course, only concern the Zbąszyń school, or the bagpiping practice in general - today it is a widespread lack of folk craftsmen omnipresent in the modern day folk movement. In 1960 in Zbąszynek, at the Cultural Center "Kolejarz", the Society of Music and Culture was established with the class of folk instruments, where after the Second World War lived a "goat player". Tomasz Kotkowiak taught how to play a "goat", violin and clarinet. The study included tuning and playing techniques, repertoire, as well as the most important aspects of an instrument construction. Pupils also learned the folk songs (sometimes also those from outside the region). Learning to play a "goat", as well as clarinet or violin, was preceded by practice on "siesieńki". The traditional method of direct memory transfer was used. For many years, Tomasz Kotkowiak was the only teacher of folk music and singing in the Zbąszynek Circle. It was only in the eighties that Jerzy Skrzypczak, his grandson and pupil helped him. From other centers of folk music education, which play an important role in teaching, cultivation and propagating piping art, also "Zamek" Culture Center in Poznan has a long tradition (formerly the Palace of Culture) and the "Band of Greater Poland Bagpipers" associated with it. There were 35 students in this school between 1945 and In the houses of culture around Poznan (Stęszew, Połajewo, Gołębin, Szamotuły), playing pipes, siesieńki, and special variety of local violins was taught, in a traditional way, by Romuald Jędraszak. In north-eastern Greater Poland, at the Municipal Cultural Center in Gniezno, Leon Galiński was a teacher. One of his pupils, Dariusz Januchowski, received (in 1986) a grant from the National Fund for Gifted Children (Gerlach 1998: 44). 6

7 In the south of the region there is the Center of Culture and Art in Leszno (formerly under the name of a Voivodship House of Culture). There was established, in 1985 a Children Bagpipe Circle, where Edward Ignyś taught the bagpipe and violin, who since 1997 was assisted by Tomasz Kiciński from Bukówiec Górny. Those willing to learn were mainly found in schools. During the first fifteen years of operation (up to 2000), there were about fifty male and female bagpipers and violinists from ten to twenty years old. They came not only from Leszno; many came from nearby towns and villages, such as Bukówiec Górny, Włoszakowice, and even from Rydzyna or Biskupizna region (Jaskulski 2001a: 47, 50-51). These young musicians formed the Youth Bagpipers Band (working at the Leszno Center for Culture and Art), which won the 2001 Oscar Kolberg Award. In Śmigel, in the eighties (20th c.) at the Town-Commune Cultural Center there was a band led by Edward Ignyś. In 2005 under the patronage of the Association of Folklore Lovers "Żeńcy Wielkopolscy", on the initiative of the head of Song and Dance Ensemble "Żeńcy Wielkopolscy" - Rafał Rosolski, a pipe band ensemble was formed, which worked in the Nietążkowo School and was lead by Michał Umławski from Szymanowo (now it is lead by Adam Knobel). In the "Goat Region", the education within the field local music tradition is also supported the general education. In schools in Nowy Kramsk, Podmokle Małe and Dąbrówka Wielkopolska, learning to play bagpipes is conducted by Jan Prządka. More and more often, schools cooperate in the popularization of knowledge about folklore - in the context of exploring traditional culture of their own, but also other regions of the country. In Zbąszyń, "Folklore Meetings" was organized, organized by Maria Leśnik, a local teacher, supported by the Municipal Culture Center and Association of Municipalities of the Republic of Poland "Goat Region". In the 2nd decade of the 21st century, a new form of transmission of musical traditions (including bagpipes) was presented, in the form of the School of Tradition Masters and School of Folk Instruments (programs of the Institute of Music and Dance in Warsaw), in Greater Poland they are conducted by NGOs. The most active among them are: Association of Folk Musicians in Zbąszyń, Poznań foundations: Pluribus Unum and Kreaktywator, Leszno based foundation Dudziarz.eu or Bukówiec Manu Association. In other countries, education in the field of folk music, the construction of folk musical instruments, are performed by various cultural and educational institutions. In music education, folklore specializations can be found not only at the elementary but also secondary and higher levels (eg Music Academy in Vilnius, Helsinki or Plovdiv). Often there is a teaching of bagpipe music, such as the Budapest School of Hungarian Folk Music in Óbuda (Óbudai Népzenei Iskola), the Academy of Music, Dance and Fine Arts in Bulgarian Plovdiv (Академия за музикално, танцово и изобразително изкуство) school of Folk Arts "Filip Kutev" (Национално Училище за Фолклорни Изкуства Филип Кутев) in the town of Kotel (eastern Bularia) and the National school of Folk Arts (Национално Училище за Фолклорни Изкуства "Широка лъка") in the Sziroka Łyka (southern Bulgaria). Sources / selection: Alexander Buchner, Encyklopedia instrumentów muzycznych... (tłum. M. Zięba-Szmaglińska), Racibórz 1995 Jan Bzdęga, Biskupianie, Kościan 1936 / Warszawa 1992 Adolf Chybiński, O polskiej muzyce ludowej, Kraków 1961 "Duda i Kozieł". (red. Janusz Jaskulski), 1-6, Antoni Janiszewski, Wielkopolskie dudy, kozioł weselny, kozioł ślubny i sierszeńki. Podręcznik nauki gry na wielkopolskich instrumentach ludowych z ilustracjami, Poznań 1971 / Poznań 2006 Łucjan Kamieński, Śpiewnik wielkopolski, Poznań 1936 Alojzy Kopoczek, Ludowe instrumenty muzyczne obszaru karpackiego, Rzeszów 1996 Zbigniew J. Przerembski, Dudy. Dzieje instrumentu w kulturze staropolskiej, Warszawa 2006 Zbigniew J. Przerembski, Dudy. Instrument mało znany polskim ludoznawcom, Warszawa 2007 Jadwiga Sobieska, Dudy wielkopolskie, Poznań 1936 This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. 7