Polka
The polka is originally a Czech dance and genre of dance music familiar throughout Europe and the Americas. It originated in the middle of the 19th century in Bohemia, now part of the Czech Republic. The polka remains a popular folk music genre in many European countries, and is performed by folk artists in the Czech Republic, Germany, Austria, Slovenia, Switzerland, and Finland, and to a lesser extent in Poland, Latvia, Lithuania, the Netherlands, Hungary, Italy, Ukraine, Romania, Belarus, Russia, and Slovakia. Local varieties of this dance are also found in the Nordic countries, Spain's Basque Country, the United Kingdom, Ireland, Latin America and the United States.
The term polka possibly comes from the Czech word "pulka" ("half"), referring to the short half-steps featured in the dance. Czech cultural historian and ethnographer Cenek Zíbrt, who wrote in detail about the origin of the dance, in his book, Jak se kdy v Cechách tancovalo cites an opinion of Frantiek Doucha (1840, Kvety, p. 400) that "polka" was supposed to mean "dance in half" ("tanec na polo"), both referring to the half-tempo 2
4 and the half-jump step of the dance. Zíbrt also ironically dismisses the etymology suggested by A. Fähnrich (in Ein etymologisches Taschenbuch, Jiein, 1846) that "polka" comes from the Czech word "pole" ("field").On the other hand, Zdenek Nejedlý suggests that the etymology given by Fr. Doucha is nothing but an effort to prove the "true Czech folk" origin of Polka. Instead, he claims that according to Jaroslav Langr ("Ceské krakovácky" in: Cas. Ces. musea, 1835, Sebr. spisy I, 256) in the area of Hradec Králové, the tune Krakoviáky from the collection Slovanské národní písne of Frantiek Ladislav Celakovský became very popular so that it was used to dance (Czech dances) trasák, britva, and kvapík, and this way was called "Polka". Nejedlý also writes that Václav Vladivoj Tomek also claims the Hradec Králové roots of a Polka.[3] OED also suggests that the name may have been derived from the Czech Polka meaning "Polish woman" (feminine form corresponding to Polák, a Pole).
The beginning of the propagation of dance and accompanying music called polka is generally attributed to a young woman, Anna Slezáková (born Anna Chadimová). The music teacher Josef Neruda noticed her dancing in an unusual way to accompany a local folk song called "Strýcek Nimra koupil imla", or "Uncle Nimra Bought a White Horse", in 1830. She is said to have called the dance Madera ("Madeira wine") because of its liveliness. The dance was further propagated by Neruda, who put the tune to paper and taught other young men to dance it.[2] Cenek Zíbrt notices that a common claim that the events happened in Týnec nad Labem, Bohemia in 1834 is incorrect. Zibrt writes that when he published this traditional story in 1894 in Narodni Listy newspaper, he received a good deal of feedback from eyewitnesses. In particular, he wrote that according to further witness, the originating event actually happened in 1830, in Kostelec nad Labem, where she worked as a housemaid. Zíbrt writes that he published the first version of the story (with incorrect place name) in Bohemia (June 5, 1844), from where it was reprinted all over Europe and in the United States. Zíbrt also wrote that simple Czech folk claimed that they knew and danced Polka long before the nobles got hold of it, i.e., it is a truly folk Czech dance.
By 1835, this dance had spread to the ballrooms of Prague. From there, it spread to Vienna by 1839, and in 1840 was introduced in Paris by Raab, a Prague dance instructor.
It was so well received by both dancers and dance masters in Paris that its popularity was referred to as "polkamania."[6] The dance soon spread to London and was introduced to America in 1844. It remained a popular ballroom dance until the late 19th century, when it would give way to the two-step and new ragtime dances.
Polka dancing enjoyed a resurgence in popularity after World War II, when many Polish refugees moved to the US, adopting this Bohemian style as a cultural dance. Polka dances are still held on a weekly basis across many parts of the US with significant populations of central European origin. It was also found in parts of South America.
The word was widely introduced into the major European languages in the early 1840s.[1] It should not be confused with the polska, a Swedish About this sound
4-beat (help·info) dance with Polish roots (cf. polka-mazurka). A related dance is the redowa. Polkas almost always have a About this sound2
4 (help·info) time signature. Folk music of Polka style appeared in written music about 1800.
The term polka possibly comes from the Czech word "pulka" ("half"), referring to the short half-steps featured in the dance. Czech cultural historian and ethnographer Cenek Zíbrt, who wrote in detail about the origin of the dance, in his book, Jak se kdy v Cechách tancovalo cites an opinion of Frantiek Doucha (1840, Kvety, p. 400) that "polka" was supposed to mean "dance in half" ("tanec na polo"), both referring to the half-tempo 2
4 and the half-jump step of the dance. Zíbrt also ironically dismisses the etymology suggested by A. Fähnrich (in Ein etymologisches Taschenbuch, Jiein, 1846) that "polka" comes from the Czech word "pole" ("field").On the other hand, Zdenek Nejedlý suggests that the etymology given by Fr. Doucha is nothing but an effort to prove the "true Czech folk" origin of Polka. Instead, he claims that according to Jaroslav Langr ("Ceské krakovácky" in: Cas. Ces. musea, 1835, Sebr. spisy I, 256) in the area of Hradec Králové, the tune Krakoviáky from the collection Slovanské národní písne of Frantiek Ladislav Celakovský became very popular so that it was used to dance (Czech dances) trasák, britva, and kvapík, and this way was called "Polka". Nejedlý also writes that Václav Vladivoj Tomek also claims the Hradec Králové roots of a Polka.[3] OED also suggests that the name may have been derived from the Czech Polka meaning "Polish woman" (feminine form corresponding to Polák, a Pole).
The beginning of the propagation of dance and accompanying music called polka is generally attributed to a young woman, Anna Slezáková (born Anna Chadimová). The music teacher Josef Neruda noticed her dancing in an unusual way to accompany a local folk song called "Strýcek Nimra koupil imla", or "Uncle Nimra Bought a White Horse", in 1830. She is said to have called the dance Madera ("Madeira wine") because of its liveliness. The dance was further propagated by Neruda, who put the tune to paper and taught other young men to dance it.[2] Cenek Zíbrt notices that a common claim that the events happened in Týnec nad Labem, Bohemia in 1834 is incorrect. Zibrt writes that when he published this traditional story in 1894 in Narodni Listy newspaper, he received a good deal of feedback from eyewitnesses. In particular, he wrote that according to further witness, the originating event actually happened in 1830, in Kostelec nad Labem, where she worked as a housemaid. Zíbrt writes that he published the first version of the story (with incorrect place name) in Bohemia (June 5, 1844), from where it was reprinted all over Europe and in the United States. Zíbrt also wrote that simple Czech folk claimed that they knew and danced Polka long before the nobles got hold of it, i.e., it is a truly folk Czech dance.
By 1835, this dance had spread to the ballrooms of Prague. From there, it spread to Vienna by 1839, and in 1840 was introduced in Paris by Raab, a Prague dance instructor.
It was so well received by both dancers and dance masters in Paris that its popularity was referred to as "polkamania."[6] The dance soon spread to London and was introduced to America in 1844. It remained a popular ballroom dance until the late 19th century, when it would give way to the two-step and new ragtime dances.
Polka dancing enjoyed a resurgence in popularity after World War II, when many Polish refugees moved to the US, adopting this Bohemian style as a cultural dance. Polka dances are still held on a weekly basis across many parts of the US with significant populations of central European origin. It was also found in parts of South America.
The word was widely introduced into the major European languages in the early 1840s.[1] It should not be confused with the polska, a Swedish About this sound
4-beat (help·info) dance with Polish roots (cf. polka-mazurka). A related dance is the redowa. Polkas almost always have a About this sound2
4 (help·info) time signature. Folk music of Polka style appeared in written music about 1800.
Casanova (Swing-Polka) Jan Moravec / Arr. Michael Klostermann
Titel / Title: Casanova
Herausgeber / Publisher: Mitropa Music
Instrumentation: Concert Band/Harmonie
Produkttyp / Product: Partitur + Stimmen
Serie / Series: Michael Klostermann und seine Musikanten
Produkttyp / Product: Partitur + Stimmen
Erscheinungsdatum / Date of Production: 1998
ISMN: 9790035022344
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Duration: 2:15 min
Difficulty: 3
Difficulty: 3
Article Nr: 123832
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Ein Denkmal für die Blasmusik - Polka Michael Kuhn / Arr. Siegfried Rundel
Der bekannte Polka-Komponist Michael Kuhn hat dieses Stück ursprünglich für die Scherzachtaler Blasmusik geschrieben und möchte diesem Stück einen ganz besonderen Stellenwert einräumen.
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Duration: 3:40 min
Difficulty: 3
Difficulty: 3
Article Nr: 139326
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Trompetergalopp et al. Thomas Berg
Raich: Kreuzfahrt
Auer: Kutscherpolka
Berg: Trompetergalopp
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Jarni sen-Polka/Für meine Liebe Ladislav Kubes
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Duration: 3:00 min
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Mentalübungspolka - Kleine Besetzung Stephan Kostner
Der Erfolgstitel der Blaskapelle Gehörsturz! Der junge aufstrebende Tiroler Komponist Stephan Kostner schrieb diese fetzige Polka mit wunderschön lyrischem Trio für die Jubiläums-CD "Geil bleiben!".
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Hinter der Garage (Za tou nasi garazi) (Originalarrangement Orchester Holger Mück) Jaroslav Jankovec / Arr. Alexander Pfluger
Titel / Title: Hinter der Garage
Komponist / Composer: M:Jankovec, Arr:Pfluger, T:Novotny
Genre: Polka-Gesang
Format: A4
Aufnahme / Recording: CD5 OHM - Wie sind Egerländer Musikanten - 2015
TextL. Daniel Novotný
Besetzungsliste / Instrumentation:
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Difficulty: 2
Difficulty: 2
Article Nr: 165599
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Brauhauspolka Lukas Bruckmeyer
Titel / Title: Brauhauspolka
Komponist / Composer: Lukas Bruckmeyer
Genre: Polka
Format: A4
Aufnahme / Recording: CD Orig. Burgenländer - Burgenländer Leckerbissen - 2017
Komponiert von Lukas Bruckmeyer für die Brauhaus-Musikanten.
Besetzung: Blasorchester
Format: DIN A4
Schwierigkeitsgrad: 3-4 (Mittel-Oberstufe)
Aufnahme auf CD Lukas Bruckmeyer und seine Böhmischen Kameraden ...
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Duration: 4:19 min
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Im Krapfenwaldl op. 336 Johann Strauß / Strauss (Sohn) / Arr. Marco Marzi
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Article Nr: 151573
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Danke für die Jugendzeit Franz Watz
Franz Watz ist eine Institution der Blasmusik. Der freiberufliche Musiker, Pädagoge, Dirigent, Dozent, Juror, Komponist und Arrangeur sagt selbst: Die Musik ist für mich keine Arbeit mit festen Arbeitszeiten. Sie ist ständig in meinem Kopf und ein wichtiger Bestandteil meines Lebens. Bei zahlreichen Erfolgstiteln im traditionellen Bereich war er als Komponist oder Arrangeur bet ...
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Duration: 3:10 min
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Die fesche Toni - Polka (Kleine Blasmusik) Siegfried Rundel / Arr. Franz Watz
Das Musizieren in kleiner Besetzung ist die ursprünglichste Form der Blasmusik und gewinnt derzeit immer mehr an Bedeutung. Im Ensemble können Musiker an wichtigen Fähigkeiten wie Intonation und Zusammenspiel arbeiten und ihre Spielfreude im direkten Kontakt mit dem Publikum zum Ausdruck bringen.
Die neue Serie RUNDELs Kleine Blasmusik bietet daher faszinierende Möglichkeite ...
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Duration: 2:54 min
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Im Weinstöckl Johann Bauer
Polka von J. Bauer
Auch in kleiner Besetzung erhältlich!
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Duration: 2:49 min
Difficulty: 2+
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Article Nr: 177567
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Es muss nicht für immer sein (Polka) Mathias Rauch
"Es muss nicht für immer sein" ist ein absoluter Ohrwurm. Tolle Abschiedspolka, vor allem wenn sie gesungen wird. Auch ohne Gesang wird die Polka in Erinnerung bleiben. Sicherlich ein krönender Abschluss bei jedem Konzert.
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Duration: 2:30 min
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Duration: 3:03 min
Difficulty: -
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Article Nr: 171590
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Holzgeflüster Ernst Mosch / Arr. Franz Bummerl
Ernst Mosch u.s. Original Egerländer Musikanten
Ernst Mosch u.s. Original Egerländer Musikanten
Partitur, Direktion in C, Flöte in C, Oboe, Klarinette in Es, 1.Klarinette in B, 2.Klarinette in B, 3.Klarinette in B, Fagott, 1.Altsaxophon in Es, 2.Altsaxophon in Es, 1.Tenorsaxophon in B, 2.Tenorsaxophon in B, Baritonsaxophon in Es, 1.Trompete in B, 2.Trompete in B, 3.Trompete in ...
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Auf der Autobahn / Es ist so schön ein Musikant zu sein Slavko Avsenik / Arr. Lothar Gottlöber
Auf der Autobahn (Na Avtocesti) / Es ist so schön ein Musikant zu sein (Lepo je biti Muzikant)
Text "Es ist so schön...": Hans Kohnen
Doppelausgabe für Blasorchester von "Slavko Avsenik und seine Original Oberkrainer"
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Beim Musikantenwirt (Polka) Lukas Bruckmeyer
Eine wunderschöne Polka, die allen Wirten gewidmet ist, die wöchentlich oder sogar täglich
Musiker in ihrer Gaststätte empfangen. Die Inspiration kam nach einem Besucher einer
Musikerwirtschaft.
Junges Fieber - Leitung Lukas Bruckmeyer
Junges Alter, gepaart mit Erfahrung, Gefühl, Können und Talent. Der 1993 geborene Forheimer
Lukas Bruckmeyer ist die leitende Position im musika ...
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