Use the following persistent identifier: http://nrs.harvard.edu/urn-3:hul.ebook:CHS_LordA.The_Singer_of_Tales.2000.
Chapter 2. Singers: Performance and Training
Šećo here roughly distinguishes all three stages of learning; first, the period of listening and absorbing; then, the period of application; and finally, that of singing before a critical audience.
Worthy of note also are the accounts of singers in the Matica Hrvatska’s Hrvatske Narodne Pjesme, III (Zagreb, 1898), xi–lvi, written by the editor of Volumes III and IV, Luka Marjanović. One must also mention the work of Gerhard Gesemann, whose most lasting contribution to South Slavic scholarship still remains his edition of Erlangenski rukopis starih srpskohrvatskih narodnih pesama (Sr. Karlovci, 1925). See his “Nova istraživanja narodnih epskih pesama,” in Naša narodna poezija, ed. Milivoje V. Knežević (Subotica, 1928), pp. 7–13; “Nova istraživanja o narodnom ерu u vardarskoj banovini,” Glasnik skopskog naučnog dru š tva, 11:191–198 (1932); and “Volksliedaufnahmen in Südslavien durch die Deutsche Akademie,” Stimmen aus dem Südosten, 3/4:1–6 (1937/38). An evaluation of the singer Vučić in M. Murko, Tragom srpsko-hrvatske narodne epike, I, 16–17, 379–380, is not without interest.