Musicology Today 2012 100 Years of Polish Musicology

126 Bożena Muszkalska
Figure 7.8 Comparison of variants of the Kleczków matchmaking song; Ł.
Kamieński 1935: 112.
works), to the scales coming from various regions of the world, and to Gregorian
chant (Ibidem: 118 ff.). Such comparisons of phenomena far removed
from each other in space and time resemble those proposed by representatives
of the Berlin school. The author of the article concludes by pointing to
German and Scandinavian influences in the Kasubian song and to its likely
affinity to midsummer night songs, with which it shares the common mode
similar to that from the wedding song Oj chmielu (Ibidem: 126 ff.).
Kamieński’s field work in Pomerelia, Kashubian and Greater Poland purported
to prove that it is in those regions that we should look for the sources
of Polish culture. The Professor stressed the specific features of those regions’
musical folklore, their independent dialects and sets of instruments, and
their rituals, related to the local living conditions. In Kashubian melodies he
emphasised the presence of the already mentioned scale, whose origins he
traced back to the influence of the Scandinavian “trembita scale” (based on
harmonics) on the original Polish pentatonic scales. In was under the influence
of that “trembita scale”, Kamieński argued, that the anhemitonic pentatonic
scale was transformed into a major key (See Kamieński 1935: 121 and
Kamieński 1936: 138). With reference to Kashubian music, Kamieński dis-