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Martina Ďuriková Cínová
Štefan Cína Jr.
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We come from the picturesque village of Hnilec,
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where our father, our grandfather
and all his ancestors lived all their lives.
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Our mother comes from Revúca.
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And we are a half-musician family,
because my father was also a musician.
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My ancestors on my grandmother's
side were also musicians.
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And from my mother's side
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there are also, and were, some people
who played musical instruments.
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But of course they didn't study music,
hey didn't pursue it professionally.
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They had their jobs that they worked
at and they played in bands alongside.
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We were led to music by our father,
from a very young age.
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We both started playing guitar.
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First at home, where he taught
us chords and some notes
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and then we found out that we probably
needed something more,
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to take it to the next level somehow.
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So our parents enrolled us in the music school
in Spišská Nová Ves.
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They enrolled me in violin
and my brother in accordion.
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I saw Vanessa Mae on TV at that time,
how she played there.
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I guess all the girls were into it then.
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So I picked violin and I remember,
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we couldn't find a suitable instrument at the time
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and we found one in a pawn shop in Spišská Nová Ves.
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Sometimes I still remember where, on which street.
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And that's where my parents bought me
a violin for 1300 crowns.
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And I started to rehearse at home.
And my brother, I don't even know.
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I got into it...
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At the primary school that I attended,
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there was an old accordion in the classroom, black.
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And because I started playing quite late,
when I was thirteen or fourteen years old.
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- You were also twelve.
- Twelve.
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I brought it home.
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And my father bought me this little piano book
in the music shop in Spišská Nová Ves.
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And there were some markings, chords, what to play.
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So I was at home, it was over the holidays,
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before we ever came to the music school,
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we tried something together at home.
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Well, just purely by ear, self-taught kids,
youngsters like that.
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But it had something to it.
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Just, the instruments that we chose at that time,
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we still have a positive relationship
with them to this day.
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Of course, we also play other instruments.
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Just for ourselves we learned.
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But with the fact that we studied
that accordion and that violin,
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there really was a time when we played
it six hours a day?
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I mean, when I was in conservatory, there was
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such an obligation to practice for four, five hours.
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I mean, there were times when you felt like
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cutting the instrument or throwing it somewhere.
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But of course it passed.
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And I'll say for myself that I probably
can't imagine my life without the violin.
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And I remember when I had my son and I couldn't play,
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I wasn't home, I missed it so much.
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You enjoy it, you have such a relationship
formed with that instrument.
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- So, it's an emotional bond.
- Yes.
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The accordion too.
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It's a very sympathetic instrument.
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About the formation of the band
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We started out still on that guitar,
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and we had this tape recorder and our dad
bought us empty tapes.
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And we were still recording "Elán" songs
and stuff like that.
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Desmod, Aneta Langerová and various things.
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And then, when we already knew scales
and things like that,
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we started playing gypsy songs.
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We had a little black book.
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There my father wrote us the words,
the chords and the folk songs.
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And later I went to study
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at the state conservatory at Timonova 2 in Košice.
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And there they forbade me to play folk music.
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But we played it anyway.
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And actually, at that time we started playing
at weddings, celebrations and various events.
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And gradually, when we already
knew some of the basics,
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we started playing some songs together.
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And then my dad found out that there
was actually missing that first time.
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So he bought a double bass.
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And he had played bass guitar
in a rock band when he was younger.
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So this was pretty much like that.
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And so there were actually three of us.
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That was in 2006 or 2007, when, I can tell you,
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that a band was starting to kind of take shape.
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So that's when we were formed.
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Our band just kept growing over time.
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And we added a violist.
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A member from our village, from Hnilec, Jožko.
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We played with him for about four years.
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Then somehow Jožko gave it up.
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So Peťo came to fill in for him
on the viola contralto,
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who's currently playing bass.
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Because we were classmates at music school.
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Then I went to university here in Prešov
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and Peťo was my classmate there.
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We were also together in the dormitory here.
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We used to play together at weekends.
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Then, at one time, a dulcimer player
from Spišská Nová Ves
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used to play with us, Ján Faglic, an older gentleman.
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He played actively with us for three or four years.
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But he was also in one other band.
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So it sometimes happened that he couldn't come
with us to those events on weekends.
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And Pišta, who's playing the dulcimer at the moment,
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he was about 13 or 14 at the time.
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He started learning the dulcimer when
he was nine years old.
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I mean, he was banging on it in the way
that I play the drums, sort of.
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And he played his first gig with us here,
specifically in Prešov.
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It was a college party.
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And he's stayed in our band ever since.
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That's how we used to play.
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And then when my sister got pregnant,
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we needed a violinist to fill in.
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So we approached Janko Jóny, who we met
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about five years ago through a folk group.
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He was just free at the time,
so he started playing with us.
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And when Martina came back, he "fit" into our band.
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We kept him.
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In this lineup that we have today,
we look at each other
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and we should know that now
it's going this way and that way.
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It's a different way of working anyway.
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The fact that we're all graduates in the band,
we're all music teachers,
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so it's just a different way of working.
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You know, when you have a person
in the band who still has a problem
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to pick up a chord and understand
all that music theory
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and transfer that to an instrument, it's hard.
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- But thank God, I have to knock.
- On a stone.
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In the formation we're in today,
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I believe we'll be like this for decades to come,
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I don't think we really have a problem.
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But we could practice more.
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- Because time is short again.
- That's true.
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We play almost every weekend,
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so I'd be in favor of us practicing more.
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Every good band should sing.
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And since my brother here was shy
about singing at first, it was left to me.
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So I started singing, we were looking for notes.
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Because not every note suits a girl,
not every note suits a boy.
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So we tried it.
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And later on, I started to like it that way.
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And now I'm studying both voice
and violin in college.
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So I want to get into the art of singing
more professionally anyway.
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But I actually sing the way I feel.
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Just after I finished the music school,
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I came here to Prešov to the University of Prešov,
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where I studied music and technology.
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As part of music we also had singing, of course.
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I sang in the choir and everything, on weekends.
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Of course with the band, with my sister,
with the boys.
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And then I studied the singing.
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So I graduated in it, too.
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About folk music
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Were we attracted to that folk music,
that folklore?
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Well, definitely yes, definitely yes.
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Through the fact that we, as kids, young people,
rather learned that pop, that rock.
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When I was thirteen, fourteen,
I was really, really into metal.
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I wore chains and longer hair and black t-shirts.
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And we listened to bands like Konflikt.
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-That's, like, punk rock.
That's,
like, punk rock, hard metal, music.
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And then when we got into folk music,
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classic es-ta in folk, m-pa, m-pa, m-pa, m-pa, m-pa.
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And when you compare it to metal,
or punk rock, it's exactly the same.
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I mean, the bpm tempo and the alternation
of that heavy and light time
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is built on exactly the same principle.
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So it's definitely close,
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you just have to find that connection.
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Nowadays, there are few such traditional
dulcimer music bands in Slovakia.
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We observe it.
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We have classmates, friends who
are also involved in this
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and they're already adding drums to the band,
they're already adding cymbals...
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- Keys-
- Keys, various other instruments.
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And we would really like
to keep to that traditional form
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and the traditional blend of those
instruments that it used to be.
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Really preserve that, because when we,
the younger generation,
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don't preserve it, it's gonna disappear.
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And as for those folk music lovers,
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we always go to a wedding and now we come there
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and there's a million young people there, we're like:
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Oh my God, they're definitely going
to want some Despacito and I don't know what.
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We also have a DJ just in case.
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And it ends at two in the morning with
singing Na Kráľovej holi.
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And it's the young ones who like it.
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So I think that folk music lives
in all of us somewhere,
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we just have to find it in ourselves.
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So I think I will definitely teach my son folk music.
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I'm already teaching it to him,
so I think it's going to stick.
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We play gypsy songs only marginally.
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And, of course, at weddings.
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But more or less, when we're with dad,
we play, we sing them.
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But we play more Slovak ones, yes.
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I guess my father built us some foundation,
a good one, so we know them.
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Also today we played some older Phurikane giľa.
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And such old songs.
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But I personally listen to other bands too.
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Even the ones that have, like,
drums and those keyboards.
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I try to have an overview of those songs.
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- A musical outlook.
- Yes.
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A musician, who actively plays,
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should have a musical perspective through and through,
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that when he actually comes to an event, he's gonna
come somewhere and somebody's gonna tell him
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they want them to play that song
and he doesn't know it,
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that's the biggest problem that can happen.
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So we are listening to traditional folk music,
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Ruthenian, Roma, just all of them.
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Of course classical, different genres, jazz.
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We live by that music, from morning till night,
so to speak.
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We make a living out of it.
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About contemporary Roma music
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I personally don't like the bands that
are trying to break through
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with singing up, high-pitched screaming, etc.
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Not even the ones that go there to cry.
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- But we do have one favorite, tell them.
- Yes.
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Yes, we have one favourite band that is, I think,
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musically and vocally very good.
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And it's a band from Strážske, Gipsy Culy.
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And I listen to it, I listen to it when I'm cooking.
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My husband's laughing at me already.
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And it's one of those bands that really
know what they're doing.
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And they know why they do it.
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And really, we've been to them,
at parties and stuff.
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They just play what they need to play,
sing tastefully, very nicely.
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As for those dulcimer bands, there are great
dulcimer bands as well.
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There is a very nice one here in Prešov, too.
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All that Roma music is very valuable and beautiful.
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So it's just a matter of taste and interpretation,
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how that particular band member puts it out there.
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But I don't think it's necessary to condemn any bands.
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True, true, everybody, first of all, does their best,
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they are certainly doing the best they can.
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And if they don't know something,
then either let them learn
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or if they feel they are good enough as they are,
then let them do it.
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If they do it with love, with enthusiasm,
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if they enjoy it and if people like it.
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- Listeners, exactly.
- Yes, because we do it for the people.
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Of course, we enjoy it too,
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but I say music and singing is for the people.
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I mean, if somebody's already pulling out their phone
and filming it, that's good.
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About teaching music
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I've actually been teaching since I graduated
from the music school and I teach in Smižany.
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And I dare to say that there is an interest in violin.
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Especially through folk music.
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Because the violin is still a "fiddle made of maple".
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It's actually an instrument focused on folk music.
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So the kids want it.
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But I, as a teacher, over the years,
there's not a lot of them,
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but I can already say that I've taught a few lessons,
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my main goal is not
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to make a virtuoso out of that kid right away,
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but to get him to love the instrument and the music.
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To develop a relationship.
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So that's my main goal,
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to get those kids to love music
and love the instrument.
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And then when I see that it's already built there,
that relationship
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and that the pupil already wants
it and has a disposition, that he's good at it,
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then I push and we go hard after it.
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But there are kids who will tell me:
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"Teacher, we only like to play the violin so much."
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"We don't play at home, but we like to come here."
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I'm glad, we sing together, we clap together,
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we do what we like.
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Whereas here, here is a directive teacher.
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And that's exactly the problem.
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I dare say that 50% of today's pupils
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are only there because their parents
are pushing them and forcing them.
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And forcing it on them.
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And that's not good.
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It's difficult for the student, the teacher,
and the parent.
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And it's all so artificial.
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But on the other side, there are also pupils,
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for example, a pupil comes to me to
play the accordion, he signs up.
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The first year or two, he's so bland,
because his parents push him.
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And then he finds it in himself
that it really grabs him.
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And then you just see it week after week after week,
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how that student grows and progresses.
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I can boast that I already have a pupil,
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whom I taught and, I don't know whether
this year or next year,
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will be a graduate of the conservatory in Košice.
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So I am already such a proud teacher.
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Just now we were at a violin competition,
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where we won the silver medal.
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So I think it's a beautiful feeling that
we have achieved something together.
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And when I see that the pupil is also happy about it,
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that the kid is happy about it, that's a great feeling.
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That what I maybe know well or better than others,
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to be able to pass it on to somebody.
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About Roma culture
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For me, Roma culture is probably
a way of life for Roma people.
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Although I think that every Roma family
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has its own kind of microculture of its own clan,
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of its own family.
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But I think it's all a way of life,
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a way of dressing, a way of eating,
a way of having fun.
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- Customs as well.
- Customs.
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In funerals different customs,
in weddings different customs.
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So that's it, I would say.
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The way the Roma live.
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And the fact that they are so temperamental,
that we are,
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we're on a different wave of emotions,
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so I think that's the whole thing.
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It's like a set of all those parts.
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The material ones and the immaterial ones.
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I very much, from childhood, I don't know about you,
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but since I was a kid I've felt strongly about funerals.
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It's such a morbid thing.
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How that family all at once sticks together.
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I don't know if it's like that in the village too,
maybe with other people.
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But still in that house where someone dies,
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you actually go there until the funeral.
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I think even after that.
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And a bottle is opened there,
there's a debate till dawn.
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And it's so that family,
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that's lost a loved one, isn't left alone.
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So maybe that's the kind of thing that...
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For example, I have a white husband,
and when I was telling him about it,
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when someone died in our family, he said:
- And what are we going there for and why are we doing it like that?
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And I say that's how it's done in our family.
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So maybe that's how it affects me,
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that maybe it's in my family,
as I haven't seen this before.
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At those funerals.
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I don't have anything to add to that.