Modern Folk Music in Slovenia I (KD FS CD 01)
Modern Folk Music in Slovenia II (KD FS CD 02)
Al' že spiš? Kako uspavamo v Sloveniji (KD FS CD 03)

Are You Sleeping? Lullabies in Slovenia

Music does not only have aesthetic and functional dimensions, it also belongs among the fundamental media of humanisation. Music socialises us and harmonises us with other people. Lullabies are often our first encounter with sound as organised by human beings, something that leads us, when still babies, into the magic of all-pervading sound. Lullabies are a universal human creative and improvisational act, while at the same time their form and actual performance also depend on the environment in which the singer lives. They can be completely formal songs or can involve improvised composition that comes into being in a given existential situation. This can denote specific cultural elements, for example in the nuances of the performance or in the overall formula of the song, which is in concord with the other music that forms part of the everyday lives of the singers. It can thus reflect something like a legitimation of a particular community, or may simply be an action that is common to all human beings and is the most rudimentary of all forms of musical activity.

Sound recordings of the lullabies themselves, different ways of singing someone to sleep and an account of their importance to the interviewees were collected and recorded by students from the Department of ethnology and cultural anthropology at the Faculty of Arts of the University of Ljubljana, under the mentorship of Katarina Juvančič, in 2005 and 2006. The lullabies were sung from memory and in actual circumstances of singing children to sleep. The selected ethnomusicological material thus includes recordings deriving from various social groups and environments and featuring people of different ages and different levels of education. The disc also contains examples of lullabies that reflect the multicultural character of modern Slovenia.

The compact disc Al' že spiš? ali Kako uspavamo v Sloveniji ('Are You Sleeping? Lullabies in Slovenia') can serve as a valuable aid for teachers and researchers, while at the same time it is designed above all to encourage all those people who in the earliest phase of a child's education turn to sound recordings for help or inspiration for their own creation of an act as intimate as the singing of lullabies. For nothing can take the place of the voice of a mother or father, the voice of a person who offers shelter to a baby or child. This earliest encounter with music is, moreover, the best response to the alienated life of the modern world.

This project represents, without a doubt, a very important contribution to the experiencing of cultures in the environment that is Slovenia. It is the first 'sound document' of its type, and one that at the same time brings to life something that has only apparently been forgotten. Above all, it is to be hoped that it will encourage a return to the intimate genuineness of situations in which we human beings are most human.

Dr. Rajko Muršič and Katarina Juvančič

1. Ninenaj    2:44

Sung by Alenka Kranjac. Recorded by Urška Vižintin. Recorded in Bertoki, Koper, Slovenia.

This lullaby was created as an improvisation of a young mother trying to put her 13-month old son to sleep.

English:
Ninenai, ninenai, baby sleep well tonight
Naineni, naineni, little Mate sleep nicely.

2. Noč prišla na mjehkih hlapkah (The Night Came on Soft Paws) 1:19

Sung by Tatjana Yakuntsova (mother) and Sofija-Agnes Yakuntsova (daughter). Recorded by Helena Dembsky. Origin of the song: by the Black sea (Russian Federation). Recorded in Ljubljana.

The mother often sings this Russian lullaby together with her daughter. During the recording, she was hugging her the whole time. In this way, a mother and daughter connect via the lullaby and, according to the mother's opinion, such singing expresses the connection with the environment and individuals which the family was forced to leave behind. The lullaby talks about a night coming on soft paws and breathing as a big bear. Babies cry and, in response to that, mothers sing. The father goes to work at the sea and the mother waits for him. Then, the mother says: "Since your little feet have not touched the ground yet, you cannot walk, you are so small, sleep my little boy with clear eyes, my dear child."

3. Eno bolh'co ljubim (I Love a Little Flea)/A Grandfather Puts His Granddaughter to Sleep (speech)    1:18

Sung and spoken by Janez Rupnik. Recorded by Maja Požun. Recorded in Sevnica.

The singer learned this song from his grandparents; however, he self-censored the scary ending ("Just wait little flea; if I get you, I'll tear away your ears and break all your bones") when putting his granddaughter to sleep. During the discussion, he talks about putting his granddaughter to sleep. He hugged her so she could feel his heart beating; he carried her around the room and quietly sung to her.

Lyrics:
Eno bolhco ljubim, v moji srajčki spi,
kamor grem me spremlja, to me veseli.
Čakaj čakaj bolhca, če te jaz dobim
V srajčko te skrijem, da te ne izgubim.

I love a little flea she sleeps in my shirt
Wherever I go she goes with me
I'm happy about that.
Just wait little flea if I get you
I'll hide you in my shirt so I don't lose you.

4. Medvedek (Little Bear)    0:31

Sung by Tomaž Haller. Recorded by Marko Potočnik. Recorded in Ljubljana. Author of the song: Anica Špan.

According to some hundred people surveyed, Medvedek is one of the most popular and recognised copyright songs for putting children to sleep. It was popularised among generations via children's literature, kindergartens and schools.

Lyrics:
Medvedek ni bolan, medvedek je zaspan,
prišla je tiha noč, medvedek lahko noč.

Little bear is not ill little bear is sleepy
Quiet night came, good night little bear.

5. Zazibalka (Cradle Song)    0:42

Sung by Luka Kunaver. Recorded by Marko Potočnik. Recorded in Ljubljana.

In lullabies, animals often act as guardians of infants, but even more often their behaviour and characteristics are compared to the child's. In this case, the role of čiba (hen) can be compared to that of a mother (like the hen watches over her eggs, a mother protects her child). At the same time, the introduction of diminutives contributes to a more dynamic and fluent diction of the lyrics, which co-create the rocking melody. By slowing down the melody and prolongation of the syllables, the young singer wants to additionally contribute to the desired effect in the end - sleeping. The lullaby was already documented in the Štrekelj's collection Slovenske narodne pesmi (Slovene Folk Songs), no. 8179, volume 4. Music was written by Slovene composer Emil Adamič.

Lyrics:
Ajčka tutajčka ajčka, naša ciba nese jajčka,
ajčka tutajčka ciba nese jajčka,
ajčka ajčka ajčka.

Aichka tutaichka aichka our hen lays little eggs
Aichka tutaichka hen lays little eggs
Aichka aichka aichka.

6. Aja tutaja čiba nese jaja /Aja tutaja zibelka srebrna (Aia Tutaia Hen Lays Eggs/Aia Tutaia Silver Cradle)    0:26

Sung by Marija Dobravc. Recorded by Zana Fabjan. Recorded in Mokro polje (Dolenjska region).

The folklorists documented a similar counting-out game in a form of a lullaby as Aja tutaja čiba nese jaja in the Dolenjska region already hundred years ago. Aja tutaja zibelka srebrna zlati ima ročaj (Aia tutaia silver cradle has a gold handle) (in some versions "handle" is replaced by "hinge") is also one of the widespread lullabies of the "aja tutaja" type in Slovenia.

Lyrics:
Aja tutaja, čiba nese jaja,
meni štiri tebi pet, pa jih pride glih devet.

Aia tutaia, hen lays eggs
Four for me, five for you, turns up we have just nine.

Aja tutaja zibelka srebrna zlat ima ročaj,
noter se pa ziblje naš Janezek tamal.

Aia tutaia silver cradle has a gold handle
And rocking inside is our little Janezek.

7. Vo šumička zajače (Little Bunny in a Little Forest)    0:58

Sung by Anastasula Stanić. Recorded by Tjaša Stanić. Recorded in Ljubljana. Origin of the song: Bitola (Southern Macedonia)

The comparison of physical and characteristic features of animals to a child is often a theme of cradle songs. Behaviour of the restless little bunny, who is jumping around little forest and hiding, because he does not want to go to sleep, is in contravention with an obedient child who will go to sleep.

Lyrics:
Vo šumička zajače, ripa skoka zajače,
cup cup cup, ripa skoka zajače.
Zajče to se krije, nesa kada spije,
cup cup cup, nesa kada spije.
Detence kje spije, nema da se krije,
cup, cup, cup, nema da se krije.

In little forest little bunny is jumping, leaping
Cup cup cup jumps, leaps little bunny.
Little bunny is hiding, doesn't want to sleep
Cup cup cup doesn't want to sleep.
Little baby will sleep, won't hide
Cup cup cup won't hide.

8. Lej ga, lej ga, jagenjčka (Look, Look, There's a Little Lamb)    0:25

Sung by Marjetka Pušenjak. Recorded by Polona Sojar. Recorded in Ljubljana.

This witty lullaby was recoded in Zagorica on Dobrepolje (Dolenjska region). The female singer found it in the archives of the Institute of Ethnomusicology at SRC SASA in Ljubljana. Two-stanza lullaby, sung in three-quarter time, has interesting, primarily contradictory content. In the first stanza, there is a lamb, which Micka should pick up in order to own it. In the second stanza, the activity relates to the performer, who is running away from a bad wolf, so that it will not bite him/her. The allegories of wolf and lamb are often found in Italian folk lullabies.

Lyrics:
Lej ga, lej ga jagenjčka tam na onkraj grabenčka,
pejdi Micka puj pa bo tuj.
Tika tika touka, pa sem videl volka,
pa me je hotel urejzat, pa sem mogu bejžat.

Look, look, there's a little lamb
There, at the other side of the ditch
Micka go after it and it will be yours.
Tika taka touka I saw a wolf
He wanted to bite me and I had to run away.

9. Gosenica (Caterpillar)    0:38

Sung by Tina Hering and Nina Zrimšek. Recorded by Laura Hering Poniž. Recorded in Vrhnika. Lyrics by Ksenija Šoster Olmer. Music: traditional from USA.

Children's songs often take the role of lullabies. Many times children sing them together with their parents before their bedtime. Song about the caterpillar, sung by a mother and her daughter, was, on the basis of the lyrics by Ksenija Š. Olmer, interpreted by Romana Kranjčan, a well-known singer of children's songs. She published it on the CD entitled Tuba luba (Panika Records, 1999), from which the aforementioned singers learnt it.

Lyrics:
Gosenica je lezla počasi na drevo
pomigala na dolgo, pomigala kratko.
Primigala je k meni, v lonček sem jo dal
nikar mi ne pobegni, zažugal sem, dejal.
Ko v lonček sem pogledal, je notri ni bilo
pred oknom pa je letal metuljček prelepo.

Caterpillar climbed slowly up the tree
Wiggled long, wiggled short.
It came to me, I put it in a cup
Don't escape I wagged my finger at it.
When I looked into the cup it wasn't there
And there was a little butterfly beautifully flying in front of the window.

10. It Does not Matter How You Sing (speech)    0:29

Spoken by Vojka Svetičič. Recorded by Polona Kavčič. Recorded in Cerkno.

The informant believes that it does not matter how one sings to a child, since this is something most beautiful. The child will indicate by himself/herself if he/she wishes one to sing or talk.

11. Cimala    0:58

Sung by Mirjam Hadalin. Recorded by Polona Kavčič. Recorded in Cerkno.

Lullabies often borrow their melodies from other folk songs. This lullaby, a witty song, has a melody of well-known Čin čin čin Drežnica; however, its content and language is exceptionally regional. The female singer sings it to the children in the kindergarten and it always finds its place as a dialectic speciality in the choir repertoire.

Lyrics:
Cim cim cim cimala, pa sva se uštimala,
gob gob gob guobava, pa sva se spuokala.
Nuna Marjana, župa ni slana, nima skrbi da bi kupila sali.
Bela Lublana, črn je Kranj, pisana Luoka, Kamn'k je fajn.
Kukavica paje, k' nima ne naje,
kukavica noče pit, nima nič v klit.
Tista bo maje, k' žvižga in paje, tista pa ne, k' pije kafe.
Katrca škatelca či imaš kafe, v hiš'ci na miz'ci na talerčku je.

Cim cim cim cimala we put ourselves in order, hah
Gob gob gobava we had a fight.
Nun Marjana, the soup is not salty
She doesn't have worries to buy salt.
White Ljubljana, Kranj is black,
Loka colourful and Kamnik fine.
Cuckoo sings because it is missing a leg
Cuckoo doesn't want to drink because she doesn't have anything in the cellar.
Mine will be the one who whistles and sings
And not the one who drinks coffee.
Katrca where is your coffee
It's in my little house, on my little table, on my little plate.

12. Od Kostevca (From Kostevc)    0:55

Sung by Jože Malešič. Recorded by Marjeta Malešič. Recorded in Ljubljana. Origin of the song: Ribnica (Dolenjska region)

This unusual, heterogeneous content of a recruiting, sarcastic and drinking song is not a lullaby by its genre, but by its functionality. In the period after the World War II, singer's aunt sung this song to him in Ribnica.

Lyrics:
Kostevc iz malih Lašč koraka prav počas',
ozira se nazaj pa sam ne ve zakaj.
ref: Oj vince oj vince oj vince rumeno,
Oj vince oj vince oj vince rumeno.
Ozira se zato, ker gre na štel'ngo,
potrjen pa ne bo, prekratko ima nogo.

Kostevc from Male Lašče marches really slowly
He's looking back but he doesn't know why.
Chorus: Oi wine oi wine oi yellow wine
Oi wine oi wine oi yellow wine.
He's looking back because he goes to the draft
But he won't be enlisted, one leg is too short.

13. I Was Put On a Mattress Made of Bark (speech)    0:27

Sung by Rozina Ukmar. Recorded by Marjeta Malešič. Recorded in Kobdilj (Primorska region).

When we asked the elderly woman how she was put to sleep prior to the World War II, she told us that she was put on a mattress made of bark or corn and covered with bags.

14. Jaz sem mali otročiček (I'm a Little Baby)    0:34

Sung by Melita Trdin. Recorded by Ajda Es. Recorded in Velenje (Štajerska region).

Compared to children's songs, lullabies with waggish content sung in the first person are rare. The kindergarten teacher in Velenje sung it according to her childhood memories.

Lyrics:
Jaz sem mali otočiček, pravijo da sem fantiček,
v zibko mene položijo, z dudo usta mi mašijo,
zibajo me gor in dol, da sem jaz že čisto nor.
O preljuba štorklja kje si, hitro pridi, proč nazaj me nesi,
Srečni bomo vsi, ata mama jaz in ti.

I'm a little baby, they say I'm a little boy
They put me in the cradle, they stuff a dummy in my mouth
They rock me up and down, I'm going crazy.
O my dear stork where are you
Come quick please take me away quick
We'll all be happy, father mother me and you.

15. Čin čin čin Drežnica (Chin Chin Chin Drežnica)    0:17

Sung by Katarina Zagorc. Recorded by Zana Fabjan. Recorded in Mihovca (Dolenjska region). Origin of the song: Šentjernej (Dolenjska)

One of the most popular children's folk songs in Slovenia, which has, despite numerous versions of the lyrics, preserved through generations, is definitely a pastoral song, Čin čin čin Drežnica. The female singer sung the first stanza and chorus only, which she considered suitable for putting children to sleep.

Lyrics:
Čin čin čin Drežnica, kje so kozice,
gori na skalici, kjer ni vodice.

Chin chin chin Drežnica where are the small goats
Up on the little rock where there is no water.

16. Aja tutaja, punčkica aja (Aia Tutaia, Little Girl Sleeps)    0:28

Sung by Angela Šisernik. Recorded by Nina Šisernik. Recorded in Slovenj Gradec (Koroška region).

When (re-)creating lyrics and music, variability and innovativeness are one of the key features of the lullaby, which originate from the fact that the singers already forgot the original lyrics and melody or they intentionally changed and adjusted them according to their current feelings, child's mood or even the given social situation. The female singer on the recording inventively connected a lullaby of the "aia tutaia" type with the music of a song, Izidor ovčice pasel (Izidor grazed little sheep), which is also one of the most widespread folk lullabies on the Slovenian ethnic territory.

Lyrics:
Aja tutaja punčkica aja,
punčkica aja in sladko zaspi.

Aia tutaia little girl sleeps
Little girl sleeps sweetly.

17. Dan je šel (The Day Has Gone)    1:23

Sung by Klemen Kenda. Recorded by Polona Kavčič. Recorded in Ljubljana.

Scout's "lullaby", Dan je šel, borrowed its melody from a well-known American elegy for trumpet, generally known as Tišina (Silence). The song is a part of a scout ceremony - the scouts sing it in the evening before going to sleep, when they stand by the fire holding hands.

Lyrics:
Dan je šel čez gore, čez vode, čez polje,
vse že spi v tihem snu, noč je tu.

The day is gone across the mountains, across the waters, across the field
Everything sleeps in a quiet dream, the night is here.

18. Lahko noč (Good Night)    1:25

Sung by Ivica and Cvetka Mavsar. Recorded by Marija Pompe. Origin of the song: Veliki trn, Gora pri Krškem. Recorded in Krško (Posavje region). Lyrics by Anton Martin Slomšek.

Slomšek's popularised song, Lahko noč, was already published in the Drugo berilo za občne ljudske šole (Second Reader for Common Folk Schools) in 1890. For his songs with family, religious or national renaissance contents, Slomšek usually used the existing melodies of Slovenian and German songs, which people were familiar with. The song was spread across Slovenia via printed media (especially readers, almanacs and song books) as well as oral tradition. More than hundred years after its creation, it is still quite popular among the singers in rural areas.

Lyrics:
Svetlo sonce se je skrilo, vse na svetu potihnilo,
vse odeva tiha noč, da zaspati nam je moč.
Ptičice in vsa živina, gospodarji in družina,
vse počitka željno je, tiha noč zaziblje vse.
Moja glavca je zaspana, moja posteljca postlana,
ljubi angel varuh moj, varuj mene ti nocoj.

Bright sun hid, the world is quiet
Quiet night covered everything
So we will be able to sleep.
Little birds and cattle, farmers and family
All want to rest, quiet night rocks everyone to sleep.
My little head is sleepy, my little bed made
Dear angel, my guardian protect me tonight.

19. For a Nice End of the Day by the Dim Light (speech)    0:44

Spoken by Anton Sečnik. Recorded by Marko Potočnik. Recorded in Ljubljana.

The informant talks about putting his children to sleep. Children went to sleep following the evening prayer ceremony. He put children to sleep by the dim light; he caressed them, told them fairy tales and sung a short song. At the same time, he stressed the fact that such an ideal mood could not be created each evening, since the children were sometimes restless, and the parents tired and not in the mood.

20. Angelček varuh moj I (Little Angel, My Guardian I)    1:00

Sung by Janez Sečnik. Recorded by Marko Potočnik. Recorded in Ljubljana.

Angelček varuh moj is the most widespread form of a short prayer sung before going to sleep. The time of putting children to sleep was always considered dangerous liminal time between being awake and sleeping, when the adults did not have an influence on the dangers awaiting a child in his/her sleep. Therefore, they called the guardians of passage for help. In Christianity, their role was taken over especially by angels and related beings.
The selection of the three versions is especially interesting with regard to their content. This first case has a standard content, which the singer sings in a modern and non-timed way. The second, two-voiced version passes into a love song in the second stanza. With the exception of the first stanza, the third version has a distinctively ballad message. The second and third versions are also interesting for their rhythmic structure, in which triple and duple time interchange, which is considered a specialty of the Slovenian folk singing.

Lyrics:
Angelček varuh moj, varuj me ti nocoj,
varuj me ti nocoj, angelček moj.
Bog pa je stvarnik moj, stvaril me je za svet,
Bog pa mi daj še to noč preživet.
Ti boš pri meni spal, ti me boš varoval,
jaz pa bom sanjal tiho kraj te.

Little angel, my guardian protect me tonight
Protect me tonight my little angel.
God is my creator, created me for this world
God, please let me live through this night.
You will sleep with me, protect me
And I will dream silently beside you.

21. Angelček varuh moj II (Little Angel, My Guardian II)    1:21

Sung by Ivica and Cvetka Mavsar. Recorded by Marija Pompe. Recorded in Krško. Origin of the song in Veliki trn, and Gora pri Krškem.

Lyrics:
Angelček varuh moj, varuj me ti nocoj,
varuj me ti nocoj, angelček moj.
Urca je polnoči, vse že prav sladko spi,
pri moj'mu dekletu pa še lučka gori.
Bog pa je ustvaril svet, stvaril si me na svet,
Bog pa mi daj še to noč preživet.

Little angel, my guardian protect me tonight
Protect me tonight my little angel.
It's midnight everyone sleeps tight
But my girl still has a light on.
God created the world created me in this world
God, please let me live through this night.

22. Angelček varuh moj III (Little Angel, My Guardian III)    1:21

Sung by Marija Lukovič. Recorded by Katarina Juvančič. Recorded in Selšček (Notranjska region).

Lyrics:
Angelček varuh moj, varuj me ti nocoj,
varuj me ti nocoj, angelček moj.
Bog pa je stvarnik moj, ustvaril me je nocoj,
ustvaril me je za svet to noč preživet.
Hišca ob cest stoji, notri pa dekle spi,
fantič pa mimo gre, pa jo zbudi.
Če se pa kaj zgodi, kriva boš samo ti,
kriva boš samo ti, moje dekle.
Sinčka zibala bom, saj ga ne bom zastonj,
tebe tožila bom, dobila svoj lon.
Plačal bom fajmoštra, mežnarja od krsta,
plačal bom druge vse, tebe pa ne.

Little angel, my guardian protect me tonight
Protect me tonight my little angel.
God created me tonight, created me for this world
To live through the night.
There is a house by the road, a girl is sleeping inside
A boy passes the house and wakes her up.
/Male/ If something happens, it will be you fault
It will be your fault my girl.
/Female/ I will rock a baby boy, I' won't do it for free
I will sue you, get your money.
/Male/ I will pay the priest, sacristan for the christening
I'll pay everyone but not you.

23. Nina nana mori bij-e (Nina Nana, My Daughter)    0:58

Sung by Gjylije Maligaj. Recorded by Katarina Juvančič. Origin of the song: Western Kosovo. Recorded in Ljubljana.

This lullaby, ninullë or këngë djepi (song by the cradle), was created as a momentary inspiration of the female singer, who combined the lyrics of memorised lullabies and melorhythmic patterns of female tunes heard in her birthplace, Mushtisht. The village Mushtisht in southwest Kosovo is known for a very developed folk singing and its renowned folk singers. The characteristic of this singing is folk tuning, which may also be heard on this recording. Calming lyrics predominate, since the mother sings to her daughter, who she wants to rock into an undisturbed sleep. In the end, she wishes her a peaceful future as a shepherd.

Lyrics:
Nina-nana mori bij-e
fli se gjumi o të bën mir-e,
të bën mir' o të rehaton-e
trupin bijo moj t'a pushon-e.
Nina-nana o moj në djep të drunit
Ti m'u bëfsh o plakë e katunit.
Nina-nana moj rrin me fjet-e,
Ty të marrtë o një gjumë i leht-e.
Gjumi i lehtë o, gjumi i ëmbël
T'maron nana o përshesh me tëmbël.
Nina-nana o mori bija jeme,
Ty t'çon nana o çobaneshë me dhen-e.

Nina nana little daughter sleep because sleeping will do you good.
It does good and relaxes you, the body rests.
Nina nana in a wooden cradle, become a chief of the village.
Nina nana sleep peacefully, let soft sleep take you
Soft sleep, sweet sleep.
Mom will make you popara (boiled bread) with milk
Nina nana my little daughter
Mom will send you away to become a shepherd.

24. Spavaj sine, san te prevario (Sleep Son, the Dreams Tricked You)    1:20

Sung by Maida Đinić - Poljak. Recorded by Tjaša Stanić. Origin of the song: Doboj (Bosnia and Herzegovina). Recorded in Ljubljana.

The female singer did not learn lullabies of Bosnian Muslims, by melody related to sevdalinka, in her country of origin, but only at the time, when, as a refugee, she lived in Slovenia. She was given a cassette with traditional lullabies from Bosnia by her friend, when she gave birth. Today, she sings them to her daughter. The content of the lullaby is concerned with the making of a cradle, forged, gilded and carried from a place to place by the blacksmiths. In Bosnian cradle songs, royal attributes assigned to a baby, who is being sung to sleep, are a very frequent motive.

Lyrics:
Spavaj sine, spavaj sine, san te prevario.
Beša ti se, beša ti se na moru kovala.
Kovala je, kovala je do tri kujundžije.
Jedni kuju, jedni kuju drugi pozlačuju.
Treči nose, treči nose od grada do grada.

Sleep my son, sleep, the dreams tricked you.
The cradle was forged at the sea.
It was forged by three blacksmiths.
Some were forging, some gilded it.
The others carried it from a place to place.

25. Nezakonska mati (Unmarried Mother)/ Each Poem May Be a Lullaby (speech)    2:49

Sung and spoken by Ljudmila Rupnik. Recorded by Maja Požun. Recorded in Sevnica. Lyrics by France Prešeren.

Prešeren's Nezakonska mati, which he supposedly adopted from a folk ballad, whereby he replaced the ethically disputable verses about the mother's reproaches with the expression of love for the natural child, is one of many Slovenian popularised songs, where the author was forgotten. The female singer on the recording learnt the song from her parents and sisters, not knowing that it is not a folk song. The content of Nezakonska mati also reminds us of the fact that unmarried mothers were distinctively marginalized even reviled, before the post-war period. Therefore, lullabies, which were once sung to children by women, served as means of expressing negative emotions toward their dead-end situation, men and community, in which their role was devaluated.

During the discussion, the informant claimed that, when singing children to sleep, lyrics are not so important compared to soulful singing, in a slow tone, in order to calm the child down and enable him/her easier sleeping. She believes that every calming song may be a lullaby.

Lyrics:
Kaj pa je tebe treba bilo, dete preljubo, dete lepo,
meni ubogi deklici, neporočeni materi?
Očka so kleli, tepli me, mamca nad mano jokali se,
moji so mene sramovali so, tuji za mano kazali so.
On ki je bil pravi ljubi moj, on ki je bil pravi očka tvoj,
šel je po svetu bogvekam, tebe in mene ga je sram.
On ki ti ptice podnevi oživi, naj ti da srečne zadovoljne dni.
Al te je treba bilo al ne, vendar prisrčno ljubim te.

What was the need of you, little one, my baby dear, my darling son
To me - a girl, a foolish young thing, a mother without a wedding ring?
My father cursed and beat me, my mother in tears would entreat me
My friends would blush and pass me by, strangers pointed at me on the sly.
And he who was my own true love, your father by the will above
He wanders God knows how far from here, shamed because of us, poor dear.
May He, by whom the birds are fed joy and blessings on you shed!
Whether there was need or no with all my heart I love you so.
(translated by Janko Lavrin)

26. Spite, spite brez skrbi (Sleep, Sleep Carefree)    0:30

Sung by Tomaž Čučnik. Recorded by Polona Sojar. Recorded in Ljubljana.

According to the singer's parents, this song was sung by night watchmen, so that people knew they were safe. Similar musical messages of the time, accompanied by instructions and lessons on people's conduct at certain hours, are also documented in the Slovenian folklore tradition.

Lyrics:
Spite spite brez skrbi, oče mati sin in hči.
Pojdi spat kdor si zaspan, svetlo sonce in z njim dan,
šla že davno davno v kraj sta, ura je dvanajsta.

Sleep, sleep carelessly father mother son and daughter.
Go to sleep when you're sleepy,
Bright sun and with it the day went long ago away
The clock strikes midnight.

27. Spanček, zaspanček, črn možic I (Sandman, Little Black Man I)    0:32

Sung by Alojzij Sojar. Recorded by Polona Sojar. Recorded in Ljubljana. Lyrics by Vida Jeraj. Music by Emil adamič.

The lullaby talks about Spanček (Sandman), a personified being of a frightening appearance, who brings sleep to children. Similar as many other children's songs and lullabies, the lullaby of Vida Jeraj (music was written by Emil Adamič) appeared in many readers intended for primary schools, especially between the Wars. It has spread over the whole Slovenia, even though the informers mostly do not know who the author was anymore.

Lyrics:
Spanček zaspanček črn možic, hodi ponoči nima nožic.
Tiho se duri okna odpro, leže v zibko zatisne oko.

Sandman, little black man walks in the night, doesn't have legs.
Quietly, window shutters open, he lays in the cradle and closes his eyes.

28. Spanček, zaspanček, črn možic II (Sandman, Little Black Man II) /
Zaspi (Go to Sleep) /
Aja tutaja, le sanjaj moj mali (Aia Tutaia, Dream, My Little One)    1:09

Sung by Martina Čerčnik. Recorded by Sebastjan Weber. Recorded in Jezerce near Šmartno in Rožna dolina.

Linguistic basis of Zaspi was created on the basis of a Spanish folk song. It was modified by Pavel Oblak and the female singer sung it in a traditional, affectionate soothing way. Aja tutaja, le sanjaj moj mali was published under a title Uspavanka (Lullaby) in 1969 in a teacher's manual, Šolsko leto v pesmi (School year of songs). The music was written by a composer, Miro Kokol, and, on the basis of a French folk lullaby (Fr. berceuse), it was translated and adapted into Slovenian by a poet, Neža Maurer. The primary version of the lyrics ". just dream my angel" was rejected by the censors. The singer sings the lyrics of Neža Maurer; however, the music is completely modified.

Lyrics:
Zaspi sinek moj mali, ti moja sreča vsa,
zaspi otrok moj zlati, naj noč ti pokoj da.
Zaspi mi sinek moj mali, ti moja sreča vsa.

Sleep my little son, my happiness
Sleep my golden child, let the night give you peace
Sleep my little son, my hapiness.

Aja tutaja le sanjaj moj mali,
zlati moj žarek aja tutaja.
Mamica poje ti zibko poganja,
zlati moj žarek aja tutaja.

Aia tutaia dream my little one
my golden beam aia tutaia.
Mummy sings and rocks your cradle
my golden beam aia tutaia.

29. Aja tutaja, aja tu tu    0:18

Sung by Anita Kelbl. Recorded by Zana Fabjan. Recorded in Novo mesto (Dolenjska region).

This is another lullaby of the "aia tutaia" type, in which the rocking feeling is created together with a slow exchanging of accentuated and non-accentuated times. In such a way, the female singer sung her children to sleep.

Lyrics:
Aja tutaja aja tutu,
spanček prihaja sanje so tu.

Aia tutaia aia tutu
sandman is coming, the dreams came.

30. Aja tutaja, zibka se maja (Aia Tutaia, the Cradle Is Rocking)/
The Upbringing Was Different Then (speech)     1:15

Sung and spoken by Jože Zagorc. Recorded by Zana Fabjan. Origin of the song in Šentjernej (Dolenjska region). Recorded in Mihovica (Dolenjska region).

The singer sings the typical "aia tutaia" cradle song, which, during the study, we often came across, flippantly, in a style of recited lyrics. His view on upbringing and putting children to sleep differs from generally prevailing notions of putting to sleep, which we came across in other conversations. The informant talks about raising children in the time of his childhood (about sixty years ago), when everything was stricter. According to his experience, children were not sung to sleep, but threatened with a stick, especially if they did not want to go to sleep. He does not agree with the modern upbringing methods, since he believes that they just spoil children. He also did not have special methods for singing his children to sleep. The children knew that they had to go to bed after the evening cartoon on the television or after the commercial, in which bunnies brush their teeth.

Lyrics:
Aja tutaja zibka se maja,
v zibki naš mali Matjažek nagaja.

Aia tutaia, the cradle is rocking
In the cradle our little Matjažek is being naughty.

Sung by Slavica Rajer. Recorded by Zana Fabjan. Recorded in Novo mesto.

More than hundred recordings of cradle songs and various other lullabies, which we recorded in Slovenia, demonstrate, among other things, an exceptional (re-)creating power of individuals. Interesting selection of songs taking a role of lullabies is also evident from the next case. Mother's lamentation for her son, hedgehog, is comparable with the Slovenian folk narrative about a son-hedgehog (Janček the hedgehog) and Minkica, Minkica is a children's song in three-quarter time, suitable for rocking.

Lyrics:
Uboga je bila ježeva mati,
ki je mogla revca tolko prestati.
Rodila je sina, sina bodeč'ga,
to je za mam'co veliko gorje.

Sad was the hedgehog's mother
Since she had to endure so much.
She gave birth to a son, a son so spiny
This is a great misfortune.

Minkica Minkica mokco petlala,
štrukeljče kuhala, fantkom dajala.
Fantki so citrali, Minka plesala,
Minka poskoč, da šulenček poč.

Minkica, Minkica mixed flour
Cooked štruklji, gave them to boys.
The boys played the zither, Minka danced
Minka jump, so her shoe will crack.

Sung by Vilma Antoni Bejtullahu. Recorded by Katarina Juvančič. Origin of the song: Kosovo, North-western Macedonia. Recorded in Ljubljana.

Lullabies in Albanian mainly begin with words nina-nana. Ni is a sort of a prehistoric word, which is uttered to an infant in the cradle and nana is a term for a mother in Albanian dialect of the Gegs. The lullaby Nina-nana po t'përkundi was spread in different versions throughout Kosovo and northwest Macedonia, where Gegë Albanians live. The lyrics of this lullaby reveal a three-layer message from a mother to a child, which is found in numerous lullabies: at first the mother wants to calm her child down, then, by the means of singing, she wants him/her to have a happy future and, in the end, she wishes him/her an important role in the society. Mothers often create stanzas with names of famous persons and warriors from Albanian history. In this version, as an example for future generations, the female singer mentions a politician and peacekeeper, Ibrahim Rugova.

Lyrics:
Nina-nana, po t'përkundi
djalin tem le t'ma merr gjumi.
Nina jote plot me bira
u rritsh fëmi me shumë të mira.
Nina jote lule-lule
m'u bofsh f'mi ti Bajram Curr-e.
Nina jote hove-hove
m'u bofsh Ibrahim Rugov-e.

Nina-nana, I'm rocking you, my son sleep
Nina-nana, there are many holes
Baby grow with all the goodies.
Nina-nana blossom after blossom
My baby, be Bajram Curri. [famous independence fighter for Albanians in the beginning of the 20th century]
Nina-nana, grow grow, be my Ibrahim Rugova.

Sung by E. S. Recorded by Sanja Žmavc. Recorded in Ljubljana.

Emotional performance of the lullaby, Devla, Devla - a request to God to watch over the little son, is a creation of a female Romani from Macedonia. Despite the fact that she lives and works in Slovenia for more than 25 years, until just recently, she did not have a legal status, which would enable her enforcement of social and political rights. Her attitude towards life as well as her poetic repertoire talks about the co-existence of different cultures and preservation of the specificity of her own. The song with the traditional Romani melody and her own lyrics, which expresses a special bond between a mother, child and God, was created, as she told us, "when I watched this being, so small and unprotected. I took him in my arms and sung him to sleep."

Sung and recorded by Ljoba Jenče. Recorded in Cerknica (Notranjska region).

This well-known female Slovenian singer of folk songs found this finger play in the book entitled Nace ima dolge tace written by Nace Černigoj (Ljubljana, National Education Institute, 1999), but, in her opinion, it could also be used for singing children to sleep. Not long ago, she performed it on a stage, together with a small girl, for the first time. The singer vividly describes the method of the performance: "She was standing, I was squatting beside her. I performed the finger play with my right hand and fingers on her little head. I caressed her hair, forehead, slipped across her little eyes, cheeks, lips, chin, then softly held her little ears - here comes the sacristan . din, don . din, don ."

Lyrics:
Gosta meja ravno polje, dva studenčka, dva povšterčka, trda skala.
Pride mežnar din don din don ...

Thick hedge, flat field, two streams, two pillows, hard rock.
Here comes the sacristan din don din don ...

Sung by Maida Đinić - Poljak. Recorded by Tjaša Stanić. Origin of the song: Mostar (Bosnia and Herzegovina). Recorded in Ljubljana.

This is another lullaby of the Bosnian Muslims with rhythmic and melodic characteristics of the sevdalinka. With the exception of the first stanzas, where child's sleep is compared to a lamb sleeping in the grass, the lyrics are also related to Spavaj sine, san te prevario. It discusses a gold (king's) cradle and blacksmiths, who forged it. The final stanzas are of a special interest, since they give evidence of the birth ceremonies. Above the cradle, blacksmiths hold šljeme (a talisman in a form of a gold apple, which is supposed to protect the child against evil and bring him/her hapiness and health).

Sung by Joseph Rakotorahalahy. Recorded by Neža Peterle. Origin of the song: Antananarivo, Madagascar. Recorded in Ljubljana.

Madagascan folk lullaby, which is sung by the singer, born in Madagascar and living in Slovenia, in three-quarter time, is geographically and culturally probably the most distant from other cradle songs, collected on the CD; however, its function is identical to all lullabies in the world - it is intended for calming down and singing to sleep children and adults. This lullaby, which is very popular in Madagascar, talks about the consequences of the contact between two different cultures - white and Madagascan (thus the title ravorom bazaha - beautiful/white bird). Therefore, the singer trusts the beautiful bird with his child, who it should take with it to the field and comfort him/her or return him/her if he/she cries.

Sung by Alenka Kranjac. Recorded by Urška Vižintin. Recorded in Bertoki, Koper (Primorska).

Psychological research demonstrated that mothers sing the same song in a completely different way, when singing it to a child or when singing it without the presence of a child. Compared to the real activity of singing to sleep, when the performance is adjusted to the child's mood (see Ninenaj no. 1), in this case the female singer is much more concerned with the quality of the performance - diction, time and aesthetics.

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CD authored by: Katarina Juvančič.