Concluding study about the musical characteristics of Czech rotative dance round and round focuses on the relation of melody and text and the problem of declamation of dance songs. Dance tune, including the text, represents a complex web of relations on specific levels (rhytmical, melodical, tonal, declamatory). Innovation of one part is necessarily balanced by changes of other substructures, in order to preserve the aesthetical outcome. Change of the text can influence the rhythm of the song, but often is also being reflected in the form, metrics, melody and tonality. For the round and round tunes is characteristic the linear ordination of musical and textual motives. The rhyme schemes a-a, b-b and a-b, c-b prevail. Number of syllables in melodical segments depends on the number of bars and concrete rhytmical figures. Czech musicologists emphasize the fact that folk dance songs in general declaim perfectly. We checked this assertion on the example of round and round tunes. In considering the rhytmical-declamatory models, I distinguish between one-bar (O), two-bar (F) and three-bar (SV) types. Only in case of one-bar type (O) the musical accents correspond completely to verbal accents. However, other rhytmical-declamatory models did not originate by chance, but through deliberate playing with verbal accents on the basis of dance metrical pulsation. Our knowledge of the historical material enables us to consider the problem of development tendencies and construction archetypes of folk song. Aside of tables and schemes, there is an interesting collection of more than three hundred dance songs round and round that destacate by poetics as well as musical refinement.
Kubín’s Scientific work represents a 35 years of an unbroken activity, dedicated to the field reserach as well as the theoretical studies. During his field researches he focused attention to folklore studies, ethnography and dialectology, especially in the areas he considered in danger of extinction (like the regions of Velenicko, Kladsko - the so called Czech corner, Střelínsko) or extraordinary in some sense, for example because of their marginal position or dialect (Hlučínsko, Podještědí, and Podkrkonoší). The largest collections of folk prose collected by Kubín are the Stories from Kladsko (Povídky kladské), containing 173 texts, and Folk Stories from Czech Podkrkonoší (Lidové povídky z českého Podkrkonoší) with 572 texts, their genres being preponderantely magic fairy tales, narrative and humourist tales, life-stories and local tales. He interested himself also in the collecting of folk songs, of which only a small portion was published, in a book called Songs form Kladsko (Kladské písničky). His dialectological works remained mainly unpublished, like his Description of the Moravian Dialect of Hlučínsko (Popis hlučínské moravčiny) or Dictionary of the Dialect of Southern Podkrkonoší (Slovník jižní podkrkonoštiny), published was the book entitled Folk Language of the Czechs of Kladsko (Lidomluva Čechů kladských). All of the texts of folk stories were recorded professionally by Kubín, which means not only the text was exact, but precise were also the linguistic and fonetic aspects of the recording. Kubín also noted the character and the cultural and social conditions of the narrators, so we can place him among the pioneers of the ecological method in ethnography. Kubín’s method and his recordings of the folk narratives judged critically in the 1920’s Václav Tille, who was collecting at the time all possible sources for his analysis of the folk prose. But Tille misinterpreted Kubín’s work, because of the different perception of the two scholars of the basic cathegories of ethnography and folk stud ies, namely, the „folk“ and the „popular-folk production“. Kubín's perception of the „folk“ comes close to a contemporary definition from a sociological point of view; considering the „folk production“, Kubín took acount of the functional borrowings, selection and transformation of the borrowed themes in folklore, and through this perception drew near to the principies of the functional-structural method, as were traced few years later by Petr Bogatyrev.