02552nas a2200133   4500008004100000022001400041245011700055210006900172300001400241490000700255520209200262100001802354856004602372       2021                        eng d  a1846-946900aA review of the folk church singing of the Glagolitic roots in Solin, Klis, Vranjic, Mravince and Kucine in 20200 areview of the folk church singing of the Glagolitic roots in Sol  a167–2190 v143 aThe folk church singing of the Glagolitic roots in Solin (the Parish of Our Lady of the Island), Klis (the Parish of the Assumption of the Blessed Virgin Mary), Vranjic (the Parish of St Martin the Bishop), Mravince (the Parish of St John the Baptist) and Kucine (the Parish of the Immaculate Conception of the Blessed Virgin Mary) is a traditional music phenomenon still markedly determining the emotional and physical space, time and interpersonal relationships, sense of congregational belonging/community, and the worshiping practices of its primary bearers - the folk male and, in a number of cases, in the course of the last few decades, female singers. Historically confirmed multiple times and significantly preserved to the present days, it is, as an intangible cultural heritage, continuously subjected to changes, as well as to the permanent peril of deformation, disappearance and oblivion. Some recent events, especially those related to the global viral pandemic threat, could have (and should have) only additionally strengthen the awareness of its main aspects and complexity. Therefore this paper has been primarily made: to document the names of the keepers of respective heritage and to present the list of all the titles that are still in use maybe we could also say to portray the part of the traditions of Solin, Klis, Vranjic, Mravince and Kucine, surviving in the contemporary society as probably one of the last important/recognizable "links" between their past and the present (the future?). Continued to the researches done by others, but mostly to those carried out by himself, by this paper the author is trying, by registering the practiced repertoire in situ and by listing (of all) and interviewing the (responded) singers, to secure a written trace and even the "right to speak" of these heirs and active bearers of this kind of ritual (liturgical and paraliturgical) singing, firstly as a document of the situation in the year 2020, but also as one of the pledges to its further preservation, more conscientious cultivation and better public visibility.1 aJankov, Mirko  uhttps://www.navarchivo.com/en/node/157932