Bibliographies thématiques / Romani Folk songs

Sommaire

  1. Articles de revues
  2. Thèses
  3. Livres
  4. Chapitres de livres
  5. Actes de conférences

Littérature scientifique sur le sujet « Romani Folk songs »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 28 juillet 2024

Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres

Choisissez une source :

Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Romani Folk songs ».

À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.

Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.

Articles de revues sur le sujet "Romani Folk songs"

1

Goldberg, Daniel. "Timing Variations in Two Balkan Percussion Performances." Empirical Musicology Review 10, no. 4 (2016): 305. http://dx.doi.org/10.18061/emr.v10i4.4884.

Texte intégral
Résumé :
<p>Many songs and dance pieces from the Balkan Peninsula employ <em>aksak </em>meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of <em>aksak </em>beats and measures in two recorded percussion performances that use a particular <em>aksak </em>beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a per
Styles APA, Harvard, Vancouver, ISO, etc.
2

SZALAY, Zoltan. "From Pure Source Only – Collection of Hungarian Folk Songs Project." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 277–86. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.30.

Texte intégral
Résumé :
The collection contains a selection of folk songs from the Hungarian population living in Romania. Of the four volumes planned, three have been published so far. The entire collection is expected to span 18 regions and 3 micro-regions, as well as a strip of hundreds of kilometers from Transylvania and other areas outside Transylvania. These include some more developed areas which abandoned their traditions in the first half of the last century, and some more traditional regions. The first three volumes comprise folk songs from 174 localities, collected by 126 collectors, including Béla Bartók,
Styles APA, Harvard, Vancouver, ISO, etc.
3

Mihelac, Lorena, Janez Povh, and Geraint A. Wiggins. "A Computational Approach to the Detection and Prediction of (Ir)Regularity in Children's Folk Songs." Empirical Musicology Review 16, no. 2 (2023): 205–30. http://dx.doi.org/10.18061/emr.v16i2.8245.

Texte intégral
Résumé :
We examine (ir)regularity in the musical structure of 736 monophonic children's folk songs from 22 European countries, by simulating and detecting (ir)regularity with the computational model, IDyOM, and our own algorithm, Ir_Reg, which classifies melodies according to regularity of their musical structure. IDyOM offers a range of viewpoints which allow observation and prediction of various musical features. We used five viewpoints to measure the information content and entropy of musical events in songs. Analysis across the data shows absence of irregular musical structure in children's folk s
Styles APA, Harvard, Vancouver, ISO, etc.
4

WALDEN, JOSHUA S. "“The Hora Staccato in Swing!”: Jascha Heifetz's Musical Eclecticism and the Adaptation of Violin Miniatures." Journal of the Society for American Music 6, no. 4 (2012): 405–31. http://dx.doi.org/10.1017/s175219631200034x.

Texte intégral
Résumé :
AbstractJascha Heifetz (1901–87) promoted a modern brand of musical eclecticism, recording, performing, and editing adaptations of folk and popular songs while remaining dedicated to the standard violin repertoire and the compositions of his contemporaries. This essay examines the complex influences of his displacement from Eastern Europe and assimilation to the culture of the United States on both the hybridity of his repertoire and the critical reception he received in his new home. It takes as its case study Heifetz's composition of the virtuosic showpiece “Hora Staccato,” based on a Romany
Styles APA, Harvard, Vancouver, ISO, etc.
5

IOAN, Cristina Mioara. "Representative Music of the Ministry of National Defense – decisive presence in the Romanian cultural and musical evolution." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 77–84. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.8.

Texte intégral
Résumé :
Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, j
Styles APA, Harvard, Vancouver, ISO, etc.
6

Cherciu, Ion. "Cercetarea monografică a portului popular românesc în cadrul Școlii Sociologice de la București. Momentul Lucia Apolzan." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 22–35. http://dx.doi.org/10.47802/amet.2016.30.02.

Texte intégral
Résumé :
In the interwar Romanian culture, the Sociological School of Bucharest led by D. Gusti had a unique approach of the folk culture which was seen as a living organism in constant movement and evolution. Folk creations - musical and literary, peasant costume and artefacts etc. are no longer treated as "museum or archive objects ", but as living and interdependent parts composing a giant gear – the social corpus. Therefore, not only songs, but also singing, not only stories, but the storytelling etc. will be studied, precisely – and especially – the "social functions" of those creations. For the p
Styles APA, Harvard, Vancouver, ISO, etc.
7

Parvanov, Ivan. "Bulgarian Hayduts in the Context of Haydutry in the Balkans (According to Folklore Sources)." Epohi 30, no. 1 (2022): 125–37. http://dx.doi.org/10.54664/qjcz2893.

Texte intégral
Résumé :
This article attempts to study Bulgarian hayduts (outlaws) in the context of haydutry in the Balkans by comparing Bulgarian and Balkan haydut folk songs. The aim of the research is to establish and explain the common and different moments in them in terms of themes, plots, and presentation of the main characters through their behaviour, actions, and the attitude of the folk artist to them. Based on that comparison, the common and different characteristics of Bulgarian and Balkan hayduts and the Bulgarian haydutry during the period of Ottoman rule are to be derived and indicated. The geographic
Styles APA, Harvard, Vancouver, ISO, etc.
8

Gavryushina, Lidia K. "The Old Believers’ villages in Romania: Life of Generations and the Destiny of Traditions." Slavic World in the Third Millennium 13, no. 3-4 (2018): 160–73. http://dx.doi.org/10.31168/2412-6446.2018.3-4.1.14.

Texte intégral
Résumé :
The article deals with the spiritual aspects of life of Old Believers’ communities in contemporary Romania and the changes in their traditional culture, which took place during the second part of the last century. People whose stories we present here told us that faith was the foundation, on which both a person and the community could lean on in difficult situations. Оne of the main peculiarities of the church life of Lipoveni is the intercommunication of church ceremonies and folk traditions. One of the most interesting facts about them in Manuylovka (Bucovina) is the sequence of church and f
Styles APA, Harvard, Vancouver, ISO, etc.
9

Koteterova-Dobreva, Binka. "THE BULGARIAN FOLKLORE SONG - MODERNITY, TRANSFORMATION AND VIEW TO THE FUTURE." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (2019): 1803–9. http://dx.doi.org/10.35120/kij31061803k.

Texte intégral
Résumé :
The last decades are time of dynamic changes in folk music, which is a part of contemporary Bulgarian musical culture. Singer's performing art related to Bulgarian musical folklore is the part of Bulgarian culture that makes it recognizable and valued in the world. Thus, the Bulgarian folk song presented by its contemporary performers is perceived simultaneously as one of the oldest and most local manifestations of art in the cultural world, and as well as an artefact and a value, one of the most modern and global manifestations of the shared cultural heritage of humanity. The Bulgarian folklo
Styles APA, Harvard, Vancouver, ISO, etc.
10

Alasgar Kasimi, Sehrane. "Periods of cultural development of Azerbaijan." SCIENTIFIC WORK 60, no. 11 (2020): 21–26. http://dx.doi.org/10.36719/2663-4619/60/21-26.

Texte intégral
Résumé :
The musical history of Azerbaijan is a part of understanding of the ancient past of Azerbaijan. The universally recognized development peculiarities of Azerbaijan are the result of the specific musical culture of the Azerbaijani people. Difficulties of studying the ancient music culture of Azerbaijan are directly related to the absence of leading sources and indirect references. Oral traditional folklore, folk song creativity, fiction and archaeological monuments are the main sources of the study of the past of Azerbaijani culture. It is important to preserve the authenticity of classical musi
Styles APA, Harvard, Vancouver, ISO, etc.

Thèses sur le sujet "Romani Folk songs"

1

Williamson, Linda Jane. "Narrative singing among the Scots travellers : a study of strophic variation in ballad performance." Thesis, University of Edinburgh, 1985. http://hdl.handle.net/1842/8223.

Texte intégral
Résumé :
Two modes of singing were evident in narrative performances recorded by Scots travellers: singing set melodies to memorized or re-created texts, and improvising on a variable melody to a memorized or a variable text. In travellers' society both modes are acceptable but the majority of travellers today prefer set melodies. The improvisatory mode was traditional and used by the older travellers born before World War I, five of whom became my informants or Ewan NacColl's, re. Travellers' Songs from England and Scotland (1977). The tradition of narrative improvisation appears to be obsolete with t
Styles APA, Harvard, Vancouver, ISO, etc.
2

Pooley, William George. "'Misery in the moorlands' : lived bodies in the Landes de Gascogne, 1870-1914." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aacf3b35-fc90-4a75-a24b-5193bc8f6c5e.

Texte intégral
Résumé :
This thesis explores the embodied experiences of the rural population in nineteenth-century France. The prevailing historiography has treated rural bodily culture as a cultural survival swept away by ‘modernisation’ in the nineteenth century. By turning to the lives and words of rural labourers and artisans from the Landes de Gascogne, the thesis questions this account, instead showing ways that popular cultures of the body were flexible traditions, adapted by individuals to meet new needs. It does so through a close focus on the stories, songs, and other oral traditions collected by Félix Arn
Styles APA, Harvard, Vancouver, ISO, etc.

Livres sur le sujet "Romani Folk songs"

1

Aliev, Mustafa. Textbook of Romani songs. LINCOM Europa, 2010.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

Michael, Smith. Cantes flamencos: The deep songs of spain. Shearsman Books, 2012.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

Peter, Stojka, Davidová Eva, Hübschmannová Milena, and Holub Karel, eds. Dúral me avilem: Avri kidine le vlašika d̓íl̓a. Ars Bohemica, 2000.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

Denise, Stanley, Acton Thomas, Kenrick Donald, Hurley Bernard, and Burke Rosy, eds. The Romano Drom song book. Romanestan, 1986.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

B, Adonʹeva S., Gerasimova N. M, and Florenskiĭ Aleksandr, eds. Sovremennai͡a︡ ballada i zhestokiĭ romans. Izd-vo Ivana Limbakha, 1996.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

Doran, Gheorghe. Pădure, soro pădure: Culegere de folclor literar din Munții Locvei (Caraș-Severin). Editura Mirton, 1999.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
7

Cernea, Eugenia. Cîntecul popular nou. Editura uzicală, 1986.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

Șandru, Dumitru. Folclor românesc. Editura Minerva, 1987.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

Bălăianu, Mihai. Cântece bătrânești și doine. Sic Press & Design, 1994.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
10

Iordan, Datcu, ed. Colindă-mă, doamne, colindă!: Colinde populare românești. Editura Minerva, 1992.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Chapitres de livres sur le sujet "Romani Folk songs"

1

Stirr, Anna. "Class Love and the Unfinished Transformation of Social Hierarchy in Nepali Communist Songs." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0019.

Texte intégral
Résumé :
Nepal's twentieth-century tradition of leftist music, known as pragatisil git or progressive song, developed musically during the 1960s and 1970s along with state-sponsored nationalist genres meant to serve as musical representations of Nepali identity. The differences were primarily in the lyrics: pragatisil git's leftist themes were deemed too incendiary for a regime that forbade political organization. Composers writing songs for the national radio were encouraged to produce love songs, deemed apolitical and therefore safe. At first glance, communist pragatisil git avoids themes of love, in stark contrast to mainstream folk and popular music. Yet, while themes of romance are indeed absent from most Nepali communist music, a closer look demonstrates a strong concern with other forms of love and sentiment. This chapter focuses upon the theme of class love, examining how it is imagined to be socially transformative, and how it has changed through different communist parties' imaginings.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Wren, Daniel A., and Ronald G. Greenwood. "Movers." In Management Innovators. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195117059.003.0005.

Texte intégral
Résumé :
Abstract The tale of John Henry and numerous other songs and poems illustrate the romance and tragedy of America’s railroads. “Wreck of the Old 97,” by D. G. George; “The Gospel Train,” by an anonymous writer; “Casey Jones,” by T. L. Liebert; “Homesick Blues” and “Freedom Train,” by Langston Hughes; and “The Wabash Cannonball,” by the Delmore brothers, are glimpses of a way of life that is long gone but not forgotten. Few songs about internal combustion engines or rockets have been woven into American life as much as songs about the railroad era, which the poet Robert Frost said touched “far into the lives of other folk.”
Styles APA, Harvard, Vancouver, ISO, etc.
3

Agapitos, Panagiotis. "‘Words Filled With Tears’: Amorous Discourse as Lamentation in the Palaiologan Romances." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0020.

Texte intégral
Résumé :
This chapter examines a particular way in which feelings of love are expressed in the Palaiologan romances (c. 1250–1350). This manner of expression is presented through the systematic use of an imagery and vocabulary of lamentation, that incorporates into these highly artful poetic narratives a discourse deriving from folk poetry. These amorous laments (moirologia), as they are sometimes called by the narrators or even the characters, are not direct quotations of actual folk laments or songs as folklorists in the early twentieth century believed. They are a way of presenting amorous feelings to Byzantine listeners or readers (initially within an aristocratic courtly milieu, later also within a bourgeois environment) in a manner attuned to their contemporary and specific socio-cultural context, yet structurally keeping to the conventions set by the ‘Hellenising’ novels of the Komnenian age. These folk-like songs reflect a new type of poetic and emotional sensibility in late Byzantium, partly in response to Old French romance as it was available in the thirteenth century (orally, at least), partly in response to a growing interest in ‘folk subjects’ as attested by the collections of vernacular proverbs and popular lore.
Styles APA, Harvard, Vancouver, ISO, etc.
4

Miholca, Amelia. "Between Zurich and Romania: A Dada Exchange." In Narratives Crossing Borders: The Dynamics of Cultural Interaction. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.f.

Texte intégral
Résumé :
In 1916, a group of ambitious artists set out to dismantle traditional art and its accompanied bourgeois culture. Living in Zurich, these artists—among them the Romanians Marcel Janco and Tristan Tzara, and the Germans Emmy Hennings and Hugo Ball—formulated the new Dada movement that would awaken new artistic and literary forms through a fusion of sound, theater, and abstract art. With absurd performances at Cabaret Voltaire, they mocked rationality, morality, and beauty. Within the Dada movement in Zurich, I would like to focus on the artists whose Romanian and Jewish heritage played a central role in Cabaret Voltaire and other Dada related events. Art historical scholarship on Dada minimized this heritage in order to situate Dada within the Western avant-garde canon. However, I argue that the five young Romanians who were present on the first night of Cabaret Voltaire on February 5, 1916 brought with them from their home country certain Jewish and Romanian folk traditions, which helped form Dada’s acclaimed reputation. The five Romanians—Tristan Tzara, Marcel Janco and his brothers Georges Janco and Jules Janco, and Arthur Segal—moved to Zurich either to escape military conscription or to continue their college studies. By the start of the twentieth-century, Romania’s intellectual scene was already a transcultural venture, with writers and artists studying and exhibiting in countries like France and Germany. Yet, Zurich’s international climate of émigrés from all over Europe allowed the young Romanians to fully expand beyond nationalistic confines and collaborate together with other exiled intellectuals. Tom Sandqvist’s book Dada East from 2007 is the most recent and most comprehensive study of the Romanian aspect of Dada. Sandqvist traces Janco’s and Tzara’s prolific, pre-Dada time in Bucharest, along with the folk and Jewish sources that Sandqvist claims influenced their Dada performances. For instance, Tzara’s simultaneous poems, which he performed at Cabaret Voltaire, may derive from nineteenth century Jewish theater in Romania and from Hasidic song rituals. Moreover, the Dada performances with grotesque masks created by Janco relate to the colinde festival in Romania’s peasant folk culture. In my paper, I aim to analyze Sandqvist’s claim and answer the following questions: to what extent did Janco and Tzara incorporate the colinde festival and Jewish theater and ritual? Was their Jewish identity more important to them than their Romanian identity? And, lastly, how did they carry Dada back to Romania after the war ended and the Dadaists in Zurich moved on to other cities?
Styles APA, Harvard, Vancouver, ISO, etc.
5

Moi, Toril. "The Idealist Straitjacket Ibsen’s early aesthetics." In Henrik Ibsen and the Birth of Modernism. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199295876.003.0006.

Texte intégral
Résumé :
Abstract When Ibsen arrived in Christiania in 1850, he found a fairly undeveloped artistic and theatrical world focused on one great project: that of forging a national culture. Romantic nationalism ruled unchallenged. Obsessed with national identity, Norwegian art and literature were churning out ideal Norwegian heroes and heroines. Poems, plays, and genre paintings featured themes and characters inspired by the Icelandic sagas, Norwegian folktales and folk songs, and, not least, Norwegian peasant life. Because Norway never developed feudalism, Norwegian peasants and farmers (den norske bonden) were considered the very incarnations of national independence, bearers of the proud traditions of the Viking past, miraculously unsullied by foreign influences for more than 500 years. It is a measure of Ibsen’s isolation in Grimstad that he chose a Roman—that is to say, a European and cosmopolitan—subject, rather than a national one for his first play, Catiline (1850).
Styles APA, Harvard, Vancouver, ISO, etc.
6

Raku, Marina, Rita McAllister, and Gabrielle Cornish. "Prokofiev and the Russian Tradition." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0003.

Texte intégral
Résumé :
Defining the music of Prokofiev in terms of the Russian tradition, or what “Russianism” means in relation to the composer, is complex. The young Prokofiev rebelled against his musical background; he spent nearly twenty years abroad, then returned to a changed Russia, where he was to remain something of an outsider. Yet Russia as a country and as a concept was fundamental to his creativity—both the St. Petersburg nationalism of the Kuchka and the wider Romanticism of Chaikovsky. They informed his wide palette of styles, as did the composers and writers of the Silver Age. With these and with elements of both folk song and the Russian Romance, Prokofiev had a lifelong dialogue, helping to define his unique national identity.
Styles APA, Harvard, Vancouver, ISO, etc.
7

van der Leeuw, Gerardus. "Discord." In Sacred and Profane Beauty. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195223804.003.0028.

Texte intégral
Résumé :
Abstract No coflict? In regard to music, one might wonder whether even to speak of a conflict. With the possible exception of architecture, music, of all the arts, stands the closest to religion. Music continually places itself at the service of religion: it seems as though the old forms of Mass and Requiem allow themselves to be filled infinitely with new musical content. On the other hand, there is in religion no serious opposi tion to, and no open conflict with, music. Almost all worship uses music. Of course, there are often arguments as to the nature of the music. In the Roman Church, for example, it is the quarrel of strict liturgical music against a popular musical taste which loves kettledrums and brass in the church and sings the Tantum Ergo to the tune of an Austrian folk song. On the Reformed side, doubts exist whether music other than the Psalms is suitable for the “proclamation of the word.” The tendency dominates to relegate all other music to the plainly less sacred “second feasts,” those days on which one may ride the streetcar in even the most onhodox parts of Holland. Still, this does not touch the core of the problem. With few exceptions, Christian and general worship is not easily possible without music.
Styles APA, Harvard, Vancouver, ISO, etc.
8

Martin, Nancy M. "Weaver Woman and Lover Extraordinaire." In Mirabai. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780195153897.003.0005.

Texte intégral
Résumé :
Abstract The sixteenth-century Hindu woman saint Mirabai is extremely popular among marginalized communities in India. This chapter examines two performance traditions of Mirabai circulating among nonelite communities: a khyal or Rajasthani folk drama entitled Mira Mangal (Mira’s Marriage) and an oral epic song tradition Mira Janma Patri (Mira’s Horoscope) performed by low-caste singers in Rajasthan. The saint is portrayed as down to earth, struggling with social and familial pressures, without miraculous divine aid, and her life story becomes a language to expose and resist gender expectations and caste oppression from subaltern perspectives. The khyal, performed in the mixed caste setting of the village as a whole, presents Mirabai’s tale as a romance. Already completely devoted to Krishna, she is clearly forced to marry against her will, with love the pivotal issue around which the plot turns, as individual desires conflict with familial, caste, and social cohesion. In the Janma Patri, she must act under varying degrees of coercion, complying with her arranged marriage in response to her mother’s plea and to protect them both from male violence. Here, however, assignations of caste and the immense suffering this creates are the focus of the tale, as Mira faces rejection initially because her fellow queens suspect her devotional practice but irrevocably when her allegiance to the low-caste guru Raidas is revealed to her royal husband. This epic, though generally performed by male singers, bears the distinctive marks of women’s experiences and song and ritual traditions, and Mira stands in solidarity with all those who suffer under patriarchal and feudal domination, choosing to live as they must and affirming the possibility of alternative values and social relations.
Styles APA, Harvard, Vancouver, ISO, etc.

Actes de conférences sur le sujet "Romani Folk songs"

1

Stan, Alina-Lucia. "The land of the foresters, Hunedoara, a pillar area for ethnomusicological research." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.16.

Texte intégral
Résumé :
The Land of the Foresters, Hunedoara is a well-defined archaic area, preserving traditional material and immaterial values, a fact that aroused the interest of researchers from early on. The area was first explored by Béla Bartók (1913–1914), who reached the villages Cerbal, Chelari and Feregi, from where he collected around 80 vocal and instrumental songs, published in the Romanian Folk Music. Between 1946 and 1960, a group of specialists from Bucharest made song collections in 12 villages. The research was completed by the publication by Emilia Comișel of the Folkloric Anthology from the Lan
Styles APA, Harvard, Vancouver, ISO, etc.
2

Cocieru, Mariana. "Contribuția etnologului Sergiu Moraru la dezvoltarea folcloristicii din Basarabia – itinerar biografic și științific." In Conferința științifică națională "Sergiu Moraru: 75 de ani de la naștere". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/sm.75.2021.01.

Texte intégral
Résumé :
In the present study, the author traces the biographical landmarks and the preoccupations of the ethnologist Sergiu Moraru for the safeguarding of the intangible cultural heritage by conducting field researches and scientific use of registered materials. He worked for almost 23 years in the academic field (at Department of Ethnography and Arts Study of the Academy of Sciences of Moldova, then at the Folklore Sector of the Institute of Language and Literature of the ASM, at the Department of Ethnography and Arts of the Institute of Ethnography and Folklore of ASM), holding the positions: lower
Styles APA, Harvard, Vancouver, ISO, etc.
3

Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

Texte intégral
Résumé :
The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs f
Styles APA, Harvard, Vancouver, ISO, etc.
4

Koroliova, Elfrida. "Director Victor Gherlac’s activity." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.06.

Texte intégral
Résumé :
The shows staged by Victor Gherlac in 1940-1950 corresponded to their time. In the Stefan Batca show, staged just before the outbreak of the war, the foreboding of the war felt. On the eve of Victory Day, the premiere of the spectacular musical comedy One Night in May took place. The show Under the Chestnuts in Prague, staged in the first post-war years, reflected the contrasting visions relevant at the time. The show The Outlaws staged the struggle of the people against the oppressors (which oppressors?) in 1949. In 1950, in the romantic entertainment of the operetta Trembita, people's hopes
Styles APA, Harvard, Vancouver, ISO, etc.
5

Redkin, V. "THE ROMANTIC BASIS IN THE POEM “SONG ABOUT THE DEATH OF THE COSSACK ARMY” BY P. VASILIEV." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3706.rus_lit_20-21/118-122.

Texte intégral
Résumé :
The author examines one of the most striking works of P. Vasiliev - the poem “The Song about the death of the Cossack army” (1928-1932), which widely demonstrates the possibilities of a romantic poem. P. Vasiliev is undoubtedly a representative of the recreating type of creativity. At the same time, the romantic nature of the work is manifested not only in the characteristic poetics: bright unusual images, saturation of the text with metaphors and symbols, fragmentary composition, rhythmic diversity, shifts of stressed syllables and stylization of folk verse, but also in the vivid personal cha
Styles APA, Harvard, Vancouver, ISO, etc.
Nous offrons des réductions sur tous les plans premium pour les auteurs dont les œuvres sont incluses dans des sélections littéraires thématiques. Contactez-nous pour obtenir un code promo unique!

Vers la bibliographie