{"id":1851,"date":"2026-02-25T15:41:16","date_gmt":"2026-02-25T15:41:16","guid":{"rendered":"https:\/\/ethnomousikologion.com\/?page_id=1851"},"modified":"2026-03-25T10:19:36","modified_gmt":"2026-03-25T10:19:36","slug":"nr-5-2-2024","status":"publish","type":"page","link":"https:\/\/ethnomousikologion.com\/en\/nr-5-2-2024\/","title":{"rendered":"Nr. 5 (2\/2024)"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"1851\" class=\"elementor elementor-1851\" data-elementor-post-type=\"page\">\n\t\t\t\t<div class=\"elementor-element elementor-element-337b4ea e-flex e-con-boxed e-con e-parent\" data-id=\"337b4ea\" data-element_type=\"container\" data-settings=\"{&quot;content_width&quot;:&quot;boxed&quot;,&quot;_ha_eqh_enable&quot;:false}\" data-core-v316-plus=\"true\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ed2b10b elementor-widget elementor-widget-spacer\" data-id=\"ed2b10b\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.19.0 - 07-02-2024 *\/\n.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}.e-con{--container-widget-width:100%}.e-con-inner>.elementor-widget-spacer,.e-con>.elementor-widget-spacer{width:var(--container-widget-width,var(--spacer-size));--align-self:var(--container-widget-align-self,initial);--flex-shrink:0}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container,.e-con>.elementor-widget-spacer>.elementor-widget-container{height:100%;width:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer{height:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner{height:var(--container-widget-height,var(--spacer-size))}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty,.e-con>.elementor-widget-spacer.elementor-widget-empty{position:relative;min-height:22px;min-width:22px}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon,.e-con>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon{position:absolute;top:0;bottom:0;left:0;right:0;margin:auto;padding:0;width:22px;height:22px}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-708be2a e-flex e-con-boxed e-con e-child\" data-id=\"708be2a\" data-element_type=\"container\" data-settings=\"{&quot;content_width&quot;:&quot;boxed&quot;,&quot;_ha_eqh_enable&quot;:false}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-0e06bf9 elementor-widget elementor-widget-ha-pdf-view happy-addon ha-pdf-view\" data-id=\"0e06bf9\" data-element_type=\"widget\" data-widget_type=\"ha-pdf-view.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t        <div class=\"pdf_viewer_container\">\n            <div class=\"pdf_viewer_options viewer-0e06bf9\" data-pdf-settings=\"{&quot;unique_id&quot;:&quot;viewer-0e06bf9&quot;,&quot;pdf_url&quot;:&quot;https:\\\/\\\/ethnomousikologion.com\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/ETHNO5-20251011-FINAL-BDT_Flattened.pdf&quot;,&quot;file_type&quot;:&quot;upload_file&quot;,&quot;page_number&quot;:&quot;1&quot;,&quot;width&quot;:&quot;%&quot;,&quot;height&quot;:&quot;px&quot;}\">\n\t\t\t\t<span class=\"ha-title-flex\">\n\t\t\t\t\t<span class=\"pdf-icon\">\n\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-file-pdf\"><\/i>\t\t\t\t\t<\/span>\n\t\t\t\t\t<h2 class=\"ha-pdf-title\">Nr. 5 (2\/2024)<\/h2>\t\t\t\t<\/span>\n\t\t\t\t                <div class=\"pdf-button\">\n                <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/ETHNO5-20251011-FINAL-BDT_Flattened.pdf\" class=\"ha-btn\" download title=\"Nr. 5 (2\/2024)\">Download<\/a>                <\/div>\n            <\/div>\n            \n\t\t\t<div>\n\t\t\t\t<div id=\"viewer-0e06bf9\"><\/div>\n\t\t\t<\/div>\n\t\t\t\n        <\/div>\n        \t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-3fa40f5 e-flex e-con-boxed e-con e-parent\" data-id=\"3fa40f5\" data-element_type=\"container\" data-settings=\"{&quot;content_width&quot;:&quot;boxed&quot;,&quot;_ha_eqh_enable&quot;:false}\" data-core-v316-plus=\"true\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1463787 elementor-widget elementor-widget-image\" data-id=\"1463787\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.19.0 - 07-02-2024 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/ETHNO5-20251011-FINAL-BDT_Flattened.pdf\">\n\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"1440\" height=\"2048\" src=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/WhatsApp-Image-2025-10-23-at-21.03.12.jpeg\" class=\"attachment-full size-full wp-image-1821\" alt=\"\" srcset=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/WhatsApp-Image-2025-10-23-at-21.03.12.jpeg 1440w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/WhatsApp-Image-2025-10-23-at-21.03.12-211x300.jpeg 211w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/WhatsApp-Image-2025-10-23-at-21.03.12-720x1024.jpeg 720w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/WhatsApp-Image-2025-10-23-at-21.03.12-768x1092.jpeg 768w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/WhatsApp-Image-2025-10-23-at-21.03.12-1080x1536.jpeg 1080w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/WhatsApp-Image-2025-10-23-at-21.03.12-8x12.jpeg 8w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Click on the cover to read<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-78354c3 elementor-widget elementor-widget-accordion\" data-id=\"78354c3\" data-element_type=\"widget\" data-widget_type=\"accordion.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.19.0 - 07-02-2024 *\/\n.elementor-accordion{text-align:left}.elementor-accordion .elementor-accordion-item{border:1px solid #d5d8dc}.elementor-accordion .elementor-accordion-item+.elementor-accordion-item{border-top:none}.elementor-accordion .elementor-tab-title{margin:0;padding:15px 20px;font-weight:700;line-height:1;cursor:pointer;outline:none}.elementor-accordion .elementor-tab-title .elementor-accordion-icon{display:inline-block;width:1.5em}.elementor-accordion .elementor-tab-title .elementor-accordion-icon svg{width:1em;height:1em}.elementor-accordion .elementor-tab-title .elementor-accordion-icon.elementor-accordion-icon-right{float:right;text-align:right}.elementor-accordion .elementor-tab-title .elementor-accordion-icon.elementor-accordion-icon-left{float:left;text-align:left}.elementor-accordion .elementor-tab-title .elementor-accordion-icon .elementor-accordion-icon-closed{display:block}.elementor-accordion .elementor-tab-title .elementor-accordion-icon .elementor-accordion-icon-opened,.elementor-accordion .elementor-tab-title.elementor-active .elementor-accordion-icon-closed{display:none}.elementor-accordion .elementor-tab-title.elementor-active .elementor-accordion-icon-opened{display:block}.elementor-accordion .elementor-tab-content{display:none;padding:15px 20px;border-top:1px solid #d5d8dc}@media (max-width:767px){.elementor-accordion .elementor-tab-title{padding:12px 15px}.elementor-accordion .elementor-tab-title .elementor-accordion-icon{width:1.2em}.elementor-accordion .elementor-tab-content{padding:7px 15px}}.e-con-inner>.elementor-widget-accordion,.e-con>.elementor-widget-accordion{width:var(--container-widget-width);--flex-grow:var(--container-widget-flex-grow)}<\/style>\t\t<div class=\"elementor-accordion\">\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1261\" class=\"elementor-tab-title\" data-tab=\"1\" role=\"button\" aria-controls=\"elementor-tab-content-1261\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">Authors<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1261\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"region\" aria-labelledby=\"elementor-tab-title-1261\"><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1262\" class=\"elementor-tab-title\" data-tab=\"2\" role=\"button\" aria-controls=\"elementor-tab-content-1262\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">BARBARA MIELCAREK-KRZY\u017bANOWSKA - A FEW REMARKS ABOUT THREE \"WAVES\" OF FOLKLORISM IN POLISH MUSIC OF THE 20TH CENTURY<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1262\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"region\" aria-labelledby=\"elementor-tab-title-1262\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><em><strong>A FEW REMARKS ABOUT THREE &#8222;WAVES&#8221; OF FOLKLORISM IN POLISH MUSIC OF THE 20TH CENTURY<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>In the last century we have observed three \u201cwaves\u201d of folklorism in Polish music. The first one had been inspired by the music and critical writings of Karol Szymanowski and prevailed throughout the interwar period. The second began immediately after WW2 as a continuation of the interwar folklorism, in 1949 being decreed as adherent to the aesthetics of socialist realism by the convention of Polish composers and musicologists, only to end soon after 1956, when the composers\u2019 attention turned towards the avant-garde. The third, also known as \u2018new folklorism\u2019, commenced in the mid-seventies and has continued until the present day, giving ground to a unique dialogue-play with traditional culture.<\/p><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><strong><em>DIFEREN\u021aE \u00ceNTRE PRACTICILE DE ARMONIZARE ALE FORMA\u021aIILOR DE L\u0102UTARI ROMI DIN MEDIUL RURAL \u0218I URBAN<\/em><\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>\u00cen secolul trecut am observat trei \u201evaluri\u201d de folclorism \u00een muzica polonez\u0103. Primul a fost inspirat de muzica \u0219i scrierile critice ale lui Karol Szymanowski \u0219i a prevalat pe parcursul \u00eentregii perioade interbelice. Al doilea a \u00eenceput imediat dup\u0103 Al Doilea R\u0103zboi Mondial ca o continuare a folclorismului interbelic, fiind decretat \u00een 1949 ca ader\u00e2nd la estetica realismului socialist de c\u0103tre Conven\u021bia Compozitorilor \u0219i Muzicologilor Polonezi, doar pentru a se termina cur\u00e2nd dup\u0103 1956, c\u00e2nd aten\u021bia compozitorilor s-a \u00eendreptat spre avangard\u0103. Al treilea, cunoscut \u0219i drept \u2018noul folclorism\u2019, a \u00eenceput la mijlocul anilor 70 \u0219i continu\u0103 p\u00e2n\u0103 \u00een prezent, oferind un teren propice pentru un joc dialogat cu cultura tradi\u021bional\u0103.<\/p><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Polish music, folklorism, socialist realism in music, \u201enew folklorism\u201d, folk turns<\/p><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a> |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/02\/ETHNO5_01.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1263\" class=\"elementor-tab-title\" data-tab=\"3\" role=\"button\" aria-controls=\"elementor-tab-content-1263\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">VIOLA BIR\u00d3 - PEASANTS FROM CERB\u0102L IN BUDAPEST: BART\u00d3K\u2019S LECTURE ON THE FOLK MUSIC DIALECT OF HUNEDOARA<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1263\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"region\" aria-labelledby=\"elementor-tab-title-1263\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><em><strong>PEASANTS FROM CERB\u0102L IN BUDAPEST: BART\u00d3K\u2019S LECTURE ON THE FOLK MUSIC DIALECT OF HUNEDOARA<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>\u201cThe Folk Music Dialect of the Hunedoara Romanians\u201d is a substantial yet very early article by Bart\u00f3k (Ethnographia, March 1914), in which he summarizes some of his basic ideas related to Romanian folk music. Being first published barely three months after Bart\u00f3k\u2019s collecting trip in Hunedoara, it is actually an immediate reflection on the newly discovered material. Around the same time Bart\u00f3k also presented this subject in the form of a lecture with live musical illustrations provided by the peasant musicians and singers themselves who were invited to Budapest \u2013 a unique occasion in Bart\u00f3k\u2019s whole life. Although the two versions of the text, the lecture and the published article, are largely identical, there are still some essential differences between them. Whereas in the published version Bart\u00f3k proposed a systematic discussion of the songs proper of the region \u2013 the genre he considered most important \u2013, in the lecture the focus was on the impressive performance of instrumental dance music, especially bagpipe music, and ceremonial songs were also discussed in more detail. Bart\u00f3k\u2019s 1914 lecture, however, has another remarkable feature: it was the very first time that gramophone recordings of Romanian folk music were ever made. The present article proposes a short examination of the circumstances and contents of Bart\u00f3k\u2019s lecture, and includes a full English translation of it, based on the autograph manuscript.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>CERBELENI LA BUDAPESTA: CONFERIN\u021aA LUI BART\u00d3K DESPRE DIALECTUL MUZICAL DIN HUNEDOARA<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>\u201eDialectul muzical al rom\u00e2nilor din Hunedoara\u201d este un articol semnificativ, de\u015fi foarte timpuriu al lui Bart\u00f3k (Ethnographia, martie 1914), care sintetizeaz\u0103 unele idei fundamentale ale folcloristului maghiar legate de muzica popular\u0103 rom\u00e2neasc\u0103. Fiind publicat prima dat\u0103 la abia trei luni dup\u0103 culegerile lui Bart\u00f3k \u00een Hunedoara, este de fapt o reflexie imediat\u0103 asupra materialului folcloric proasp\u0103t cunoscut. \u00cen aceea\u015fi perioad\u0103 Bart\u00f3k a prezentat aceast\u0103 tem\u0103 \u015fi \u00een forma unei conferin\u021be unde ilustra\u021biile muzicale au fost prezentate de \u021b\u0103ranii \u00een\u015fi\u015fi invita\u021bi la Budapesta \u2013 o posibilitate unic\u0103 \u00een via\u021ba lui Bart\u00f3k. De\u015fi con\u021binutul articolului \u0219i al conferin\u021bei este \u00een mare parte identic, exist\u0103 \u015fi diferen\u021be esen\u021biale \u00eentre ele. Pe c\u00e2nd \u00een versiunea publicat\u0103 Bart\u00f3k propune o abordare sistematic\u0103 a c\u00e2ntecului propriu-zis \u2013 genul pe care \u00eel considera cel mai important \u2013, \u00een prezentarea oral\u0103 interpretarea impresionant\u0103 a muzicii instrumentale de joc, \u00een special a celei de cimpoi, a fost \u00een centrul aten\u021biei, dar \u015fi c\u00e2ntecele ceremoniale au fost discutate mai detaliat. Conferin\u021ba lui Bart\u00f3k din 1914 este \u00eens\u0103 remarcabil\u0103 din \u00eenc\u0103 un punct de vedere: a fost chiar prima ocazie c\u00e2nd s-a \u00eenregistrat muzic\u0103 tradi\u021bional\u0103 rom\u00e2neasc\u0103 pe discuri de gramofon. Articolul de fa\u021b\u0103 propune o scurt\u0103 examinare a circumstan\u021belor \u015fi a con\u021binutului conferin\u021bei lui Bart\u00f3k, \u015fi include o traducere \u00een rom\u00e2ne\u015fte a textului bazat pe manuscrisul autorului.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Bart\u00f3k, Hunedoara dialect, gramophone recordings, ceremonial songs, bagpipe, motivic dance melodies<\/p><\/div><\/div><\/div><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a>\u00a0 |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/03\/Ethno05A02.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1264\" class=\"elementor-tab-title\" data-tab=\"4\" role=\"button\" aria-controls=\"elementor-tab-content-1264\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">ZOLT\u00c1N GERGELY - A MELODY FROM TRANSYLVANIA BETWEEN LOCAL FOLK TRADITION AND FOLKLORE. THE SONG AND DANCE OF THE C\u0102P\u00c2LNA GIRLS<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1264\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"4\" role=\"region\" aria-labelledby=\"elementor-tab-title-1264\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><em><strong>A MELODY FROM TRANSYLVANIA BETWEEN LOCAL FOLK TRADITION AND FOLKLORE. THE SONG AND DANCE OF THE C\u0102P\u00c2LNA GIRLS<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>Articolul analizeaz\u0103 parcursul unei melodii asociate purtatei fetelor din C\u0103p\u00e2lna, de la documentarea sa postbelic\u0103 p\u00e2n\u0103 la circula\u021bia digital\u0103 contemporan\u0103. Studiul urm\u0103re\u0219te modul \u00een care aceast\u0103 pies\u0103 a fost reinterpretat\u0103 \u0219i propagat\u0103 \u00eentre contextul local, scena oficial\u0103 \u0219i spa\u021biul online, dep\u0103\u0219ind grani\u021be etnice \u0219i stilistice. Sunt examinate diferen\u021bele de structur\u0103, stil \u0219i recep\u021bie \u00eentre variantele tradi\u021bionale, scenice \u0219i digitale, precum \u0219i dificult\u0103\u021bile metodologice legate de absen\u021ba unei tipologii unitare \u00een etnomuzicologia rom\u00e2neasc\u0103. Cazul este discutat \u00een paralel cu modele analitice din literatura maghiar\u0103, relev\u00e2nd un posibil tip melodic transfrontalier, cu func\u021bii diverse \u0219i poten\u021bial de recontextualizare global\u0103.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>O MELODIE DIN TRANSILVANIA \u00ceNTRE TRADI\u021aIA POPULAR\u0102 LOCAL\u0102 \u0218I FOLCLOR. C\u00c2NTECUL \u0218I DANSUL FETELOR DE LA C\u0102P\u00c2LNA<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>\u00cen studiul de fa\u021b\u0103 ne-am concentrate aten\u021bia asupra folclorului copiilor, un gen milenar, care \u00een zilele noastre \u00ee\u0219i pierde treptat func\u021bionalitatea. Interesul copiilor este radical modificat \u00een secolul tehnologiei, excluz\u00e2nd aproape integral manifest\u0103rile spontane de odinioar\u0103, care au dat na\u0219tere acestui minunat \u0219i fascinant gen. Promotorii de seam\u0103 ai pedagogiei secolului XX au militat ne\u00eencetat, nu numai pentru includerea folclorului \u00een repertoriul educa\u021bional, ba mai mult, pentru a\u0219ezarea \u00eentregului proces educativ pe pilonii folclorului na\u021bional, consider\u00e2nd c\u0103 acesta este cea mai autentic\u0103 \u0219i accesibil\u0103 surs\u0103 de educa\u021bie muzical\u0103. \u00cen studiul nostru ne-am focusat pe con\u021binutul de lucr\u0103ri folclorice prezente \u00een manualele alternative de Muzic\u0103 \u0219i mi\u0219care pentru clasa a II-a, realiz\u00e2nd o radiografie a prezen\u021bei c\u00e2ntecelor de apartenen\u021b\u0103 folcloric\u0103 \u00een cele patru manuale \u00een uz, consemn\u00e2nd \u0219i coment\u00e2nd evolu\u021bia c\u00e2ntecelor reg\u0103site \u00een manuale. Pe parcursul studiului nostru am \u00eencercat s\u0103 eviden\u021biem c\u0103 aceast\u0103 form\u0103 de art\u0103 este menit\u0103 s\u0103 \u00eembog\u0103\u021beasc\u0103 cuno\u0219tin\u021bele elevilor asupra tradi\u021biei populare de odinioar\u0103, contribuind la formarea unei culturi na\u021bionale complexe.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 2\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Traditional melody, musical circulation, digital reinterpretation, musical identity, stage folklore, media environment.<\/p><\/div><\/div><\/div><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a> |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/02\/ETHNO5_03.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1265\" class=\"elementor-tab-title\" data-tab=\"5\" role=\"button\" aria-controls=\"elementor-tab-content-1265\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">R\u0102ZVAN RO\u0218U - THE MUSICAL FOLKLORE FROM \u021aARA MO\u021aILOR \u2013  ABOUT THE INCOMPLETE AND APPROXIMATE KNOWLEDGE OF A DISTINCT TRADITIONAL MUSIC<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1265\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"5\" role=\"region\" aria-labelledby=\"elementor-tab-title-1265\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p class=\"p2\"><em><strong>THE MUSICAL FOLKLORE FROM \u021aARA MO\u021aILOR \u2013 ABOUT THE INCOMPLETE AND APPROXIMATE KNOWLEDGE OF A DISTINCT TRADITIONAL MUSIC<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">This study aims to explore various aspects of traditional instrumental music from the ethnographic region of \u021aara Mo\u021bilor. Although the inhabitants of this mountain region, called the Mo\u021bi, have been prominently featured in the Romanian national and nationalist discourse over the past century, our understanding of this traditional music remains approximate and incomplete. This article seeks to identify the reasons behind the lack of a systematic plan for collecting and analysing musical folklore from this cultural area. This gap is particularly surprising given the significant role that the Mo\u021bi play in the discourse around Romanian identity, as well as the importance of their traditional music for studying the cultural landscape of the Carpathian Mountains.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>FOLCLORUL MUZICAL DIN \u021aARA MO\u021aILOR \u2013 DESPRE CUNOA\u0218TEREA INCOMPLET\u0102 \u0218I APROXIMATIV\u0102 A UNEI MUZICI TRADI\u021aIONALE DISTINCTE<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Studiul de fa\u021b\u0103 \u00ee\u0219i propune s\u0103 prezinte o serie de aspecte ce \u021bin de muzica tradi\u021bional\u0103 instrumental\u0103 din zona etnografic\u0103 a \u021a\u0103rii Mo\u021bilor. De\u0219i, mo\u021bii \u0219i \u021aara Mo\u021bilor au fost folosi\u021bi intens \u00een discursul na\u021bional\/na\u021bionalist rom\u00e2nesc \u00een secolul trecut, am doar o cunoa\u0219te aproximativ\u0103 \u0219i incomplet\u0103 a acestei muzici tradi\u021bionale. De asemenea, prezentul articol \u00ee\u0219i propune s\u0103 arate care au fost cauzele lipsei unui plan sistematic pentru a culegere folclor muzical din acest areal cultural, dar \u0219i pentru o analiz\u0103 a sa. Acest lucru este unul surprinz\u0103tor nu doar datorit\u0103 rolului aparent privilegiat pe care mo\u021bii \u00eel ocup\u0103 \u00een discursul identitar rom\u00e2nesc. Dar, \u0219i pentru relevan\u021ba pe care aceast\u0103 muzic\u0103 tradi\u021bional\u0103 o are \u00een cercetarea spa\u021biul cultural al Mun\u021bilor Carpa\u021bi.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 2\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Traditional music, \u021aara Mo\u021bilor, Transylvania, national\/nationalist discourse, fieldwork<\/p><\/div><\/div><\/div><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a> |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/02\/ETHNO5_04.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1266\" class=\"elementor-tab-title\" data-tab=\"6\" role=\"button\" aria-controls=\"elementor-tab-content-1266\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">ALEXANDRU CHISELEV - THE VOICE OF THE CRANES: ABOUT THE UKRAINIAN MUSICAL HERITAGE OF THE FOUNDING VOCAL GROUP \"ZADUNAISKA SICI\" - TULCEA<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1266\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"6\" role=\"region\" aria-labelledby=\"elementor-tab-title-1266\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><em><strong>THE VOICE OF THE CRANES: ABOUT THE UKRAINIAN MUSICAL HERITAGE OF THE FOUNDING VOCAL GROUP &#8222;ZADUNAISKA SICI&#8221; &#8211; TULCEA<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Created at the beginning of the 1990s, in a period of identity reconfiguration, the vocal group \u201cZadunaiska Sici\u201d of the Tulcea branch of the Union of the Ukrainians of Romania accumulated, in time, a rich musical repertoire, of over 100 artistic creations, which is at the same time endowed with dense meanings and motives with historical, ethnic, and cultural value (e.g. the Cossack, the guelder-rose, the Danube, destiny). Starting with the old Cranes\u2019 song, Juravka, and the carols learnt from the grandparents, to the song heard during a visit in the most distant town in the Ukraine, rehearsed and eventually learnt on the way back home, but also to the repertoire brought from the region of Zaporizhzhia by an illustrious conductor, who polished the voices of the group\u2019s members for almost two years, all these successive strata of artistic creations are the unwritten witnesses of the group\u2019s micro- historiography, against the background of identity searches and adjustments, of the specific contexts of stage performance and of the competition for prestige within the community.<\/p><p class=\"p2\"><strong style=\"font-size: 16px;\">(Rezumat)<\/strong><\/p><\/div><\/div><\/div><\/div><\/div><\/div><p class=\"p1\"><em><strong>GLASUL COCORILOR: DESPRE PATRIMONIUL MUZICAL UCRAINEAN AL GRUPULUI VOCAL FONDATOR \u201eZADUNAISKA SICI\u201d &#8211; TULCEA<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">\u00cenfiin\u021bat la \u00eenceputul anilor \u02b990, \u00eentr-o perioad\u0103 de reconfigurare identitar\u0103, grupul vocal \u201eZadunaiska Sici\u201d al filialei Tulcea a Uniunii Ucrainenilor din Rom\u00e2nia a acumulat \u00een timp un repertoriu muzical bogat, de peste 100 de crea\u021bii artistice, totodat\u0103 dens \u00een semnifica\u021bii \u0219i motive cu valoare istoric\u0103, etnic\u0103 \u0219i cultural\u0103 (e.g. cazacul, c\u0103linul, Dun\u0103rea, destinul). De la vechiul C\u00e2ntec al cocorilor, Juravka, \u0219i colindele \u00eenv\u0103\u021bate de la bunici, la c\u00e2ntecul auzit \u00een timpul unei vizite \u00een cel mai \u00eendep\u0103rtat ora\u0219 din Ucraina, repetat \u0219i \u00eenv\u0103\u021bat \u00een cele din urm\u0103 pe drumul de \u00eentoarcere spre cas\u0103, dar \u0219i la repertoriul adus din regiunea Zaparojie de un ilustru dirijor, care a \u0219lefuit vocile membrilor grupului timp de aproape doi ani, toate aceste straturi succesive de crea\u021bii artistice sunt martori nescri\u0219i ai micro-istoriografiei grupului, pe fondul c\u0103ut\u0103rilor \u0219i ajust\u0103rilor identitare, contextelor specifice de reprezentare scenic\u0103 \u0219i competi\u021biei pentru prestigiu \u00een comunitate.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 2\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Musical heritage, Ukrainians, Dobrudja, Zaporizhzhia, identity<\/p><\/div><\/div><\/div><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a> |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/02\/ETHNO5_05.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1267\" class=\"elementor-tab-title\" data-tab=\"7\" role=\"button\" aria-controls=\"elementor-tab-content-1267\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">BADRAJAN SVETLANA - ABOUT FOLKLORIZING: THE SONGS OF COMPOSER DUMITRU GHEORGHI\u021a\u0102<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1267\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"7\" role=\"region\" aria-labelledby=\"elementor-tab-title-1267\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><em><strong>ABOUT FOLKLORIZING: THE SONGS OF COMPOSER DUMITRU GHEORGHI\u021a\u0102<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Dumitru Gheorghi\u021b\u0103 (1917-1987) is a distinct personality of the musical culture of Bessarabia. He established himself as an instrumental performer (accordion, trumpet player) and as a composer. He did fundamental studies in the field of music during the interwar period at the Unirea Conservatory in Chi\u0219in\u0103u (1927-1933). His oeuvre includes symphonic works, choral pieces, lyrical songs, works for folk music orchestra and for children, etc. Vocal and instrumental folk music had a special place in his activity as an accordionist and composer. We are particularly interested in his folk-style songs, written on the lyrics of well-known poets from those times or by Dumitru Gheorghi\u021b\u0103 himself. A large part of these songs, such as Strugura\u0219 de pe colin\u0103, Frumoase-s nun\u021bile-n colhoz, Cine vine de la deal, C\u00e2ntecul miresei, Lung \u00eei drumul p\u00e2n\u2019 la tine, etc., became folklorized, that is, they took the path of oral circulation, often the singers not knowing who the authors are and supporting their folkloric origin. Studying the folklorization process of these songs reveals interesting aspects of popular culture in contemporaneity.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>CU PRIVIRE LA FOLCLORIZARE: C\u00c2NTECELE COMPOZITORULUI DUMITRU GHEORGHI\u021a\u0102<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Dumitru Gheorghi\u021b\u0103 (1917-1987) este o personalitate distinct\u0103 a culturii muzicale din Basarabia. S-a impus ca interpret instrumentist (acordeon, trompet\u0103) \u0219i \u00een calitate de compozitor. Studiile fundamentale \u00een domeniul muzicii le-a f\u0103cut \u00een perioada interbelic\u0103 la Conservatorul Unirii din Chi\u0219in\u0103u (1927-1933). Crea\u021bia lui include lucr\u0103ri simfonice, pentru orchestra de muzic\u0103 popular\u0103, piese corale, c\u00e2ntece lirice, pentru copii \u0219.a. Un loc aparte \u00een activitatea de interpret acordeonist \u0219i cea de compozitor l-a avut muzica popular\u0103 vocal\u0103 \u0219i instrumental\u0103. \u00cen mod deosebit ne intereseaz\u0103 c\u00e2ntecele \u00een stil popular, scrise pe versurile poe\u021bilor cunoscu\u021bi din acele timpuri sau de \u00eensu\u0219i Dumitru Gheorghi\u021b\u0103. O mare parte dintre aceste c\u00e2ntece precum Strugura\u0219 de pe colin\u0103, Frumoase-s nun\u021bile-n colhoz, Cine vine de la deal, C\u00e2ntecul miresei, Lung \u00eei drumul p\u00e2n` la tine \u0219.a., s-au folclorizat, adic\u0103 au pornit calea circula\u021biei orale, deseori interpre\u021bii ne\u0219tiind cine sunt autorii \u0219i sus\u021bin\u00e2nd provenien\u021ba folcloric\u0103 a c\u00e2ntecelor. Studierea procesului de folclorizare al acestor c\u00e2ntece relev\u0103 aspecte interesante ale culturii populare \u00een contemporaneitate.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 2\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Dumitru Gheorghi\u021b\u0103, composer, songs, folklore, folklorization, contemporaneity.<\/p><\/div><\/div><\/div><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a> |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/02\/ETHNO5_06.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1268\" class=\"elementor-tab-title\" data-tab=\"8\" role=\"button\" aria-controls=\"elementor-tab-content-1268\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">VERONICA CLAUDIA COSTANTIN - THE BAGPIPE, AN ANCIENT TRADITIONAL INSTRUMENT OF THE ROMANIAN INSTRUMENTAL FOLKLORE<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1268\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"8\" role=\"region\" aria-labelledby=\"elementor-tab-title-1268\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><em><strong>THE BAGPIPE, AN ANCIENT TRADITIONAL INSTRUMENT OF THE ROMANIAN INSTRUMENTAL FOLKLORE<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Among the traditional folk instruments of the Romanian people traditions, the bagpipe has accompanied peasants at dances and celebrations since ancient times. Closely associated with pastoral life, its repertoire includes both shepherd songs and dance tunes that reflect the culture and wisdom of rural communities. Although the bagpipe is also found among other European peoples, the Romanian version was once widespread across almost all regions of the country, undergoing organological adaptations depending on local traditions. Today, however, the bagpipe is on the verge of disappearance and is no longer used in rural musical practice, having been replaced by instruments such as the violin and the taragot, which currently enjoy great popularity both in rural and urban environments.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>CIMPOIUL, STR\u0102VECHI INSTRUMENT POPULAR AL FOLCLORULUI INSTRUMENTAL ROM\u00c2NESC<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Din categoria instrumentelor populare ale rom\u00e2nilor, cimpoiul este instrumentul care i-a \u00eenso\u021bit la joc \u0219i la petreceri pe \u021b\u0103ranii rom\u00e2ni \u00eenc\u0103 din cele mai vechi timpuri. Fiind un instrument str\u00e2ns legat de activitatea p\u0103storitului, repertoriul interpretat la cimpoi cuprinde melodii pastorale, dar \u0219i c\u00e2ntece de joc \u00een care s-au oglindit cultura \u0219i \u00eentelepciunea comunit\u0103\u021bii rurale. Instrument utilizat \u0219i la celelalte popoare din Europa, cimpoiul rom\u00e2nesc a fost r\u0103sp\u00e2ndit \u00een aproape toate regiunile \u021b\u0103rii suport\u00e2nd modific\u0103ri organologice, \u00een func\u021bie de zon\u0103. \u00cen prezent, cimpoiul este pe cale de dispari\u021bie \u0219i nu mai este utilizat \u00een practica rural\u0103 deoarece a fost \u00eenlocuit de instrumente precum vioara \u0219i taragotul, care ast\u0103zi se bucur\u0103 de o mare popularitate at\u00e2t \u00een mediul rural c\u00e2t \u0219i \u00een mediul urban.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Bagpipe, folklore, instruments, traditional, authentic, repertoire, rural environment<\/p><\/div><\/div><\/div><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a> |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/02\/ETHNO5_07.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-1269\" class=\"elementor-tab-title\" data-tab=\"9\" role=\"button\" aria-controls=\"elementor-tab-content-1269\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">MARIA ROTARU - THE SYSTEM AND HISTORY OF INSTITUTIONAL EDUCATION OF HUNGARIAN VOCAL AND INSTRUMENTAL FOLK MUSIC<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1269\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"9\" role=\"region\" aria-labelledby=\"elementor-tab-title-1269\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><em><strong>THE SONGS OF VALEA CORZULUI, DOLJ COUNTY<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">The song, a living and enduring element within the social dynamics of its time, has moved and circulated together with humankind, serving as a guide throughout the journey of life. It has been adopted, adapted, and transformed according to the particular characteristics of each community. The villages situated at the intersection of the Gorj, Dolj, and Mehedin\u021bi counties developed a vocal\u2013instrumental music that was initially performed at the courts of the local nobility and later at weddings and community celebrations. Some melodic lines appear to have been inherited from the medieval court tradition, influenced by Turkish and Greek elements, while others were shaped under the impact of the \u201cl\u0103utari\u201d (traditional musicians), whose art is marked by improvisational creativity. These influences left their mark on the so- called \u201cmuzica b\u0103tr\u00e2neasc\u0103\u201d (old-style music), altering its timbral character through the introduction of instruments such as the violin, viola, and double bass, as well as through the use of tonal-functional accompaniment. Consequently, one encounters a remarkable diversity of sound and rhythmic structures.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>C\u00c2NTECELE DIN VALEA CORZULUI, JUD. DOLJ<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">C\u00e2ntecul, element viu \u0219i permanent \u00een dinamica social\u0103 a timpurilor, s-a mi\u0219cat, a circulat \u00eempreun\u0103 cu omul, fiindu-i c\u0103l\u0103uz\u0103 \u00een demersul vie\u021bii. El a fost preluat, a fost adaptat, transformat potrivit specificului colectivit\u0103\u021bii unei zone. Satele situate la interferen\u021ba jude\u021belor Gorj, Dolj \u0219i Mehedin\u021bi au dezvoltat o muzic\u0103 vocal-instrumental\u0103 c\u00e2ntat\u0103 ini\u021bial la cur\u021bile boiere\u0219ti, iar ulterior la nun\u021bile \u0219i petrecerile din zon\u0103. Unele linii melodice se pare c\u0103 au fost mo\u0219tenite de la curtea medieval\u0103, supus\u0103 influen\u021belor turce\u0219ti \u0219i grece\u0219ti, altele s-au format sub influen\u021ba l\u0103utarilor, care dispun de imagina\u021bie \u00een improviza\u021bie. Acestea au influen\u021bat muzica b\u0103tr\u00e2neasc\u0103, afect\u00e2ndu-i culoarea sonor\u0103 prin introducerea instrumentelor vioar\u0103, viol\u0103, contrabas \u0219i prin folosirea acompaniamentului tonal-func\u021bional. \u00cent\u00e2lnim astfel o mare diversitate a structurilor sonore \u0219i ritmice.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Musical folklore, Valea Corzului, field research<\/p><\/div><\/div><\/div><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a> |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/02\/ETHNO5_08.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-12610\" class=\"elementor-tab-title\" data-tab=\"10\" role=\"button\" aria-controls=\"elementor-tab-content-12610\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">ANDRA-DANIELA P\u0102TRA\u0218 - REVIEW OF THE VOLUME \u201eTRADITIONAL VOCAL MUSIC FROM \u021aINUTUL P\u0102DURENILOR, HUNEDOARA\u201d \u2013 AUTHORS IOAN BOC\u0218A AND ALINA STAN<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-12610\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"10\" role=\"region\" aria-labelledby=\"elementor-tab-title-12610\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p class=\"p2\"><em><strong>REVIEW OF THE VOLUME \u201eTRADITIONAL VOCAL MUSIC FROM \u021aINUTUL P\u0102DURENILOR, HUNEDOARA\u201d \u2013 AUTHORS IOAN BOC\u0218A AND ALINA STAN<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">The research of musical folklore in Romania follows a tradition that began in the 19th century, unfolding today in a new, evolving context marked by social, technological, and cultural changes. In its early stages, during the 19th and early 20th centuries, musical folklore was often notated directly in the field, with researchers aiming to record both music and text. Later, with the advent of the phonograph and the tape recorder, research gained in precision, as sound recordings provided access not only to the possibility of replaying the music, but also to interpretative nuances and timbral richness. Thus, the focus gradually shifted from the transcription of repertoire to the documentation of practices and cultural contexts, reflecting the transition from folklore studies to ethnomusicology. An example in this regard is the volume Traditional Vocal Music from \u021ainutul P\u0103durenilor, Hunedoara by Ioan Boc\u0219a and Alina Stan. This work is part of the major undertakings dedicated to the research and valorisation of the Romanian traditional musical heritage.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>RECENZIA VOLUMULUI \u201eMUZIC\u0102 VOCAL\u0102 TRADI\u021aIONAL\u0102 DIN \u021aINUTUL P\u0102DURENILOR, HUNEDOARA \u2013 AUTORI IOAN BOC\u0218A \u0218I ALINA STAN\u201d<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Cercetarea folclorului muzical \u00een Rom\u00e2nia continu\u0103 o tradi\u021bie \u00eenceput\u0103 \u00eenc\u0103 din secolul al XIX-lea, desf\u0103\u0219ur\u00e2ndu-se \u00eentr-un context nou, evolutiv, marcat de schimb\u0103ri sociale, tehnologice \u0219i culturale. \u00cen primele etape, \u00een secolul al XIX-lea \u0219i \u00eenceputul secolului XX, folclorul muzical era adesea notat direct \u00een teren, iar cercet\u0103torii urm\u0103reau s\u0103 consemneze muzica \u0219i textul. Ulterior, odat\u0103 cu apari\u021bia fonografului \u0219i a magnetofonului, cercetarea a c\u00e2\u0219tigat \u00een precizie, \u00eenregistr\u0103rile sonore oferind acces nu numai la reascultarea muzicii ci \u0219i la nuan\u021be interpretative sau la bog\u0103\u021bia timbral\u0103. Astfel, accentul s-a deplasat de la consemnarea repertoriului la documentarea practicilor \u0219i a contextelor culturale, ceea ce reflect\u0103 trecerea de la folcloristic\u0103 la etnomuzicologie. Un exemplu \u00een acest sens \u00eel reprezint\u0103 volumul \u201eMuzica vocal\u0103 tradi\u021bional\u0103 din \u021ainutul P\u0103durenilor, Hunedoara\u201d semnat de Ioan Boc\u0219a \u0219i Alina Stan. Acesta se \u00eenscrie \u00een seria preocup\u0103rilor majore dedicate cercet\u0103rii \u0219i valorific\u0103rii patrimoniului muzical tradi\u021bional rom\u00e2nesc.<\/p><\/div><\/div><\/div><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p><strong>(Keywords)<\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 2\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p1\">Traditional Music, P\u0103dureni County, Ethnomusicology Research<\/p><\/div><\/div><\/div><p><span style=\"color: #3c3287;\"><strong><a href=\"https:\/\/ethnomousikologion.com\/en\/autori\/\" target=\"_blank\" rel=\"noopener\">ABOUT AUTHOR<\/a> |\u00a0 <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2026\/02\/ETHNO5_09.pdf\" target=\"_blank\" rel=\"noopener\">DOWNLOAD ARTICLE<\/a><\/strong><\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>Nr. 5 (2\/2024) Download Click pe copert\u0103 pentru a citi Autori BARBARA MIELCAREK-KRZY\u017bANOWSKA &#8211; A FEW REMARKS ABOUT THREE &#8222;WAVES&#8221; OF FOLKLORISM IN POLISH MUSIC OF THE 20TH CENTURY (Summary) A FEW REMARKS ABOUT THREE &#8222;WAVES&#8221; OF FOLKLORISM IN POLISH MUSIC OF THE 20TH CENTURY In the last century we have observed three \u201cwaves\u201d of [&hellip;]<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-1851","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1851","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/comments?post=1851"}],"version-history":[{"count":35,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1851\/revisions"}],"predecessor-version":[{"id":1981,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1851\/revisions\/1981"}],"wp:attachment":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/media?parent=1851"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}