{"id":1901,"date":"2026-02-25T16:11:31","date_gmt":"2026-02-25T16:11:31","guid":{"rendered":"https:\/\/ethnomousikologion.com\/?page_id=1901"},"modified":"2026-02-25T16:36:08","modified_gmt":"2026-02-25T16:36:08","slug":"nr-6-1-2025","status":"publish","type":"page","link":"https:\/\/ethnomousikologion.com\/en\/nr-6-1-2025\/","title":{"rendered":"Nr. 6 (1\/2025)"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"1901\" class=\"elementor elementor-1901\" 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>\/*! 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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 - ETHNOMUSICOLOGICAL FIELD RESEARCH BY ROMAN PADLEWSKI IN MIESZKA\u0143CE VILLAGE (1933\u20131934)<\/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>ETHNOMUSICOLOGICAL FIELD RESEARCH BY ROMAN PADLEWSKI IN MIESZKA\u0143CE VILLAGE (1933\u20131934)<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>This article is an attempt to reconstruct the ethnomusicological field research conducted in the Vilnius region by Polish composer, violinist, pianist, conductor, musicologist, reviewer and music activist \u2013 Roman Padlewski in the 1930s on behalf of the Stefan Batory University. Based on preserved letters to ethnographer Maria Znamierowska-Pr\u00fcfferowa and the composer\u2019s parents I will reconstruct the range of his research, its significance, and Padlewski\u2019s conclusions drew based on the songs he heard.<\/p><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>CERCETARE ETNOMUZICOLOGIC\u0102 DE TEREN REALIZAT\u0102 DE ROMAN PADLEWSKI \u00ceN SATUL MIESZKA\u0143CE (1933\u20131934)<\/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>Acest articol este o \u00eencercare de a reconstrui cercetarea etnomuzicologic\u0103 de teren realizat\u0103 \u00een regiunea Vilnius de compozitorul, violonistul, pianistul, dirijorul, muzicologul, criticul \u0219i activistul muzical Roman Padlewski \u00een anii 1930 \u00een numele Universit\u0103\u021bii Stefan Batory. Pe baza scrisorilor p\u0103strate, adresate etnografei Maria Znamierowska &#8211; Pr\u00fcfferowa \u0219i p\u0103rin\u021bilor compozitorului, voi reconstrui sfera cercet\u0103rii sale, semnifica\u021bia ei \u0219i concluziile lui Padlewski extrase din c\u00e2ntecele pe care le-a auzit.<\/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\">Roman Padlewski, Maria Znamierowska-Pr\u00fcfferowa, Vilnius, Mieszka\u0144ce, Polish folk songs<\/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\/ETHNO6_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\">SVETLANA BADRAJAN - MUSICAL FOLKLORE IN THE MODERN RURAL COMMUNITY IN THE REPUBLIC OF MOLDOVA<\/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>MUSICAL FOLKLORE IN THE MODERN RURAL COMMUNITY IN THE REPUBLIC OF MOLDOVA<\/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>Musical folklore, presented in various artistic forms, constitutes an integral part of ethnic culture. The functioning of folklore in rural areas nowadays takes place in different ways. We refer to: the promotion of folklore productions in their natural context of circulation by bearers anchored in tradition, especially in small villages, but in decline due to massive migration and population aging; the performance of folklore creations by representatives of the younger generation, under the same natural, traditional conditions of manifestation, who however learned the repertoire in school, or, more rarely, from authentic bearers; the planned reconstitution of various traditions, customs, etc. within educational institutions, kindergartens, for educational purposes; the activity of folklore ensembles at schools and cultural centres. The processes related to musical folklore in the modern rural community reflect a complex dynamic between tradition and modernity. Despite the fact that rural societies have changed significantly in the recent decades, musical folklore remains an important element of identity, even if, in many cases, in an adapted form.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>FOLCLORUL MUZICAL \u00ceN COMUNITATEA RURAL\u0102 MODERN\u0102 DIN REPUBLICA MOLDOVA<\/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>Folclorul muzical, prezentat \u00een diferite forme artistice, constituie o parte integrant\u0103 a culturii etnice. Func\u021bionarea folclorului \u00een mediul rural \u00een etapa contemporan\u0103 are loc \u00een moduri diferite. Ne referim la: promovarea produc\u021biilor folclorice \u00een contextul lor firesc de circula\u021bie de c\u0103tre p\u0103str\u0103tori ancora\u021bi \u00een tradi\u021bie, mai ales \u00een satele mici, \u00eens\u0103 \u00een declin din cauza migra\u021biei masive \u0219i a \u00eemb\u0103tr\u00e2nirii popula\u021biei; interpretarea crea\u021biilor folclorice de c\u0103tre reprezenta\u021bii genera\u021biei mai tinere, \u00een acelea\u0219i condi\u021bii fire\u0219ti, tradi\u021bionale, de manifestare, dar care au \u00eenv\u0103\u021bat repertoriul \u00een \u0219coal\u0103, ori, mai rar, de la p\u0103str\u0103torii autentici; reconstituirea planificat\u0103 a diferitor tradi\u021bii, obiceiuri etc. \u00een cadrul institu\u021biilor de \u00eenv\u0103\u021b\u0103m\u00e2nt, gr\u0103dini\u021be, cu scop educa\u021bional; activitatea ansamblurilor folclorice pe l\u00e2ng\u0103 \u0219coli \u0219i case de cultur\u0103. Procesele legate de folclorul muzical \u00een comunitatea rural\u0103 modern\u0103 reflect\u0103 o dinamic\u0103 complex\u0103 \u00eentre tradi\u021bie \u0219i modernitate. \u00cen pofida faptului c\u0103 societ\u0103\u021bile rurale s-au schimbat semnificativ \u00een ultimele decenii, folclorul muzical r\u0103m\u00e2ne un element identitar important, chiar dac\u0103 deseori \u00eentr-o form\u0103 adaptat\u0103.<\/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, rural community, transmission, reconstitution, remodelling, performance, desecration, vulgar amateurism<\/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\/02\/ETHNO6_02.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\">KALCHEVA BLAGOVESTA - FIRST STEPS IN GOOD AND SUCCESSFUL PEDAGOGICAL WORK IN TEACHING BULGARIAN FOLK DANCES. SOME USEFUL PRACTICES.<\/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>FIRST STEPS IN GOOD AND SUCCESSFUL PEDAGOGICAL WORK IN TEACHING BULGARIAN FOLK DANCES. SOME USEFUL PRACTICES.<\/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>The article is geared towards the responsibility, significance and importance of the students&#8217; first attempts as teachers. Attention is paid to some useful practices in their training as future teachers of Bulgarian folk dances. The determined role of the good pedagogical work of the choreographer-teacher in creating habits and skills in the students is also focused. The article also directs attention to: the success in dance education when the study material is combined with the correct methodology, practice and emotional connection with the young dancers; the decisive role of the teacher not only in the technical growth of the students, but also in the development of their physical progress, emotional feelings, creative thinking, social communication, artistic taste, intellect and vision of the world.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>PRIMII PA\u0218I \u00ceNTR-O ACTIVITATE EFICIENT\u0102 \u0218I DE SUCCES \u00ceN PREDAREA DANSURILOR TRADI\u021aIONALE BULG\u0102RE\u0218TI. C\u00c2TEVA PRACTICI UTILE.<\/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>Articolul este axat pe responsabilitatea, semnifica\u021bia \u0219i importan\u021ba primelor \u00eencerc\u0103ri ale studen\u021bilor \u00een activitatea lor ca profesori. Se acord\u0103 aten\u021bie unor practici utile \u00een formarea lor ca viitori profesori de dansuri tradi\u021bionale bulg\u0103re\u0219ti. Rolul determinat al activit\u0103\u021bii pedagogice eficiente a profesorului-coregraf \u00een crearea de deprinderi \u0219i aptitudini ale studen\u021bilor este de asemenea analizat. Articolul atrage aten\u021bia \u0219i asupra: succesului \u00een educa\u021bia coregrafic\u0103 atunci c\u00e2nd materialul de studiu este combinat cu metodica, practica \u0219i conexiunea emo\u021bional\u0103 corect\u0103 cu tinerii dansatori; rolului decisiv al profesorului nu doar \u00een evolu\u021bia tehnic\u0103 a studen\u021bilor, ci \u0219i \u00een dezvoltarea progresului lor fizic, st\u0103rilor emo\u021bionale, g\u00e2ndirii creative, comunic\u0103rii sociale, gustului artistic, intelectului \u0219i viziunii asupra lumii.<\/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\">Bulgarian dances, training, useful practices<\/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\/ETHNO6_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\">LARISA-VASILICA U\u021a\u0102 (PRUN\u0102) - THE PERSISTENCE OF A MELODIC TYPE IN THE TRANSYLVANIAN TRADITIONAL SPACE: BETWEEN STRUCTURAL UNITY AND REGIONAL DIVERSITY<\/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 PERSISTENCE OF A MELODIC TYPE IN THE TRANSYLVANIAN TRADITIONAL SPACE: BETWEEN STRUCTURAL UNITY AND REGIONAL DIVERSITY<\/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 present study examines the persistence of a melodic type found in several regions of Transylvania, such as Maramure\u0219, Bistri\u021ba, the Apuseni Mountains, and Banat. The 23 musical examples, drawn from various folk music collections, feature texts of diverse thematic content, including both occasional and non-occasional lyrical forms. Despite thematic variety and distinct social functions, the melody displays a certain stability, becoming a marker of Transylvanian stylistic unity. The stability of the melody, contrasted with the flexibility of the text, highlights its role as a vehicle of collective memory and an expression of traditional continuity. Structural analysis reveals both common features and regional particularities. The study also emphasizes the contemporary relevance of this melodic type, still present today in staged performances, which confirms its dual role: a factor of cultural cohesion and a support for the expressive diversity of the traditional repertoire.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>PERSISTEN\u021aA UNUI TIP MELODIC \u00ceN SPA\u021aIUL TRADI\u021aIONAL TRANSILV\u0102NEAN: \u00ceNTRE UNITATE STRUCTURAL\u0102 \u0218I DIVERSITATE REGIONAL\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\">Studiul de fa\u021b\u0103 prezint\u0103 persisten\u021ba unui tip melodic \u00eent\u00e2lnit \u00een c\u00e2teva zone din Transilvania, precum Maramure\u0219, Bistri\u021ba, Mun\u021bii Apuseni \u0219i Banat. Cele 23 de exemple muzicale extrase din mai multe colec\u021bii de folclor muzical prezint\u0103 texte literare variate din perspectiv\u0103 tematic\u0103, at\u00e2t din lirica neocazional\u0103, c\u00e2t \u0219i din cea ocazional\u0103. \u00cen ciuda diversit\u0103\u021bii tematice \u0219i a func\u021biilor sociale distincte, melodia prezint\u0103 o oarecare stabilitate, devenind un reper al unit\u0103\u021bii stilistice transilv\u0103nene. Stabilitatea melodiei, \u00een contrast cu flexibilitatea textului literar, ilustreaz\u0103 rolul ei ca suport al memoriei colective \u0219i expresie a continuit\u0103\u021bii tradi\u021bionale. Analiza structural\u0103 muzical\u0103 eviden\u021biaz\u0103 at\u00e2t tr\u0103s\u0103turi comune, c\u00e2t \u0219i particularit\u0103\u021bi regionale. De asemenea, se subliniaz\u0103 actualitatea tipului melodic, prezent \u0219i ast\u0103zi \u00een interpret\u0103ri scenice, ceea ce confirm\u0103 dublul s\u0103u rol: factor de coeziune cultural\u0103 \u0219i suport pentru diversitatea expresiv\u0103 a repertoriului tradi\u021bional.<\/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\">Old style song, common melodic type, \u021aara Chioarului, Transylvania, stylistic unity, variational diversity<\/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\/ETHNO6_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\">NICOLAE SLABARI - THE REPERTOIRE OF CLARINETIST ION BULDUMEA IN THE CONTEXT OF THE EVOLUTION OF CONCERT TRADITIONAL FOLK MUSIC IN THE REPUBLIC OF MOLDOVA AT THE TURN OF THE 20TH AND THE 21ST CENTURIES<\/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 REPERTOIRE OF CLARINETIST ION BULDUMEA IN THE CONTEXT OF THE EVOLUTION OF CONCERT TRADITIONAL FOLK MUSIC IN THE REPUBLIC OF MOLDOVA AT THE TURN OF THE 20TH AND THE 21ST CENTURIES<\/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\">Ion Buldumea\u2019s personality is well known in the musical environment of the Republic of Moldova for his contribution to the development and promotion of concert traditional folk music. His style of performance, technical and artistic level, as well as his personal vision in selecting, arranging, and showcasing the repertoire distinguishes him from other instrumentalists. He is known as a performer\/instrumentalist, composer of instrumental melodies, orchestrator, musical editor, and proofreader. Over time, he has become a benchmark in the performance of aerophone musical instruments (clarinet, alto saxophone, soprano saxophone, t\u00e1rogat\u00f3, flutes, tilinca, ocarina, etc.), successfully demonstrating and highlighting their technical and expressive possibilities through virtuosic (academic- style) performance, exceptional sound, and musicality.<\/p><p class=\"p2\"><strong style=\"font-size: 16px;\">(Rezumat)<\/strong><\/p><\/div><\/div><\/div><\/div><\/div><\/div><p class=\"p1\"><em><strong>REPERTORIUL CLARINETISTULUI ION BULDUMEA \u00ceN CONTEXTUL EVOLU\u021aIEI MUZICII POPULARE DE CONCERT DIN REPUBLICA MOLDOVA LA CONFLUEN\u021aA SECOLELOR XX-XXI<\/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\">Personalitatea lui Ion Buldumea este bine cunoscut\u0103 \u00een mediul muzical din Republica Moldova pentru aportul s\u0103u la dezvoltarea \u0219i promovarea muzicii populare de concert. Maniera sa interpretativ\u0103, nivelul tehnico \u2013 interpretativ, viziunile proprii \u00een alegerea, tratarea \u0219i valorificarea repertoriului \u00eel eviden\u021biaz\u0103 fa\u021b\u0103 de al\u021bi instrumenti\u0219ti. Este cunoscut ca interpret\/instrumentist, autor de melodii instrumentale, orchestrator, redactor \u0219i corector muzical. \u00cen timp, a devenit un etalon al interpret\u0103rii la instrumente muzicale aerofone (clarinet, saxofon alto, saxofon soprano, taragot, fluiere, tilinc\u0103, ocarin\u0103 etc.), reu\u0219ind s\u0103 demonstreze\/eviden\u021bieze posibilit\u0103\u021bile tehnice \u0219i interpretative ale acestora prin virtuozitatea\/performan\u021ba de interpretare (de tip academic\/academizat), sunet \u015fi muzicalitate excep\u021bional\u0103.<\/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, Ion Buldumea, clarinet, repertoire, concert music.<\/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\/ETHNO6_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\">J\u00d3ZSEF BRAUER-BENKE - FIRST TRADITIONAL AND T\u00c1NCH\u00c1Z (\u201cDANCE HOUSE\u201d) ORCHESTRAS<\/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>FIRST TRADITIONAL AND T\u00c1NCH\u00c1Z (\u201cDANCE HOUSE\u201d) ORCHESTRAS<\/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\">From the second half of the 20th century onwards, the changing musical demands of village society led to a shift from the service-oriented, local, local-needs music-making of village musicians to the theatrical, virtuoso performance of urban gypsy musicians. The influence of the dance house movement played a role in this, as its audience did not exert community control over the musicians. The new generation of musicians of the dance- house movement learn folk music as stage performers from the outset, and their knowledge covers the musical repertoire of the entire Hungarian- speaking world and not just a small region. As a result, they are more inclined to move towards folk music arrangements and even other musical genres, so that neither their repertoire nor their instrumentation can be called authentic folk music, although it is often labelled as such because of its easier marketability. Since the dance house movement has relied on professional support and guidance from folk music research from its inception, in the absence of community control, it should continue to rely on professional control. Therefore, authentic folk music based on archived material resulting from decades of collecting should be kept separate from world music and other commercially based and evolving genres such as folk jazz, folk-rock, etc.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>PRIMELE ORCHESTRE TRADI\u021aIONALE ALE CASELOR DE DANS (T\u00c1NCH\u00c1Z)<\/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\">\u00cencep\u00e2nd cu a doua jum\u0103tate a secolului al XX-lea, p\u00e2n\u0103 \u00een prezent, cerin\u021bele muzicale \u00een schimbare ale societ\u0103\u021bii rurale au condus la o deplasare de la activitatea muzical\u0103 a muzicienilor locali, orienta\u021bi \u00eenspre deservirea comunit\u0103\u021bii \u0219i nevoile locale, c\u0103tre interpret\u0103rile teatrale, de virtuozitate, ale muzican\u021bilor \u021bigani de la ora\u0219. Influen\u021ba mi\u0219c\u0103rii caselor de dans a jucat un rol aici, deoarece publicul acestora nu a exercitat nici un control comunitar asupra muzicienilor. Noua genera\u021bie de muzicieni ai mi\u0219c\u0103rii caselor de dans \u00eenva\u021b\u0103 muzica folcloric\u0103 tradi\u021bional\u0103 \u00een calitate de arti\u0219ti de scen\u0103 de la bun \u00eenceput, iar cuno\u0219tin\u021bele lor acoper\u0103 repertoriul muzical al \u00eentregii comunit\u0103\u021bi vorbitoare de limb\u0103 maghiar\u0103, nu doar al unei mici regiuni. Drept rezultat, ei au o mai mare tendin\u021b\u0103 de a se \u00eendrepta c\u0103tre aranjamente de muzic\u0103 folcloric\u0103 \u0219i chiar muzic\u0103 apar\u021bin\u00e2nd altor genuri, astfel \u00eenc\u00e2t nici repertoriul lor, nici instrumenta\u021bia pe care o folosesc nu pot fi numite de muzic\u0103 tradi\u021bional\u0103 autentic\u0103, de\u0219i e adesea etichetat\u0103 astfel pentru c\u0103 e mai u\u0219or de comercializat. Din moment ce mi\u0219carea caselor de dans s-a bazat pe sprijin \u0219i \u00eendrumare profesioniste din partea speciali\u0219tilor \u00een domeniu \u00eenc\u0103 de la apari\u021bia sa, \u00een lipsa controlului comunit\u0103\u021bii, ar trebui s\u0103 continue s\u0103 se bazeze pe controlul profesionist. De aceea, muzica tradi\u021bional\u0103 autentic\u0103 bazat\u0103 pe material arhivat, rezultat din decenii de culegeri, ar trebui p\u0103strat\u0103 separat de muzica etno \u0219i alte genuri de natur\u0103 comercial\u0103, aflate \u00een ascensiune, cum sunt folk jazz, folk-rock etc.<\/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\">Ethno-organology, t\u00e1nch\u00e1z (\u201cdance house\u201d) method, authentic and non- authentic orchestras<\/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\/ETHNO6_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\">SA\u0218A-LIVIU STOIANOVICI - A BAGPIPE AND SEVERAL LETTERS<\/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>A BAGPIPE AND SEVERAL LETTERS<\/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\">Cornerevais situated in Cara\u0219-Severin county. Known as the commune with the most villages in Romania, Cornereva was, until around 1990, a nucleus of bagpipe music. Gathered around Nicolae Neme\u0219-Munteanu, the \u201cCornereva Bagpipers\u201d were among the last performers of the double- chanter bagpipe in the Banat region. Being, in some cases, bagpipe builders themselves, the musicians left us a series of songs, some of which were printed on a small 45 RPM disc, in the early 1970s. It was also during this period that an exchange of letters began between ethnomusicologists Tiberiu Alexandru, Gottfried Habenicht, and Nicolae Neme\u0219-Munteanu. Several letters remained in the bagpiper\u2019s family archive. Their reading and analysis, today, lead to an outline of the relationship between Neme\u0219- Munteanu and the two ethnomusicologists, as well as to a slightly clearer picture of the life of a researcher of the Socialist Republic of Romania, during that period.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>UN CIMPOI \u0218I C\u00c2TEVA SCRISORI<\/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\">Cornereva este o localitate aflat\u0103 \u00een jude\u021bul Cara\u0219-Severin. Cunoscut\u0103 ca fiind comuna cu cele mai multe sate din Rom\u00e2nia, Cornereva a fost, p\u00e2n\u0103 \u00een jurul anului 1990, un nucleu al muzicii de cimpoi. Grupa\u021bi \u00een jurul lui Nicolae Neme\u0219-Munteanu, \u201eCimpoierii din Cornereva\u201d au fost printre ultimii interpre\u021bi la cimpoiul cu carab\u0103 dubl\u0103 de tip b\u0103n\u0103\u021bean. Fiind, \u00een anumite cazuri, \u0219i me\u0219teri constructori de cimpoaie, muzican\u021bii au l\u0103sat \u00een urma lor o serie de c\u00e2ntece &#8211; c\u00e2teva fiind chiar imprimate pe un mic disc Electrecord, la \u00eenceputul anilor \u201870. Tot \u00een aceast\u0103 perioad\u0103 \u00eencepe un schimb de scrisori \u00eentre etnomuzicologii Tiberiu Alexandru, Gottfried Habenicht \u0219i Nicolae Neme\u0219-Munteanu. C\u00e2teva scrisori au r\u0103mas \u00een arhiva familiei cimpoierului. Lectura \u0219i analiza lor, ast\u0103zi, duc la o conturare a rela\u021biei dintre Neme\u0219- Munteanu \u0219i cei doi etnomuzicologi, c\u00e2t \u0219i la o imagine pu\u021bin mai clar\u0103 a vie\u021bii unui cercet\u0103tor din RSR a acelei perioade.<\/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\">Bagpipes, Banat, folklore, Neme\u0219-Munteanu, Gottfried Habenicht, Tiberiu Alexandru, Cornereva<\/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\/ETHNO6_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\">DIANA BUNEA, ECATERINA G\u00ceRBU - RESTITUTION: CHORAL FANTASY SUITE LIMBA NOASTR\u0102 BY A. SOLOMON TO THE LYRICS OF A. MATEEVICI<\/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>RESTITUTION: CHORAL FANTASY SUITE LIMBA NOASTR\u0102 BY A. SOLOMON TO THE LYRICS OF A. MATEEVICI<\/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 article brings to the attention of the academic community an original choral composition composed in the 1930s, of considerable cultural, historical and artistic significance, relevant both for researchers and performers: The Fantasy Suite for a cappella choir Limba noastr\u0103 by Anatol Solomon, to the well-known lyrics of Alexei Mateevici. The work experienced a \u201cturbulent\u201d history, remaining unknown in the Romanian cultural space for more than five decades. It was only in 1998 that it was first performed in Craiova, followed by the recording of a fragment by the Choir of the Romanian Patriarchate. The Chi\u0219in\u0103u premiere of this creation will take place during the Interbelic- Fest festival, in September 2025. The present study aims to highlight certain musical-compositional features and folkloric origins, which outline the originality of this work, that deserves to claim a place in the Romanian choral musical heritage.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>RESTITUIRI: SUITA-FANTEZIE CORAL\u0102 LIMBA NOASTR\u0102 DE ANATOL SOLOMON PE VERSURI DE ALEXEI MATEEVICI<\/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\">Articolul aduce \u00een aten\u021bia comunit\u0103\u021bii academice o compozi\u021bie coral\u0103 original\u0103 compus\u0103 \u00een anii 1930, de cert\u0103 valoare cultural-istoric\u0103 \u0219i artistic\u0103, cu relevan\u021b\u0103 at\u00e2t pentru cercet\u0103tori, c\u00e2t \u0219i pentru interpre\u021bi: Suita-Fantezie pentru cor a cappella \u201eLimba noastr\u0103\u201d de Anatol Solomon, pe bine- cunoscutele versuri ale lui Alexei Mateevici. Lucrarea a traversat o istorie \u201eturbulent\u0103\u201d, r\u0103m\u00e2n\u00e2nd necunoscut\u0103 \u00een spa\u021biul rom\u00e2nesc timp de peste cinci decenii. Abia \u00een anul 1998 a fost interpretat\u0103 pentru prima dat\u0103 la Craiova, iar un fragment a fost ulterior \u00eenregistrat de Corul Patriarhiei Rom\u00e2ne. Premiera chi\u0219in\u0103uian\u0103 a acestei crea\u021bii va avea loc \u00een cadrul festivalului Interbelic-Fest, \u00een septembrie 2025. Studiul de fa\u021b\u0103 \u00ee\u0219i propune s\u0103 eviden\u021bieze c\u00e2teva particularit\u0103\u021bi muzical-compozi\u021bionale \u0219i filia\u021bii folclorice, ce contureaz\u0103 originalitatea acestei lucr\u0103ri, menit\u0103 s\u0103 \u00ee\u0219i revendice un loc \u00een patrimoniul muzical coral rom\u00e2nesc.<\/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\">Choir, Limba noastr\u0103, A. Mateevici, A. Solomon, folklore.<\/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\/ETHNO6_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\">ZOYA MIKOVA - KALUSHARI DANCES AND PRACTICES FROM THE PLEVEN REGION \u2013 BETWEEN TRADITION AND TRANSFORMATION (BASED ON FIELD MATERIALS)<\/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>KALUSHARI DANCES AND PRACTICES FROM THE PLEVEN REGION \u2013 BETWEEN TRADITION AND TRANSFORMATION (BASED ON FIELD MATERIALS)<\/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\">In folklore, \u201cThe week of Rusalya\u201d (\u201cRusalya\u2019s week\u201d or \u201cRusalya\u201d) is associated with a number of beliefs about the appearance of strange and dangerous creatures, part of the demonology of various peoples. In the past, there were a number of injunctions and prohibitions for this time of the year, and preventive actions and rituals were performed, among them the Kalushari visits and dances &#8211; common in some settlements on the south bank of the Danube River. Through the stories of the respondents, this text presents a reconstruction of the Kalushari custom from the village of Milkovi\u021ba, Pleven region and neighbouring villages. The paper discusses the contemporary state of these practices and the musical material that accompanies them as part of the local shape of the traditional musical culture of the villages in the Danube region.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>DANSURI \u0218I PRACTICI ALE C\u0102LU\u0218ARILOR DIN REGIUNEA PLEVNA \u2013 \u00ceNTRE TRADI\u021aIE \u0218I TRANSFORMARE (PE BAZA MATERIALELOR DIN TEREN)<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">\u00cen folclor, \u201eS\u0103pt\u0103m\u00e2na Rusaliilor\u201d (\u201eS\u0103pt\u0103m\u00e2na de Rusalii\u201d sau \u201eRusaliile\u201d) e asociat\u0103 cu o serie de credin\u021be despre apari\u021bia unor creaturi bizare \u0219i primejdioase, care fac parte din demonologia mai multor popoare. \u00cen trecut, existau o serie de imperative \u0219i interdic\u021bii pentru acest timp al anului, c\u00e2nd se desf\u0103\u0219urau ac\u021biuni \u0219i ritualuri cu rol de prevenire, printre care vizitele \u0219i dansurile C\u0103lu\u0219arilor \u2013 comune \u00een unele localit\u0103\u021bi de pe malul sudic al Dun\u0103rii. Prin prisma relat\u0103rilor responden\u021bilor, acest text prezint\u0103 o reconstituire a obiceiului C\u0103lu\u0219arilor din satul Milkovi\u021ba, regiunea Plevna, \u0219i din satele \u00eenvecinate. Articolul analizeaz\u0103 statusul contemporan al acestor practici \u0219i materialul muzical care le \u00eenso\u021be\u0219te, ca parte din aspectul local al culturii muzicale tradi\u021bionale a satelor din regiunea Dun\u0103rii.<\/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\">Kalushari, traditional music, traditional dances, cultural heritage, Milkovitsa, Danube region<\/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\/ETHNO6_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. 6 (1\/2025) Download Click pe copert\u0103 pentru a citi Autori BARBARA MIELCAREK-KRZY\u017bANOWSKA &#8211; ETHNOMUSICOLOGICAL FIELD RESEARCH BY ROMAN PADLEWSKI IN MIESZKA\u0143CE VILLAGE (1933\u20131934) (Summary) ETHNOMUSICOLOGICAL FIELD RESEARCH BY ROMAN PADLEWSKI IN MIESZKA\u0143CE VILLAGE (1933\u20131934) This article is an attempt to reconstruct the ethnomusicological field research conducted in the Vilnius region by Polish composer, violinist, [&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-1901","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1901","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=1901"}],"version-history":[{"count":23,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1901\/revisions"}],"predecessor-version":[{"id":1963,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1901\/revisions\/1963"}],"wp:attachment":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/media?parent=1901"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}