{"id":1925,"date":"2026-02-25T16:36:59","date_gmt":"2026-02-25T16:36:59","guid":{"rendered":"https:\/\/ethnomousikologion.com\/?page_id=1925"},"modified":"2026-02-25T17:01:32","modified_gmt":"2026-02-25T17:01:32","slug":"nr-4-1-2024","status":"publish","type":"page","link":"https:\/\/ethnomousikologion.com\/en\/nr-4-1-2024\/","title":{"rendered":"Nr. 4 (1\/2024)"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"1925\" class=\"elementor elementor-1925\" 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-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\/06\/ETHNO4-FINAL.pdf\">\n\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"1600\" height=\"1078\" src=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/06\/WhatsApp-Image-2025-06-20-at-08.32.20.jpeg\" class=\"attachment-full size-full wp-image-1766\" alt=\"\" srcset=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/06\/WhatsApp-Image-2025-06-20-at-08.32.20.jpeg 1600w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/06\/WhatsApp-Image-2025-06-20-at-08.32.20-300x202.jpeg 300w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/06\/WhatsApp-Image-2025-06-20-at-08.32.20-1024x690.jpeg 1024w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/06\/WhatsApp-Image-2025-06-20-at-08.32.20-768x517.jpeg 768w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/06\/WhatsApp-Image-2025-06-20-at-08.32.20-1536x1035.jpeg 1536w, https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/06\/WhatsApp-Image-2025-06-20-at-08.32.20-18x12.jpeg 18w\" sizes=\"(max-width: 1600px) 100vw, 1600px\" \/>\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\">CONSTAN\u021aA CRISTESCU -  LYRICAL SONG FROM HISTORICAL BUCOVINA. REPRESENTATION IN THE FOLKLORE FUND COLLECTED BY ALEXANDRU VOEVIDCA<\/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>LYRICAL SONG FROM HISTORICAL BUCOVINA. REPRESENTATION IN THE FOLKLORE FUND COLLECTED BY ALEXANDRU VOEVIDCA<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>The folklore fund collected from historical Bucovina, at the beginning of the century. XX, by the teacher Alexandru Voevidca, preserved by the National Library of Romania, illustrates the genuistic, but also stylistic, genre variety of the repertoire performed in the villages and fairs of historical Bucovina (the collection period being 1907-1914). Lyric song is the genre most richly represented in this collection, illustrating the dynamics of the genre in a stylistic mosaic in which one finds both the image of the archaic style preserved in stylistic enclaves, and that of the modern style and of urban influence, present in interesting hybrid embodiments.<\/p><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>C\u00c2NTECUL LIRIC DIN BUCOVINA ISTORIC\u0102. REPREZENTARE \u00ceN FONDUL FOLCLORIC CULES DE ALEXANDRU VOEVIDCA<\/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>Fondul folcloric cules din Bucovina istoric\u0103, la \u00eenceputul sec. XX, de \u00eenv\u0103\u021b\u0103torul Alexandru Voevidca, conservat de Biblioteca Na\u021bional\u0103 a Rom\u00e2niei, ilustreaz\u0103 varietatea genuistic\u0103, dar \u0219i stilistic\u0103 la nivel de gen, a repertoriului performat \u00een satele \u0219i t\u00e2rgurile din Bucovina istoric\u0103 (perioada de culegere fiind 1907-1914). C\u00e2ntecul liric este genul cel mai bogat reprezentat repertorial \u00een acest fond, ilustr\u00e2nd dinamica genului \u00eentr-un mozaic stilistic \u00een care se reg\u0103se\u0219te at\u00e2t imaginea stilului arhaic conservat \u00een enclave stilistice, c\u00e2t \u0219i cea a stilului modern \u0219i de influen\u021b\u0103 urban\u0103, prezent \u00een interesante \u00eentruchip\u0103ri hibride.<\/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>Folklore, Song, Bukovina, collection, style, mode, Stanza<\/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\/2025\/06\/ETHNO4A01Cristescu.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\">VERONIKA P\u00c1SKU - THE IMPORTANCE OF J\u00c1NOS ZERKULA IN THE FOLK MUSIC OF THE GYIMES REGION*<\/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>THE IMPORTANCE OF J\u00c1NOS ZERKULA IN THE FOLK MUSIC OF THE GYIMES REGION*<\/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>J\u00e1nos Zerkula (1927-2008), a fiddler from the Gyimes region, was a wellknown and popular figure in the Hungarian Dance House Movement. His virtuoso violin playing was noticed not only by folk music researchers, but also by enthusiastic folk music lovers of the Dance House Movement, and over nearly five decades he has been collected in an immense number of recordings in a wide variety of collecting situations. He also had the distinction of singing alongside his violin playing, which was not strictly part of the Hungarian folk music tradition. This wealth of collections also provides an opportunity for an in-depth study of his performance style and its changes and is a good example of the importance of source-critical analysis of recordings. In addition to the musical legacy that Zerkula left us, he also trained many students who still transmit the folk music of Gyimes today.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><strong><em>INFLUEN\u021aE ALE SISTEMULUI TONAL-FUNC\u021aIONAL \u00ceN REPERTORIUL C\u00c2NTECULUI DE STEA<\/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\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>J\u00e1nos Zerkula (1927-2008), un l\u0103utar din regiunea Ghime\u0219, a fost o figur\u0103 binecunoscut\u0103 \u0219i popular\u0103 \u00een Mi\u0219carea Caselor de Dans din Ungaria. Virtuozitatea sa violonistic\u0103 a fost remarcat\u0103 nu doar de cercet\u0103tori ai muzicii tradi\u021bionale, ci \u0219i de entuzia\u0219ti iubitori ai muzicii din Mi\u0219carea Caselor de Dans, iar pe parcursul a aproape cinci decenii muzica sa a fost culeas\u0103 \u00eentr-un num\u0103r imens de \u00eenregistr\u0103ri, \u00eentr-o mare varietate de situa\u021bii specifice. Ie\u0219ea totodat\u0103 \u00een eviden\u021b\u0103 prin faptul c\u0103 interpreta vocal acompaniindu-se la vioar\u0103, lucru care nu \u021binea neap\u0103rat de tradi\u021bia muzical\u0103 maghiar\u0103. Aceast\u0103 bog\u0103\u021bie de culegeri ofer\u0103 totodat\u0103 o oportunitate de studiu \u00een profunzime a stilului s\u0103u interpretativ \u0219i a modific\u0103rilor acestuia \u0219i este un bun exemplu pentru importan\u021ba analizei critice a surselor \u00eenregistr\u0103rilor. Pe l\u00e2ng\u0103 mo\u0219tenirea muzical\u0103 l\u0103sat\u0103 de el, Zerkula a instruit de asemenea mul\u021bi discipoli care \u00eenc\u0103 duc mai departe muzica tradi\u021bional\u0103 din Ghime\u0219 \u00een prezent.<\/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>Hungarian folk music, Gyimes, folk fiddler, performance style<\/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\/2025\/06\/ETHNO4A02Pasku.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\">BEATRICE SUCIU - IRISH FOLKLORE \u2013 A SOURCE OF INSPIRATION FOR BENJAMIN BRITTEN\u2019S VOCAL MINIATURES<\/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>IRISH FOLKLORE \u2013 A SOURCE OF INSPIRATION FOR BENJAMIN BRITTEN\u2019S VOCAL MINIATURES<\/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>This article explores the profound influence of Irish folk music on the vocal miniatures of Benjamin Britten, emphasizing its cultural and historical significance. Irish folklore, deeply rooted in centuries-old traditions, encompasses love songs, dances, and legends, embodying a vibrant artistic heritage. The resilience of this musical tradition amidst Ireland&#8217;s tumultuous history\u2014marked by conflict with England and the Great Famine\u2014underscores its role in preserving national identity. Britten\u2019s adaptations of Thomas Moore\u2019s Irish Melodies integrate the melodic and emotional depth of Irish folk music with his unique neoclassical style. Works like &#8222;The Salley Gardens&#8221; reflect his sensitivity to the modal structures, rhythmic intricacies, and lyrical themes inherent in Irish music. This synthesis not only revitalized traditional tunes but also symbolized Britten\u2019s vision of cultural reconciliation. The study highlights the enduring appeal of Irish folklore, illustrating its transformation into a universal artistic legacy through Britten\u2019s compositions, celebrated worldwide for their emotional resonance and cultural significance.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>FOLCLORUL IRLANDEZ \u2013 SURS\u0102 DE INSPIRA\u021aIE PENTRU MINIATURILE VOCALE ALE LUI BENJAMIN BRITTEN<\/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>Acest articol exploreaz\u0103 influen\u021ba profund\u0103 a muzicii folclorice irlandeze asupra miniaturilor vocale ale lui Benjamin Britten, subliniind semnifica\u021bia cultural\u0103 \u0219i istoric\u0103 a acesteia. Folclorul irlandez, profund \u00eenr\u0103d\u0103cinat \u00een tradi\u021bii vechi de secole, cuprinde c\u00e2ntece de dragoste, dansuri \u0219i legende, reprezent\u00e2nd un patrimoniu artistic vibrant. Rezilien\u021ba acestei tradi\u021bii muzicale \u00een contextul istoriei tumultuoase a Irlandei \u2013 marcat\u0103 de conflictele cu Anglia \u0219i de Marea Foamete \u2013 eviden\u021biaz\u0103 rolul s\u0103u \u00een conservarea identit\u0103\u021bii na\u021bionale. Adapt\u0103rile realizate de Britten ale melodiilor irlandeze ale lui Thomas Moore integreaz\u0103 profunzimea melodic\u0103 \u0219i emo\u021bional\u0103 a muzicii folclorice irlandeze cu stilul s\u0103u unic neoclasic. Lucr\u0103ri precum \u201eThe Salley Gardens\u201d reflect\u0103 sensibilitatea sa fa\u021b\u0103 de structurile modale, complicit\u0103\u021bile ritmice \u0219i temele lirice specifice muzicii irlandeze. Aceast\u0103 sintez\u0103 nu doar c\u0103 a revitalizat melodiile tradi\u021bionale, dar a simbolizat \u0219i viziunea lui Britten asupra reconcilierii culturale. Studiul eviden\u021biaz\u0103 atrac\u021bia durabil\u0103 a folclorului irlandez, ilustr\u00e2nd transformarea acestuia \u00eentr-un patrimoniu artistic universal prin compozi\u021biile lui Britten, celebrate la nivel mondial pentru rezonan\u021ba emo\u021bional\u0103 \u0219i semnifica\u021bia cultural\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\">Benjamin Britten, folklore, harp, Irish songs, vocal miniatures, traditional<\/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\/2025\/06\/ETHNO4A03Suciu.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\">L\u00c1SZL\u00d3 N\u00c9METH - TRADITIONAL COBZA ACCOMPANIMENT IN THE FOLK MUSIC OF HUNGARIANS FROM THE SIRET-TAZL\u0102U REGION<\/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>TRADITIONAL COBZA ACCOMPANIMENT IN THE FOLK MUSIC OF HUNGARIANS FROM THE SIRET-TAZL\u0102U REGION<\/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\">Cobza (in Hungarian: koboz) is the most common short-necked lute type in East European folk music. One of its home regions is Moldavia in Eastern Romania, where it was widely used in dance music until the 1950s, as an accompanying instrument paired with a fiddle. The collections captured the playing of nine cobza players from the valleys of the Siret and Tazl\u0103u (in Hungarian: Szeret and T\u00e1zl\u00f3) rivers. Five of them are Moldavian Hungarians and four are gypsy musicians. On the basis of archival recordings of Cluj Folklore Archive of the Romanian Academy and my own fieldwork, I have been working on a reconstruction of the traditional techniques and style of this instrument in that region. One task of the cobza was to reinforce the tonal centre of the tune in a drone-like manner. Secondly, it realized a rhythmic function by repeating and varying a set of motifs based on broken chords, complying with the rhythmic pattern of the respective genre. Thirdly, talented cobza players would also include some fragments of the tune as played by the fiddler, providing an auxiliary melodic function.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>ACOMPANIAMENTUL TRADI\u021aIONAL DE COBZ\u0102 \u00ceN FOLCLORUL MUZICAL AL MAGHIARILOR DIN ZONA SIRET-TAZL\u0102U<\/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\">Cobza (\u00een limba maghiar\u0103: koboz) este cel mai comun tip de l\u0103ut\u0103 cu g\u00e2t scurt din muzica tradi\u021bional\u0103 est-european\u0103. Una din regiunile sale de ba\u0219tin\u0103 este Moldova, \u00een estul Rom\u00e2niei, unde a fost folosit\u0103 frecvent \u00een muzica de joc p\u00e2n\u0103 \u00een anii 1950, drept instrument de acompaniament \u00eenso\u021bind scripca (vioara). Culegerile de folclor au \u00eenregistrat interpret\u0103rile a nou\u0103 cobzari din v\u0103ile r\u00e2urilor Siret \u0219i Tazl\u0103u. Cinci dintre ei sunt ciang\u0103i (catolici de limb\u0103 maghiar\u0103), iar patru sunt muzican\u021bi romi. Pe baza unor \u00eenregistr\u0103ri din Institutul Arhiva de Folclor a Academiei Rom\u00e2ne din Cluj \u0219i cercet\u0103rilor mei de teren, am \u00eenceput s\u0103 lucrez la o reconstituire a tehnicilor \u0219i stilului tradi\u021bionale specifice acestui instrument \u00een aceast\u0103 regiune. Una dintre func\u021biile cobzei era s\u0103 sus\u021bin\u0103 centrul tonal al melodiei prin formule repetitive. \u00cen al doilea r\u00e2nd, \u00eendeplinea o func\u021bie ritmic\u0103 de acompaniament, repet\u00e2nd \u00een mod variat un set de motive bazate pe acorduri arpegiate, respect\u00e2nd formulele ritmice de acompaniament al genului respectiv. \u00cen al treilea r\u00e2nd, cobzarii mai abili obi\u0219nuiau s\u0103 utilizeze \u0219i anumite fragmente de melodie a\u0219a cum erau c\u00e2ntate acestea de scripcari, oferind o func\u021bie melodic\u0103 auxiliar\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>cobza; koboz; Moldavia; source criticism; reconstruction; instrumental folk 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\/2025\/06\/ETHNO4a04Nemeth.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\">ZOYA MIKOVA - THE SOUNDS OF A BULGARIAN VILLAGE - AN ATTEMPT TO RESTORE THE LOCAL MUSICAL AND CULTURAL MEMORY (FOLLOWING THE EXAMPLE OF THE CHRISTMAS AND LAZARUS SONGS FROM THE VILLAGE OF MILKOVITSA, PLEVEN REGION)<\/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 SOUNDS OF A BULGARIAN VILLAGE &#8211; AN ATTEMPT TO RESTORE THE LOCAL MUSICAL AND CULTURAL MEMORY (FOLLOWING THE EXAMPLE OF THE CHRISTMAS AND LAZARUS SONGS FROM THE VILLAGE OF MILKOVITSA, PLEVEN REGION)<\/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\">\u0422he proposed research is a part of a larger study and based on personal field materials from the traditional spiritual and material culture of the village of Milkovitsa, Pleven area. Its main purpose is to present vital materials which illuminate a disappearing local culture from the end of the 20th and the beginning of the 21st century. Based on the documentary records and stories of the respondents, as well as through direct observations, an attempt is made to restore and preserve examples of the musical-cultural memory of a Bulgarian village. The paper further observes the connection between the presented Milkovitsa traditions and the culture of other local communities from Bulgaria and the Balkans. Last but not least, the research shows the adaptation of individual examples in the settlement which under the influence of various modern processes gradually enter the repertoire of the population and displace the local traditional musical culture.<\/p><p class=\"p2\"><strong style=\"font-size: 16px;\">(Rezumat)<\/strong><\/p><\/div><\/div><\/div><\/div><\/div><\/div><p class=\"p1\"><em><strong>SUNETELE UNUI SAT BULG\u0102RESC \u2013 O \u00ceNCERCARE DE RESTAURARE A MEMORIEI MUZICAL-CULTURALE LOCALE (URM\u00c2ND EXEMPLUL C\u00c2NTECELOR DE CR\u0102CIUN \u0218I DE S\u00c2MB\u0102TA LUI LAZ\u0102R DIN SATUL MILKOVI\u021aA, REGIUNEA PLEVNA)<\/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\">Cercetarea propus\u0103 face parte dintr-un studiu mai amplu bazat pe materiale culese personal din teren din cultura tradi\u021bional\u0103 spiritual\u0103 \u0219i material\u0103 a satului Milkovi\u021ba din regiunea Plevna. Scopul principal este prezentarea unor materiale de o importan\u021b\u0103 vital\u0103 care pun \u00een lumin\u0103 o cultur\u0103 local\u0103 aflat\u0103 pe cale de dispari\u021bie de la finalul secolului XX \u0219i \u00eenceputul secolului XXI. Pe baza datelor documentare \u0219i a relat\u0103rilor informatorilor, precum \u0219i a observ\u0103rii directe, realiz\u0103m o \u00eencercare de a restaura \u0219i conserva exemple din memoria muzical-cultural\u0103 a unui sat bulg\u0103resc. Lucrarea analizeaz\u0103 de asemenea leg\u0103tura dintre tradi\u021biile prezentate din Milkovi\u021ba \u0219i cultura altor comunit\u0103\u021bi locale din Bulgaria \u0219i Balcani. \u00cen cele din urm\u0103, dar nu mai pu\u021bin important, studiul descrie adaptarea unor exemple individuale, care, sub influen\u021ba unor diverse procese moderne, intr\u0103 \u00een mod treptat \u00een repertoriul popula\u021biei, disloc\u00e2nd cultura muzical\u0103 local\u0103 tradi\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\">Musical folklore, Carol songs, Lazar songs, Milkovitsa, local musical culture<\/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\/2025\/06\/ETHNO4A05Mikova.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\">FLORINA-DIANA \u021aICLEA - THE C\u0102LU\u0218ARI RITUAL FROM THE OR\u0102\u0218TIE SUBAREA, HUNEDOARA. ASPECTS OF THE DEVELOPMENT OF THE CUSTOM<\/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>THE C\u0102LU\u0218ARI RITUAL FROM THE OR\u0102\u0218TIE SUBAREA, HUNEDOARA. ASPECTS OF THE DEVELOPMENT OF THE CUSTOM<\/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\">One of the oldest, most common and most controversial folk customs in our culture is that of the C\u0103lu\u0219ari. This dance is found in Muntenia and Oltenia, but also in Transylvania and Banat. At the basis of the practice of the custom is a group of men that is highly organized according to certain social rules. However, even if the public considers it just a folk dance, it is more than that, having a sacred role, this dance is a vow that can even become a state of mind. Due to the fact that the C\u0103lu\u0219ari is among the oldest, most interesting, but also most obscure Romanian folklore manifestations, having uncertain origins, it is part of the UNESCO heritage.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>C\u0102LU\u0218ARII DIN SUBZONA OR\u0102\u0218TIE, HUNEDOARA ASPECTE ALE DESF\u0102\u0218UR\u0102RII OBICEIULUI<\/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\">Unul dintre cele mai vechi, mai frecvente \u0219i mai controversate obiceiuri populare din cultura noastr\u0103 este cel al c\u0103lu\u0219arilor. Acest joc este atestat \u00een Muntenia \u0219i Oltenia, dar \u0219i \u00een Transilvania \u0219i Banat. La baza practic\u0103rii obiceiului st\u0103 ceata de b\u0103rba\u021bi care este organizat\u0103 conform cu anumite reguli sociale. Cu toate acestea, chiar dac\u0103 publicul \u00eel consider\u0103 doar un dans popular, acesta este mai mult dec\u00e2t at\u00e2t, av\u00e2nd un rol sacral, acest dans fiind un jur\u0103m\u00e2nt, devenind chiar \u0219i o stare de spirit. Datorit\u0103 faptului c\u0103 se num\u0103r\u0103 printre cele mai vechi, interesante, dar \u0219i obscure manifest\u0103ri folclorice rom\u00e2ne\u0219ti, av\u00e2nd origini incerte, acest obicei face parte din patrimoniul UNESCO.<\/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\">C\u0103lu\u0219ar, Or\u0103\u0219tie, custom, choreography, costume<\/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\/2025\/06\/ETHNO4A06Ticlea.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\">DIANA BUNEA - THE FRAN\u00c7OIS ROUSCHITZKI COLLECTION (1834)<\/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 FRAN\u00c7OIS ROUSCHITZKI COLLECTION (1834)<\/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 growing interest in old musical sources has led us to approach one of the oldest collections of urban folklore known in Romania: 42 Chansons et Danses Moldaves, Valaques, Grecs et Turcs arranged for piano by Fran\u00e7ois Rouschitzki, published in Iasi in 1834 (Fig. 1). In order to provide the audience with a contemporary theoretical and audio vision of this material, the choice was made for an instrumental composition specific to the professional oral tradition &#8211; violin and cobza. The protagonists of the workshop &#8211; Marin Bunea, violin and Victor Botnaru, cobza, started from the idea of reconstructing the \u201coriginal\u201d version of a possible sound source of the melodies included in the collection, offering a performance perspective focused on preserving the essential elements specific to the sound processes of the lute bands of the time. On a theoretical level, the workshop presented a series of new information and theses on the collection and its author, emphasizing that this material can be both a subject of study for researchers and a source of inspiration for musicians.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>COLEC\u021aIA LUI FRAN\u00c7OIS ROUSCHITZKI (1834)<\/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\">Interesul cresc\u00e2nd pentru sursele muzicale vechi ne-a determinat s\u0103 abord\u0103m una din cele mai vechi colec\u021bii de folclor urban cunoscut\u0103 \u00een spa\u021biul rom\u00e2nesc: 42 Chansons et Danses Moldaves, Valaques, Grecs et Turcs aranjate pentru pian de Fran\u00e7ois Rouschitzki, editat\u0103 la Ia\u0219i \u00een 1834 (Fig. 1). \u00cen inten\u021bia de a oferi publicului o viziune teoretic\u0103 \u0219i sonor\u0103 contemporan\u0103 asupra acestui material, s-a optat pentru o componen\u021b\u0103 instrumental\u0103 specific\u0103 profesionalismului de tradi\u021bie oral\u0103 \u2013 vioar\u0103 \u0219i cobz\u0103. Protagoni\u0219tii atelierului \u2013 Marin Bunea, vioar\u0103 \u0219i Victor Botnaru, cobz\u0103, au pornit de la ideea de a reconstitui versiunea \u201eoriginal\u0103\u201d a unei posibile surse sonore a melodiilor inserate \u00een colec\u021bie, oferind o perspectiv\u0103 interpretativ\u0103 axat\u0103 pe p\u0103strarea elementelor esen\u021biale specifice proceselor sonore etalate de forma\u021biile l\u0103ut\u0103re\u0219ti ale epocii. Pe plan teoretic, \u00een cadrul atelierului au fost expuse o serie de noi informa\u021bii \u0219i teze despre colec\u021bie \u0219i autorul acesteia, subliniindu-se faptul c\u0103 acest material poate constitui at\u00e2t un subiect de studiu pentru cercet\u0103tori, c\u00e2t \u0219i o surs\u0103 de inspira\u021bie pentru muzicieni.<\/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=\"p2\">Folklore collections, urban folklore, Fran\u00e7ois Rouschitzki, performing art<\/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\/2025\/06\/ETHNO4A07Bunea.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\">DELIA STOIAN-IRIMIE - ETHNOMUSICOLOGICAL LANDMARKS IN THE FOLKLORE OF THE HUTSULS FROM BUKOVINA<\/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>ETHNOMUSICOLOGICAL LANDMARKS IN THE FOLKLORE OF THE HUTSULS FROM BUKOVINA<\/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\">Over time, the Hutsuls have developed a distinct culture, shaped by the natural environment in which they live and their historical contacts with other peoples. Residing in mountainous areas, they have developed a specific way of life centered around animal husbandry. The Hutsul language is a Ukrainian dialect with various Romanian and Polish influences, and their predominant religion is Orthodox Christianity. Traditional Hutsul music plays an essential role in their lives, being present at all important events, accompanying them from birth to death. Their folklore, along with the traditional instruments they use, contributes to the preservation of their cultural identity. Even today, Hutsul culture continues to stand as a testament to the identity of this people, offering a window into a simple, authentic world where nature, music, and traditions harmoniously intertwine.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>REPERE ETNOMUZICOLOGICE \u00ceN FOLCLORUL HU\u021aULILOR DIN BUCOVINA<\/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\">De-a lungul timpului, hu\u021bulii au avut o cultur\u0103 aparte, care a fost implementat\u0103 datorit\u0103 mediului natural \u00een care tr\u0103iesc \u0219i de contactele istorice cu alte popoare. Locuind \u00een zone montane, ace\u0219tia au dezvoltat un mod de via\u021b\u0103 specific, bazat pe cre\u0219terea animalelor. Limba hu\u021bul\u0103 este un dialect ucrainean cu diverse influen\u021be rom\u00e2ne\u0219ti \u0219i poloneze, iar religia predominant\u0103 este cea ortodox\u0103. Muzica tradi\u021bional\u0103 a hu\u021bulilor joac\u0103 un rol esen\u021bial \u00een via\u021ba acestora, fiind prezent\u0103 \u00een cadrul tuturor evenimentelor importante, \u00eenso\u021bindu-i de la na\u0219tere p\u00e2n\u0103 la moarte. Folclorul acestora, c\u00e2t \u0219i instrumentele tradi\u021bionale pe care le folosesc contribuie la p\u0103strarea identit\u0103\u021bii lor culturale. \u0218i \u00een prezent, cultura hu\u021bul\u0103 continu\u0103 s\u0103 fie o m\u0103rturie a identit\u0103\u021bii acestui popor, oferind o fereastr\u0103 spre o lume simpl\u0103, autentic\u0103 \u00een care natura, muzica \u0219i tradi\u021biile se \u00eempletesc armonios.<\/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=\"p2\">Hutsuls, folklore, Bukovina, folk costume.<\/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\/2025\/06\/ETHNO4A08Irimie.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\">ADRIANA JOZEFINA F\u00daRIKOV\u00c1, ANDRA-DANIELA P\u0102TRA\u0218 - THE CONCEPT OF FEMALE BEAUTY IN SLOVAK TRADITIONAL MUSIC FROM BIHOR AND S\u0102LAJ COUNTIES<\/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>HE CONCEPT OF FEMALE BEAUTY IN SLOVAK TRADITIONAL MUSIC FROM BIHOR AND S\u0102LAJ COUNTIES<\/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\">Through this collaboration we aim to portray the image of female beauty as it appears in the songs of the first half of the 20th century of the Slovak communities in the Bihor and S\u0103laj areas. In this approach, the main object of the research is the traditional Slovak music from Adriana F\u00farikov\u00e1&#8217;s field collections, conducted in several Slovak villages in Bihor-S\u0103laj. We will undertake a literary-musical analysis to capture not only what the concept of feminine beauty means in the local collective mentality, but also to show the complexity of Slovak musical folklore.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>CONCEPTUL DE FRUMUSE\u021aE FEMININ\u0102 \u00ceN MUZICA TRADI\u021aIONAL\u0102 SLOVAC\u0102 DIN JUDE\u021aELE BIHOR \u0218I S\u0102LAJ<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Prin intermediul acestei colabor\u0103ri ne propunem s\u0103 portretiz\u0103m imaginea frumuse\u021bii feminine a\u0219a cum apare \u00een c\u00e2ntecele din prima jum\u0103tate a secolului XX ale comunit\u0103\u021bilor de slovaci din zonele BihorS\u0103laj. \u00cen acest demers, obiectul principal al cercet\u0103rii \u00eel constituie muzica tradi\u021bional\u0103 slovac\u0103 din culegerile de pe teren ale Adrianei F\u00farikov\u00e1, efectuate \u00een mai multe sate din Bihor \u0219i S\u0103laj. Vom \u00eentreprinde o analiz\u0103 literar-muzical\u0103 pentru a surprinde nu doar ce \u00eenseamn\u0103 conceptul de frumuse\u021be feminin\u0103 \u00een mentalitatea colectiv\u0103 local\u0103, ci \u0219i pentru a ar\u0103ta complexitatea folclorului muzical slovac.<\/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=\"p2\">Slovak folklore, minorities, female beauty, Slovaks from Bihor and S\u0103laj<\/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\/2025\/06\/ETHNO4A09Danila.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-12611\" class=\"elementor-tab-title\" data-tab=\"11\" role=\"button\" aria-controls=\"elementor-tab-content-12611\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">IRINA ZAMFIRA D\u0102NIL\u0102 - T\u0102T\u0102RU\u0218I COMMUNE, IA\u0218I COUNTY \u2013 ETHNOMUSICOLOGICAL OBSERVATIONS. RHAPSODIST MARIA PETRI\u0218OR<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-12611\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"11\" role=\"region\" aria-labelledby=\"elementor-tab-title-12611\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p class=\"p2\"><em><strong>T\u0102T\u0102RU\u0218I COMMUNE, IA\u0218I COUNTY \u2013 ETHNOMUSICOLOGICAL OBSERVATIONS. RHAPSODIST MARIA PETRI\u0218OR<\/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\">T\u0103t\u0103ru\u0219i commune in Ia\u0219i county, located in the ethnofolkloric area of the Moldavian Plateau, near Dolhasca in Suceava county, is recognized as one with ancient folkloric traditions. It is where primary school teacher Alexandru Vasiliu-T\u0103t\u0103ru\u0219i (1876-1945) made a name for himself at the end of the 19th century and in the first half of the 20th century. He published a series of collections of literary folklore (fairy tales, riddles, songs, laments, orations &#8211; some of them accompanied by musical transcriptions), highlighting the presence in T\u0103t\u0103ru\u0219i commune of a rich and valuable collection of folklore traditions. The professor and folklorist Pavel Delion (1913-1997) of Ia\u0219i also contributed to the study and publication of important ethnomusicological and musicological material on T\u0103t\u0103ru\u0219i commune between the 7th and 9th decades of the 20th century, thus highlighting the talent of the peasant rhapsodists in the area. One of the representatives of the T\u0103t\u0103ru\u0219i style of singing is Maria Petri\u0219or, born in 1933 in the village of Pietrosu in T\u0103t\u0103ru\u0219i commune. She was trained as a rhapsodist from a very early age, on the basis of an oral training specific to folklore, and then established herself as a performer, singing \u201cat festivals and weddings.\u201d She has outstanding vocal qualities and has preserved her voice over the years. Maria Petrisor\u2019s repertoire is of high quality, with real musical and thematic value. Although the material provided by the recordings is not extensive, the singer\u2019s vocal qualities, still present even at the advanced age of 91, demonstrate real musical talent and a prodigious memory. Maria Petri\u0219or can be considered a valuable bearer of an important part of the spiritual heritage of T\u0103t\u0103ru\u0219i commune.<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><strong>COMUNA T\u0102T\u0102RU\u0218I, JUDE\u021aUL IA\u0218I \u2013 REPERE ETNOMUZICOLOGICE. RAPSODUL MARIA PETRI\u0218OR<\/strong><\/em><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p class=\"p2\">Comuna T\u0103t\u0103ru\u0219i, jude\u021bul Ia\u0219i, situat\u0103 \u00een zona etnofolcloric\u0103 a Podi\u0219ului Moldovei, \u00een apropiere de localitatea Dolhasca din jude\u021bul Suceava, este recunoscut\u0103 ca una cu vechi tradi\u021bii folclorice. \u00cen aceast\u0103 localitate s-a f\u0103cut remarcat printr-o activitate sus\u021binut\u0103, la sf\u00e2r\u0219itul secolului XIX \u0219i \u00een prima jum\u0103tate a secolului XX, \u00eenv\u0103\u021b\u0103torul Alexandru Vasiliu-T\u0103t\u0103ru\u0219i (1876-1945). Acesta a publicat o serie de culegeri de folclor literar (basme, ghicitori, c\u00e2ntece, bocete, ur\u0103turi \u2013 unele \u00eenso\u021bite \u0219i de transcrieri muzicale), relief\u00e2nd prezen\u021ba \u00een comuna T\u0103t\u0103ru\u0219i a unui bogat fond de tradi\u021bii folclorice, de mare valoare. De asemenea, \u0219i profesorul \u0219i folcloristul ie\u0219ean Pavel Delion (1913-1997) a contribuit, \u00een deceniile 7-9 ale secolului XX, la studierea \u0219i publicarea unui important material etnomuzicologic cu privire la comuna T\u0103t\u0103ru\u0219i, eviden\u021biind astfel talentul rapsozilor \u021b\u0103rani de aici. Unul dintre reprezentan\u021bii c\u00e2ntecului t\u0103t\u0103ru\u0219an este Maria Petri\u0219or, n\u0103scut\u0103 \u00een 1933 \u00een satul Pietrosu din comuna T\u0103t\u0103ru\u0219i. Ea s-a format ca rapsod \u00eenc\u0103 din tinere\u021be, pe baza \u00eenv\u0103\u021b\u0103rii orale specifice folclorului, \u0219i apoi s-a afirmat \u00een calitate de interpret\u0103, c\u00e2nt\u00e2nd \u201epe la festivaluri \u0219i pe la nun\u021bi\u201d. Are calit\u0103\u021bi vocale deosebite \u0219i \u0219i-a p\u0103strat vocea \u00een timp. Repertoriul rapsodului Maria Petri\u0219or este unul de calitate, cu real\u0103 valoare muzical\u0103 \u0219i tematic\u0103. Chiar dac\u0103 materialul pus la dispozi\u021bie prin \u00eenregistr\u0103ri nu este extins, calit\u0103\u021bile vocale ale interpretei, \u00eenc\u0103 prezente \u0219i la \u00eenaintata v\u00e2rst\u0103 de 91 ani, demonstreaz\u0103 un talent muzical autentic \u0219i o memorie prodigioas\u0103, Maria Petri\u0219or put\u00e2nd fi considerat\u0103 o valoroas\u0103 persoan\u0103 resurs\u0103 a unei importante p\u0103r\u021bi a patrimoniului spiritual al comunei T\u0103t\u0103ru\u0219i.<\/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=\"p2\">T\u0103t\u0103ru\u0219i commune, ethnofolkloric area of the Moldavian Plateau, rural folklore, Romanian folklorists, Maria Petri\u0219or<\/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\/2025\/06\/ETHNO4A10Furikova_Patras.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. 4 (1\/2024) Download Click pe copert\u0103 pentru a citi Autori CONSTAN\u021aA CRISTESCU &#8211; LYRICAL SONG FROM HISTORICAL BUCOVINA. REPRESENTATION IN THE FOLKLORE FUND COLLECTED BY ALEXANDRU VOEVIDCA (Summary) LYRICAL SONG FROM HISTORICAL BUCOVINA. REPRESENTATION IN THE FOLKLORE FUND COLLECTED BY ALEXANDRU VOEVIDCA The folklore fund collected from historical Bucovina, at the beginning of the [&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-1925","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1925","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=1925"}],"version-history":[{"count":31,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1925\/revisions"}],"predecessor-version":[{"id":1958,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/1925\/revisions\/1958"}],"wp:attachment":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/media?parent=1925"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}