{"id":834,"date":"2024-02-24T00:55:16","date_gmt":"2024-02-24T00:55:16","guid":{"rendered":"https:\/\/ethnomousikologion.com\/?page_id=834"},"modified":"2026-02-25T17:04:57","modified_gmt":"2026-02-25T17:04:57","slug":"ultimul-numar","status":"publish","type":"page","link":"https:\/\/ethnomousikologion.com\/en\/ultimul-numar\/","title":{"rendered":"Current issue"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"834\" class=\"elementor elementor-834\" data-elementor-post-type=\"page\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7b5264e4 e-flex e-con-boxed e-con e-parent\" data-id=\"7b5264e4\" 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-5df4bac2 elementor-widget elementor-widget-ha-page-title happy-addon ha-page-title\" data-id=\"5df4bac2\" data-element_type=\"widget\" data-widget_type=\"ha-page-title.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"ha-page-title elementor-size-default\">Current issue<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-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-9624e82 elementor-widget elementor-widget-ha-pdf-view happy-addon ha-pdf-view\" data-id=\"9624e82\" data-element_type=\"widget\" data-widget_type=\"ha-pdf-view.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t        <div class=\"pdf_viewer_container\">\n            <div class=\"pdf_viewer_options viewer-9624e82\" data-pdf-settings=\"{&quot;unique_id&quot;:&quot;viewer-9624e82&quot;,&quot;pdf_url&quot;:&quot;https:\\\/\\\/ethnomousikologion.com\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/ETHNO6-BUN-20251021C_Flattened.pdf&quot;,&quot;file_type&quot;:&quot;upload_file&quot;,&quot;page_number&quot;:&quot;1&quot;,&quot;width&quot;:&quot;%&quot;,&quot;height&quot;:&quot;px&quot;}\">\n\t\t\t\t<span class=\"ha-title-flex\">\n\t\t\t\t\t<span class=\"pdf-icon\">\n\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-file-pdf\"><\/i>\t\t\t\t\t<\/span>\n\t\t\t\t\t<h2 class=\"ha-pdf-title\">Nr. 6 (1\/2025)<\/h2>\t\t\t\t<\/span>\n\t\t\t\t                <div class=\"pdf-button\">\n                <a href=\"https:\/\/ethnomousikologion.com\/wp-content\/uploads\/2025\/10\/ETHNO6-BUN-20251021C_Flattened.pdf\" class=\"ha-btn\" download title=\"Nr. 6 (1\/2025)\">Download<\/a>                <\/div>\n            <\/div>\n            \n\t\t\t<div>\n\t\t\t\t<div id=\"viewer-9624e82\"><\/div>\n\t\t\t<\/div>\n\t\t\t\n        <\/div>\n        \t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-3fa40f5 e-flex e-con-boxed e-con e-parent\" data-id=\"3fa40f5\" data-element_type=\"container\" data-settings=\"{&quot;content_width&quot;:&quot;boxed&quot;,&quot;_ha_eqh_enable&quot;:false}\" data-core-v316-plus=\"true\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1463787 elementor-widget elementor-widget-image\" data-id=\"1463787\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! 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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-9011\" class=\"elementor-tab-title\" data-tab=\"1\" role=\"button\" aria-controls=\"elementor-tab-content-9011\" 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-9011\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"region\" aria-labelledby=\"elementor-tab-title-9011\"><\/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-9012\" class=\"elementor-tab-title\" data-tab=\"2\" role=\"button\" aria-controls=\"elementor-tab-content-9012\" 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-9012\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"region\" aria-labelledby=\"elementor-tab-title-9012\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><strong><em>LYRICAL SONG FROM HISTORICAL BUCOVINA. REPRESENTATION IN THE FOLKLORE FUND COLLECTED BY ALEXANDRU VOEVIDCA<\/em><\/strong><\/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\"><strong><em>C\u00c2NTECUL LIRIC DIN BUCOVINA ISTORIC\u0102. REPREZENTARE \u00ceN FONDUL FOLCLORIC CULES DE ALEXANDRU VOEVIDCA<\/em><\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>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-9013\" class=\"elementor-tab-title\" data-tab=\"3\" role=\"button\" aria-controls=\"elementor-tab-content-9013\" 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-9013\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"region\" aria-labelledby=\"elementor-tab-title-9013\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><strong><em>THE IMPORTANCE OF J\u00c1NOS ZERKULA IN THE FOLK MUSIC OF THE GYIMES REGION*<\/em><\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>J\u00e1nos Zerkula (1927-2008), a fiddler from the Gyimes region, was a well- known 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>IMPORTAN\u021aA LUI J\u00c1NOS ZERKULA \u00ceN MUZICA TRADI\u021aIONAL\u0102 DIN REGIUNEA GHIME\u0218<\/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 discipol<\/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\">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-9014\" class=\"elementor-tab-title\" data-tab=\"4\" role=\"button\" aria-controls=\"elementor-tab-content-9014\" 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-9014\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"4\" role=\"region\" aria-labelledby=\"elementor-tab-title-9014\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p><strong><em>IRISH FOLKLORE \u2013 A SOURCE OF INSPIRATION FOR BENJAMIN BRITTEN\u2019S VOCAL MINIATURES<\/em><\/strong><\/p><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><div class=\"page\" title=\"Page 1\"><div class=\"layoutArea\"><div class=\"column\"><p>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><b>FOLCLORUL IRLANDEZ \u2013 SURS\u0102 DE INSPIRA\u021aIE PENTRU MINIATURILE VOCALE ALE LUI BENJAMIN BRITTEN<\/b><\/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-9015\" class=\"elementor-tab-title\" data-tab=\"5\" role=\"button\" aria-controls=\"elementor-tab-content-9015\" 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-9015\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"5\" role=\"region\" aria-labelledby=\"elementor-tab-title-9015\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p class=\"p2\"><strong><i>TRADITIONAL COBZA ACCOMPANIMENT IN THE FOLK MUSIC OF HUNGARIANS FROM THE SIRET-TAZL\u0102U REGION<\/i><\/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\">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 t<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><b>ACOMPANIAMENTUL TRADI\u021aIONAL DE COBZ\u0102 \u00ceN FOLCLORUL MUZICAL AL MAGHIARILOR DIN ZONA SIRET-TAZL\u0102U<\/b><\/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 class=\"p1\">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-9016\" class=\"elementor-tab-title\" data-tab=\"6\" role=\"button\" aria-controls=\"elementor-tab-content-9016\" 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-9016\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"6\" role=\"region\" aria-labelledby=\"elementor-tab-title-9016\"><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><b>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)<\/b><\/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-9017\" class=\"elementor-tab-title\" data-tab=\"7\" role=\"button\" aria-controls=\"elementor-tab-content-9017\" 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-9017\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"7\" role=\"region\" aria-labelledby=\"elementor-tab-title-9017\"><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><b>C\u0102LU\u0218ARII DIN SUBZONA OR\u0102\u0218TIE, HUNEDOARA ASPECTE ALE DESF\u0102\u0218UR\u0102RII OBICEIULUI<\/b><\/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-9018\" class=\"elementor-tab-title\" data-tab=\"8\" role=\"button\" aria-controls=\"elementor-tab-content-9018\" 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-9018\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"8\" role=\"region\" aria-labelledby=\"elementor-tab-title-9018\"><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<\/p><\/div><\/div><\/div><\/div><\/div><\/div><p><strong>(Rezumat)<\/strong><\/p><p class=\"p1\"><em><b>COLEC\u021aIA LUI FRAN\u00c7OIS ROUSCHITZKI (1834)<\/b><\/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=\"p1\">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-9019\" class=\"elementor-tab-title\" data-tab=\"9\" role=\"button\" aria-controls=\"elementor-tab-content-9019\" 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-9019\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"9\" role=\"region\" aria-labelledby=\"elementor-tab-title-9019\"><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><b>REPERE ETNOMUZICOLOGICE \u00ceN FOLCLORUL HU\u021aULILOR DIN BUCOVINA<\/b><\/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=\"p1\">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-90110\" class=\"elementor-tab-title\" data-tab=\"10\" role=\"button\" aria-controls=\"elementor-tab-content-90110\" 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-90110\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"10\" role=\"region\" aria-labelledby=\"elementor-tab-title-90110\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p class=\"p2\"><strong><i>T\u0102T\u0102RU\u0218I COMMUNE, IA\u0218I COUNTY \u2013 ETHNOMUSICOLOGICAL OBSERVATIONS. RHAPSODIST MARIA PETRI\u0218OR<\/i><\/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\">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.<\/p><p class=\"p2\">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><b>COMUNA T\u0102T\u0102RU\u0218I, JUDE\u021aUL IA\u0218I \u2013 REPERE ETNOMUZICOLOGICE. RAPSODUL MARIA PETRI\u0218OR<\/b><\/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.<\/p><p class=\"p2\">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=\"p1\">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<div class=\"elementor-accordion-item\">\n\t\t\t\t\t<div id=\"elementor-tab-title-90111\" class=\"elementor-tab-title\" data-tab=\"11\" role=\"button\" aria-controls=\"elementor-tab-content-90111\" aria-expanded=\"false\">\n\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"elementor-accordion-title\" tabindex=\"0\">F\u00daRIKOV\u00c1, 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-90111\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"11\" role=\"region\" aria-labelledby=\"elementor-tab-title-90111\"><p class=\"s4\"><strong><span class=\"s2\">(Summary)<\/span><\/strong><\/p><p class=\"p2\"><strong><i>THE CONCEPT OF FEMALE BEAUTY IN SLOVAK TRADITIONAL MUSIC FROM BIHOR AND S\u0102LAJ COUNTIES<\/i><\/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\">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><b>CONCEPTUL DE FRUMUSE\u021aE FEMININ\u0102 \u00ceN MUZICA TRADI\u021aIONAL\u0102 SLOVAC\u0102 DIN JUDE\u021aELE BIHOR \u0218I S\u0102LAJ<\/b><\/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 Bihor- S\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=\"p1\">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\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<div class=\"elementor-element elementor-element-99e686c e-flex e-con-boxed e-con e-parent\" data-id=\"99e686c\" 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-f7b072a elementor-widget elementor-widget-accordion\" data-id=\"f7b072a\" data-element_type=\"widget\" data-widget_type=\"accordion.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\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-2591\" class=\"elementor-tab-title\" data-tab=\"1\" role=\"button\" aria-controls=\"elementor-tab-content-2591\" 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-2591\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"region\" aria-labelledby=\"elementor-tab-title-2591\"><\/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-2592\" class=\"elementor-tab-title\" data-tab=\"2\" role=\"button\" aria-controls=\"elementor-tab-content-2592\" 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-2592\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"region\" aria-labelledby=\"elementor-tab-title-2592\"><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-2593\" class=\"elementor-tab-title\" data-tab=\"3\" role=\"button\" aria-controls=\"elementor-tab-content-2593\" 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-2593\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"region\" aria-labelledby=\"elementor-tab-title-2593\"><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-2594\" class=\"elementor-tab-title\" data-tab=\"4\" role=\"button\" aria-controls=\"elementor-tab-content-2594\" 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-2594\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"4\" role=\"region\" aria-labelledby=\"elementor-tab-title-2594\"><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-2595\" class=\"elementor-tab-title\" data-tab=\"5\" role=\"button\" aria-controls=\"elementor-tab-content-2595\" 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-2595\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"5\" role=\"region\" aria-labelledby=\"elementor-tab-title-2595\"><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-2596\" class=\"elementor-tab-title\" data-tab=\"6\" role=\"button\" aria-controls=\"elementor-tab-content-2596\" 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-2596\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"6\" role=\"region\" aria-labelledby=\"elementor-tab-title-2596\"><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-2597\" class=\"elementor-tab-title\" data-tab=\"7\" role=\"button\" aria-controls=\"elementor-tab-content-2597\" 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-2597\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"7\" role=\"region\" aria-labelledby=\"elementor-tab-title-2597\"><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-2598\" class=\"elementor-tab-title\" data-tab=\"8\" role=\"button\" aria-controls=\"elementor-tab-content-2598\" 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-2598\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"8\" role=\"region\" aria-labelledby=\"elementor-tab-title-2598\"><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-2599\" class=\"elementor-tab-title\" data-tab=\"9\" role=\"button\" aria-controls=\"elementor-tab-content-2599\" 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-2599\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"9\" role=\"region\" aria-labelledby=\"elementor-tab-title-2599\"><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-25910\" class=\"elementor-tab-title\" data-tab=\"10\" role=\"button\" aria-controls=\"elementor-tab-content-25910\" 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-25910\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"10\" role=\"region\" aria-labelledby=\"elementor-tab-title-25910\"><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>Ultimul num\u0103r Nr. 6 (1\/2025) 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 [&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-834","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/834","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=834"}],"version-history":[{"count":184,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/834\/revisions"}],"predecessor-version":[{"id":1970,"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/pages\/834\/revisions\/1970"}],"wp:attachment":[{"href":"https:\/\/ethnomousikologion.com\/en\/wp-json\/wp\/v2\/media?parent=834"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}