Yearbook for Traditional Music, 16, 1984

Abstract: Summary. Herding music constitutes a particular tradition within Scandinavian folk music. It has very specific functions and belongs to a soundscape of its own. The results of this investigation show that it is also distinct from other types of singing with regard to phonatory, articulatory and acoustic characteristics. Throughout the pitch range, fundamental frequency is a decisive factor in determining subglottic pressure, jaw and lip opening, tongue shape, and larynx height. Also, the pharynx is increasingly constricted with rising fundamental frequency. Acoustically, the formant frequencies show characteristics distinct from other types of singing studied previously. The first formant is tuned to a frequency close to the fundamental throughout the pitch range, while the second, third, and fourth formants remain in the vicinity of 1700, 3000, and 4000 Hz, regardless of fundamental frequency. The resulting sound pressure level is very high--up to 105 dB at a microphone distance of one meter. Obviously, the aim of the kulning--to reach optimum loudness at high pitches--is efficiently achieved through an unconventional use of the vocal organ--a usage which contradicts in many ways what is usually recommended in traditional Western voice training. Since kulning is reported to cause no harm to the voice, it seems to represent an effective way to vocal economy that differs in most aspects not only from that developed in, for instance, opera singing but also from the "ordinary" folk song technique of this region. The physiological aspect and its relevance for ethnomusicology Although this investigation is very limited, it demonstrates the possibility of mapping physiological characteristics of vocal technique within a particular folk song style. The methods used here should, no doubt, be applicable to other song styles as well. I also want to emphasize that we have exploited only a few of the experimental techniques available. Within the diverse song styles of different cultures, alternative vocal techniques which fulfil the specific demands of different functions and esthetic ideals have been developed. With the blurring of boundaries that separate cultures and music traditions, this diversity of vocal techniques is rapidly diminishing. New ones are developing, particularly in connection with the use of the microphone, but many may be extinct before we even know that they existed. Physiological investigations of the more traditional vocal styles as well as the new ones, would give us a better understanding of the extraordinary capacity of the voice as a musical instrument. As far as I can see, this is a field for fruitful teamwork between musicologists, physiologists, acousticians and other specialists. Musicologists can make important contributions through problem formulation, choice of material and, not least, by placing investigations of an experimental and descriptive character in a broader context, by relating questions of how to questions of why. Why do they sing like this, why do they use their voices in this way? What are the relations between the vocal technique and the purpose of the music, the social context, the sound ideal of the culture, and so forth. These are challenging questions waiting for answers. ROSTFYSIOLOGI OCH MUSIKETNOLOGI Fysiologiska och akustiska undersokningar av svensk fabodsang. Studiet av folkliga musikinstrument ar sedan lange en viktig forskningsgren inom musiketnologin. Men organologiska undersokningar av det vanligaste av alla instrument--den manskliga rosten--ar overraskande fa och var kunskap om rostorganens anvandning inom skilda musiktraditioner ar synnerligen begransad. Den val etablerade rostfysiologiska forskningen har a sin sida mestadels inriktats pa studiet av sangare med vasterlandsk konstmusikalisk skolning, inkluderande komparativa studier av professionella sangare och amatorer. Den undersokning som har redovisas, skall darfor snarast ses som en pilotstudie, vars primara malsattning varit att klarlagga viktiga fysiologiska och akustiska karakteristika inom en viss folklig vokalstil, men dar samtidigt en viktig uppgift varit att prova olika experimentella metoders anvandbarhet vid studiet av ett musiketnologiskt material. Vid de skandinaviska fabodarna utgor musiken ett effektivt redskap vid skotseln av djuren. Det ar en utomhusmusik, som skall tjana som kommunikation over valdiga avstand. For detta andamal har en speciell sangstil (den s. k. kulningen) utvecklats. I denna studie har undersokts hur rostorganen anvands vid kulning och provats i vad man denna teknik skiljer sig fran "vanlig" folklig sangteknik hos en och samma forsoksperson. I samarbete med prof. J. Sundberg vid Kungl. Tekniska hogskolan, Stockholm samt docent H. F. Wildbrand vid Akademiska sjukhuset, Uppsala har flera experiment genomforts; bl. a. matningar av det subglottala trycket, rontgenundersokningar av artikulationsorganen samt matningar av formantfrekvenserna vid kulning. Forsoksperson var Karin Edvardsson-Johansson fran Transtrand, Dalarna. Resultaten visar markanta skillnader bade vad galler fonation, artikulation och akustiska kvaliteter mellan de bada sangsatten hos var forsoksperson. Hennes kulningsteknik avviker ocksa fran vad som tidigare konstaterats om artikulationen vid joddling (Luchsinger 1942). Det tycks vara sa, att fabodmusikens speciella funktionskrav lett till att en sangteknik utvecklats, vilken pa flera satt gar stick i stav med vad som brukar rekommenderas vid sangutbildning, men som ar ytterst effektiv for sitt andamal och samtidigt skonsam for rosten. Undersokningsresultaten visar saledes att det ar fullt mojligt att klarlagga viktiga fysiologiska och akustiska kvaliteter inom en speciell vokaltradition. I ett vidare etnologiskt sammanhang kan rostfysiologiska undersokningar av experimentell, deskriptiv karaktar bilda utgangspunkt for fruktbara studier av sambanden mellan en viss sangteknik, den musikaliska strukturen, musikens sociala sammanhang, dess funktion och andra viktiga yttre betingelser.

Abstract: Summary. Herding music constitutes a particular tradition within Scandinavian folk music. It has very specific functions and belongs to a soundscape of its own. The results of this investigation show that it is also distinct from other types of singing with regard to phonatory, articulatory and acoustic characteristics. Throughout the pitch range, fundamental frequency is a decisive factor in determining subglottic pressure, jaw and lip opening, tongue shape, and larynx height. Also, the pharynx is increasingly constricted with rising fundamental frequency. Acoustically, the formant frequencies show characteristics distinct from other types of singing studied previously. The first formant is tuned to a frequency close to the fundamental throughout the pitch range, while the second, third, and fourth formants remain in the vicinity of 1700, 3000, and 4000 Hz, regardless of fundamental frequency. The resulting sound pressure level is very high--up to 105 dB at a microphone distance of one meter. Obviously, the aim of the kulning--to reach optimum loudness at high pitches--is efficiently achieved through an unconventional use of the vocal organ--a usage which contradicts in many ways what is usually recommended in traditional Western voice training. Since kulning is reported to cause no harm to the voice, it seems to represent an effective way to vocal economy that differs in most aspects not only from that developed in, for instance, opera singing but also from the "ordinary" folk song technique of this region. The physiological aspect and its relevance for ethnomusicology Although this investigation is very limited, it demonstrates the possibility of mapping physiological characteristics of vocal technique within a particular folk song style. The methods used here should, no doubt, be applicable to other song styles as well. I also want to emphasize that we have exploited only a few of the experimental techniques available. Within the diverse song styles of different cultures, alternative vocal techniques which fulfil the specific demands of different functions and esthetic ideals have been developed. With the blurring of boundaries that separate cultures and music traditions, this diversity of vocal techniques is rapidly diminishing. New ones are developing, particularly in connection with the use of the microphone, but many may be extinct before we even know that they existed. Physiological investigations of the more traditional vocal styles as well as the new ones, would give us a better understanding of the extraordinary capacity of the voice as a musical instrument. As far as I can see, this is a field for fruitful teamwork between musicologists, physiologists, acousticians and other specialists. Musicologists can make important contributions through problem formulation, choice of material and, not least, by placing investigations of an experimental and descriptive character in a broader context, by relating questions of how to questions of why. Why do they sing like this, why do they use their voices in this way? What are the relations between the vocal technique and the purpose of the music, the social context, the sound ideal of the culture, and so forth. These are challenging questions waiting for answers. RÖSTFYSIOLOGI OCH MUSIKETNOLOGI Fysiologiska och akustiska undersökningar av svensk fäbodsång. Studiet av folkliga musikinstrument är sedan länge en viktig forskningsgren inom musiketnologin. Men organologiska undersökningar av det vanligaste av alla instrument--den mänskliga rösten--är överraskande få och vår kunskap om röstorganens användning inom skilda musiktraditioner är synnerligen begränsad. Den väl etablerade röstfysiologiska forskningen har å sin sida mestadels inriktats på studiet av sångare med västerländsk konstmusikalisk skolning, inkluderande komparativa studier av professionella sångare och amatörer. Den undersökning som här redovisas, skall därför snarast ses som en pilotstudie, vars primära målsättning varit att klarlägga viktiga fysiologiska och akustiska karakteristika inom en viss folklig vokalstil, men där samtidigt en viktig uppgift varit att pröva olika experimentella metoders användbarhet vid studiet av ett musiketnologiskt material. Vid de skandinaviska fäbodarna utgör musiken ett effektivt redskap vid skötseln av djuren. Det är en utomhusmusik, som skall tjäna som kommunikation över väldiga avstånd. För detta ändamål har en speciell sångstil (den s. k. kulningen) utvecklats. I denna studie har undersökts hur röstorganen används vid kulning och prövats i vad mån denna teknik skiljer sig från "vanlig" folklig sångteknik hos en och samma försöksperson. I samarbete med prof. J. Sundberg vid Kungl. Tekniska högskolan, Stockholm samt docent H. F. Wildbrand vid Akademiska sjukhuset, Uppsala har flera experiment genomförts; bl. a. mätningar av det subglottala trycket, röntgenundersökningar av artikulationsorganen samt mätningar av formantfrekvenserna vid kulning. Försöksperson var Karin Edvardsson-Johansson från Transtrand, Dalarna. Resultaten visar markanta skillnader både vad gäller fonation, artikulation och akustiska kvaliteter mellan de båda sångsätten hos vår försöksperson. Hennes kulningsteknik avviker också från vad som tidigare konstaterats om artikulationen vid joddling (Luchsinger 1942). Det tycks vara så, att fäbodmusikens speciella funktionskrav lett till att en sångteknik utvecklats, vilken på flera sätt går stick i stäv med vad som brukar rekommenderas vid sångutbildning, men som är ytterst effektiv för sitt ändamål och samtidigt skonsam för rösten. Undersökningsresultaten visar sȧledes att det är fullt möjligt att klarlägga viktiga fysiologiska och akustiska kvaliteter inom en speciell vokaltradition. I ett vidare etnologiskt sammanhang kan röstfysiologiska undersökningar av experimentell, deskriptiv karaktär bilda utgångspunkt för fruktbara studier av sambanden mellan en viss sångteknik, den musikaliska strukturen, musikens sociala sammanhang, dess funktion och andra viktiga yttre betingelser.

Abstract: .[final mem][yod][resh][gimmel][he][mem] [tav][vav][bet][resh][het][bet] [he][qof][yod][samech][vav][mem][he] [yod][yod][het] [lamed][shin] [he][yod][tsadi][zayin][yod][nun][bet][resh][vav][alef]-[he][resh] :[lamed][alef][resh][shin][yod][bet] [he][pe][vav][resh][yod][alef] [zayin][kaf][resh][mem] [yod][dalet][vav][he][yod] [vav][mem][lamed][he][vav][bet] [pe][yod][lamed][yod][pe]. [lamed][alef][resh][shin][yod] [final tsadi][resh][alef][bet] [bet][shin][yod][tav][he][lamed][vav] [tav][vav][lamed][ayin][lamed] [he][pe][vav][resh][yod][alef] [zayin][kaf][resh][final mem] [yod][alef][tsadi][vav][yod] [tav][yod][shin][yod][final mem][het][he] [he][yod][lamed][ayin][he] [yod][shin][nun][alef] [vav][lamed][het][he] [resh][shin][alef][kaf][final mem][he] .[final mem][alef][tsadi][vav][mem] [final tsadi][resh][alef][bet] [vav][bet][zayin][ayin][shin] [vav][zayin][mem] [final nun][yod][tet][vav][lamed][het][lamed] [he][nun][vav][shin] [tav][vav][alef][yod][tsadi][final mem][bet] [vav][shin][gimmel][pe] [final mem][he] ,[final mem][yod][shin][vav][lamed][shin][he] [tav][vav][nun][shin][bet] [alef][lamed] [he][bet] [final tsadi][resh][alef] [lamed][alef] [vav][alef][bet][vav] ,[final mem][yod][resh][shin][ayin][he] [tav][vav][nun][shin][bet] [he][resh][yod][he][final mem] [he][het][yod][resh][pe] [he][ayin][dalet][yod][shin] [tav][yod][nun][bet][resh][vav][alef] [tav][vav][bet][resh][tav] [vav][bet][zayin][ayin] [tav][yod][nun][bet][resh][vav][alef] [he][resh][bet][het] [lamed][alef][resh][shin][yod] [final tsadi][resh][alef][bet] [resh][vav][tsadi][yod][lamed] [vav][tet][yod][lamed][het][he] ,[bet][ayin][yod][gimmel][he] [bet][ayin] .[vav][ayin][dalet][yod][shin] [he][mem][final mem] [resh][bet][dalet] [he][yod][he] [he][bet][resh] [he][ayin][pe][he] [he][tav][yod][he] [vav][lamed][alef] [final mem][yod][dalet][tsadi][lamed] .[bet][vav][shin][yod][he] [lamed][shin] [tav][yod][dalet][samech][final mem][final mem][he] [tav][yod][tav][shin][tav][he] [tav][mem][qof][he][bet] [dalet][yod][mem] [vav][lamed][het][he][vav] [he][bet][resh] [he][ayin][pe][shin][he] [he][tav][yod][he] [vav][lamed][alef] [final mem][yod][dalet][ayin][tsadi][lamed] .[bet][vav][shin][yod][he] [lamed][shin] [tav][yod][dalet][samech][final mem][he] [tav][yod][tav][shin][tav][he] [tav][mem][qof][he][bet] [dalet][yod][mem] [vav][lamed][het][he][vav] .[final mem][yod][lamed][vav][ayin][he] [lamed][shin] [he][qof][yod][samech][vav][mem][he] [yod][yod][het] [lamed][ayin]. [he][yod][bet][shin][vav][tav] [lamed][shin] [he][qof][yod][samech][vav][mem][he] [tav][vav][bet][resh][tav][bet] [yod][tav][resh][he][mem] [yod][vav][nun][shin] [he][ayin][dalet][yod] ,[final mem][yod][shin][vav][lamed][shin][he] [tav][vav][nun][shin][bet] [lamed][alef][resh][shin][yod] [final tsadi][resh][alef] [tav][vav][nun][vav][shin] [tav][vav][yod][lamed][qof][yod][samech][vav][mem] [tav][vav][resh][vav][samech][mem] [lamed][shin] [shin][gimmel][pe][mem] ,[final mem][yod][lamed][vav][ayin][he] [final mem][yod][alef][qof][yod][samech][vav][final mem][he] [resh][pe][samech][bet] [lamed][vav][dalet][yod][gimmel] [tav][vav][bet][qof][ayin][bet] ,[final mem][yod][nun][shin] [resh][shin][ayin][mem] [tav][bet][het][pe] [lamed][shin] [he][pe][vav][qof][tav][bet] ,[dalet][kaf][vav] .[he][qof][yod][samech][vav][final mem][he] [tav][vav][dalet][samech][final mem] [lamed][shin] [tav][yod][nun][vav][gimmel][resh][alef][he] [tav][yod][he][shin][tav][he] [dalet][vav][samech][yod][vav] [vav][mem][qof][vav][he] ([final mem][yod][yod][qof][tav][he][lamed] [vav][lamed][kaf][yod] [alef][lamed] [final kaf][kaf][lamed] [final mem][dalet][vav][qof] [resh][shin][alef]) [final mem][yod][lamed][shin][vav][resh][yod][bet][vav] [bet][yod][bet][alef]-[lamed][tav][bet] [tav][vav][resh][vav][mem][zayin][tav] [vav][mem][qof][vav][he] .[final mem][yod][yod][resh][mem][alef][qof] [final mem][yod][dalet][kaf][resh][he][bet] [resh][alef][shin][he] [final kaf][yod][bet] [final kaf][mem][tav] [resh][shin][alef] [yod][resh][bet][ayin][he] [resh][vav][dalet][yod][shin][he] [tav][vav][resh][shin] [final mem][qof][vav][he][vav] [he][qof][yod][samech][vav][mem][lamed] [resh][pe][samech] [yod][alef][bet] [final mem][yod][resh][ayin][bet] [vav][kaf][resh][ayin][nun][shin] [final mem][yod][tet][resh][tsadi][nun][vav][qof][he] [resh][pe][samech][mem] [dalet][yod][ayin][final mem][shin] [yod][pe][kaf] [vav][het][resh][pe] [final mem][yod][yod][nun][vav][resh][yod][ayin][he] [final mem][yod][zayin][kaf][resh][mem][bet] [he][qof][yod][samech][vav][mem][he] [yod][yod][het] [tav][alef] [resh][het][alef][lamed] ,[he][pe][vav][resh][yod][alef] [zayin][kaf][resh][mem] [yod][lamed][resh][ayin] [bet][resh][qof][mem] [final mem][yod][nun][yod][het][lamed][mem][he] [vav][samech][yod][nun] ,[resh][kaf][lamed] [final pe][samech][vav][nun][bet] .[tav][vav][lamed][vav][dalet][gimmel][he] .[resh][vav][zayin][alef][he] [tav][vav][bet][resh][tav] [tav][alef] [final pe][qof][shin][tav] [resh][shin][alef] [he][shin][dalet][het] [he][qof][yod][samech][tav][samech][alef] [resh][vav][tsadi][yod][lamed][vav] [tav][vav][nun][vav][shin][he] [tav][vav][yod][lamed][qof][yod][samech][vav][mem][he] [tav][vav][resh][vav][samech][mem][he]. [yod][vav][nun][shin][he] [final kaf][yod][lamed][he][tav] [tav][alef] [resh][yod][bet][samech][he][lamed][vav] [resh][alef][tav][lamed] [yod][dalet][kaf] '[he][yod][tsadi][zayin][yod][nun][bet][resh][vav][alef]-[he][resh]' [het][nun][vav][mem][bet] [shin][mem][tav][shin][alef] ,[he][zayin] [resh][mem][alef][mem][bet] [final mem][yod][alef][het][mem] '[he][yod][tsadi][zayin][yod][nun][bet][resh][vav][alef]-[he][resh]' [het][nun][vav][mem][he] .[tav][yod][shin][yod][mem][het][he] [he][yod][lamed][ayin][he] [yod][nun][bet] [final mem][yod][lamed][vav][ayin][he] [tav][vav][bet][resh][tav][bet] [yod][lamed][qof][yod][samech][vav][final mem][he] [tav][het][het][vav][pe][final mem] [tav][yod][nun][bet][resh][vav][alef] [he][resh][bet][het][mem] [het][vav][dalet][samech][vav][final mem] [lamed][shin] ([he][yod][tsadi][final mem][resh][vav][pe][samech][nun][resh][tet]) [he][resh][bet][ayin][he] [zayin] [final kaf][yod][lamed][he][tav] [resh][vav][alef][tav][lamed] [resh][het][vav][yod][final mem][bet] '[he][yod][tsadi][zayin][yod][nun][bet][resh][vav][alef]-[he][resh]' [het][nun][vav][final mem][he] [he][mem][vav][dalet] ,[final mem][nun][final mem][alef] .[ayin][nun][final mem][nun] [yod][tav][lamed][bet] [yod][vav][nun][shin][lamed] [alef][yod][bet][final mem][he] [final kaf][yod][lamed][he][tav] ,[resh][het][alef] [final mem][vav][qof][final mem][lamed] '[qof][vav][mem][ayin] [resh][bet][shin][final mem]' [lamed][shin] [final mem][yod][bet][tsadi][final mem] [resh][tav][vav][yod] [bet][vav][tet] [resh][alef][tav][final mem] [vav][vav][shin][alef][resh][he] [final mem][lamed][vav][alef] '[he][yod][tsadi][zayin][yod][nun][bet][resh][vav][alef]' [het][nun][vav][mem][lamed] [final mem][yod][nun][dalet][he] [final mem][yod][resh][het][alef] [final mem][yod][resh][qof][het][final mem][bet] [ayin][yod][yod][samech][lamed] [het][nun][vav][final mem][he] [lamed][vav][kaf][yod] ,[resh][kaf] [final mem][vav][shin][mem] .[yod][he][shin][lamed][kaf] [tav][vav][bet][resh][tav] [lamed][shin] [he][yod][tav][vav][dalet][lamed][vav][tav][bet] .'[resh][bet][shin][final mem]' [he][resh][bet][ayin][shin] [final mem][yod][resh][gimmel][he][final mem] [lamed][shin] [tav][yod][lamed][qof][yod][samech][resh][mem] [tav][vav][bet][resh][tav][bet]

Abstract: .םירגהמ תוברחב הקיסומה ייח לש היצזינברוא-הר :לארשיב הפוריא זכרמ ידוהי ומלהוב פיליפ לארשי ץראב בשיתהלו תולעל הפוריא זכרם יאצוי תישיםחה הילעה ישנא ולחה רשאכםה .םאצומ ץראב ובזעש וזמ ןיטולחל הנוש תואיצםב ושגפ םה ,םישולשה תונשב אל הב ץרא לא ואבו ,םירשעה תונשב הריהם החירפ העדיש תינברוא תוברת ובזע תינברוא הרבח לארשי ץראב רוציל וטילחה ,בעיגה בע .ועדיש המם רבד היה הבר העפה התיה ולא םידצל .בושיה לש תידסםםה תיתשתה תמקהב דימ ולחהו הבר העפשה התיה ולא םידעצל .בושיה לש תידסםה תיתשתה תמקהב דימ ולחהו .םילועה לש הקיסומה ייח לע היבשות לש הקיסומה תוברתב יתרהמ יונש העדי ,םישולשה תונשב לארשי ץרא תונוש תוילקיסומ תורוסמ לש שגפמ ,םילועה םיאקיסוםה רפסב לודיג תובקעב ,םינש רשעמ תבחפ לש הפוקתב ,דכו .הקיסוםה תודסם לש תינוגראה תיהשתה דוסיו ומקוה (םייקתהל ולכי אל ךכל םדוק רשא) םילשוריבו ביבא-לתב תורומזת ומקוה .םיירמאק םידכרהב ראשה ךיב ךמת רשא ירבעה רודישה תורש םקוהו הקיסומל רפס יאב םירעב וכרענש םיטרצנוקה רפסמ דיעםש יפכ וחרפ םיינוריעה םיזכרמב הקיסומה ייח תא רחאל ,הפוריא זכרמ ילרע ברקמ םיניחלמה וסינ ,רכל ףסונב .תולודגה .רוזאה תוברת תא ףקשת רשא השדח הקיסתסא רוצילו תונושה תוילקיסומה תורוסמה יונשה ךילהת תא ריבסהלו ראתל ידכ 'היצזינברוא-הר' חנומב שמתשא ,הז רמאמב םיאחמ 'היצזינברוא-הר' חנומה .תישימחה הילעה ינב םילועה תוברתב ילקיסוםה תחחופם תינברוא הרבחמ חודסום לש (היצםרופסנרט) הרבעה ז ךילהת רואתל רחויםב 'היצזינברוא-הר' חנוםה המוד ,םנםא .ענםנ יתלב יונשל איבםה ךילהת ,רחא םוקםל 'קומע רבשם' לש םיבצם רתוי בוט ראתם וושארה םלוא 'היצזינברוא' חנומל םינדה םירחא םירקחםב עייסל חנוםה לוכי ,רכ םושמ .יהשלכ תוברת לש היתודלותב.'רבשם' הרבעש םירגהם לש תילקיסרמ תוברתב

Abstract: Dansul la tiganii din mediul urban, din Romania. In zilele noastre multi tigani din Romania locuiesc in marile orase, cum ar fi Bucurestiul, de exemplu. Cei mai multi vorbesc numai romaneste si au contacte sporadice (unii nu au de loc) cu tiganii nomazi. Muzica este una din ocupatiile importante acceptate si practicate de aceasta categorie a populatiei urbane. Muzica lautareasca, cintecul lautaresc, cintecul de petrecere, si cintecul de pahar sint forme care pot fi puse in legatura cu tiganii din mediul urban, fiind utilizate cu ocazia unor festivitati ori la petreceri. Aceste forme par sa se fi dezvoltat din combinarea mai multor elemente; forme de dans si ritmuri provenite din tiparele muzicii populare romanesti, tipuri melodice si forme izvorite din imbinarea tipurilor turcesti (makam), tipuri populare grecesti si tiprui melodice populare romanesti, un sistem armonic ingenios preluat din traditia vest-europeana si un stil de ornamentare si de interpretare influentat de tipurile muzicii si dansurilor tiganilor nomazi. Cel mai frecvent tip de dans este hora. Sirba si alte forme apar cu o mai mica frecventa. Ritmul horei tiganesti este in mod evident modelat dupa cel al dansului popular romanesc cu acelasi nume. Ea este, de obicei, dansata individual, intr-un stil mai liber, improvizatoric. Acest tip de hora este cunoscut, de altfel, si in mediile romanesti din Cimpia Dunarii sub numele de: de unu singur. Dansurile rituale la tiganii din mediul urban au disparut, desi Hora dupa nunta si Hora de dimineata se mai interpreteaza si azi, dar in afara contextului ritual propriu-zis. Un alt dans, multa vreme asociat cu repertoriul tiganilor din Romania, tanana-ua, a disparut, se pare. Unicul tip de dans care mai supravietuieste cu adevarat se numeste manea si este practicat de femei. Conducindu-ne dupa evidenta formei, tipului si a repertoriului putem admite ca originea dansului contemporan si a muzicii de dans la tiganii din mediul orasenesc, din Romania, se gaseste in mahalalele marilor orase de la sfirsitul perioadei fanariote si, mai cu seama, in cele ale oraselor din ultima parte a secolului al XIX-lea si inceputul secolului nostru. Cu toate ca se pot constata multe puncte distincte de similitudine cu vechea muzica populara din Pireu (Grecia) si Istambul (Turcia), formele Romaina sint alcatuite dintr-o imbinare de elemente care au putut apare numai in Romania. Rezultatul final este ca stilul insusi este, in mod esential, romanesc in caracter.

Abstract: Dansul la țiganii din mediul urban, din România. În zilele noastre mulți țigani din România locuiesc în marile orașe, cum ar fi Bucureștiul, de exemplu. Cei mai mulți vorbesc numai românește și au contacte sporadice (unii nu au de loc) cu țiganii nomazi. Muzica este una din ocupațiile importante acceptate și practicate de această categorie a populației urbane. Muzica lăutărească, cîntecul lăutaresc, cîntecul de petrecere, și cîntecul de pahar sînt forme care pot fi puse în legătură cu țiganii din mediul urban, fiind utilizate cu ocazia unor festivități ori la petreceri. Aceste forme par să se fi dezvoltat din combinarea mai multor elemente; forme de dans și ritmuri provenite din tiparele muzicii populare românești, tipuri melodice și forme izvorîte din îmbinarea tipurilor turcești (makam), tipuri populare grecești și tiprui melodice populare românești, un sistem armonic ingenios preluat din tradiția vest-europeană și un stil de ornamentare și de interpretare influențat de tipurile muzicii și dansurilor țiganilor nomazi. Cel mai frecvent tip de dans este hora. Sîrba și alte forme apar cu o mai mică frecvență. Ritmul horei țigănești este în mod evident modelat după cel al dansului popular roman̂esc cu același nume. Ea este, de obicei, dansată individual, într-un stil mai liber, improvizatoric. Acest tip de horă este cunoscut, de altfel, si în mediile românești din Cîmpia Dunării sub numele de: de unu singur. Dansurile rituale la țiganii din mediul urban au dispărut, deși Hora dupa nuntă și Hora de dimineață se mai interpretează și azi, dar în afara contextului ritual propriu-zis. Un alt dans, multă vreme asociat cu repertoriul țiganilor din România, tanana-ua, a dispărut, se pare. Unicul tip de dans care mai supraviețuiește cu adevarat se numește manea și este practicat de femei. Conducîndu-ne după evidența formei, tipului și a repertoriului putem admite că originea dansului contemporan și a muzicii de dans la țiganii din mediul orășenesc, din România, se găsește în mahalalele marilor orașe de la sfîrșitul perioadei fanariote și, mai cu seamă, în cele ale oraselor din ultima parte a secolului al XIX-lea și începutul secolului nostru. Cu toate că se pot constata multe puncte distincte de similitudine cu vechea muzică populară din Pireu (Grecia) și Istambul (Turcia), formele Romaina sînt alcătuite dintr-o îmbinare de elemente care au putut apare numai în România. Rezultatul final este că stilul însuși este, în mod esențial, românesc în caracter.

Abstract: [NI][HON][NO][NIN][GYOU][JOU][RU][RI][NO][ON][GAKU][DE][A][RU][GI][DA][YUU][SETSU][WA][GAKU][FU][NI][I][ZON][SU][RU][DO][AI][NO][SUKU][NA][I][DEN][TOU][TEKI][NA][KYOU][JU][HOU][WO][IMA][DA][NI][NOKO][SHI][TE][I][RU]. [WATASHI][WA][KO][NO][KEN][KYUU][NI][O][I][TE][GI][DA][YUU][SETSU][NO][DEN][TOU][TEKI][NA][MIMI][KA][RA][NO][GAKU][SHUU][HOU][WO][ICHI][KAN][SETSU][TEKI][GAKU][SHUU][HOU][KEI][KO][I][GAI][NO][NICHI][JOU][NO][NAKA][DEN][MIMI][NI][SU][RU][OTO][NO][TAI][KEN][SHI][SHOU][KA][RA][KI][KI][OBO][E][RU][CHI][SHIKI][NA][DO][NI][CHOKU][SETSU][TEKI][GAKU][SHUU][HOU][JIS][SAI][NO][KEI][KO][I][JOU][FUTA][TSU][NO][SOKU][MEN][KA][RA][KOU][SATSU][SHI][KO][NO][HOU][HOU][GA][GI][DA][YUU][SETSU][NO][ON][GAKU][TEKI][TOKU][SEI][ON][GAKU][KOU][ZOU][TO][MIS][SETSU][NA][KAN][KEI][WO][MO][TSU][KO][TO][WO][AKI][RA][KA][NI][SHI][TA][SA][RA][NI][GAKU][FU][NO][YAKU][WARI][MO][ZET][TAI][TEKI][DE][WA][NA][KU][EN][SOU][SHA][NO][KO][SEI][NI][YO][RI][HEN][KA][SU][RU][TOKU][SEI][WO][MO][TSU][TEN][NI][TSU][I][TE][MO][I][OYO][SHI][TAI]. [SHI][KA][SHI][NA][GA][RA][KOU][KEI][SHA][NO][GEN][SHOU][SHI][TE][I][RU][KYOU][E5][SO][NO][HOU][HOU][WO][I][JI][SU][RU][KO][TO][WA][MUZUKA][SHI][KU][EN][SOU][SHA][NO][SOU][KI][IKU][SEI][KYOKU][NO][SOKU][SHUU][WO][MOKU][TEI][SHI][TE][GAKU][FU][NO][SEI][BI][TO][TOU][ITSU][TE][UNKNOWN][PU][RE][KO][UNKNOWN][DA][UNKNOWN][NO][SHI][YOU][NA][DO][NO][KOKORO][MI][GA][OKO][NA][WA][RE][RU][YO][U][NI][NA][TSU][TA][GI][DA][YUU][SETSU][NO][TOKU][SEI][WO][KANGA][E][RU][TO][KI][KO][RE][RA][NO][ATARA][SHI][I][HOU][HOU][WA][ON][GAKU][NO][KAKU][ITSU][KA][SEN][RITSU][YA][RI][ZU][MU][NADO][ON][GAKU][TOKU][SEI][NO][ICHI][BU][WO][KYOU][CHOU][KOU][TEI][SU][RU][TO][I][U][KI][KEN][SEI][WO][HA][RA][N][DE][I][RU][KO][TO][GA][WA][KA][RU]

Abstract: 日本の人形浄瑠璃の音楽である義太夫節は楽譜に依存する度合の少ない伝統的な教授法を今だに残している私はこの研究において義太夫節の伝統的な耳からの学習法を1間接的学習法稽古以外の日常の中で耳にする音の体験師匠から聞き覚える知識など2直接的学習法実際の稽古以上2つの側面から考察しこの方法が義太夫節の音楽的特性音楽構造と密接な関係を持つことを明らかにしたさらに楽譜の役割も絶対的ではなく演奏者の個性により変化する特性を持つ点についても言及したしかしながら後継者の減少している今日その方法を維持することは難しく演奏者の早期育成曲の速修を目提して楽譜の整備と統一テープレコーダーの使用などの試みが行なゎれるよぅになった義太夫節の特性を考えるときこれらの新しい方法は音楽の画一化旋律やリズム等音楽特性の一部を強調肯定するという危険性をはらんでいることがわかる

----------------, 109-111

Musik in Afrika

Artur Simon

Review Author[s]: Veit Erlmann

----------------, 111-113

An Annotated Glossary of Arabic Musical Terms

Lois Ibsen al Faruqi

Review Author[s]: Scheherazade Quassim Hassan

----------------, 113-115

Cross-Cultural Perspectives on Music

Robert Falck, Timothy Rice

Review Author[s]: Bonnie C. Wade

----------------, 116-118

Old Jewish Folk Music: The Collections and Writings of Moshe Beregovski

Mark Slobin

Review Author[s]: Ellen Koskoff

----------------, 118-119

Hebridean Folksongs III. Waulking Songs from Vatersay, Barra, South Uist, Eriskay, and Benbecula

J. L. Campbell, Francis Collinson

Review Author[s]: James Porter

----------------, 119-120

A Musicologica Kamayura: Para uma antropologia da comunicacao no alto Xingu

A Musicológica Kamayurá: Para uma antropologia da comunicação no alto Xingu

Rafael Jose de Menezes Bastos, Rafael José de Menezes Bastos

Review Author[s]: Anthony Seeger

----------------, 120-122

C'etait la plus jolie des filles: Repertoire des chansons d'Angelina Paradis-Fraser

C'était la plus jolie des filles: Répertoire des chansons d'Angélina Paradis-Fraser

Donald Deschenes, Donald Deschênes

Review Author[s]: Jay Rahn

----------------, 122-125

Nineteenth Century Hawaiian Chant

Elizabeth Tatar

Review Author[s]: Hugo Zemp

----------------, 125-127

Traditional Music in Modern Java. Gamelan in a Changing Society

Judith Becker

Review Author[s]: Aline Scott-Maxwell

----------------, 127-128

Ethnic Recordings in America

Review Author[s]: Ann Briegleb Schuursma

----------------, 129-130

The Musical Tradition of Iraqi Jews: Selection of Piyyutim and Songs

Amnon Shiloah

Review Author[s]: Philip V. Bohlman

----------------, 130-131

Dance and Music in South Asian Drama: Report of Asian Traditional Performing Arts 1981

Richard Emmert, Hasumoto Izumi, Matsushita Hitoshi, Okada Maki

Review Author[s]: Stephen Slawek

----------------, 132-133

Bikmaus, Vol. IV, no. 3

Don Niles

Review Author[s]: Vida Chenoweth

----------------, 133-134

Os indios e nos: estudos sobre sociedades tribais brasileiras

Os índios e nós: estudos sobre sociedades tribais brasileiras

Anthony Seeger

Review Author[s]: Dulce Martins Lamas

----------------, 134-135

Boletim da sociedade brasileira de musicologia

Antonio Alexandre Bispo

Review Author[s]: Joseph Donovan

----------------, 136-137

Yodel of Appenzell, Switzerland

Hugo Zemp

Review Author[s]: Maguy P. Andral

----------------, 137-138

Classic Recordings of Irish Traditional Music in America Played on Fiddle and Uillean Pipes

James Morrison, Tom Ennis, Reg Hall, Tony Engle

Review Author[s]: Frederic Maguet

----------------, 138-139

The Art of the Highland bagpipe

John Burgess, Tony Engle

Review Author[s]: Frederic Maguet

----------------, 139-140

Ringing Strings. Fiddle Music of Norway-Shetland

Hauk Buen, Knut Buen, Tom Anderson, Vidar Lande, L. Y. Daliot

Review Author[s]: Frederic Maguet

----------------, 140-141

Music of the Kaluli

Steven Feld

Review Author[s]: Hugo Zemp

----------------, 141-142

Children of the Heav'nly King

The Blue Ridge Parkway Folklife Project, Charles K. Wolfe

Review Author[s]: Paul Roland

----------------, 142-143

Chants liturgiques des eglises orientales/Noels maronites

Chants liturgiques des églises orientales/Noëls maronites

Review Author[s]: Jacques Cheyronnaud

----------------, 143-145

Slovak Instrumental Folk Music Anthology

Oscar Elschek, Institute of Arts of the Slovac Academy of Sciences (Bratislava)

Review Author[s]: Annie Goffre

----------------, 145-146

La musique a Marie-Galante

La musique à Marie-Galante

Claudie Marcel-Dubois, Maguy Pichonnet-Andral, Annie Goffre, Societe d'histoire de la Guadeloupe, Société d'histoire de la Guadeloupe, Association des Amis de l'Ecomusee de Marie-Galante, Association des Amis de l'Ecomusée de Marie-Galante, Association des Amis des Musees et des Monuments de la Guadeloupe, Association des Amis des Musées et des Monuments de la Guadeloupe

Review Author[s]: Jean Benoist

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The Mandailing People of Sumatra

Margaret J. Kartomi, H. Kartomi

The Angkola People of Sumatra

Margaret J. Kartomi, H. Kartomi

Review Author[s]: Tran Quang Hai

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The Art of the Balalaika by the Odessa Balalaikas

The Art of the Balalaïka by the Odessa Balalaïkas

Review Author[s]: Annie Goffre

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