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Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912)
Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Anthology of Music Traditions in Israel The Hebrew University of Jerusalem • The Jewish Music Research Centre 27 Anthology of Music Traditions in Israel • 27 Editor: Edwin Seroussi Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Study and commentaries: Rivka Havassy and Edwin Seroussi Research collaborators: Michael Aylward, Joel Bresler, Judith R. Cohen and Risto Pekka Pennanen Jerusalem, 2020 Jewish Music Research Centre, The Hebrew University of Jerusalem The Hebrew University of Jerusalem • Faculty of Humanities Jewish Music Research Centre In collaboration with the National Library of Israel With the support of Centre for Research and Study of the Sephardi and Oriental Jewish Heritage (Misgav Yerushalayim) at The Hebrew University of Jerusalem For additional materials related to this album, see www.jewish-music.huji.ac.il Academic Board of the Jewish Music Research Centre Chairperson: Shalom Sabar Steven Fassberg, Ruth HaCohen, Yossi Maurey, Elchanan Reiner, Eliyahu Schleifer, Assaf Shelleg, Rina Talgam Director: Edwin Seroussi Digital Transfers: SMART LAB, Hayes, Middlesex Digital Editing and Mastering: Avi Elbaz Graphic design: www.saybrand.co.il Cover photograph: Splendid Palace Hotel, Salonika, c. 1910, location of recordings © and P The Hebrew University of Jerusalem 2020 4 Preface In 2008 the Jewish Music Research Centre released a 4 CD package entitled An Early 20th-century Sephardi Troubadour: The Historic Recordings of Haim Effendi of Turkey. Catering to the increasing scholarly and general public interest in the role commercial recordings had on musical traditions from the early twentieth century, that production became a landmark in the revised appreciation of Sephardic music prior to the rapid chain of events leading to the dissolution of the traditional communities that maintained this music. -
Domaće Pesme
SPISAK KARAOKE PESAMA Domaće pesme Sanja - Sindy 064 / 11 55 735 www.facebook.com/SindyKaraoke www.sindykaraoke.com [email protected] DOMAĆE PESME SINDY KARAOKE Sanja 064/11-55-735 najveći izbor domaćih i stranih karaoke pesama (engleskih, italijanskih, francuskih, španskih, ruskih) IZVOĐAČ PESMA IZVOĐAČ PESMA 187 Nikada nećeš znati Aleksandra Radović Ako nikada Aca i Mira Vrati nam se, druže Aleksandra Radović Čuvaj moje srce * Aca Ilić Lepe oči zelene Aleksandra Radović Jesam te pustila Aca Lukas Bele ruže Aleksandra Radović Još danas Aca Lukas Burbon Aleksandra Radović Kao so u moru Aca Lukas Čaše moje polomljene Aleksandra Radović Karta za jug Aca Lukas Dijabolik Aleksandra Radović Nisi moj Aca Lukas Hiljadu puta Aleksandra Radović Zažmuri Aca Lukas Imate li dušu tamburaši Aleksandra Ristanović Dočekaj me sa osmehom Aca Lukas Ista kao ja Alen Islamović Ispod kaputa Aca Lukas Ja živim sam Alen Slavica Dao sam ti dušu Aca Lukas Jagnje moje Alen Vitasović Bura Aca Lukas Koma Alisa Sanja Aca Lukas Kuda idu ljudi kao ja Alka i Džej Da si sada tu Aca Lukas Lična karta Alka i Stavros Zrak, zemlja, zrak Aca Lukas Na žalost Alka i Vuco Kad bi opet Aca Lukas Ne pitaj Alka Vuica Bolje bi ti bilo Aca Lukas Nešto protiv bolova Alka Vuica Ej, šta mi radiš Aca Lukas Niko jedan, dva i tri Alka Vuica Kriva Aca Lukas Otrov sipala Alka Vuica Laži me Aca Lukas Pao sam na dno Alka Vuica Nek’ ti jutro miriše na mene Aca Lukas Pesma od bola Alka Vuica Od kad te nema Aca Lukas Poljem se širi miris tamjana Alka Vuica Profesionalka Aca Lukas Pustinja -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
Analiza Medijskog Tržišta U Srbij
Jačanje medijske slobode Analiza medijskog tržišta u Srbij Ipsos Strategic Marketing Avgust 2015. godine 1 Sadržaj: . Preporuke i zaključci . Metodologija . Osnovni nalazi (Executive Summary) . Tržište oglašavanja u Srbiji . Trend procene realne vrednosti TV tržišta za period 2008. – 2014 . Trend procene realne vrednosti radio tržišta za period 2008. – 2014 . Najveći oglašivači TV tržišta . Udeo televizijskih kuća u ukupnom TV tržištu oglašavanja . Internet tržište oglašavanja . Pregled medijskog tržišta Srbije . Televizija . Podaci o gledanosti TV stanica . Najgledanije TV emisije na ukupnom tržištu i po relevantnim tržištima u 2014. I 2015. godini . Profil gledalaca televizijskih stanica . RTS1 . TV Prva . TV Pink . TV B92 . TV Happy . TV Vojvodina 1 . Prosečna slušanost radija i gledanost televizije po satima . Radio . Udeo nacionalnih radio stanica u ukupnom auditorijumu . Prosečni dnevni auditorijum nacionalnih radio stanica . Prosečni nedeljni auditorijum nacionalnih radio stanica . Internet . Medijske navike korisnika radijskih i televizijskih programa . Glavni izvor informisanja – Opšta populacija . Glavni izvor informisanja podela po godinama . Učestalost gledanja TV programa . Procena vremena korišćenja različitih vrsta medija pre godinu dana i sada . Procena kvaliteta sadržaja razlicitih vrsta medija . Programski sadržaji i preferencije auditorijuma . Navike korišćenja lokalnih medija . Lokalni mediji: zadovoljstvo kvalitetom i količinom lokalnog sadržaja . Programi na jezicima nacionalnih manjina . Televizijski sadržaji prilagođeni osobama sa invaliditetom . Makroekonomska situacija i njen uticaj na medijsko tržište . Analiza poslovanja pružalaca medijskih usluga . Prilozi 2 Preporuke i zaključci 1. Programski sadržaji TV emitera: a. U ukpnoj programskoj ponudi se ne uočava nedostak sadržaja i. Programski sadržaj javnog servisa je blizak izrečenim potrebama građana i na duži rok on se pokazuje adekvatnim jer ujedno ima i najveće učešće u ukupnoj glednosti. -
Masarykova Univerzita Filozofická Fakulta Ústav Slavistiky Balkanistika Lucie Šobáňová Srovnání Reflexe Tvorby Bosenské
Masarykova univerzita Filozofická fakulta Ústav slavistiky Balkanistika Lucie Šobáňová Srovnání reflexe tvorby bosenské hudební skupiny Dubioza kolektiv v českém a ex-jugoslávském tisku Bakalářská diplomová práce Vedoucí práce: Mgr. Petr Stehlík, Ph.D. 2014 Prohlašuji, ţe jsem diplomovou práci vypracoval/a samostatně s vyuţitím uvedených pramenů a literatury. …………………………………………….. 2 Na tomto místě bych ráda poděkovala vedoucímu své bakalářské práce Mgr. Petru Stehlíkovi, Ph.D. za čas, který věnoval mně i mé práci. Rovněţ za dobré rady a nápady, které mi pomohly tuto práci realizovat. Dále bych ráda poděkovala své rodině a přátelům za podporu, kterou mi vyjadřovali. 3 Obsah Úvod .................................................................................................................................. 5 1. Bosensko-hercegovská hudební scéna a Dubioza Kolektiv ..................................... 7 1.1. Hudební scéna druhé poloviny 20. století na území Bosny a Hercegoviny v rámci bývalé Jugoslávie........................................................................................................... 7 1.2. Dubioza kolektiv .................................................................................................. 12 2. Reflexe tvorby DK v bosensko-hercegovském tisku .............................................. 15 3. Reflexe tvorby DK v chorvatském tisku ................................................................. 24 4. Reflexe tvorby DK v srbském tisku ........................................................................ -
Godišnji Izvještaj 2013
AMUS G ...........................................2 Osnovni podaci.................................................................................................................................3 -a...........................................................................4-5 ...........................................................................................................6-9 .......................................................................10-38 ........................................................................................................................39 PRILOG : evizora sa Bilansom stanja i Bilansom uspjeha Usluge 2 AMUS G OSNOVNI PODACI Puni naziv: Ministarstvo pravde BiH, broj: RU-28/02 Knjiga I dana 12.09.2002.godine Osnovna djelatnost po klasifikaciji djelatnosti: 74.110 Odobrenje za obavljanje djelatnosti: - 03- 47 - 5- 12 - 06059/12, VT Instituta Z . Status: - Specijalizirano pravno lice kolektivna organizacija u BiH -a, Vladimir Podany, Predsjednik upravnog odbora AMUS-a ID broj: 4200960120004 Bosna i Hercegovina, 71000 Sarajevo, Obala Kulina Bana 22 Tel: ++387 33 205 600 Fax: ++387 33 218 258 E-mail: [email protected] Web site: www.amus.ba Jezici u upotrebi za obavljanje djelatnosti: bosanski, hrvatski i srpski jezik t 3 AMUS G kon usvajanja novih zakona iz domena intelektualnog audiovizuelna...) ali niko je osim AMUSA nije dobio. Ovo pokazuje da nije jednostavno ispuniti Evidentna je inertnost i n U brojnim kontaktima sa odgovornim licima raznih nivoa vlasti u BiH koje sam u proteklom njih izdvojio rukovods -
(Tjedan 16/2013.) 1. Nizbrdo Od Ljubavi Davorin I Bogovići Croatia Records
15. travnja – 21. travnja 2013. (tjedan 16/2013.) 1. Nizbrdo od ljubavi Davorin i Bogovići Croatia Records 2. Usne ledene Tony Cetinski Aquarius Records 3. Samo da znaš Parni valjak Croatia Records 4. Tako rijetko si tu Ivana Radovniković Dallas Records 5. Na dobroj strani ljubavi Bojan Jambrošić Dallas Records 6. Zašto lažu nam u lice Miroslav Škoro Croatia Records 7. Nek ti bude krivo Maja Šuput Croatia Records 8. Ulicama grada – pjesma sreće Neno Belan & Fiumens feat Ljetno kino Dallas Records 9. Dao sam ti dušu Leteći odred Croatia Records 10. Široko ti bilo polje Jurica Pađen & Aerodrom Menart 11. Terca na tišinu Silente Aquarius Records 12. Oni govore Gatuzo Croatia Records 13. Tišina Massimo Aquarius Records 14. Bailando solo Jole Hit Records/Tonika 15. Zorica TS Mejaši Croatia Records 16. Mižerja Klapa s mora HRT 17. Moje lipo Oliver Dragojević Aquarius Records 18. Hitna ljubav Boris Novković feat Sara Grimaldi Aquarius Records 19. Majske kiše Teška industrija feat. Kemal Monteno Croatia Records 20. Don't Try Zebra dots Universal Music 21. Nirvana Jelena Rozga Croatia Records 22. 'Oće l' vrime Đani Stipaničev Dancing Bear 23. Zbog tebe Pavel Dallas Records 24. Sretan put Massimo Aquarius Records 25. Moreš li razumit Klapa Cambi Scardona 26. Ne diraj moju ljubav Klapa Šufit Scardona 27. Srce nikad ne laže Colonia Menart 28. Neopisivo Nina Badrić Aquarius Records 29. Zbogom odlazim Tony Cetinski Aquarius Records 30. Ljubav nema pravila Buđenje Croatia Records 31. Mjeseče Crvena jabuka Croatia Records 32. Treba mi ruka tvoja Šima Jovanovac Croatia Records 33. Želim te noćas Bosutski bećari Croatia Records 34. -
„Muzički Ukus Mladih U Sarajevu“
ODSJEK SOCIOLOGIJA „MUZIČKI UKUS MLADIH U SARAJEVU“ -magistarski rad- Kandidat Mentor Amina Memišević Doc. dr. Sarina Bakić Broj indexa: 323 Sarajevo, maj 2020 Sadržaj I Uvod ............................................................................................................................................. 5 II Teorijsko – metodološki okvir istraživanja ................................................................................. 6 1. Problem istraživanja ............................................................................................................... 6 2. Predmet istraživanja ............................................................................................................... 6 3. Teorijska osnova istraživanja ................................................................................................. 6 4. Ciljevi istraživanja .................................................................................................................. 7 4.1. Znanstveni (spoznajni) ciljevi istraživanja ....................................................................... 7 4.2. Društveni (pragmatički) ciljevi istraživanja ..................................................................... 7 5. Sistem hipoteza ........................................................................................................................ 7 5.1. Generalna hipoteza........................................................................................................... 7 5.2. Pomoćne (popratne) hipoteze .......................................................................................... -
Contemporary Nostalgia
Contemporary Nostalgia Edited by Niklas Salmose Printed Edition of the Special Issue Published in Humanities www.mdpi.com/journal/humanities Contemporary Nostalgia Contemporary Nostalgia Special Issue Editor Niklas Salmose MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade Special Issue Editor Niklas Salmose Linnaeus University Sweden Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Humanities (ISSN 2076-0787) from 2018 to 2019 (available at: https://www.mdpi.com/journal/ humanities/special issues/Contemporary Nostalgia). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03921-556-0 (Pbk) ISBN 978-3-03921-557-7 (PDF) Cover image courtesy of Wikimedia user jarekt. Retrieved from https://commons.wikimedia.org/ wiki/File:Cass Scenic Railroad State Park - Shay 11 - 05.jpg. c 2019 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents About the Special Issue Editor ...................................... vii Niklas Salmose Nostalgia Makes Us All Tick: A Special Issue on Contemporary Nostalgia Reprinted from: Humanities 2019, 8, 144, doi:10.3390/h8030144 ................... -
Repertoar La LUNA Band-A Naziv Izvodjac STRANE PESME Chain of Fools Aretha Franklin the Girl from Ipanema Astrud Gilberto Stand by Me Ben E
Repertoar La LUNA band-a naziv Izvodjac STRANE PESME Chain of Fools Aretha Franklin The Girl from Ipanema Astrud Gilberto Stand by Me Ben E. King Summertime Billie Holiday,Ella Fitzgerald,Sarah Vaughan White Wedding Billy Idol Knockin' on heaven's Door Bob Dylan No Woman No Cry Bob Marley Let's Stick Together Bryan Ferry Chan Chan Buena Vista Social Club El Cuarto de Tula Buena Vista Social Club Veinte Anos Buena Vista Social Club Hasta siempre Comandante Che Guevara Carlos Puebla Dove l'amore Cher I Still Haven't Found What I'm Looking For Coco Freeman feat. U2 Just A Gigolo David Lee Roth Money For Nothing Dire Straits Long Train Running Doobie Brothers Gimme Hope Jo'Anna Eddy Grant Non, je ne regrette rien Edith Piaf Blue Spanish Eyes Elvis Presley Blue Suede Shoes Elvis Presley Suspicious Minds Elvis Presley Viva Las Vegas Elvis Presley Love Me Tender Elvis Presley Besame mucho Emilio Tuero Please release Me Engelbert Humperdinck Change The World Eric Clapton Layla Eric Clapton Tears In Heaven Eric Clapton Wonderful Tonight Eric Clapton Malaika Fadhili Williams Easy Faith no More All of Me Frank Sinatra New York, New York Frank Sinatra Can't Take My Eyes Off You Frankie Valli Careless Whisper George Michael Nathalie Gilbert Becaud Baila me Gipsy Kings Bamboleo Gipsy Kings Repertoar La LUNA band-a naziv Izvodjac Trista Pena Gipsy Kings I will survive Gloria Gaynor Libertango Grace Jones I Feel Good James Brown Por Que Te Vas Javier Alvarez Autumn Leaves/Les feuilles mortes Jo Elizabeth Stafford;Yves Montand Unchain my Heart Joe Cocker -
Redox DAS Artist List for Period: 01.10.2017
Page: 1 Redox D.A.S. Artist List for period: 01.10.2017 - 31.10.2017 Date time: Number: Title: Artist: Publisher Lang: 01.10.2017 00:02:40 HD 60753 TWO GHOSTS HARRY STYLES ANG 01.10.2017 00:06:22 HD 05631 BANKS OF THE OHIO OLIVIA NEWTON JOHN ANG 01.10.2017 00:09:34 HD 60294 BITE MY TONGUE THE BEACH ANG 01.10.2017 00:13:16 HD 26897 BORN TO RUN SUZY QUATRO ANG 01.10.2017 00:18:12 HD 56309 CIAO CIAO KATARINA MALA SLO 01.10.2017 00:20:55 HD 34821 OCEAN DRIVE LIGHTHOUSE FAMILY ANG 01.10.2017 00:24:41 HD 08562 NISEM JAZ SLAVKO IVANCIC SLO 01.10.2017 00:28:29 HD 59945 LEPE BESEDE PROTEUS SLO 01.10.2017 00:31:20 HD 03206 BLAME IT ON THE WEATHERMAN B WITCHED ANG 01.10.2017 00:34:52 HD 16013 OD TU NAPREJ NAVDIH TABU SLO 01.10.2017 00:38:14 HD 06982 I´M EVERY WOMAN WHITNEY HOUSTON ANG 01.10.2017 00:43:05 HD 05890 CRAZY LITTLE THING CALLED LOVE QUEEN ANG 01.10.2017 00:45:37 HD 57523 WHEN I WAS A BOY JEFF LYNNE (ELO) ANG 01.10.2017 00:48:46 HD 60269 MESTO (FEAT. VESNA ZORNIK) BREST SLO 01.10.2017 00:52:21 HD 06008 DEEPLY DIPPY RIGHT SAID FRED ANG 01.10.2017 00:55:35 HD 06012 UNCHAINED MELODY RIGHTEOUS BROTHERS ANG 01.10.2017 00:59:10 HD 60959 OKNA ORLEK SLO 01.10.2017 01:03:56 HD 59941 SAY SOMETHING LOVING THE XX ANG 01.10.2017 01:07:51 HD 15174 REAL GOOD LOOKING BOY THE WHO ANG 01.10.2017 01:13:37 HD 59654 RECI MI DA MANOUCHE SLO 01.10.2017 01:16:47 HD 60502 SE PREPOZNAS SHEBY SLO 01.10.2017 01:20:35 HD 06413 MARGUERITA TIME STATUS QUO ANG 01.10.2017 01:23:52 HD 06388 MAMA SPICE GIRLS ANG 01.10.2017 01:27:25 HD 02680 HIGHER GROUND ERIC CLAPTON ANG 01.10.2017 01:31:20 HD 59929 NE POZABI, DA SI LEPA LUKA SESEK & PROPER SLO 01.10.2017 01:34:57 HD 02131 BONNIE & CLYDE JAY-Z FEAT. -
Gender and Geopolitics in the Eurovision Song Contest Introduction
Gender and Geopolitics in the Eurovision Song Contest Introduction Catherine Baker Lecturer, University of Hull [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/baker Contemporary Southeastern Europe, 2015, 2(1), 74-93 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org Introduction: Gender and Geopolitics in the Eurovision Song Contest Catherine Baker* Introduction From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per- year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state.