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A Short Course in International Folk Dance, Harry Khamis, 1994
Table of Contents Preface .......................................... i Recommended Reading/Music ........................iii Terminology and Abbreviations .................... iv Basic Ethnic Dance Steps ......................... v Dances Page At Va'ani ........................................ 1 Ba'pardess Leyad Hoshoket ........................ 1 Biserka .......................................... 2 Black Earth Circle ............................... 2 Christchurch Bells ............................... 3 Cocek ............................................ 3 For a Birthday ................................... 3 Hora (Romanian) .................................. 4 Hora ca la Caval ................................. 4 Hora de la Botosani .............................. 4 Hora de la Munte ................................. 5 Hora Dreapta ..................................... 6 Hora Fetalor ..................................... 6 Horehronsky Czardas .............................. 6 Horovod .......................................... 7 Ivanica .......................................... 8 Konyali .......................................... 8 Lesnoto Medley ................................... 8 Mari Mariiko ..................................... 9 Miserlou ......................................... 9 Pata Pata ........................................ 9 Pinosavka ........................................ 10 Setnja ........................................... 10 Sev Acherov Aghcheek ............................. 10 Sitno Zensko Horo ............................... -
Južnoslovenski Filolog
ЈУЖНОСЛОВЕНСКИ ФИЛОЛОГ ПОВРЕМЕНИ СПИС ЗА СЛОВЕНСКУ ФИЛОЛОГИЈУ И ЛИНГВИСТИКУ УРЕЂУЈЕ А. БЕЛИЋ УЗ СТАЛНУ САРАДЊУ г. г. А. МЕЈЕ-А, проф. Collège de France, A. CTОЈИЋЕВИЋА, проф. Унив. у Љубљани, К. ЊИЧА, проф. Унив. у Кракову, Љ. СТОЈAНОВИЋА, акад. у Београду, М. РЕШЕТАРА, проф. Унив. у Загребу, О. ХУЈЕРА, проф. Унив. у Прагу, Р. НАХТИГАЛА, проф. Унив. у Љубљани, СТ. ИBШИЋА, проф. Унив. у Загребу, СТ. М. КУЉВАКИНА, проф. Унив. у Београду, ФР. ИЛЕШИЋА, проф. Унив. у Загребу, ФР. РАМОВША, проф. Унив. у Љубљани и Х. БAРИЋА, проф. Унив. у Београду. КЊИГА III. ШТАМПАЊЕ ОВЕ КЊИГЕ ПОТПОМОГНУТО ЈЕ ИЗ ЗАДУЖБИНА СРП. КР, АКАДЕМИЈЕ: арх. НИЋИФОРА ДУЧИЋА и Д-ра. ЉУБ. РАДИВОЈЕВИЋА. БЕОГРАД, 1922–1923. : г САДРЖАЈ ШЋЕ КЊИГЕ. -о-до-ко Расправе. стpд М. Решетар: Završetak -u u gen. sing. muških imenica u slovenskom jeziku . 1–6 Лbуб. Стојановић: Реченичне конструкције без verbum-a finitum-a . 7–10 Dr. Franjo Fancev : О avtorstvu i postanju rječnika „Lexicon latinum . Zagrabiae 1742“ . 11–25 Г. Ил њи н скi W : Књ зтимологiи имени chrbrvatЋ „Хорватњ“ . 36—30 А. Белић: О промени ст. слов. кли „фиi“ . 31–34 Dr. Nikola Majnarić: Jedna zanimljiva pojava u ravnogorskom narječju . 35–40 П. К. Булат: Из живота речи . 41–47 Др. Ст. Куљбаки н: Акценатска питања . 48—70 Прилози. 1. Ivan Koštial: Stsl. zajeсњ . 71—72 2. P. Skok: Iz srpskohrvatske toponomastike . 72—77 3. В. Зрнић: Неколико ситних прилога . 78 4. А. Белић: Двојица, неколицина и слична обра зовања . 79—81 5. Ђуро Шкарић: Јужнословенска ријечца „ве“ 81—83 6. Dr. Fr. Ilešić: Slovenske „etimologije“ . -
Virtual Dance Room Session # 65 Playlist Friday, June 18, 2021 - 7:30Pm - 11:00Pm-Ish CDT Page #1
Virtual Dance Room Session # 65 Playlist Friday, June 18, 2021 - 7:30pm - 11:00pm-ish CDT Page #1 Play Last Set Origin Session Set Ord Dances Played Date Play Seq Ethnicity Status 6/18 50 0 Set 050 - Repertoire Workshop Set - Paul Co Paul Collins 6/18 50 1 1 Akh Naro Naro Armenian/Modern paul/Teach 6/18 6/11 50 2 2 Karakachansko Horo Bulgarian paul/Teach 6/18 6/11 50 3 3 Hackig's Tamzara Armenian paul/review 6/18 6/11 50 4 4 Zonaradikos #1 Evros/Generic (Economou) Greek/Thrace 6/18 6/11 50 5 5 Esmer (Dyarbakir in Eastern Turkey) (Ozkok)Turkish paul/review 6/18 100 0 Set 100 - Program & Requests - 1 6/18 5/7 100 1 1 Godecki Cacak Serbian/East paul/lead 6/18 6/11 100 2 2 Sardana (Bella Franca) Spanish/Catalonian paul/lead 6/18 2/12 100 3 3 Drmes Iz Zdencine Croatian paul/lead 6/18 1/8 100 4 4 Adana (Atanas) Macedonian Paul/Nakas 6/18 5/21 100 5 5 Aidym Central Asia 6/18 6/4 100 6 6 Sandansko Horo Bulgarian/Pirin 6/18 6/11 100 7 7 Indijski Cocek Serbian/Roma 6/18 6/4 100 8 8 Rukavice Croatian/Slavonian 6/18 6/11 100 9 9 Gorani Armenian Theresa 6/18 4/23 100 10 10 Joc de Fete Romanian diane/lead 6/18 2/19 100 11 11 Cimpoi Romanian Paul 6/18 5/21 100 12 12 Swing Dance USA/Swing Diane/Barbara/Paul 6/18 100 13 Announcement Set 1 Karen Tutkowski 6/18 5/21 100 14 13 Passu Torrau (Celest) Italian/Sardinian Paul/George 6/18 4/23 100 15 14 Haroa Haktana Israeli Leigh/Patti 6/18 4/9 100 16 15 Electric Slide USA/Line Paul 6/18 5/28 100 17 16 Popovicanka Serbian Paul 6/18 2/12 100 18 17 Karapyet Russian Paul/Catherine 6/18 200 0 Set 200 - Guest Host -
Pocono Fall Folk Dance Weekend 2017
Pocono Fall Folk Dance Weekend 2017 Dances, in order of teaching Steve’s and Yves’ notes are included in this document. Steve and Susan 1. Valle e Dados – Kor çë, Albania 2. Doktore – Moh ács/Moha č, Hungary 3. Doktore – Sna šo – Moh ács/Moha č, Hungary 4. Kukunje šće – Tököl (R ác – Serbs), HungaryKezes/Horoa - moldaviai Cs áng ó 5. Kezes/Hora – Moldvai Cs áng ó 6. Bácsol K ék Hora – Circle and Couple ____ 7. Pogonisht ë – Albania 8. Gajda ško 9. Staro Roko Kolo 10. Kupondjijsko Horo 11. Gergelem (Doromb) 12. Gergely T ánc 13. Hopa Hopa Yves and France 1. Srebranski Danets (Bulgaria/Dobrudzha) 2. Svornato (Bulgaria/Rhodopes) 3. Tsonkovo (Bulgaria/Trakia) 4. Nevesto Tsarven Trendafil (Macedonia) 5. Zhensko Graovsko (Bulgaria/Shope) _____ 6. Belchova Tropanka (Bulgaria/Dobrudzha) 7. Draganinata (Bulgaria/ W. Trakia) 8. Chestata (North Bulgaria) 9. Svrlji ški Čačak (East Serbia) DOKTORE I SNAŠO (Mo hács, Hungary) Doktore and Snašo are part of the “South Slavic” ( Délszláv) dance repertoire from Mohács/Moha č, Hungary. Doktore is named after a song text and is originally a Serbian Dance, but is enjoyed by the Croatian Šokci as well. Snašno (young married woman) or Tanac is a Šokac dance. Recording: Workshop CD Formation: Open circle with “V” hold, or M join hands behind W’s back and W’s hands Are on M’s nearest shoulders. Music: 2/4 Meas: DOKTORE 1 Facing center, Step Rft diag fwd to R bending R knee slightly (ct 1); close Lft to Rft and bounce on both feet (ct 2); bounce again on both feet (ct &); 2 Step Lft back to place (bend knee slightly)(ct -
One the Peculiarities of Modern Musical Folklore of Shirak
Social and Economic Aspects of Education in Modern Society ART ONE THE PECULIARITIES OF MODERN MUSICAL FOLKLORE OF SHIRAK Hasmik Harutyunyan, PhD in Art Studies, Yerevan State Conservatory after Komitas Gyumri Branch (Director), Shirak Centre for Armenological Studies NAS RA Hasmik Matikyan, PhD in Philology, Yerevan State Conservatory after Komitas Gyumri Branch (Lecturer), Shirak Centre for Armenological Studies NAS RA DOI: https://doi.org/10.31435/rsglobal_conf/25122020/7307 Abstract. In different rural communities of Shirak region nowadays live representatives of the Armenain generation who have immigrated from Western Armenia and bear unique musical specimen. They are folk and national multi-genre song types and musical instrumental works. In the article we have touched upon 100 folk songs compiled from the folkloristic material organized in about 20 communities of Shirak region in 2015 March-April, that not only give us common notion of the song tradition of our compatriots migrated from Moush and Alashkert, in 2015, but they also certify that the tradition of folk song creativity is alive and coexists next to the very different modern cultural manifestations. Keywords: Ethnomusicology, Musical folklore, Shirak regon, traditional music, folk song, study, revival. The musical heritage of Shirak of the 19th-20th centuries has its unique place and role in the development of the Armenian national music. The rich musical folklore, imbued with the genre- stylistic features of the musical dialects of Western Armenia, became the basis for the unprecedented development of the professional music of the oral tradition and the creation of a valuable heritage. From the second half of the 19th century Armenian philologists and musician-folklorists became interested in the flourishing art of the Armenian bards and folk music players of Shirak. -
Hora Din Goicesti
HORA DIN GOICESTI Romanian PRONUNCIATION: HAW-rah deen goy-CHEHST TRANSLATION: Dance from Goicea SOURCE: Dick Oakes learned this dance from Mihai David who learned while while performing with his brother, Alexandru, in the Romanian State Folk Dance Ensemble. BACKGROUND: According to Mihai, the dance is from the southern Romanian ethnographic region of Muntenia, around the city of Bucareşti (Bucharest). Theodor Vasilescu says that although he knows of no village in Romania with such a name, close names are the villages of Goicea or Goicea Mare, which are in the south of the Oltenia region, about 12 kilometers south of Giurgita. Oltenia, also called Lesser Wallachia, with the alternate Latin names Wallachia Minor, Wallachia Alutana, Wallachia Caesarea in use between 1718 and 1739, is a historical province and geographical region of Romania, in western Wallachia. It is situated between the Danube, the Southern Carpathians and the Olt river (although counties in the east extend beyond the river in Muntenia in some areas). MUSIC: The Lark (7"EP) FLDR, side 1, band 1. FORMATION: Closed cir of mixed M and W with hands joined and held at shldr height, elbows bent, in "W" pos. METER/RHYTHM: 4/4 STEPS/STYLE: There is a light, bouncy feeling in the dance and the running-threes in Fig II are done mostly on the balls of the ft. MEAS MOVEMENT DESCRIPTION INTRODUCTION 1-8 No action. I. CTR AND BACK ("W" Pos) 1 Facing ctr, run fwd R (ct 1); run fwd L (ct 2); run fwd R,L,R (cts 3,&,4); 2 Step bwd L,R,L (cts 1,&,2); step fwd R,L,R (cts 3,&,4); 3 Run bwd L (ct 1); run bwd R (ct 2); run bwd L,R,L (cts 3,&,4); 4 Step fwd R,L,R (cts 1,&,2); step bwd L,R,L (cts 3,&,4); 5-8 Repeat action of meas 1-4. -
Ö 10 - 1 Royal Empress Tango English Couple I A- 5
MVFD Listing by OLD Number CD Track Dance Name Nationality Type Inst Old # 9 - 20 Canadian Breakdown USA Contra A- 3 9 - 19 Petronella USA Contra I A- 3 ö 10 - 1 Royal Empress Tango English Couple I A- 5 9 - 21 Tango Waltz, The English Couple A- 5 10 - 2 Camptown Races USA Square I A- 8 10 - 3 Old Joe Clark USA Square A- 8 10 - 3 Old Joe Clark USA Contra A- 8 10 - 4 Bonfire (Fisher's Hornpipe) Irish Couple I A- 9 10 - 5 Come Up the Backstairs (Sacketts USA Contra I A- 9 10 - 4 Fisher's Hornpipe USA Contra I A- 9 10 - 5 Sacketts's Harbour (Come Up the USA Contra I A- 9 ö 81 - 17 Aird Of Coigah (Reel of Mey) Scottish Set 4 Couple I A-10 81 - 18 Cauld Kail in Aberdeen Scottish Set 4 Couple I A-10 81 - 15 Gates of Edinburgh (8x32 Reel) S Scottish Set 4 Couple A-10 81 - 13 Hooper's Jig (8x32 Jig) SKIPS Scottish Jig A-10 81 - 16 Jessie's Hornpipe (8x32 Reel) Scottish Contra I A-10 81 - 19 Kingussie Flower (8x40 Reel) Scottish Reel A-10 81 - 14 Macphersons of Edinburgh, The ( Scottish Set 4 Couple A-10 81 - 12 Mairi's Wedding (8x40 Reel) Scottish Set 4 Couple I A-10 81 - 19 Red House Reel (Kingussie Flow Scottish Set 4 Couple I A-10 ö 81 - 17 Reel of Hey, The (8x48 Reel) Scottish Set 4 Couple I A-10 81 - 19 White Heather Jig (Kingussie Flo Scottish Set 4 Couple I A-10 10 - 7 Geudman Of Ballangigh English Contra I A-11 10 - 6 Larusse English Square I A-11 10 - 8 Yorkshire Square Eight English Square I A-11 10 - 12 Dargason English Set 4 Couple I A-12 10 - 9 Little Man in a Fix Danish Set 2 Couple I A-12 Saturday, July 29, 2000 Page 1 of 96 MVFD -
Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F
LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F. 57 Gemrigin Baduh Armenia Ajoian, F. 56 Golden Bracelet Armenia Ajoian, F. 56, 57 Halay Armenia Ajoian, F. 55 Halay Havasi Armenia Ajoian, F. 56 Lorkay Lorkay Armenia Ajoian, F. 56, 57 Medax Tashginag Armenia Ajoian, F. 57 Nor Imatsa (Yerzinga Tamzara) Armenia Ajoian, F. 57 Pompouri Armenia Ajoian, F. 55 Sotis Armenia Ajoian, F. 56 Tamzara Armenia Ajoian, F. 55 Three And One (Bar) Armenia Ajoian, F. 55 Sheleg Al Iri Israel Alpert, A. 18 Ve’shuv Itchem Israel Alpert, A. 18 Yaffo Israel Alpert, A. 18 Normali israel Alpert, A. 18 Or Chadash Israel Alpert, A. 18 Haleluyah Le’Gal Israel Alpert, A.` 18 Hayom Hazeh Israel Alpert, A.` 18 Heya Heya Israel Alpert, A.` 18 Hora Ha’bika Israel Alpert, A.` 18 Carbonero, El El Salvador Amaya, N. 68 Cortadoras, Las El Salvador Amaya, N. 68 Diablo Chingo, El Costa Rica Amaya, N. 68 Xuc, El El Salvador Amaya, N. 68 Yenka Spain Amaya, N. 68 Bereznianka Ukraine Arabagi, G. & I. 14 Bukovinskii Tanets Ukraine Arabagi, G. & I. 12 STOCKTON FOLK DANCE CAMP INDEX 1948-2018 PAGE 1 LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Dansul Tiganilor Basarabeni Moldova (Bessarabia; Rom) Arabagi, G. & I. 14 Hora din Giurgiuleşti Moldova (Moldavian) Arabagi, G. & I. 12 Hora Dragostei Moldova Arabagi, G. & I. 14 Horlitsya Ukraine Arabagi, G. & I. 14 Hutsulka Ukraine Arabagi, G. & I. 12 Joc Mare Ukraine (Moldavian) Arabagi, G. -
FATIŠE KOLO Serbian
FATIŠE KOLO Serbian PRONUNCIATION: FAH-tee-sheh KOH-loh TRANSLATION: [The Vranje girls] joined hands in the circle dance (see "Background" below). Fatiše is a form of dialect for the literary verb "hvatiti se," which is why it can't be found in dictionaries. SOURCE: Dick Oakes learned this dance from Anatol Joukowsky who introduced it to folk dancers on the West Coast of the United States at the Santa Barbara Folk Dance Conference in 1963. This dance description is based on original notes by Ruth Ruling. Dick Crum also introduced a similar dance on the East Coast in about 1967. BACKGROUND: The dance was originally a women's dance. It comes from the South Serbian town of Vranje, which has a fine Turkish bridge and Turkish baths dating from the 17th century. The song on the recommended recording tells about young women from Vranje who dance the kolo, the traditional Serbian dance, around the village fountain and that all recognize that Taša is the prettiest one. The dance is also known as "Kolo from Vranje" and "Vranjsko djevojačko kolo." Mr. Joukowsky described this dance (Kolo from Vranje) on pages 49-50 in his book The Teaching of Ethnic Dance. Mr. "J" was ballet master at the Belgrade Opera in the 1930s and undoubtedly had to choreograph this dance several times, which may explain the differences between the "character dance" form described here and that taught to Mr. Crum in 1952 by the local Vranje amateur folk dance group. According to Mr. Crum, in the Serbian language it is permissible to put predicate before subject, hence the predicate "fatiše kolo" ("joined [hands] in the kolo") comes before the subject ("vranjske devojke" - "the Vranje girls"). -
Traditional Forms and Genres of Turkish Music in the Creations of International Art Music Composers of Turkey*
EKOD / 2018 (12): 33-49 TRADITIONAL FORMS AND GENRES OF TURKISH MUSIC IN THE CREATIONS OF INTERNATIONAL ART MUSIC COMPOSERS OF * TURKEY Türk Uluslararası Sanat Müziği Bestecilerinin Eserlerinde Türk Müziğinin Geleneksel Türleri ve Biçimleri Özge USTA** ABSTRACT 19th century was an era of nationalist movements in music. Nationalism was seen in important regions of the world, especially in Russia and Northern Europe. These nationalistic movements affected international art music composers of Turkey in the early years of Turkish Republic. Generally Turkish composers preferred to use traditional folk music elements instead of the elements of traditional art music. Either folk music with its melodic characteristic or maqam structure of art music is used by many international Turkish composers after the Turkish Fives. Generally, maqam factors are used as building stones in the compositions. The genre has been the less mentioned subject than maqam regarding the reflection of tradition. Besides, it is seen that the forms and genres of folk music are used in international art music. Here I present the composers’ preferences regarding Turkish music genres with notation samples. Keywords: Turkish traditional forms, Turkish traditional genres, Turkish international art music composers, Turkish traditional music, Turkish fives. ÖZ 19. yüzyıl, müzikte ulusalcı hareketlerin görüldüğü dönemdi. Ulusalcılık dünyanın önemli bölgelerinde özellikle Rusya ve Kuzey Avrupa’da görülmüştü. Bu ulusalcı hareketler Türkiye Cumhuriyeti’nin ilk dönemlerindeki uluslararası sanat müziği bestecilerini etkilemişti. Türk bestecileri genellikle, geleneksel sanat müziği unsurları yerine geleneksel Araştırma Makalesi Geliş Tarihi: 03.05.2018 Kabul Tarihi: 11.06.2018 * Yasar International Music Theory Conference’ta gerçekleşen basılmamış, sözlü sunumun genişletilmiş versiyonudur. -
Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI
DOCUMENT RESUME ED 429 050 SP 038 379 AUTHOR Weikart, Phyllis S. TITLE Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI. ISBN ISBN-1-57379-008-7 PUB DATE 1997-00-00 NOTE 674p.; Accompanying recorded music not available from EDRS. AVAILABLE FROM High/Scope Press, High/Scope Educational Research Foundation, 600 North River Street, Ypsilanti, MI 48198-2898; Tel: 313-485-2000; Fax: 313-485-0704. PUB TYPE Books (010)-- Guides - Non-Classroom (055) EDRS PRICE EDRS Price MF04 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Aesthetic Education; Cultural Activities; Cultural Education; *Dance Education; Elementary Secondary Education; *Folk Culture; Music Education IDENTIFIERS *Folk Dance ABSTRACT This book is intended for all folk dancers and teachers of folk dance who wish to have a library of beginning and intermediatefolk dance. Rhythmic box notations And teaching suggestionsaccompany all of the beginning and intermediate folk dances in the book. Many choreographieshave been added to give beginning dancers more experience with basicdance movements. Along with each dance title is the pronunciation and translation of the dance title, the country of origin, and the "Rhythmically Moving"or "Changing Directions" recording on which the selectioncan be found. The dance descriptions in this book provide a quick recall of dances and suggested teaching strategies for those who wish to expand their repertoire of dances. The eight chapters include: (1) "Beginning and Intermediate Folk Dance: An Educational Experience"; (2) "Introducing Folk Dance to Beginners"; (3) "Introducing Even and Uneven Folk Dance Steps";(4) "Intermediate Folk Dance Steps"; (5) "Folk Dance--The Delivery System"; (6) "Folk Dance Descriptions"; (7) "Beginning Folk Dances"; and (8)"Intermediate Folk Dances." Six appendixes conclude the volume. -
Glossary Ahengu Shkodran Urban Genre/Repertoire from Shkodër
GLOSSARY Ahengu shkodran Urban genre/repertoire from Shkodër, Albania Aksak ‘Limping’ asymmetrical rhythm (in Ottoman theory, specifically 2+2+2+3) Amanedes Greek-language ‘oriental’ urban genre/repertory Arabesk Turkish vocal genre with Arabic influences Ashiki songs Albanian songs of Ottoman provenance Baïdouska Dance and dance song from Thrace Čalgiya Urban ensemble/repertory from the eastern Balkans, especially Macedonia Cântarea României Romanian National Song Festival: ‘Singing for Romania’ Chalga Bulgarian ethno-pop genre Çifteli Plucked two-string instrument from Albania and Kosovo Čoček Dance and musical genre associated espe- cially with Balkan Roma Copla Sephardic popular song similar to, but not identical with, the Spanish genre of the same name Daouli Large double-headed drum Doina Romanian traditional genre, highly orna- mented and in free rhythm Dromos Greek term for mode/makam (literally, ‘road’) Duge pjesme ‘Long songs’ associated especially with South Slav traditional music Dvojka Serbian neo-folk genre Dvojnica Double flute found in the Balkans Echos A mode within the 8-mode system of Byzan- tine music theory Entekhno laïko tragoudhi Popular art song developed in Greece in the 1960s, combining popular musical idioms and sophisticated poetry Fanfara Brass ensemble from the Balkans Fasil Suite in Ottoman classical music Floyera Traditional shepherd’s flute Gaida Bagpipes from the Balkan region 670 glossary Ganga Type of traditional singing from the Dinaric Alps Gazel Traditional vocal genre from Turkey Gusle One-string,