DOCSLIB.ORG

Core Uncore MEDIUM+ Core

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Core Uncore MEDIUM+ Core Tom Roby SHORT SUNDAY LIST (Preliminary) 3 July 1994 EASY NOT SO EASY MEDIUM− MEDIUM+ COUPLE Core Core Core Core Easy Adjon az Isten X Ajde Jano X Bavno Oro Divˇcibarsko Kolo Bal de Jugon A Ajde Lepa Maro Ali Pa¸sa X Belasiˇcko Oro Kjustendilska R˘uˇc. Familie Sekstur Alunelul A Bufˇcansko X Debka Hashalom I Ol´ahos Fj¨askern A An Dro AX Dance of Ikaria AX Durdevica R˘uˇcenica Korobuˇska A Arap AX Dari Mena Dospatsko Horo Sedi Donka Marin-Congo X Carnavalito Eleno Mome AX Haroa Haktana I Sestorkaˇ Niguno Shel Yossi AI Cereˇˇ sna X Gavotte des Mont. AX Horehronsk´y Card´ˇ aˇs Staro Ratarsko Kolo Road to the Isles Cotton-Eyed Joe A Guhnega I¸˙ste Hendek Strumiˇcka Petorka Teton Mt. Stomp Devetorka AX G¨uzelleme X Karamfil Trite P˘uti Ersko Kolo Hora Agadati AI Katuˇse Mome Tropanka iz Dobr. Not So Easy X Hanter Dro Hora Fetelor Makazice/Bela Rada Tsamikos La Bastringue AX Harishut I Hora Nirkoda I Moja Diridika I X Bo Dodi Hora Mare Jovano, Jovanke Pajduˇsko Uncore Circle Csardas Hora Pe Gheat¸˘a Kalamatianos AX A Sadi Moma I Doudlebska Polka It¸ele A Kopanica AX Slavej Mi Pee Bat Teman A X AX Fafur Ivanica Koftos Slavonsko Kolo Ciganski Orijent Gamal Schottis X Kendime Kritikos Syrtos X Debka Oud I A Somogyi Karik´az´o 2 Gay Gordons Kostursko Oro X Mayim AI Tino More Devojˇce A AX I d’Hammerschmiedsg’ Kukunjeˇs´ce Miserlou Hora Mamtera Machar (3’s) AI Larid´ee X Nebesko Kolo A Katja A X Uncore Salty Dog Rag Laz Bar Neda Voda Nalivala Novo Zagorsko Horo Troika (3’s) A Legnala Dana X Ooska Gookas X Ashrei Haish I Marhaba I Lesnoto X Orijent AX Bardezuh Mer Mure¸sanca I AX ´ Medium- Ma Navu Radino Ciro Oromnia I Macedonian Syrto X Ramo Ramo AX Ciuleandra Nagra Al Tir’uni A Bat Yiftach I Pljeˇskavac Sweet Girl Drmeˇs iz Zdenˇcina Ratevka AX Pravo, Slow X Syrtos AX Fatiˇse Kolo Ravno Oro Ciganˇcica I I Hinach Yaffa I Raca Tzadik Katamar Hashachar Sadilo Mome A Ruzmarin Kolo A Tzena I ˇ 2 Shiru Hashir I Hopsa Hop Zica Karapjet AX Savila se Bela Loza A UNaˇseto Selo Hora Habika I T¸ arina de la Abrud Setnjaˇ I ˇ Kevi Cs´ard´as Hora Or U Sest Ki Tinam I Sta Dhio Igraj Mome Ya Abud I X Uncore Kujawiak [Ada’s #1] X Tr˘ugnala Rumjana Karagouna AX Trava Trava At V’ani I 2 Lezginka Bat Harim I Kriˇci Tiˇcek Li Lach AI I I Cukanotoˇ Lech Lamidbar HARD Ma Avarech Uncore Dajˇcovo (Basic) AX Ne F´elj L´anyom Neapolitan Tarantella AX And’aman Pallikari X Debka L’ Adama I Nestinarsko Horo Core Norwegian Polka A AX Nitzanim I Po Zelenoj Trati Bannielou Lamb. Dura Albanian #1 (Rid´ee) Erev Ba I Osmica Sellenger’s Round A Popoviˇcanka Biˇcak Siamse Beirte Biserka-Bojarka Gerakina Brˆıul de la F˘ag˘ara¸s Boiereasca I A Harmonika AI Prekid Kolo Slangpolska A A I Rokoko Kolo Buˇcimiˇs Shiboleth Basadeh AI Fast Hasapikos Hineh Ma Tov Co¸skun C¸ oruh Hashual I Hora din Giubega A Saˇsino Kolo Twelfth St. Rag AX Selsko Oro Godeˇcki Caˇˇ cak Waltz X Karsi Bar Hora de Mˆın˘a ˇ I Kopaˇcka I X Kochari A Silovaˇcko Oro Joshua Liˇcko Kolo X Lepa Moja Milena Sˆırba din Cimpoi Jove Maloj Mome Medium+ Pilalitos Maˆıtre de Maison X S¸obolanul Ripna Maca Aino Kchume A Poskok Mariˇcensko Pravo H. X Steppin’ Out R˘uka/Zborenka Ana Lugojana A X 2 Rustemul A Srbjanka Nataljino Kolo Tin Tini Mini Hanım I Cajun 2-step Stara Vlainja Pata Pata Tri Godini Kate Sapari Dayagim AI Syrtos Agias El. X Pinosavka X Tropanka Silistranska Sˆırba pe Loc Dodi Li I (Walking Syrtos) Rampi Rampi X Turkish Hora Vlaˇsko Ei Hatal AI Vranjanka Robin Ddiog Elem V’ Susato AI (Sanoˇ Duˇso) Sapri Tama I Uncore Rezijankas I & II I Shecharchoret I Zemer Atik Sarajevka Ad Or Haboker I Skudrinka X REMARKS Sønderhoning A Ca La Balta A Tzlil Zugim I ˇ Sz´ekely Friss X This list is not gospel! Cetvorno [Yves’s] Za Pojas Programming involves Vossarull ˇ Dedo Mile Dedo Zwiefacher A KEY Zaplanski Caˇcak taking into account Radomirsko Horo I =Israeli many variables: the Sandansko Horo Hard A =fast-moving, crowd, what was re- A cently taught, the B´ek´esi P´aros or at least “up”. Hambo A (Allegro) mood of the evening, ˆ A et. al. It is meant to DIFFICULT Invˆırtita [Yves’s] X =good for later in Marklander A be a helpful reference A the program. for use before and dur- Core Michael’s Cs´ard´as The latter two labels ing a dance. ˇ Rørospols Cestoto/Pravo Tubarozsa Cs´ard´as A are primarily to help Ratings such as “core” Dajˇcovo/ Horo X Zillertaller one program easier and “ ” are Floricica Olteneasc˘a A dances in the later sometimes judgement Zwiefacher part of the evening; calls and do change Sets with time. The list is Uncore hence, they are only A given for line dances in kept on a computer Kopaˇcka Heilsberger Dreieck to facilitate updating. Sousta Hole in the Wall the first two cate- A gories. Lady Walpole’s Reel Levi Jackson Rag A Thanks to all who Dances set in small proofread and made Man in the Hay A italics are “dead”: Sweets of May A helpful comments: rarely done anymore. DG, IG, JT, LT, MR, PY, and AEIMHF..
Load more

Recommended publications
  • 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 ...............................
    [Show full text]
  • A Dramatization of Italian Tarantism in Song
    Lyric Possession: A Dramatization of Italian Tarantism in Song Item Type text; Electronic Dissertation Authors Smith, Dori Marie Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 04:42:15 Link to Item http://hdl.handle.net/10150/560813 LYRIC POSSESSION : A DRAMATIZATION OF ITALIAN TARANTISM IN SONG by Dori Marie Smith __________________________ Copyright © Dori Marie Smith 2015 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2015 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Dori Marie Smith, titled Lyric Possession: A Dramatization of Italian Tarantism in Song and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: April 24, 2015 Kristin Dauphinais _______________________________________________________________________ Date: April 24, 2015 David Ward _______________________________________________________________________ Date: April 24, 2015 William Andrew Stuckey _______________________________________________________________________ Date: April 24. 2015 Janet Sturman Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Folk Dances for Language Classes, Dona Hyll, Lorraine Fortner, 2001
    Folk Dances for Language Classes Dona Hyll Lorraine Fortner September 21, 2001 Louisville, Kentucky Table of Contents About the Instructors...................................................................................................................ii Dances from German speaking regions: GROSSER ATLANTIK .......................................... .......................... Germany....................1 D'HAMMERSCHMIEDSG'SELLN........................ .......................... Germany....................2 LA SALAMANDRE................................................ Alsace............... France......................15 Dances from Spanish speaking regions: CARNAVALITO..................................................... .......................... Bolivia.......................3 ESPUNYOLET........................................................ Catalonia .......... France / Spain..........16 MEXICAN POLKA................................................. .......................... Mexico ......................4 Dances from French speaking regions: AN DRO RETOURNÉ ............................................ Brittany............. France........................5 AVANT-DEUX DE TRAVERS.............................. Brittany............. France......................14 LE BAL DE JUGON ............................................... Brittany............. France........................9 BANNIELOU LAMBAOL...................................... Brittany............. France........................7 BRANLE NORMAND ...........................................
    [Show full text]
  • 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
    [Show full text]
  • Teaching English Through Body Movement a Pa
    AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection
    [Show full text]
  • 01-ALEA Program April 2, 2018-II
    F o r t i e t h S e a s o n THE NEXT ALEA III EVENTS 2 0 1 7 - 2 0 18 Music for Two Guitars Monday, April 2, 2018, 8:00 p.m. Community Music Center of Boston 34 Warren Avenue, Boston, MA 02116 Free admission ALEA III Alexandra Christodimou and Yannis Petridis, guitar duo Piano Four Hands Thursday, April 19, 2018, 8:00 p.m. TSAI Performance Center - 685 Commonwealth Avenue Theodore Antoniou, Free admission Music Director Works by Antoniou, Gershwin, Khachaturian, Paraskevas, Piazzolla, Rodriguez, Ravel, Rachmaninov, Villoldo Contemporary Music Ensemble in residence at Boston University since 1979 Laura Villafranca and Ai-Ying Chiu, piano 4 hands Celebrating 1,600 years of European Music Wednesday, May 9, 2018, 8:00 p.m. Old South Church – 645 Boylston Street, Boston, MA 02116 Music for Two Guitars Free admission On the occasion on the Europe Day 2018. Curated by CMCB faculty members Works from Medieval Byzantine and Gregorian Chant, through Bach Santiago Diaz and Janet Underhill to Skalkottas, Britten, Messiaen, Ligeti, Sciarrino and beyond. ALEA III 2018 Summer Meetings Community Music Center of Boston August 23 – September 1, 2018 Allen Hall Island of Naxos, Greece 34 Warren Avenue, Boston A workshop for composers, performers and visual artists to present their work and collaborate in new projects to be featured in 2018, 2019 and 2020 events. Daily meetings and concerts. Monday, April 2, 2018 BOARD OF DIRECTORS BOARD OF ADVISORS I would like to support ALEA III. Artistic Director Mario Davidovsky Theodore Antoniou Spyros Evangelatos During our fortieth Please find enclosed my contribution of $ ________ Leonidas Kavakos 2017-2018 season, the need payable to ALEA III Assistant to the Artistic Director Milko Kelemen for meeting our budget is Alex Κalogeras Oliver Knussen very critical.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Taranta–Dance Ofthesacredspider
    Annunziata Dellisanti THE TARANTA–DANCE OFTHESACREDSPIDER TARANTISM Tarantism is a widespread historical-religious phenomenon (‘rural’ according to De Martino) in Spain, Campania, Sardinia, Calabria and Puglia. It’s different forms shared an identical curative aim and by around the middle of the 19th century it had already begun to decline. Ever since the Middle Ages it had been thought that the victim of the bite of the tarantula (a large, non- poisonous spider) would be afflicted by an ailment with symptoms similar to those of epilepsy or hysteria. This ‘bite’ was also described as a mental disorder usually appearing at puberty, at the time of the summer solstice, and caused by the repression of physical desire, depression or unrequited love. In order to be freed from this illness, a particular ritual which included dance, music and the use of certain colours was performed. RITUAL DANCING The first written account of music as an antidote to the bite of the tarantula was given by the Jesuit scientist, Athanasius Kircher, who was also the first to notate the music and rhythm in his book Antidotum Tarantulæ in the 16th century. Among the instruments involved and used, the frame drum plays an important role together with the violin, the guitar or chitarra battente, a ten-string guitar used percussively, and the button accordion or organetto. This form of exorcism consisted in a ritual carried out in the home of the sick person and a religious ritual in the Church of San Paolo (Saint Paolo in Galatina (Lecce)) during the celebrations of the Saints Peter and Paul on the 28th June each year.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Dances Inscribed in the UNESCO Intangible Cultural Heritage of Humanity a List Compiled by Alkis Raftis
    Dances inscribed in the UNESCO Intangible Cultural Heritage of Humanity A list compiled by Alkis Raftis www.CID-world.org/Cultural-Heritage/ The International Dance Council CID, being the official organization for dance, presents a list of dances recognized by UNESCO as part of the Cultural Heritage of Humanity. Dances are part of many customs or rituals included either in the Representative List or the Urgent Safeguarding List. I have listed below only cultural manifestations where dance is ​ the central part. ​ For information visit www.CID-world.org/Cultural-Heritage/ ​ Send comments to the CID Secretariat or CID Sections in the respective countries. Representative List & Urgent Safeguarding List 2018 Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan - Azerbaijan Khon, masked dance drama in Thailand - Thailand Mooba dance of the Lenje ethnic group of Central Province of Zambia - Zambia Mwinoghe, joyous dance - Malawi 2017 Zaouli, popular music and dance of the Guro communities in Côte d’Ivoire - Côte d'Ivoire Kushtdepdi rite of singing and dancing - Turkmenistan Kolo, traditional folk dance - Serbia Kochari, traditional group dance - Armenia Rebetiko – Greece Taskiwin, martial dance of the western High Atlas - Morocco 2016 Almezmar, drumming and dancing with sticks - Saudi Arabia Momoeria, New Year's celebration in eight villages of Kozani area, West Macedonia, Greece - Greece Music and dance of the merengue in the Dominican Republic - Dominican Republic Rumba in Cuba, a festive combination of music and dances and all
    [Show full text]