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Folk,Narodne,Starogradske Karaoke
060/3471 - 575 061/30 - 560 - 30 [email protected] Списак Folk-narodnih-starogradskih караока на матрицама : 1. Aj berem grožđe – Zorica Brunclik 66.Ja stalno pijem – Đani 124.Nijedne usne se ne ljube same – Džej 184.Sliku tvoju ljubim - Toma Zdravković 2.Aj po gradini (bv) -Čeda Marković 67.Jedan, dva – Džej 125.Nikad nikom nisam reko – Medeni 185.Snijeg pade – Narodna 3.Aj pa pukni zoro – Montevideo 68.Jesen u mom sokaku – Tozovac mesec 186.Splavovi – Novica Zdravković 4.Al nema nas – Nikola Rokvić 69.Još ovu noć – Šaban Šaulić 126.Nikada više -Radmila Manojlović 187.Srce gori jer te voli – S. Armenulić 5.Anonimna – Slobodan Vasić 70.Još uvek slutim -Milan Stanković 127.Niko ne mora da sluša- N. Vojvodić 188.Srce je moje violina – Lepa Lukić 6.Avlije,avlije – Zorica Brunclik 71.Jovano, Jovanke – Makedonska 128.Nikom nije žao kao meni – Džej 189.Srce od silikona -Darko Lazic 7.Beli zora – Marinko Rokvić 72.Kad bi znali kako mi je – Miloš Bojanić 129.Niška banja – Narodna 190.Stani dušo da te ispratim – Ilda 8.Bez tebe je gorko vino - Duško Kuliš 73.Kad ja pođoh aman -Safet Isović 130.Nikom nije žao kao meni – Džej Šaulić 9.Bež Milane -Viki Miljković 74.Kad te ne volim -Katarina Živković 131.Niška banja – Narodna 191.Stani mome da zaigraš – 10.Biljana – Aca Matić 75.Kafana je moja sudbina – Toma 132.Nosim tugu ko okove – G. Božinovska Makedonska 11.Blago meni -Ana Bekuta Zdravković 133.Osvemu mi pričaj ti -Milan Topalović 192.Sto ću čaša polomiti - Crni 12.Blagujno Dejče – Cune Gojković 76.Kako ti je kako živiš – Šaban & Zorica 134.Obeležena – Viki Miljković 193.Sve moje njeno je – Sanja Đorđević 13.Bolje ona nego ja – R. -
Mr Aleksandra Paladin
MR ALEKSANDRA PALADIN DOKTORSKA DISERTACIJA BEOGRAD 2016 UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET DRAMSKIH UMETNOSTI POZORIŠTA, FILMA, RADIJA I TELEVIZIJE FUNKCIONALNA ULOGA MUZIKE I MUZIČKE PRODUKCIJE U OČUVANJU NACIONALNE KULTURE DOKTORSKA DISERTACIJA Mentorka: red. prof. dr Mirjana Nikolić Kandidat: mr Aleksandra Paladin Beograd, 2016. Mojim roditeljima, koji su me uvek podržavali, podsticali i verovali u mene . FUNKCIONALNA ULOGA MUZIKE I MUZI ČKE PRODUKCIJE U O ČUVANJU NACIONALNE KULTURE REZIME Predmet rada i istraživanja koje je u osnovi ove doktorske disertacije temelji se u kontekstualnom sagledavanju uloge muzike u očuvanju i promociji nacionalne kulture, a kroz povezivanje delatnosti i delovanja javnog medijskog servisa – RTS i njegove Muzi čke produkcije kao organizaciono-produkcione jedinice kojoj je primarno poveren zadatak sa navedenom misijom. Obzirom da je predmet rada je kompleksan, diskurs prou čavanja je fokusiran na programe Radio Beograda - Prvi program, Drugi program, Tre ći program, Beograd 202 i muzi čki program Stereorama, kao i na Zvu čni arhiv. U obradi ovako definisanog predmeta rada, koriš ćeno je nekoliko teorijskih diskursa, po čev od teorija javnog servisa, kojima se definišu specifi čnosti modela medijskih ustanova kojima je poverena uloga da budu promoteri i zaštitnici interesa javnosti; potom teorije nacije i nacionalnog identiteta, ali i sociološko-kulturološke teorije, koje ukazuju na potrebu kulturološkog definisanja nacionalne kulture. Okosnicu rada činila je pretpostavka, koja je velikim delom i kvalitetno potvr đena, da su muzi čki sadržaji koji su producirani u okvirima Muzi čke produkcije RTS, i koja se plasira kroz programe javnog servisa, jedno od najzna čajnijih programskih sredstava putem koga se reprezentuje nacionalna kultura. Pomenuto implicira da izborom i realizacijom, snimanjem, prenosima i arhiviranjem muzi čkih sadržaja, osnivanjem i razvojem umetni čkih ansambala, javni radiodifuzni servis ostvaruje svoju osnovnu funkciju i opravdava zadatke koje su mu povereni od strane javnosti i društva. -
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 -
Turbofolk Reconsidered
Alexander Praetz und Matthias Thaden – Turbofolk reconsidered Matthias Thaden und Alexander Praetz Turbofolk reconsidered Some thoughts on migration and the appropriation of music in early 1990s Berlin Abstract This paper’s aim is to shed a light on the emergence, meanings and contexts of early 1990s turbofolk. While this music-style has been exhaustively investigated with regard to Yugoslavia and Serbia, its appropriation by Yugoslav labour migrants has hitherto been no subject of particular interest. Departing from this research gap this paper focuses on “Ex-Yugoslav” evening entertainment and music venues in Berlin and the role turbofolk possessed. We hope to contribute to the ongoing research on this music relying on insights we gained from our fieldwork and the interviews conducted in early and mid-2013. After criticizing some suggestions that have been made regarding the construction of group belongings by applying a dichotomous logic with turbofolk representing the supposedly “inferior”, this approach could serve to investigate the interplay between music and the making of everyday social boundaries. Drawing on the gathered interview material we, beyond merely confirming ethnic and national segmentations, suggest the emergence of new actors and the increase of private initiatives and regional solidarity to be of major importance for negotiating belongings. In that regard, turbofolk events – far from being an unambiguous signifier of group loyalty – were indeed capable to serve as a context that bridged both national as well as social cleavages. Introduction The cultural life of migrants from the former Yugoslavia is a subject area that so far has remained to be widely under-researched. -
„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 .......................................................................................... -
The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
Dehexing Postwar West Balkan Masculinities: the Case of Bosnia, Croatia, and Serbia, 1998 to 2015 Marko Dumancic, Western Kentucky University
Western Kentucky University From the SelectedWorks of Marko Dumančić January 12, 2016 Dehexing Postwar West Balkan Masculinities: The Case of Bosnia, Croatia, and Serbia, 1998 to 2015 Marko Dumancic, Western Kentucky University Available at: https://works.bepress.com/marko-dumancic/3/ The analysis of post-Yugoslav and West Balkan masculinities remains, perhaps unsurprisingly, tethered to the study of interethnic warfare, postconflict reconciliation, and radical right-wing politics (Milojevic´ 2012; Pavlovic´ 1999; Irvine and Lilly 2007; Bracewell 2000; Hayden 2000; Munn 2008).1 Although recent scholarship has explored more fully the position of men who do not benefit from the so-called patriarchal dividend (Milicevic´ 2006; Zarkov 2001), West Balkan men are by and large studied as participants (whether active or passive) in a range of oppressive sociopolitical structures (Capriqi 2012; Rosic´ 2012). Although the scholarship analyzing the correlation between violence and West Balkan masculinity adds a unique and relevant nuance to the study of globalized violence, scholars too often study and depict traditional Balkan masculinities as an exclusively conservative bulwark against modernization writ large without advancing alternative understandings of West Balkan masculinity.2 For the local intelligentsia and urban media outlets too, Balkan masculinity represents forces of isolationism and exclusivist ethno-nationalism, especially in the context of European integration. If one were to judge by current Bosnian, Croatian, or Serbian media commentary, the West Balkans are, no less than they were a hundred years ago, at the crossroads between traditionalization and modernization, with the patriarchal system actively sabotaging modernity’s successful evolution in the region. Thus in both Western scholarship and West Balkan media outlets, masculine identities stand in for antimodern forces: backwardness, parochialism, and (neo-) traditionalism. -
Zar Ne Jelena Karleusa Mp3 Download
Zar ne jelena karleusa mp3 download Buy Zar ne: Read Digital Music Reviews - jelena karleusa zar ne, beznadezan slucaj, nije ona, istina je da te lazem teatro size: MB - Duration: - Bitrate: Kbps - FileType: mp3. Watch the video, get the download or listen to Jelena Karleusa – Zar Ne for free. Zar Ne appears on the album JK Diamond Collection. Discover more music, gig. Jelena Karleusa - Zar Ne tekst lyrics: Zar ne, a rekao siodmah sutra zvaces mei dvesta puta ako trebasto da ne, sto da neRef. 2xSvi me zovu, mama, non stop. Streaming Jelena Karleusa - Zar Ne (Official Song Release - HQ) mp3 and download new album of Jelena Karleusa - Zar Ne (Official Song Release - HQ) for. Streaming Jelena Kareuša - Zar Ne TEKST mp3 and download new album of Jelena Kareuša download mp3 Jelena Karleuša - - Nisi U Pravu TEKST. Listen & Download jelena karleusa zar ne Mp3. Bitrate: kbps - File Type: MP3 - Source: Chords for Jelena Karleuša Zar Ne / Јелена Карлеуша Зар Не. Play along with guitar, ukulele, or piano with interactive chords and diagrams. Includes. Jelena Karleusa Lazes Bijelo Dugme LIVE AmiG Show. Jelena Karleusa The Diamond Collection 7 Downloads. 3 29 Karleusa Zar Ne kbps Mp3. Milena Ceranic - Devojke vole dijamante, Zar ne (Jelena Karleusa) UZIVO Ja se ne mogu. Artist: Jelena Karleusa, Song: So ft Nesh, Duration: , Size: MB, Download Jelena Karleusa - So ft Nesh № Jelena Karleusa Zar ne. JK - Zar ne - Duration: JKtheDIVA 3,, views · · Jelena Karleusa - Nije ona. Zar ne Lyrics: Zar ne, a rekao si / Odmah sutra zvaćeš me / I puta ako treba / Što da ne, što da ne / (x2) / Svi me zovu, mama, non-stop traže me / Svima reci. -
Pojam Balkana U Popularnoj Glazbi
Pojam Balkana u popularnoj glazbi Pavelić, Marko Master's thesis / Diplomski rad 2015 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Rijeka, Faculty of Humanities and Social Sciences / Sveučilište u Rijeci, Filozofski fakultet u Rijeci Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:186:485612 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-06 Repository / Repozitorij: Repository of the University of Rijeka, Faculty of Humanities and Social Sciences - FHSSRI Repository Sveučilište u Rijeci Filozofski fakultet u Rijeci Odsjek za kulturalne studije Marko Pavelić Pojam Balkana u popularnoj glazbi Diplomski rad Rijeka, studeni 2015. Sažetak: Sama riječ Balkan vro je komplicirana jer se od poprilično neprecizne geografske odrednice pretvorila u politizirani pojam kojeg krase mnogi, vrlo često negativni atributi. Tijekom godina o Balkanu su se rađali mnogi zapadnjački mitovi koji su ga orijentarizirali i stavljali, a i danas ga stavljaju, na rub civiliziranog svijeta. Posebno je u tom svijetlu zanimljivo vidjeti položaj Hrvatske kao istovremeno balkanske i europske zemlje, s čvrstim argumentima za obje pozicije. Balkan je mjesto gdje su se kroz povijest uvijek rađali snažni identiteti. Do pred kraj prošlog stoljeća, na snazi je bio jugoslavenski identitet, da bi početkom 90ih došlo do snažnog rasta nacionalnih identiteta. Ipak, smirivanjem ratnim strasti, ponovno sve više na snagu stupa jedinstveni, balkanski identitet. Jak činitelj identiteta svih ljudi zasigurno je glazba i ove se činjenice očituju i u njoj. Upravo je glazba snažno pozivala ljude na jedinstvo svih Jugoslavena, zatim na rat i obranu kako hrvatske, tako i srpske kulture i vjere, a danas poziva na stvaranje jedne nove balkanske kulture i društva; kulture užitaka i alkohola s jedne, ali i društva koje živi u bijedi, siromaštvu i koje se treba boriti protiv političkih elita. -
Music Review: "Bosnia: Echoes of an Endangered World", "King Ferus
Music Review: "Bosnia: Echoes of an Endangered World", "King Ferus: Ferus Mustafov, Macedonian Wedding Soul Cooking", and "Gaida Orchestra: Bagpipe Music from the Rhodope Mountains" Lynn Maners Pima Community College/University of Arizona "Bosnia: Echoes of an Endangered World" Music Track eight returns to the sevdalinka form for a and Chant of the Bosnian Muslims." Smithsonian lovely unaccompanied performance of "II' je vedro, Folkways CD SF 40407 il' oblacno" ("Is it clear or cloudy?") This CD is an excellent compilation of the musical Tracks nine through eleven represent the Muslim performance, both religious and vernacular of the religious experience in Bosnia and Herzegovina. Muslim population of Bosnia and Herzegovina. Track nine is the ezan, or call to prayer, while tracks Using both commercial sources and field recordings ten and eleven are chanted excerpts from zikrs, or (from 1984-5), Ted Levin and Ankica Petrovic (the Sufi religious rites, in Bosnian dervish orders. latter formerly of the University of Sarajevo's Music Faculty) illustrate a variety of Bosnian musical The final selections on this CD, tracks twelve through forms, both urban and rural. Field recordings (1989- fourteen return us once again to that musical form 90) by Mirjana Lausevic, (currently a graduate most associated with Bosnia and Herzegovina, the student at Wesleyan), also appear in this collection. sevdalinka. Track twelve, "Saraieveski Pocetak/Sarhos Aljo", is a remnant of an older urban Tracks one and two are sevdalinkas, or love songs, style in which the singer is accompanied on saz, a and represent an urban Muslim musical style, based larger version of the more rural oriented sargija. -
Pesma Izvođač a Tebe Nema Zorica
PESMA IZVOĐAČ A TEBE NEMA ZORICA BRUNCLIK A U MEĐUVREMENU OK BEND A AJ IMAM TEBE ROĐA RAIČEVIĆ AFRIKA SLAĐA ALLEGRO AJDE JANO NARODNA IZ SRBIJE ALAJ MI JE VEČERAS PO VOLJI NARODNA IZ SRBIJE ALI PAMTIM JOŠ HANKA PALDUM ANDROVERA CIGANSKA ASPIRIN SEKA ALEKSIĆ AUTOGRAM CECA AVLIJE AVLIJE ZORICA BRUNCLIK BATO BRE INDY BY PASS ACA LUKAS BEKRIJA ANA BEKUTA BELE RUŽE ACA LUKAS BELI SE BISERU LEPA BRENA BELLA CIAO GORAN BREGOVIĆ BELO LICE LJUBAM JAS MAKEDONSKA BEOGRAD CECA BIO MI JE DOBAR DRUG MAJA MARIJANA BISENIJA, KĆERI NAJMILIJA CUNE GOJKOVIĆ BITOLA MAKEDONSKA BIO SI MI DRAG INDIRA RADIĆ BLAGUJNO DEJČE SNEŽANA ĐURIŠIC BOGOVI ZEMLJOM HODE LJUBA ALIČIĆ BOŽANSTVENA ŽENO MIROSLAV ILIĆ BUDI BUDI UVIJEK SREĆNA HALID BEŠLIĆ CIGANI LJUBLJAT PESNI CIGANSKA CIGANIMA SRCE DAĆU BOBAN ZDRAVKOVIĆ CIGANINE SVIRAJ SVIRAJ SILVANA ARMENULIĆ CIGANKA SAM MALA STAROGRADSKA CRNE KOSE HANKA PALDUM CRVEN KONAC ANA BEKUTA CRVEN FESIĆ HANKA PALDUM ČAČAK KOLO KOLO ČARŠIJA AL DINO ČIK POGODI LEPA BRENA ČISTO DA ZNAŠ PEĐA MEDENICA ČOKOLADA JAMI ČUVALA ME MAMA LEPA BRENA ČUDNA JADA OD MOSTARA GRADA MEHO PUZIĆ ČUJEŠ SEKO STAROGRADSKA ĆIRIBU ĆIRIBA GARAVI SOKAK DA BUDEMO NOĆAS ZAJEDNO VESNA ZMIJANAC DA MI JE A NIJE DARKO RADOVANOVIĆ DA RASKINEM SA NJOM CECA DA SE NAĐEMO NA POLA PUTA NEDA UKRADEN DA SE OPET RODIM MIRZA I IVANA SELAKOV DA ZNA ZORA STAROGRADSKA DAJTE VINA HOĆU LOM HARIS DŽINOVIĆ DALEKO NEGDE KO ZNA GDE SLAVKO BANJAC DALEKO SI ACA LUKAS I IVANA SELAKOV DANČE TOZOVAC DELIJA MOMAK SINAN SAKIĆ DOBRO JUTRO LEPI MOJ ANA BEKUTA DODIR NEBA NEDELJKO BAJIĆ BAJA DOĐEŠ -
Besplatan Primerak FORSPILKA
Ako želite da naučite ili da se podsetite foršpila poznatih izvođača narodne i folk muzike onda ste na pravom mestu jer tu je FORŠPILKO !! Šta je FORŠPILKO ? FORŠPILKO je priručnik za početnike kao i za profesionalne muzičare u kome se nalaze notirani foršpili (sa trilerima i harmonijom) poznatih izvođača narodne i folk muzike. Zašto morate da imate FORŠPILKA ? Imate sve foršpile na jednom mestu ! Uvek možete da se podsetite neke pesme koju niste dugo svirali ! Ne morate da provodite vreme pored CD-plejera skidajući neku pesmu jer mi smo je već skinuli i notirali za vas ! Što više pesama znate Više ćete i da zaradite na svirkama.Oni koji se profesionalno bave muzikom to dobro znaju ! FORŠPILKA možete da odštampate tako da ga uvek možete nositi sa sobom na svirke ! Sve pesme su po naslovima klasifikovane po abecednom redu radi bržeg snalaženja ! (Sspisak pesama koje se nalaze u FORŠPILKU br. 1 i br. 2) Kupovinom FORŠPILKA postajete član Foršpilko kluba i automatski stičete pravo na raznorazne poklone (naravno u vidu notnih zapisa) FORŠPILA i NOTIRANIH KOLA ! Pogledaj Demo Verziju FORŠPILKA ! FORŠPILKO A F Anđelija - (Milanče Radosavljević) . 1 Fato mori dušmanke - (Aca Matić) . 3 B I Bekrija - (Ana Bekuta) . 1 Ispod palme - (Toma Zdravković) . 3 C J Ciganine ti što sviraš - (Silvana Armenulić) . 2 Ja znam - (Zorica Brunclik) . 4 Č K Čovek sa srca dva - (Šeki Turković) . 2 Ko ostavlja ruže - (Jelena Broćić) . 4 D M Da zna zora - (Safet Isović) . 3 Miljacka - (Halid Bešlić) . 4 1 FORŠPILKO 2 FORŠPILKO 3 4 Spisak pesama koje se nalaze u FORŠPILKU br. 1 (300 Notiranih Foršpila) 1.