MUSIC: A MELODIC METHODOLOGY INTO TEACHING AND LEARNING 2018-1-ES01-KA229-050761

SCHOOL EXCHANGE PARTNERSHIP

STORY OF MUSIC

Story of Music

‘Story of Music’ is a final product for the first project Learning, Teaching and Training Activities held at our partner school, I.E.S. Pablo Ruiz Picasso, El Ejido, Spain. The aims have been to get the oldest pieces of music available and to analyse them, in terms of what feelings derive from their lyrics and also, to interpret the life and the experiences of the people back then. The presentation has been made in Power Point, both in English and in each partner school’s mother tongue.

MUSIC: A MELODIC METHODOLOGY in TEACHING and LEARNING I.E.S PABLO RUIZ PICASSO SPAIN 2018/2020

The Story of Music

1. STELLA SPLENDENS 2. VENI CREATOR SPIRITUS 3. SANTA MARIA STRELA DO DIA 4. ROBIN M’AIME 5. O QUE POLA VIRGEN LEIXA

STELLA SPLENDENS STELLA SPLENDENS

1) Stella Splendens is a religious motet from the llibre 1) Stella Splendens es un motete religioso del Llibre vermell of Montserrat with an unknown artist who tries to Vermell de Montserrat, con un autor desconocido que nos tell us why several people, from the poorest to the richest, muestra como cientos de personas, desde el más pobre al comes to the Montserrat's church to confess and do his más rico, iban al monasterio local a confesares y a hacer promises to the saint Mary. sus promesas a la virgen María. 2) When they do thisThey leave the church with their soul 2) Cuando hacían eso, se dice que salían con su alma purified and clean. purificada y limpia.

THE LYRICS IN SPANISH / LETRA EN ESPAÑOL:

Estrella que como un rayo de sol Campesinos, labradores y Mientras suplicamos, hombres resplandeces. notarios, abogados, escultores, y mujeres, purificando Con milagros, en Montserrat: junto con carpinteros, sastres, nuestras conciencias. Escucha a tu pueblo. zapateros e incluso laneros, Todos los pueblos acuden alegres artesanos todos, aquí dan Roguemos devotamente a fin hasta aquí, gracias. de conocer de verdad en el ricos y pobres, adultos y niños; aquí cielo a la Virgen Gloriosa se adentran, Reinas, condesas, damas ilustres, y llena de gracia, Madre de a la vista de todos, y de aquí salen matronas y esclavas, clemencia. llenos de gracia. Doncellas y niñas, vírgenes y ancianas, junto con las viudas Príncipes y magnates de estirpe real, Y las religiosas, suben a esta poderosos del mundo, montaña. obtenido el perdón, anuncian la remisión de sus pecados y, Todos se congregan y aquí sus arrodillados, exclaman: Ave María. promesas ofrecen, y se llenan de gracia Prelados y barones, condes famosos, para poderlas cumplir, y después religiosos de todas clases, de enriquecer y adornar esta y también presbíteros, soldados, mansión comerciantes, marineros, regresan en libertad. ciudadanos y pescadores, aquí son recompensados.

THE LYRICS IN ENGLISH / LETRA EN INGLÉS:

hear the dRadiant star on the Prelates and males, Virgins and old mountain, like a miraculous Retinues, With the widows; sunbeam, Cloysterers, and religious ivided people. soldiers, merchants, Climb the mountain citizens sailors, All joyous people come Businessmen, fishers The assembly is gathered together: Rewarded are there. Here to make rich and poor, young and old, Wishes, thanks climb the mountain to see with Farmers, cultivators And gifts their own eyes, I shall not fail the notary, Court enriching and return from it filled with Advocates, sculptors; This all may see and grace. carpenters, jewels adorning Tailors and cobblers And return. Rulers and magnates of royal together with carpenters, tailors, stripes, wool,artisans Let us pray the mighty of the world, all, here they give thanks. devoutly in order to possessing grace, truly know in the proclaim their sins, beating Queens, Countess; Heaven to the their breast, noble Lords, Glorious Saint and call on bended knee: Ave And the powerful slave; and full of grace, Maria. Young girls; Mother of mercy.

THE FEELINGS OF THE SONG

LOS SENTIMIENTOS DE ESTA CANCIÓN

This song gives us a sense Esta canción nos da un of respect and proud to the sentimiento de respeto saint Mary, because in the hacia la Virgen María, song, she is presented like porque en la canción es a presentada como una kind hearted person who persona que ayuda a los helps to all the people and demás y que busca el who searchs the well- bienestar de todo el being of everybody. mundo. THEME

1)The principal subject of this 1)Un motete es un tipo de music is the religion. composición musical polifónica 2)A motet is a type of polyphonic esparcida en toda la Europa musical composition spread out feudal desde el siglo XIII, in all the feudal Europe from the alcanzando su máximo apogeo XIII century, being the most el año1250 DC. important and the unique 2)El tema principal de este estilo religious style in the year 1250 es el religioso y bíblico. AD. 3)Este tipo de composiciones 3)This type of musical podian ser escuchadas en composition was displayed on iglesias y templos cristianos. churchs and christians temples.

Tomás Luis de Victoria (1548-1611) is Tomás Luis de Victoria (1548-1611) one example of a relevant Spanish es un ejemplo de artista español artist on the creation of motets. relevante en la creación de motetes. LIFE IN MEDIEVAL SPAIN

In the medieval Spain, the people, the art, the En la España medieval, el arte, la sociedad , el money and the politics move aronud religion all the dinero y la política se movía alrededor de la time, like we can see and listen in this song from the religión, como podemos observar y escuchar era. en la canción de la época.

On spain, the population was principally from the En España, la población se encontraba countryside, and the main job for the working class mayormente en la zona rural, donde la was jobs on the farms and fields of the feudal of the principal ocupación de la clase trabajadora era region, meanwhile in the cities, the main job was trabajar en el ganado y en el campo; en las the craftworks. ciudades la principal ocupación era la artesanía. In the society of the era the contrasts between the rich people and the working class were alarming Los contrastes entre ricos y trabajadores era (while the kings and high class enjoy a lot of alarmantes (mientras que los reyes y clase alta benefit, the low class die for illnes and starvation ). gozaba de grandes beneficios, la clase baja se The workday were extreme, from sunrise to sunset, moría de hambre y enfermedades). and the salary were ridiculous. La jornada laboral era extrema, de sol a sol, y con un salario ridículo VENI CREATOR SPIRITUS

CANTOS GREGORIANOS MAS ANTIGUOS DE ESPAÑA GREATEST GREGORIAN CANTOS OF SPAIN EDAD MEDIA (SIGLO XIV)

LETRA EN ESPAÑOL / LYRICS IN SPANISH

• Ven, Espíritu Creador, Come, Creator Spirit, • visita las mentes de los tuyos; • visit the minds of yours; • llena de la gracia divina • full of divine grace • los corazones que tú has creado. • the hearts that you have created. • Tú, llamado el Consolador, • You, called the Comforter, • Don del Dios Altísimo; • Gift of the Most High God; • Fuente viva, Fuego, Caridad • Live source, Fire, Charity • y espiritual Unción. • and spiritual Anointing. • Tú, con tus siete dones, • You, with your seven gifts, • eres Fuerza de la diestra de Dios. • You are the Force of God's right hand. • Tú, el prometido por el Padre. • You, the one promised by the Father. • Tú pones en nuestros labios tu Palabra. • You put your Word on our lips. Light your light in our • Enciende tu luz en nuestras mentes, minds, • infunde tu amor en nuestros corazones, • infuse your love in our hearts, • y, a la debilidad de nuestra carne, • and, to the weakness of our flesh, • vigorízala con redoblada fuerza. • invigorate it with redoubled strength. • Al enemigo ahuyéntalo lejos, • To the enemy scare him away, • danos la paz cuanto antes; • Give us peace as soon as possible; • yendo tú delante como guía, • Going ahead as a guide, • sortearemos los peligros. • we will avoid the dangers. • Que por ti conozcamos al Padre, • That for you I we shall meet The Father • conozcamos igualmente al Hijo • We shall meet The Son too • y en ti, Espíritu de ambos, • And in you, Holy Spirit of both, • creamos en todo tiempo • We sall believe in every existing time

SENTIMIENTO FEELING • El canto que vamos a analizar es religioso de iglesia , el canto muestra en su letra la vida de Jesús desde que nace hasta que muere. El canto gregoriano no fue cantado hasta que nació la música cristiana.

• The song that we are going to analyze is church religious, the song shows in its lyrics the life of Jesus from birth until he dies. The Gregorian chant was not sung until Christian music was born.

SANTA MARIA STRELA DO DIA CONTEXT ÉPOCA /TIME ESTILO/STYLE

– Durante el siglo XIII • Es una cántiga es el género típico de la poesía medieval gallegoportuguesa (siglos XII-XIV). Son – During the XIII century poesías cantadas, cuya letra y música venía compuesta por trovadores. El que tocaba y cantaba estas poesías era el juglar, que a veces también era trovador. No se sabe quien fue exactamente su creador, • It is a canticle is the typical genre of Galician- pero fue escrita en la corte del rey Alfonso X el sabio Portuguese medieval poetry (XII-XIV centuries). They are sung poems, whose lyrics and music were It is not known who exactly was its creator, but it was composed by troubadours. The one who played and written in the court of King Alfonso X the wise sang these poems was the minstrel, who was also sometimes a troubadour Español / Spanish Mi alma en tu compañía. que fue si un lugar te, y yoplacería, para quien quiso creer en el; donde Dios tiene siempre gozo sonrisa y más que en nada, paraíso al Tu juicio puede guiarnos, y nos daría. la querría dárnosla por ti, concedería y porque a ti dios lo te que sólo Tú puedes darnos; la luz sin par verdadera y para ganar por todos los modos Debes mostrarnos el camino Muéstranos vía la Dios, para yguíanos. Santa María, estrella del día, que no debieran hacer locuras que les hizo de la osadía pero que tu los perdonas y haces entender les que son culpables; que perdieron se por pecados sus Porque ver haces a los errados Muéstranos vía la para Dios, yguíanos. Santa María, estrella del día,

Inglés / ENGLISH that that were lost of because their sins Because you make the see wrong ones Show us the wayto God, and guide us. Santa María, star of the day, My soul Mysoul in your company. what was if a place you, and I would pleasure, for those who wanted to believe in him; where God always has joyand smile more than anything, to paradise Your judgment guide can us, and he would give it to us. I would like to give it to you, I would grant and because you god that only You can give us; the unparalleled and true light to win byall modes You must show us the way Show us the wayto God, and guide us. Santa María, star of the day, that they should not Do crazythings what did do he to them of daring but that you forgive them and you that makethem understand they are guilty;

¿DE QUE TRATA SANTA “MARIA STRELA DO DIA”?/ WHAT IS “SANTA MARIA STRELA DO DIA” ABOUT?

La canción trata, en un contexto general, sobre Dios , el The song deals, in a general context, with God, the creador. Qué, aunque seas un pecador y no lo quieras creator. That even if you are a sinner and do not want to admitir, Dios lo perdona todo. admit it, God forgives everything. Santa María , con su luz, tiene que mostrarnos el camino. Santa Maria, with her light, has to show us the way. The La estrella tiene que darnos la luz porque sin duda, dios star has to give us light because without a doubt, God nos la daría. would give it to us. La luz de la estrella Santa María debe guiarnos hacia el The light of the star Santa Maria should guide us to the paraíso donde el disfruta y que el mismo creó para sus paradise where he enjoys and that he created for his fieles. faithful. THEME

There are 418 cantigas, plus an introduction in Hay 418 cantigas, más una introducción en tribute to Don Alfonso and a prologue, compiled homenaje a Don Alfonso y un prólogo, in four manuscripts.1 recopiladas en cuatro manuscritos. The Cantigas de Santa María can be divided Las Cantigas de Santa María pueden dividirse into two groups: en dos grupos: El primero lo forman las «Cantigas de Nuestra The first is formed by the "Cantigas de Señora», en las que el tema está formado por Nuestra Señora", in which the theme is alabanzas a la virgen Santa María y es un formed by praises to the virgin Santa María verdadero compendio de historias, milagros, y and is a true compendium of stories, miracles, relatos relacionados con la Virgen, bien sea and stories related to the Virgin, either by por su intervención directa o por los amores direct intervention or for the mystical loves místicos que su figura genera en las almas that his figure generates in pious souls. piadosas. The second, more reduced (since they are the El segundo, más reducido (puesto que son las cantigas whose order number is multiple of cantigas cuyo número de orden es múltiplo de ten), are the cantigas de loor, more serious diez), son las cantigas de loor, poemas más poems, deep, almost mystical, in which instead serios, profundos, casi místicos, en los que en of singing the miracles of the Virgin is lugar de cantar los milagros de la Virgen se reflected about her, as in a prayer. These take reflexiona sobre ella, como en una oración. the form of sacred hymns such as those Estas adoptan la forma de himnos sagrados interpreted in the liturgy, but which served como los que se interpretaban en la liturgia, both literary and musical entertainment in the pero que sirvieron a la vez de entretenimiento courts of the palace and profane parties, and literario y musical en las cortes palaciegas y which were then transmitted by the minstrels fiestas profanas, y que de ahí eran transmitidas to popular folklore. por los juglares al folclore de tradición popular.

ROBIN M’AIME SPANISH ENGLISH

Robin me quiere, Robins me tiene, Robin loves me, Robin has me, Robin me ha preguntado, Robin loves me; we're a pair. si el me tendrá. Robin has asked me, Robin me compró una bata Robin asked me so sweetly De tela hermosa, de calidad superior, if he will have me. Una faja lisa y estrecha. If I care. Por elllos doy mi consentimiento. Robin bought me a robe Robin me quiere, Robins me tiene, Robin gave me so discreetly Robin me ha preguntado, Of beautiful, superior quality cloth, si el me tendrá. Robin me quiere, Clothes made of fine cloth completely, Robins me tiene, A smooth and a narrow girtle. Robin me ha preguntado, Smocks and belts that fasten neatly: si el me tendrá. For them I consent. [lit., I go for that!] Robin me compró una bata For that I'm there! De tela hermosa, de calidad superior, Robin loves me, Robin has me, Una faja lisa y estrecha. Robin loves me; we're a pair. Por elllos doy mi consentimiento. Robin has asked me, Robin me quiere, Robins me tiene, Robin asked me so sweetly Robin me ha preguntado, if he will have me. si el me tendrá. If I care.

CONTEXT

ÉPOCA/TIME Durante el siglo XIII ESTILO/STYLE

During the XIII century but it was Es considerada música de juego pastoral, algunas launched in 1988. fuentes dicen que fue un precursor de la ópera cómica, mientras que otras afirman que esta obra dramática es un fenómeno aislado,con la narrativa AUTOR/AUTHOR pastellela como el denominador común. Adam de la Halle es el compositor Adam de la Halle is the composer It is considered pastoral play music, some sources say that it was a pre- cursor to opera comique, while others state that this dramatic work is an isolated phenomenon, with the pastourelle narrative as the common denominator

O QUE POLA VIRGEN LEIXA ORIGINAL LYRICS

O que pola Virgen leixa o de que gran sabor á, Para os que confían en ti, moi no corazón, sempre aqui lle demostra o ben que pois lle fará. porque eu, confiando sempre en ti, sofre esta paixón.

E dest’ un mui gran miragre vos contarei, que oý Entón os que o mataron dixeron: -¿por que será? dizer aos que o viron, e o contaron assi que non podemos matar por pedras que xogamos? como eu vos contar quero; e, segun com’ aprendi, Entón, o que ordenou ordenoulles ferir demostrou Santa Maria ena terra que está e darlle moi forte cunha lanza.

Mui preto d’ ambo-los mares, do gran que corr’ arredor E, despois de matalo. E non morreu, a pesar de todo iso, dixo: da terra e ar do outro que é chamado Mor; "Por Deus, tráeme aquí un clérigo para dicirlle o mal que fixen, que non cumprín a penitencia polos meus pecados. O que pola Virgen leixa o de que gran sabor á, sempre aqui lle demostra o ben que pois lle fará. "O que por la virgen leixa, o de que gran sabor á, sempre aqui mostra o que benle fará. '' E mostrou Santa Maria, Madre de Nostro Sennor, por un ome. E quen esto oyr, sabor averá E cando isto foi feito, el dixo: - Amigo, sempre De jaja-la ssa festa de março, com’ este fez, Quería servir a Sata María, que nunca faltará ou faltará aos que que a jajou gran tempo. serven.

Mas porque foi a Xerez E, ao dicilo, morreu, e para o que cremos, Deus recibiu a e a Sevilla quand’ eran de mouros, mais da vez, súa alma foi acusado e preso, porque sen mandad’ alá E cando estaba morto, a súa barba saíu, Fora, e que o matassen logo, u non ouvess’ al, aquel día ela afeitouno en Alcalá de Guadaira; e que foss’ apedreado porque fezo feito tal.

O que pola Virgen leixa o de que gran sabor á, sempr[e] aqui lle demostra o ben que pois lle fará E nalgún momento o seu corpo permaneceu, que ningún ave nin a besta comían nada del. Fora, e que o matassen logo, u non ouvess’ al, Isto é o que fixo Santa María, a dama que, e que foss’ apedreado porque fezo feito tal. por mor da súa gran piedade, defende e sempre nos defenderá. E ferindo-o, chamava a Reynna sperital, dizendo: Ay, Sennor, val-me, ben como valiste ja ENGLISH (ADAPTED) LYRICS

"The one that for the virgin leaves that one in which it has those who entrust in you, very of heart, because I, trusting great pleasure, always in you, suffer this passion. She always shows him here the good that She will do to him Then those who were killing it said: - why will it be that for later'' stones that we throw to him we it cannot kill? - Then, And of this a great miracle I will tell you that I heard saying which was ordering them ordered them to hurt those that they it saw and and to give him very loudly with a dart it. And, later to destroy I tell it as I want and as since I it have learned, it. that Santa Maria showed it in the land that is near both seas, And he did not die, regardless this was saying: - for God, me of the Big one, which runs about the land and of other one bring here a clergyman to the one that says how much to that are called a minor. him of villain I have done, that I have not fulfilled "The one that for the virgin leaves that one in which it has penance for my sins. great pleasure, She always shows him here the good that She'll do to him later'' "The one that for the virgin leaves that one in which it has great pleasure, She always shows him here the good She always shows him here the good that She will do to him later" that She will do to him later". And Santa Maria showed it in favor of a man. The one who And when this was done he said: - friend, always wanted to will hear it, will want to fast in his holiday of March, serve to Santa Maria, which will never be absent there do like he was doing it; that fasted for a long time. But, not even lack those who serve. because it was to 'Jerez' and to Seville more of once, And, in saying it, he died, and, to what we believe, God when they were the Moors, received his soul,And when he had died, there went out it was accused and imprisoned, because without mandate it for him the beard, which this day had shaved in was there, and sentenced to that were killing it then, Guadaira's Alcala; without appeal, And some time remained his body, that no neither bird nor and that was stoned for having done such a thing. beast ate nothing of him. This did Santa Maria, the lady "The one that for the virgin leaves that one in which it has who, for his great piety, defends us and us will defend great pleasure,She always shows him here the good that She will do to him later“ always. And he, while they were striking him, it was calling the ''The one who for the Virgin leaves that one in which it has Spiritual Queen saying: -sigh, Lady, cost me since you great pleasure, She always shows him here the good have cost already that She'll do to him later''

ANALYSIS OF THE SONG

This composition belonging to a manuscript corresponded with the assent and participation of the King Alfonso X ' the wise person ' of Castilla The song that we prepare to analyze: ' O que pola Virgen leixa' is the composition 124 of the Troubadour poems of Santa Maria; book that contains this composition, though there are more famous several as ' Santa Maria strela do dia ' that are more recognized and more famous than great others. In many dice in these songs Religious figures are mentioned already be Christian: "Virgin Mary", "God" or already be Islamic: 'Allah'.

● In general the work speaks brings over of a serf / slave with little money that trying to escape of the misery in Christian Earths going towards Arabic lands. But there it was thought by a group of Christians that they identified his Hispanic Origin and decided to kidnap it until he was confessing. All that for an agreement that existed between Christian and Islamic lands of which no individual might enter the territory of other or without permission or escaping of a feudal gentleman.

● In this case, the group of Christians, them added the presence of the Virgin Mary decided to prevent this person from fleeing.

● In a beginning they forced him to confess but when result did not give this, began to lanzarce rocks; And on not having given result either they decided to kill it with a dart (a type of sword).

● It is a question of a history replete with punishments on the part of God, and cruelty of the People. But for this epoch they decided to give him an artistic meaning. Behind everything it bloody and horrifying that could be the history of the murder of a person who only was trying to avoid and forming a better life.

( Portrait of Alfonso X of Castile, ' the wise person ') SONG'S ANALYSIS (PART 2)

These compositions of the Centuries XII-XIII are characterized by several things, between them, which treat a generally religious or even Biblical subject matter. And especially this Work: ' Or that Pola Virgen leixa ' it it is characterized that in the whole work the same esqueme of heap repeats himself for every strophe For Example: [Que por pédras que deitemos ][ Nono podemos matar] 7-,7b [Un crérigo mi aduzede,][ a que diga cuanto] 7-,7b It's makes we could use the same melody chords as base to sing during an extensive period of time till when we come to the Refrain, the zone where the song revives and a choir gets in the vocal melody to transmit better the message of this song. Between the instruments used to realize this work we find: - lute (used in almost the whole song) - it violates of arch - harp - tambourine - castanets - and cornamusas (few ones but notable it departs from the song) FINAL CONCLUSION

We can deduce that the most usual subject matter in the songs of Iberian and Hispanic origin is the Religion. Already be of the wars and conflicts that this one caused or of how the Gods intervene in situations as the one that narrates our persons' song that they want to be free and Thoughts manipulated and indoctrinated by the church. After everything it is a history and must be studied to know more to every country and to remember what it happened in every place before visiting it or while he visits himself. Here there is the link of the song that I have presented and I would really like to watch your video if possible: https://www.youtube.com/watch?v=DmEAI_3e2ok&t=2s

MUSIC: A MELODIC METHODOLOGY in TEACHING and LEARNING GREECE

A People’s History, national identity, background, culture, is portrayed in a nation’s musical and literal heritage, nobody can deny this.

This is revealed through poetry turned into songs sometimes clearly, sometimes allegorically.

Our students have made a survey and decided that eight of the most representative Greek songs that reveal aspects of our Nation’s History are the following. 1 . «Άξιον Εστί» (Axion Esti) ΤΗΣ ΔΙΚΑΙΟΣΥΝΗΣ ΗΛΙΕ ΝΟΗΤΕ Notional sun of justice

Της δικαιοσύνης ήλιε νοητέ Notional sun of justice και μυρσίνη συ δοξαστική and you glorifying myrtle μη παρακαλώ σας μη don’t please don’t λησμονάτε τη χώρα μου! forget my homeland!

Αετόμορφα τα έχει τα ψηλά It has eagle-shaped high βουνά mountains στα ηφαίστεια κλήματα σειρά terraced vineyards on the και τα σπίτια πιο λευκά volcanoes στου γλαυκού το γειτόνεμα! and the whiter houses in the neighbourhood of the blue! Τα πικρά μου χέρια με τον κεραυνό My bitter hands with the Thunder τα γυρίζω πίσω απ’ τον καιρό I turn them before Time τους παλιούς μου φίλους καλώ I’m calling my old friends με φοβέρες και μ’ αίματα! with threats and blood!

The poem was written by the Nobel Prize awarded Odyseas Elitis and the music was composed by Mikis Theodorakis. Elitis himself talks about how he got the inspiration: ”It was the years of ’48- ’51.War, occupation, civil war, everything was destroyed. I remember the day I was heading to get my plane. A dozen of kids were playing in an open field. They were literally ragged. Pale, dirty, bony, with deformed knees, skeletal faces. They were wandering around the field in piles of rubbish. This was the last image I was getting from Greece. Less than 24 hours later, I was in Switzerland, reading by a lake near a forest. Suddenly I heard gallops and happy voices. It was the Swiss kids, finishing their daily horse riding. T hose kids, for more than five generations, had not known what fight, war, hunger or what sacrifice meant. They had rosy cheeks, they were smiling, they were dressed as royalty, and their escorts wore uniforms with gold buttons. They went past me, leaving me with a feeling of more than just indignation. It was awe before the tremendous contrast, devastation before this tremendous injustice, I felt like crying and praying rather than complain or scream…[….]….And this is how «Άξιον Εστί» was born”. It is well known that the Axion Esti is lengthy composition in three parts:The first part, The Genesis, poetically records the birth of the poet and of the world, or rather the birth of world through the poet, since the world exists as long as man exists. Especially here, however, the world is not only created but also molded by the poet. In the second part, The Passion, the suffering of the poet is interwoven with the suffering of Greece during WWII, and commences with the Italian attack against his homeland. The third part, The Gloria, is a praise of the Hellenic world, as seen through Elytis’ lucid Hellenic poetic gaze. First, the solitary but within society. Second, the angelic and divine nature of the poem with its acheiropoieton (not hand-made) writing, which points to the conception of the eternal through the spiritual poetic course. Third, logos-language as the manifester of things, and as the creator of the world and of the poet. Fourth, the suffering of the poet and of Greece during World War II and the identification of the undying rose (the Virgin Mary) with Hellas (Greece). Fifth, The Gloria of Holy Mother Hellas. Sixth, the music of Mikis Theodorakis. All this leads to the conclusion that a correlation between the two Axion Esti exists not only in the title, but also in many essential elements. “Axion Esti” is a masterpiece and makes every Greek shiver. “ I plea you, please, don’t forget my country” certainly depicts exactly the personal experience of Elitis when he felt that the whole world had forgotten about the Greeks living in poverty and pain, when he saw the Swiss people who had not experienced any suffering for more than 500 years…

https://www.youtube.com/watch?v=o1I_VGP4gFY&list=RDo1I_VGP4gFY&start_radio=1 &t=0

2. Άρνηση Giorgos Seferis, Nobel laureate and one of the greatest poets of the 20th century, regardless of nationality, continues to be a beloved poet to the present day. Seferis passed away on September 20, 1971. At his funeral in Athens, the crowds of mourners following his coffin sang the Mikis Theodorakis arrangement of his poem Arnisi (Denial) which was banned at the time by the junta. “I am a man without any political affiliation, and I can therefore speak without fear or passion. I see ahead of me the precipice toward which the oppression that has shrouded the country is leading us. This anomaly must stop. It is a national imperative.” Seferis stood up against the oppression and became a hero to those resisting the dictatorship, censorship, and the political imprisonments and torture. Στο περιγιάλι το κρυφό On the secret seashore κι άσπρο σαν περιστέρι white like a pigeon διψάσαμε το μεσημέρι we thirsted at noon μα το νερό γλυφό. but the water was brackish.

Πάνω στην άμμο την ξανθή On the golden sand γράψαμε τ’ όνομά της we wrote her name; Ωραία που φύσηξε ο μπάτης but the sea-breeze blew και σβήστηκε η γραφή . and the writing vanished.

Με τι καρδιά, με τι πνοή, With what spirit, what heart τι πόθους και τι πάθος what desire and passion πήραμε τη ζωή μας· λάθος! we lived our life; a mistake! κι αλλάξαμε ζωή. So we changed our life.

Denial is a poem interpreted in various ways. The seashore indicates the young age, which is innocent just like a white dove.

The thirst refers to the desires, the ambitions of young people, however there is an obstacle, since life denies to fulfill all their wishes.

The thirst exists, but the water is somewhat salty, so the thirst remains.

This could be interpreted as a thirst for Democracy, for Freedom, since at that time there was Junta regime in Greece.

https://www.youtube.com/watch?v=FIgZ07xyOcY

3. Το Τρελοβάπορο (THE CRAZY BOAT) Βαπόρι στολισμένο βγαίνει στα βουνά A boat adorned and decked sails out for κι αρχίζει τις μανούβρες «βίρα-μάινα» mountains oh and there begins maneuvers with heave‐to, heave‐ho Την άγκυρα φουντάρει στις κουκουναριές weighs anchor by a pine tree grove and takes φορτώνει φρέσκο αέρα κι απ' τις δυο aboard a cargo of fresh mountain air μεριές Sheʹs made of blackest stone, sheʹs made of flimsy dream her boatswain is naive, her sailors Είναι από μαύρη πέτρα κι είναι απ' όνειρο plot and scheme sheʹs come from the deep κι έχει λοστρόμο αθώο ναύτη πονηρό depths of ancient bygone times and here unloads her troubles and her trembling sighs. Από τα βάθη φτάνει τους παλιούς καιρούς βάσανα ξεφορτώνει κι αναστεναγμούς Ο come my Lord and Jesus, Έλα Χριστέ και Κύριε λέω κι απορώ I speak and am struck daft on such a loony τέτοιο τρελό βαπόρι τρελοβάπορο vessel Χρόνους μας ταξιδεύει δε βουλιάξαμε On such a crazy craft weʹve sailed for years on χίλιους καπεταναίους τούς αλλάξαμε end,

Κατακλυσμούς ποτέ δε λογαριάσαμε And still weʹve kept afloat weʹve changed a μπήκαμε μέσ' στα όλα και περάσαμε thousand skippers on this balmy boat we never paid the slightest heed to cataclysms but Κι έχουμε στο κατάρτι μας βιγλάτορα plunged headlong in everything with optimisms παντοτινό and high upon our lookout mast τον Ήλιο τον Ηλιάτορα! we keep for our one and only sentry the sovereign Sun. This is another poem by Odysseas Elytis. The music was composed by Dimitris Lagios, who unfortunately died very young. It is completely allegorical.

The boat is Greece and starts the voyage in a paradoxical way, from the mountains and anchors in the pine trees, not the sea. It loads its cargo, which is fresh air, in abundance in Greece, and the boat is made of black stone and dream.

The sailor is the Greek people, who are plot, clever, but the boatswain ( the governments) is naïve. It implies that the people who rule the country are complete incapable of doing so. . https://www.youtube.com/watch?v=hxA6XOy5XfA

4. ΤΣΑΜΙΚΟ (TSAMIKO ) Στα κακοτράχαλα τα βουνά Up on the rough, steep mountains, με το σουράβλι και το ζουρνά With the flute and the syrnay, πάνω στην πέτρα την αγιασμένη On the sacred stone χορεύουν τώρα τρεις αντρειωμένοι. Three brave men dance:Nikiforos and Ο Νικηφόρος κι ο Διγενής Digenis and the son of Anna Komnini. κι ο γιος της Άννας της Κομνηνής. They own a peel of land, But you, my Christ, bless them, Δική τους είναι μια φλούδα γης To rescue this peel μα εσύ Χριστέ μου τους ευλογείς From the jackal and the bear. για να γλιτώσουν αυτή τη φλούδα απ’ το τσακάλι και την αρκούδα. Look at the way Nikitaras is dancing And Δες πώς χορεύει ο Νικηταράς tambouras turns into a nightingale κι αηδόνι γίνεται ο ταμπουράς. From Epirus to Moria (Peloponnese) Από την Ήπειρο στο Μοριά And from the darkness to freedom κι απ’ το σκοτάδι στη λευτεριά The feast has been going on for years το πανηγύρι κρατάει χρόνια στα μαρμαρένια του χάρου αλώνια. In the petrified fields of Death Judge and Κριτής κι αφέντης είν’ ο Θεός Master is God και δραγουμάνος του ο λαός. And His mediator is the people.

The poem was written by Nikos Gatsos and the music was composed by Manos Hatzidakis, in 1976. Nobody can deny that it is one of the greatest songs ever written and it is full with the sound, color, flavor and scent of Greece. It is all Greece, from the beginning till the last note. The rough mountains: They symbolize the fight and the freedom. Mountains are typical of the Greek landscape. This is where the Greeks hid during the Turkish occupation

The Dance: Three emblematic figures of the Greek History are dancing. Nikiforos Fokas who freed Crete from the Arabs, an Emperor who set the foundations for the fight against the Bulgarians (10th century, Byzantine Empire). Vasilios Digenis Akritas is the one who defended the Greeks against the Muslims and the Arabs. Only Death beat him. He is the unonymous Greek who sacrificed himself for his country and freedom The son of Anna Komnini was the son of a Princess who remained in history as well educated and cultivated woman. Her father, Alexios Komninos the 1st (end of 10th -11th century), wisely ruled the Empire.

Nikitaras was an exceptional hero of the Greek Revolution of 1821. He was named ‘Turk- eater’ , he lived with dignity and without making any money on the expense of his country, which he loved till the end of his life. A peel of land: Our land is very small. But the Greeks, with the help of God, try to maintain their land from the jackal (the sly enemies) and the bear (the big enemies). Greeks have always overcome fear, no matter how few they are https://www.youtube.com/watch?v=8oUHeQkn_34

The Feast has been going on for years: The fight for their freedom is like a celebration for the Greeks. Our land gives us joy and courage to overcome our fears. 5. 40 ΠΑΛΙΚΑΡΙΑ (40 BRAVE YOUNGS ) Σαράντα παλικάρια Forty brave youths από τη Λει-. από τη Λειβαδιά. Πάνε From Livadia, για να πατήσουνε Are on their way to step into την Τροπο-, μωρ' την Τροπολιτσά Tripolitsa

Στο δρόμο που πηγαίνανε γέροντα, On their way, an old man μωρ' γέροντ' απαντούν. they meet.. “Greetings, old man” Ώρα καλή σου γέρο “ Welcome, my boys” καλώς τα τα, καλώς τα τα παιδιά. “Where are you off to, Πού πάτε παλικάρια where are you going, ya’ boys?” πού πάτε βρε, πού πάτε βρε παιδιά. “We are off to step into Πάμε για να πατήσουμε Tripolitsa” την Τροπο-, μωρ' την Τροπολιτσά

It is a folk song, which means that the creator is unknown and it was handed in from generation to generation, from mouth to mouth. For this reason there is a variety in verse, there are even more detailed versions. In the song bravery is obvious. Since the Greek Revolution has started, the young men are off to help, they are going to Tripolitsa (Tripoli) in Peloponnese, where the fight against the Turks first started, to help the rest of the Greeks in their fight for freedom.

https://www.youtube.com/watch?v=1ydx0QSb22E

6. ΘΟΥΡΙΟΣ ( THOURIOS ) Ως πότε παλληκάρια, θα ζούμε στα στενά, Till when will we be living in the alleys, μονάχοι σαν λιοντάρια, στες ράχες στα Alone, like lions on the slopes? βουνά; Κάλλιο είναι μιας ώρας ελεύθερη ζωή παρά Better one hour’s freedom σαράντα χρόνους, σκλαβιά και φυλακή. Than 40 years of slavery and prison.

Σπηλιές να κατοικούμε, να βλέπουμε κλαδιά, Living in caves, seeing tree branches να φεύγωμ’ απ’ τον κόσμο, για την πικρή Leaving this world for bitter slavery σκλαβιά; Κάλλιο είναι μιας ώρας ελεύθερη ζωή, παρά Better one hour’s freedom than 40 years of σαράντα χρόνους, σκλαβιά και φυλακή. slavery and prison.

Να χάνωμεν αδέλφια, πατρίδα και γονείς, Losing brothers, country, parents τους φίλους, τα παιδιά μας, κι όλους τους συγγενείς; Our friends, our kids and all our relatives

Κάλλιο είναι μιας ώρας ελεύθερη ζωή, παρά Better one hour’s freedom σαράντα χρόνους, σκλαβιά και φυλακή. than 40 years of slavery and prison.

“Thourios” is a patriotic Hymn That Rigas Feraios wrote in 1797 and sang in gatherings, in order to encourage the Greeks towards rebellion against the Turkish occupation.

It was not just a song but it was clearly an invitation to a revolution, a moto for a revolutionary alarm in all Turkish- occupied territory of the Balkans.

It does not mention any foreign allies, which means that the Greeks have started to realize that only by themselves, with their own strength, can they regain their freedom. «Θούριος» (Τhourios) is an Ancient Greek adjective used by Attic poets, especially by Aeschylos, Sophocles and Aristofanis, and it means impetuous,frantic

https://www.youtube.com/watch?v=78OcEBJPmgM

7. ΠΑΙΔΙΑ,ΤΗΣ ΕΛΛΑΔΟΣ ΠΑΙΔΙΑ BOYS, CHILDREN OF GREECE Μεσ' τους δρόμους τριγυρνάνε οι μανάδες In the streets wandering mothers, seeking to και κοιτάνε ν' αντικρίσουνε, see their boys, who swore at the station, τα παιδιά τους π' ορκιστήκαν στο σταθμό when they parted, that they would win. όταν χωριστήκαν να νικήσουνε. But for those who are gone Μα για 'κείνους που 'χουν φύγει και η And the glory wraps them let’s be happy δόξα τους τυλίγει, ας χαιρόμαστε, και ποτέ and no mother should cry, every pain she καμιά ας μη κλάψει, should burn and let’s wish: κάθε πόνο της ας κάψει, κι ας ευχόμαστε: Boys, boys of Greece, who fight hard up in the Παιδιά, της Ελλάδος παιδιά, που σκληρά mountains, πολεμάτε πάνω στα βουνά, παιδιά στη Boys, we pray to our Sweet Virgin We all pray γλυκιά Παναγιά that you come back. προσευχόμαστε όλες να 'ρθετε ξανά. I tell to those who love and stay up and sigh Λέω σ' όσες αγαπούνε for him, that bitterness and shivering's και για κάποιον ξενυχτούνε και στενάζουνε, are not appropriate for an honoured Greek πως η πίκρα κι η τρεμούλα girl. σε μια τίμια Ελληνοπούλα, δεν ταιριάζουνε. Greek women of Zaloggo and of the city and Ελληνίδες του Ζαλόγγου of the countryside and Plaka και της πόλης και του λόγγου και No matter how much we ache, Πλακιώτισσες, όσο κι αν πικρά πονούμε, we must proudly act like the women of υπερήφανα ασκούμε σαν Σουλιώτισσες. Souli The song was written and composed by Michalis Sougioul and Mimis Traiforos in 1940. It was sang by Sofia Vembo, who was named the “singer of victory”, because her songs encouraged and uplifted the morals of the Greek men fighting at the front, against the Germans and Italians during WW II. https://www.youtube.com/watch?v=l8JzuSXs0GU

The song explains exactly what was going on at the time. All men had gone to war, but the Greek women should not cry, because it is not appropriate for the Greeks.Glory for those who have died for the country, and our prayers to Panagia, Virgin Mary, who was a mother too, will help. There is a reference to Zaloggo. It was the place of a heroic act of Greek women during the Turkish occupation. The Turks seized the town, and the future was clear. But the Greek women chose to die rather than be raped or killed by the Turks. Therefore, one by one they threw their kids off a cliff near Souli,Zaloggo and then they jumped too, so that they would not surrender to the Turks. 8. ΣΥΝΝΕΦΙΑΣΜΕΝΗ ΚΥΡΙΑΚΗ GLOOMY SUNDAY Συννεφιασμένη Κυριακή ( Cloud covered Sunday) was written by Vasilis Tsitsanis. He was born in Trikala on January 18th,1915 and died on the same day in 1984.

He is one of the greatest Greek composers. In one of his interviews, Tsitsanis explains how he got the inspiration: “I remember the Germans had blocked a small koutouki (like a small tavern, in Greek) and we did not know if we would get out of there alive. They made me play till dawn.

Συννεφιασμένη Κυριακή, Cloud covered Sunday μοιάζεις με την καρδιά μου you seem like my heart που έχει πάντα συννεφιά, that is always overcast Χριστέ και Παναγιά μου. Christ and Holy Mary

Όταν σε βλέπω βροχερή, When I see you rainy στιγμή δεν ησυχάζω. I become restless μαύρη μου κάνεις τη ζωή, darkness you bring to my life και βαριαναστενάζω. and deeply I moan and sigh

Είσαι μια μέρα σαν κι αυτή, You are a day like the one που ‘χασα την χαρά μου. when my happiness was gone συννεφιασμένη Κυριακή, cloud covered Sunday ματώνεις την καρδιά μου. you bleed my heart profusely

Then, they let us go. Everything was snow-covered and as I was going home I could see scattered pools of blood in the snow. In the dim light, I saw a young man, he had been executed. I went home and wrote the song .I wanted to scream out loud the desperation that we all suffered back then. And the motive was one of the tragic events going on in my country during the German-Italian occupation. There was hunger, misery, fear, oppression, arrestings, executions. The occupation was a gloomy period of constant cloudness.” On the day of his funeral the crowds of people following the coffin were singing this song.

https://www.youtube.com/watch?v=hPJSqnMPno4

MUSIC: A MELODIC METHODOLOGY in TEACHING and LEARNING ITALY

What does music represent in Italy?

The music tells us a lot about the story and language and the culture of Italian people. In the past:

-People played musical instruments: Fife, According, Bagpipe; -People danced a lot in the countries.

To tell you about the story of italian music we chose seven songs: -Santa Lucia 1849; -Brigante se more 1860-1870(the Brigandage); -’O surdato ‘nnammurato 1915; -Baciami piccina 1940; -Tu vuo fa l’americano 1956; -Volare 1958; -Il ragazzo della via Gluck 1966.

SANTA LUCIA-1849-ENRICO CARUSO

It is a traditional Neapolitan song then translated in Italian by Teodoro Cottrau in 1846 pubblished as <> (a boat). It represents the first song written in Italian, The Dante’s language. In the text a sailor man invites Santa Lucia to take a turn in his boat, to better enjoy the cool of the evening. The sea,the wind, the moon and the stars will be recurring elements in Italian songs! ENGLISH TEXT: ITALIAN TEXT:

Sul mare luccica l’astro d’argento. On the sea shining a star so silv’rous. Placida è l’onda, prospero è il seawaves caressing, the wind is vento. prosp’rous. Sul mare luccica l’astro d’argento. On the sea shining a star so silv’rous. Placida è l’onda, prospero è il seawaves caressing, the wind is vento. prosp’rous. Venite all’agile barchetta mia, Oh to my boat there, come hastily! Ah! Santa Lucia! Santa Lucia! Santa Luchia! Santa Luchia! Venite all’agile barchetta mia, Oh to my boat there, come hastily! Ah! Santa Lucia! Santa Lucia! Santa Luchia! Santa Luchia!

Con questo zeffiro, così soave, O, com’è bello star' sulla nave! With this kind zephyr oh! Like this so Con questo zeffiro, così soave, pleasant, O, com’è bello star' sulla nave! To be aboard is awe, what a nice Su passeggeri, venite via! present! Santa Lucia! Santa Lucia! With this kind zephyr oh! Like this so Su passeggeri, venite via! pleasant, Santa Lucia! Santa Lucia! To be aboard is awe, what a nice present! Passengers come thee, come y'all to see! Ah! Santa Luchia! Santa Luchia! Passengers come thee, come y'all to see! Ah! Santa Luchia! Santa Luchia!

O dolce Napoli, o suol beato, Oh lovely Napule, oh land divine, Ove sorridere volle il creato! where the creation wanted to shine! O dolce Napoli, o suol beato, Oh lovely Napule, oh land divine, Ove sorridere volle il creato! where the creation wanted to shine! Tu sei l'impero dell’armonia! You are the kingdom, of harmony! Ah! Santa Lucia! Santa Lucia! Santa Luchia! Santa Luchia! Tu sei l'impero dell’armonia! You are the kingdom, of harmony! Ah! Santa Lucia! Santa Lucia! Santa Luchia! Santa Luchia! BRIGANTE SE MORE-the Brigandage-MUSICANOVA The song is the hymn of robbers and talks about the brigandage. Robbers were men that in the south of Italy fought against the invaders of northern Italy in the process of unification of Italian Kingdom. In this song the bandits are talking and telling about the violence done by the Piedmontese.It is a battle song in defence of their land. They sing: we were born as men and as brigands we die! ENGLISH TEXT: ITALIAN TEXT: Abbiamo posato chitarra e tamburi, We put to rest our guitars and our drums perché questa musica deve cambiare. Because this music has got to be changed Siamo briganti, facciamo paura Brigands we are, and strike people with e con il fucile vogliamo cantare, fear e con il fucile vogliamo cantare. And with our guns we now wish to sing out And with our guns we now wish to sing out E ora cantiamo questa nuova canzone, tutta la gente la deve imparare. And now we are singing a sparking new Ce ne freghiamo del re Borbone, song la terra è nostra e non deve essere toccata, And all the people must sing it along la terra è nostra e non deve essere toccata. Don't give a damn for the king of Bourbon The land is ours and it's no one's to grab Tutti i paesi della Basilicata The land is ours and it's no one's to grab si sono svegliati e vogliono lottare, pure la Calabria si è rivoltata; All of the cities in Basilicata e questo nemico facciamo tremare, Have woken up and they now want to fight e questo nemico facciamo tremare. Even Calabria now joined the revolt And now our enemy quivers in fear And now our enemy quivers in fear Who saw the wolf and was striken with terror Does not quite know where the truth really Chi ha visto il lupo e si è spaventato, stands non sa ancora qual è la verità. For the true wolf who is devouring our Il vero lupo che mangia i bambini children è il piemontese che dobbiamo cacciare, Is from Piedmont and we must drive him è il piemontese che dobbiamo cacciare. out Is from Piedmont and we must drive him Donne belle che date il cuore, out se il brigante volete salvare non lo cercate, dimenticatene il nome; Beautiful women who give out your heart, chi ci fa guerra non ha pietà, If you do care to save the brigand's life chi ci fa guerra non ha pietà. Don't look for him, forget even his name Who makes us war has no mercy for us Who makes us war has no mercy for us Uomo si nasce, brigante si muore, ma fino all'ultimo dobbiamo sparare. As men we are born, and as brigands we E se moriamo portate un fiore die e una bestemmia per questa libertà, But till the end we must keep up the fight e una bestemmia per questa libertà. And if we die throw a flower for us And throw a curse for this freedom of ours And throw a curse for this freedom of ours O’ SURDATO ‘NNAMMORATO- ANELLIO CALIFANO-1915

This song was written by Aniello Caifano to show his love for the south people of Italy. It talks about a soldier, far from his beloved because he is at the front fighting during the First World War. It was the hymn of those who wanted to go home, leave the front, the war. It is a message of universal love, for all the times when the pain of life takes refuge in what one loves. ITALIAN TEXT: ENGLISH TEXT:

Sei lontana da questo cuore, Are you far away from my heart, da te volo con il pensiero: to you I fly with my mind: niente voglio e niente spero I want nothing and hope nothing oltre che tenerti sempre a fianco a me! except having always you at my side! Sei sicura di questo amore Be sure of this love come io sono sicuro di te… as I'm sure of yours...

Oh vita, oh vita mia… Oh life, oh my life... Oh cuore di questo cuore… Oh heart of my heart... sei stata il primo amore… you've been my first love... e il primo e l'ultimo sarai per me! and first and last you will be for me...

Quante notti non ti vedo, How many nights I see you, non ti sento tra queste braccia, feel my arms on you, non ti bacio questa faccia, kiss your face, non ti stringo forte tra le mie braccia?! hug you strongly to me?! Ma, svegliandomi da questi sogni, But, waking up from these dreams, mi fai piangere per te… you make me cry for you... Oh vita, oh vita mia… Oh life, oh my life... Oh cuore di questo cuore… Oh heart of my heart... sei stata il primo amore… you've been my first love... e il primo e l'ultimo sarai per me! and first and last you will be for me...

Scrivi sempre che sei contenta: You write always "I'm OK": io non penso che a te solamente… I can't think anything but you... Un pensiero mi consola, just a thought comfort me, che tu pensi solamente a me… that you think just to me... La più bella di tutte le belle, The most beautiful of the all beautiful non è mai più bella di te! can never be more beautiful that you!

Oh vita, oh vita mia… Oh life, oh my life... Oh cuore di questo cuore… Oh heart of my heart... sei stata il primo amore… you've been my first love... e il primo e l'ultimo sarai per me! and first and last you will be for me.. BA…BA…BACIAMI PICCINA- ALBERTO RABAGLIATI-1940

This song was written by Alberto Rabagliati in the 1940 after war. It expresses the desire to return to normal life and love after the brutalities of war.This song, very easy to sing, expresses a sense of airiness and freedom.! ITALIAN TEXT: ENGLISH TEXT:

Ba... ba... baciami piccina Kiss…kiss…kiss me little baby con la bo... bo... bocca piccolina, With your little lips dammi tan... tan... tanti baci in quantità. Give me a lot of your beautiful kisses Ma questi baci a chi li devo dar? But who have I to kiss? Oh! Bi... bi... bimba birichina, Oh! Little naughty girl tu sei be... be... bella e sbarazzina, You are so beau..beau…beautiful and quale ten... ten... tentazione sei per me. sausy Ma questa tentazione che cos'è? What temptation you are to me But this tempatiton what is it? B-a ba e b-e be cara sillaba con me. K-i-s-s-m-e E e ebibia ubia ibia ubia uu ba. Do this spelling with me , my dear Sono tanto deliziose queste sillabe d'amore. These syllables of love are so

delicious. Ba... ba... baciami piccina, Kiss me, kiss me little baby con la bo... bo... bocca piccolina, With your little lips dammi tan... tan... tanti baci in quantità. Give me a lot of your beautiful kisses Son qui, son pronta per incominciar. I’m here, I’m ready to start.

E ba... ba... baciami bambino Kiss me, kissme little boy sulla bo... bo... bocca mio piccino, On my little lips my baby dammi tan... tan... tanti baci in quantità. Give me a lot of your kisses E baciami piccina, bella piccolina. And kiss me beautiful little girl

Bi... bi... bimbo birichino,

tu sei be... be... bello e sbarazzino. Little naughty boy,

Quale ten... ten... tentazione sei per me. You are so beautiful and saucy, What a temtation you are to me! B-a ba e b-e be cara sillaba con me. K-i-s-s-m-e darling Dududududu duididibo dubibi bobo. Do this spelling with me Sono tanto deliziose queste sillabe d'amore. These syllables of love are so delicious TU VUO FA L’AMERICANO-RENATO CAROSONE- 1956 This song witness the impact of the arrival of the Americans on the culture and habits of the Italians. Immediately after the Four Days, the occupation of the allied troops began in Naples. Their presence divided the public opinion that partly welcomed them enthusiastically, seeing them as the guarantors of their own safety, but the other refused to consider them as liberators because of the terrible shellfire with which they had destroyed the city.

ITALIAN TEXT: ENGLISH TEXT:

You wear trousers showing a famous brand Porti i calzoni con uno stemma dietro, you wear an hat with the peak raised un cappellino con la visiera alzata, you trotting along Tuleto's streets passi scampanando per Toledo, showing off yourself, to make people look come un guappo, per farti guardare. at you Tu vuoi far l’americano, You'd like to be an American, americano, americano. 'merican, 'merican Dammi retta, chi te lo fa fare? listen to me, is it worth? Tu vuoi vivere alla moda, you want to be trendy ma se bevi whisky and soda but if you drink "whiskey and soda" poi ti senti disturbato. and then you have a long hangover Tu balli il rock and roll, You dance rock 'n' roll tu giochi a baseball, you play baseball ma i soldi per le Camel but who gives you the money to buy chi te li dà? La borsetta di mamma. Camels? your mother's bag! Tu vuoi far l’americano, americano, americano, You'd like to be an American ma sei nato in Italy! 'merican, 'merican but you were born in Italy! Dammi retta, non c’è niente da fare, listen to me, there's nothing you can do ok, napoletano! ok, neapolitan? Tu vuoi far l’americano! You'd like to be an American Tu vuoi far l’americano! You'd like to be an American

Come può capirti chi ti vuole bene, Who can people that love you se tu le parli mezzo americano? understand you if you speak half- Quando si fa l’amore sotto la luna american? come ti viene in testa di dire I love you? when you are making love under the moon how come you say "I love you"? Tu vuoi far l’americano, americano, americano. You'd like to be an American Dammi retta, chi te lo fa fare? 'merican, 'merican, Tu vuoi vivere alla moda, but listen to me, is it worth? ma se bevi whisky and soda you want to be trendy poi ti senti disturbato. but if you drink "whiskey and soda" and then you have a long hangover

Tu balli il rock and roll, You dance rock 'n' roll tu giochi a baseball, you play baseball ma i soldi per le Camel but who gives you the money to buy chi te li dà? La borsetta di mamma. Camels? your mother's bag! Tu vuoi far l’americano, You'd like to be an American americano, americano, 'merican, 'merican ma sei nato in Italy! but you were born in Italy! Dammi retta, non c’è niente da fare, ok, neapolitan? ok, napoletano! You'd like to be an American Tu vuoi far l’americano! Tu vuoi far l’americano! You'd like to be an American Tu vuoi far l’americano, 'merican, 'merican americano, americano, but you were born in Italy! ma sei nato in Italy! Dammi retta, non c’è niente da fare, listen to me, there's nothing you can do ok, napoletano! ok, Neapolitan! Tu vuoi far l’americano! You'd like to be an American Tu vuoi far l’americano! You'd like to be an American

whisky e soda e rock and roll. whiskey and soda rock 'n' roll whisky e soda e rock and roll. whiskey and soda rock 'n' roll whisky e soda e rock and roll. whiskey and soda rock 'n' roll VOLARE-DOMENICO MODUGNO-1958 This song is a dedication of love, a message of strength and hope that invites us to continue dreaming in spite of the reality that often brings pain. We have to pursue the beauty and the energy that only pure feelings can give us. Flying high with the light of the stars and the Sun! It expresses a sense of beauty and freedom which are the symbols of Italian culture. ITALIAN TEXT: ENGLISH TEXT: Penso che un sogno così non ritorni mai I think such a dream will never come back più I painted my hands and my face blue Mi dipingevo le mani e la faccia di blu Then suddenly I was ravished by the wind Poi d'improvviso venivo dal vento rapito And I started flying in the infinite sky E incominciavo a volare nel cielo infinito Flying, oh oh… Volare oh, oh Singing, ohohoho… Cantare oh, oh, oh In the blue painted blue Nel blu dipinto di blu Happy to be up there Felice di stare lassù And I was flying, flying happily E volavo, volavo felice più in alto del sole Higher than the sun and even higher Ed ancora più su While the world was slowly disappearing, Mentre il mondo pian piano spariva lontano far beneath laggiù A soft music was playing just for me Una musica dolce suonava soltanto per me Volare oh, oh Flying, oh oh.. Cantare oh, oh, oh Singing, ohohoho… Nel blu dipinto di blu In the blue painted blue Felice di stare lassù Happy to be up there But all the dreams fade away at dawn, Ma tutti i sogni nell'alba svaniscon perché because Quando tramonta la luna li porta con sé While setting, the moon takes them away Ma io continuo a sognare negli occhi tuoi But I keep dreaming in your beautiful eyes belli Which are as blue as a sky quilted with Che sono blu come un cielo trapunto di stars stelle

Volare oh, oh Flying, oh oh… Cantare oh, oh, oh Singing, ohohoho… Nel blu degli occhi tuoi blu In the blue of your blue eyes Felice di stare quaggiù Happy to be down here E continuo a volare felice più in alto del sole And I keep flying happily Ed ancora più su Higher than the sun and even higher Mentre il mondo pian piano scompare negli While the world is slowly disappearing in occhi tuoi blu your blue eyes La tua voce è una musica dolce che suona Your voice is a soft music playing for me per me Volare oh, oh Flying, oh oh… Cantare oh, oh, oh Singing, ohohoho… Nel blu degli occhi tuoi blu In the blue of your blue eyes Felice di stare quaggiù Happy to be down here Nel blu dipinto di blu Felice di stare quaggiù In the blue of your blue eyes Nel blu dipinto di blu Happy to be down here with you Felice di stare quaggiù Con te IL RAGAZZO DELLA VIA GLUCK- ADRIANO CELLENTANO-1966

This song talks about the evolution of the world and the development of cities that steal more and more space to green.It was written during The Economic Boom period. It is an autobiographical song that defends a life and a genuine countryside reality that in those years were giving way, through economic development, to the industrialized city. ITALIAN TEXT: ENGLISH TEXT: this is the story Questa è la storia of one of us. Di uno di noi and this boy, by chance, was born in Via Anche lui nato per caso in via gluck Gluck. In una casa, fuori città in a house outside the city Gente tranquilla, che lavorava where people are quiet and hardworking Là dove c'era l'erba ora c'è Una città Where there was grass, now there is E quella casa a city In mezzo al verde ormai and that house Dove sarà in the middle of green fields, by now? where can it be? Questo ragazzo della via gluck this boy from Via Gluck Si divertiva a giocare con me he enjoyed playing with me Ma un giorno disse but one day he said to me «Vado in città» "I'm going to the city" E lo diceva mentre piangeva and he was crying while he said it.

I said "my dear friend Io gli domando «amico aren't you happy? Non sei contento you'll finally live in the city. Vai finalmente a stare in città there you can find all the things you don't Là troverai le cose che non hai avuto qui have here. Potrai lavarti in casa senza andar you can shower without going Giù nel cortile» down into the courtyard!" Mio caro amico, disse My dear friend said to me «Qui sono nato "I was born here, In questa strada in this street Ora lascio il mio cuore now I leave my heart. Ma come fai a non capire How do you not understand È una fortuna, per voi che restate that you who stay are the lucky ones? A piedi nudi a giocare nei prati you can run barefoot through the fields Mentre là in centro respiro il cemento while i'm downtown breathing the cement. Ma verrà un giorno che ritornerò but there will come a time when I return Ancora qui back here E sentirò l'amico treno and i'll hear my friend, the train Che fischia così that whistles like so: ‘wa wa’» 'wa wa!'" The years pass Passano gli anni and 8 years is a long time. Ma otto son lunghi Though the boy has come a long way Però quel ragazzo ne ha fatta di strada he does not forget his first house. Ma non si scorda la sua prima casa now, with the money to buy it Ora coi soldi lui può comperarla he returns, but doesn't find the friends he Torna e non trova gli amici che aveva had Solo case su case just house on top of house Catrame e cemento asphalt and cement

Là dove c'era l'erba ora c'è Where there was grass, now there is Una città a city E quella casa in mezzo al verde ormai and that house Dove sarà in the middle of green fields, by now? where can it be? Ehi, ehi Ehi, Ehi, La la la la la la la la La la la... la la la la la Eh no Eh no, Non so, non so perché I don't know, i don't know why Perché continuano why they continue A costruire, le case to build houses and they don't leave any grass they don't leave any grass E non lasciano l'erba they don't leave any grass Non lasciano l'erba they don't leave any grass Non lasciano l'erba Non lasciano l'erba Eh no,

Eh no if we are progressing like this, who knows Se andiamo avanti così, chissà how we will end up Come si farà who knows... Chissà THANKS FOR YOUR ATTENTION

MUSIC: A MELODIC METHODOLOGY into TEACHING and LEARNING PORTUGAL

The STORY of MUSIC

Agrupamento de Escolas de Penafiel Sudeste | Erasmus+ | Joana Cirne.janeiro.2019

CONTEXT of the CONTEXTUALIZAÇÃO da TROUBADORESQU LÍRICA TROVADORESCA E LYRIC

Séculos XII a XIV 12-13 th century

Estrutura social e Regime feudal e classes Feudal regime and económica / Social and sociais muito very hierarchical economic structure hierarquizadas. social classes. Principais O rei, a Corte, os The king, the Court, intervenientes / Main trovadores, the troubadours, the

players: os jograis. gamblers. | Joana Cirne.janeiro.2019 Joana |

Galician- Língua utilizada / Galego-português. Portuguese.

Language used Erasmus+

Cancioneiro da Vaticana, “Vaticana” songbook Registos escritos / Cancioneiro da Biblioteca and “da Biblioteca Written records Nacional, Cancioneiro da Nacional e da Ajuda” Ajuda. songbook.

Exemplo de uma página do cancioneiro- século XII. Example of a songbook page – 12 th de SudesteAgrupamento Escolas | Penafielde century. SOCIAL and ECONOMIC STRUCTURE Feudal regime and very hierarchical

social classes

| Joana Cirne.janeiro.2019 Joana |

Erasmus+ Agrupamento de Escolas de SudesteAgrupamento Escolas | Penafielde

CANTIGA de – Poem accompanied by music;A FRIEND'S AMIGO SONG • Poema acompanhado de música ; – Very simple language, using many types of

repetition; Cirne.janeiro.2019 Joana | • Linguagem muito simples, recorrendo a muitas

formas de repetição ; – The poetic subject ( I ) is always feminine;

• O sujeito poético é sempre feminino; Erasmus+ – The girl declares her pure and naive feelings for • A donzela exprime os seus sentimentos puros e her friend; ingénuos pelo seu amigo;

• A jovem recorre a alguns confidentes para – The girl resorts to some confidantes to open up desabafar (mãe, amigas ou irmãs e natureza herself (mother, friends or sisters and personificada); personified nature); • O amigo está, por vezes, ausente na guerra. Noutras situações a donzela pretende seduzi-lo; – The friend is sometimes absent. He is in war. In other situations, the girl intends to seduce him; • Os cenários são geralmente ao ar livre, relacionados com as vivências de uma sociedade – The scenarios are usually outdoor, they are rural. always related to the experiences of a rural society. de SudesteAgrupamento Escolas | Penafielde

Ai flores de verde pino – Dom Dinis (séc. XIII - XIV)

| Joana Cirne.janeiro.2019 Joana |

Erasmus+ Agrupamento de Escolas de SudesteAgrupamento Escolas | Penafielde Oh flowers, flowers of the green pine - Dom Dinis (13 - 14 th/ century)

Flowers of the green pine, oh flowers, do you have news of my lover? Oh God, and where is he?

Oh flowers, flowers of the green branch do you have news of my friend? Oh God, and where is he?

Do you have news of my lover, | Joana Cirne.janeiro.2019 Joana | who has proved himself a liar? Oh God, and where is he?

Do you have news of my friend, Erasmus+ who did not come when he said?

Oh God, and where is he? Agrupamento de Escolas de SudesteAgrupamento Escolas | Penafielde ANÁLISE do • The maiden questions the flowers about her CONTEÚDO friend's absence. ANALYSIS of the • A donzela questiona as flores sobre a CONTENT ausência do seu amigo. • The maiden is angry because her friend had lied to her. There is a real intensification of a • A donzela está zangada porque o amigo storyline: time passes, her friend does not lhe mentiu. Ocorre uma verdadeira come, the maiden is worried. In her opening speech, for example, she goes quickly from intensificação narrativa: o tempo passa, o the simple request for news to the seu amigo não vem, a donzela inquieta-se. assumption that he has deceived her (the Na sua fala inicial, por exemplo, ela passa liar!). rapidamente do simples pedido de notícias à hipótese de ele a ter enganado (o • The flowers, personified, are transformed

mentiroso!). into the maiden´s confidant , they tell her

| Joana Cirne.janeiro.2019 Joana |

that her dearly loved is fine and that he will

• As flores, personificadas, transformadas na return before the deadline ends and that he Erasmus+ confidente da donzela, dizem-lhe que o seu will not miss the arranged meeting amado está bem e que voltará antes do • Finally, in the last segment of the answer (he prazo acabar e que não faltará ao seu will come before the agreed time passes), we encontro. realize that this time has not already passed, that is, the girl had arrived much earlier and • Finalmente, no segmento final da resposta that all her anxiety is just that: a passionate (ele virá antes de passar a hora young woman's worry who is not only alone combinada), percebemos que essa hora in a pine forest but also very insecure. ainda não passou, ou seja, que a donzela chegou muito antes e que toda a sua de SudesteAgrupamento Escolas | Penafielde

CANTIGA de AMOR LOVE SONG • Poem accompanied by music; • Poema acompanhado de música;

• Very carefully chosen language with frequent | Joana Cirne.janeiro.2019 Joana |

• Linguagem elaborada com recurso frequente à subordinação; subordination resort;

• O sujeito poético é sempre masculino; • The poetic subject ( I ) is always masculine; Erasmus+

• O sujeito recorre, frequentemente, ao elogio • The subject often resorts to courteous praise as cortês como forma de enaltecer a dona; a way of exalting “the mistress”;

• Seguindo o modelo feudal, o homem presta vassalagem à senhor que é colocada numa • Following the feudal model, the man pays posição hierarquicamente superior; tribute / vassalage to the lord who is placed in a hierarchically predominant position; • É retratado o ambiente da corte.

• The court ambiance is portrayed. Agrupamento de Escolas de SudesteAgrupamento Escolas | Penafielde

Quer'eu em maneira de proençal - Dom Dinis(século XIII e XIV)

Quer'eu em maneira de proençal fazer agora um cantar d’amor (cantiga de amor) e querrei (quererei) muit'i loar (louvar) mia senhor(dama) a que prez (digna) nem fremosura nom (falta) fal , nem bondade; e mais vos direi en: tanto a fez Deus comprida de bem(perfeita) que mais que todas las do mundo val.

Ca mia senhor quiso Deus fazer tal,

quando a fez, que a fez sabedor | Joana Cirne.janeiro.2019 Joana | de todo bem e de mui gram valor, e com tod'est[o] é mui comunal(sociável) ali u deve (quanfo deve); er(também) deu-lhi bom Erasmus+ sém(bom senso) e desi (para além disso) nom lhi fez pouco de bem quando nom quis que lh'outra foss'igual.

Ca em mia senhor nunca Deus pôs mal, Mais(mas) pôs i prez(digna) e beldad'e loor(mérito) e falar mui bem e riir melhor que outra molher; des i é leal muit'; e por esto nom sei hoj'eu quem de SudesteAgrupamento Escolas | Penafielde

In provençal style I’d Like - King Dom Dinis (13 - 14th century) In Provençal style I´d like to make a song of love and greatly praise my lady, whose looks and talents

lack in nothing. God granted her so much that there´s no other like her in any land.

| Joana Cirne.janeiro.2019 Joana | Wanting her to surpass the rest, God made my

lady Erasmus+ highly skilled and worthy yet also humble, simple, full of common sense and every virtue, whence no lady could be her equal.

Placing in her no error, God made my lady pretty, clever, well-spoken and cheery de SudesteAgrupamento Escolas | Penafielde like no one else, and very ANÁLISE do CONTEÚDO ANALYSIS • A song of love that D. Dinis intends to do "in of the CONTENT the Provencal way", which translates into an • Cantiga de amor que D. Dinis pretende exceptional praise to his mistress: the most fazer "à maneira provençal", o que se beautiful, the most kind, the one with the traduz num louvor superlativo à sua greatest qualities, the noblest, but also the

senhora: a mais formosa, a mais one who knows how to be simple when is bondosa, a que tem maiores qualidades, needed, the most sensible, the one who a mais nobre mas também a que sabe knows how to speak well and laugh even ser simples quando convém, a mais better, the most loyal. sensata, a que sabe falar bem e rir

melhor, a mais leal. • Lady´s physical description : She is | Joana Cirne.janeiro.2019 Joana | attractive, beautiful and worthy to be • Caracterização física da dama: É praised. formosa, bela e digna de ser louvada. Erasmus+ • Psychological description: she presents a • Caracterização psicológica: Apresenta set of characteristics that makes her um conjunto de características que a worthy of being sung ("prez"). She is kind tornam digna de ser cantada (“prez”). É and has many qualities, among others the bondosa e tem muitas qualidades, entre common sense. When God created her, He elas o bom senso. Deus, quando a criou did not want her to be equal, she is unique não quis que houvesse outra igual (prez, (prez, kindness, goodness). bondade, bom sém). • Social qualities: she knows how to behave

• Qualidades sociais: a senhora sabe socially: ( she is very communal ... and can de SudesteAgrupamento Escolas | Penafielde comportar-se socialmente: (é mui speak very well and laugh even better).

CANÇÕES de ESCÁRNIO e SONGS of MOCKERY and CRITICISM MALDIZER • Satirize certain moments of life in the • Satirizar certos momentos da vida na court (arrogant noblemen, kings, nobles, corte (fidalgos prepotentes, reis, nobres, pilgrims who boast themselves of their peregrinos que se gabam das suas adventures, members of the clergy ...). aventuras, membros do clero…). • Ridiculing courteous love. • Ridicularização do amor cortês. • Mockery songs - they use the irony and the • Cantiga de escárnio – utiliza a ironia e o attack is not straightforward. They use a ataque não é direto. Utilização de lot of words with double meaning. palavras com duplo sentido.

• Cantiga de maldizer – A linguagem pode | Joana Cirne.janeiro.2019 Joana | • Criticism songs - the language can be

ser ofensiva e por vezes obscena. offensive and sometimes obscene.

Erasmus+ Agrupamento de Escolas de SudesteAgrupamento Escolas | Penafielde

Ai, dona fea - Joam Garcia Ugly lady - Joam Garcia Guilhade (13 th Guilhade (séc. XIII) century) Ai dona fea, fostesvos queixar Ugly lady, you´ve complained que vos nunca louv'en[o] meu that I never sing your praise, cantar; so I´ve composed a new refrain mais (mas) ora quero fazer um cantar to sing your praise in my own way, em que vos loarei todavia (de qualquer and this is what my song exclaims: modo); you´re a crazy, old and ugly lady! e vedes como vos quero loar (louvar): dona fea, velha e sandia (louca)! Ugly lady, since your desire is that I praise you in my rhymes,

Dona fea, se Deus mi perdom, God forgive me, I will try | Joana Cirne.janeiro.2019 Joana | pois havedes [a]tam gram coraçom to sing your praise in my own way, (desejo) and this is what my song will cry: (por ´ que vos eu loe, em esta razom you re a crazy, old and ugly lady! Erasmus+ este motivo) vos quero já loar todavia; Ugly lady, though I´ve sung e vedes qual será a loaçom: of all my loves, I never sang dona fea, velha e sandia! a son for you, so now I´ll sing, singing your praise in my own way, Dona fea, nunca vos eu loei and this is what my song will say: em meu trobar, pero (ainda que) muito you´re a crazy, old and ugly lady! trobei; mais ora já um bom cantar farei em que vos loarei todavia; e direi-vos como vos loarei: de SudesteAgrupamento Escolas | Penafielde Agrupamento de Escolas de Penafiel Sudeste | Erasmus+ | Joana Cirne.janeiro.2019 ANÁLISE DO CONTEÚDO • Esta cantiga não apresenta • This song does not present the o nome da pessoa criticada, ANALYSISname of the OF criticised THE CONTENT person, mas faz uma referência but it makes a direct reference direta ao que quer criticar, to what you want to criticize, isto é, a velhice e e o facto that is, oldness and the fact de a mulher criticada ser that the criticised woman is

muito feia. very unattractive.

• The troubadour criticises a • O trovador critica uma "mistress", who, according to «dona», que, segundo ele, him, “ had complained / that se foi «queixar/que vos she never praises his singing".

nunca louv’en [o] meu | Joana Cirne.janeiro.2019 Joana | cantar». • So the troubadour decides to praise this "mistress" as "ugly,

• O trovador decide então old and unwise", using a Erasmus+ «loar» esta «dona» como certain sarcasm. «fea, velha e sandia», recorrendo auma certa • These three characteristics mordacidade. (ugly, old and crazy) endorsed to the "lady" are of great Estas três características (feias, velha e importance, since the number louca) atribuídas à «dona» possuem uma three is the symbol of grande importância, na medida em que o perfection.

número três é o símbolo da perfeição. Agrupamento de Escolas de SudesteAgrupamento Escolas | Penafielde

MUSIC: A MELODIC METHODOLOGY INTO TEACHING AND LEARNING ROMANIA

SCHOOL EXCHANGE PARTNERSHIP

‘AŞA-I ROMÂNUL’ ‘THAT'S HOW THE ROMANIAN IS’

Aşa-i românu' când să-n veseleşte, That's how the Romanian is when he gets Ca şi stejaru' când înmugureşte, happy, Aşa-i românu' când este iubit, Just like a blooming oak tree. Ca şi stejaru' când e înverzit. That's how the Romanian is when he is loved, Just like a green oak tree.

Ţara-i mănoasă şi în fericire, This country is ours, and it's full of joy, Poate oricine să trăiască-n ea Anyone can live here. Şi-a mea mândruţă ce o am pe lume And the woman I've been blessed with E tot ce am mai sfânt în ea. It's the dearest thing that I have in it!

• Trăiască ţara, patria mamă, Long live the country, our motherland, • Trăiască toate câte sunt în ea Long live everything that is in it! • Trăiască toate cu mic, cu mare Long live everything, small or big, • Şi a mea mândră ce o iubesc tare. And my beloved, too because I love her very much.

• O rugăciune, către ceruri zboară, A prayer is flying to the sky, • O rugăciune, către Dumnezeu, A prayer addressed to God. • Mă rog acuma pentru a mea ţară, I pray for my country, • Şi pentru tine, sfânt poporul meu. And for you, my holy kind. • Mă rog acuma pentru a mea ţară, I pray for my country, • Şi pentru tine, sfânt poporul meu. And for you, my holy kind. • Întotdeauna a existat o formă artistică prin • There has always been an artistic form care poporul nostru și-a putut exprima through which our people could express atitudinea față de marile evenimente și their attitude about the big events and realități istorice. Mai întâi, prin creațiile historical realities. First, through poetic poetice de factură populară, asociate cu folk creations, associated with the musical cele muzicale și apoi, prin cele culte, puse ones and then, through the diversity of în valoare de marii creatori de artă. Ca gen cults reflected by the great creators of art. autonom și de-o largă accesibilitate s-a The patriotic song became a distinct genre dovedit cântecul patriotic. El n-a fost,, in itself due to its wide range of inventat’’ de niciun regim politic, ci a accessibility to the Romanians’ hearts. It apărut din dorința mobilizatoare de was not ‘’ invented ‘’ by any political împlinire a unor idealuri sociale, de regime, but emerged from the mobilizing evocare a evenimentelor glorioase și a desire to achieve socials ideals, evoking unor personalități, devenite simbol în glorious events and some personalities that istoria neamului românesc. Cântecul became a symbol of our nation. The patriotic s-a impus în preajma Revoluției patriotic song was widely spread around de la 1848, având ca surse vechile cântece the Revolution of 1848, inspired by the cu conținut social. Cântecul patriotic a old songs with social content. Having a primit noi valențe emoționale, devenind great emotional value and a great impact un factor important în lupta pentru unire și on its people, the song received new and libertate națională. deep meaning, becoming an important factor in the struggle for national unity and freedom.

• Culeasă din judeţul Sibiu,de pe Valea • This song, according to chronicles, first Hartibaciului de către preotul Doru Gheja , heard in Sibiu county, in the Valley of melodia ,,Aşa-i Românul” transmite un Haritcaciu by the priest Doru Gheja, mesaj simbolic despre spiritul românesc depicts a symbolic message about the din toate timpurile, având astfel o mare Romanian spirit of all the time thus having putere de generalizare. Autorul anonim se a great generalization power. The inspiră din viaţa poporului român,versurile anonymous author gets inspired from the reflectând atitudinea românului faţă de people’s life, the lyrics reflecting the moarte,de viaţă, de asuprire, reprezentând Romanians’ attitude towards death and life, expresia artistică a unor trăiri individuale representing the artistic expression of intime.,’O cantau batranii din satul individual living. ‘’Our elders from Chirpar’, spune preotul . Chirpar village would proudly sing it’’ • ,,Așa-i românul’’ transmite sentimente said the priest Doru Gheja. profunde,intense de dor,de jale,de • ‘’That’s how the Romanian is’’ expresses revoltă,iubire,tristețe,ură împotriva intense deep feelings, sorrow, mourning, asupritorilor,proiectate într-un mediu revolt, love, sadness, placed in a pastoral pastoral și bucolic.Totodată, sentimentele and bucolic environment. Also, feelings of de dor și jale sunt predominante in cântec, longing and mourning prevail in the song, acestea fiind puternic înrădăcinate în being heavily rooted in the spiritual structura spirituală a românului. structure of the Romanian.

• Românul când este vesel este comparat cu • The Romanian when is cheerful is stejarul care imnugurește, simbolizând un compared to the budding oak, symbolizing nou început și o continuă renaștere. a new beginning and a continuous rebirth. Iubirea este asociată cu stejarul înverzit, Love is associated with the green oak, semnificând maturitatea sentimentelor. meaning the maturity of feelings. This Această paralelă între roman și stejar parallel between the Romanians and the sugerează puterea și verticalitatea acestui oak suggests the power and verticality of popor. Sunt sentimente de toleranță și these people. There are feelings of deschidere pentru toți locuitării țării, tolerance and openness for all the indiferent de origine și în același timp, inhabitants of the country, regardless of este exprimată iubirea pentru aleasa inimii, their origin, and at the same time, the song simbol al familiei, pilon al societății. expresses the love for the chosen Conexiunea cu Dumnezeu, creștinismul și sweetheart, the symbol of the family, the speranța de mai bine sunt reliefate printr-o pillar of society. The connection with God, rugăciune către divinitate pentru Christianity and the hope for the better are prosperiatatea și binele întregului popor, highlighted by a prayer to the divinity for simbolizând altruismul si spiritualitatea the prosperity and good of the whole românului. people, symbolizing the altruism and spirituality of the Romanian. • Astfel,cântecul definește legătura • The song defines the emotional bond emoțională față de țara pe care o au which the Romanians have to their românii, fie din motive etnice, politice, country may it be for ethnic, political, culturale sau de altă natură. Mentalitatea cultural values or any other reasons. Our noastră este cel mai bine definită de mentality is best defined by the sentiments emotțiile și sentimentele pe care le trăim that we have whenever we listen to this de fiecare data când ascultăm această song. The patriotic spirit, the love, the melodie. Patriotismul, iubirea, bogăția, fertile soil, the peace, the prayer are the pacea, rugăciunea sunt temele care-l themes that best define the Romanian. definesc cel mai bine pe român. ‘MIORIŢA’ ‘THE LITTLE EWE’

Pe-un picior de plai, Near a low foothill Pe-o gură de rai, At Heaven’s doorsill, Iată vin în cale, Where the trail’s descending Se cobor la vale, To the plain and ending, Trei turme de miei, Here three shepherds keep Cu trei ciobănei. Their three flocks of sheep, Unu-i moldovan, One, Moldavian, Unu-i ungurean One, Transylvanian Şi unu-i vrâncean. And one, Vrancean. Iar cel ungurean Now, the Vrancean Şi cu ce-l vrâncean, And the Transylvanian Mări, se vorbiră, In their thoughts, conniving, Ei se sfătuiră Have laid plans, contriving Pe l-apus de soare At the close of day Ca să mi-l omoare To ambush and slay Pe cel moldovan, The Moldavian; Că-i mai ortoman He, the wealthier one, Ş-are oi mai multe, Had more flocks to keep, Mândre şi cornute, Handsome, long-horned sheep, Şi cai învăţaţi, Horses, trained and sound, Şi câni mai bărbaţi, And the fiercest hounds. Dar cea mioriţă, One small ewe-lamb, though, Cu lână plăviţă, Dappled- gray as tow,

De trei zile-ncoace While three full days passed Gura nu-i mai tace, Bleated loud and fast; Iarba nu-i mai place. Would not touch the grass. - Mioriţă laie, ”Ewe-lamb, dapple-gray, Laie bucălaie, Muzzled black and gray, De trei zile-ncoace While three full days passed Gura nu-ţi mai tace! You bleat loud and fast; Ori iarba nu-ţi place, Don’t you like this grass? Ori eşti bolnăvioară, Are you too sick to eat, Drăguţă mioară? Little lamb so sweet?” - Drăguţule bace, ”Oh my master dear, Dă-ţi oile-ncoace, Drive the flock out near La negru zăvoi, That field, dark to view, Că-i iarbă de noi Where the grass grows new, Şi umbră de voi. Where there’s shade for you. Stăpâne, stăpâne, ”Master, master dear, Îţi cheamă ş-un câine, Call a large hound near, Cel mai bărbătesc A fierce one and fearless, Şi cel mai frăţesc, Strong, loyal and peerless. Că l-apus de soare The Transylvanian Vreau să mi te-omoare And the Vrancean Baciul ungurean When the daylight’s through Şi cu cel vrâncean! Mean to murder you.” - Oiţă bârsană, ”Lamb, my little ewe, De eşti năzdrăvană, If this omen’s true, şi de-a fi să mor If I’m doomed to death în câmp de mohor, On this tract of heath, Să spui lui vrâncean Tell the Vrancean Şi lui ungurean And Transylvanian

Ca să mă îngroape To let my bones lie Aice, pe-aproape, Somewhere here close by, În strunga de oi, By the sheepfold here Să fiu tot cu voi; So my flocks are near, În dosul stânii Back of my hut’s grounds Să-mi aud cânii. So I’ll hear my hounds. Aste să le spui, Tell them what I say: Iar la cap să-mi pui There, beside me lay Fluieraş de fag, One small pipe of beech Mult zice cu drag; With its soft, sweet speech, Fluieraş de os, One small pipe of bone Mult zice duios; With its loving tone, Fluieraş de soc, One of elderwood, Mult zice cu foc! Fiery-tongued and good. Vântul, când a bate, Then the winds that blow Prin ele-a răzbate Would play on them so Ş-oile s-or strânge, All my listening sheep Pe mine m-or plânge Would draw near and weep Cu lacrimi de sânge! Tears, no blood so deep. Iar tu de omor How I met my death, Să nu le spui lor. Tell them not a breath; Să le spui curat Say I could not tarry, Că m-am însurat I have gone to marry Cu-o mândră crăiasă, A princess – my bride A lumii mireasă; Is the whole world’s pride. Că la nunta mea At my wedding, tell A căzut o stea; How a bright star fell, Soarele şi luna Sun and moon came down Mi-au ţinut cununa. To hold my bridal crown.

Brazi şi paltinaşi Firs and maple trees I-am avut nuntaşi, Were my guests; my priests Preoţi, munţii mari, Were the mountains high; Paseri, lăutari, Fiddlers, birds that fly, Păserele mii, All birds of the sky; Şi stele făclii! Torchlights, stars on high. Iar dacă-i zări, But if you see there, Dacă-i întâlni Should you meet somewhere, Măicuţă bătrână, My old mother, little, Cu brâul de lână, With her white wool girdle, Din ochi lăcrimând, Eyes with their tears flowing, Pe câmpi alergând, Over the plains going, Pe toţi întrebând Asking one and all, Şi la toţi zicând: Saying to them all, "Cine-a cunoscut, ’Who has ever known, Cine mi-a văzut Who has seen my own Mândru ciobănel, Shepherd fine to see, Tras printr-un inel? Slim as a willow tree, Feţişoara lui, With his dear face, bright Spuma laptelui; As the milk-foam, white, Musteţioara lui, His small moustache, right Spicul grâului; As the young wheat’s ear, Perişorul lui, With his hair so dear, Peana corbului; Like plumes of the crow Ochişorii lui, Little eyes that glow Mura câmpului?" Like the ripe black sloe?’ Tu, mioara mea, Ewe-lamb, small and pretty, Să te-nduri de ea For her sake have pity, Şi-i spune curat Let it just be said

Că m-am însurat I have gone to wed Cu-o fată de crai, Pe-o gură de rai. A princess most noble Iar la cea măicuţă There on Heaven’s doorsill. Să nu spui, drăguţă, To that mother, old, Că la nunta mea Let it not be told A căzut o stea, That a star fell, bright, C-am avut nuntaşi For my bridal night; Brazi şi paltinaşi, Firs and maple trees Preoţi, munţii mari, Were my guests, priests Paseri, lăutari, Were the mountains high; Păserele mii, Fiddlers, birds that fly, Şi stele făclii! All birds of the sky; Torchlights, stars on high.” • Balada ‘Miorița’, capodopera literaturii • ‘The Little Ewe’ ballad, the masterpiece noastre populare este rezultatul unui of our folk literature, is the result of a very proces de creație seculară, textul baladei long creation process, the text presenting prezentând un număr mare de motive și a variable number of poetic motifs and idei poetice cu existență independentă în ideas of independent existence in folclorul românesc (transhumanța, Romanian folklore (transhumance, complotul, testamentul, animalul /oaia conspiracy, will, animal / sheep, death – năzdrăvan/ă, alegoria moarte-nuntă etc). wedding allegory, etc.). These themes are Aceste motive sunt întâlnite în doinele not only found in folk poems, but also in populare, dar și în cântecele ritualice sau ritual songs or in some carols. în unele colinde. • Alecu Russo heard it from some pastors • Poezia a fost culeasă de Alecu Russo de la from the Vrancea Mountains, while was in nişte păstori din munţii Vrancei, pe când exile at Soveja, and published it in his the se afla în exil la Soveja, şi publicată în first collection of "Folk Poems. Ballads. prima culegere de ”Poezii poporale. (Old Songs) Gathered and Directed by Balade. (Cântece bătrâneşti) adunate şi Vasile Alecsandri ", anthology published îndreptate de Vasile Alecsandri”, in 1852. antologie apărută în 1852. • In the twentieth century, Miorita was • În secolul al XX- lea, Miorița a fost published in six foreign languages at the publicată în șase limbi la editura Albatros Albatros Publishing House in Bucharest in din București România în „Anul the "International Year of the Book" - Internațional al Cărții” - 1972 (engleză, 1972 (English, French, German, Russian, franceză, germană, rusă, spaniolă, Spanish, Romanian) gaining a world wide română)fiind foarte apreciată în întreaga success due to its beatiful lyrics and lume pentru frumusețea sa și pentru presentation of Romanian mentality . reflectarea mentalității noastre. Casa de Electrecord records presents version of discuri Electrecord înregistrează în 1978 o the song performed by Irina Loghin and variantă a cântecului interpretată de Irina the orchestra led by Paraschiv Oprea in Loghin și orchestra condusă de Paraschiv 1978. Oprea.

• Balada prezintă o concepţie filozofică • The ballad presents an ancient străveche, creatorul anonim exprimând philosophical concept, the anonymous aici ideea că omul acceptă moartea ca pe creator expressing the idea that man un final firesc al vieţii, ceea ce face ca accepts death as a natural fact, making the balada populară „Mioriţa” să fie totodată ballad “The Little Ewe" a philosophical un poem filozofic. poem. • Titlul cântecului este diminutivul • The supernatural animal presented in the animalului năzdrăvan, cu un rol title as a diminutive, with an important determinant în declanşarea ideii filozofice role in emphasising the philosophical idea care a determinat caracterul mitologic al which outlined the mythological character operei: atitudinea înţeleaptă pe care o are of the work: the wise attitude of the young tânărul cioban în faţa morţii. Oiţa este un shepherd facing death. The sheep is a element miraculos în baladă şi constituie miraculous element in the ballad, and is vocea destinului predeterminat, the voice of destiny, forseeing death, as an prevestind moartea, ca pe un final, de unavoidable ending of life. The ballad’s neevitat, al vieţii. Creatorul popular a ales creator chose the ”the little ewe” endowed mioriţa înzestrată cu puteri fabuloase with fabulous powers to illustrate the most pentru a ilustra tema folclorică a used theme in Romanian folk creations comuniunii ancestrale dintre om şi natură, that of ancestral communion between man simbolizată aici de animal. and nature, embodied here by the animal. • Timpul şi spaţiul în care se desfăşoară • Time and space describe a landscape -like întâmplările povestite în baladă, descriu un a paradise: ”Near a low foothill/ At peisaj asemănător paradisului: „Pe-un Heaven’s doorsill”. picior de plai / Pe-o gură de rai”

• Personajele reale sau fabuloase au • The real or fabulous characters have atitudini specifice în acţiunea baladei, în specific attitudes in the ballad's action, funcţie de rolul pe care îl atribuie autorul depending on the role the anonymous anonim fiecăruia în parte: din invidie, doi writer assigns to each one: out of envy, ciobani pun la cale uciderea partenerului two shepherds plot the killing of their lor, oiţa năzdrăvană este îngrijorată pentru partner, the sheep is worried about its viaţa stăpânului, ciobănaşul moldovean master’s life, the Moldovan shepherd sees priveşte moartea cu seninătate, iar măicuţa death as a natural factor, and the bătrână îşi caută cu înfrigurare fiul. Ca shepherd’s mother asks for her son. As a răspuns la avertizarea făcută de mioară, response to the warning made by the sheep, ciobanul priveşte despărţirea de turma sa the shepherd looks at the separation from şi de locurile feerice cu înţelepciunea his flock and the fiery places with the mitică a asumării morţii ca pe un final mythical wisdom of seeing death as a firesc ai vieţii. Aici este prezentă ideea că natural,common factor preceding life. existenţa omului are două manifestări Here is the idea that man's existence has concrete: viaţa şi moartea. Apropiat de two well defined parts: life and death. natură, ciobănaşul îşi exprimă dorinţa de a Close to nature, the shepherd expresses his rămâne şi după moarte pe meleagurile şi desire to remain after death in complete alături de fiinţele pe care le-a iubit atât de union with everything that he adored in his mult în timpul vieţii: „Ca să mă îngroape / lifetime: ”To let my bones lie/ Somewhere Aice pe-aproape / În strunga de oi, / Să fiu here close by,/ By the sheepfold here/ So tot cu voi, / În dosul stânii / Să-mi aud my flocks are near,/ Back of my hut’s cânii. / Aste să le spui”. grounds/ So I’ll hear my hounds./ Tell them what I say”

• Singura legătură strânsă cu viața, care • The only connection with life, which amplifică dramatismul baladei, este grija amplifies the dramatic effect of the ballad, ciobănașului pentru ”măicuța bătrână” is the shepherd's care for his "old mother" care își va căuta fiul. Prin prezența who will seek for his son. Through the imaginii materne, se creează astfel un presence of the maternal image, it creates circuit complet care leagă cele mai mari a complete circuit that links the major evenimente care marchează existența events ,that mark the existence of the ființei umane prin cele mai profunde: human being ,to the deepest ones ,the rites nașterea - viața/ nunta – moartea. of passage : birth - life / wedding - death. • În acest sens, rugămintea baciului • The shepherd ’s last wish expressed at the exprimată în finalul baladei simbolizează end of the ballad symbolizes human sensibilitatea umană, în contradicție cu sensitivity, in contradiction with the filozofia vieții și a morții. Asfel dorința philosophy of life and death. So, the wish tânărului cioban este ca mama lui să nu of the young shepherd is that his mother ştie „Că la nunta mea / A căzut o stea”, does not know " That a star fell, bright,/ aceasta fiind o altă superstiţie populară, For my bridal night; " which is another care sugerează moartea unui om. Datorită Romanian superstition that predicts death . modului în care sintetizează credințe și Due to the way it presents Romanian tradiții românești, ”Miorița” este beliefs and traditions, "Mioriţa" is considerată de scriitorul Mihail Sadoveanu, considered by the writer Mihail la mijlocul secolului al XX-lea „drept cea Sadoveanu, in the middle of the 20th mai nobilă manifestare poetică a neamului century "as the noblest poetic nostru”. Balada concentrează profunda manifestation of our people". The ballad spiritualitate românească şi constituie focuses on deep Romanian spirituality and sursă de inspiraţie pentru mari scriitori ai is a source of inspiration for great writers literaturii noastre: Mihai Eminescu, Mihail of our literature such as Mihai Eminescu, Sadoveanu, Lucian Blaga, Mircea Eliade Mihail Sadoveanu, Lucian Blaga, Mircea și Nichita Stănescu. Eliade and Nichita Stanescu. ‘LA POARTĂ LA ŞTEFAN-VODĂ’ ‘AT THE GATE TO STEPHAN VOIEVODE’

• Colindul ”La poartă la Ștefan – Vodă” • This carol can be considered one of the poate fi considerat unul dintre cele mai oldest in the Romanian folklore as in the vechi din folclorul românesc prin faptul că chorus it contains the word "ler" refrenul conține cuvântul ”ler” menționat mentioned in the oldest linguistic în cele mai vechi cercetări lingvistice researches made in our country. The word realizate la noi. Cuvantul ”ler” dovedește "ler" proves the age of our religious carols, vechimea colindelor noastre religioase, dar according to research, from the Dacian- și laice existente conform cercetărilor, încă Roman era (2nd-6th-7th centuries). The din epoca daco-romană (sec. II-VI/VII). chorus of "Lerul Domnului" or "Alilerui Refrenul " Lerului Domnului " sau Doamne" results from the integration into "Alilerui Doamne" rezultă din integrarea the carols of the archaic form of the în colinde a formei arhaice a cuvântului religious word "Aleluia". bisericesc "Aliluia". • In its written form, together with music • În forma scrisă, însoțit de partituri, sheet, the song is found in the collection of cântecul se regăsește în culegerea realizată carols made by the ethnomusicologist de profesorul etnomuzicolog George George Breazul in 1938, in two variants. Breazul în 1938, în două variante. • Am descoperit că o interpretare a • We have discovered that a carolist colindului este cuprinsă într-un album interpretation is included in an album înregistrat în 1996, însă variantele audio- recorded in 1996, but the audio-video video atașate documentului sunt variants attached to the document are înregistrate în 2008, respectiv în 2013, în recorded in 2008 and 2013 in Moldova Moldova (Bucovina). (Bucovina). • Conform DEX revizuit 2016, originea • According to the revised Dictionary of termenului este în limba latină, însă Romanian language in 2016, the origin of explicația oferită păstrează un anumit grad the term is Latin, but the explanation de ambiguitate: provided keeps a certain ambiguity: • Ler = Cuvânt care apare ca refren în • Ler = A word that appears as a chorus in colinde, cărora le dă un anumit colorit carols, which gives them a certain eufonic. [Var.: léroi, léroloi, lérui, lérului euphoric colour. [Var: léroi, léroloi, lérui, interj.] – Probabil lat. [Ha]llelu[iah, léru interj.] - Probably lat. [H] llelu [iah, Domine]. Domine]. • Existența cuvântului în colindele din • The existence of the word in carols, zonele de dincolo de malul stâng al widely found in areas beyond the left bank Dunării este atestată în lucrările despre of the Danube, is mentioned in various limba și folclorul românesc realizate în works about the origins of our language secolele XVII – XVIII de Miron Costin, and Romanian folklore masterpieces Dimitrie Cantemir sau Petru Maior. written by Miron Costin, Cantemir and Petru Maior.

• In 1901, preotul -profesor Dimitrie Dan a • In 1901, the priest -Professor Dimitrie Dan reluat problema originii cuvân tului ”ler” cocluded in his research abut the origin în limba română și a publicat rezultatele related issue of this word,"ler" , and studiilor sale în "Noua revistă română" published the results of his studies in the (vol. III, nr. 26, pp. 85-91), sustinând "New Romanian magazine" (vol. III, no. definiția existentă astăzi în DEX. Conform 26, pp. 85-91), bringing relevant opiniei profesorului, ”ler” provine din arguments that the definition given today invocația cultică, de origine ebraică, in the Dictionary of Romanian language is Halleluiah (Domine) ("lăudați pe correct. According to him, "ler" has Domnul"), trecută în limba latină Hebrew origin, Halleluiah (Domine), (Alleluia) și în slavă (Alilughiia). passed in Latin (Alleluia,Alilughiia). The Cuvântul este introdus în limba română, word was introduced in Romanian, in the în ritualul religios, prin filiera slavă, după religious ritual, through the Slavic secolul al X-lea (Aliluia). influece , after the 10th century (Aliluia).

• Referitor la mesajul cântecului, conținutul • The song’s deep meaning,its message, its leagă înțelesul religios al versurilor cu idei religious content and meaning of the ce demonstrează mentalitatea poporului verses, is linked with ideas expressing our nostru. mentality throughout history. • Momentul Nașterii lui Hristos reprezintă o • Christ’s Birth,a joy for Orthodox bucurie pentru creștinii ortodocși. Acest Christians,has been found in all the sentiment este comunicat prin cântecele Romanian carols celebratig this event interpretate an de an de către grupuri de since times out of mind. This feeling is colindători. În colindul ”La poartă la expressed through songs annually Ștefan-Vodă”, vestea nașterii lui Hristos se performed by groups of carol singers. In aduce într-un cadru specific Evului Mediu, this carol, the news of Christ’Birth is traditional românesc, în care apare brought to a specific setting of the Middle imaginea domnitorului Ștefan cel Mare. Ages, showing Romanian traditions, in • În timpul rugăciunii, Domnitorul aude which the image of the prince Stephen the boierii vorbind despre Iisus și Dumnezeu Great also appears. și merge alături de ei pentru a aduce laude • While praying, the Ruler hears his subjects divinității. De aici reiese ideea că cei care talking about Jesus and God and goes with vestesc minunile lui Dumnezeu pe them to praise the divinity. They proclaim la ”porțile” oamenilor sunt primiți de the wonders of God at the "gates" of men gazde cu bucurie. Acestea li se alătură are welcomed by the hosts with joy. They colindătorilor, demonstrând respect pentru join the carol singers, showing respect for adevărul divin, indiferent de rangul pe the divine truth, regardless of the rank of care îl are fiecare. În colindul prezentat, each and any of them. In the presented Ștefan cel Mare procedează în același mod, carol, Stephen the Great,the Moldavian venind să Îl slăvească pe Dumnezeu Ruler, comes to glorify God together with alături de boierii colindători. his subjects. • Conducător al Moldovei între anii 1457 – • Leader of the Moldovian people between 1504, Ștefan Vodă este cunoscut în istorie 1457 - 1504, Stefan Voda is known in prin faptul că a fost un susținător al history by the fact that he was a man of culturii și al bisericii, ctitorind un număr letters and of the Church , building a mare de mânăstiri și biserici atât în number of monasteries and churches in Moldova, cât și în Țara Românească, Moldavia and the Romanian Country, Transilvania sau la Muntele Athos. Pentru Transylvania Mountain Athos. For these aceste merite a fost canonizat de Biserica merits he was canonized by the Romanian Ortodoxă Română cu numele de Ștefan cel Orthodox Church under the name of Mare și Sfânt, în 1992. Stephen the Great and the Holy,in 1992. • Concluzia este că, prin conținutul său, • The conclusion is that through its contents, colindul ”La poartă la Ștefan Vodă” this carols not only outlines the age of demonstrează vechimea acestor cântece these ritual songs in our country, but also ritualice în țara noastră, dar și faptul că the fact that they are the works of art of acestea sunt produsul tradițiilor și the Romanian traditions and customs that obiceiurilor românești împletite cu istoria are interwoven with our national history și identitatea noastră națională. and identity. • Culegerea de Colinde a lui George Breazul 1938, reeditată conform cu originalul în 1993 – link și pagini selectate https://www.scribd.com/document/210124 902/Colinde-1993-George-Breazu-1938

‘PAPARUDELE’ ‘THE RAINMAKING CALLERS’

Paparuda Lai, la, la, la, la, lai…

Paparudă rudă Paparudă rudă* ( Rainmaking caller, caller) Sai în sus și udă Hop and let it rain Udă cu găleata Let it rain buckets Ca să crească roada So that the crops may grow

Paparudă rudă Paparudă rudă ( Rainmaking caller, caller) Sai în sus și udă Hop and let it rain Udă cu cofița Let it rain buckets** Ca să crească vița So that the grape vine may grow

Lai, la, la, la, la, lai… Lai, la, la, la, la, lai…

Paparudă rudă ( Rainmaking caller, caller) Paparudă rudă Hop and let it rain Sai în sus și udă Let it rain cats and dogs Udă cu ulciorul So that the lad may grow Să crească feciorul Paparudă rudă ( Rainmaking caller, caller) Paparudă rudă Let it be heard in the skies N’cer ca să se’audă Paparudă rudă ( Rainmaking caller, caller) Paparudă rudă So that the rain may soak us Ploaia să ne ude Lai, la, la, la, la, lai… Lai, la, la, la, la, lai…

Paparudă rudă Paparuda( Rainmaking caller, caller) N’cer ca să s’audă Let it be heard in the skies Paparudă rudă Paparudă rudă( Rainmaking caller, caller) Ploaia să ne ude So that the rain may soak us

Paparudă, rudă, Paparuda( Rainmaking caller, caller) Sai în sus și udă, Jump and soak us Udă cu cofița Soak us with a Sprinkle Ca să crească vița. For the vineyard to grow

La-la-la... La-la-la...

Paparudă, rudă, Paparuda, rudă( Rainmaking caller, caller) Sai în sus și udă, Jump and soak us Udă cu găleata Soak us with a bucket Ca să crească roada. For the fruit to grow

La-la-la... La-la-la...

Paparudă, rudă, Paparuda, rudă( Rainmaking caller, caller) Sai în sus și udă, Jump and soak us Udă cu ulciorul Soak us with a jug Să crească feciorul. For the little boy to grow up

La-la-la... La-la-la...

Paparudă, rudă, Paparuda, , rudă( Rainmaking caller, caller) Sai în sus și udă, Jump and soak us Udă cu cănița Soak us with a cup Să crească fetița. For the little girl to grow up

La-la-la... La-la-la... • ”Paparudele” este o creație populară • ‘The Rainmaking Callers’ is a widely definită ca poezie ritualică de incantație, spread folk poem found in many în diferite cursuri de folclor românesc. Romanian folk courses being defined as Poezia este consemnată în scris de ritual poetry . Its first written form culegătorul de folclor G. Dem Teodorescu appeared in 1885 in G.Dem Teodorescu’ s fiind inclusă în volumul ”Poezii Populare book “Romanian Folk Poetry ”on page ale Românilor” din 1885 (p.211). 211. • Tradiția ”paparudelor” este descrisă mai • This rain ritual is firstly described întâi de Dimitrie Cantemir, în Description in ’’Descriptio Moldaviae” 1714-1716 by Moldaviae (1714 – 1716). Textul Dimitrie Cantemir,a prolific writer, cântecului asociat ritualului a fost musicologist and linguist and at the same înregistrat mai ales începând cu a doua time the ruler of Moldavia. The song’s jumătate a secolului al XIX-lea, așadar lyrics associated with the ritual was later după un secol și jumătate de la prima sa recorded during the late 19th century, menționare. Existența cântecului și a almost two centuries later than it was first obiceiului au fost atestate în mai toate mentioned. This ritual was very much provinciile țării noastre. alive in many regions of Romania • După cum apare în descrierea făcută de • As it appears in Cantemir's description, in Cantemir, în spațiul sud-est european, the South-East of Europe, including inclusiv la români, forma inițială a fost Romania, the original form was practised practicată de copii, dintre care o fată aflată by children led by a pure young girl who la vârsta purității îndeplinea rolul principal. had the main role in invoking the rain. • Paparuda, acest cuvânt desemnează o • ‚Paparuda’ is an old agrarian divinity of veche divinitate agrară, în mitologia Romanian mythology, a divinity of the românească a ploii fertilizante, redusă cu fertilizing rain, reduced in modern times timpul la o schemă de ritual. to a magical ritual. • Sensul mitic al cântecului e păstrat de • The mythical meaning of the song is folclor într-o variantă reprezentativă, în preserved by folklore in a representative forma unei invocații magice adresate form, a magical incantation, directly direct Paparudei ca unei zeițe: "Paparudă, addressed as to a goddess: "Rainmaking rudă / vino de te udă/ ca sa cadă ploile/ cu caller, caller / come from wet / to fall rains gălețile,/ paparudele/ să dea porumburile / / with buckets, / Rainmaking callers / to cât gardurile / și să crească spicele / cât give the corn / as well as the hedges / and vrăbiile" . the spice / as the sparrows ". • Ritualul are o dată tradițională fixă - marți, • The ritual has a fixed moment in time a treia săptămână postpascală - , dar și ori when it can be performed on Tuesday, de câte ori este secetă prelungită, în iunie three weeks after Easter - but also și iulie. whenever there's a drought in June or July. • Tradiția își păstrează caracterul magic, • Tradition preserves its magical character, aparține cultelor agrare și este deosebită it belongs to the agrarian cults and is față de vrăjile practicate de cărămidari și distinct from the spells practised by the solomonari (vrăjitori populari în tradiția bricklayers and the popular wizards in the rurală romanească din Țara Moților - rural Romanian tradition of Ardeal, in Ardeal) pentru legarea și dezlegarea ploii. order to stop and release rain.

• Ritualul care însoțește cântecul este • The ritual that accompanies the song is as următorul: în timp de secetă, tinere fete follows: ’Paparuda- Rainmaking caller’ is execută Jocul Paparudelor, ca personaje a magical ritual dance used for bringing ale unui dans rudimentar, în fuste rain in times of drought. The girl is simbolice confecționate din frunze mari; dressed in a skirt made of big leaves. în timpul dansului, femeile din sat le During the dance, women in the village stropesc pe tinere cu găleți cu apă. throw buckets of water over the child- Goddess. • Datorită vechimii, creația ”Paparudele” și- a păstrat puternicul caracter colectiv • Taking into consideration its age, this (cântecul reprezintă produsul construit de poem has preserved its strong collective creatori anonimi, de-a lungul mai multor character (the song is the product of generații), specific literaturii populare, anonymous creators over many astfel încât, înregistrările apărute mai generations), specific to folk literature, so târziu valorifică variante diferite de that later recordings make use of different versuri, reproduse mai sus. variants of lyrics, as shown above. ‘BORDEIAŞ, BORDEI, BORDEI’ ‘LITTLE HUT, HUT, HUT’

Bordeiaș, bordei, bordei Little hut, hut, hut, Bordeiaș, bordei, bordei, Little hut, hut, hut, Bordeiaș, bordei, bordei, Little hut, hut, hut, Of, of, of,of, Oh, oh, oh, oh, Cu mărtăceii de tei, With small linden pillars S-a-ncuibat dragostea-n ei, Inside which love has found its nest, Of, of, of, of. Oh, oh, oh, oh,

Bordeiaș fără gârlici, Little hut without a porch, Bordeiaș fără gârlici, Little hut without a porch, Of, of, of, of,of, Oh, oh, oh, oh, Tu mă faci să viu p-aici You make me come here Desculț și fără opinci Barefoot and without my peasant sandals on, Of, of, of, of,of. Oh, oh, oh, oh.

Bordeiaș întunecos, Dark little hut, Bordeiaș întunecos, Dark little hut, Off, of, of, of,of Oh, oh, oh, oh, oh, Mult îmi ești tu drăgăstos I love you so much Că mă faci să viu pă jos. That you make me walk on foot to you, Of, of, of, of,of. Oh, oh, oh, oh, oh.

Întâi p-aici când veneam, In the beginning, when I came to you Întâi p-aici când veneam, In the beginning, when I came to you Of, of, of,of, Oh, oh, oh, oh, oh. Patru junici eu înjugam I would yoke four calves Și acum niciunul n-am, And now I don’t even have a single one, Of, of, of, of. Oh, oh, oh, oh.

Apoi venii și cu cai, Then I also came with my horses, Apoi venii și cu cai, Then I also came with my horses Of, of, of, Oh, oh, oh, oh,

Dacă beui si mâncai But if I drank and if I ate, Numa-n camașă plecai I left wearing only my shirt, Of, of, of, of, of. Oh, oh, oh, oh.

Vai maica mea-n ce-ncăpui, Oh, mother, what have I got myself into, Vai maica mea-n ce-ncăpui, Oh, mother, what have I got myself into, Of, of, of, of, of Oh, oh, oh, oh,

Că și căciula băui I even gave my hat for a drink Și de basmu mă făcui, And so I made a fool out of myself, Of, of, of, of,of. Oh, oh, oh, oh, oh.

• Casa părintească este casa în care am • The house, where we grew up in crescut înconjurați de tandrețea necesară surrounded by the necessary tenderness to pntru a ne dezvolta și a trăi momente develop and live happy moments, is our fericite. Ea simbolozează copilăria și home. It symbolizes childhood and all climatul ei, precum și schimbările,uneori our life experiences, sometimes conflictuale, dar întotdeauna necesare cu conflictual, but always necessary părinții și ceilalți membrii ai familiei, cu regarding our relationship with our parents lumea întreagă.Toate aceste etape and other family members, with the entire contribuind la formarea noastră ca oameni world. All these stages helping us become gata să oferim, la rândul nostru, o casă better human beings, ready for building a nouă pentru copiii noștri, pe care o vor new one in which our children should părăsi atunci când au caracterul format. learn and develop their rightful character. • Casa părintească pentru un om este cea • Home for a man is the most important mai importantă locuință.În ea, omul și-a place on Earth. It shelters the most petrecut cele mai frumoase momente ale beautiful memories of his childhood with copilăriei împreună cu familia sa. Crescut his family. Growing up in it, one feels that de mic acolo,omul simte o atracție față de there is a strong connection with it and ea și acesta este cel mai frumos lucru. this is the most beautiful thing. Each home Fiecare casă are ajunsurile și neajunsurile has both happy and sad moments, but ei, dar atunci cand te afli în casa în care ai when you are there, having spent all your copilărit simți că totul este perfect. youth there, you feel that everything is perfect. • În sufletul nostru, acel ACASĂ rămâne un • In our hearts, HOME remains an altar in altar în fața căruia îngenunchem cu ochii front of which we kneel with tears of în lacrimi de fericire și de durere, de dor și happiness or pain in our eyes, with love, de iubire. Oriunde ne-am duce, acele with sorrow and grief. Wherever we may amintiri petrecute în casa copilăriei go, those memories from our childhood noastre vor rămane în sufletul nostru, will remain vivid in our souls, making us stârnind emoții și bucurii care nu se pot feel happy every time we think of it. uita. • This beautiful old song presents one • Acest superb cântec strămoșesc reliefează theme often seen in our literature :home. una dintre cele mai des întâlnite teme din Everything related to it is sacred and literatura românească:casa. Tot ceea ce unique. The Romanian doesn’t only este legat de ea este sfânt și unic. Românul cherish it, but also its surroundings, nu venerează doar casa in sine, ci și tot treating it as a whole. In this song there ceea ce o înconjoară formând , până la are various forms of the most important urmă, un întreg. În cântec sunt prezentate sentiment of all, love: for home, for ca teme principale iubirea față de casă, de parents, for nature. The Romanians' love mamă, de natură, etc. Cultul pentru casă for their home is the best way to describe este cea mai frumoasă formă de exprimare our world wide recognised hospitality, our a ospitalității neamului românesc, a mentality, our culture and mentalității, a culturii, a diversității. ,,Casă, diversity. ’’Home, sweet home” best dulce casă” definește cel mai bine defines its importance in our culture and importanța pe care cultura și identitatea national identity. noastră i-o acordă . ‘PLUGUŞORUL’ ‘THE LITTLE PLOUGH’

Varianta I The 1st Version

Aho, aho, copii și frați, Hey, Hey, children and brothers, Stați puțin și nu mânați, Stay a little and do not leave, Lânga boi v-alăturați Next to your oxen you should come Și cuvântul mi-ascultați. And my word you should listen to.

Mâine anul se înoiește Tomorrow the year is renewing Plugușorul se pornește The little plough is setting off Și începe a ura And it begins to wish the best Pe la case a colinda To different homesteads through carolling

Iarna-i grea omătu-i mare Winter is hard, the layer of snow is thick Semne bune anul are The year has good signs Semne bune de belșug Good signs of abundance Pentru brazda de sub plug. For the furrow under the plough

Plugușor cu patru boi Little plough with four oxen Ia mai mânați, mai flăcăi! Lead the way,dear lads! Hăi, hăi... C'mon C'mon... S-a sculat mai an He stood up a year ago, Bădica Traian Our respected mature man Trajan, Și-a-ncălecat And he mounted a horse Pe-un cal învățat That was a trained horse Cu șaua de aur, That had a gold saddle, Cu nume de Graur, And was known by the name of Graur, Cu frâu de matasă, With a rein made of silk, Împletit în șase, That was braided in six threads, Cât vița de groasă. As thick as grapevine. El în scări s-a ridicat, He raised in the stirrups, Peste câmpuri s-a uitat, He looked all over the fields, Să aleagă-un loc curat To choose a clean place De arat și semănat. To plough and sow. Și-a pornit într-o joi And he started on a Thursday Cu un plug cu doispreceze boi With a plough with twelve oxen Boi boureni, Oxen, big oxen În coadă codălbeni, With their tail tips white, În frunte țintăței. And with a white spot on ther forehead. Ia mai mânați, măi, flăcăi! Lead the way, lads! Hăi, hâăi... C'mon C'mon...

Cu luna, cu săptămâna, With the month, with the week, Își umplu cu aur mâna He filled his hand with gold Si el vru să vadă And he wanted to see De-i dete Dumnezeu roadă. If God has given him harvest. Era-n spic cât vrabia, The wheatear tip was as big as a sparrow, Era-n bob cât trestia. And its grain was as big as a reed.

Ia mai mânați, măi flăcăi! Lead the way, lads! Hăi, hăi... C'mon C'mon...

Traian iute s-a întors Trajan quickly returned Și din grajd alt cal a scos. And he took another horse from the stable . Un alt cal mai năzdrăvan, Another enchanted horse, Cum îi place lui Traian, As Trajan likes, Negru ca corbul, As black as the raven, Iute ca focul, As quick as the fire, De nu-l prinde locul. That cannot be overcome. Cu potcoave de argint, With silver horseshoes, Ce dă sporul la fugit. That helps it run so fast. Traian iute-a-ncălecat, Traian quicky mounted, La Tinchin a apucat To Tinchin he went Și oțel a cumpărat, And steel he bought, Ca să facă seceri mari, To make large sickles, Pentru secerătorii tari. For the strong reapers. Și-altele mai mititele, And some other smaller ones, Pentru fete ocheșele For the beautiful girls Și neveste tinerele. And the young wives.

De urat, am mai ura, Well, we wished you good and we'd do it more, Dar mă tem că va-nsera, But I fear it's getting dark, Pe-aici, pe la dumneavoastră, Here, at your place, Departe de casa noastră. Far from our house. Și ne-așteapte și-alte case, And there are many other homesteads waiting, Cu bucate mai gustoase, With even tastier dishes, Cu pâine caldă pufoasă, With hot, fluffy bread, Cu vinul de vița-aleasă, With wine of fine choice, Cu Cotnar de Dragașani, With Cotnar from Dragășani vineyard, La anul și la mulți ani! Happy New Year to all of you!

Varianta a II-a Second Version

Mâine anul se-noiește, Tomorrow the year is renewing Plugușorul se pornește The little plough is setting off Și începe a brăzda, And it begins to furrow and Pe la case a ura: To different homesteads to wish Iarna-i grea, omătul-mare, Winter is hard, the layer of snow is thick Semne bune anul are, The year has good signs Semne bune de belșug Good signs of abundance Pentru brazda de sub plug. For the furrow under the plough Mânați, măi ! Lead the way,dear lads! Hăăi, hăi! C'mon C'mon...

• Plugușorul este un colind agrar menit să • ‘The Little Plough’ is an agrarian carol întampine noul an și să marcheze meant to welcome the new year and to începutul sezonului de arat, având un rol mark the beginning of the ploughing magic, și anume de a declanșa fertilitatea period, having a magical role, which is to pământului. Acesta se cântă în majoritatea trigger the fertility of the land in orde to ținuturilor României în Ajunul Anului bring a rich harvest. This is sung in the Nou. majority of the Romanian regions at New Year’s Eve. • Obiceiul este ca 4-8 copii (în general • The custom is that a group of 4 to 8 băieți) să meargă la casele oamenilor din children ( boys, in general) should go to sat să le ureze un An Bun și o recoltă the villagers’ houses to wish them a good bogată. Grupul tradițional conține un year and a wealthy harvest. The group cântăreț principal, un băiat care cântă la traditionally consists of a lead singer, a buhai, care este un instrument muzical boy that plays the petadou - a friction popular ce scoate sunete asemanatoare cu drum which is a traditional instrument that un taur înfuriat, iar ceilalți copii dau din makes sounds that resemble an angry oxe, bici, sună din clopoței sau acompaniază and the other kids lash their whips, sound solistul. their bells or accompany the lead singer.

• Colindul începe prin captarea atenției • The carol starts by capturing the hosts’ gazdelor, acestea fiind lucrătorii atention, these being the land labourers pământului (“Aho, aho, copii și frați,; Stați and it continues by announcing the new puțin și nu mânați,”) și continuă prin a year and at the same time, the beginning vesti Anul Nou și totodată începerea of the little plough song. plugușorului. • This one mentions that because of the • Acesta menționează faptul că datorită thick layer of snow, the year will be full of zăpezii anul va fi unul bogat în roade și că produce and that the ploughing period will plugul va avea spor, îndemnându-i pe be fruitful, urging the peasants to start țărani să înceapă aratul pământului cu ploughing the land with the help of the ajutorul boilor. Dumnezeu este rugat să oxen. God is begged to bless that binecuvânteze gospodăria respectivă și să respective homestead and to bring a rich aducă o recoltă bogată în anul care vine. harvest in the following year. This bidding Urarea face referință la recolta de cereale, song brings the grain harvest to attention, precum grâul, pentru care, semințele se such as wheat, for which the seeds are pun toamna și peste iarna, acestea sown in autumn, and in winter, they sprout. încolțesc. Este important să existe zapadă, It is important that there should be snow, ea protejează grâul ca să nu înghețe. as it protects the wheat from freezing. • Cântecul reliefează hărnicia poporului • The song points out the Romanian român, țăranii concentrându-se asupra nation’s diligence, the peasants focusing activităților legate de munca pământului, on activities related to land labour, land simbol al belșugului, statorniciei și that is the symbol of our wealth, constancy existenței noaste pe aceste meleaguri. and existence on these territories.. • Un alt semn de belșug și de hărnicie este • Another symbol of prosperity and hard faptul că sunt prezentate toate etapele work is the presentation of bread obtaining necesare obținerii pâinii, cum ar fi: aratul, process, such as ploughing, harvesting, seceratul, coacerea pâinii, ele întruchipând bread baking, everything representing a un ciclu al vieții. cycle of life. • Întregul proces este imaginat ca fiind • The entire process is imagined as being realizat de primul plugar, care este achieved by the first ploughman, who is denumit Traian, nume reprezentând un named Trajan, this name being a symbol simbol al latinității poporului român of our Latin origin because Trajan was the deoarece Traian a fost împăratul roman Roman emperor who conqured Dacia. care a cucerit Dacia. O altă trăsătură Another characterisic feature of our people caracteristică a neamului nostru este is hospitality, this being outlined in the ospitalitatea, ea fiind conturată în versurile lines,“And there are many other „Și ne-așteapte și-alte case, /Cu bucate homesteads waiting,/With even tastier mai gustoase, /Cu pâine caldă pufoasă, dishes,/With hot, fluffy bread,/With wine • Cu vinul de vița-aleasă, /Cu Cotnar de of fine choice” . Here , the carollers are Dragașani,” . Aici, colindătorii sunt the symbol of the united community, simbolul comunității unite, aceștia having the intention of visiting till dusk as intenționând să viziteze cât mai multe case many houses as possible in order to wish până la apusul soarelui pentru a le face them good, but at the same time, they urări de bine, dar și al ospitalității show our hospitality because each host deoarece fiecare gazdă îi va primi în casă will welcome them open-heartedly and cu brațele deschise și cu bucate pe masă. with good food on the table. ‘SCULAŢI, SCULAŢI, BOIERI MARI !’ ‘GET UP, GET UP, GREAT LANDOWNERS !’

Varianta I The 1st version Sculaţi, sculaţi, boieri mari Get up, get up, great landowners Că vă vin colindători. Because carollers are coming Nu vă vin cu niciun rău And they don't do you any harm Ci v-aduc pe Dumnezău, But they bring God to you, Pe Dumnezău mititel Little God Mititel înfăşăţel. Little tangled wrapped. Înfăşat în foi de mac, Wrapped in poppy leaves, Cu tichie verde-n cap, With green yarmulke on His head, Iar în fundul tichiei And at the bottom of His yarmulke Este-o piatră nestemată There is a gemstone Ce plăteşte lumea toată, That can pay for the entire world, Ţarigradul jumătate Half for Constantinople Şi Braşovu-a treia parte. And for Braşov the third part. Sus în poarta lui Cristos Up in the gate of Christ Să fiţi boieri sănătoşi! Be healthy landowners! Varianta a II-a The 2nd version

Sculaţi, sculaţi, boieri mari Get up, get up, great landowners

Sculaţi, sculaţi, boieri mari, Get up, get up, great landowners Zoriori de ziuă... At dawn, early in the morning… Sculaţi voi, romani plugari, Get up, you Romanian ploughmen Zoriori de ziuă... At dawn, early in the morning…

Că vă vin colindători Because the carollers are coming Zoriori de ziuă... At dawn, early in the morning… Noaptea pe la cântători At night, at the crack of dawn. Zoriori de ziuă... At dawn, early in the morning…

Şi v-aduc pe Dumnezeu And they bring God to you Zoriori de ziuă... At dawn, early in the morning… Să vă mântuie de rău To save you from evil Zoriori de ziuă... At dawn, early in the morning…

Dumnezău adevărat True God Zoriori de ziuă... At dawn, early in the morning… Soare, Raza, Luminat, The Sun, The Ray, Enlightened, Zoriori de ziuă... At dawn, early in the morning…

Şi vă spun să ne traiţi And I wish you to live Zoriori de ziuă... At dawn, early in the morning… Întru mulţi ani fericiţi For many happy years Zoriori de ziuă. At dawn, early in the morning…

• “Sculați, sculați boieri mari” este un • “Get up, Get up, Great Landowners” is a colind popular ale cărui versuri au fost Romanian carol whose lyrics were culese de Anton Pan. Deși acesta are mai collected by Anton Pann. Although the multe versiuni, mesajul final este acela de song has other versions, the core massage a atrage atenția boierilor sau gazdelor, is the same, which is to capture the asupra faptului că vin colindătorii și că landowners’ attention that carollers are aceștia nu doresc să facă rau ci doar să-L coming and that they don’t want to cause aducă pe Dumnezeu în casele lor. harm, but to bring God into their homes. • Cântecul se desfășoară într-un ritm alert • The song progresses in a quick rhythm care sugerează entuziasmul emanat de that suggests the enthusiasm emanated by versuri. Un entuziasm combinat cu o the lyrics. An enthusiasm combined with a oarecare nerăbdare dedicata obiceiului de type of restlessness which is dedicated to a colinda (“Sculaţi, sculaţi, boieri mari” și the tradition of carolling (“Get up, get up, “Sculaţi voi, romani plugari,”). great landowners” and “Come on, • Spre deosebire de colindele laice care se Romanian ploughmen”). Unlike laic carols axează în general pe belșugul recoltelor și that in general, focus on the wealth of the menținerea tinereții , ‘Sculați, sculați harvests and on maintaining youth and boieri mari’ arată sărbătorile dintr-un health, “Get up, get up, great landowners” punct de vedere religios. Cântecul având shows the holidays from a religious ca scop aducerea lui Dumnezeu în casa și standpoint. The song is meant to bring sufletul omului care este colindat. God in people’s house and souls when they hear it. • De asemenea, colindele religioase sunt • Moreover, religious carols are in a larger mai numeroase în perioada Crăciunului number around Christmas, unlike laic ones spre deodebire de cele laice care that are usually around New Year’s Eve. predomină în jurul Anului Nou. • Romania a adoptat religia crestin ortodoxă • Romania embraced the Christian- atunci când Sfântul Andrei a venit pe Orthodox religion when St. Andrew came meleagurile țării și de atunci, această to this country and since then, religion has religie a reprezentat în viața românilor, un represented an important pillar in pilon important. În acest cântec se prezintă Romanian people’s lives. The tradition of obiceiul colindului de Craciun, care are ca carolling is presented in this song which scop, nu numai vestirea nașterii lui Iisus, has as purpose not only announcing the dar și de-al aduce pe Dumnezeu mai birth of Jesus but also, bringing God aproape de oameni. El este cântat de un closer to the people. It is sung by a group grup de copiii care merg din casă în casă of kids that go from house to house urând bunastare și vestind nașterea wishing wellbeing to the family and Domnului. Ca un semn de mulțumire, announcing the birth of Christ. As a sign oamenii le dau copiilor covrigi, nuci sau of gratefulness, people give them pretzels, mere. Colindatulul se începe de pe 6 nuts or apples. Carolling starts on the 6th noiembrie ( după Sfantul Nicolae) și se November (after St. Nick’s Day) and it termină la 7 ianuarie, dar în general se ends on the 7th January, but in general, colindă doar în Ajun (24 decembrie) și se people carol just on Christmas Eve. merge cu steaua în ziua de Crăciun.

• Sărbătoriile de Crăciun în Romania sunt • Christmas Holidays in Romania are a un prilej de bucurie, moment în care, reason for joy in every family, a moment toate familiile, indifferent de starea lor at which, all families, regardless of their socială sau materială, se pregătesc să social status or of their wealth, get ready întampine nașterea lui Iisus, prin to welcome the birth of Jesus, as they go participarea la slujbele de la biserică to church to participate at the masses dedicate acestui eveniment, și pe 25 dedicated to this event and on the 25th , all decembrie, toți membrii familiei iau o the members of the family have a feast masă de sărbătoare împreună, în onoarea with all the relatives in His honour. Lui.

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