Bridge of the Balkans
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Folk,Narodne,Starogradske Karaoke
060/3471 - 575 061/30 - 560 - 30 [email protected] Списак Folk-narodnih-starogradskih караока на матрицама : 1. Aj berem grožđe – Zorica Brunclik 66.Ja stalno pijem – Đani 124.Nijedne usne se ne ljube same – Džej 184.Sliku tvoju ljubim - Toma Zdravković 2.Aj po gradini (bv) -Čeda Marković 67.Jedan, dva – Džej 125.Nikad nikom nisam reko – Medeni 185.Snijeg pade – Narodna 3.Aj pa pukni zoro – Montevideo 68.Jesen u mom sokaku – Tozovac mesec 186.Splavovi – Novica Zdravković 4.Al nema nas – Nikola Rokvić 69.Još ovu noć – Šaban Šaulić 126.Nikada više -Radmila Manojlović 187.Srce gori jer te voli – S. Armenulić 5.Anonimna – Slobodan Vasić 70.Još uvek slutim -Milan Stanković 127.Niko ne mora da sluša- N. Vojvodić 188.Srce je moje violina – Lepa Lukić 6.Avlije,avlije – Zorica Brunclik 71.Jovano, Jovanke – Makedonska 128.Nikom nije žao kao meni – Džej 189.Srce od silikona -Darko Lazic 7.Beli zora – Marinko Rokvić 72.Kad bi znali kako mi je – Miloš Bojanić 129.Niška banja – Narodna 190.Stani dušo da te ispratim – Ilda 8.Bez tebe je gorko vino - Duško Kuliš 73.Kad ja pođoh aman -Safet Isović 130.Nikom nije žao kao meni – Džej Šaulić 9.Bež Milane -Viki Miljković 74.Kad te ne volim -Katarina Živković 131.Niška banja – Narodna 191.Stani mome da zaigraš – 10.Biljana – Aca Matić 75.Kafana je moja sudbina – Toma 132.Nosim tugu ko okove – G. Božinovska Makedonska 11.Blago meni -Ana Bekuta Zdravković 133.Osvemu mi pričaj ti -Milan Topalović 192.Sto ću čaša polomiti - Crni 12.Blagujno Dejče – Cune Gojković 76.Kako ti je kako živiš – Šaban & Zorica 134.Obeležena – Viki Miljković 193.Sve moje njeno je – Sanja Đorđević 13.Bolje ona nego ja – R. -
Mad Radio 106,2
#WhoWeAre To become the largest Music Media and Services organization in the countries we operate, providing services and products which cover all communication & media platforms, satisfying directly and efficiently both our client’s and our audience’s needs, maintaining at the same time our brand's creative and subversive character. #MISSION #STRUCTURE NEW MEDIA TV EVENTS RADIO WEB INTERNATIONAL & SERVICES MAD 106,2 Mad TV www.mad.gr DIGITAL VIDEO MUSIC MadRADIO Mad TV CYPRUS GREECE MARKETING AWARDS Mad HITS/ CONTENT Mad TV MADWALK 104FM SOCIAL MEDIA OTE Conn-x SERVICES ALBANIA Mad GREEKζ/ MAD MUSIC ANTENNA EUROSONG NOVA @NOVA SATELLITE MAD PRODUCTION NORTH STAGE Dpt FESTIVAL YouTube #TV #MAD TV GREECE • Hit the airwaves on June 6th, 1996 • One of the most popular music brands in Greece*(Focus & Hellaspress) • Mad TV has the biggest digital database of music content in Greece: –More than 20.000 video clips –250.000 songs –More than 1.300 hours of concerts and music documentaries –Music content database with tens of thousands music news, biographical information –and photographic material of artists, wallpapers, ring tones etc. • Mad TV has deployed one of the most advanced technical infrastructures and specialized IT/Technical/ Production teams in Greece. • Mad TV Greece is available on free digital terrestrial, cable, IPTV, satellite and YouTube all over Greece. #PROGRAM • 24/7 youth program • 50% International + 50% Greek Music • All of the latest releases from a wide range of music genres • 30 different shows/ week (21 hours of live -
YOUTUBE EXTENSION of MUSIC MEMORY Trena Jordanoska University „Sts
78:004.738.5 YOUTUBE EXTENSION OF MUSIC MEMORY Trena Jordanoska University „Sts. Cyril and Methodius“, Skopje, Macedonia Abstract: Individual work approach to collective cul‐ material of the last hundred years was estimated at tural memory is marked by unprecedented digital tool – 25–30 petabytes (Бужаровски, 2002: 7), the digitally re‐ Internet. Social networks accelerated the exchange of corded and distributed music has probably doubled, if music artifacts to extremely large numbers of partici‐ not tripled during the last decade (5–10% per year, ibid.). pants. One of the important aspects of the new digital In fact, this process started with the radio distribu‐ transition is that the improved transfer rates resulted in an audio quality approaching the limits of human hear‐ tion of music through live or recorded performances, ing. YouTube counter is undoubtedly the best indicator and later through TV broadcasting, which was already for the presence of these artifacts in virtual reality. The an important contribution to the democratization of records of the downloads of the “Gangnam Style” song in access to cultural products and services on a global billion, support the argument for the influence of the scale. However, the real revolution started with the new technological means on collective memory. In our new chanel of distribution – Internet, and especially research we collected and analyzed the data regarding music posting on YouTube. with the rise of social networks. Social networks have accelerated the exchange of Keywords: music memory, YouTube, music posting, music artifacts, which was equally productive for the music genres, Macedonian music creation and the distribution of music. -
Acting the Nation
Acting the Nation Women on the Stage and in the Audience of Theatre in the Late Ottoman Empire and Early Turkish Republic Cora Skylstad TYR 4590 – Master’s thesis in Turkish Studies Area Studies of Asia, the Middle East and Africa Department of Cultural Studies and Oriental Languages UNIVERSITY OF OSLO October 2010 ii iii Abstract In the first decades of the 20th century, the public position of actresses underwent a radical transformation in Turkey. While the acting profession had long been commonly regarded as unsuitable for Muslim women and had been monopolized by women belonging to the non- Muslim minorities, in the 1920s the Muslim actress was not only legitimized but in fact embraced by the state as a model for Turkish women. In the works of Turkish and Ottoman theatre history, the emergence of Muslim actresses has been given some attention, but it has not been studied from a critical perspective inspired by theoretical questions. Moreover, the process of legitimization of Muslim women as theatre audience, which took place prior to the legitimization of the actresses, has been ignored. The present thesis seeks to develop a better understanding of these developments by approaching them as part of social and political history, while drawing inspiration from an interdisciplinary field of scholarship on gender and theatre. The time period studied begins with the late era of the Ottoman Empire and ends with the early years of the Turkish Republic, covering a time span of more than fifty years. In order to capture the complexities of the subject, a wide array of written sources, including memoirs, interviews, theatre reviews, books and a theatre play, are included in the analysis. -
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Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumnić Vilotijević Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly‐composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post‐ Yugoslav market in the twenty‐first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
= Mühim Bir Hadise
Şimdiye kadar memleket İspanyada grevin muvaffak haricine milyonlarca döviz ka olmadığı anlaşılıyor. Dün çır an bir şebeke efradı yakayı Madritte sadece iki gazete ele verdi. neşredildi. :Sahip ve Batmuharriri : Siirt Meb'uııu MAHMUT Tel. { P.1üdür: 24318. Yazı itleri müdürü: 24319. 9 uncu sene No. 2907 ÇARŞAMBA 14 MART 1934 • Jdare •• Matbaa : 24310. Silah yarışı • • • Bir hırMtan clnletfer aa ı ımda silalı Başvekil ilk e r mes,,.. esını çıkç a t "''·-me müzııkereleri devam ederken, ~~~~~~~~~~~~~~~~·-.-~~~~~~~~~~~~~~~- diğer tarak.on da sililılanma yanıı bat· la.iuı görünüyor. lngiltere, Fransa ve Amerika, 1934 aenesi zarfıoda "milli bıÜdafaa" namı a1tmda ordu, donanma ''Meseleyi cesaretle, hakikati olduğu gibi görerek \re hava kuvvetleri için ayırdııldarı tah•İ aatı Millet Mecliılerine tevdi etmişleT· dir. mütalea etmek ve memlekete bildirmek vazifemizdir,, Tllhıisıı.tlann her rııkamında bir lazlalık 6lduğu iddia edilebilir. Bilhuaa donan· ..... ve hava kuvvetleri için ayrılan tah· f"aatlardaki fazlalık nazarı dikkati cel· ı111111111111111111111111111uıııııııııııı11111111111111111111111111111111111111111111111111111111111111111111111111uıııııııııııııııııııııımııııuıııııııııııııııııııııııııı~ ı· Ik d . h kk d ı· loııdiyor. lngilterenin altı aeneden beri en yiİI<· •..ı. milli müdafaa bütçeoidir. Deniz, ka = T·· k. ·ı · d - te rısat a ın a smet ~· ve han kuvvetleri için 1934 aenesin ur ıye ı e unanıstan arasın a == p F k d b t Je aarfedilecek para, yüz yirmi mrlyon lngiliz Jiraıma yaklll§ıyor. Bunun aıağı - k .. ere mı· ? = aşanın ır a a eyana 'YUkan, yamı donanmaya ıarfedilecek. ~~ye kalan altmıı milyonun da üçte as e apı ıyor. .. İkisi orduya Ye Üçte biri havaya tahsiı edilecelııtir. Gerçi Waşington ve Londra Misakın Yunan meclisinde İnüna- Tetkikat yapmak uzere Fırkada bir d~niz 111üları mukaveleleri, lngiltere "!n 1936 -.i sonuna kadar daha ge - k k b - komisyon teşkiline "~f _ınikyaeta harp gemisi yapmasına ma ";'dir. -
Songbook October 2015
Žižkov Karaoke! Song Lists October 2015: • General Song List 1 • Duets 57 • Musicals, Movies and TV etc. 59 • Czech & Slovak Songs 63 • Other Languages 67 Find a song you'd like to sing. Find a piece of paper and a pen. Write down: • The name of the song. • The name of the artist. • And your name! Give the piece of paper to the host or the KJ. Karaoke tips: Sing by yourself, unless you're singing a duet. Put in multiple songs at once if you know already what you want to sing next. It's easier for the KJ and you'll be up sooner. Be patient, if you arrived late there will probably be a lot of people singing before you. Asking the KJ will not help, arriving early will. Enjoy! www.zizkovkaraoke.com 1 www.zizkovkaraoke.com 1 General Song List General Song List 10cc 98 Degrees ABBA Donna Because Of You Thank Abba For The Dreadlock Holiday Hardest Thing Music (Mix) (With Im Mandy Way You Want Me To Vocals) Im Not In Love A Teens Thank You For The Music Rubber Bullets Upside Down Voulez-Vous Things We Do For Love A1 Waterloo Wall Street Shuffle Caught In The Middle Winner Takes It All 112 No More ABC Dance With Me Nothing Look Of Love 2 Eivissa Ready Or Not ACDC Oh La La La Summertime Of Our Back In Black 2 Unlimited Lives Big Balls No Limit Aaliyah Big Gun 21st Century Girls More Than A Woman Dirty Deeds Done Dirt 21st Century Girls Rock The Boat Cheap 3 Doors Down Try Again For Those About To Rock Away From The Sun Aaron Tippin Have A Drink On Me Be Like That Always Was Heatseeker Here Without You Door Hells Bells Kryptonite I Get A Kick Out -
Domaće Pesme
SPISAK KARAOKE PESAMA Domaće pesme Sanja - Sindy 064 / 11 55 735 www.facebook.com/SindyKaraoke www.sindykaraoke.com [email protected] DOMAĆE PESME SINDY KARAOKE Sanja 064/11-55-735 najveći izbor domaćih i stranih karaoke pesama (engleskih, italijanskih, francuskih, španskih, ruskih) IZVOĐAČ PESMA IZVOĐAČ PESMA 187 Nikada nećeš znati Aleksandra Radović Ako nikada Aca i Mira Vrati nam se, druže Aleksandra Radović Čuvaj moje srce * Aca Ilić Lepe oči zelene Aleksandra Radović Jesam te pustila Aca Lukas Bele ruže Aleksandra Radović Još danas Aca Lukas Burbon Aleksandra Radović Kao so u moru Aca Lukas Čaše moje polomljene Aleksandra Radović Karta za jug Aca Lukas Dijabolik Aleksandra Radović Nisi moj Aca Lukas Hiljadu puta Aleksandra Radović Zažmuri Aca Lukas Imate li dušu tamburaši Aleksandra Ristanović Dočekaj me sa osmehom Aca Lukas Ista kao ja Alen Islamović Ispod kaputa Aca Lukas Ja živim sam Alen Slavica Dao sam ti dušu Aca Lukas Jagnje moje Alen Vitasović Bura Aca Lukas Koma Alisa Sanja Aca Lukas Kuda idu ljudi kao ja Alka i Džej Da si sada tu Aca Lukas Lična karta Alka i Stavros Zrak, zemlja, zrak Aca Lukas Na žalost Alka i Vuco Kad bi opet Aca Lukas Ne pitaj Alka Vuica Bolje bi ti bilo Aca Lukas Nešto protiv bolova Alka Vuica Ej, šta mi radiš Aca Lukas Niko jedan, dva i tri Alka Vuica Kriva Aca Lukas Otrov sipala Alka Vuica Laži me Aca Lukas Pao sam na dno Alka Vuica Nek’ ti jutro miriše na mene Aca Lukas Pesma od bola Alka Vuica Od kad te nema Aca Lukas Poljem se širi miris tamjana Alka Vuica Profesionalka Aca Lukas Pustinja -
Teaching the Teachers, Developing the Methods of Education and Learning in Field of Contemporary Performing Arts (Dance)
TEACHBACK - Teaching the teachers, developing the methods of education and learning in field of contemporary performing arts (dance) NOMAD DANCE ACEDEMY SUMMER WORKING PROGRAMME 21 – 28 August Scout Centre Ohrid, Macedonia 20 AUGUST (SUNDAY) During the whole day – arrival of participants, workshop leaders and organisers Sunday 21 AUGUST (MONDAY) AND 22 AUGUST (TUESDAY) ▪ 08.00-09.30 Breakfast ▪ 9.30-10.00 WELCOME - Introduction to the programme 10.00-13.00 SPACE 1 WORKSHOP - Scripting Contingencies: Darko Dragičević (Serbia/Germany) and Martin Sonderkamp (Germany) ▪ How to navigate the Not-Yet-Nameable Darko Dragičević and Martin Sonderkamp work together as an artist duo since 2014. As a common point of interest, their work explores how spaces unfold toward bodies and how bodies affect their spatial surroundings. Their artistic dialogue has developed into a shared practice between dance, visual art and choreography, resulting in the performances Sonic Extensions (2017), Approximations (2015), Task 14 (2014), the video works Architecture of Affect (2015) and Zone (2014) and the workshop formats Extensions, Ode to Mrs. Brown and Frames Every day. Participants: ▪ Elena Risteska (Macedonia–dancer, cultural worker, representative of Nomad Dance Academy Macedonia) ▪ Aleksandar Georgiev (Macedonia-choreographer/dancer, representative of Nomad Dance Academy Macedonia) ▪ Anna Biczok (Hungary-choreographer, dancer) ▪ Mathilde Vrignaut (France-dancer/choreographer) ▪ Josefien Verbrugghe (Belgium-dancer/choreographer) ▪ Elif Bilici (Turkey-dancer/choreographer) -
Sehara 2008-Final2
Sehara, maj 2008. Dragi èitatelji! Bliži se kraj školske godine i vrijeme je kada izlazi drugi broj našeg lista u ovoj školskoj godini. Maj je, kažu mnogi, najljepši mjesec u godini. Vrijeme kada se budi priroda, ljudi postaju radišni, poletni. Školska godina, s druge strane, ulazi u završnicu i vodi se rovovska bitka za ocjenu. Izvlaèe se iz ormara, ispod kreveta, iza frižidera i èega sve ne, zaboravljeni udžbenici i išarane sveske. Da li su svi krenuli u tu odsudnu bitku? Jeste li se spremili za bezbrižno ljeto? Kako ko, reæi æete. Naši maturanti polako završavaju svoje srednjoškolske obaveze. Odlazi još jedna generacija MSŠ Sapna, doæi æe nova koja æe krenuti njihovim stazama. Maturantima dolaze druge životne brige pa smo im pripremili informacije o nekoliko moguæih visokoškolskih ustanova za nastavak školovanja. Nadamo se da æe informacije biti od koristi, ali i da æe se veliki broj naših maturanata odluèiti da nastavi sa obrazovanjem èime æe i rad profesora naše škole biti još svrsishodniji. Ovaj broj je 'narastao' za èetiri stranice. Na tim stranicama æe biti objavljene umanjene verzije panoa svakog odjeljenja maturanata a u uredništvu smo dugo dogovarali šta æemo postaviti sa druge strane. Na kraju smo se odluèili za raspored odigravanja utakmica Europskog prvenstva u Švicarskoj i Austriji koje æe se održati ove godine. Tome je doprinijelo to što kvalitetne fotografije Elvira Lakoviæa Lake nema dostupne na internetu a posteri Toše Proeskog su objavljivani u desetine drugih novinskih izdanja. U ovom broju smo posebno posvetili pažnju dešavanjima u školi i u Sapni a tu su uvijek prisutne rubrike o sportu, filmu, muzici.. -
1 En Petkovic
Scientific paper Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1967 to 20031 UDC 811.163.41’322 DOI 10.18485/infotheca.2019.19.1.1 Ljudmila Petkovi´c ABSTRACT: The paper analyses the pro- [email protected] cess of creation and processing of the Yu- University of Belgrade goslav rock song lyrics corpus from 1967 to Belgrade, Serbia 2003, from the theoretical and practical per- spective. The data have been obtained and XML-annotated using the Python program- ming language and the libraries lyricsmas- ter/yattag. The corpus has been preprocessed and basic statistical data have been gener- ated by the XSL transformation. The diacritic restoration has been carried out in the Slovo Majstor and LeXimir tools (the latter appli- cation has also been used for generating the frequency analysis). The extraction of socio- cultural topics has been performed using the Unitex software, whereas the prevailing top- ics have been visualised with the TreeCloud software. KEYWORDS: corpus linguistics, Yugoslav rock and roll, web scraping, natural language processing, text mining. PAPER SUBMITTED: 15 April 2019 PAPER ACCEPTED: 19 June 2019 1 This paper originates from the author’s Master’s thesis “Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1945 to 2003”, which was defended at the University of Belgrade on March 18, 2019. The thesis was conducted under the supervision of the Prof. Dr Ranka Stankovi´c,who contributed to the topic’s formulation, with the remark that the year of 1945 was replaced by the year of 1967 in this paper. -
White Woman Draft
SKYROS CARNIVAL SKYROS CARNIVAL Photographs by Dick Blau Essay by Agapi Amanatidis and Panayotis Panopoulos Audio CD and Video DVD by Steven Feld VOXLOX 3 DICK I I grew up in the theater, my father a director and my mother an actress. As a result, I devel - oped a lifelong fascination with the dramatic moment, the heightened gesture, the mysterious transfor - mation of self into other. I suppose it was inevitable that my abiding preoccupation with the stage would find its way into my photography. When Steve called one day a few years ago and told me that Panos had told him about Greece’s wildest and noisiest carnival, I put down the phone and began packing my bag and cameras. What I eventually discovered on Skyros was not exactly what I spent the next few months imagining. I had been dreaming of Dionysus, Pan, and the Eleusinian mysteries in a smoky grove, but I found myself instead in a small Greek island town with an Internet café. Normal life continued amidst the wildness. Performers and audience were mixed together. And then there were the cameras. Everyone, it seemed, was either taking pictures or posing for them. This was not simply an ancient ritual; it was a modern media event. In fact, the carnival was old and new at the same time. Skyros carnival is a hybrid form in which the goat dancers, dressed in their rough, rank animal skins and festooned in huge clanking bells, mix easily with other performers who look decidedly of our moment. I would be standing at dusk on the street waiting for the dancers to appear when a kid would float by wearing a cheap monkey mask from the grocery store, and I would instantly find myself swept up with him into the world of myth.