Istoryčnyj syntaksys folʹkloru: problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Ukrainian |
| Veröffentlicht: |
Kyïv
Nova Knyha
2009
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Historical syntax of folklore. - In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache |
| Beschreibung: | 403 S., [8] Bl. Ill., zahlr. Notenbeisp. |
| ISBN: | 9789663822075 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV039751593 | ||
| 003 | DE-604 | ||
| 005 | 20111222 | ||
| 007 | t | ||
| 008 | 111209s2009 agl| |||| 00||| ukr d | ||
| 020 | |a 9789663822075 |9 978-966-382-207-5 | ||
| 035 | |a (OCoLC)772908697 | ||
| 035 | |a (DE-599)BVBBV039751593 | ||
| 040 | |a DE-604 |b ger |e rakwb | ||
| 041 | 0 | |a ukr | |
| 049 | |a DE-12 | ||
| 084 | |a 9,2 |2 ssgn | ||
| 100 | 1 | |a Ivanycʹkyj, Anatolij Ivanovyč |d 1936- |e Verfasser |0 (DE-588)103621539 |4 aut | |
| 245 | 1 | 0 | |a Istoryčnyj syntaksys folʹkloru |b problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky |c Anatolij Ivanycʹkyj |
| 246 | 1 | 3 | |a Historical syntax of folklore |
| 264 | 1 | |a Kyïv |b Nova Knyha |c 2009 | |
| 300 | |a 403 S., [8] Bl. |b Ill., zahlr. Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a PST: Historical syntax of folklore. - In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache | ||
| 650 | 0 | 7 | |a Volksmusik |0 (DE-588)4063854-6 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Volksmusik |0 (DE-588)4063854-6 |D s |
| 689 | 0 | |5 DE-604 | |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 2 |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024599034&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 2 |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024599034&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 940 | 1 | |n oe | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-024599034 | ||
| 942 | 1 | 1 | |c 781.6 |e 22/bsb |g 477 |
Datensatz im Suchindex
| _version_ | 1804148643913007104 |
|---|---|
| adam_text | Зміст
Микола Жулинський. Автор та його книга
...........................................7
Вступ
.........................................................................................................15
ЧАСТИНА ПЕРША, ІСТОРІОГРАФІЧНА
Розділ перший. До джерел музичної форми. Сегментація
Знакові одиниці мови. Термінологія
..............................................
ЗО
Поняття музичного синтаксису. Термінологія
..............................34
Сегментація мелодії і проблема формалізації понять
(XIX -
початок
XX
століть)
............................................................36
Стан поглядів на сегментацію у
XX
столітті
................................39
Сегментація в кібернетичній етномузикологіь
.............................47
Сегментація як фактор мислення
...................................................51
Розділ другий. Синтактика
Метротектонічна теорія
...................................................................58
Теорія масштабно-синтактичних структур
...................................61
Синтаксична проблематика в музичній психології
та музичній естетиці
........................................................................66
Дискусійні спроби виявити в зародженні мистецтва
пріоритет одного виду комунікації
................................................74
Погляди Філарета Колесси на становлення пісенної форми
.......80
Синтаксис в кібернетичній етномузикології
.................................87
Розділ третій. Час у фольклорі
Періодизація та хронологізація
......................................................90
Формаційний критерій датування пісенних форм
........................93
Стильова типізація в ролі хронологічного фактору
.....................96
Позиції Феодосія
Рубцова та
Володимира Гошовського
...........102
Концепція
Климента
Квітки
........................................................: 110
Проблеми та перспективи
.............................................................112
ЧАСТИНА ДРУГА, ТЕОРЕТИЧНА
Розділ четвертий. Мислення
Єдність ментальної діяльності
.....................................................114
Акселерація історичного процесу
................................................115
Опредмечення діяльності мислі. Нижній палеоліт.
....................121
Еволюція мислення, його стадії та різновиди
.............................129
Логічні фігури
................................................................................136
Унаочнення розумових операцій в первісному
образотворчому мистецтві
............................................................145
Розділ п ятий. Мова
Погляди на стосунки мислення й мови
.......................................151
Теорії походження мови
................................................................156
Структурні типи речень
................................................................165
Формування сурядності
................................................................173
Формування підрядності
...............................................................176
Судження. Силогізм
.......................................................................178
Синтагматика
.................................................................................183
Розділ шостий. Музика
Початок музики
..............................................................................191
Біля джерел виразовості й ладу
....................................................196
Мелодико-інтонаційний синкретизм
...........................................200
Модальність і наспів
......................................................................211
Логічні основи музики
..................................................................223
Періодичність
.................................................................................237
Паратаксис
......................................................................................245
Гіпотаксис
.......................................................................................254
ЧАСТИНА ТРЕТЯ, АНАЛІТИЧНА
Нарис перший. Витоки ладового мислення
Великосекундова змінність
...........................................................270
Міжстрофова респонсорність
.......................................................280
Плагальність
...................................................................................284
5
Нарис другий. Генезис двох типів ладкань
......................................288
Ладкання-1
......................................................................................289
Ладкання-2
......................................................................................294
Нарис третій. Типологія купальської пісні Гей, око Лада
.........302
Нарис четвертий. Форма російської протяжної пісні
.....................316
Нарис п ятий. Синтаксис фольклорних текстів
.............................325
Нарис шостий. Поетичний паралелізм з погляду еволюції
мислення та музики
..................................................335
Нарис сьомий. Езотеризм обрядових наспівів
.................................344
Нарис восьмий. Ритмоструктурна типологія:
генетичні підстави
...................................................365
Предметно-тематичний покажчик
........................................................382
Іменний покажчик
..................................................................................388
Резюме
.....................................................................................................393
Summary
..................................................................................................399
Summary
Summary
The work of Anatoliy Ivanitskiy, the Professor and Doctor in Art Criti¬
cism, Historical Syntax of Folklore (problems of the origin, chronology
and decoding of folk music) researches insufficiently studied processes of
music origin and formation of musical form. Besides the genesis of music,
a significant part of researched objectives was decoding and chronology of
information contained in different historical layers of the musical structure.
Selected materials of various historical disciplines have been used in the
research: ethnic musicology, logic, linguistics, history, ethnography, psy¬
chology and archeology. Folklore morphogenesis is considered, as a whole,
a unity of thinking process, language and music. Here lies the difference
of the proposed theory of music origin (and that of art) from the previous
where the thinking process and its logical shapes were not taken into ac¬
count. The attention of the researcher has been focused on the entire time
distance of anthropogenesis and as regards music
—
from the very birth of
musical and speech intonations in upper Paleolithic Age until the formation
of responsive (question and answer) musical period in the later Middle Age
period.
The work consists of three parts.
Part
1. Historiographie.
It contains a critical analysis of views on seg¬
mentation, syntactic and folklore time. The author points to insufficiency
of the generic approach to segmentation (in music, speech and poetry) as
speech articulation
—
the quality of thinking, the basis of logical commu¬
nication. Along with segmentation, the morphogenesis appears (in speech,
music, dance and art). In the musical and folklore work, the segment is pre¬
sented as structural and logical unit (neither the tact nor a word can be such)
and simultaneously elemental (and basic at the same time) syntax formation.
Therefore, syntax of the song includes motifs and phrases, lines of the song
and stanzas (or their musical analogues called periods), their types, inter¬
action and their division according to the main stages of anthropogenesis.
399
Α. Ι.
Іваницький. Історичний синтаксис фольклору
Logical figures and syntax, according to archeologists (V.Danilenko), can be
studied along with archeological sources. These syntax categories can show
periods and chronological stages in time of folk song and date appearance
of components of the musical form.
Part
2.
Theory. Any kind of activity is governed by thinking process and
its functioning is based on the basic logical figures. Main figures are binary
oppositions (mastered
800, 000
years ago by archaic beings), binary com¬
positions, seriation, classifications, cause and effect connections (hypotaxis
and its formal reflection in syllogism). Research of these logical figures
used in speech and music helps build the following chronological range.
During Mesolithic period, a simple sentence appears and its syntax ana¬
logue
—
musical sentence (song
(popěvka
—
a kind of melodic form
—
Schedrik elaborated by N.Leontovich). Speech based on accumulation
of simple sentences forms seriation. In musical form repetition of
popěvka
(sentences) influenced by symmetry creates a stanza, and series of stanzas
create couplets. In Neolithic period, a man learnt parataxis (complex coordi¬
nate sentences). Narrative modality takes place of imperative modality that
dominated during much earlier period forming anti-cadenza and cadenzas.
In music, there appear paratactic tunes (analogues of complex sentences
with accumulation of
popěvka
with anti-cadenza and tunes ending in popev-
kas that in their
tenn
end in completed cadenza. In the end of Neolithic Age,
the elements of hypotaxis were being developed. This process, according to
the historical linguistics, completes in the late Middle Ages.
In European music of
16*
-IV1
centuries there appears homophony, a
functional harmony, musical period, in folklore
—
hypotactic tunes which
are the analog of responsive or the question and answer musical period.
According to the indicated parameters, the analysis of folklore melodies
allows to determine during which historical period one or the other melody
had appeared (it could appear later
—
as in speech we use interjections that
were known in the early Paleolithic Age). It should be emphasized that in
the structure of almost each particular melody, except domineering indica¬
tions of one or the other epoch
(Madien,
Mesolithic, early or late Neolithic
periods, Bronze and Middle Ages, etc), one can discover the elements of
400
Summary
other epochs. In monograph, the range of musical examples had been ana¬
lyzed for that purpose.
Part
3.
Analytical. It contains
8
sketches written as a methodical and
scientific illustration to the previous topic and examples of usage of the
methodology developed when determining and finding solutions to some
particular research objectives.
Sketch
1.
Origins of thinking in modes. Stabilization of feeling the
modes had begun from oligotonika scales: in ambitus of a second, mediant,
(the latter was noticed by
Kliment
Kvitka). In every case the indications of
Ustoi were assigned to a lower tone. In mediant
-
quart, tunes the melody
had been using the free intonation of the speech structure (in Polissya and
Carpathians until now). At the stage of music becoming free from the in¬
fluence of speech a phenomenon of inter-stanza response had appeared. In
such melodies, the final tone of every stanza is not very stable. It seems like
the anti-cadenza that flows into ustoi in the beginning of the next verse.
The next step of forming the mode is connected with
piagai
forms. In such
melodies of 2nd ustoi: mesoic (middle) and final which is perceived by to¬
day s musician as dominant (V degree). In
piagai
Middle Age melodies the
influence of narrative speech modality had been preserved.
Sketch
2.
Genesis of two types of ladkan (wedding song). Two types of
non-censored ladkan and censored ladkan are the typical basis of Ukrainian
wedding. Analysis of the group of presented variants proves that they ap¬
peared due to the magic of customs and keep many of its features.
Sketch
3.
Type of
Kupala song
Hey,
oko Lada .
It is a rare verse where
firstly, the imperative modality and secondly, language vocabulary are sur¬
prisingly preserved. Analysis of
Kupala
songs shows that the verse here was
sung in the form of dialog that used tribe volkhv. Reconstruction completed
makes us believe that with time when Slavic melodies will be fully comput¬
erized, there will be a possibility of recording the texts without melodies.
Sketch
4.
Russian protyazhnaya (long-drawn) song
.
Methodical analy¬
sis of wide-scale syntax structures (L.Mazel) shows uncertainty in the opin¬
ion that melody in the Russian song protyazhnaya dictates the form. As it
seems from the first sight, singing is connected with the text structure where
401
Α. Ι.
Іваницький. Історичний синтаксис фольклору
the forming effect of wide-scale and syntax structures that can be felt intui¬
tively and subconsciously and governed by the logical figures of thinking
are clearly defined.
Sketch
5.
Syntax of folklore texts. The number of the complex sentences
with subordinate clauses in the different genres of ocfolklore was counted
on the empiric level. As a result, the tendency to the step-by-step complica¬
tion of syntax was shown in calendar and more later lyrical songs.
Sketch
6.
Poetic parallelism from the positions of evolution of the think¬
ing process and music.
Tropes and other poetic forms are considered in folklore as mainly ex¬
pressive means. Their origin, however, was not sufficiently highlighted in
folklore studies. As an example of parallelism, the defining role of magical
stage of thinking and logical figures of seriation and classification are being
shown.
Sketch
7.
Esoterism of ritual songs. A critical outlook for genre and type
structure of the folklore is being offered. Ritual folklore is considered as
sacral and non-ritual as profane (non-sacral). The grouping of calendar folk¬
lore with sun phases is explained
—
first of all, two solstices. Confirmation
of official science that using agricultural theme in winter traditions was as a
result of changing the beginning of the year from spring to winter (after the
baptism of
Rus)
proved to be inadequate. Based on esoteric views, winter
solstice is an initiation of the cyclic agricultural year that is not literally ex¬
plained by spring themes but by its magical use. This view also shows us the
reasons of existence of musical and intonation arches and identical melodies
—
for instance, winter songs (Malanka) and
Kupala
songs or wedding and
harvest songs. The typical ladkan accentuate the process of reproduction
(wedding) and harvesting of grain cultures initiated in winter and sowed
during spring.
Sketch
8.
Typology of rhythm and structure: genetic bases. The mod¬
eling of the song rhythm was designed by K.Kvitka, improved and used
in ethno musical investigations by V.Goshovskij. However the matters of
genetic conditionality of typology in rhythm and structure and its logical fig¬
ures haven t been researched yet. Taking into account the activity of psychic
402
Summary
as stimulation and inhibition the principals of rhythmic development and
rhythmic configurations in the song segments of Ukrainian folklore were
analyzed (see note examples
78-88).
There are five of them: two closed
(integration and subdivision with integration) and three open (subdivision,
integration with subdivision and rehearsal).
The types of development are combined with the history of speech
proposition and musical form. After the appearance in final paleolith of syn-
tagmatic thinking the fact of appearance was found out: in language
—
the
conceptions, in tunes
-
motif-phrases. In mesolith the declarative sentence
appears with the norm of predicative closing, summation of spoken mes¬
sage, from the point of view of the intonation, as well as meaning. The
principal of intonation and rhythmic summation and connection is formed
at the same time in speech and music. Thus in musical rhythmics forms
the principal of rhythmic integration. In the beginning of the neolith period
the subdivision with integration appeared. The principals of subdivision and
integration with subdivision appeared much later (in the Middle Ages) ac¬
cording to the laws of mirror symmetry. Rehearsal rhythm is not connected
with speech and musical factors.
Translated by Tatyana Semichaevska
403
|
| any_adam_object | 1 |
| author | Ivanycʹkyj, Anatolij Ivanovyč 1936- |
| author_GND | (DE-588)103621539 |
| author_facet | Ivanycʹkyj, Anatolij Ivanovyč 1936- |
| author_role | aut |
| author_sort | Ivanycʹkyj, Anatolij Ivanovyč 1936- |
| author_variant | a i i ai aii |
| building | Verbundindex |
| bvnumber | BV039751593 |
| ctrlnum | (OCoLC)772908697 (DE-599)BVBBV039751593 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01713nam a2200373 c 4500</leader><controlfield tag="001">BV039751593</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20111222 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">111209s2009 agl| |||| 00||| ukr d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9789663822075</subfield><subfield code="9">978-966-382-207-5</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)772908697</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV039751593</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">ukr</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">9,2</subfield><subfield code="2">ssgn</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Ivanycʹkyj, Anatolij Ivanovyč</subfield><subfield code="d">1936-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)103621539</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Istoryčnyj syntaksys folʹkloru</subfield><subfield code="b">problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky</subfield><subfield code="c">Anatolij Ivanycʹkyj</subfield></datafield><datafield tag="246" ind1="1" ind2="3"><subfield code="a">Historical syntax of folklore</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Kyïv</subfield><subfield code="b">Nova Knyha</subfield><subfield code="c">2009</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">403 S., [8] Bl.</subfield><subfield code="b">Ill., zahlr. Notenbeisp.</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">PST: Historical syntax of folklore. - In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Volksmusik</subfield><subfield code="0">(DE-588)4063854-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Volksmusik</subfield><subfield code="0">(DE-588)4063854-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 2</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024599034&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 2</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024599034&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Abstract</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-024599034</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">781.6</subfield><subfield code="e">22/bsb</subfield><subfield code="g">477</subfield></datafield></record></collection> |
| id | DE-604.BV039751593 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:10:24Z |
| institution | BVB |
| isbn | 9789663822075 |
| language | Ukrainian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024599034 |
| oclc_num | 772908697 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 403 S., [8] Bl. Ill., zahlr. Notenbeisp. |
| publishDate | 2009 |
| publishDateSearch | 2009 |
| publishDateSort | 2009 |
| publisher | Nova Knyha |
| record_format | marc |
| spelling | Ivanycʹkyj, Anatolij Ivanovyč 1936- Verfasser (DE-588)103621539 aut Istoryčnyj syntaksys folʹkloru problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky Anatolij Ivanycʹkyj Historical syntax of folklore Kyïv Nova Knyha 2009 403 S., [8] Bl. Ill., zahlr. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier PST: Historical syntax of folklore. - In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache Volksmusik (DE-588)4063854-6 gnd rswk-swf Volksmusik (DE-588)4063854-6 s DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024599034&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024599034&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Ivanycʹkyj, Anatolij Ivanovyč 1936- Istoryčnyj syntaksys folʹkloru problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky Volksmusik (DE-588)4063854-6 gnd |
| subject_GND | (DE-588)4063854-6 |
| title | Istoryčnyj syntaksys folʹkloru problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky |
| title_alt | Historical syntax of folklore |
| title_auth | Istoryčnyj syntaksys folʹkloru problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky |
| title_exact_search | Istoryčnyj syntaksys folʹkloru problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky |
| title_full | Istoryčnyj syntaksys folʹkloru problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky Anatolij Ivanycʹkyj |
| title_fullStr | Istoryčnyj syntaksys folʹkloru problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky Anatolij Ivanycʹkyj |
| title_full_unstemmed | Istoryčnyj syntaksys folʹkloru problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky Anatolij Ivanycʹkyj |
| title_short | Istoryčnyj syntaksys folʹkloru |
| title_sort | istorycnyj syntaksys folʹkloru problemy pochodzennja chronolohizacii ta dekoduvannja narodnoi muzyky |
| title_sub | problemy pochodžennja, chronolohizaciï ta dekoduvannja narodnoï muzyky |
| topic | Volksmusik (DE-588)4063854-6 gnd |
| topic_facet | Volksmusik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024599034&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024599034&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT ivanycʹkyjanatolijivanovyc istorycnyjsyntaksysfolʹkloruproblemypochodzennjachronolohizaciitadekoduvannjanarodnoimuzyky AT ivanycʹkyjanatolijivanovyc historicalsyntaxoffolklore |