Igre plesnih struktura: tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Veröffentlicht: |
Beograd
Fak. Muzičke Umetnosti, Katedra za Etnomuzikologiju
2011
|
| Schriftenreihe: | Etnomuzikološke studije
Disertacije ; 2,2011 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Interweaving dance structures. - Zsfassung in engl. Sprache |
| Beschreibung: | 546 S. Ill., Kt., Notenbeisp. |
| ISBN: | 9788688619004 |
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| 245 | 1 | 0 | |a Igre plesnih struktura |b tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja |c Selena Rakočević |
| 264 | 1 | |a Beograd |b Fak. Muzičke Umetnosti, Katedra za Etnomuzikologiju |c 2011 | |
| 300 | |a 546 S. |b Ill., Kt., Notenbeisp. | ||
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| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Etnomuzikološke studije : Disertacije |v 2,2011 | |
| 500 | |a PST: Interweaving dance structures. - Zsfassung in engl. Sprache | ||
| 502 | |a Zugl.: Belgrad, Univ., Fak. Muzičke Umetnosti, Diss., 2011 | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | SAD RŽ
AJ
Predgovor
................................................................................................................. 7
Uvod
.......................................................................................................................... 11
I.
(Rekonstrukcija tradicionalnih
igračko/muzičkih žanrova i podžanrova
......................................................... 19
II.
Metodološki okviri:
1.
Osnovni principi etnokoreološke analize
....................................... 33
2.
Osnovni principi etnomuzikološke analize
.................................... 41
3.
Geštaltističke interpretacije modela
............................................... 48
4.
Koncept intonacionih modela
.......................................................... 49
5.
Interpretacije modela u etnokoreologiji
i koncept kineritmičko-prostornih modela
.................................. 51
6.
Uporedna analiza igračkih i muzičkih parametara
....................... 55
7.
Kontekstualizovanje igračko/muzičkih struktura
....................... 60
III. Strukturalno-formalna analiza igre
1.
Autohtona banatska, varoško-esnafska i srbijanska kola
............. 67
2.
Po dvoje i igre u trojkama
................................................................... 127
IV.
Strukturalno-formalna analiza muzike za igru
1.
Opšte karakteristike izvođenja
......................................................... 157
2.
Ritam
..................................................................................................... 163
3.
Tonske strukture
................................................................................. 164
4.
Izražajna sredstva u interpretaciji
(ornamenti, dinamika i artikulacija)
................................................ 177
5.
Metroritmički obrasci
......................................................................... 178
6.
Tempo i agogika
.................................................................................... 194
7.
Melodijsko oblikovanje i intonacioni modeli
................................ 195
8.
Osobenosti formalnog oblikovanja
................................:............... 210
V.
Preplitanje struktura: igra i muzika za igru u svedu uzajamnih uticaja
1.
Opšti nivo komparativnog
sagledavanja igre i muzike za igru
..................................................... 229
2.
Obrasci koraka/meloritmički obrasci
............................................ 233
3.
Kineritmičko-prostorni i intonacioni modeli
................................ 246
4.
Uporedna analiza formalnih osobenosti
igre i muzike za igru
........................................................................... 253
Završna razmatranja
............................................................................................... 267
Summary
.................................................................................................................. 281
Bibliografija
.............................................................................................................. 295
Primeri
1.
Kinetogrami
.......................................................................................... 327
2.
Notni primeri
........................................................................................ 473
Registar
primera
1.
Kinetogrami
.......................................................................................... 619
2.
Notni primeri
........................................................................................ 621
INTERWEAVING DANCE STRUCTURES
Traditional dance and dance music of the
Banat
Serbs
in the light of their mutual relationships
SUMMARY
Introduction
Banat
is the multiethnic area that extends across northern Serbian (part
of
Vojvodina),
southern Hungarian and eastern Romanian territory. It is the
geographical and historical region of the Central Europe and the
Pannonian
Plain
bordered by the rivers
Muriş
to the north, the
Tisza
to the west, the Danube to the
south and the Carpathian Mountains to the east
(Popović
1955: 7).
The history
of this region is marked by many migrations which caused constant and fluent
demographic changes especially during 18th century and afterwards. Currently,
Banat
is populated by Romanians, Hungarians, Serbs, Slovaks, Roma and other
smaller ethnic groups such as Chechs, Karashovans and Bulgarians. In the Serbian
part of
Banat
the most numerous are the Serbs, who are the minority in the
Hungarian and Romanian parts of this region.
The dance practice of the Serbs from all over the
Banat
can be surveyed
throughout the entire 20th century. Beside the ethnographic details pertaining
to certain dance events, one can find data about the dance repertoire, as well as
descriptions of particular dance structures and the ways of their performance in
several ethnochoreological writings about the dance practice of the Serbs from
this region
(Janković
1949;
Crum
1974, 1976, 1993;
Ilijm
1971, 1978;
Putnik
1991;
Felföldi
2003).
In addition, there are many video recordings of traditional
village dancing made since the early
1980
s. The video clips have been recorded
by Dimitrije
Golemović
and
Olivera Vasić
during the
1980s
and within the field
research of the Northern
Banat
(Serbian and Romanian) as part of the summer
Ethno Camps for ethnomusicology students from Belgrade,
Novi Sad
and
Banja
Luka,
which have been organized by the Academic Society for Music Cherishing
Gusle
from Kikinda since
2002.
281
INTERWEAVING DANCE STRUCTURES
Beside the engagement as the field research leader of the students Ethno
Camps my personal fieldwork on the dance and musical practice of the Serbs
from
Banat
started in
1994.
It can be characterized as a never ending long-term
type of research consisting of many trips to the Serbian villages throughout Serbian
part of
Banat.
The beginning of my professional interest for the dance and musical
practice of the Serbs from this region was rooted in the mainstream of the nationally
orientated discourse of the Serbian ethnochoreology and ethnomusicology
This scholarly approach has been based on the paradigmatic triad field research-
transcription-analysis of the local rural dance and music of the majority culture,
guided by research workers who were native insiders, as myself
(Golemović
&
Rakočević
2008: 88-89).
Within the basis of this long-term commitment to
one region, the region where I grew up, the need for understanding processes of
shaping dance and musical culture to which I partly identify myself too, is hiding.
Nevertheless, during my research I became aware of the urgent need for cross-
cultural and cross-national investigation of this part of Europe, which will be the
main interest of my future work.
(Reconstructing the traditional dance genres
With the aim of a systematically-based assessment of the traditional dance
practice of this region, which encompasses its choreological as well as semantic
traits, the (re) construction of
Banat
dance genres during twentieth century implies
an emic-etic conceptualization of two basic dance genres: the
kolo
and couple
dances.
Even though the initial criterion for such a classification of
Banat
dances
was the structure of their dance pattern, or to be more precise their formation, the
phenomena of the
kolo
and couple dances are much more than that for the Serbian
people of
Banat.
They are the identifiers of various dance cultures, during which
the function of dancing in
a kolo
is directed toward restoring local and national
cultural idioms, while the aim ofcouple dances is to express the desire of belonging
to the cultural space of Central Europe.
The conceptualization of
kolo
and couple dances as basic genres in
Banat
dance practice of the twentieth century enables us to perceive them as separate
dance systems. The interpretation of dance genres as distinct systems also implies
the possibility of their segmentation into certain subsystems, that is,
subgenres.
282
SUMMARY
which can then be examined as independent phenomena of traditional dance
practice.
Autochthonal forms of the
Banat kolo
dances are distinguished by a group
dance of closely linked dancers in a closed circle formation, with clearly defined
roles of male-female genders during the dance.1 Included in this
subgenre
are first
and foremost the dances
veliko kolo, malo kolo, banatsko kolo, paorsko kolo and
others.
The
subgenre
of the so-called town-craft dances (varosko-esnafski
plesovi)
was
established at the beginning of the twentieth century, and to a large extent in the
period between the two world wars (Ilijin
1978: 203).
Its basic choreological trait
is performing in a semi-circle formation. In spite the fact that the whole repertoire
of the city dances has been formed on the much wider territory, according to this
systematization the town-craft dances
subgenre
includes only dances which originate
from
Banat: trgovačko kolo, majstorsko kolo,
Vidino kolo, bečkerečko
kolo
and others.
Dances from both of those
subgenres
have been linked with the
Banat.
Crucial differences between them are that autochthonous
kolo
dances originate from
village environment and it is very difficult to determine how old they are. On the
other hand, town-craft dances originated not before the end of the 19th century
exdusively in the city environment of this region.
The performing of the so-called
kolos
from
Šumadija
in the period between
the world wars dominates
Banat
dance practice. According to the
Janković
sisters,
these were the following dances:
Srbijanka, kukunješće, durđevka, rukavice s prstima
and
biber
(Janković
1949:124),
and according to field research,
Žikino kolo
should
also be included. Following World War II, the trend of performing
kolos
from
Šumadija
increased significantly, but there were most often the dances
užiČko kolo
or moravac. Beside those dances, the
subgenre
oí
kolos
from
Šumadija
includes the
dances which do not have particular titles in the traditional practice, and which
according to the classification of the
Janković
sisters belong to the type
lako kolo
(Ibidem
1949:47-49).
This dance type appeared in the
Banat
dance practice after
World War II. Considering the fact that it is accompanied by the hits of the so-called
novokomponovana
muzika
(newly composed music), it has not been registraded
in the ethnochoreological research of this area yet. The
subgenre
of
kolos
from
Šumadija
is primarily distinguished by performing in a semi-cirde formation with
a prominent role of the
kolo
leader.
1
Men performed
m
an active manner, having the possibility to improvise to a large extent, while women.·
performed in a reduced manner, usins small steps and continuous bouncing.
283
INTERWEAVING DANCE STRUCTURES
The genre couple dances can diachronically be classified into two
subgenres.
Although sometimes imprecise, this classification is also detected in interpretations
of the people of
Banat
themselves, especially those from the areas of northern
Banat,
who most often relate older couple dances with the expression
po dvoje
(in
two) and denote couple dances of the second half of the twentieth century with
the term
okretne igre
(turning dances). The in two
subgenre
includes the dances:
madame,
ficko,
sirotica,
lidana
and others. The turning dances
subgenre
includes
the following: the waltz, tango, step, foxtro and rumba. Even though both of the
mentioned
subgenres
are distinguished by performing in the same formation
with freely arranged couples, their choreological specificities are to a large extent
different, which will be the subject of future ethnochoreological analyses.
Along with
kolo
and couple dances, also found in
Banat
were dances in
triplets (a man and two women). This formation is exclusively linked to the dances
logovac and
Kato, mi, Kato.
The triplet formation is not conceptualized as a separate
dance genre.
The concept of the genre as distinct system, which is, according to the
interpretations of the Russian ethnomusicologist Izaly Zemtsovsky the vivid,
evolutionary organism
(Земцовский
1971: 26),
opens the possibilities for
restituting of the metaphor of the biography of the genre. The understanding of
the biography ,
i.e.
history of dance genres of the
Banat
Serbs, which the performers
were aware of, as well as naming them, facilitates insight of the flow of changes
in the cultural history of this region. Only the historical discourse or, let s use the
formulation of the
Tihomir Brajović
historical poetics of the genres
(Brajović
1995: 21-25),
in this case dance genres, makes possible the deep understanding
of the esthetical and
comunicative
needs of the particular culture (Ibidem:
25).
Understanding of the historical perspective of certain dance phenomena should
be attempted after
etic
denning of the existing (emic) concepts about dance. In
other words, theoretical (reconstruction of dance phenomena of the
Banat
Serbs
enables the better understanding of their dance culture.
Methodological frames
Structural and formal analysis of dance texts has been developed in
ethnochoreology over the last fifty years mostly among European scholars. This
method of structural/formal dance analysis, which is based on the ideas of
György
SUMMARY
Martin and
Ernó Pesovár,
was inaugurated by the Study Group on Ethnochoreology
of the International Council for Traditional Music (ICTM) and further developed
by several researches:
Anca
Giurchescu,
Sunni
Bioland, Lisbet Torp, Andriy
Nahachewsky
and others (Kaeppler and Dunin
2007).
lhe
basic analytical tool
within that method is Labanotation.
Because of the fact that this method is directed only at the movement
structures and forms, I have slightly modifed it in the direction of developing
comparative analysis of dance and dance music and applied it to Labanotation and
musical transcriptions of traditional dances and dance music of the
Banat
Serbs
(Rakočević
and
Ranisavljević
2007,
Rakočević
2009).
My basic intention was not
to make an universal system of analysis, but to understand what exactly is going
on during the performance of complex traditional dance and dance music I was
observing. I was also interested in understanding and defining general structural
and formal charactersitices of the traditional practice of the
Banat
Serbs on the
level of the dance genres and
subgenres,
which faciliate their analysis within
the historical perspective. Further on, one of my main interests was focused on
the understanding of the mutual relations betwen dance and music during the
performance itself. That is the reason why I conceptualized the traditional dance
genres holistically, as a coherent and syncretic unity of movement and sound,
i.e.
dance and dance music structures.
The analysis of the dance and music structures is applied to the dance and
musictranscriptions-Labanotationsandmusicalnotationswhichhavebeenmostly
made from the video and audio recordings (approx.
90%
of analyzed material).
Some of the examples have been made according to the written descriptions of
the dances done by the
Janković
sisters and Duck Crum and some of the examples
have been taken from other published sources (for example
Bartók
and Lord
1978:
451-471
or
Felföldi
2003: 110-120).
ΑΠ
notations which have been made from
video and audio recordings are made in total, meaning that the whole performance
or at least the bigger part of it is written and analysed. Because of the limited scope
of this book the Labanotation and musical transcriptions are cut, but the extended
notations could be consulted in the original text
(Rakočević
2009).
The analytical procedure included two main shrifts:
1.
Analysis of particular
dances (for example
veliko kolo
or
madame) on
the level of movements, music,
movements and music analysis and,
2.
Generalization of the paradigmatic features
of particular
subgenres
and genres.
28S
INTERWEAVING DANCE STRUCTURES
By developing a system for the comparative analysis of dance and dance
music structures and forms, I tried to overcome
essencial
differences in the
immediate physical manifestations of the two basicly different phenomena
of human expressive behaviour
-
dance and music. Structural units of dance
and music have been ordered in the way which enabled making analogies
between them. Those analogies are not and cannot be absolute. The aim of each
structural method is to enable the understanding of different systems and their
representation as homologous, parallel units whose order can be changeable
(Eko
1973: 56).
It has basically operational character, and its aim is focused
toward finding conclusions on the general level of observation.
According to my comparative method of analysis, movements and music
within one particular dance can be observed on several, hierarchically and
comparably established levels. On the highest level of investigation, they are
treated as systems of the complex parameters utilizing a synthesis of the universal
components: kinetics-space-time/sound-space-time.
DANCE:
KINETICS
-
SPACE
-
TIME
MUSIC:
SOUND
-
SPACE
-
TIME
Kinetics:
-
movements of different parts of the
body (step patterns, arm patterns,
knee patterns, hip patterns etc.)
Sound:
-vocal
-
instrumental
-
vocal-instrumental performance
Space:
-
location of the dancers
-
formation of the dancers
(kolo,
couple dance, triplets etc)
-
connections
-
pathways
Space:
-
location of the musicians
-
formation of the musicians
(solo, enssembles etc)
-
way of interpretation
(single part or multi-part
interpretation)
Time:
-rhythm
-
meter
Time:
-rhythm
-
meter
286
SUMMARY
The next level of comparative analysis is the level of comparing the
movement and melorhythmical patterns. In the case of the traditional dance
practice of the
Banat
Serbs, the dance process is made mostly by limited number
of weight transferences i.e. supports, and free leg movements i.e. gestures
(Knust
1997: 33).
That is why the movement pattern consists mostly of leg
movements.
The interior structures of leg movement and melorhythmical patterns
are treated in the holistic way as the triads: (leg) movement
-
space
-
time
/
music-space- time.
MOVEMENT PATTERN:
LEG MOVEMENT
-
SPACE
-
TIME
MELORHYTHMICAL PATTERN:
MELODY
-
SPACE
-
TIME
Supports:
-
basic position of the dancer
-
type and length of the supports,
gestures
-
articulation
-
dynamics
Melody:
-
register, fingering
-
tones series, ornaments
-
articulation
-
dynamics
Space:
-
direction of movements
Space:
-
melodic counter
Time:
-
rhythmical patterns
-
tempo
-
agogics
Time:
-
rhythmical patterns
-
tempo
-
agogics
The morphology of the musical and dance patterns as a third level of
investigation is determined through the analysis of comparative units of dance
and dance music: element, cell, motive, phrase, part and
totus
(macro form of
the dance/dance music).
The results of the separate dance and dance music analysis (third and
fourth chapters) revealed many interesting conclusions about structural and
formal characteristics of the individual dance and dance music pieces, but
also a lot of paradigmatic conclusions about characteristics of the particular
dance
subgenres
and genres. This time I shall not write about all that/but will
287
INTERWEAVING DANCE STRUCTURES
concentrate on explaining the main results of the comparative dance and dance
music approach (fifth chapter).
Interweaving structures:
dance and dance music
ín
the light of their mutual relations
The general level of comparative observation of dance and dance music
includes comparative presentation of the basic characteristics of movement
and sound. The primary focus of traditional dancing of the
Banat
Serbs is the
footwork: the patterned movements of the legs performed through transfers of
body weight in space (supports), free leg movements (gestures), but also bending
and straightening of the knees can be used. Although the vocal-instrumental
interpretations is registered as an possible feature of dance music of the town-
crafi dances and
kolos
from
Šumadija,
as well as most of the dances
po dvoje
and
those performed in triplets, the dominant way of performing dance music of the
Serbs in
Banat,
in all periods of the twentieth century, was manifested through
instrumental performance. In the broadest (and abstract) comparative perception
of movements and sound of this dance practice, instrumental music expression,
therefore, represents a sort of analogue of the leg movements (footwork), which,
on the other hand, functions as the pillars of kinetic processing.
Ways of structuring dance formations and pathways were basically
conditioned by a particular dance genre and, further on,
subgenre.
Formations
of the players primarily depended on the used instruments. While bagpipes,
tambura samica,
violin and
frula
were used as solo instruments, tamburitza
ensembles included several musicians. All solo instruments were positioned in
the center of the dance formation, wherein the physical space of the dance and
dance music performance matched. In contrast to players of solo instruments;
especially bagpipers, accordionists and players in tamburitza ensembles were
always positioned next to the dance formation, and inevitably were separated
from the dancers physically.
Direct analogy in the ways of structuring the temporal systems of dances
and dance music is easy to establish on the general level of their perception:
all the traditional dances of
Banat
(except dance
Žikino kolo)
are based on
a distributive two-beat meter. Regardless of the (sub)genre specification of
individual dances, as well as their diachronic positioning through the cultural
288
SUMMARY
history of the
Banat
in the twentieth century, it is important to emphasize that
the general way of structuring the temporal systems of dance and dance music
were always congruent, and that the basic rhythmic pulsation of movement
and sound in traditional dance practice in this region were always identical.
Temporal systems of dance and dance music functioned as two poles of unifying
structural parameter which, therefore, could be defined as the sine qua
non
of
this dance practice. Although particular rhythmical shaping of the movements
and sound could be
different,
the same rhythmical pulsation functioned as their
common denominator, basic and unifying structural parameter, without which
their simultaneous processing was not possible.
Hierarchically speaking, rhythmical pulsation represents the basis
which enables branching of the distinct structural systems of dances and
dance music. Although it can be determined as a manifestation of structural
shaping of European dances, and more specifically, the Southeast European
traditional dance practice (Giurchescu and
Torp
1995:148),
László Felföldi
and
ethnomusicologist Todor Djidjev interpret temporal-metric-rhythmic factors
(Felföldi
1995: 190)
as structural manifestation of more universal relation
between dance and dance music
(Felföldi
1995:190;
Djidjev
2005: 136).
The next level of observation means the comparative analysis of leg
movement patterns and melorythmical patterns. Diversity of the footwork, as
analysis has shown, was basically determined by
subgenre:
while in autochthonous
kolos
from
Banat,
dances in two and those which were performed in triplets, side
steps and steps in place 2 prevailed and therefore an unusual number and variety
of leg gestures, in town-craft dances and
kolos
from
Sumaâija
more diverse types of
supports could be used ( forward and backward steps , hops, crossing steps ,
turning steps etc.), but the leg gestures are performed rarely and in a much
simpler way.
Even though they are physically incomparable with footwork, tonal
structures of dance music, like the leg movements, were determined by the
subgenre.
The typical tone series of the autochthonous
kolos
from
Banat
znà in
two
Considering the fact that different types of supports are not appointed by the performers themselves
(special names for certain supports do not exist in the folk terminology), I used terms of the
Janković
sisters
(Janković
1937: 8-9, 1939: 10-12),
and terminological solutions of
Olivera Vasić,
which have
been established within the ethnochoreological courses at the Faculty of Music in
Beograd
since
1990.
289
INTERWEAVING DANCE STRUCTURES
dance music could be characterized as a chromatic scale. Contrary to it, the tone
series of the town-craft dances, and partly of the
kolos
from
Šumadija,
is a major
scale. Those two major scales could be different depending on characteristics of
the used instruments or depending on the time of the twentieth century when a
certain dance melody was recorded: considering the fact thatbegpipes vanished
from traditional practice, dance music which was recorded in the last few decades
of the twentieth century was almost exclusively performed in the major key.
A substantial part of the analysis was dedicated to the comparison of the
rhythmical patterns of dance and dance music as separate but also mutually
dependent systems (third, fourth and fifth chapters). This time I will mention
just the most general conclusions. Comparative analysis of the length and the
interior organization of the basic rhythmical units of dance and dance music
showed that they often do not match. The ways of rhythmical processing of
leg movements and melodies have been shaped in accordance with their own,
mutually unconditioned laws of internal organization.
According to comparative analysis of the particular dance
subgenres,
general conclusions are: rhythmical organization of leg movements in
autochthonous
kolos
from
Banat
could be very heterogenous with appearance of
polyrhythmy and consecutive syncopation
( utapanje ),
while in the music of
this
subgenre,
no matter what the used instruments, isochronic series of eight
notes prevailed. The same conclusion (except the polyrhythmy) could be drawn
for the dances in two and those which were performed in triplets. Contrary to
them, rhythmical patterns of town-craft dances and
kolos
from
Šumadija
are not
so diverse. However, it could be generally said that rhythmical organization of
footwork and music in those two
subgenres
was also
non-
congruent.
The interior special organization of the movements both in leg movements
and melorhythmical patterns is incomparable directly, because dance and music
are, by their nature, different modes of human expression. However, beside the
verbal descriptions, I used a graphical mode in the visualization of the melodic
and step lines within the basic melodic and leg movement patterns (see more
in
Rakočević
2007: 164-182;
Rakočević
2009).
The graphical mode was also
useful in presenting them in a comparable way. Unfortunately, this time I cannot
present it in English because of the limited scope of this summary
The forms of the dance and dance music are independent at a first glimpse-
Contrary to the multi-part form of the music, the basic formal characteristic of
290
SUMMARY
all of the dance
subgenres
(with the exception of town-craft dances
subgenre)
are the monothematic or, in a town-craft dances, bithematic forms. As analysis
revealed, their mutual congruency or non-congruency is depended on the
subgenres:
while the lenghts of the formal units (motives, phrases and parts)
both of dance and dance music of the autochthonous
kolos
from
Banat
and dances
in two are asymetrical as a rule, the formal units of town-craft dances and
kolos
from
Šumadija
are always congruent, organized both in the music and in the
dance as a symmetrical constructions. Those paradigmatic rules in the ways
of formal non-congruency or congruency between dance and dance music of
each
subgenre
could be explained only through their historical position. While
autochthonous
kolos
from
Banat,
dances in two and those which were performed
in triplets could be traced back in the traditional dance practice of this region
up to the late nighteenth century and were linked with the peasants culture
primarily, town-craft dances and
kolos
from
Šumadija
appeared in the dance
practice of the
Banat
Serbs during the two world wars as parts of city culture.
Not only the structural and formal characteristics of each dance
subgenres, but
also the mutual relationships between dance and dance music are historically
dependent and therefore can be one of the clues for a better understanding of
diachronical changes in a particular dance culture.
***
At the end, I would like to repeat that I did not intend to make a universal
system of comparative dance and dance music analysis, but to create one which
would help me in better appreciation the whole process of performances of
traditional material which I was observing. I am aware that this kind of analysis
has contextual and anthropological limitations However, after more then five
years of intense work on this text and of applying this system of comparative
dance and dance music analysis on the South European material together with
the students of the Faculty of Music in
Beograd
where I teach ethnochoreology,
it could be said that it helps in better understanding the relations between dance
and dance music processing. If some of these proposed solutions helped someone
else somewhere, it would make my work more meaningful.
291
|
| any_adam_object | 1 |
| author | Rakočević, Selena 1971- |
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| author_facet | Rakočević, Selena 1971- |
| author_role | aut |
| author_sort | Rakočević, Selena 1971- |
| author_variant | s r sr |
| building | Verbundindex |
| bvnumber | BV040101683 |
| ctrlnum | (OCoLC)796203339 (DE-599)BVBBV040101683 |
| format | Thesis Book |
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| geographic_facet | Banat |
| id | DE-604.BV040101683 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:16:54Z |
| institution | BVB |
| isbn | 9788688619004 |
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| series | Etnomuzikološke studije |
| series2 | Etnomuzikološke studije : Disertacije |
| spelling | Rakočević, Selena 1971- Verfasser (DE-588)1042356807 aut Igre plesnih struktura tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja Selena Rakočević Beograd Fak. Muzičke Umetnosti, Katedra za Etnomuzikologiju 2011 546 S. Ill., Kt., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Etnomuzikološke studije : Disertacije 2,2011 PST: Interweaving dance structures. - Zsfassung in engl. Sprache Zugl.: Belgrad, Univ., Fak. Muzičke Umetnosti, Diss., 2011 Tanzmusik (DE-588)4140677-1 gnd rswk-swf Volkstanz (DE-588)4063869-8 gnd rswk-swf Serben (DE-588)4054596-9 gnd rswk-swf Banat (DE-588)4004408-7 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Banat (DE-588)4004408-7 g Serben (DE-588)4054596-9 s Volkstanz (DE-588)4063869-8 s Tanzmusik (DE-588)4140677-1 s DE-604 Etnomuzikološke studije Disertacije ; 2,2011 (DE-604)BV039137307 2,2011 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024958213&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024958213&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Rakočević, Selena 1971- Igre plesnih struktura tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja Etnomuzikološke studije Tanzmusik (DE-588)4140677-1 gnd Volkstanz (DE-588)4063869-8 gnd Serben (DE-588)4054596-9 gnd |
| subject_GND | (DE-588)4140677-1 (DE-588)4063869-8 (DE-588)4054596-9 (DE-588)4004408-7 (DE-588)4113937-9 |
| title | Igre plesnih struktura tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja |
| title_auth | Igre plesnih struktura tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja |
| title_exact_search | Igre plesnih struktura tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja |
| title_full | Igre plesnih struktura tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja Selena Rakočević |
| title_fullStr | Igre plesnih struktura tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja Selena Rakočević |
| title_full_unstemmed | Igre plesnih struktura tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja Selena Rakočević |
| title_short | Igre plesnih struktura |
| title_sort | igre plesnih struktura tradicionalna igra i muzika za igru srba u banatu u svetlu uzajamnih uticaja |
| title_sub | tradicionalna igra i muzika za igru Srba u Banatu u svetlu uzajamnih uticaja |
| topic | Tanzmusik (DE-588)4140677-1 gnd Volkstanz (DE-588)4063869-8 gnd Serben (DE-588)4054596-9 gnd |
| topic_facet | Tanzmusik Volkstanz Serben Banat Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024958213&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=024958213&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV039137307 |
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