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Metaphors, fad-words and travelling concepts in musicological terminology

Metaphors, fad-words and travelling concepts in musicological terminology

Author(s): Anna G. Piotrowska / Language(s): English Issue: 3/2018

This paper deals with metaphors (fad-words and travelling concepts) as encountered in the field of musicology, highlighting how and when certain concepts and ideas were borrowed and/or appropriated from other disciplines. It is claimed that by creating its unique jargon(abounding with discipline-specific metaphors) musicology has proved the facilitating role of metaphors in the communication between musicologists, music lovers, music critics etc.It is also argued that while transgressing the borders of disciplines, metaphors have helped to establish and ossify typically musicological methodology and tools of analysis.

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Motív smrti v slovenských ľudových uspávankách

Motív smrti v slovenských ľudových uspávankách

Author(s): Terézia KULÍKOVÁ / Language(s): Slovak Issue: 5/2023

Although the primary function of the lullaby is coded in the very word that designates it, its secondary functions are equally important – they have been shown to have an impact on child development and mental health of the performer. The act of singing a lullaby creates a specific communicative situation in which the recipient does not fully understand its lyrics. Usually, the communicative act also only involves the performer and the child and the uniquely intimate moment that emerges creates an opportunity for the expedient to express all their thoughts – even the most unpleasant ones. The psycho-hygienic function comes to the fore and provides the performer with a space for introspection. This dimension is often reflected in the texts of lullabies in negative motifs, such as death. In various allegorical forms, death is present in as many as one in five Slovak folk lullabies. In careful interpretative analysis, it is possible to detect subtle differences in the meaning of motifs that may not originally refer to death. On this basis, death motifs can be divided into primary ones, which always symbolise death (black earth, church, river, covering/throwing, ringing of the bells, calling of a close person from the other world) and secondary ones, which acquire this meaning by updating individual motifs or whole recurring stanzas in the vertical structure of the text.

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Влияние на мутационните изменения на гласа върху музикалната дейност на подрастващите
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Влияние на мутационните изменения на гласа върху музикалната дейност на подрастващите

Author(s): Adina Plătică,Valentina Nevzorova / Language(s): Bulgarian Issue: 5-6/2024

Musical performance is a unique form of artistic expression where music gains its full realization through the act of performance. Unlike painting or sculpture, where the work exists in a completed form, music is represented by a score – a potential awaiting sound embodiment. The performer serves as a crucial mediator between the composer and the listener, transforming musical symbols into a living, emotionally charged piece. This process is not only cognitive and emotional but also involves physical coordination necessary to produce sound, blending auditory and motor elements in a dynamic interaction. Adolescence, a critical period of personal development, presents unique challenges for performers due to ongoing physiological and psychological changes, particularly voice mutation. Engaging in musical activities like singing fosters cognitive, emotional, and physical growth, promoting emotional stability and self-expression. This study explores the psychophysiological aspects of performance, particularly during adolescence, where voice and emotional expressiveness develop harmoniously, enhancing resilience and supporting the young performer‘s overall well-being.

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Емоционалният и комуникационен потенциал на танцово-театралното изкуство в Бързо променящия се свят

Емоционалният и комуникационен потенциал на танцово-театралното изкуство в Бързо променящия се свят

Author(s): Diliana Nikiforova / Language(s): Bulgarian Issue: 1/2018

The article is focused on problems with the preservation of the balance between the rational and emotional existence of the individual, against the backdrop of the dynamic development of modern society and information technologies. The subject is the emotional and communicational potential of dance and theatre art, as the cause of the counterpoint of this problematics

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Зараждане на професионалното балетно изкуство в Италия и Франция

Зараждане на професионалното балетно изкуство в Италия и Франция

Author(s): Elitsa Lukanova / Language(s): Bulgarian Issue: 1/2018

The article will reveal how the folk dances practiced in the 15th and 16th century in Western Europe served as a foundation for the development of ballroom dances. I shall review individually each of the ballroom dances described by the first dance masters and dance theoreticians, which subsequently serve as a basis for the establishment of the rules for the performance of classical dances. The origins of first Ballet Guides. It took centuries for classical ballet to develop – no less than four centuries were needed – from the 15th to the 19th 138 century. In the 17th century Paris became the lawmaker of dancing recognized worldwide due to the fact that the French capital was where the pillars of beauty and exquisiteness were built and solidified with the Dance Academy created by Louis XIV in 1661.

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Началото на танца като форма на културно изра зяване в Америка през ХVІІ, ХVІІІ и първата половина от ХІХ век

Началото на танца като форма на културно изра зяване в Америка през ХVІІ, ХVІІІ и първата половина от ХІХ век

Author(s): Dushanka Ivanova / Language(s): Bulgarian Issue: 1/2018

The art form of dance, which was a centuries-old tradition in European court life, had no breeding ground in the United States. No tradition existed to establish its presence as meaningful in the cultural life of the country. In the 1600s the settlers exerted all their energies merely to sustain life in a rough new land. By the early 1700s 216 colonial cities were growing, and their internal security and prosperity helped to raise people’s expectations of life and their standards of living. When an enthusiasm for theatrical dance did emerge around 1790, it began with performances that included a variety of movements ranging from acrobatics, pantomimes, and imported ballet technique. A number of immigrant French, English, Italian dancing masters arranged the social dancing imparting their knowledge of Minuet, Cotillion, Quadrile, Waltz to more prosperous colonists. During the 19th century in the American ballet there was no continuous development, and no sustained tradition. In America the ballet was entirely left to private initiatives, to enterprising impresarios or theatre owners or to the choreographers and dancers themselves.

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Овладяване на „Finger bounce technique“ при обучението по ударни инструменти

Овладяване на „Finger bounce technique“ при обучението по ударни инструменти

Author(s): Emil Pehlivanov / Language(s): Bulgarian Issue: 1/2018

Finger technique or finger control of the snare drum stick is an important skill for every percussionist to practice. It is a necessary technique to have for playing fast single strokes, playing quietly as well as general playing all around.

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Как слушането на песни влияе върх у езиковата компетентност

Как слушането на песни влияе върх у езиковата компетентност

Author(s): Kalina Decheva / Language(s): Bulgarian Issue: 1/2018

The article explores the connection between listening to music and songs and linguistic competence. It defines two types of listening: intensive and extensive and their usefulness in language learning, Studies have also shown how songs can be incorporated in the English classroom and how they are beneficial even when one listens to them individually for fun or for own satisfaction.

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Обичайно -обредната култура на някои селища в Югозападна България пречупена през призмата на младия изследовател

Обичайно -обредната култура на някои селища в Югозападна България пречупена през призмата на младия изследовател

Author(s): Rumyana Filkova / Language(s): Bulgarian Issue: 1/2018

The article reviews specific themes about the purpose and significance of the Mominski Spring rituals (Girls’ Spring rituals ) – Lazaruvane ( a custom set a week before Easter day) and the Easter in the past and their metamorphosis nowadays. Is it a sorcery –ritualistic ceremony ,aesthetical and spiritual aspiration or a unique perception? Problems posed before the young explorers whereas the article provides their answers.

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Блусът и песенната форма в афро-американската музикална култура в началото на ХХ век

Блусът и песенната форма в афро-американската музикална култура в началото на ХХ век

Author(s): Ivan Garbachev / Language(s): Bulgarian Issue: 1/2017

The text examines the blues and the song form in Afro-American musical culture. Subject of exploration is the correlation between verse and melody, and different types of blues form. The aim is to reveal what is exactly the blues form and the fluence of the poetic text over the rhythmic structure of the melody. In conclusion some inferences are made about the rhythm formation and metro rhythmic build of harmonic and melodic form of blues songs.

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Непознати и рядко изпълнявани творби за клавирно дуо от периода ХVІІІ-ХХ век. Исторически и изпълнителски ракурси

Непознати и рядко изпълнявани творби за клавирно дуо от периода ХVІІІ-ХХ век. Исторически и изпълнителски ракурси

Author(s): Lyudmil Petkov / Language(s): Bulgarian Issue: 1/2015

To present the short biographies of the following composers: Bernardo Pasquini, Johann Christian Bach, Theodor Lack, Johann Nepomuk Hummel and Ignaz Brüll taking all the information from different sources to find the most important moments of their lives. Great attention is given to the circle of people who were helping and contributing to their professional and personal growth. The above characteristics are showing the composers great elements in their work. This analysis is only for Sonata in D minor for two figured basses which has to be formed in a space recommended in this publication.

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Към въпроса за подготовката на етномузиколожко теренно проучване

Към въпроса за подготовката на етномузиколожко теренно проучване

Author(s): Zoya Mikova / Language(s): Bulgarian Issue: 1/2015

The text focuses on the specifics of empirical research, the importance of field work and her commitment to the quality of the scientific production in Ethnomusicology. Emphasis is placed on some mandatory time the preparatory stages fieldwork in Ethnomusicology.

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Изготвяне на сватбеното знаме и кумовото дърво в празничната обредност от Силистренско

Изготвяне на сватбеното знаме и кумовото дърво в празничната обредност от Силистренско

Author(s): Velizar Vasilev / Language(s): Bulgarian Issue: 1/2015

In the publication we have examination of the two most basic and important elements for the start of wedding rituals in the region of Silistra (Bulgaria), namely the preparation of the wedding banner and the best man’s wood. The realization of these items is a festive procedure and as such it is an important part of the ritual. The recorded symbols are part of the entire wedding significance and they clarify the most important issues related to the nature, importance and role of these ritual elements. Several residential settlements in the region are examined, we have a comparison of the preparation methods and where this preparation takes place. Also we have a study and several dance examples which are unalterable part of the ritual; they contribute to the merriment and the festive atmosphere. These are usually related to the melody and have a special part in relation to the ceremony during the realization of the wedding banner and the best man’s wood. In the past people believed that through the power of the dance they will bring imitative magic for good health and fertility for the main participants (the bride and the groom). This can be seen in the studied examples from the region. We can make the conclusion that the customs and rituals related to the dance traditions and wedding requisites brings historic signs related to the traditional wedding culture in Silistra region.

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Odabir građe za digitalizaciju rukopisa iz ostavštine prof. Mladena Pozajića u Biblioteci Muzičke akademije u Sarajevu

Odabir građe za digitalizaciju rukopisa iz ostavštine prof. Mladena Pozajića u Biblioteci Muzičke akademije u Sarajevu

Author(s): Anita Konjicija-Kovač / Language(s): Croatian Issue: 11/2025

Mladen Pozajić (Županja, 1905 – Sarajevo, 1979), dirigent, kompozitor, muzički pedagog, rođen je u Republici Hrvatskoj, ali je više od pola radnog vijeka proveo u Sarajevu, gdje je radio kao korepetitor i dirigent Opere (1947–1963) i Filharmonije, a kasnije kao redovni profesor Muzičke akademije (1956–1972). Bio je i istaknuti zborski dirigent i suradnik Trećeg programa Radio Sarajeva.Kompletna dokumentarna ostavština prof. Pozajića čuva se u njegovoj rodnoj Županji, a građa koju je najvjerojatnije rabio za svoj korepetitorski, dirigentski i profesorski rad “sarajevskog razdoblja” nalazi se u Biblioteci Muzičke akademije u Sarajevu. Uslijed ratnih dešavanja 1990-ih i kasnijeg neadekvatnog korištenja, određeni dio ove ostavštine je uništen, otuđen ili izgubljen na neki drugi način.Ovo značajno zavještanje prof. Pozajića sadrži bogatu zbirku stručne muzičke literature; objavljenih djela prof. Pozajića, bosanskohercegovačkih i svjetskih kompozitora; neobjavljenih radova prof. Pozajića (članci, prijevodi, biografije, predavanja, tekstovi za radioemisije itd.); originalnih rukopisnih skladbi prof. Pozajića, ali i njegove tiskane i rukopisne aranžmane djela bh. i drugih kompozitora te originalne rukopise djela drugih kompozitora. Većinu tiskanih muzikalija s posvetom prof. Pozajiću poklonili su sami autori.Kako bi se rukopisni dio ove zaostavštine sačuvao od propadanja, ali i u budućnosti prezentirao širem krugu korisnika, istraživača, i bio im dostupniji na lakši i suvremeniji način, Biblioteka Muzičke akademije je sredinom 2024. počela s odabirom ove građe za njenu digitalizaciju.U odabiru građe za digitalizaciju vodili smo se potrebama korisnika, vrstom originala, fizičkim stanjem originala, ali smo uzeli u obzir i posebne kriterije rijetkosti i jedinstvenosti, umjetničke i kulturne vrijednosti i važnosti za ustanovu. Na ovaj način, izdvojena je originalna rukopisna građa vezana isključivo za autorska djela prof. Pozajića, njegove aranžmane djela bh. i drugih kompozitora, te originalna rukopisna djela drugih bh. kompozitora. Mladen Pozajić (Županja, 1905 – Sarajevo, 1979), conductor, composer, music pedagogue, was born in the Republic of Croatia, but spent more than half of his working life in Sarajevo, where he worked as an accompanist and conductor of the Opera (1947–1963) and the Philharmonic, and later as a full professor of the Academy of Music (1956–1972). He was also a prominent choir conductor and collaborator of the Third Program of Radio Sarajevo.The complete documentary legacy of Prof. Pozajić is kept in his native city Županja, and the materials that he most likely used for his accompanist, conductor, and professor work of “Sarajevo period” are located in the Library of the Music Academy in Sarajevo. Due to the war events of the 1990s and subsequent inadequate use, a certain part of this inheritance was destroyed, alienated, or lost in some other way.This significant legacy of Prof. Pozajić contains a rich collection of professional music literature; published works of Prof. Pozajić, Bosnian-Herzegovinian and world composers; unpublished works of Prof. Pozajić (articles, translations, biographies, lectures, texts for radio broadcasts, etc.); original handwritten compositions by Prof. Pozajić, but also his printed and handwritten arrangements of works by Bosnian-Herzegovinian and other composers, and original manuscript works of other composers. Most of the printed musicals with the dedication to Prof. Pozajić were gifts by the authors themselves.To preserve the manuscript part of this legacy from decay, present it in the future to a wider circle of users and researchers, and make it more accessible to them in an easier and more modern way, the Library of the Academy of Music began selecting these materials for their digitization in mid-2024.In selecting material for digitization, we were guided by the users’ needs, the type of original, and its physical condition, however, we also considered the special criteria of rarity and uniqueness, artistic and cultural values, and the institution’s importance.In this way are selected the original manuscript material related exclusively to the works of Prof. Pozajić, his arrangements of works by Bosnian-Herzegovinian and other composers, and original manuscript works by other Bosnian-Herzegovinian composers.

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Millise lauliku lapsepõli? Laulu „Kui ma olin väiksekene” allikatest ja autoritest

Millise lauliku lapsepõli? Laulu „Kui ma olin väiksekene” allikatest ja autoritest

Author(s): Taive Särg / Language(s): Estonian Issue: 12/2024

One of the most iconic and seminal musical works of Estonian culture, the song Lauliku lapsepõli (“Childhood of the Songster”), often referred to by its opening words, “Kui ma olin väiksekene” (“When I Was Little”), was composed on the basis of Estonian folk songs in collaboration between Aino Tamm (1864–1945), one of the first professionally trained Estonian singers, and Miina Härma (1864–1941), the first Estonian female composer. The song has been performed in various formats – including choir, solo, and social singing – published in numerous songbooks, and even reintroduced into oral tradition. Drawing on the collections of the Estonian Folklore Archives, earlier publications, and prior research, this article identifies the origins of the folk song lyrics and melodies used in Härma and Tamm’s composition more precisely than previous studies, revealing a blend of folk melodies – specifically, shepherds’ calling tunes – from Tarvastu parish and the lyrics of a folk song from Põlva parish. The choir and solo arrangements (the latter with piano accompaniment) reflect the influence of European modern art music. The study also considers the broader role of imitation and recreation in the intersection of Estonian oral and written traditions within the song’s development. The lyrics and structure of Tamm and Härma’s Lauliku lapsepõli are based on Ado Grenzstein’s song cycle of the same name, written in the traditional regilaul (runosong) style. Grenzstein’s work was first published in his Kooli laulmise raamat (“School Singing Book”, 1878) and subsequently included in several songbooks and reprints. Grenzstein’s version featured a melody adapted from a traditional regilaul tune from Tõstamaa parish and four original melodies in regilaul style, paired with translated and adapted regilaul lyrics. The same text can be found in the Võro language in the first volume of Vana kannel (“Old Harp” or “Old Psaltery”), a collection of songs from Põlva parish, published and edited by Jakob Hurt. In this publication, the lyrics are a part of a longer regilaul titled Mille mull palʹlʹo sõnno suuh? (“Why Do I Have So Many Words in My Mouth?”), compiled by Hurt from two different manuscripts (1854–1875). For Lauliku lapsepõli, Tamm and Härma composed a melody based on shepherds’ calling tunes (karjasehelletused) featuring the refrain “alle-a, alle-la”, which Tamm remembered from her childhood in Tarvastu. Härma arranged these melodies into a solo song with piano accompaniment, likely in 1891, which was first performed in 1892 and published in 1923. She later created a multi-voice choir arrangement, printed in 1895 and first performed in 1896. The melody with the original lyrics and refrain was published in 1934, though the original manuscript has not been found. Two overlapping transcriptions of the melody (without the lyrics) and the lyrics (with Grenzstein’s melody) of Lauliku lapsepõli are preserved in a manuscript of folk melodies by Miina Härma in the Estonian Folklore Archives. This manuscript was compiled in 1895–1896 when Härma was collecting folk melodies for the Finnish Literature Society. However, the arrangement of Lauliku lapsepõli predates Härma’s folk melody manuscript, suggesting that the song was composed before the fieldwork, based on personal communication with Tamm. A textual and melodic analysis demonstrates how, within the sphere of written culture, Lauliku lapsepõli has undergone gradual transformations comparable to those usually seen in oral tradition. The article argues that imitation, recreation, and reimagining were common creative practices during the formative period of Estonian written culture, suggesting that the human urge for recreation is perhaps universal, transcending cultural systems.

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Zagadkowy rękopis muzyczny PL-Pu Rpm7642
i znaleziony w nim spis muzyków jezuickich
z pierwszej połowy XVIII wieku

Zagadkowy rękopis muzyczny PL-Pu Rpm7642 i znaleziony w nim spis muzyków jezuickich z pierwszej połowy XVIII wieku

Author(s): Magdalena Walter-Mazur / Language(s): Polish Issue: 28/2024

Abstract. Aims and objectives: Identifying the content of the manuscript (repertoire,provenance, dating; information value in the context of the history of polish musical cul-ture). List of musicians: trace the origin and identification of musicians. Methods: meth-ods of external and internal criticism of a musical source, historical methods. Results andconclusion: Determination that the manuscript PL-Pu Rpm7642 consists of fragments ofeight other manuscripts, created in at least three different musical centers, and approxi-mate determination of their repertoire. Indication of the reason for such unusual content:connection with the activities of prof. Adolf Chybiński, most likely the previous owner ofthe manuscript. Identification of the list of musicians as coming from the Cracow Jesuitmusic dormitory, dated 1735; in addition to musicians known from other sources, theexamined manuscript brings information about four new musicians and supplements dataabout six previously recorded ones.

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Muzyczne ramy pamięci: nieznany katalog Emila Hillera
z luterańskiej parafii św. Marii Magdaleny we Wrocławiu

Muzyczne ramy pamięci: nieznany katalog Emila Hillera z luterańskiej parafii św. Marii Magdaleny we Wrocławiu

Author(s): Grzegorz Joachimiak / Language(s): Polish Issue: 64/2024

The article examines the previously unknown catalog of musical works compiled by E. Hill-er, the cantor of the Lutheran parish of St. Mary Magdalene in Breslau (Wrocław) at the turnof the 19th and 20th centuries. This source, preserved in the State Archives in Wrocław,provides valuable insights into the musical repertoire of the parish, which included composi-tions by both Protestant and Catholic composers. The catalog documents the collection usedin worship services and concerts, illustrating how repertoire selection shaped the identityof the local community. The concept of collective memory, as developed by M. Halbwachs,is employed to demonstrate music’s role as a tool for constructing and preserving culturaland religious traditions. The study also takes into account the musical holdings of St. Chris-topher’s Church, which was affiliated with the same parish. The analysis of musical sourcesfrom both churches, in the context of E. Bohn’s publications, offers a deeper understandingof the history of musical life in this community, the phenomenon of musical ecumenism inBreslau, and the relationship between liturgical repertoire and parish identity.

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Férfi és női karrierutak erdélyi klasszikus zenészek narratíváiban

Férfi és női karrierutak erdélyi klasszikus zenészek narratíváiban

Author(s): Mónika Imola Kolozsvári / Language(s): Hungarian Issue: 01/2023

Equality in the world of work remains an important issue today, as the differences between men and women still exist in the labor market. It may be legitimate to ask whether these differences are present in the universal and open world of music. In this paper I seek to answer the question of what similarities and differences exist in the professional career paths within the narratives of male and female classical musicians in Transylvania. Gender inequality in the context of Transylvania is an under-researched topic, especially with qualitative methods, as public discourse and science are both more sensitive to the ethnic dimension, as is the case with every national minority. This study aims to explore how classical musicians construct the narrative of their professional career paths and whether gender is a determining factor in all this. To explore the similarities and differences between male and female classical musicians, I conducted semi-structured interviews with musical performers employed in orchestras and opera houses in major cities of Transylvania.

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O roli kultury w procesie percepcji, interpretacji
i werbalizacji dzieła muzycznego

O roli kultury w procesie percepcji, interpretacji i werbalizacji dzieła muzycznego

Author(s): Małgorzata Rusak-Mietlińska / Language(s): Polish Issue: 1/2024

The text aims to review research directions and introduce the issues of per-ception, interpretation, and verbalization of a musical work in the context of the culturalbackground of both the composer and the listener-interpreter. The first part of the articlehighlights the cultural determinants of music reception from a sociological, psychological,and musicological perspective. A dual approach to the analysis of musical material, thecomposition process, and the interpretation of a musical work is distinguished, dependingon whether culture is perceived as a subjective or universal cognitive category of an indi-vidual. The same differentiation is introduced in the final part of the text, where, based onthe assumptions of cultural linguistics, elements of the linguistic worldview of music aredescribed, divided into linguistic universalisms and subjectivisms. The final part of the textalso outlines the current state of research on the verbalization of musical works, emphasiz-ing the need for confrontational studies as crucial to uncovering the influence of culture intranslating the language of music into natural language. The conducted review of researchtrends leads to the conclusion that the interpretation of a musical work is both a culturallyuniversal and individual phenomenon. A similar phenomenon can be observed in the lin-guistic analysis of the verbalization of musical work interpretation – linguistic universalismpertains to the perception and description of the constant elements of a musical work and isoften institutionalized in the form of terminology. Subjective elements of the language ofperception and interpretation of a musical work are related to the socio-cultural situation ofthe individual as well as their emotional and axiological approach.

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OH-MY-GOD, HOW IS THIS? OR WHAT MAKES A SONG POPULAR?

OH-MY-GOD, HOW IS THIS? OR WHAT MAKES A SONG POPULAR?

Author(s): Erika Kulcsár,Henrietta Sándor / Language(s): English Issue: 1/2025

The role of music in the history of mankind is indisputable, not only as a means of communication, but also as an added value that cannot be reproduced, because music, by its very nature, defines the present moment in an addictive way, depending on the events experienced. The diversity of musical styles and their chameleonic nature is also a major factor in the fragmentation of the consumption of musical products. However, in the music industry, there has recently been a growing trend towards intergenerational collaborations in order to reach a larger segment. One only has to think of the remix of Elton John and Dua Lipa’s song Cold heart, which has achieved outstanding results worldwide . The present study is based on the ValMar ft. Szikora Robi’s song Úristen [Oh-My-God], in order to identify the criteria that determine the opinion of the target segment and consequently their expectations of a given song.

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