Cookies help us deliver our services. By using our services, you agree to our use of cookies. Learn more.
  • Log In
  • Register
CEEOL Logo
Advanced Search
  • Home
  • SUBJECT AREAS
  • PUBLISHERS
  • JOURNALS
  • eBooks
  • GREY LITERATURE
  • CEEOL-DIGITS
  • INDIVIDUAL ACCOUNT
  • Help
  • Contact
  • for LIBRARIANS
  • for PUBLISHERS

Content Type

Subjects

Languages

Legend

  • Journal
  • Article
  • Book
  • Chapter
  • Open Access
  • Fine Arts / Performing Arts
  • Music

We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.

Result 13921-13940 of 17326
  • Prev
  • 1
  • 2
  • 3
  • ...
  • 696
  • 697
  • 698
  • ...
  • 865
  • 866
  • 867
  • Next
ESKİ MISIR KRALLIK DÖNEMLERİNDE SANAT VE MÜZİK KÜLTÜRÜ ÜZERİNE KISA BİR İNCELEME

ESKİ MISIR KRALLIK DÖNEMLERİNDE SANAT VE MÜZİK KÜLTÜRÜ ÜZERİNE KISA BİR İNCELEME

Author(s): Ganire Hüseynova / Language(s): Turkish Issue: 5/2019

The eastern lands, where the first civilizations arose, are considered the cradle of world civilization. One of the centers of these civilizations, which made a significant contribution to the formation of world culture, is the Mediterranean region. The natural wealth and social conditions of this geography provided a suitable basis for the emergence of the first civilizations. One of the greatest inherited from the past is undoubtedly the ancient Egyptian civilization. Egyptian civilization differed from neighboring cultures with its original and innovative structure. In the light of many historical documents, the influence of the rich Egyptian culture on the surrounding states is noticeable. Together its antiquity, it also attracts attention with periods of the kingdoms and continuity in time. Musical acts that occupy an important place in the life of Egyptian society, and ritual dances are vivid evidence of the existence of the effect of the old faith that existed since prehistoric times. As in other ancient Eastern civilizations, the close connection of music with poetry and dance is considered to be the main feature of Egyptian culture. Here also is the origins of the ancient Egyptian drama. With the help of the research, it was possible to recognize the musical instruments of those times, and also as a result of a detailed study of the instruments, to obtain information about the features and character of the music of that time. Over time, along with developments in the field of art and music, culture takes on a slightly different character. In this paper, in the context of the first civilizations, studies were conducted on the art and musical culture of the ancient Egyptian kingdoms, defining their goals and functions. The purpose of this course is to give general information about the arts, musical genres and instruments belonging to the kingdom period, and to explain the use of dance and music in Egyptian civilization, their role in religious and everyday life.

More...
Jazz jako model twórczości literackiej. „Jazzowa teoria literatury” Julio Cortázara (Gra w klasy)

Jazz jako model twórczości literackiej. „Jazzowa teoria literatury” Julio Cortázara (Gra w klasy)

Author(s): Małgorzata Kafel / Language(s): Polish Issue: 29/2018

The article is an attempt at analysing the role of the references to jazz music in the Argentinian writer’s most famous novel, which chapters 10–18 provide an interesting example of the use of this kind of music as a means of a whole range of extraliterary meanings. In the article Hopscotch is treated both as a Cortázar’s artistic manifesto and as an example of a work which fulfils its assumptions in the most complete manner. Musical elements such as improvisation and swing shape the novel in its various aspects, from narration to structure, reflecting a surrealism-inspired need to create literature that transcends traditional ontological frameworks.

More...
Et tua res agitur... – I ciebie rzecz dotyczy. Marcina Błażewicza studium ludzkiej wolności

Et tua res agitur... – I ciebie rzecz dotyczy. Marcina Błażewicza studium ludzkiej wolności

Author(s): Leszek Lorent / Language(s): Polish Issue: 3/2018

Among many others contemporary composers, who uses percussion in their music, Marcin Blazewicz (professor of the Fryderyk Chopin Academy of Music in Warsaw) seems to be an extraoridinary. His compositions are inspired by the philosophy of Far East. They might be named as a persucussional works about being... Et tua res agitur is dedicated to the person of the priest Jerzy Popieluszko, who was murdered by communist regime. Is a musical story/tale about responsibility and suff ering. The article shows not only the roots of the composition but also a practical approach od the performance and interpretation of Marcin Blazewicz composition.

More...
Opis tradycji muzyczno-liturgicznych klasztoru jako próba ocalenia własnego świata w obliczu nieuchronnych przemian

Opis tradycji muzyczno-liturgicznych klasztoru jako próba ocalenia własnego świata w obliczu nieuchronnych przemian

Author(s): Magdalena Walter-Mazur / Language(s): Polish Issue: 52/2018

The subject of the article is the customary of the Benedictine nuns of Lviv, i.e. a text of a memorative and normative character concerning the organization of time in the monastery and, in particular, the manner of celebrating the liturgy and paraliturgical rites on all days of the liturgical year. It contains recommendations on the type of musical setting of particular services on a given day, depending on its liturgical rank, and often shows the original details of the tradition of celebrating a given feast in the Benedictine monastery in Lviv.

More...
INSTRUMENTY I KSIĘGI MUZYCZNE W DOKUMENTACH KANONIKÓW REGULARNYCH LATERAŃSKICH (1781-1861)

INSTRUMENTY I KSIĘGI MUZYCZNE W DOKUMENTACH KANONIKÓW REGULARNYCH LATERAŃSKICH (1781-1861)

Author(s): Czesław Grajewski / Language(s): Polish Issue: 1/2019

The author of the article has analyzed protocols (files) of the general chapters as well as protocols from visitations to monasteries of the Canons Regular of the Lateran (CRL) in the Kraków Province between 1781 and 1861. The protocols are currently in the archives of the Pauline Fathers in Częstochowa (ms. 253 and ms. 254), where they were placed after the dissolution of monasteries ordered by the Russian authorities following the January Uprising. This article centers on topics related to music which are present in the documents mentioned above. The author identified the following four topics: A) music books serving in the liturgy, B) music instruments, especially organs and bells. Several dozen notes in both manuscripts demonstrate concern of the Canons Regular for the quality of music in their monasteries.

More...
Muzyczne katedry Charlesa Tournemire’a – Deux Fresques Symphoniques Sacrées pour orgue, op. 75 i 76

Muzyczne katedry Charlesa Tournemire’a – Deux Fresques Symphoniques Sacrées pour orgue, op. 75 i 76

Author(s): Bogusław Raba / Language(s): Polish Issue: 53/2019

Dedication of the musical work to the temple has become a peculiar tradition of the French organ music of the turn of the 19th and 20th centuries. For Charles Tournemire, like many artists of that time, this inspiration resulted from the sense of communing with the unusual phenomenon in Western culture. Religious renewal, the emergence of mystical and esoteric trends, and the symbolist idea of the correspondence of the arts stimulated multidimensional interests of artists in the Gothic cathedral. The article examines the relation of artistic correspondence between the works of Tournemire and cathedrals, which he chose as the object of dedication.

More...
DZIAŁALNOŚĆ MULIERUM SCHOLA GREGORIANA CLAMAVERUNT IUSTI O CHARAKTERZE MIĘDZYNARODOWYM W LATACH 2007-2017

DZIAŁALNOŚĆ MULIERUM SCHOLA GREGORIANA CLAMAVERUNT IUSTI O CHARAKTERZE MIĘDZYNARODOWYM W LATACH 2007-2017

Author(s): Michał Sławecki / Language(s): Polish Issue: 3/2018

Mulierum Schola Gregoriana Clamaverunt Iusti is a group with a 10-year history of promoting sacred music – the oldest monodic tradition of the Western Church. In addition to compositions from the Gregorian repertoire, the group chooses also prepolifonic works, including later compositions inspired by Gregorian chant. The proposed interpretation is based on the oldest available liturgical and music sources with a paleographic notation, in the spirit of semiological discoveries initiated by Dom Cardine. The concerts are an attempt at reviving and preserving the music accompanying the liturgy until the times of the Second Vatican Council.

More...
Skirting the issue: finding queer and geopolitical belonging at the Eurovision Song Contest

Skirting the issue: finding queer and geopolitical belonging at the Eurovision Song Contest

Author(s): Jessica Carniel / Language(s): English Issue: 1/2015

This article examines how the ideological boundaries of East and West are built, maintained and challenged through the Performance of sexual and other political in the Eurovision Song Contest (ESC). It argues that the contest is a useful prism through which to examine and understand contemporary European debates about sexual Politics, and the role that this Plays in defining the borders of modern Europe and its conditions of belonging. The contest itself offers an important site for belonging to the European community both to states on the eastern margins and to queer communities throughout Europe. It examines examples of performances that have challenged sexual Politics, such as the Finnish entry from 2013, as well as state Responses to the queer dimensions of the contest, such as those from Russia and Azerbaijan. It concludes that different states may challenge the ESC rules on political gestures depending on their own Status within the European community as well as the extent to which that gesture challenges or reaffirms "European" ideology.

More...
Queer to be kind: Exploring Western media discourses about the “Eastern bloc” during the 2007 and 2014 Eurovision Song Contests

Queer to be kind: Exploring Western media discourses about the “Eastern bloc” during the 2007 and 2014 Eurovision Song Contests

Author(s): Alexej Ulbricht,Indraneel Sircar,Koen Slootmaeckers / Language(s): English Issue: 1/2015

This article examines the voting results and Western European media coverage of the 2007 and 2014 Eurovision Song Contests. The Austrian drag act Conchita Wurst (the alter ego of an openly gay man) won in 2014,whilst Serbian entrant Marija Šerifović, portrayed in Western European media as lesbian at the time, won in 2007. We first explore the extent to which there was an East-West voting divide in both contests. In 2014,while there was some elite hostility against Conchita in Eastern Europe,the popular support was on a similar level to that in Western Europe. In2007, we find no significant geographic divide in support for Šerifović.However, when we examine mainstream UK and German media coverage during and after both contests, we find strong anti-Eastern European discourses that are at odds with the similarity in the public voting. We employ the concept of homonationalism to interrogate inconsistent Western media discourses: the East was depicted as a site of homophobia and the West as a site of tolerance in 2014, whilst the queer aesthetic /identity of Šerifović was largely overlooked in 2007.

More...

Muzika u svetlu "lošeg raspoloženja" (Mesto muzike u Kantovom sistemu umetnosti)

Author(s): Milan Uzelac / Language(s): Serbian Issue: 1/2004

U svom poznatom pregledu savremene estetike italijanski estetičar Gvido Morpurgo-Taljabue piše da se Kanl, „govoreći о razlikovanju i uporedivanju različitih umetnosti kakoje to činjeno u osarnnaestom veku (§ 51 -54) našao u najčudnovatijoj neprilici prcd pitanjem muzike, tako da nije znao da li đaje smatraprvom ili poslednjom od umetnosti. Konačno se odlučio za drugo rešenje i stavio je u isti red sašalama i društvcnim igrama. Taj zaključak je prilično paradoksalan i svedoči о njcgovom izves-nom lošem raspoloženju u pogledu muzike: svc porodice u Kenigsbergu bavile su se, naime, muzikom, ili bar pevali psalme, i timc su svakako lcmetile Kantove meditacije, i on nije skrivao taj povod zlopamćenja (§ 53).L‘ Pa ipak, kaže ovaj autor, „njegov zaključak proizlazi i iz argumentacija kojc pokaziiju proročku i genijalnu pronicljivost za to doba. Sa istog gledišta prišao je i Hanslik". О čemu sc ovdc zapravo radi? Kantu se, s jedne strane. prigovara na neodlučnosti i istovre-meno navodi jedan posve trivijalan povod te„neodlučnosli“ čijc posledice, po mesto muzike u sis-temu uinetnosti, nisu uopšle Irivijalnc: s druge strane, Kanlu sc pripisuje „proročka i genijalna pronidjivost za to doba” i pritom kao autorilct navodi Eduard Hanslik. Kako ovo razumeti?

More...
АДОРНОВА РАНА ТЕОРИЈА ДРУШТВА И МУЗИКЕ (1928-1934)

АДОРНОВА РАНА ТЕОРИЈА ДРУШТВА И МУЗИКЕ (1928-1934)

Author(s): Dragana Jeremić Molnar,Aleksandar Molnar / Language(s): Serbian Issue: 3/2011

The purpose of the authors in the article is to contextualize Adorno’s early theory of society and music in his experience of Weimar Republic and Third Reich. The importance of the revolution in his first outline of sociology of music is especially stressed. At he beginning this period, it was the revolution of the workers class that he was trying to reconcile with the dodecaphonic revolution in music (which he believed he had already witnessed in Wienna while studying with Alban Berg). But, his attitude changed towards the end of Weimar Republic and at the beginning of Third Reich (Adorno left Germany in April 1934) and he separated the paths of two revolutions, arguing that the revolution of the workers class could be pursued by the means of “vulgar bourgeois” choral music (with new lyrics).

More...
Istraživanje utjecaja glazbe na kratkoročnu memoriju

Istraživanje utjecaja glazbe na kratkoročnu memoriju

Author(s): Marko Jakovljević,Lidija Vladić Mandarić / Language(s): Croatian Issue: 26/2018

Music is close to all human cultures. Numerous researches result in positive effects of music as a mental stimulus that helps in achieving better results. The aim of this paper is to research the effect of music on short-term memory and on the verbal learning with the students of the institutions of higher education through a digital test (Digit Span Test) and the Rey Auditory Verbal Learning Test (RAVLT), and to provide an insight into the changes of the activity and alertness of examinees once all the set tasks have been accomplished.

More...
MuzTz. O čemu uopšte pričamo?

MuzTz. O čemu uopšte pričamo?

Author(s): Amir Čorhodžić Šeki / Language(s): Bosnian Issue: 2/2018

Vrlo je smjelo nazvati scenom ono što se u Tuzli dešava po pitanju proizvodnje i slušanja muzike. U stvari, slobodno mogu reći da takvo nešto i ne postoji. I bolje je bilo leći i praviti se mrtav, nego se prihvatiti opisivanja i mapiranja tog mitološkog pojma. Tuzla je sama po sebi budžak – vječito mali grad, i samo se u par navrata desilo da su dešavanja u muzici i pop kulturi nadišla karakter provincijalnosti i bila generator zajedničkih energija šireg kruga ljudi. Ako krenemo redom, od kraja šezdesetih i početka sedamdesetih godina i pojave prvih pop-rock bendova pa na ovamo, priča glasi ovako. Počelo je normalno, kao i svuda u okruženju – Radio Luxemburg, skidanje tuđih pjesama i sviranje na igrankama. Mjesta za svirke je bilo malo (više nego danas) ali sljedbenika je bilo sve više i novi bendovi su se množili. [...]

More...
Fragmenti kemijske sreće
5.90 €
Preview

Fragmenti kemijske sreće

Author(s): Ida Ugar / Language(s): Croatian Issue: 1/2019

Tome ljetu 2000. nisam mogla dočekati kraj. Čekao me toliko iščekivani Zagreb, dovoljno velik i dalek od trule provincije tek izašle iz devedesetih. Miris sam joj osjećala gotovo kao smrad, dobro znanu tufinu od čijeg me zadaha lovio smrtni strah. Voljela sam to ljeto jednog stalno nakemijanog, sitnog i krhkog dečka. Baš poput neke varalice koristila sam blagodati njegovog čestog ekstaziranja i odgađala svoje do mitskog Zagreba iako nisam ni sama pretjerano razumjela zašto. Ljeto je izmaklo svome kraju i ostavila sam ga iako me zbog toga boljela svaka sitna i pojedina koščica. [...]

More...
Tko to tamo pleše
5.90 €
Preview

Tko to tamo pleše

Author(s): Tena Šarčević / Language(s): Croatian Issue: 1/2019

Elektronička glazba u Hrvatsku je došla na prijelazu u novo tisućljeće. Mase su se oduševile do tada nezamislivim zvukom, partijanere je bilo nemoguće izbrojati, a, kad bi se odvrtila posljednja ploča, tisuće bi ljudi okupirale grad u potrazi za prijevozom doma ili, vjerojatnije, afterom, čineći pokret fizički vidljivim, opipljivim i nezanemarivim i izvan klubova. Jedna od najživopisnijih priča iz toga doba je ona o legendarnom Under City Raveu, održanom u tunelu Grič, prvim gigantskom partiju u Zagrebu. Stvar, organizirana gerilski, izmaknula je kontroli, pa je ljudi bilo toliko da se u tunelu od vlage činilo da pada kiša. [...]

More...
Vargondirbystė Lietuvoje XIX amžiuje

Vargondirbystė Lietuvoje XIX amžiuje

Author(s): Rimantas Gučas / Language(s): Lithuanian Issue: 3/2019

For Lithuania, the 19th century was marked by the symbol of the Russian Empire – Lithuania became a province of a foreign empire. Farming suffered a severe general downturn. As the Church’s powers began to be restricted, there was almost no opportunity for new significant instruments to emerge. The monasteries, which until then had been the initiators of the best organ building, were closed. Eastern Catholic (Unitarian) churches, which also had organs in Lithuania, became part of the Russian Orthodox Church, and the organs were ordered to be liquidated. The Catholic Church itself, unlike evangelicals, also had little regard for music and especially for organ matters. From the beginning of the 15th century, the development of Lithuanian organ culture was closely associated with Königsberg. Once the import customs were imposed, significant contacts which had taken place almost disappeared. The industrial revolution in Lithuania was delayed, and for half a century small artisan workshops still prevailed. Almost exclusively small, single-manual organs without pedals or positives were built. A large three-manual organ at Vilnius University St John’s Church was rather an exception. It was built by the Tiedemanns. This family, which originated in East Prussia, worked in the Baltic States throughout the first half of the 19th century. Only in the middle of the century did the new European organ building trend, the so-called organ romanticism, reach Lithuania. A particularly important role in this period was played by the experience of organ building of the neighbouring Curonia. Very few impressive examples were created, and in this respect Lithuania is hardly able to compete with the major countries of Central Europe. Lithuania is characterized by the fact that in the 19th century local masters and companies (J. Rudavičius, M. Masalskis, F. Ostromensky), as well as masters from neighbouring Curonia (Herrmann, Weissenborn) and Poland (Blomberg) worked there. In western Lithuania, then part of Prussia, Terletzki was active. Meanwhile, large factories (Walcker, Rieger) reached Lithuania only in the first half of the twentieth century and only in a few instances. At that time, more work started to be focusing on the construction of two-manual with pedal instruments. At the end of the century, J. Rudavicius built some three-manual organs. His 63-stop organ built in 1896 for a long time was the largest in Lithuania. Although the 19th century Lithuanian organs are relatively modest compared to other countries, they have the value that is only growing in the context of present-day Europe, since the “progressive ideology” of more economically powerful European countries affected the art of organ building and few small romantic instruments are left.

More...
Užsienio šalių kompozitorių Requiem rankraščiai Vilniaus 
bibliotekų fonduose: XIX–XX a. pradžios šaltinių apžvalga

Užsienio šalių kompozitorių Requiem rankraščiai Vilniaus bibliotekų fonduose: XIX–XX a. pradžios šaltinių apžvalga

Author(s): Laima Budzinauskienė / Language(s): Lithuanian Issue: 3/2019

Among numerous genres of sacred music (such as chorales, hymns, motets, masses, etc.), Requiem, or otherwise Missa pro defunctis, Missa defunctorum (Mass for the Deceased) stands out. It is the Mass for the Deceased, corresponding to the Roman Catholic Missal, that is celebrated mainly during the funeral. Over time, Requiem has become a vocal-instrumental genre, a composition associated with the theme of death and mourning. In the 19th century, two principal forms of the genre of Requiem co-existed: a proud, concert-type form, heavily influenced by secular music, and a more modest, reserved, and more “traditional” liturgical one. The latter was smaller in scope, written for a more modest composition of performers in a simpler music language and of a non-dramatic character. The development of the liturgical Requiem over the period in question was largely affected by the Cecilian Movement, active also in Lithuania. True, it is also possible to discuss an intermediate link between the concert and the liturgical types of Requiem – a concert-type vocal-instrumental Requiem, which could also be performed in liturgy.The paper focuses on the manuscripts of the Requiem compositions re-written in the 19th century that were once performed in churches of Vilnius and other cities of Lithuania and currently are stored in in the Rare Books and Manuscripts Reading Room of the Martynas Mažvydas National Library of Lithuania and in the Manuscript Department of the Vilnius University Library. These are copies of the Requiem compositions by the following authors: Gioacchino Albertini (1748–1812), Josef Becher (1821–1888), Luigi Cherubini (1760–1842), Max Filke (1855–1911), Joseph Gruber (1855–1933), Lambert Kraus (1728–1790), Antonio Rosetti (1750–1792), and Johann Baptist Schiedermayr (1779–1840).

More...
MUZIKA I LOKALNI IDENTITET FESTIVAL KULTURE MLADIH SRBIJE KAO IDENTITETSKO OBELEЋJE KNJAЋEVCA

MUZIKA I LOKALNI IDENTITET FESTIVAL KULTURE MLADIH SRBIJE KAO IDENTITETSKO OBELEЋJE KNJAЋEVCA

Author(s): Marija Ristivojević / Language(s): Serbian Issue: 3/2014

The anthropological consideration of music as a cultural phenomenon entails the analysis of meanings which are produced in synergy with a certain cultural context in which music is created and practiced. This understanding of music led to numerous analyses which have shown to which extent this phenomenon influences the formation of identity – be it individual, group, local or global. This paper represents an analysis of the influence of music on creating local identity, using the example of The Festival of youth culture in Knjaževac. The aim of the research is to show what an event like this means to the local population, to what extent is the music played at the festival a means of identification as well as how it influences the formation of notions about the city.

More...
MUZIKA KAO NEMATERIJALNO KULTURNO NASLEĐE

MUZIKA KAO NEMATERIJALNO KULTURNO NASLEĐE

Author(s): Marija Ristivojević / Language(s): Serbian Issue: 3/2014

Intensive cultural contacts and the increased mobility of people on a global level over the last few decades have influenced the formation and dispersion of the idea that globalization unfavorably and necessarily influences the survival of local cultural identities. This initiatives for the conservation of intangible cultural heritage can be viewed in the context of emphasizing the importance of recognizing and preserving differences in all spheres of culture. As music is one of the means of communication and identification among both individuals and communities on different levels, it is my intent to – within the framework of anthropological theory – view the aspects based on which music can be recognized as a kind of intangible cultural heritage.

More...
SEVDALINKA I ZAGREB DO KRAJA 1950-IH: POKUŠAJ REKONSTRUKCIJE

SEVDALINKA I ZAGREB DO KRAJA 1950-IH: POKUŠAJ REKONSTRUKCIJE

Author(s): Klara Zečević Bogojević,Matea De Bona,Iva Božić,Matija Jerković,Petra Ćaleta,Hana Zdunić,Naila Ceribašić / Language(s): Croatian Issue: 1/2019

This article documents the presence of sevdalinka songs in Zagreb, and to a degree in the wider Croatian public, until the end of the 1950s. Although sevdalinka is a musical genre characteristic of Bosnia and Herzegovina, it was interwoven into the Croatian cultural imaginary, starting from the middle of the 19th century (or, according to some interpretations, as early as the 16th century). Up to the first decade of the 20th century, the most important sources include popular textual songbooks (by Zagreb bookseller Lavoslav Župan; this songbook was actually a reissue of the Vuk Stefanović Karadžić’s songbook, as well as songbooks by Gjuro Deželić and August Kaznačić), Franjo Kuhač’s folksong collection and collections of musical arrangements by two Croatian musicians working in Sarajevo (Šandor Bosiljevac and Bogomir Kačerovsky), and data from periodicals related to the reception of sevdalinka. Further on, the article analyses the inclusion and contextualization of sevdalinka in the collections by Salih Odobašić, Hamid Dizdar, and Branimir Sakač, which may be taken as paradigmatic of new features of the image of sevdalinka in the period between the two world wars, during the Independent State of Croatia, and in the early years of the socialist Yugoslavia. The next part of the article is dedicated to the presence of sevdalinka in the programs of the Zagreb Radio Station, and in particular to Hamdija Samardžić, who was one of the leading singers of sevdalinka in Zagreb from the late 1930s to the mid-1950s. The most detailed part of the article pertains to the production of sevdalinka by the record industry, beginning with the earliest recordings made in Zagreb for the Gramophone Company 1907–1909 and the sales catalogues of Zagreb’s music store owned by Mavro Drucker, through sevdalinka produced by the Zagreb-based companies Edison Bell Penkala and Elektroton, to sevdalinka produced by the succeeding Zagreb-based company Jugoton from 1947 until the end of 1950, when 78 rpm shellac records were abandoned, and other relevant Yugoslav record companies had appeared. The last part of the article focuses on the example of the sevdalinka “Kradem ti se u večeri” (At night I steal upon you) and examines the complex historical trajectory of this song from the authorial composition of Petar Konjović to a well-known sevdalinka, as well as features of its selected musical interpretations from the 1920s to the present.

More...
Result 13921-13940 of 17326
  • Prev
  • 1
  • 2
  • 3
  • ...
  • 696
  • 697
  • 698
  • ...
  • 865
  • 866
  • 867
  • Next

About

CEEOL is a leading provider of academic eJournals, eBooks and Grey Literature documents in Humanities and Social Sciences from and about Central, East and Southeast Europe. In the rapidly changing digital sphere CEEOL is a reliable source of adjusting expertise trusted by scholars, researchers, publishers, and librarians. CEEOL offers various services to subscribing institutions and their patrons to make access to its content as easy as possible. CEEOL supports publishers to reach new audiences and disseminate the scientific achievements to a broad readership worldwide. Un-affiliated scholars have the possibility to access the repository by creating their personal user account.

Contact Us

Central and Eastern European Online Library GmbH
Basaltstrasse 9
60487 Frankfurt am Main
Germany
Amtsgericht Frankfurt am Main HRB 102056
VAT number: DE300273105
Phone: +49 (0)69-20026820
Email: info@ceeol.com

Connect with CEEOL

  • Join our Facebook page
  • Follow us on Twitter
CEEOL Logo Footer
2025 © CEEOL. ALL Rights Reserved. Privacy Policy | Terms & Conditions of use | Accessibility
ver2.0.428
Toggle Accessibility Mode

Login CEEOL

{{forgottenPasswordMessage.Message}}

Enter your Username (Email) below.

Institutional Login