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muzyka tradycyjna w kontekstach wspotczesnosci 30-31.03.2017 ‘akademia muzyezna w krakowie ter ("hod stole rg Urn The Peep or pating openness ingroup (lnm dln) Copal structure ~ Te Hous of Dae in arn. Mote ted hee opera new pats which were cornu, en the arm of werkshops “rang on Own a Te Sap Sowhen you get to heaven the rel know what odo wth yo (Augustine of tgp, 3 coeur AD) Stoning ~The the cet te for the proces ef seprton at Ss the cong oe for quran of pats mason ‘AS resto pening the seme fas othe boom ad he hie Substance remains atthe too Ine, he pening dare worshapot Jace sas sea the sane bate. Wife — epaceole enon inthe prac of dance leader prot drRytis Ambrazevigiue ‘Styles and techniques of Lithuanian traditional singing. fee out Luin nl a, tony ie to lets, vadton, aed ether cul elements Auk fst ema (west Oak utes snd Suva southwest Mus ales aporoumatey covespond ta hace etinaerphie dvison Inedusng soo performance, monophony (eterophon eohon, {ndhomephony rand wore characteris of vatiow hua singing -adepiee wisnegoogonaw tech eta 0, owe, cst, ‘he be wien co Toba pace (ausunyes Horo) worse ie otedkowg do sybigo osadania se castecek erosworn Ways procsi wrowania oad opacs no, r= Pavone sutton wae go tego somo cel prowadie ja wars feu wiomych acta las 2a ~ Osobarenstapiona worker wos. prot dr Rytis Ambrazevitius Style! technikitradycyinego épiewu litewskiego. Foie te, 28 Uva le newline, wl babi ia ‘sary loune ron stopratcine Rainy te Yona sg dem, {tesa ore iy element ukurouyn: Akay (wr, Yamaisja. eh) Drie (pociony wechds) ort Saas (eoudriowy sab) Oiety musyene Ww proewaaac) mir dpowidoy pedo etogatarym. Zadyidualtowane onan Selene, moratoria (heterafana, goon rar harofona bl 153 ‘aca haar rh Mews Sakehow murach Dna es adyynle wonawana 2 rein modslomy ees cho 2 slompliowane wjonaie slow Indra mienra Ina meen mote pose rine waranty, Mae u fatdego weonawey URS owe semen. Munysadsy try, t Ono jet myn egarem, fl amy taro rznorednose tbe, oper presen” bow dialects Duohie is wadonsy consid a te exemplary region of inte slo performance, On exe rly can ve many vis ‘hat aque new meancrng elements om one singe a ne toe nest Musiolopss 97 that tee wie erty of medes ony extn ‘aula: ation to the "snp major and minor ype mages, hese ‘cle the soealeg Aart Greek modes Howeves, rece teste studies showed that usualy such modes ae mere misiereretaions oF more afta, “oosehyanr™ quasequistmt sees. Gute 9 we Dales of vrs tecniae found in tuk, yet cera warts, Somewhat terse voc commen nts elon only runclton sea. ‘vowlsatenotmuchcoeredandiarcats quite dic Performances by themest ecamplshesingersinZematis cou probaly be garde 1 even mre elaborate than thot in Oki, Geeta the eth IMemorecomolated,ustrucare, ad uneven, chee peck of Jaman x et tennant carrer fe tongs in ceoventins! ruil notation. Another prton of Eman Songs are hytmcaly Spl ana perfnmed inten se Compared to Dwi, voles ate charactetisily deeper, i. emunctian rot that lar This olds for aula and Sioa os wel Monaghan Uveterophony im ensemble perfomance wadtoraly atte anos ‘chsiey to Drubja and Suh. The esiental carcerstis of fmenbie monophory ae of couse, the ane 3 thas of oo sgn ‘wih the exception of fs space for improvsaton, smecthes hm rusts and somewtit mated or Bled deal, cuding wontons {nd embelshmers. Nowados,hanoptony isthe preva sv Seren Uthuaian regions, Ua, one sige perms the adhe Part white the resto 2 ou 268 the lowe “background ar, thereby making ofthis forts, o ths withthe een art. acoaing tothefurcoralharmony Sth "hgh and iow mae singing conn, Tiemann tot inthe re of mos aia an emt) eee, ale ingr 368 ter inter of third ou, AR. ote eleventh ‘weith) blow the lading fae voc, Te homeprone met Shar n rita fetes th major ier spd ring e mes. nthe ‘ther raion 3 mete mode Ie common. 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Tipe, wo wie pvormsimataneouthy casi caquences of hod hat nthe featuring second, ace mosy~ of cue om ne Wewpoint of Western mus theory ~ cana ‘Sven Ahlback “Your notes are false, man’ — an introduction to tonality in Swedish Folk musi. Swedish ok muse vadton 2 eh bong traton that compres both Insuumetalanavoca muse tetany dominnedby st pereemance ImeansPlshdace Theron ofsapecie norton prt inSwesh Fotkmusc ws recogni by the et ok msc alesis ale ithe 2 18th eur si here have Been nasser scot fe practice wnt gute recent Rater ol muse calectors haven gee tad protiems now relat to itanation an only tht es from ‘Wester mor mieortonaty athe pba ofthe age coleton fa tings Flr by Hating that he was ploig “out of tne rmustwas tte ei nat genera change ae the fierce ofthe eat Showing the wanserins tat muse etherin major or minor made, ave hd strong inuene on resent oy performance pati thi lec wl reser resus of ecetsterata sty of orton Sd tosly In vss and istrurensl er Sweaeh fase, whieh ‘eval concen of oat nd ination pater that have rove 0 be succes in the presen ew devloment of fk muse i Sedo, Iti demonstrated, how concepts deed rom studs of perormance pace, an be ued n desopren of potent gerformance practice Inlerring teaching srangement and composton bated on waar Sie llbedscssehom eonept bot mise actlyeluencesthe bande sonansone ‘Sven Ahiback Czlowieku. ty fatszujesz” — wprowadzenie {do tonalnosel w szwedzkiej muzyce ludowe}. 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