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Karanfil Se Na Put Sprema - Various - S Pesmom I Igrom Kroz Jugoslaviju 9


Label: PGP RTB - LP 1829 • Series: S Pesmom I Igrom Kroz Jugoslaviju - 9 • Format: Vinyl LP, Compilation • Country: Yugoslavia • Genre: Brass & Military, Folk, World, & Country • Style: Brass Band, Folk
Download Karanfil Se Na Put Sprema - Various - S Pesmom I Igrom Kroz Jugoslaviju 9

Sevdalinka is an integral part of the Bosniak culture, [1] [2] [3] [4] [5] but is also spread across the ex- Yugoslavia region, including CroatiaMontenegroNorth Macedonia and Serbia. The actual composers of many Sevdalinka songs are largely unknown because these are traditional folk songs. In a musical sense, Sevdalinka is characterized by a slow or moderate tempo and intense, emotional melodies. Sevdalinka songs are very elaborate, emotionally charged and are traditionally sung with passion and fervor.

Migrate - Mariah Carey - E=MC² combination of Oriental, European and Sephardic elements make this type of music stand out among other types of folk music from the Balkans. Just like a majority of Balkan folk music, Sevdalinka features very somber, minor -sounding modesbut unlike other types of Balkan folklore music Karanfil Se Na Put Sprema - Various - S Pesmom I Igrom Kroz Jugoslaviju 9 more intensely features minor second intervals, thus hinting at Oriental makams and the Phrygian mode.

As a Rambling Round - The Greenbriar Boys - Big Apple Bluegrass, the melodies are noted for leaving a strong melancholic feeling with the listener. The singer will often impose the rhythm and tempo of the song, both of which can vary throughout the song.

Traditionally, Sevdalinka-s are women's songs, most addressing the Last Autumns Dream - II of love and longing, unfulfilled and unfortunate love, some touch on a woman's physical desire for her loved one, and some have various comic elements.

There are Sevdah songs written and sung by men Karanfil Se Na Put Sprema - Various - S Pesmom I Igrom Kroz Jugoslaviju 9 well. Traditionally, they were performed without any instrument, hence their elaborate melody. As with most old folk styles, it is pure assumption what the sound of original melodies were like, as in modern days their interpretations are fully aligned to the Western chromatic system due to instruments used for accompaniment whereas Oriental modes often use intervals smaller than a semitone.

In modern interpretations, between the versesan accordion or violin solo can almost always be heard. The word itself comes from the Turkish sevda which, in turn, derives from the Arabic word sawda meaning black bilefrom the root s-w-d, "black"which in earlier times was used by doctors to denote one of the four humors purported to control human feelings and emotions. In Ottoman Turkish sevda doesn't simply mean black bile; it also refers to a state of being in love, and more specifically to the intense and forlorn longing associated with love-sickness and unrequited love.

It was these associations that came with the word when it was brought to Bosnia by the Ottomans. Today it is a richly evocative Bosnian word, meaning pining or a longing for a loved one, a place, a time that is both joyous and painful, being the main theme of Sevdalinka lyrics.

Thus the people of Bosnia employ the words "Sevdalinka" and "Sevdah" interchangeably as the name of this music, although the word Sevdah can also be used in other meanings.

Saudadethe central term in Portuguese Fadois of the same origin, likewise emerging from the Arabic language medical discourse used for centuries in both Al-Andalus and the Ottoman empire.

The origins of Sevdalinka are not known for certain, though it is known to date from sometime after the arrival of the Ottomans in the medieval Balkansbut melodies and the venerable "Aman, aman" lyrical figure hint at a Sephardic and Andalusian influence which can be explained by the arrival of Sephardic refugees in Ottoman Bosnia, or more likely an Ottoman Turkish meaning which translates to "have mercy".

Another early written document that notes Sevdalinka was from the year when an Italian man was passing through the Bosnian city of Visoko and heard what he described as "sad songs sung by the locals" that made him feel melancholic. Zlatko Glamocak, Monenegrian artist living in France said "in health centers sevdha and noises of water cutters were used to treat psychiatric illnesses, long time ago in Balkan".

Nada Mamula was signed to Radio Beograd in Although sung mainly by traditional Bosniak singers, the Sevdalinka made its way to many "mainstream" musicians. In s a band Mostar Sevdah Reunion was assembled in Mostar and in early s they became widely popular on the world music scene, receiving high awards for their lively interpretations of Sevdalinka-s that fuse Sevdalinka with contemporary musical styles like jazzrock and funk and introducing many people outside Bosnia to the genre of Sevdalinka.

From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Main article: List of Bosnia and Herzegovina folk songs. Retrieved 9 August Archived from the original on 5 December Retrieved 13 May Music of Southeastern Europe the Balkans. Albania performers Bosnia and Herzegovina performers Bulgaria performers Croatia performers Cyprus performers Greece performers Kosovo performers Moldova performers Montenegro performers North Macedonia performers Romania performers Serbia performers Slovenia performers Turkey performers Yugoslavia performers.

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