bluuebunny/crossref_metadata_2025_split huggingface dataset:
Philologie et Folklore Musical: Les chants de pâtres avant leur émergence folklorique
Authors: Pinon Roger 
Published: April 2006

L'un des genres les plus étudiés du folklore musical universel est depuis longtemps celui des chants de pâtres, dont les Suisses passent pour détenir les plus beaux spécimens, le “ranz des vaches” en français, le “Kuhreihen” en allemand.De plus grands connaisseurs que moi ont disserté de ce genre, et l'on pourrait se demander ce qu'il reste à en dire.Les ethnographes, en effet, ont bien vu la relation existant entre les chants de pâtres et certains modes de vie économique, l'élevage et l'agriculture au stade pré- machiniste. En Europe occidentale on a bien mis en relief l'association intime entre les chants de pâtres et le système de la vaine pâture.
The Music of Mauritania
Authors: Nikiprowetzky Tolia 
Published: April 2006

If the music of Mauritania has inspired only limited study till now it is because of its elusiveness. We know it to be governed by strict rules, though uncodified. The existence of parallel yet diverse traditions complicates detailed analysis. It should be remembered that Mauritania covers an area almost twice that of France. Long distances and poor communications—further aggravated by the rigours of the climate—have encouraged the growth of local artistic peculiarities.Nevertheless, and in spite of this regional diversity, it is possible to perceive a certain basic national music. This derives from obedience to the same fundamental rules, and the use of a common fund of melodic patterns, carried down through the ages and recognizable beneath their sundry local modifications. The imperviousness of Mauritanian music to neighbouring influence adds further justification to a study of it as a single art-source.
Rhythmic and Melodic Elements in Negro Music of Venezuela
Authors: Ramón Luis Felipe , Rivera Luis Felipe 
Published: April 2006

The study of the different rhythms that Venezuelan negroes beat on their drums is at present in an analytical and classificatory phase. The Folklore Institute of the Education Department of Caracas possesses a comprehensive record of these rhythms, gradually built up from 1940 to the present. It is unlikely that types of rhythms other than those recorded here remain to be found in Venezuela.The principal toques (rhythmic sounds from a drum), and songs accompanied by drums (known as golpes in most places where they have been found), have different distinguishing popular names. In the central zone, Barlovento, towards Eastern Venezuela, there are the golpes of the so-called “round drum,” and of the “big drum” or tambor mina. Further west, in the coastal zone of the Federal District, in the State of Aragua, and in parts of Carabobo, there are other golpes, the names of which derive from the lyrics, for example: El Alabado (The Sainted One); El Macizón; María Estaba Lavando (Mary Was Washing), etc. There is also another type of golpe, used only during religious processions, namely the sangueo, played in the central states of Aragua, Carabobo and Yaracuy.
Les variantes folkloriques et les conditions de leur survivance*
Authors: Varga Ovidiu 
Published: April 2006

Une des questions qui préoccupent beaucoup, à l'heure actuelle, les folkloristes roumains est celle des variantes folkloriques contemporaines.Nous n'étudions pas le folklore comme un produit géologique, comme une roche pétrifiée une fois pour toutes, mais comme un phénomène social et historique en continuelle transformation. Le folklore en tant que forme de la conscience seciale est apparu par nécessité sociale, en remplissant à chaque époque historique une fonction sociale donnée. Chaque peuple, chaque génération a créé, modelé, transformé son folklore selon les conditions sociales et historiques, selon son profil moral et ses besoins spirituels.
The Distinction between Folk and Popular Music
Authors: Karpeles Maud 
Published: April 2006

I have only twice before had the temerity to speak at a Conference of the IFMC. This will be my third and last time.I feel I owe my audience an apology because my subject will be the same as on previous occasions and I have little to say that has not already been said many times. But the subject is such an important one that it is good to be constantly reminded of the problems.For the last two hundred years, in fact ever since the awareness of folk song emerged during the Romantic period, scholars have argued over the definition of folk song. As Goethe said: “Man schreibt so oft den Namen Volkslieder aus und weiss nicht immer ganz deutlich was man sich dabei denken soil.” And if that were true in Goethe's time how much truer is it today when little distinction is drawn by the general public between folk and popular song.
Performing Styles in the Dances of the Carpathian Basin*
Authors: Martin György 
Published: April 2006

The Carpathian basin is well suited to the investigation of performing styles in folk dance, because its dance culture is relatively homogeneous despite the variety of peoples, languages and ways of life encountered in this region. This fact invites an investigation of performing styles on a comparative basis. Moreover, the performing styles of one of the most characteristic dance dialects in Central Europe deserve close attention from the viewpoint of the cultural history of Europe as a whole.The general structure and characteristic features of the dance stock of the Carpathian basin will be here outlined, and comparative references to the neighbouring Balkan dance dialects will help to emphasize the main characteristics of and features peculiar to the area in question.
Bohemian Folk Music: Traditional and Contemporary Aspects†
Authors: Markl Jaroslav , Karbusický Vladimír 
Published: April 2006

The earliest musical documentary sources of Bohemian folk music date from the fourteenth century; but up to the end of the eighteenth century the volume of such sources is small. Despite insufficient historical evidence, however, it has been possible to determine the main developmental trends of earlier times from studies of literary and iconographic evidence and, in particular, from the wealth of church hymns for congregational use.From the beginning, folk music did not pursue a course separate from that of professional performance. In the seventeenth and eighteenth centuries in particular, the inter-relationship between these two was highly beneficial to both. The range of folk-musical instruments was roughly the same as that required for professional performance. Only a few instruments—bagpipes and other rural types—were not used by both cultures. The gradual switch from the bagpipes and whistle-flutes, so popular in the Middle Ages, to the stringed instruments of subsequent centuries, affected folk and professional performance equally. Only the wind instruments of the gothic and renaissance periods failed to find their way into Bohemian folk music on a large scale.
Two Styles of Vocal Music in the Zlatibor Region of West Serbi
Authors: Petrović Radmila 
Published: April 2006

The material here analysed was collected in the mountainous region of western Serbia, in villages of widely scattered houses, often far from lines of communication. From the remote past until the first decades of this century, the development of culture, including the development of folk music, has proceeded slowly. The characteristics of each epoch have been retained, however, so that at a later date a culture may reflect once new elements in a tradition persistently held. Owing to the slowness of development, musical materials observed and analysed at the present day may reveal the various strata of social and economic development from the past to the present.The greater part of the material collected is vocal music, there is no purely instrumental music. The latter may serve as accompaniment to dances but very seldom to songs; indeed, vocal music is the most important music in this region. A further characteristic is that this vocal music is generally sung in two parts.
Instrumental and Vocal Performance of Dance Music in the Horňácko District of South-East Moravia
Authors: Holý Dušan 
Published: April 2006

In Eastern Moravia and districts still further east, we find a special type of rhythmical accompaniment in folk dance-music, performed by second fiddle and bass in a string ensemble. Each bow-stroke (both down and up) regularly combines two rhythmic values with the accent on the second element. Two bow-strokes, first down, then up, correspond to a single two-four bar. Variant types of this accompaniment are also found in Hungarian and Rumanian folk music. In some districts in Slovakia, it is referred to as duvaj, perhaps an attempt to express its character onomatopoeically.The duvaj-accompaniment has distinctive characteristics in each district. This is clearly shown by the optical recordings of changes in sound intensity (Fig. 1). The first example (upper tracing of five bars) comes from Eastern Slovakia (Vyšné Raslavice); the second (lower tracing of eight bars), is from Central Slovakia (Hrochot pod Polanou). In the second example, irregular sub-division within the bar is shown.
Czech Bagpipe Music*
Authors: Markl Jaroslav 
Published: April 2006

In a form that has changed but slightly in recent times, the bagpipe is still used in several European countries, and in Czechoslovak folk music it has played a very important role—perhaps a more important role than that played anywhere else in the world (Markl, 1962).In Czechoslovak territory, bagpipes, called by various names, are mentioned in chronicles from the Middle Ages, and it may be assumed that they have been one of the most popular of folk instruments since the thirteenth, or at the latest the fourteenth century. Usually played solo, but also together with drum, pipe, and later fiddle, they accompanied folk songs and dances. Unlike bagpipes in France, for example, they never took root in composed music in Czechoslovakia. Only at a very late date, in the thirties of the nineteenth century, and then to a limited extent, were they technically improved by the addition of a second, auxiliary bag. The use of several drones, though known, has never become popular in Czechoslovakia. In the course of six centuries a type of bagpipe with one frontal (melody) pipe and one drone has become predominant.
The Griots of Senegal and Their Instruments*
Authors: Nikiprowetzky Tolia 
Published: April 2006

As in all the countries of West Africa where Islam has left its mark, and where powerful chiefs held—or still hold—authority, many griots are to be found in Senegal. Whether they be historians, genealogists or musicians, they are in most cases professionals who together form a well-defined caste. The roles they play are manifold: as historians and genealogists they are the storehouses of the records of a country that has disdained the written language; as musicians, they are present at festive and solemn occasions alike. A griot may be attached to a prince's court, and be a member of his household; or he may be independent and able to charge for his services as he chooses.Caught up in the life of African society, where intense rivalries excite tribes, clans and families, the griots have always aroused feelings of fear or contempt. More than one enmity, more than one dispute, has originated in the indiscretion of a griot. Their caste, like those of the blacksmiths, the ropemakers, the weavers, etc., is one of the lowest in the hierarchy.
La Musique Africaine dans le Golfe Persique
Authors: Olsen Poul Rovsing 
Published: April 2006

Les relations commerciales entre les habitants du Golfe Persique et ceux de Zanj ou Afrique orientale sont très anciennes: n'oublions pas non plus que Mascat et Zanzibar étaient liés par une union politique de 1690 environ jusqu'à 1861. On a souvent parlé de l'influence arabe sur les peuplades de la côte est d'Afrique; on a beaucoup moins parlé des conséquences de la présence de minorités importantes d'Africains dans les principautés arabes du Golfe.La musique arabe de Kuwait, de Bahrain et de la Côte des Pirates n'est pas sensiblement influencée par les musiques africaines: la seule exception notable concerne les danses de guerres normalement appelées ardha à Bahrain, ayala sur la Côte des Pirates; les mélodies, les textes et les danses sont indiscutablement d'origine béouine mais l'influence africaine est sensible dans les rhythmes produits par le groupe de joueurs de tambour qui danse entre les deux rangs de chanteurs arabes.
A Riddle of Cultural Diffusion: The Existence of Inverted Reed Clarinets among the Indians of the Goajira Peninsula
Authors: y Rivera Luis Felipe Ramón 
Published: April 2006

The existence at the Peninsula de la Guajira—shared by Venezuela and Columbia— of a type of clarinet with simple, inverted reeds, similar to those found in the north of Africa, poses an interesting problem of cultural transmission. The first question one must ask is, I think, at what moment in history the diffusion of such instruments towards the above-mentioned peninsula took place. I speak of diffusion and not of parallelism for an important reason: the fact that similarities, not only organological but also melodic, exist between the Goajiro music and that of other peoples referred to below.The Goajiro instrument I describe in the present paper I saw for the first time at the Caracas Science Museum in 1947. A Goajiro Indian woman who happened to be staying there had been in contact with members of the museum's staff for some time. She informed me that the name of the instrument was uótoroyó
Nguni Vocal Polyphony
Authors: Rycroft David 
Published: April 2006

The Nguni Group comprises principally the Zulu, Xhosa and Swazi-speaking peoples of South Eastern Africa whose languages and cultures are closely related. Through European contact and conquest during the past century and a half, their way of life has been considerably affected. Musically, many non-indigenous forms and features have been adopted by certain sections of each community, but we shall here be concerned only with what still survives of their truly indigenous music.For individual music-making, instruments of several varieties—particularly musical bows—were formerly used by all Nguni peoples. But their communal music seems always to have been exclusively vocal, apart from the occasional use of ankle-rattles in dance-songs.
Arqueologia de la Cuenca del Qaracha, Ayacucho, Peru
Authors: Valdez Lidio M. , Vivanco Cirilo 
Published: April 2006

ResumenPara evaluar la ocupación precolombina de la cuenca del Qaracha, realizamos una prospección arqueológica en 1988, la cual produjo evidencias de tres importantes ocupaciones en el área, la primera, baja dominación del estado wari, alrededor de los años 600 D.C., con todos los asentamientos entre 2.800 y 3.650 m snm, teniendo control de los suelos de cultivo identificados con la producción del maíz. Alrededor de los años 900 D.C. todos los sitios wari fueron desocupados, y nuevos sitios se habían construido en posiciones estratégicas en las partes de mayor elevación. El control de los Andes centrales por parte de los inkas resultó en el abandono de los sitios fortificados y la fundación de establecimientos inka (mitimaes) cerca a los antiguos sitios wari. Creemos que el primer cambio fue resultado del colapso del estado wari, seguido por un período muy conflictivo cuando diferentes antiguos integrantes del estado wari se vieron envueltos en guerra. El cambio final puso fin al período convulsionado con el nacimiento del nuevo estado inka en los Andes.
Symbolic Sweatbaths of the Maya: Architectural Meaning in the Cross Group at Palenque, Mexico
Authors: Houston Stephen D. 
Published: April 2006

AbstractThe function of elite Maya architecture should not always be interpreted literally, for it may also reflect metaphorical and semantic extensions best studied through iconography, hieroglyphic texts, ethnohistory, and ethnography. This holistic approach is employed to help resolve puzzling features of the Cross Group sanctuaries at Palenque, Mexico. The Cross Group likely served as the setting for symbolic sweatbaths, probably involving effigies of supernaturals under the care of Kan Balam, the Palenque ruler who commissioned these structures. This and other arguments situate such information within an understanding of metaphor in Maya architecture.
Lithic Deposits as Waste Management: Reply to Healan and to Hester and Shafer
Authors: Moholy-Nagy Hattula 
Published: April 2006

Here I can only briefly address some of the issues raised by Healan (1992) and by Hester and Shafer (1992). I conclude that although ethnoarchaeology can provide generally valid analogies to lithic production and discard in the past, experimental archaeology will be needed to understand specific details of site formation.Debitage disposal is affected, among other factors, by site size, settlement density, and length of occupation. The investigation of intersite variability in waste management will give us important insights into the organization of lithic industries in Prehispanic Mesoamerica.
The Body Context: Interpreting Early Nasca Decapitated Burials
Authors: DeLeonardis Lisa 
Published: April 2006

AbstractOne of the most enigmatic aspects of decapitation practices among south coastal Peruvian Paracas and Nasca cultures (900 B.C.-A.D. 750) is the near absence of headless bodies in the archaeological record. Drawing on a case study of an Early Nasca, Phase 3 headless burial at Site PV62D13 in the lower Ica Valley, together with examples of headless interments reported in the literature, I examine the nature and disposition of headless burials. Three burial patterns, or forms, are proposed. The burial at PV62D13 is distinguished for its extended posture and interment in a non-cemetery setting and is proposed to be a dedicatory burial. Burial forms for disembodied heads are also examined, and over time, a notable increase in cached heads, buried without grave offerings is observed. Painted ceramic images of Nasca trophy heads and headless bodies are reviewed diachronically and a marked increase in decapitation scenes is noted for Late Nasca. Attention is drawn to the limited number of headless body images overall, and possible solutions to reconcile the visual imagery with the archaeological data are offered.
Congenital tarsal hyperextension in three cats
Authors: Buote Nicole J. , Reese Catherine J. 
Published: April 2006

Abstract
Case Description—3 kittens were examined because of a malformation affecting the hind limbs, resulting in an inability to bear weight or ambulate normally.
Clinical Findings—2 kittens were younger than 6 weeks of age, and 1 was 4 months of age at the time of initial examination. The congenital abnormality was characterized by severe tarsal hyperextension in which weight was borne on the cranial aspect of the tarsus, and the plantar surface of the metatarsus faced dorsally. In 2 kittens, the condition affected both hind limbs, and in the older kitten, the condition was unilateral. In the 2 kittens in which radiographs were obtained, no bone abnormalities were detected. Full-cylinder fiberglass casts were applied and changed weekly to accommodate growth. Owners administered physical therapy after final cast removal.
Treatment and Outcome—Conservative management involving external coaptation and physical therapy led to favorable results in all 3 cats.
Clinical Relevance—Although further studies are needed to determine the etiology of the disorder, affected kittens may be successfully treated with conservative management. Owners should be committed to the necessity for returning cats for serial cast changes, care for pressure sores, and administration of physical therapy after cast removal.
Molecular structure and orientation of gel‐spun polyethylene fibers
Authors: Karacan Ismail 
Published: April 2006

AbstractCharacterization of molecular structure and orientation of six commercially available gel‐spun polyethylene fibers have been carried out using infra‐red and Raman spectroscopy, thermal and X‐ray diffraction analysis, together with optical microscopy techniques. Thermal and X‐ray diffraction analysis revealed the existence of highly oriented orthorhombic and monoclinic crystallites together with a highly oriented intermediate phase known as pseudohexagonal mesophase structure. The results suggest the existence of a three‐phase structure consisting, at room temperature, of orthorhombic and monoclinic polymorphic crystallites, oriented noncrystalline and un‐oriented noncrystalline (amorphous) phases, respectively. The crystallinity measurements have been carried out using density, thermal and X‐ray diffraction analysis together with infra‐red and Raman spectroscopy techniques whereas the molecular orientation measurements have been carried out using birefringence and polarized IR spectroscopy, respectively. The results obtained from density, thermal analysis, and Raman spectroscopy based on a simple two‐phase modeling approach lead to the overestimated amorphous fractions and appears to ignore the presence of an intermediate phase known as oriented noncrystalline structure. X‐ray analysis has also been used for the measurement of the apparent crystallite sizes. The birefringence values have been used to determine the overall orientation parameters whereas the dichroic measurements of IR bands have been used to determine the crystalline and oriented noncrystalline orientation parameters. The results show that the orthorhombic and monoclinic phases are more highly oriented than the oriented pseudohexagonally packed noncrystalline chains. © 2006 Wiley Periodicals, Inc. J Appl Polym Sci 101: 1317–1333, 2006
Melt spinning and drawing process of PET side‐by‐side bicomponent fibers
Authors: Hwan Oh Tae 
Published: April 2006

AbstractThe change of crimp contraction and shrinkage in the melt spinning and drawing process of polyethylene terephthalate (PET) side‐by‐side bicomponent fibers was studied. Regular PET and modified PET were selected to make a latent crimp yarn. The modified PET was synthesized to increase thermal shrinkage. The crimp contraction is mainly dependent on drawing conditions such as draw ratio, heat‐set temperature, and drawing temperature. Difference in shrinkage between the PET and the modified PET causes the self‐crimping of bicomponent fibers. Although changing the heat‐set temperature and the drawing temperature can not affect dimensional change, the crimp contraction varies with those variables. As the heat‐set temperature and the drawing temperature decrease, the crimp contraction increases. Difference in elongation also affects the crimp contraction in the effect of draw ratio. When the modified PET with neopentyl group was used for highly shrinkable part, the crimp contraction is greater in comparison with modified PET with dimethyl isophthalate. © 2006 Wiley Periodicals, Inc. J Appl Polym Sci 101: 1362–1367, 2006
Water‐soluble copolymers. II. Inverse emulsion terpolymerization of acrylamide, sodium acrylate, and acryloyloxyethyl trimethylammonium chloride
Authors: Peng Xiaohong , Peng Xiaochun 
Published: April 2006

AbstractInverse emulsion terpolymerization of acrylamide, sodium acrylate, and acryloyloxyethyl trimethylammonium chloride was investigated. Aqueous monomer solutions were emulsified in diesel oil with a blend of two surfactants (SPAN80 and TWEEN80) using 2,2′‐azobis(2‐amidinopropen)‐dihydrochloride as the initiator. The effects of temperature, initiator concentration, monomer concentration and composition, and emulsifier content on the polymerization conversion and the polymer intrinsic viscosity were examined. Polymer intrinsic viscosity increased with a decreasing concentration of initiator and an increasing concentration of monomer. The sizes of the latex particles of the terpolymer emulsions were observed with a scanning electron microscope, and the structure of the terpolymer was identified by FTIR spectroscopy. © 2006 Wiley Periodicals, Inc. J Appl Polym Sci 101: 1381–1385, 2006