lynxxx
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Also, ich glaube, nach all den ganzen youtube Videos und sich ein Bild machen, könnten wir nun anfangen die Musikethnologen sprechen zu lassen, auch wenn dadurch manches liebgewonnenes Bild revidiert werden muss:
"
Balkan provincial towns presented a colorful patchwork picture. Take for
example the town of Ruschuk or Rousse (northeast Bulgaria), where at the
beginning of the 20th century,
aside from the Bulgarians who often came from the countryside, there
were many Turks, who lived in their own neighborhood, and next to it
was the neighborhood of the Sephardim, the Spanish Jews …There were
Greeks, Albanians, Armenians, Gypsies. From the opposite side of the
Danube came Rumanians. There were also Russians here and there
(Canetti 1999: 6).were many Turks, who lived in their own neighborhood, and next to it
was the neighborhood of the Sephardim, the Spanish Jews …There were
Greeks, Albanians, Armenians, Gypsies. From the opposite side of the
Danube came Rumanians. There were also Russians here and there
In such cosmopolite surroundings the popular folk and town music promoted
contact and mingling of cultures – ìóçèêà íå áüëãàðñêà, íå ãðüöêà, íå ðóìüíñêà,
à ìóçèêà áàëêàíñêà, íî ñ ìàëêè, âàðèàíòíè ðàçëè÷èÿ â îòäåëíèòå åòíè÷åñêè
îáùíîñòè (‘music not Bulgarian, not Greek, not Romanian, but Balkan music
with small variational differences in the different ethnic communities’; Kaufman
1990: 25).
In the 1950s, Communist commissaries defined such town culture as reactionary
and bourgeois. Musicologists strove to create/reconstruct the ideal folklore
music,
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