{"id":1433,"date":"2023-12-11T15:29:33","date_gmt":"2023-12-11T13:29:33","guid":{"rendered":"https:\/\/cs-embe.ro\/nr-6-1-2023\/"},"modified":"2025-04-14T19:39:11","modified_gmt":"2025-04-14T17:39:11","slug":"no-6-1-2023","status":"publish","type":"page","link":"https:\/\/cs-embe.ro\/en\/no-6-1-2023\/","title":{"rendered":"No. 6 (1 \/ 2023)"},"content":{"rendered":"

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The journal<\/h3>\n

[\/et_pb_text][et_pb_divider divider_weight=”2px” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Nr. 6 (1 \/ 2023)<\/h1>\n

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Click pe capitol pentru a citi<\/h3>\n

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ETNO-MUZICOLOGIE<\/h3>\n

1. <\/strong><\/a>\u0414\u0440\u0430\u0433\u0438\u0446\u0430 \u041f\u0410\u041d\u0418\u040b \u041a\u0410\u0428\u0410\u041d\u0421\u041a\u0418 \u2022 Dragica PANI\u0106 KA\u0160ANSKI<\/strong>: \u0420\u0435\u043f\u0435\u0440\u0442\u043e\u0430\u0440 \u0432\u043e\u043a\u0430\u043b\u043d\u0438\u0445 \u0435\u0442\u043d\u043e \u0430\u043d\u0441\u0430\u043c\u0431\u0430\u043b\u0430 \u0443 \u0420\u0435\u043f\u0443\u0431\u043b\u0438\u0446\u0438 \u0421\u0440\u043f\u0441\u043a\u043e\u0458 \u0438 \u0411\u0440\u0447\u043a\u043e \u0434\u0438\u0441\u0442\u0440\u0438\u043a\u0442\u0443 \u0411\u043e\u0441\u043d\u0435 \u0438 \u0425\u0435\u0440\u0446\u0435\u0433\u043e\u0432\u0438\u043d\u0435 \u2022 Repertoire of vocal ethno ensembles in the Republic of Srpska and Br\u010dko district of Bosnia and Herzegovina<\/a><\/span><\/p>\n

2. \u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440 \u0408\u0410\u041d\u0415\u0412\u0421\u041a\u0418 \u2022 Vladimir JANEVSKI<\/span><\/a><\/strong>: \u0413\u043b\u0430\u0432\u043d\u0438 \u043a\u0430\u0440\u0430\u043a\u0442\u0435\u0440\u0438\u0441\u0442\u0438\u043a\u0438 \u043d\u0430 \u0438\u0433\u0440\u043e\u043e\u0440\u043d\u0438\u0442\u0435 \u043f\u043e\u0434\u0440\u0430\u0447\u0458\u0430 \u2022 Main characteristics of the dancing areas<\/span><\/a><\/p>\n

3. \u0414\u0430\u0432\u043e\u0440 \u0421\u0415\u0414\u041b\u0410\u0420\u0415\u0412\u0418\u040b \u2022 Davor SEDLAREVI\u0106<\/span><\/a><\/strong>: \u041f\u0440\u0438\u043b\u043e\u0433 \u043f\u0440\u043e\u0443\u0447\u0430\u0432\u0430\u045a\u0443 \u043d\u0435\u0434\u043e\u0443\u043c\u0438\u0446\u0430 \u0443 \u0442\u0443\u043c\u0430\u0447\u0435\u045a\u0438\u043c\u0430 \u0446\u0440\u043d\u043e\u0433\u043e\u0440\u0441\u043a\u0435 \u043f\u043b\u0435\u0441\u043d\u043e-\u043c\u0443\u0437\u0438\u0447\u043a\u0435 \u043f\u0440\u0430\u043a\u0441\u0435: \u043f\u043e\u043a\u0440\u0435\u0442 \u0438 \u043f\u0458\u0435\u0441\u043c\u0430 \u2022 Contribution to the study of doubts in the interpretation of Montenegro dance and music practice: motion and song<\/span><\/a><\/p>\n

4. \u041a\u0440\u0438\u0441\u0442\u0438\u043d\u0430 \u041f\u041b\u0410\u040a\u0410\u041d\u0418\u041d \u0421\u0418\u041c\u0418\u040b, \u0413\u043e\u0440\u0430\u043d \u0421\u0422\u0410\u041d\u041a\u041e\u0412 \u2022 Kristina PLANJANIN SIMI\u0106, Goran STANKOV<\/span><\/a><\/strong>: \u041f\u0440\u0430\u043a\u0442\u0438\u0447\u043d\u0430 \u043f\u0440\u0438\u043c\u0435\u043d\u0430 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u0438\u0445 \u0438\u0433\u0430\u0440\u0430\/\u043f\u043b\u0435\u0441\u043e\u0432\u0430 \u0438 \u0440\u0438\u0442\u043c\u0438\u0447\u043a\u043e-\u043f\u043e\u043a\u0440\u0435\u0442\u043d\u0438\u0445 \u0438\u0433\u0430\u0440\u0430 \u0443 \u0440\u0430\u0434\u0443 \u0432\u0430\u0441\u043f\u0438\u0442\u0430\u0447\u0430 \u0441\u0430 \u0434\u0435\u0446\u043e\u043c \u043f\u0440\u0435\u0434\u0448\u043a\u043e\u043b\u0441\u043a\u043e\u0433 \u0443\u0437\u0440\u0430\u0441\u0442\u0430 \u043d\u0430 \u0442\u0435\u0440\u0438\u0442\u043e\u0440\u0438\u0458\u0438 \u0412\u043e\u0458\u0432\u043e\u0434\u0438\u043d\u0435 \u2022 Practical application of traditional games\/ dances and rhythmic-movement dances in the work of educators with preschool children on the territory of Vojvodina<\/span><\/a><\/p>\n

5. \u0408\u0435\u043b\u0435\u043d\u0430 \u0408\u041e\u0412\u0410\u041d\u041e\u0412\u0418\u040b \u2022 Jelena JOVANOVI\u0106<\/a><\/span><\/strong>: \u041f\u043e\u0434\u0443\u0447\u0430\u0432\u0430\u045a\u0435 \u0441\u0440\u043f\u0441\u043a\u0438\u0445 \u043d\u0430\u0440\u043e\u0434\u043d\u0438\u0445 \u043f\u0435\u0441\u0430\u043c\u0430 \u0434\u0430\u043d\u0430\u0441: \u043f\u043e\u0433\u043b\u0435\u0434 \u0435\u0442\u043d\u043e\u043c\u0443\u0437\u0438-\u043a\u043e\u043b\u043e\u0433\u0430-\u043c\u0435\u0434\u0438\u0458\u0430\u0442\u043e\u0440\u0430 \u2022 Serbian traditional songs teaching today: an ethnomusicologist-mediator\u2019s view<\/a><\/span><\/p>\n

6. Ka\u0442\u0430\u0440\u0438\u043d\u0430 \u041d\u0418\u041a\u041e\u041b\u0418\u040b \u2022 Katarina NIKOLI\u0106<\/a><\/span><\/strong>: \u0420\u0430\u0437\u043d\u043e\u043b\u0438\u043a\u0430 \u0437\u0430\u0441\u0442\u0443\u043f\u0459\u0435\u043d\u043e\u0441\u0442 \u0441\u0440\u043f\u0441\u043a\u0438\u0445 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u0438\u0445 \u043f\u043b\u0435\u0441\u043e\u0432\u0430 \u0443 \u0434\u0435\u043b\u0430\u0442\u043d\u043e\u0441\u0442\u0438\u043c\u0430 \u041a\u0423\u0414-\u0430 \u201e\u0411\u0430\u043d\u0430\u0442\u201c \u0438\u0437 \u041c\u0430\u0452\u0430\u0440\u0441\u043a\u0435 \u2022 Multiform presence of the Serbian Traditional Dances in the Agency of the Folk Dance Ensemble \u201cB\u00e1n\u00e1t\u201d in Hungary<\/a><\/span><\/p>\n

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BYZANTINOLOGY<\/h3>\n

7. Adrian C\u0103lin BOBA<\/span><\/a><\/strong>: Influen\u021be bizantine \u00een muzica bisericeasc\u0103 rom\u00e2neasc\u0103 \u0219i s\u00e2rbeasc\u0103 din Banat \u2022 Byzantine influences in Romanian and Serbian church music in Banat<\/span><\/a><\/p>\n

8. \u0421\u0430\u0448\u0430 \u0408\u0410\u0428\u0418\u041d \u2022 Sa\u0161a JA\u0160IN<\/span><\/a><\/strong>: \u0421\u0430\u0432\u0430 \u0422\u0435\u043a\u0435\u043b\u0438\u0458\u0430 \u0438 \u0445\u043e\u0440\u0441\u043a\u043e \u043f\u043e\u0458\u0430\u045a\u0435 \u2022 Sava Tekelija and choral singing<\/span><\/a><\/p>\n

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ETHNOLOGY<\/h3>\n

9. \u0421\u0432\u0435\u0442\u043b\u0430\u043d\u0430 \u041f\u0415\u0428\u0418\u040b \u2022 Svetlana PE\u0160I\u0106<\/a><\/span><\/strong>: \u041e\u0441\u043d\u043e\u0432\u043d\u0435 \u043a\u0430\u0440\u0430\u043a\u0442\u0435\u0440\u0438\u0441\u0442\u0438\u043a\u0435 \u043d\u0435\u0444\u043e\u0440\u043c\u0430\u043b\u043d\u0435 \u0435\u0434\u0443\u043a\u0430\u0446\u0438\u0458\u0435 \u0443 \u043f\u0440\u0430\u043a\u0441\u0438 \u043a\u0443\u043b\u0442\u0443\u0440\u043d\u043e-\u0443\u043c\u0435\u0442\u043d\u0438\u0447\u043a\u0438\u0445 \u0434\u0440\u0443\u0448\u0442\u0430\u0432\u0430 \u0443 \u0421\u0440\u0431\u0438\u0458\u0438 \u2022 Basic Characteristics of informal education in the practice of cultural-artistic associations in Serbia<\/a><\/span><\/p>\n

10. \u0425\u0440\u0438\u0441\u0442\u0438\u0458\u0430\u043d \u041d\u0418\u041a\u041e\u041b\u041e\u0412\u0421\u041a\u0418 \u2022 Hristijan NIKOLOVSKI<\/span><\/a><\/strong>: \u0418\u0433\u0440\u0438 \u043f\u043e\u0434 \u043c\u0430\u0441\u043a\u0438 \u0432\u043e \u041c\u0430\u043b\u0435\u0448\u0435\u0432\u0438\u0458\u0430\u0442\u0430 \u2013 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u0438 \u0430\u0441\u043f\u0435\u043a\u0442\u0438 \u2022 Dances under masks in Maleshevia \u2013 contemporary aspects<\/span><\/a><\/p>\n

11. \u0421\u0438\u043b\u0432\u0435\u0441\u0442\u0435p \u041f\u0420\u041e\u041b\u0415 \u2022 Silvester PROLE<\/span><\/a><\/strong>: \u0415\u0442\u043d\u043e\u0433\u0440\u0430\u0444\u0441\u043a\u0438\u0442\u0435 \u0444\u0438\u043b\u043c\u043e\u0432\u0438 \u043a\u0430\u043a\u043e \u0444\u0430\u043a\u0442\u043e\u0440 \u0437\u0430 \u0447\u0443\u0432\u0430\u045a\u0435 \u043d\u0430 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u0430\u0442\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0430 \u2022 Ethnographic films as a factor for preserving the traditional culture<\/span><\/a><\/p>\n

12. \u0409\u0443\u043f\u043a\u0430 \u0421\u0422\u0415\u0424\u0410\u041d\u041e\u0412\u0421\u041a\u0410 \u2022 Ljupka STEFANOVSKA<\/span><\/a><\/strong>: \u0424\u0435\u0441\u0442\u0438\u0432\u0430\u043b\u0441\u043a\u0430\u0442\u0430 \u0441\u0446\u0435\u043d\u0430 \u0432\u043e \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430 \u2022 The Festival Scene in Macedonia<\/span><\/a><\/p>\n

13. \u0422\u0438\u0458\u0430\u043d\u0430 \u0408\u0410\u041d\u0415\u0412\u0421\u041a\u0410 \u2022 Tijana JANEVSKA<\/span><\/a><\/strong>: \u0415\u0442\u043d\u043e\u043a\u043e\u0440\u0435\u043e\u043b\u043e\u0448\u043a\u0438 \u043a\u0430\u0440\u0430\u043a\u0442\u0435\u0440\u0438\u0441\u0442\u0438\u043a\u0438 \u043d\u0430 \u043b\u0430\u0437\u0430\u0440\u0441\u043a\u0438\u0442\u0435 \u043e\u0431\u0440\u0435\u0434\u043d\u0438 \u043f\u043e\u0432\u043e\u0440\u043a\u0438 \u043e\u0434 \u0435\u0442\u043d\u0438\u0447\u043a\u0438\u043e\u0442 \u043f\u0440\u0435\u0434\u0435\u043b \u0411\u043e\u0458\u043c\u0438\u0458\u0430 \u2022 Ethnocoreological characteristics of the Lazarus ritual processions from the ethnic region of Boymia<\/span><\/a><\/p>\n

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CRITIC\u0102 \u0218I RECENZII<\/h3>\n

14. Deian POPOV<\/span><\/a><\/strong>: Expozi\u021bia de fotografie B\u0103n\u0103\u021beni de alt\u0103dat\u0103 \u2022 The photographic exhibition Banatians from past times<\/span><\/a><\/p>\n

15. Constantin-Tufan STAN<\/span><\/a><\/strong>: Reuniunea \u0219tiin\u021bific\u0103 interna\u021bional\u0103 a Asocia\u021biei pentru Cultur\u0103 B\u0103n\u0103\u021bean\u0103 la Zrenianin, Serbia \u2022 The international scientific reunion of the Associaton for Banat Culture in Zrenjanin, Serbia<\/span><\/a><\/p>\n

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The journalNr. 6 (1 \/ 2023)Click pe capitol pentru a citiETNO-MUZICOLOGIE 1. \u0414\u0440\u0430\u0433\u0438\u0446\u0430 \u041f\u0410\u041d\u0418\u040b \u041a\u0410\u0428\u0410\u041d\u0421\u041a\u0418 \u2022 Dragica PANI\u0106 KA\u0160ANSKI: \u0420\u0435\u043f\u0435\u0440\u0442\u043e\u0430\u0440 \u0432\u043e\u043a\u0430\u043b\u043d\u0438\u0445 \u0435\u0442\u043d\u043e \u0430\u043d\u0441\u0430\u043c\u0431\u0430\u043b\u0430 \u0443 \u0420\u0435\u043f\u0443\u0431\u043b\u0438\u0446\u0438 \u0421\u0440\u043f\u0441\u043a\u043e\u0458 \u0438 \u0411\u0440\u0447\u043a\u043e \u0434\u0438\u0441\u0442\u0440\u0438\u043a\u0442\u0443 \u0411\u043e\u0441\u043d\u0435 \u0438 \u0425\u0435\u0440\u0446\u0435\u0433\u043e\u0432\u0438\u043d\u0435 \u2022 Repertoire of vocal ethno ensembles in the Republic of Srpska and Br\u010dko district of Bosnia and Herzegovina 2. \u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440 \u0408\u0410\u041d\u0415\u0412\u0421\u041a\u0418 \u2022 Vladimir […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-1433","page","type-page","status-publish","hentry"],"yoast_head":"\nNo. 6 (1 \/ 2023) | Cercet\u0103ri \u0219i studii<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cs-embe.ro\/en\/no-6-1-2023\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"No. 6 (1 \/ 2023) | Cercet\u0103ri \u0219i studii\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cs-embe.ro\/en\/no-6-1-2023\/\" \/>\n<meta property=\"og:site_name\" content=\"Cercet\u0103ri \u0219i studii\" \/>\n<meta property=\"article:modified_time\" content=\"2025-04-14T17:39:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cs-embe.ro\/wp-content\/uploads\/2023\/03\/logo-acb-negru-3-limbi_var1-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"340\" \/>\n\t<meta property=\"og:image:height\" content=\"183\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/cs-embe.ro\/en\/no-6-1-2023\/\",\"url\":\"https:\/\/cs-embe.ro\/en\/no-6-1-2023\/\",\"name\":\"No. 6 (1 \/ 2023) | Cercet\u0103ri \u0219i studii\",\"isPartOf\":{\"@id\":\"https:\/\/cs-embe.ro\/#website\"},\"datePublished\":\"2023-12-11T13:29:33+00:00\",\"dateModified\":\"2025-04-14T17:39:11+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/cs-embe.ro\/en\/no-6-1-2023\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/cs-embe.ro\/en\/no-6-1-2023\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/cs-embe.ro\/en\/no-6-1-2023\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/cs-embe.ro\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"No. 6 (1 \/ 2023)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/cs-embe.ro\/#website\",\"url\":\"https:\/\/cs-embe.ro\/\",\"name\":\"Cercet\u0103ri \u0219i studii. 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