Manele in Romania: cultural expression and social meaning in Balkan popular music
Gespeichert in:
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| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Lanham
Rowman & Littlefield
[2016]
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| Schriftenreihe: | Europea : ethnomusicologies and modernities
21 |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029178799&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029178799&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Includes bibliographical references and index |
| Umfang: | xxxv, 311 Seiten Notenbeispiele |
| ISBN: | 9781442267077 |
Internformat
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| 245 | 1 | 0 | |a Manele in Romania |b cultural expression and social meaning in Balkan popular music |c edited by Margaret H. Beissinger, Speranta Radulescu, Anca Giurchescu |
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| 650 | 4 | |a Gesellschaft | |
| 650 | 4 | |a Manele |z Romania |x History and criticism | |
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Datensatz im Suchindex
| _version_ | 1819328072186331136 |
|---|---|
| adam_text | Contents
Figures xi
Contents of Website xiii
Florin Iordan and Speranfa Radulescu
Foreword xix
Acknowledgments xxi
Introduction xxv
Margaret Beissinger
A Note on Pronunciation xxxv
1 Music, Dance, Performance: A Descriptive Analysis of Manele 1
Anca Giurchescu and Speranfa Radulescu
2 A History of the Manea: The Nineteenth to the Mid-Twentieth Century 45
Costin Moisil
3 How the Music of Manele Is Structured 63
Speranfa Radulescu
4 Romanian Manele and Regional Parallels: “Oriental” Ethnopop
in the Balkans 95
Margaret Beissinger
5 Actors and Performance 139
Speranfa Radulescu
ix
X
Contents
6 The “Boyar in the Helicopter”: Power, Parody, and Carnival
in Manea Performances 163
Victor Alexandre Stoichipa
7 Manele and the Underworld 185
Adrian Schiop
8 Village Manele: An Urban Genre in Rural Romania 205
Margaret Beissinger
9 Turbo-Authenticity: An Essay on Manelism TAl
Vintila Mihailescu
Epilogue 259
Speranpa Radulescu
References 271
Index 291
About the Editors and Contributors 309
Index
“The Abduction from the Seraglio.” See
“Rapirea din Serai ’
absorption, 74, 90, 91n7
academic culture, 39, 44n79
academic musicians (muzicieni)y 158n7
accordion, 6, 16, 17, 21, 87, 98, 100, 112,
210, 212, 213-14, 217, 226, 233
additive formal structure, 42n44
Adi de la Vilcea, 263
Adorno, Theodor, 233, 257, 263
Adrian (Copilul) Minune, 45, 63, 75,
109, 118, 121, 124, 134n46, 135n65,
137n93, 147, I60n32, 181, 187, 197,
213, 217, 224
adversaries, 151-52, 153, 154, 260
aesthetics, 208
African-American entertainers, 138n 151
agencies, 169—70
Albanian communities, 166
album sales, 186
alcohol, 181, 193
Alecsandri, Vasile, 47, 56, 57
Alexandru, Tiberiu, 50, 52, 53, 55, 59n21
alms giving. See priveghi
“Am amant $i-s maritata” (Fve got a lover
and Im married), 195, 203n23
“Am nevasta sexy (Tve got a sexy wife), 127,
218, 220
“Am o casd-aga de mare” (I have such a big
house), 124, 222
“Am o nevasta cuminte §i norocoasa ’ (Ive got
a wife whos good and lucky), 233
Amadeus, Rambo, 108
Aman Doctor, 6, 51, 54
amanes (pi. amanedes)y 54—55, 56—57,
61n43, 61n50
American dance. See “dans american”
amphibrach-spondee, 6, 15, 16, 21, 42n23,
50, 54, 65, 74, 81, 147, 261, 263.
also gifietelli
amplification, 87, 100, 143, 149, 160n34,
133n20y 163, 171, 177, 218, 220
Amy de la Breteque, 44n75, 248
Anglaises, 13
anthropology, 249—50
“Anti-Manea Campaign of Romania,” 152
2Lnt -manelismy 255
Antim Slum. See Mahalaua Antim
Aparatori, Gicuja din, 163
arabesky xvii, 14, 17, 39, 111, 264
Arabic, 48
Arabic music, 265
Arab rhythms, 4lnl2
Arkan (Zeljko Raznatovic), 104, 120,
134n32
Armeanca, Dan, 101
291
292
Index
Armenulic, Silvana, 99, 118—19, 133nlO
artificial soundscapes, 220
assonance, 115
“Asia seara vreau sd beau ’ (Tonight I want to
drink), 125, 225, 228
attire, 200
audience, 90, 95, 147, 156; adversaries,
151— 52, 153, 154, 260; emotions
of, 166—67; ethnicity of, 148—49;
fans, 148-51, 153, 154, 165, 260;
intellectuals and cultural activists,
152- 53, 154; maneli§tiy 143, 145, 146;
manipulation of, 187; musicians and,
157, 168
authenticity, 226, 243n87, 256—58
Avram, Grigore, 48
Azis, 100, 127, 269n9
Babi Minune, 19-20, 38, 117, 181, 187.
See also Minue, Babi; Wonder, Babi
bac§i§. See tips
bagabonfe$ti (vagabond music), 201
“Bdiatul // fata mea” (My son and my
daughter), 210, 212, 213
Bajraktarovic, Zilha, 133nl0
Bajramovic, Saban, 109, 135n57
Baker, Catherine, 256
Bakhtin, Mikhail, 181, 253—54
Balkan cosmopolitanism, 96
Balkan ethnopop, 95—96, 97, 100, 107,
110—14, 132. See also narrative meanings
Balkan gangsta, 185
Balkan genres, xxviii
Balkanism, 255—57
Balkan languages, 3
Banat, 3, 5, 16-17, 40n4, 94n49, 100,
240
baptisms, xxvi, 3, 4, 21, 26, 97, 129—30,
186, 189, 207, 215, 219-20, 259-60,
264
“Barbate, ma pacdle$ti.r (You’re cheating on
me, husband!), 122
Barbuie$ti, §tefan de la, 213, 220
Baripu, George, 48, 55, 57
Barleaza, Stanica, 49
barosan, 252, 254, 258
Basescu, Traian, 33, 117
bass guitar, 80, 81, 82, 84, 112, 133nl9,
224
bass viol (double bass), 6, 16, 21, 51, 87,
210, 212-14, 219, 228, 229, 242n56
Baxandall, Michael, 92n28
beauty contests, 137n92
Beissinger, Margaret, xxiii—xxiv, xxviii, xxix,
75, 89, I61n53, 240n2, 242n49, 260,
263
belly dancing, 10, 11, 13, 24, 26, 29, 30-
31, 41 n 16, 42n23, 43n55, 43n59, 104,
113—14. See also çengi
Bercé, Yves-Marie, 180
Beslic, Halid, 109
beste, 52-53, 55
besteler, 57
“Bezumna lyubov” (Reckless love), 121
Biolchev, Martin, 269
“blues” manele, 235
body, 255-57
body-power ideology, 251
“Bomba bombelor” (The bomb of all
bombs), 172, 173, 187, 195, 232
Bonini Baraldi, Filippo, 161 n55
“Both friends and enemies See “$i prieteni $i
du§mani ”
Bourdieu, Pierre, 208
Bouët, Jacques, 63
bourgeois lifestyle, 37
“The Boyar in the Helicopter,” 176—77
boyars (land owners), 5, 12, 46, 57, 181
Brada, 86, 93n33
Brailoiu, Constantin, 51, 93n35, 93n35,
93n37
branches, 9
Bràneanu, Pana, 50
brâu (dance), 64, 216, 238
“Braziliancay (Brazilian girl), 118, 235
breazd (dance), 43n47, 64, 91 ni 1
Bregovic, Goran, 94n49
Brena, Lepa, 99, 103, 105, 111, 118, 119
bribery, 156, 169
brothel, 181
“Brothers who love each other See “Frafii
care se iubesc ”
Buchanan, Donna, 41n7, 75, 96, 101, 104,
108, 110-11, 131, 133nl5, 134n35
Index
293
Bucharest, xxiv, xxix, 6, 34, 44n78, 48—49,
50, 74, 76, 77—78, 79, 92n26, 96,
106, 117, 165, 175, 191, 194, 203n20,
205, 206, 207, 209, 212, 232, 214-28,
230-31, 233-35, 238-40, 24lnn8-9,
248, 256, 259-61
Bucean, Andrei, 13
Bugeanu, Petrica, 51
Bulgaria, 6, 8, 10, 26, 93n44, 96, 99, 116,
130-32, 132nl, 133nl4, 134n33,250
Bulgarians, 76, 247, 248, 256
Burada, Teodor T., 48—49, 53, 55—56, 57,
59nl3
Burícea, Costicá, 191
Bursuc, Dan, 22, 74—75, 89, 107, 135n50
Butler, Judith, 226
Buzáu, 84
Byzantine chant, 58nl0
Byzantine notation, 50, 55, 59n23, 61n45
“Ca boierii dia mart ” (Like those great
boyars), 235, 238
caddneascd (odalisque dance), 13
café concert, 140, 158n6
café manes singers, 6ln43
“The call”. See “Poziv”
Cámátaru, Sile, 261
Cámátaru brothers, 198
“Cdnd am bani eu dau la topi” (When I have
money, I hand it all around), 193
Candoi, Gicá, 211, 241n23
Can tarea Romdniei, 254
cdntece depetrecere (party songs), 65, 73, 80,
91 n8
cdntece Idutdrepti (Idutar songs), 91 n8, 125,
126, 129, 130, 135nl40, 150
cdntece oriéntale, 212—14
Cantemir, Dimitrie, 45—46, 52, 53, 58n5
capitalism, xxvii, 8, 165, 250, 262, 266
“Cap pipajura” (Heads and tails), 198
Caracal, Onitá de la, 195
Caragiale, I.L., 47, 56, 57, 58n6
carnival, xxix, 167, 180—82
carnivalesque, 252—55
cassette culture, 101
Catanga, Cornelia, 226, 244n91
CDs, 22, 160n39, 227-28
“Ce frumoasd e dragostea” [How wonderful
love is], 111, 118
Ceaucescu, Nicolae, xxvi, 99, 268, 269n20
Ceca. See Velickovic, Svetlana (“Ceca”)
Çelebi, Evliya, 58n4
çengi, 10—11, 12, 13
censorship, xxiv, 265
census, 93n33, xxxin3
“ Cenupdreasa” (Cinderella), xviii, 65, 6( —67,
80-86, 92n31, 93n37, 93n39, 177-78,
184n23, 210, 266
Cercel, Ionuç. See Earring, Ionuç
Cercel, Petrica. See Earring, Petrica
Cesereanu, Ruxandra, 254
chalga, xvii, xxiv, 8, 14, 22, 39, 95, 96,
97, 100, 101, 247, 249, 253, 256;
appearance of singers in, 137n93; culture
and, 249; as entertainment, 117; gender
and, 109, 135n67; identity of, 105, 131;
improvisation in, 112; industry, 105; lip-
synching in, 105—6, 134n42; lyrics of,
121; mainstream, 116; in media, 107;
men and, 123; music videos, 137nl00;
non-mainstream, 135n60; public
contempt for, 105, 134n39; rhythms of,
136n70; Serbian ethnopop and, 104;
sexuality and, 113; stars of, 105—6; styles
of, 104, 106, 110, 134n33; terminology
of, 108, 135nn53—54. See also narrative
meanings
“chef”, 124-25
“Chef de chef” (Time to party), 124—25
“Chef la pmecheri” (The wiseguys’ party),
201
children, 121, 122, 129-30, 138nl21,
138nl48, 190, 213, 225, 229
ch indie, 53
christenings, 163
Christian Orthodoxy, 3
chromaticism, 16
church melodies, 48
church music, 55
çiftetelli, 6, 9, 10, 13, 4lnl2, 4lnl6,
42n23, 58, 106, 111, 131, 136n70,
207-8, 212-13, 220, 235
cimbalom, 6, 16, 17, 21, 87, 210, 212-14,
217-19, 229
294
Index
“Cinderella”. See “Cenu§dreasa”
Citie-i mare barosan?” (Who’s the big
boss?), 125, 167-68
Cinoi family, 160n43
Cintarea Romdniei, 254
Ciobanu, Gheorghe, 49, 52, 53, 59nl7
circle dance, 12, 242n48
circulation, 36, 38
civilization, 255
clarinet, 6, 17, 87-88, 100, 112, 217
class, 1, 3, 39, 123-24, 182, 206, 208, 215,
222, 227, 228, 231, 232, 239, 267
Claudia, 35, 109, 111, 175-76, 244n92
Clejani, 5, 7, 13, 51, 60n26, 150, 161n45,
210, 241
CNA. See National Audiovisual Council of
Romania
cobza, 6ln48
cocek, 42n29, 113
color range, 9
“Come for a Ride, Girl” {Hai, gagico, la
plimbare), 175—76
coming-of-age ceremonies, 186, 189
commission, for songs, 194—97
commodification, 36, 146, 156
communication, 27—28, 248, 255
communism, xxiv, xxxin2, 24, 28, 37, 76,
78, 95-99, 101, 102, 106, 130, 132nl,
133nl4, 134n33, I57n2, 158n3, 165,
184, 209, 210—12, 264; circulation and,
38; collapse of, xxv, 3, 219, 250, 254;
dismantling of, 115; ideology of, 38—39;
post-communism, 115—16
competitions, 30—31
composers, 139—40, 153
composition, xxvi—xxviii, 22—23, 43n49,
94n49
computers, 16n9, 216, 230, 240, 244nl05
concerts, 30—31
Constantin, Vasile, 51
Constantinople, xxvii, 4, 13, 40n3, 48—49,
53, 56, 61n50
contracts, 141, 144, 158nnl5—17
contrapuntal order, 92nl6
“Copiii mei” (My children), 129—30
copyright, 22
Corbu, Stanel, 191
corruption, xxvi, 8, 39, 103, 116, 137nl00,
152, 155
Cosma, Viorel, 52—53, 58n5
cosmopolitanism, 157
Cràcànatu, Titel, 191
Craven, Lady, 42n20
creative process, 22—23, 43n49
crime, 104, 107, 116, 125, 134n32, 190
Cristi Nucâ, 178, 184n24. See also Nut,
Cristi
Croatia, 96, 133n27, 256
cultural activists, 152—53
cultural production, 102
cultural shock, 255
culture, 209; academic, 39, 44n79; cassette,
101; chalga and, 249; dance and, 10;
European, 265—66; family and, 121;
forbidden, 101; globalization and, xxx,
4; Greek, 12; militant and criminal
culture in turbo-folk, 103, 104, 134n32;
Ottoman, 12; popular, 253, 264;
Romanian, 58; traditional, 207; urban
and rural, xxix; village culture, 216
daily conversation, 182
Darnuc, 268n3
dance, 5, 8, 4lnl5 Anglaises, 13; Balkan
ethnopop and, 113—14; belly dancing,
10, 29, 41 n 16, 43n59, 104, 113-14;
breazà, 43n47, 91 n 11 ; cadâneascâ,
13; çengi, 10—11, 12, 13; çifietelli,
10, 42n23; circle, 12, 242n48; cocek,
42n29, 113; codified meanings of,
26; communication and, 27—28;
culture and, 10; earliest documentary
evidence of, 13; ethnic, 13; folk, 12—13;
formalization of, 25; Françaises, 13;
Gypsy, 25—26; horâ, 23—24, 26, 40,
235—36; identity and, 14; improvisation,
26; Islam and, 11; kôçek, 10—11, 13,
14, 23—24, 26; Lady Craven on, 42n20;
line, 242n48; in Màceçu de Jos, 50;
mahala, 14; models of, 25—26; music
and, 27—28; Occidentalized, 26; open
form, 25; Orientalized, 25—26; Oriental-
style, 13—14, 42n28; peasant, 25—26, 27;
pe manele, 27—28, 36, 43n55; Polonaises,
Index
295
13; polymorphic character of, 27—28;
repertoire, 207, 216, 260; Roma, 12—13,
26; Romani style of, 24; roots of, 10;
sárba, 26, 52, 60n41, 235; sexuality and,
11, 24, 26, 36, 126, 267; state of, 27;
stereotyped movements, 25; traditional,
242n48; of turbo-folk, 113; Turkish
music and, 13; ungurica, 43n47, 91nll;
waltz, 13; weddings, 13, 26, 29—30,
42n29, 216-17, 219, 231-32, 235;
women and, 14, 36, 260; young people
and, 260
dancers, 36
“dans american (American dance), 232
danfy 63
Danube River, 1, 3, 5, 13, 28, 50, 80, 87,
90, 100, 127, 150, 247, 264
Danubian principalities, 56-58, 61n47
Danutsi (Taxes), 116
Darwinism, 251
Dassin, Joe, 75
“Dead sea”. See “Mrtvo More”
debauchery, 152, 256
decapentasyllabic meter, 47, 53, 61n50
“De cine mi-e mie dor? (Who do I long
for?), 225
de cingerit (dance), 17, 24
De la prima mea vedere (From the first time
I saw you), 101
decline, 248
dedications, 123-24, 126—27, 154—55,
160n33, 170, 178-81, 183nl0, 186-88,
194-99, 202, 219, 225, 228-29, 234,
235, 259, 260, 264; lyrics and, 199;
from manelqtu 146, 160n33; money
from, 186—87, 193; rural, 208—9; urban,
208-9; wealth and, 229, 236-37
def 11
Dem, Ioanne, 48
Denisa, 35, 109, 244n92, 264
Dentith, Simon, 174
Deoancá, Adrian, 186
desire, 250—51
development, xxviii, 1
discos, 14, 4lnl5, 149, 208, 215, 238, 247
disco music, 15, 26, 103—4, 113, 249, 259,
260, 264, 268n3
discrimination, 132n2
dishonesty, 130
dissemination process, 36
diversity, 75—76
DJ Shan tel, 185
Dobruja, 6, 13, 42n24, 52, 54, 57, 59n20,
265
doiney 40
“Dokaz” (Evidence), 120
dominant, 18
double bass, 87
Draghici, Marius, 230—31, 233—34, 236—
38, 240
drugs, 146, 201, 203n20
drums, 87, 183nl2, 212
Drumul Taberei, 220
Dunin, Elsie Ivancich, 42n2
du§man (enemy), 124, 182
“Du$manii imi poartd pica” (My enemies
envy me), 126
diiyeky 50, 55, 58
dynamics, 8, 21—22
Earring, Ionuj (Ionup Cercel), 22, 129, 181
Earring, Petrica (Petrica Cercel), 129—30,
181
echo, 171, 220
economy, 185, 188-89, 193, 207, 266
education, 164, 165
effects, 172, 183nl4
Efterpi (EmepTir)), 50, 55, 61, 61n44,
61n46
elderly, 149—50, 214
electric amplification, 133n20
electric guitar, 98, 100, 112, 123, 177, 217,
220
electric violin, 16, 21, 87, 112, 224, 228,
231, 238
electronic sound processing, 233, 236, 238
elite, 39, 165-66, 215, 239, 247, 256, 258
Emilia, 121
emotions, xvii, 166—82, 187, 256
enchantment, 166—67, 188
enemies, 124-26, 128, 129, 130, 138nl40,
157
ensembles, 130
ergo maneli§tiy 254
296
Index
escapism, 127, 258
ethnic dances, 13
ethnic groups, 76, 78
ethnicity, xxviii, 96, 97, 131, 206, 226, 228,
239; of audience, 148—49; instruments
and, 227; of lautari, 141; of maneli§ti,
144, 255; of singers, 109—10
ethnologists, 4
ethnopop, xvii, xxiii, 75, 132nl; Balkan,
95-96, 97, 100, 107, 110-14, 132;
genres, xxviii, 101—7; “Oriental,” 95, 97;
Serbian, 104; terminology, 107—8. See
also narrative meanings
etnOy 15, 42n36, 260, 263, 268n3
etymology, 4ln6, 45
“Eu sunt bun dar $i nebun” (I’m a good guy,
but don’t make me mad), 189
European dress, 13
Europeanization, 256
European Union, xxvi, 115, 117, 230, 260,
264, 265
“Eu sunt mare gagicar ” (I’m a great ladies’
man), 127, 138nl46
“Fdi nevasta, fai muiereF (Hey wife, hey
woman!), 214
fairy tales, 86
fame, power and, 169
family, 32, 34, 36, 42n29, 95, 99, 114,
120, 121, 128-30, 138nl48, 143, 148,
158nl2, 185, 190, 193-95, 201, 209,
212, 213, 215-16, 219, 259
fans, 148-51, 153, 154, 165, 260
“Fata me a” (My daughter), 235
fathers, 36, 64, 74, 97, 129, 149, 150,
158nl2, 181, 227, 232, 240n2
feasts, xxix, 180—82
Felix, 168-69, 177
Feraru, Nicolae, 229
Ferdinand, Franz, 268
Ferentari, xxix, 78, 194, 203n20, 260
fertility, 245nl27
Filimon, Nicolae, 52
financing, 139^40, 157nl, 158n3
first appearance in print, 1
fixed tuning, 94n4S
Floraresele (The flower girls), 213
Florin Fermecâtorul. See Florin Salam
Florin Fish. See Florin Pe$te
Florin Pe$te, 175—76, 181. See also Florin
Fish
Florin Purice, 198, 204n39
Florin Salam, 16, 37, 106, 111-12, 118,
125-27, 128, 135n47, 135n65, 147,
176-77, 181, 184nl5, 184n26, 186-87,
190, 197, 199-200, 229, 231, 235,
236—37, 238, 239n9, 262; live footage
of, 190; music videos of, 37; style of,
233—34; on television, 269n6
“The Flower girls”. See “Floraresele”
The Flower girls’ manea. See “Maneaua
florâreselor”
folclor, 140, 157n2, 264
folk dance, 12—13
folklore, 151, 152, 157nl, 254, 268n3
folklorism, 23, 28, 37
“Forget”. See “Zabravi!”
forms, diversity of, xxvii
Françaises, 13
France, 180
“Frate, frate” (Brother, brother), 210
“Frapi adevâraçi” (True brothers), 129
“Frafii care se iubesc” (Brothers who love
each other), 129
freedom, 165, 180
free market, 182
free rhythm, 5, 21, 54, 60n38, 84, 111,
136n77
French Revolution, 180, 255—56
funerals, 4, 29—30
fusion, 98
Galafi, 152
Gambetta, Diego, 190, 200
Gane, Nicolae, 47, 56, 57, 61n48—49,
242n28
gangsta rap, 185, 200—201
gangsters, 189, 190, 192—93, 200
“Garda de fier” (Iron Guard), 200
Garfias, Robert, 6, 45, 106, 210
gazely 54, 6ln43
Geamba$u, Costel, 84, 86, 133n224, 177,
184n23y 210
Cell, Alfred, 188
Index
297
gender, 95—96, 97, 130; chalga and, 109,
135n67; instruments and, 226, 243n90;
of lautari, 141, 158n9; lyrics and,
117-18, 238; NKNM and, 109; power
and, 117, 127-28; roles, 115, 131, 226;
sexuality and, 244n93; of singers, 109—
10, 135n67; turbo-folk and, 110, 120,
122—23, 135n67; of vocalists, xxviii,
109-10, 135n67
Generalul, Amar, 196
generational divisions, xxvi, 8, 163, 182,
211, 214-15, 217, 238, 239-40
genres, 15, 205, 216, 223, 259, 264
Ghica, Ion, 52
gigs, money from, 186—87
Gicuja din Aparatori, 163, 167
Giurchescu, Anca, xxiii, xxvii, 6, 161, 210,
235, 241nl5, 263
glamour, crime and, 134n32
globalization, xxvi, xxx, 4, 39, 94n52
Gloria, 108, 109, 112, 121, 123
good manners, 255
Gordy, Eric, 102, 134n29
Gorj, 87
grammar, 164
Gramophon Record Company, 51
Greater Romania Party, 117
Greek culture, 12
Greek music, 1, 2, 80, 93n34
Grujic, Marija, 110, 116, 122, 132n9,
133nl3
guitar, 80, 81, 82, 84, 85, 87, 112, 214
Gup, Nicolae, 106, 122, 125, 129, 186,
187, 196, 225, 253
Gypsies, 159n24
“Gypsy,” xxiv—xxv, 40, 43n59, 107, 153
Gypsy dance, 25—26
“Hai, gagico, la p limb are” (Come for a ride,
girl), 175-76
“Hajde da se volimo”(Let’s fall in love), 118
“Halfyou, half me”. See “Jumatate tu,
jumdtate eu”
harems, 11
harmonic functions, 18
haromonizations, 266
hatred, 37
“Heads and tails ”. See “Cap §i pajurd”
Helbig, Adriana, 159n24
Heliade-Radulescu, Ion, 47, 61n50
heroin trafficking, 203n20
heterogenization, 74—76, 90, 91nl3, 179
“Hey wife, hey woman!”. See “Fdi nevastd, fai
muieref’
hip-hop, 15, 113, 134n28, 182, 200, 248,
249, 253, 264
“His love, his kidney,” 179
historic origins, 4, 40n2
history, 45
Hollywood weddings, 145
homogeneity of musical style, 65—73
honor, 37—38, 123
hora, 23-24, 26, 40, 235-36
hora lautdreasca (lautar hora), 13, 17, 23—
24, 36, 40, 24ln20—24
hora tigdneascd, 24
hore, 16
humor, 179—80
“Hundreds of millions”. See “Sutele de
milioane”
“Ia-ma, viafa mea, in brafe” (Take me, my
love, in your arms), 234
“I cant forget you, Georgi”. See “Ne moga az
da te zabravya, Georgi ”
“Iar am pus-o” (Ive done it again), 111,
112,126
iconography, 36, 176
identity, xxiv, 14, 255, xxxin3; authenticity
and, 226, 243n87; of chalga, 105, 131;
dance and, 14; instruments and, 228,
243n90; lyrics and, 170; music and,
240n5; regional, 141; religion and, 96;
repressed, 256; Romanian, 43n69, 57;
rural, 209; of turbo folk, 131; weddings
and, 216
“I don’t need life without you, my dear.” See
“Sta ce mi zivot bez tebe dragi”
Ienu$, §tefan, 64
“If you get on my nerves,” 178—79
“I have such a big house”. See “Am o casd-a§a
de mare”
“I like to pretend.” See “Imi place sa ma
prefac”
298
Index
illegal activities, 107
“I m a great ladiesy man” See “Eu sunt mare
gagicar”
“Im a happy father See Sunt un tata fericit”
imams, 48
“Imi place sa ma prefac” (I like to pretend),
126-27, 235
immorality, 164
impropriety, 150, 227
improvisation, 22, 43n48, 60n38, 136n77,
172; in Cenufdreasa, 86; in chalga, 112;
composition of, 94n49; dance, 26;
Oriental, 74
‘7m so lucky “Suntplin de noroc”
individualism, 23
industrialization, xxv, 115, 209
inequality, 130
influences, 90
“Inima-n mine de dor sancingie” (My heart
burns with longing), 50, 51
insecurity, 130
instruments, 16, 87—88, 93n44, 112,
183nl2, 207, 214; class and, 227;
ethnicity and, 227; gender and, 226,
243n90; identity and, 228, 243n90;
sexuality and, 243n90; traditional,
208, 210, 219, 224, 228; urban, 208;
weddings, 217—19; of Zaharia family,
230-31
intellectuals, 39, 44n79, 103, 139—40,
141-42, 151-53, 154, 215, 260
intelligentsia attitudes, xviii
intensity, 8
intent, 179
interlopi (persons active in the underworld),
34
Internet, 4, 8, 36, 74, 79, 139, 143, 152,
155, 190, 216
Ioni^a, Costi, 109, 135n66, 251
Ionup Cercel, 22, 38, 119, 127, 129, 181.
See also Cercel, Ionuf; Earring, lonup
Iordan, Florin, 5
irony, 166, 173-82, 195
Islam, dance and, 11
Ive got a sexy wife. See “Am nevasta sexy *
“Ive got a wife whos good and lucky . See
“Am o nevasta cuminte §i norocoasa
“Ivegot the most beautifulson See “Am un
baiat cel mai frumos”
jazz, 15, 105, 248
jealousy, 37
“Joacd manea” (Dance to the maned), 19—20
job competition, 228
journalists, 261
“Jugoslovenka” (Yugoslav woman), 111, 115
“Jumdtate tu, jumdtate eu (Halfyou, half
me), 118
kafana, 99, 104, 105, 131, 132nn8-10
Kantouniaris, Nikiforos, 60n34
keytar, 21, 43n46, 87, 93n43, 224
Khrushchev, Nikita, 269n20
kitsch, xviii, xxiv, 107, 112, 164, 174, 208
Kligman, Gail, 215-16
kogek, 10-11, 13, 14, 23-24, 25, 26
Kratimata, 58nlO
Krista!, 104
kruchma, 105, 131
kruchmarski pevci, 105
Kuipers, Ron, 257
Kurkela, Vesa, 93n44, 110—12, 134n33,
135n54, 136n70, 137n99-100, 242
kyuchek,, 60n38, 104-5, 111, 113, 133nl8,
136n70
laika, 95
Lampadarios, Petros, 48
land owners. See boyars
language, 3, 4ln6, 61n49, 181—82
laughter, 254
Idutari, xxiv—xxv, xxvii, 14—15, 64, 131—32,
140; attacks of, 191—94; in Clejani, 51,
60n26; clients of, 141—42, 159nl7;
contracts of, 141, 158nnl5—17;
customs, 154; definition of, 164; elderly,
214; emotions of, 187; enchantment of,
166—67; ethnicity of, 141; gangsters and,
192—93; gender of, 141, 158n9; good
and bad, 172; jealousy and, 37; maneligti
and, 159n24; money for, 188, 191—94;
occupational skills of, 240n2; old-style,
153; patrons of, 141; playlists, 142;
public and, xxix; repertoire, 141, 153;
Index
299
requests, 141, 142, 159nnl6—17; rural,
141; threats against, 191—94; tips, 141,
142; village, 220—23; weddings and,
268n2; young, 157
Làutar music, 28
Lâutar song, 68—73
Lazar, Gabi, 27
Leo de la Strehaia, 194—95, 201
“I. els fall in love”. See “Hajde da se volimo”
“Levovete v marki” (Leva to marks), 111,
116
liberalism, 250
life-cycle celebration, 211, 215
lifestyle, 127
Ligné, prince of, 13, 42n21
line dance, 242n48
linguistic investigation, 50, 58n20
lip-synching, 105—6, 134n42, 155
listeners, xxviii—xxix
literary sources, 46—48, 58n6
The Little Prince. See Prinpi§orul
Little Sorin the Kid (Sorinel Pu$tiu), 125,
129, 167-69, 172, 773, 176, 213
live performance, 23, 28—30, 43n73, 163,
186, 24In10, 249
Liviu Puçtiu, 122
“Ljubav fatalna” (Fatal love), 116, 120, 123
“local barons,” 252
longevity, 139
“Long live the chief”. See “Trâiascâ §efu!f
Lortat-Jacob, Bernard, 63—64
loudness, 133n20, 171, 218
love affairs, 181
love and attraction, 117—22
lovers, 180
“Loving two women”. See “Sâ iube§ti douâ
femei ”
loyalty, 128-29
luck, 125, 128
Lukic, Lepa, 99, 115
Lunca, Gabi, 106, 210, 213, 241nl9
lust, 181
lutes, 93n44
lyrics, xvii, 31-32, 131, 164, 181-82, 253;
of Cenu$dreasa, 81—85; of chalga, 121;
clichéd, 95; dedications and, 199; family
and, 128—29; gender and, 117—18,
238; identity and, 170; of manelijti,
143, 147; men and, 122-23, 125;
metaphors in, 197—200; money and,
167—68, 238, 262; pornographic, 34;
of power, 167—69, 262; quality of, 33;
of Rap ire a din Serai, 65; replacement of,
75; sexuality and, 6, 34, 117—18, 219,
238, 263; simplicity of, 265; sponsors
within, 194—97, 201; suffering in, 33;
symbolism in, 219; taboos in, 197—200;
of turbo-folk, 120; understanding, 248;
vulgarity of, 151, 152; weddings and,
178, 219; women and, 34, 122. See also
narrative meanings
Macarie, Hieromonk, 55
Macedonia, 42n29, 98, 137n92
Mace$u de Jos, 50
“Made in Romania,” 117
mafia, 105-6, 168, 190-91, 200, 201-2
Magnatu, Sorin, 195, 203n25
mahala dance, 14
“Mahala §i pigdnie” (Slum and Gypsydom),
68-73
Mahalaua Antim (Antim slum), 77
major modes, 17
makam (pi. makamlar), 17, 42, 54, 55, 111,
136n78, 177
makams hikaz, 17
makam suzinak, 55
male dominance, 117
mane, 60n38
manea turceased, 209—12
“Maneaua florareselot” (The Flower girls’
maned), 65, 266
manele lente. See “blues” manele
manele turce§ti, at weddings, 213—14
manelism, 249-50, 251—54
manelijti, xxv, xxix, 15—16, 18, 34, 35,
36, 207; audience, 143, 145, 146;
contracts of, 144; decline in popularity
of, 147; dedications from, 146, 160n33;
definition of, 142; description of typical,
143—44; drug use of, 146; ethnicity of,
144, 255; fans of, 147, 160n38; honor
of, 37—38; Idutari and, 159n24; lyrics
of, 143, 147; mediocre, 154; messages
300
Index
encrypted in overall discourse of, 145—
47; microtonally tuned synthesizers of,
42n4l; money of, 143, 159n21; patrons
of, 143, 144-45; plagiarism of, 160n32;
repertoire, X43—44; sound intensity of,
145, 160m30; websites of, 147—48;
weddings and, 144—46, 160nn30—31;
young people and, 155
manelization, 249, 254
Mané Taxim, 49
mani (pi. maniler•), 53, 58
maniler, 53
Maramure$, 87
Marinova, Sofi, 109
market economy, xxiii
marriage, 78, 120—21, 122, 127. See also
weddings
masculinity, 124, 131, 143, 226
maturity, 81
meaning, 223
media, 79, 107, 154-55, 267
Mega chef Indian, 35
mehterhane (military brass band), 5, 10, 48,
52, 53, 59nl3
melody, 89, 247—48
men, 245nl27; chalga and, 123; lyrics and,
122-23, 125; macho, 35, 120, 122, 127,
131, 143; power and, 127—28; privilege
and, 128; turbo-folk and, 123
Merlin, Dino, 103
metaphors, 197—200
meter, 4lnl6; Constantinople, 53;
decapentasyllabic, 47, 53, 61n50;
“Gypsy,” 43n59. See also rhythm
mehterhane (Ottoman military band), 45,
53, 55, 58n4, 59nl2-13
Melchisedek, Bishop, 48, 55, 57
Mesnil, Marianne, 255
Meti, Gheorghe, 63—64
microtonally tuned synthesizers, 42n4l
Middle Eastern sound, 111, 205, 212
migration, 96, 209
Miháilescu, Vintilá, xxix—xxx
Mihai Viteazu Regiment 6, 51, 56
military brass band. See mehterhane
Milosevic regime, 102—3, 109, 250
minimum wage, 169
minor mode, 17
Minune, Adrian, 75, 118, 121, 124,
134n46, 137n93, 147, 181, 187, 213,
217, 224
Minune, Babi, 19-20, 38, 117, 187
Mirkovic, Dragana, 98, 103, 111, 112, 119,
133nl3
Miss Piranda contest, 10, 30—31,114
mizrahit, 39
Mladenovic, Ivana, 203n25
modernity, 21, 37, 39, 57, 148, 156, 207,
214, 218, 240; loudness and, 133n20;
tradition and, 215—16
modernization, 150, I6ln45, 215—16
modern life, 121
Moisil, Costin, xxvii, 41
Moldova, l xxiv, xxxin3, xxxin4, xxxin7, 7,
8, 40nl, 40n3, 45, 46, 48, 57, 59n20,
61n41, 61n51, 75, 87, 94n49, 132n4,
159nl7, 177, 183n2
money, 126, 150, 152, 181; alcohol and,
193; commissions for songs, 194—97;
from dedications, 186—87, 193; display
of, 194; financing, 139—40, 157nl,
158n3; friendship and, 192; from gigs,
186—87; for lautari, 188, 191—94; lyrics
and, 167—68, 238, 262; of maneli§ti,
143, 159n21; nouveaux riches, xxv, xxix,
31, 34, 90, 208; power and, 155—56;
sharing, 124—25; urban ensembles and,
229-30; wealth, 76, 123, 169-70, 190,
229, 236-37
Moore, Allan E, 87
moral Darwinism, 251
morals, 150, 152, 165
mosques, 48
“Most wanted” See “Urmdrire generald”
Mozart, Wolfgang Amadeus, 64
Mr. Juve and Susanu, 184nl8
“Mrtvo More” (Dead sea), 120
Muntenia, 8, 14, 28, 40nl, 64, 84, 87, 90,
93n40, 150, 206, 207, 210, 212, 269
Muntenian villages, 206
Muscalagiu, Paun, 51
musical notation, 74, 140; Byzantine
notation, 50, 55, 59n23 6ln45;
ignoring, 158n8; knowledge of, 158n4;
Index
301
rhythm, 164, 173 Western notation,
59n23
musical roots, 167
musical structure, 14; of Occidentalized
music, 17—18; of Orientalized music,
17—18; peasant, 16, 18; Romanian-
Idutar manele, 16—17; sections, 17—18;
Transylvanian-Banat manele, 17
musical style, 64
musical style, homogeneity of, 63—73
musical taste, weddings and, 149
musical warfare, 172
musicians (muzicanfi), 140—43; audience
and, 157, 168; definition of, 140; intent
of, 179; as occupation, 97; patrons and,
I60n4l; Romani, 76; stealing from
other, 79, 92nl8; traditional, 96
music school, 22
music videos, 37, 113—14, 116, 120, 130,
137nl00, 269n9
Muslimovic, Halid, 109, 123
muzica bánápeaná-sdrbeascá, 100
muzica de petrecere. See “party music”
muzica Idutdreascd, 14—15, 17, 32, 43n69,
65, 74, 91n9, 109, 130, 138nl50, 152,
263; association with, 37—38; creation
of, 159n25; violin, 94n48
rnuzicanfi. See musicians
muzica oriéntala, xxiv, xxv, 4lnl2, 101,
106-7, 212-23, xxxnl
muzica populará, 140, 157n2
muzica sdrbeascd, 99—101, 108
muzica ujoara (pop music), 65
muzicant (musician), 140—41, 156, 158n7—
8, 158nl4
muzicieni. See academic musicians
muzikapopullore, 95, 132nl, 166, 248, 250
“My childrenSee “Copiii mei”
“My enemies envy me”. See “Du§manii imi
poartd pica”
“My princess”. See “Princesa mea”
Naipu, 214
narcissism, 152—53
narodna muzika, 100
narrative meanings, 114; contemporary
society, 115—17; family, 128—30; love
and attraction, 117—22; representations
of power, 122—28
Nasturica, Vasile, 68—73
National Audiovisual Council of Romania
(CNA), 154
nationalism, 102, 103, 139, 256, 268,
269n20
national musics, 141, 158nl0
natural tendencies, 255—56
Negruzzi, Costache, 46, 55, 57
“Ne moga az da te zabravya, Georgi” (I can’t
forget you, Georgi), 121
neofolk, 132n6, 134n29
nesting orientalisms, 107
Nettl, Bruno, 92n24
“Nevastd ca a mea * (A wife like mine), 127,
214
“Am nevastd sexy” (I’ve got a sexy wife), 218,
220
nevbetler, 53
Nicolescu, Vasile, 59n22
nightclubs, xxvi, xxvii, xxviii, 4, 8, 14, 30,
95, 103, 105-6, 113, 114n42, 130, 142,
144, 147, 149, 151, 179, 181, 186,
199-200, 202, 208, 229, 24ln8, 259,
264
nikriz, 17
NKNM. See novokomponovana narodna
muzika
normality, 182
nouveaux riches, xxv, xxix, 3, 31, 34, 90,
104, 114, 146, 205, 208, 231
novokomponovana narodna muzika
(NKNM), xxiv, 98-100, 101, 102, 131;
early songs of, 115; gender and, 109;
social conflicts and, 115; terminology of,
108; timbre of, 112; turbo-folk and, 103.
See also narrative meanings
“Numai fratele mi-e aproape ” (Only my
brother is close to me), 129
Nut, Cristi. See Cristi Nuca
Nupt, Tata, 196-97, 202
oaths, 191
obscenity, 152
“Am o casd-aya de mare” (I have such a big
house), 124
302
Index
Occidentalized dance, 26
Occidentalized music, 1—2, 9, 17—18
odalisque dance. See caddneasca
“Od izvora dva puttca” (Two roads lead from
the water spring), 115
Odeon, 84, 101, 133n24, 177, 184n23
Odobescu, Alexandru loan, 47, 56, 57
Oi§teanu, Andrei, 41n5, 45—46, 52—53,
58nl, 58n4—6, 248, 256
Oltenia, 40nl
“Am o nevasta cuminte // norocoasa” (I’ve got
a wife who’s good and lucky), 233
“Only my brother is close to me”. See “Numai
fratele mi-e aproape”
opera, 5
opponents, 37
oral music, 140, 156, 157
oral musical compositions, xxvii—xxviii
oral transmission, 64, 85, 93n39
orgd. See synthesizers
Oriental belly dancing, 10
“Oriental” ethnopop, 95, 97
Oriental improvisation, 74
Orientalism, 31, 131
“Orientalism,” 81, 264
Orientalized dance, 25—26
Orientalized music, xxvii, 1, 3, 9, 10,
17-18, 53
“Oriental” music, xxiii, 5, 8, 9, 10, 49, 53,
56, 73, 99, 101, 104, 110-13, 117, 208,
212, 223, 242n39, 265
“Oriental” ornamentation, 263
Oriental-style dance, 13—14, 42n28
ornamentation, 112, 136n81
Ottoman art music, 52, 91n8
Ottoman chamber music, 55—56
Ottoman classical music, 54, 61n43
Ottoman culture, 12
Ottoman Empire, 3, 4ln6, 52, 53, 60n38,
61n47, 96, 268
Ottoman music, 5, 46, 50, 54, 57, 61n46
overall rhythm, 89
Paldum, Hanka, 103
pan-Balkan hybridity, 248—49
Pann, Anton, 45-46, 49, 52—53, 59nl7,
59n24, 61n42
Papazov, Ivo, 100
parallel thirds, 171
paraphrasing, 81
parents, 138n 48y 150
parody, 173—82, 254
parties, 170, 189, 190-91
“party music” (muzicd de petrecere ),
158nl1
party songs. See cdntece de petrecere
patrons: oI ldutariy 141; of maneli^ti, 143,
144—45; musicians and, 160n4l. See also
audience
Patterns of Intention: On the Historical
Explanation of Pictures (Baxandall),
92n28
Paun, Orlando, 232
Paun, Sile, 219-20, 232
peasant, 151, 252; dance, 25—26, 27; feasts,
xxix, 180—82; musical structure, 16, 18;
revolts, 180
pe manele, 27-28, 36, 43n55
Pennanen, Risto, 54, 228
performance spaces, 171
Perrault, Charles, 93n39
persons active in the underworld. See
interlopi
pe§revler, 53, 55
Petit Champs Theatre, 54—55
Petrache, Alina, 43n55
Petrache, Luminqa, 36
Petrache, Nelu, 220, 232
Petrescu, Ioanne Dem., 48, 55, 57
Petrica Cercel, 129—30, 181. See also
Earring, Petrica; Cercel, Petrica
Petrovicl, Emil, 50
Pettan, Svanibor, 211
Phanariot era, 40n3, 45—46, 47, 52, 53,
58n3
Phanariot Regime, 2-3, 13, 40n3, 58n5
piracy, 101, 186, 227—28
Pipgoi family, 160n43
place, xxvi, 206, 216, 222, 226, 227, 228,
231, 235, 239, 244nl06, 266
“Placi zemljo” (Weep, o earth), 119
plagiarism, of maneli§ti, 160n32
play Aj, 175
poetics, 197—200
Index
303
poetry, 49, 53, 61n50, 107, 115, 124, 126,
265- See also lyrics
political taboos, 177
politicians, 144, 154
Polonaises, 13
Popescu, §tefanache, 6ln42
Popescu-Pasarea, Ion, 49, 54, 59nl7, 6ln42
pop-folk, 95, 105, 108, 135n54, 136n70
pop music. See muzicâ uçoarâ
popular culture, 253, 264
popularity, 207, 259
popular music, 93n44, 177, 249; foreign,
15; globalization and, 94n52; trends, xxx
“Portofeleportofele” (Wallet, o wallet),
184n21, 210
post-communism, 90, 97, 99, 105—6, 109,
115-16, 167, 208, 209, 210, 212, 240,
241n9, 250-52, 260, 265
poverty, 76, 125, 128, 132n2
power, 151, 188; body-power ideology, 251 ;
emotions of, 167—82; experiencing,
172—73; fame and, 169; gender and,
117, 127-28; lyrics of, 167-69, 262;
men and, 127-28; money and, 155-56;
relations, 116, 124, 131; representations
of, 122—28; sonic, 171; youth and, 150
“Poziv” (The Call), 120
praise poetry, 107, 124, 126
‘‘pride ceremonies,” 252
“pride houses,” 252
primitive accumulation of desire, 250—51
primitivism, 254
“Prinfesa mea” (My princess), 121
“Prinp$oruR (The Little Prince), 65, 84,
210, 266
priveghi (alms giving), 29
privilege, 127, 128, 258
production, 36, 140
professionalism, 142
prohibition, 211
Pro Nuptia, 145, 159n28
proponents, 37
protest, 3, 28
public, xxix, 4, 152, 154, 252
pubs, 163
Puceanu, Romica, 106, 136n74, 210, 213,
241nl8
“Pumnii mei minte nu are” (My fists has no
brain), 253
puppet theater, 49
Purice, Florin, 198
Pustite me da ga vidim” (Let me see him),
119-20
Pu§tiu, Liviu, 122
Pu$tiu, Sorinel, 125, 129, 167-69, 172,
173, 176, 213
rabiz, xvii, 248, 250
racism, 138nl51, 153
Radio Ponos, 134n30
radio stations, 186
Radulescu, Speran^a, xxiii, xxvii-xxviii, xxx
Ragalie, Pirvan, 52, 54, 59n21
Raileanu, Constantin, 50, 59n24
rama, 15
rap, 198, 200-201
“Rdpirea din Serai” (The Abduction from
Seraglio), 65
Rasmussen, Ljerka Vidic, 98—99, 103, 104,
110,133n27
“Reckless love” See “Bezumna lyubov”
recordings, 6, 8, 22—23, 51
regional identity, 141
regional music, 73
regional styles, 205
relationships, 122, 128
religion, identity and, 96
rembetika, xvii
remodeling timbre, 87—90
repertoire, 79, 16ln45, 208, 214-15, 221,
242n34, 263; dance, 207, 216, 260;
Idutari, 141, 153; manelipi, 143-44;
traditional, xxix, 224, 234; weddings,
218, 231, 233-34, 235-36, 242n53;
Zaharia family, 222
replication of uniformity, 9 In 16
representations of power, 122—28
reputation, 139
requests, 141, 142, 159nnl6—17, 208,
235-36, 238
restaurants, xxvii, 4, 8, 30, 42n36, 91 n8,
95, 141, 208, 264
retur, 193
reverberation, 171, 188, 220
304
Index
Rev ista 22, 43
Reyes, Adelaide, 81 n 16
rhyme, 114, 131
rhythm, 56; amphibrach-spondee, 65,
74, 81, 147, 261, 263; Arab, 4lnl2;
of chalgdy 136n70; giftetelli, 6, 9, 13,
40nl2, 42n23, 106, 111, 131, 136n70,
207-8, 213, 220, 235; diiyek, 50, 55,
58; examples of, 9; free, 5, 21, 54,
60n38, 84, 111, 136n77; kyucheky
111, 113, 136n70; Macedonian, 98;
of muzica orientald, 4lnl2; notation,
I64y 173 overall, 89; South Slavic,
111; syncopation, 6, 9, 21, 25, 4lnl5,
43n47y 207—8; unmeasured, 40
Rice, Timothy, 91n7, 133nl9—20, 134n33,
134n37, 135n53-54, 136n70, 243n90
Rihanna, 63
ringtones, I60n40
ritornellos, 17, 42n43
ritual music, 216, 218
rituals, 190-91, 223, 260
rock music, 100, 102, 105, 134n28, 212
Roma, xxiv, 107, 161 n54; ambiguity of,
153—55; dance, 12—13, 26; negative
perception of, xxiv; population, xxxin3;
translations of, 40 n 5
Roman, Denise, 208
Romania, xxv, xxix, 1, 2y 42n24, 92n20,
230
Romanian Communist Party, 100
Romanizw-lautar manele, 16—17
Romanian Revolution, xxiii, xxv, 8, 78, 98,
100-1, 106, 180, 182, 205, 206, 207,
211, 213, 214, 217, 242n48
Romani musicians, 76
Romani style, of dance, 24
romantic love songs, 185
Roxana, 233, 235
royalties, 186
rural ensembles, 207, 212, 224—29
rural identity, 209
rural music, xxiv, 5, 15, 16, 17, 21, 42n36,
64, 65, 73, 79, 110, 151-52, 242n49
rural-urban dynamics, xxiv, 5, 81, 87, 115,
220, 224-30, 232-40
Russo, Alecu, 46, 56—57
§aineanu, Lazar, 49, 56, 59nl8, 6ln51
“Saint Tropez’ 127, 236—37, 262
“Sá iube^ti douá femei” (Loving two
women), 121—22
Salami, Florin. See Florin Salam
Saloo Salo mee a, 222, 224
“Sama” (Alone), 112, 119
samba manele, 15
Samson, Jim, 44n79 108, 208
Ҥaraiman 210, 260, 266
sárbáy 26, 52, 60n41, 64, 216, 219, 232, 256
§arktlery 57
saxophone, 6, 17, 21, 87, 88, 100, 112,
217, 228
Schiop, Adrian, xxix, 151, 249
security, 128
self-expression, xxix, 23, 150, 249, 257
sensuality, 164, 256
“Sen Trope”, 127
§erban, Carmen, 109, 147, 244n92
Serbia, 10, 44n79, 96, 97, 98, 101-2,
102-4, 105, 109, 110, 112, 113, 114,
116, 131, 132, 133n27
Serbian-Banat music, 2, 3, 8
Serbian ethnopop, 104
Serbian nationalism, turbo-folk and, 103
seriousness, 179
sevadalinkay 39, 44n79
sexism, 117
sexuality, 116; chalga and, 113; dance and,
11, 24, 26, 36, 126, 267; gender and,
244n93; instruments and, 243n90;
lyrics and, 6, 34, 117-18, 219, 238,
263; music videos and, 120; of singers,
244n93; symbolism and, 219; turbo-folk
and, 113
shadow economy, 188—89, 193
shame, 256, 257
sharing money, 124—25
shows, 30—31
Shuker, Roy, 93n42
“§i prieteni §i du$mani ” (Both friends and
enemies), 128
Sicilian Mafia, 190
Silverman, Carol, 104, 106, 116, 133n20,
134n40, 136n78, 137n78y 137n93, 218,
244n93
Index
305
singers. See vocalists/singers
Sion, George, 49
“§i prieteni §i du^mani” (Both friends and
enemies), 128
“St tu n existáis pas ”, 75
skii-adiko, 39
slang, 164, 168, 183nn6—7
slavery, xxviii, 97—98, 110, 131—32,
138nl51
“Slum and Gypsydom”. See “Mahala §i
figanie”
§mecheri (tricksters), 34, 37, 126, 128,
161n46, 168, 169, 170, 177, 179-80,
183n7, 188,261-62
social boundaries, 239, 240n5
social conflict, 115
social groups, 90
social hierarchy, 157, 253
social mobility, 116
social music, 216
social order, 126
social recognition, 123
social relevance, 180
social significance, 38-40
social status, 151, 158nl5
social tensions, 4
society, xxvi, 115-17, 254-55, 268n4
sociology, 249—50
socio-professional categories, 76
soft porn, 115
Soldapii (Soldiers), 199—200
songs, 194—97, 247—48
song structure, 131
sonic power, 171
Sorinel Copilul de Aur (Little Sorin the
Golden Child), 181, 187
Sorinel Pu§tiu, 125, 129, 167-69, 172, 773,
176, 187, 195, 213. See also Little Sorin
the Kid
sop 18
sound intensity, 145, 160m30
sound production, 93n42
sound reproduction, 93n42
South Slavic rhythm, 111
Soutzos, Georgios Nikolaou, 53
Soviet Union, xxxin2
Sperber, Dan, 174
spirit, 256
Spitalul amoruluiy 52—53, 60n29
spoken passages, 29
sponsors, within lyrics, 194—97, 201
“Sta ce mi zivot bez tebe dragi” (I don’t need
life without you, my dear), 118—19
Staicu, Alexie, 212
Staicu, Costica, 242n34
standardized versions, 89
star performers, 23, 261
state institutions, 140
Statelova, Rosemary, 249, 253
§tefan de la Barbule§ti, 127, 135n65, 213,
220
status, 125, 131, 165—66
Stewart, Michael, 125, 138nl36
Stoichifa, Victor A., xxviii-xxix, 135n47,
136n88, 158nl4, 187-88, 193, 248,
252, 253
Stokes, Martin, 74, 206, 240n5, 243n87,
244n96, 244nl06
Strehaia, Leo de la, 194—95, 201
style, 215
stylistic diversification, 73—74
subculture, 116
subdominant, 18
Sublime Porte, 4—5, 8, 40n3
success, 126, 140
Sugarman, Jane, 92nl9, 96—97, 166, 167
“Suntplin de noroc” (I’m so lucky), 125—26
“Sunt un tatd fericit” (I’m a happy father),
129
survival, 125
“Sutele de milioane” (Hundreds of millions),
196
svatbarska muzika, xxiv, 99—101, 133n 15,
133n18-20
symbolic opposition, 3, 28, 38
symbolism, 190—91, 219
syncopation, 6, 9, 21, 25, 4lnl5, 43n47
207-8
synthesizers (orgd)* 88, 94n47, 112—13,
130, 131, 136n82, 171, 212, 225;
genres and, 223; guest players, 220—23;
impact of, 223; microtonally tuned,
42n4l; role of, 227; smaller, 183nll;
weddings without, 217—18; Zaharia
306
Index
family, 232—33, 238; Zaharia family
crisis with, 229—30, 233
synthetic sounds, 163
Szeman, Ioana, 107
taboos, 197—200
“ Take me, my love, in your arms”. See “la-ma,
via fa mea, in brafe”
taksim, 35, 60n38, 111, 136n77
tallavala, 39
tanbur, 5, 48, 59nl4
taraf(p 1. tarajuri), 5, 87, 158n8, 158nl2,
172, 212, 215; modernization of,
150, 161 n45; weddings and, 144—45,
159n26; women and, 158n9
Taraf de Haidouks, 60n26
tarajuri, 87, 141, 158n8, 158nl2;
modernization of, 150, I6ln45; weddings
and, 144—45, 159n26; women and,
158n9
Taranu, Nicu, 191
fara Romaneasca, 76
taskimler, 55
taste, 208
“Tata Nu$u,” 196-97, 202
Tatar population, 42n24
tax investigations, 262
taxi drivers, 8
Taylor, Charles, 257
techniques of enchantment, xxix
technology, 143, 186, 223
teenagers, 148, 149—50, 160n42
television, 4, 22, 42n36, 75, 79, 92n27,
102, 151, 154-55, 186, 190, 198, 202,
230, 261, 264, 269n6
tempered system, of tuning, 94n48
tempo, 5
Teodorescu, G. Dem., 49, 56
terere, 58nl0
teretismata, 58nl0
texture, 171
timbre, 9, 21—22; ofNKNM, 112;
remodeling, 87—90; of turbo-folk, 112;
vocal, 8, 15, 54, 65, 75, 142, 261
Time to party See “Chef de chef ”
tips (bacfif), 29, 177; giving back, 170;
Idutari, 141, 142; for singers, 43n67;
wealth and, 169—70; at weddings, 170
Tito, Josip Broz, 102
Todorova, Maria, 256
ton, 18
tonalities, 18
“Tonight I want to drink” See “Asta seard
vreau sd beau”
tonuri, 18
“tough guys,” 168
tradition, 207, 215—16, 240
traditional contexts, xxvi
traditional instruments, 224, 228
traditional music, 171
traditional repertoire, xxix, 221, 234
“ Trdiascd fejuir (Long live the chief!), 199
Transylvania, 5, 8, 14, 24, 41nl4, 42n28,
43n47, 47, 53, 87, 240nl, 259
Transylvanian-Banat manele, 17
tricksters. See fmecheri
trivialization, 257
troubadours, 200—202
“True brothers”. See “Frafi adevarafi”
trumpet, 6, 17, 88
“Tseluvai oshte” (Kiss me again), 112, 121,
123
tsiftetelli, 54. See also giftetelli
Tudor, Dumitru, 51
“Tu efti femeia visurilor mele” (You are the
woman of my dreams), 122
tuning, 4lnl5, 94n48
turbo-architecture, 252, 257—58
turbo-authenticity, 257—58
turbo-folk, xxiv, 3, 14-15, 39, 95, 96, 97,
108, 248, 250, 256; character of, 110;
dance of, 113; electronic, 103; elements
of, 134n28; emergence of, 119; gender
and, 110, 120, 122-23, 135n67;
growth of, 101; identity of, 131; lyrics
of, 120; men and, 123; militant and
criminal culture in, 103, 104, 134n32;
music videos, 120; NKNM and, 103;
popularity of, 102, 134n29; promotion
of, 103; Serbian nationalism and, 103;
sexuality and, 113; timbre of, 112; war
and, 102, 134n27; Yugoslavia and, 116.
See also narrative meanings
turbo-urbanism, 252
“Turkish manea,” 6, 7
Turkish manele, 50, 51, 59n23
Index
307
Turkish music, 1, 2, 3, 8, 13, 263
Turkish population, 42n24
“200 na sat” (Two hundred [kilometers] per
hour), 123
Ucenescu, Gheorghe, 50
“Am un bdiat cel mai frumos” (Ive got the
most beautiful son), 220
uncertainty, 175
underworld, xxix, 34, 164, 185, 261; figures
as favored clients, 187—89; parties, 190—
91; symbols and rituals in, 190—91
unemployment, 125, 132n2
unguricdy 43n47, 91 nil
University and §uju Palace, 77
“Unul e Versace’ (Versaces the one), 195
urban ensembles, 207, 212, 217, 224—30,
243nn68—69
urbanization, xxv, 91nl3, 98, 99, 115, 206,
209, 215-16, 240, 267
urban oral musics, 158nll
urban style, 238
“Urmarire generald” (Most wanted), 200
Ursulean, Vlad, 191
vagabond music. See bagabonpe§ti
Valdes, Valentin, 116
Valev Plan, 269n20
Vali from Giurgiu (Vali de la Giurgiu)y 179
Vaii Vijelie, 126, 127, 187, 213, 228-29
Van de Port, Mattijs, 103
variations, 79—80, 90
Vaseva, Sashka, 105, 111, 116, 121
Velfokovid, Svetlana (“Ceca”), 104, 108,
111, 116, 119-20, 123, 134n32
Versace, Geani, 195, 203n25
“Versaces the one” See “Until e Versacey
Vesela, 109
Vetar, Juzni, 98-99, 103
vice, 152
Vijelie, Vali, 126, 127, 187, 213, 228-29
village banquets, 216
village-city intersections, 235—39
village culture, 216
village fairs, 163
viola, 87
violence, 103, 172, 182
violin, 6, 16, 41, 4lnl5, 42n23, 51, 52,
87-88, 94n48, 172, 210, 212-14, 224,
228
Vlad, Nelu, 80, 82, 86, 93n34, 210
Vla$ca, 260
vocalists/singers, 29; appearance of, 114,
137n93; café manes, 61n43; ethnicity
of, 109—10; gender of, xxviii, 109—10,
135n67; sexuality of, 244n93; tips for,
43n67
vocal performance, 59nl4
vocal timbre, 8, 15, 54, 65, 75, 142, 261
voice, 88—89, 171
Voiculescu, Cerasela, 122, 124, 128,
138nl50
volume, 145, 160m30, 171, 239
vulgarity, 265
Vyzantios, Vasileios, 55
Wallachia, xxiv, xxxin4, xxxin7, 1, 4, 40nl,
40n3, 43n47, 47-48, 51-52, 57, 59n20,
61n51, 75, 132n4
“Wallet, o walletSee “Portofele portofelé
waltz, 13
war, turbo-folk and, 102, 134n27
Wars of Secession, Yugoslavia (1991—95),
103,115,116
waste, 181
way of life, xxvii, 39
wealth, 76, 123, 169-70, 190, 229, 236-37
websites, of maneli§ti, 147—48
weddings, xxiv, xxvii, xxviii, 4, 21, 91n8,
95, 97, 100, 107, 113, 127, 129-30,
159nl8, 163, 186, 189, 208, 264;
dance, 13, 26, 29-30, 42n29, 216-17,
219, 231—32, 235; fathers and, 149;
Hollywood, 145; identity and, 216;
instruments, 217—19; láutari and,
268n2; live performance at, 28—29;
lyrics and, 178, 219; manele turce§ti
at, 213—14; maneli§ti and, 144—46,
I60nn30—31; musical taste and, 149;
muzicá oriéntala at, xxv, 215—23;
NKNM at, 99; repertoire, 218, 231,
233-34, 235-36, 242n53; rituals,
159n26; Romani, 209—10; rural, 209,
216—17; Serbian-Banat music and, 3;
308
Index
songs of, 212; without synthesizers,
217—18; tarafuri and, 144—45, 159n26;
tips at, 170; traditional, 205—6, 207,
216, 240n4; urban, 231, 24lnll;
urbanization of, 215—16; village, xxix,
225. See also Zaharia family
Western art music, 48
Westernization, 2, 250, 266
Western music, 5
Western notation, 59n23
Western pop, 130
Western tonal music, 136n81
“Who do I long for? . See “De cine mi-e mie
dor?
“Who s the big bossSee “Cine-i mare
barosan?”
wife, 127
“A wife like mine”. See “Nevastd ca a mea”
Wilson, Deirdre, 174
wine, 46
“wiseguys,” 150—51, 155—56, 161 n46, 168,
170, 188, 199, 201, 261-62, 266
“The wiseguys’ party”. See “Chef la §mecherf
women, 35; dance and, 14, 36, 260;
exploitation of, 123; lyrics and, 34, 122;
role of, 131; suffering of, 117, 120;
tarafuri and, 158n9. See also gender
Wonder, Babi {Babi Minune), 19—20, 38,
117, 181, 187
working class, 3, 39, 231, 239
world music, 249
World War I, 268
Yaneva, Tsvetelina, 22
young people, 149—50, 155, I60nn42^i3,
260
YouTube, 189, 190
Yugofolk, 134n36
Yugoslavia, 2, 3, 96, 97, 98-99, 100, 101-
2, 102-4, 108, 109-10, 114, 115, 116,
119, 130, 131, 132nl, 133nl4, 133n27,
135n49, 250
“Zabravi!” (Forget!), 121
Zaharia, Alin, 224, 230-31, 235, 238,
243n76
Zaharia, Bàieçicâ, 212, 214, 217, 219, 221,
225-26, 227, 229, 230, 232, 233, 238
Zaharia, Bebe, 212, 217—18, 238
Zaharia, Costicâ, 211, 221, 224, 227, 229,
230, 231, 332, 233, 235, 238, 239
Zaharia, Jenica, 212, 215, 217—18, 221,
224
Zaharia, Marian, 212, 213-14, 217, 218-
19, 224-25, 226
Zaharia, Silvia, 210, 211, 212, 213, 218,
221, 225, 226, 228, 229, 231, 232, 233,
238
Zaharia, Tiu, 212, 217, 223
Zaharia, Vasile, 18, 212, 215, 217-18,
220-21
Zaharia family, 210—15, 217, 218, 219,
220, 221, 222-25, 234, 236, 239,
243nn68—69; equipment of, 230—31;
instruments of, 230—31; reputation of,
231; style of, 238; success of, 239-40;
synthesizer crisis of, 229—30, 235;
synthesizers, 232—33, 238
Zece Prâjini, 94n49
Zhivkov, Todor, 99, 133nl4
“Ziua Invierii”, 49
zurlà, 112
|
| any_adam_object | 1 |
| author2 | Beissinger, Margaret H. Rădulescu, Speranţa 1949- Giurchescu, Anca |
| author2_role | edt edt edt |
| author2_variant | m h b mh mhb s r sr a g ag |
| author_GND | (DE-588)1125978791 |
| author_facet | Beissinger, Margaret H. Rădulescu, Speranţa 1949- Giurchescu, Anca |
| building | Verbundindex |
| bvnumber | BV043767597 |
| callnumber-first | M - Music |
| callnumber-label | ML3499 |
| callnumber-raw | ML3499.R6 |
| callnumber-search | ML3499.R6 |
| callnumber-sort | ML 43499 R6 |
| callnumber-subject | ML - Literature on Music |
| ctrlnum | (OCoLC)966649869 (DE-599)BVBBV043767597 |
| dewey-full | 781.62/591 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.62/591 |
| dewey-search | 781.62/591 |
| dewey-sort | 3781.62 3591 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | Geschichte 1989- gnd |
| era_facet | Geschichte 1989- |
| format | Book |
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content |
| genre_facet | Aufsatzsammlung |
| geographic | Rumänien Rumänien (DE-588)4050939-4 gnd |
| geographic_facet | Rumänien |
| id | DE-604.BV043767597 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T17:44:39Z |
| institution | BVB |
| isbn | 9781442267077 |
| language | English |
| lccn | 016012229 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029178799 |
| oclc_num | 966649869 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | xxxv, 311 Seiten Notenbeispiele |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Rowman & Littlefield |
| record_format | marc |
| series2 | Europea : ethnomusicologies and modernities |
| spellingShingle | Manele in Romania cultural expression and social meaning in Balkan popular music Gesellschaft Manele Romania History and criticism Popular music Social aspects Romania Kulturelle Identität (DE-588)4033542-2 gnd Soziale Funktion (DE-588)4289518-2 gnd Tanz (DE-588)4059028-8 gnd Manele (DE-588)111980941X gnd Popmusik (DE-588)4046781-8 gnd |
| subject_GND | (DE-588)4033542-2 (DE-588)4289518-2 (DE-588)4059028-8 (DE-588)111980941X (DE-588)4046781-8 (DE-588)4050939-4 (DE-588)4143413-4 |
| title | Manele in Romania cultural expression and social meaning in Balkan popular music |
| title_auth | Manele in Romania cultural expression and social meaning in Balkan popular music |
| title_exact_search | Manele in Romania cultural expression and social meaning in Balkan popular music |
| title_full | Manele in Romania cultural expression and social meaning in Balkan popular music edited by Margaret H. Beissinger, Speranta Radulescu, Anca Giurchescu |
| title_fullStr | Manele in Romania cultural expression and social meaning in Balkan popular music edited by Margaret H. Beissinger, Speranta Radulescu, Anca Giurchescu |
| title_full_unstemmed | Manele in Romania cultural expression and social meaning in Balkan popular music edited by Margaret H. Beissinger, Speranta Radulescu, Anca Giurchescu |
| title_short | Manele in Romania |
| title_sort | manele in romania cultural expression and social meaning in balkan popular music |
| title_sub | cultural expression and social meaning in Balkan popular music |
| topic | Gesellschaft Manele Romania History and criticism Popular music Social aspects Romania Kulturelle Identität (DE-588)4033542-2 gnd Soziale Funktion (DE-588)4289518-2 gnd Tanz (DE-588)4059028-8 gnd Manele (DE-588)111980941X gnd Popmusik (DE-588)4046781-8 gnd |
| topic_facet | Gesellschaft Manele Romania History and criticism Popular music Social aspects Romania Kulturelle Identität Soziale Funktion Tanz Manele Popmusik Rumänien Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029178799&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029178799&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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