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Top Romanian Dance Music Hits Collection

Violin and țambal are the modern format most common in Moldavian dance music. Prior to the 20th century, however, the violin was usually accompanied by the cobza, which, although very rare, is still in use today.[1] Brass ensembles are now found in the central part of the county. Moldavia is also known for brass bands similar to those in Serbia.

Top Romanian Dance Music Hits Collection

Oltenia's folk music and dance are similar to those in Muntenia. Violins and pipes are used, as are țambal and guitar, replacing the cobza as the rhythmic backing for tarafs. The cimpoi (bagpipe) is also popular in this region.

The Australian composer Julian Cochran wrote works extensively titled Romanian Dances with a collection of piano works and six orchestral works, exemplifying affinity amongst classical composers with the Romanian folk music tradition outside of Romania.[2][self-published source].

The term could be translated literally as "Romanian Easy Music" and, in the most common sense, this music is synonym with "Muzică de stradă" (from French "estrade", which means "podium"), defining a branch of Pop music developed in Romania after World War II, which shows generally in the form of easy danceable songs, made on arrangements, which are performed by orchestras (and lately pop bands), following a mix of the Soviet and Western pop music influences. This musical form shows many similarities with Western Popular music, as most songs could be defined as a form of Schlager. It supported influences from other similar melodic styles, like Musica leggera italiana (from Italy) and Canción Melódica (from Spain). This Romanian style of music was popularized abroad through the international Golden Stag Festival, held in Brașov, since 1968. The most representative singers of that era are those from the 1980s, 1970s and rarely, the 1960s: Aurelian Andreescu, Elena Cârstea, Corina Chiriac, Mirabela Dauer, Stela Enache, Luigi Ionescu, Horia Moculescu, Margareta Pâslaru, Angela Similea, Dan Spătaru and Aura Urziceanu.

In the 1990s and the early 2000s, with the emergence of independent television and radio stations, the term easy music has been replaced by pop. Mainstream success is shared between early dance-pop bands such as A.S.I.A., Animal X, Blondy, Body & Soul, L.A., 3rei Sud Est or Akcent, pop-rock singers and bands such as Ștefan Bănică Jr., Holograf, Bosquito, Voltaj or VH2, hip-hop outfits such as B.U.G. Mafia, La Familia, Paraziții or Ca$$a Loco, Latino singers (Pepe) and others (the electronic band Șuie Paparude and alternative rock bands such as Vama Veche, Bere Gratis, Sarmalele Reci, OCS, Spitalul de Urgență, Zdob și Zdub or Luna Amară that are still popular, especially underground).

Thanks to a couple of artists such as Inna, Edward Maya, Alexandra Stan, Antonia, David Deejay, Play & Win, Radio Killer and others, a new sound has emerged that has managed to achieve commercial success outside Romania and dominate the national TV and radio music charts. This new sound, nicknamed pejoratively by some "popcorn"[10] after the name of one of its characteristic synths, is characterized by "shiny", danceable melodies, hooks sometimes based on synthesized accordion[11] and simple lyrics written most often in English, accompanied by videos frequently featuring young women. "Popcorn" has been criticized by some as superficial (sometimes being even compared to Manele), overly commercial, repetitive and easily grating, as a large number of producers and performers (including singers that initially achieved notoriety in the early 2000s, such as Andreea Bănică or Connect-R) have adopted this sound in a short period of time. However, since Romanian spectralism is virtually unknown outside the avant-garde music community, "popcorn" may be considered the first movement in the history of Romanian history to gain momentum.

An important influence on Romanian dance-pop was house music, which gained so much following in clubs that, thanks to radio stations such as Pro FM, has attained mainstream status. Minimal house in the vein of Ricardo Villalobos has and is being produced by DJs such as Petre Inspirescu, but vocal-based house continues to have more success. As of recently, dubstep has emerged alongside house music, although currently still underground.

"Romanian dance music is very successful around the world at the moment with big hits in Europe and the US," Eelko van Kooten, director of one of the major dance labels, Dutch-based Spinnin'Records, told AFP.

For Inna, a "special vibration" unites the new generation of dance music artists in Romania. All in their twenties, they grew up after the fall of communism and "really want to make party music, something that gets people on the dance floor," she said.

Some say it's the "glamour", videoclips that show the leggy Inna, Alexandra Stan and other Romanian artists in breathtaking seaside settings with dancers straight out of glossy fashion magazines. But this is nothing new in pop music.

The three, Radu Bolfea, Marcel Botezan and Sebastian Barac, all born in the mountains of Transylvania, are credited with creating a "Romanian" sound that has turned out some of the country's biggest dance music hits, by Inna and others.

Spinnin'Records' Van Kooten calls it friendly. "Romanian dance music has its own sound: simple melodies, catching course lines," he said. "It's easy to sing along and very radio friendly with a midtempo."

Folklife Center collections also contain materials on the music and dance from cultural groups around the world, including Alaskan Tlingits, Jamaican Maroons, and Moroccan Berbers. Of particular note is the Discoteca Publica Municipal de São Paulo Collection, a group of sound recordings, film footage, and photographs made in 1938 that represents one of the first ethnographic compilations of music, dance, and ritual from Brazil.

"Romanian dance music is very successful around the world at the moment with big hits in Europe and the U.S.," Eelko van Kooten, director of one of the major dance labels, Dutch-based Spinnin'Records, told Agence France Presse.

Ani More Nuse is an extremely popular melody among Albanians all over the world. Choreographers have put many steps to this dance, but when Albanians just want to dance to this music at a party or social event most Albanians either do a simple step in a line or they dance individually. This dance attempts to recapture this flavor by combining these two elements in a little 2 figure arrangement. Presented in 2009 by Lee Otterholt. View the pdf here.

There is a practice among Hungarian folk dancers to study dances from original recordings of villagers dancing. Partly due to the popularity of the world-renowned Szászcsavás Band, there are many recordings of gypsy dancing from that village. However, for this dance, we chose to teach steps exclusively from a recording that can be found on YouTube. We hope you refer back to that recording to learn and perfect this dance. The recording is of the musicians of the Szászcsavás Band dancing with their wives. In general, we are teaching the dance as done by Levente Mezei and his wife, found starting at 1 minute 50 seconds into the recording. =R0swGFtHVaE&feature=related Please note that this physically and mentally challenging dance will be taught at an advanced level.Please note that this physically and mentally challenging dance will be taught at an advanced level.

This dance comes from the Bačka region (also known as the Pannonian region) where the Croatian people live in the areas between the Danube and Tisa Rivers. In numerous debates and written articles about these people, they are often referred to as the Bunjevci and Šokci. The region is situated around the ancient town of Bač - which was once a district and also the seat of the Catholic Church. This is how it got its Slavic place-name. The migration of theDalmatian Croats in the Bačka region (upon liberation from the Turks) did not happen at the same time. Their arrival occurred from the beginning of the 15th to the end of the 17th century. Despite the long period of their being among other Pannonian peoples, the Bačka Croats havesurvived and kept their speech patterns ("ikavian") as well as their wealth of costumes and art forms. This dance is done during wedding and other social gatherings. The bagpipe (gajde) used to be the traditional instrument played for this music; today the tambura orchestra is used. The dance was learned by Željko Jergan in 1989 from village group from Tavankut at Đakovački Vezovi Festival.

A line râčenica from the region of Drianovo in North-East Bulgaria. In 1998, Yves Moreau introduced a dance also called Drianovska Râčenica with different and slower music (a capella song), and therefore decided to call this one Drianovska Râčenica II, to avoid confusion. The version described below was introduced by Belčo Stanev in Germany to the popular folk song Trâgnali mi sa Drianovskite bulki.

Slavonia is the richest agricultural region (known as the bread basket) in Croatia. For this reason, folk traditions have remained unchanged for centuries. The wealth of this region is reflected in the dances, songs and costumes. The village of Marijanci is in northeastern Slavonia (Osijek-Baranja County near the city of Valpovo). Most of the dances in Slavonia surround the musicians, who are in the center of a circle. Musical accompaniment features the bagpipe (gajde) and tambura (samica), or a full tambura orchestra. Slavonian people dance to celebrate any occasion - weddings, harvest, church celebrations, or any other daily occurrence that merits a celebration.

This dance is from Stevning in the Sønderjylland region of Denmark.Pronunciation: frahn-SOOS kahn-trah Translation: Dance in French styleMusic: 2/4 meter Liflig Sang CD 2, Track #10Formation: Any number of couples in a big circle, hands joined in V-pos. All start with left. After the first time through the music, a designated leader (or leaders) calls variations to replace Fig I. 041b061a72


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