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• ENHYPEN Tops Artist 100 for First Time as ‘THE SIN : VANISH’ Debuts at No. 1 on Top Album Sales Chart
• Female Artist of the Year
• 2 Geographico-aetiological traditions
• ThePokies NET – Australia’s Premier Online Pokies Casino

This practice showcases a blend of folk influences with contemporary orchestration, creating a distinct soundscape. Notably, the transition from Yugoslav to Balkan cultural frameworks further amplifies this plurality. These experiences emanate primarily from the local researchers’ works on music of the Balkans, with a heightened theoretical and methodological dimension. The distinctive Balkan musical practices, created through the amalgamation of elements from different cultures, ethnicities, and religions, made this geo-cultural space intriguing not only to researchers from this very region but also to those from other cultural communities. A comparison with the research strategies applied in similar, transitory geo-cultural spaces contributes to a more complex exploration of the Balkan ethnomusicologists’ experiences.

ENHYPEN Tops Artist 100 for First Time as ‘THE SIN : VANISH’ Debuts at No. 1 on Top Album SalesChart

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Female Artist of the Year

The cultural forms of Macedonian culture are only part of the wider pluralistic representation of the Balkans. It may be offered under the Balkans as the common denominator, but the truth is that this/representation/concept is polyvalent, multicultural, polysemic and extremely rich. Game filters by provider, volatility, and features help you locate your preferred playing style quickly. Progressive jackpots climb into millions, with Mega Moolah regularly paying life-changing sums to lucky winners. At thepokies casino, we’re committed to delivering the best online casino experience tailored for both beginners and seasoned players alike.

2 Geographico-aetiological traditions

The 1994 championship holds particular importance as it ended a 54-year championship drought and stands as the pokie net a cherished memory for both players and fans alike. Country Rebel is a proud voice and champion of country music and country lifestyle for fans all over the world. The Macedonian Alexander-folk traditions represent a peculiar set among the other Hellenic folk accounts, because they convey chiefly the idea of familiarity with the hero, who seems to be still living and influencing the people’s everyday life. The conflict of interests of neighbouring countries and their overall strained relations in the 1920s were reflected in the work of Yugoslav, specifically Serbian, and Bulgarian musicians, particularly in their initiatives in the sphere of music performance, publishing, criticism, music research etc. In this chapter, the focus is put on the research of musical folklore from the territory of present-day North Macedonia, conducted during the interwar period in the Kingdom of SCS / Yugoslavia.

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One of the goals is to point to the ideological and political background of this process, as well as how it corresponded to the political and cultural climate at the time, inside and outside Yugoslavia. Defining the Balkans as a geographic, cultural and semantic entity triggers an interpretation of them as some idea, concept, oftentimes even a stereotype. The Balkans are often interpreted and presented as a ‘powder keg’, a ‘bridge between the East and the West’, a part of Europe that is simply different, a place of strong emotions and attractive forms of music and dance, etc. However, the Balkans represent a set of cultural units that are in constant interaction, with each of the cultures of the Balkans being specific and authentic. Macedonia, as one of the pages of the ‘Balkan story’, will be presented at three levels-regarding its drama, music and dance. The analysis confirms that generalization is impossible even within a single culture, as each artist and medium of performance has its own unique expression.

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What began as a passion project by lovers of Macedonian folklore in 1985 has since blossomed into a vibrant cultural institution. To these genres, there could be added vernacular poems, sayings, spells, theatrical plays, and folk art and songs. People can calm their wrath only by whispering three times “Μέλι γάλα∙ κα`π´ ἀπ’ ἐδῶ πέρασεν ὁ Βασιλεὺς Ἀλέξανδρος∙ ζῇ καὶ βασιλεύει (Honey and milk! From here too King Alexander has passed; he lives and reigns)” or “Στὴν ψυχὴ τοῦ βασιλέως τοῦ Ἀλέξανδρου, κακὸ μή μου κάμετε! These narrations kept alive in the Greeks’ memory the image of a heroic Alexander, who in the nineteenth century was then ready to become the protagonist of different narrative genres of the Modern Greek folk production. A folk tale is to be understood as an amusing, comforting, didactic, and often moralising account which deals with the ethical values, aspirations, hopes, longings, and social dilemmas of a community. Such narratives both critique and reflect the external perceptions of the Balkans, generating a complex artistic discourse.

Our vision is to be a vibrant cultural ambassador, uniting generations through the beauty of Macedonian folklore. We strive to inspire appreciation for our traditions by showcasing authentic music, dance, and attire, ensuring that our heritage remains alive and thriving for future generations. Macedonian Folklore Ensemble Ilinden is dedicated to preserving and sharing the rich cultural heritage of Macedonia through traditional dance, music, and storytelling. In fact, the Mermaid and the Nereid folk tales start from Pseudo-Callisthenes’ story of Alexander’s quest for immortality through the pursuit of the water of life. In the Nereid version, Alexander’s sisters steal his water of life, drink some, and bathe in the rest.

Over twenty years after the publication of this book, the term “the Balkans” seems to have lost some of its negative connotations related to wars in favour of characteristics with positive overtones, such as the Balkan peoples’ joie-de-vivre and entertainment strongly related to music. I raise the question of the definition of the “Balkan” popular music label and discuss its main structural characteristics. I offer a new possibility of (re)considering a specific musical genre of the region based on the research of urban folk music practices. I present characteristics of urban folk music practices from the second half of the nineteenth and the first half of the twentieth century in the countries of the Balkans, with special attention paid to their common aspects.