Анализ речи родопских болгароговорящих мусульман о традиционном свадебном обряде позволяет выявить характерные семантические и морфологические парадигмы, сохранность персонажного кода и тенденцию к деабстрагированию наименований обрядовых... more
Анализ речи родопских болгароговорящих мусульман о традиционном свадебном обряде позволяет выявить характерные семантические и морфологические парадигмы, сохранность персонажного кода и тенденцию к деабстрагированию наименований обрядовых комплексов. На сохранность языкового кода свадебного обряда в целом и разграничение отдельных кодов в частности в большой степени влияют лексико-семантические трансформации в диахроническом аспекте.
The linguistic code of the wedding rite of the Pomaks (Muslim speakers of Bulgarian in the Rhodope Mountains), as reflected in the speech behavior of our informants, is marked by specific morpho-semantic paradigms, leading role of character code, and tendency to refer to the whole rites in precise terms. In the diachronic perspective, lexico-semantic transformations contribute to the preservation of the linguistic code of the wedding rite, along with the code boundaries.
Instrumental music – an integral element of wedding rites of many East European nations –usually escapes the attention of researchers, who mostly deal with traditional singing. On the contrary, in the works devoted to Ashkenazic culture,... more
Instrumental music – an integral element of wedding rites of many East European nations –usually escapes the attention of researchers, who mostly deal with traditional singing. On the contrary, in the works devoted to Ashkenazic culture, instrumental music is a subject of thorough research, while the ritual itself is almost never touched upon.
We face a paradoxical situation: regardless of the degree to which the musical material proper has been studied, in none of the two abovementioned cases is considered as one of the constant, obligatory elements of the action.
This is connected with the repertoire of wedding musicians and with the attitude of the researchers to it; with the perception of instrumental music as some general, exclusively applied element of entertainment; and with the status of a folk musician.
