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the firs degree, sometimes sliding down to the lower fifth, in parlato manner
right at the end.
THE DOINA
certain melodies are not connected with a specific occasion but are sung in
response to a particular state of mind. These include the doina proper, a
term which Brailoui and succeeding Romanian folklorist used to describe a
specific style of melody, a particularly lyrical melopoeia in free form, based
on improvisation with some more or less invariable melodic elements (see
HORA LUNGA). This sort of song is popularly called lung (long) or prelung
(prolonged) de coasta (of the slopes), de codru (of the forest)de duca (of
departure) etc; ir occurs in Oltenia, Wallachia, Dobruja, Moldavia, Bukovina,
Maramures, Oas, Salaj, Nasaud, on the Somes and Mures and on the two
Tirnava rivers, in the Tara Birsei, the Tara Oltului and in Sibiu; vestiges of the
doina, particularly instrumental forms, have been found in the Banat and
the neighbouring Transylvanian regions. Because of their similar constituent
elements, the doine found throughout the country have a unified and
homogeneous style: there are only a few, relatively similar types which in
places have acquired local colour. Specific introductory and concluding
formulae frame passages of a recitative character, cadences and ample
ornamental
melodic
variations.
Doine are usually in the D mode with a fluctuating 4 th, sometimes natural
and sometimes sharpened (ex.8) While the form is initially freely improvised
it occasionally becomes fixed with a constant number and succession of
melodic lines, irrespective of the amount of repetition involved. This
crystallization is increasingly common in the regions where the doina is in
decline. The doina has an introductory formula consisting of: an interjection
sung on 5 or 4, held for a prolonged time and sometimes with an upward
attack from 5, or from 1, with an appoggiatura, portamento or a roulade; a
recto-tono recitative of eight syllables at the most on one of these two
degrees (5 or 4); the alternation of degrees 6 and 5, 6 acting as an
appoggiatura to 5; sometimes the alternation of degrees may begin the
melody or may follow one of the two introductory formulae mentioned
above.