{"id":1532,"date":"2024-08-12T18:59:12","date_gmt":"2024-08-12T15:59:12","guid":{"rendered":"https:\/\/dev.wsys.ee\/seto\/?page_id=1532"},"modified":"2026-01-02T22:26:35","modified_gmt":"2026-01-02T20:26:35","slug":"kasutatud-kirjandus","status":"publish","type":"page","link":"https:\/\/www.folklore.ee\/setoviisid\/viisitupoloogia-koostamise-pohimotted\/kasutatud-kirjandus\/","title":{"rendered":"Allikad ja kirjandus"},"content":{"rendered":"\n

Allikad<\/h2>\n\n\n
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Eesti Kirjandusmuuseumi Eesti Rahvaluule Arhiiv<\/strong><\/p>\n

EKRK, Fon. \u2013\u00a0 Tartu (Riikliku) \u00dclikooli eesti kirjanduse ja rahvaluule kateedri magnetofonilintide kogu (1955\u20131989)<\/p>\n

ERA, DAT \u2013 Eesti Rahvaluule Arhiivi DAT-magnetofoni salvestuste kogu (al. 1992)<\/p>\n

ERA, DH \u2013 Eesti Rahvaluule Arhiivi digitaalsalvestuste kogu (al. 2003)<\/p>\n

ERA, FAM \u2013 Eesti Rahvaluule Arhiivi analoog-stereokassettsalvestuste kogu (al. 1991)<\/p>\n

ERA, Fon. \u2013 Eesti Rahvaluule Arhiivi vaharullisalvestuste kogu (1912\u20131948)<\/p>\n

ERA, Pl. \u2013 Eesti Rahvaluule Arhiivi reportaa\u017eplaatide kogu (1936\u20131938)<\/p>\n

KKI, RLH \u2013 Keele ja Kirjanduse instituudi rahvaluule helisalvestuste kogu (1949\u20131988)<\/p>\n

RKM, Mgn. \u2013 Eesti (NSV) TA Fr. R. Kreutzwaldi nim (Riikliku) Kirjandusmuuseumi (n\u00fc\u00fcd Eesti Kirjandusmuuseum) rahvaluule osakonna helilintide kogu (1953\u20131993)<\/p>\n

Soome Kirjanduse Seltsi arhiiv<\/strong><\/p>\n

SKS, KRA FON A. O. V\u00e4is\u00e4nen 1922 \u2013 Armas Otto V\u00e4is\u00e4neni 1922. a vaharullisalvestused Soome Kirjanduse Seltsi rahvaluule helikogus<\/p>\n <\/div>\n <\/section>\n\n\n\n

Kirjandus<\/h2>\n\n\n
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Ambrazevi\u010dius, Rytis, \u017danna P\u00e4rtlas 2011. Searching for the \u201cNatural\u201d Origins of the Symmetrical Scales: Traditional Multipart Setu Songs. \u2013 Journal of Interdisciplinary Music Studies<\/em>, 5 (1), 1\u201317.<\/p>\n

Arom, Simha 1991. African Polyphony and Polyrhythm: Musical Structure and Methodology<\/em>. Cambridge University Press.<\/p>\n

Banin 1983 = \u0411\u0430\u043d\u0438\u043d, \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0410\u043b\u0435\u043a\u0441\u0435\u0435\u0432\u0438\u0447. \u041e \u043f\u0440\u0438\u043d\u0446\u0438\u043f\u0430\u0445 \u043c\u043e\u0434\u0435\u043b\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u044f \u043e\u0431\u043e\u0431\u0449\u0435\u043d\u043d\u043e\u0433\u043e \u0441\u043b\u043e\u0433\u043e\u0432\u043e\u0433\u043e \u0440\u0438\u0442\u043c\u0430. \u0412\u043e\u043f\u0440\u043e\u0441\u044b \u043c\u0435\u0442\u043e\u0434\u0438\u043a\u0438 \u0438 \u043c\u0435\u0442\u043e\u0434\u043e\u043b\u043e\u0433\u0438\u0438. \u2013 \u041f\u0430\u043c\u044f\u0442\u0438 \u041a. \u041a\u0432\u0438\u0442\u043a\u0438 1880\u20131953. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0441\u0442\u0430\u0442\u0435\u0439.<\/em> \u041c\u043e\u0441\u043a\u0432\u0430: \u0421\u043e\u0432\u0435\u0442\u0441\u043a\u0438\u0439 \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0442\u043e\u0440, 165\u2013179.<\/p>\n

Bart\u00f3k, B\u00e9la 1931. Hungarian Folk Music. <\/em>London: Oxford University Press.<\/p>\n

Bart\u00f3k, B\u00e9la, Albert B. Lord 1951. Serbo-Croatian Folk Songs<\/em>. New York: Columbia University Press.<\/p>\n

Bohak, Ciril, Matija Marolt 2009. Calculating Similarity of Folk Song Variants with Melody-based Features. \u2013 Proceedings of the 10th International Society for Music Information Retrieval Conference, ISMIR 2009<\/em>, Kobe, Japan, October 26-30, 2009.<\/p>\n

Bohlman, Philip V. (Ed.) 1996. Central European Folk Music: An Annotated Bibliography of Sources in German<\/em>. New York, London: Garland Publishing, Inc.<\/p>\n

Czekanowska, Anna 1971. Etnografia muzyczna: metodologia i metodyka<\/em>. Warszawa: Pa\u0144stwowe Wydawnictwo Naukowe.<\/p>\n

Czekanowska 1983 = \u0427\u0435\u043a\u0430\u043d\u043e\u0432\u0441\u043a\u0430, \u0410\u043d\u043d\u0430. \u041c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u0430\u044f \u044d\u0442\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u044f: \u043c\u0435\u0442\u043e\u0434\u043e\u043b\u043e\u0433\u0438\u044f \u0438 \u043c\u0435\u0442\u043e\u0434\u0438\u043a\u0430<\/em>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0421\u043e\u0432\u0435\u0442\u0441\u043a\u0438\u0439 \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0442\u043e\u0440.<\/p>\n

Dorohhova 1987 = \u0414\u043e\u0440\u043e\u0445\u043e\u0432\u0430, \u0415\u043a\u0430\u0442\u0435\u0440\u0438\u043d\u0430 \u0410\u043d\u0430\u0442\u043e\u043b\u044c\u0435\u0432\u043d\u0430. \u041e \u043c\u0435\u043b\u043e\u0434\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u043e\u0440\u0433\u0430\u043d\u0438\u0437\u0430\u0446\u0438\u0438 \u043f\u0435\u0441\u0435\u043d\u043d\u044b\u0445 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u0439 \u0432 \u0441\u0440\u0435\u0434\u043d\u0435\u043c \u0442\u0435\u0447\u0435\u043d\u0438\u0438 \u0421\u0435\u0439\u043c\u0430. \u2013 \u0422\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u043e\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0435 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0432\u043e\u0441\u0442\u043e\u0447\u043d\u044b\u0445 \u0441\u043b\u0430\u0432\u044f\u043d (\u0432\u043e\u043f\u0440\u043e\u0441\u044b \u0442\u0438\u043f\u043e\u043b\u043e\u0433\u0438\u0438)<\/em>. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0442\u0440\u0443\u0434\u043e\u0432 \u0413\u041c\u041f\u0418 \u0438\u043c. \u0413\u043d\u0435\u0441\u0438\u043d\u044b\u0445. \u0412\u044b\u043f. 91. \u041c\u043e\u0441\u043a\u0432\u0430, 76\u201388.<\/p>\n

Elschek, Osk\u00e1r (Ed.) 1969. Methoden der Klassifikation von Volksweisen<\/em>. Bratislava: Verlag der Slowakischen Akademie der Wissenschaften.<\/p>\n

Gippius 1957 = \u0413\u0438\u043f\u043f\u0438\u0443\u0441, \u0415\u0432\u0433\u0435\u043d\u0438\u0439 \u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440\u043e\u0432\u0438\u0447. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0440\u0443\u0441\u0441\u043a\u0438\u0445 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0445 \u043f\u0435\u0441\u0435\u043d \u041c. \u0410. \u0411\u0430\u043b\u0430\u043a\u0438\u0440\u0435\u0432\u0430. \u2013 \u0411\u0430\u043b\u0430\u043a\u0438\u0440\u0435\u0432 \u041c. \u0420\u0443\u0441\u0441\u043a\u0438\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0435 \u043f\u0435\u0441\u043d\u0438<\/em>. \u041c\u043e\u0441\u043a\u0432\u0430, 1957, 234\u2013235.<\/p>\n

Hillewaere, Ruben, Bernard Manderick, Darrell Conklin 2014. Alignment Methods for Folk Tune Classification. \u2013 Data Analysis, Machine Learning and Knowledge Discovery. Studies in Classification, Data Analysis, and Knowledge Organization<\/em>. Eds. Spiliopoulou, M., Schmidt-Thieme, L., Janning, R. Cham: Springer.<\/p>\n

Idaslaavlaste traditsiooniline muusikakunst (t\u00fcpoloogia k\u00fcsimused) <\/em>1987 = \u0422\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u043e\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0435 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0432\u043e\u0441\u0442\u043e\u0447\u043d\u044b\u0445 \u0441\u043b\u0430\u0432\u044f\u043d (\u0432\u043e\u043f\u0440\u043e\u0441\u044b \u0442\u0438\u043f\u043e\u043b\u043e\u0433\u0438\u0438)<\/em>. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0442\u0440\u0443\u0434\u043e\u0432 \u0413\u041c\u041f\u0418 \u0438\u043c. \u0413\u043d\u0435\u0441\u0438\u043d\u044b\u0445. \u0412\u044b\u043f. 91. \u041c\u043e\u0441\u043a\u0432\u0430,<\/p>\n

Jefimenkova 1990 = \u0415\u0444\u0438\u043c\u0435\u043d\u043a\u043e\u0432\u0430, \u0411\u043e\u0440\u0438\u0441\u043b\u0430\u0432\u0430 \u0411\u043e\u0440\u0438\u0441\u043e\u0432\u043d\u0430. \u0420\u0438\u0442\u043c\u0438\u043a\u0430 \u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u043e\u0439 \u043f\u0435\u0441\u043d\u0438 \u0432 \u0441\u0432\u0435\u0442\u0435 \u0441\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u043d\u043e-\u0442\u0438\u043f\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u0439. \u2013 \u041c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u0430\u044f \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440\u0438\u0441\u0442\u0438\u043a\u0430: \u041f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u0438\u0441\u0442\u043e\u0440\u0438\u0438 \u0438 \u043c\u0435\u0442\u043e\u0434\u043e\u043b\u043e\u0433\u0438\u0438<\/em>. \u0420\u0435\u0434.-\u0441\u043e\u0441\u0442. \u042d. \u0415. \u0410\u043b\u0435\u043a\u0441\u0435\u0435\u0432, \u041b. \u0418. \u041b\u0435\u0432\u0438\u043d. \u041c\u043e\u0441\u043a\u0432\u0430: \u0412\u041d\u0418\u0418 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e\u0437\u043d\u0430\u043d\u0438\u044f \u041c\u0438\u043d\u0438\u0441\u0442\u0435\u0440\u0441\u0442\u0432\u0430 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u044b \u0421\u0421\u0421\u0420, 117\u2013136.<\/p>\n

Jefimenkova 2001 = \u0415\u0444\u0438\u043c\u0435\u043d\u043a\u043e\u0432\u0430, \u0411\u043e\u0440\u0438\u0441\u043b\u0430\u0432\u0430 \u0411\u043e\u0440\u0438\u0441\u043e\u0432\u043d\u0430. \u0420\u0438\u0442\u043c \u0432 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u044f\u0445 \u0440\u0443\u0441\u0441\u043a\u043e\u0433\u043e \u0432\u043e\u043a\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440\u0430. <\/em>\u041c\u043e\u0441\u043a\u0432\u0430: \u041a\u043e\u043c\u043f\u043e\u0437\u0438\u0442\u043e\u0440.<\/p>\n

Jengovatova 1987 = \u0415\u043d\u0433\u043e\u0432\u0430\u0442\u043e\u0432\u0430, \u041c\u0430\u0440\u0433\u0430\u0440\u0438\u0442\u0430 \u0410\u043d\u0430\u0442\u043e\u043b\u044c\u0435\u0432\u043d\u0430. \u041e\u0431 \u043e\u0434\u043d\u043e\u0439 \u0433\u0440\u0443\u043f\u043f\u0435 \u043c\u0435\u043b\u043e\u0434\u0438\u043a\u043e-\u0440\u0438\u0442\u043c\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0446\u0438\u0439 \u0437\u0430\u043a\u0430\u043c\u0441\u043a\u0438\u0445 \u043b\u0438\u0440\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u043d\u0435\u043f\u0440\u0438\u0443\u0440\u043e\u0447\u0435\u043d\u043d\u044b\u0445 \u043f\u0435\u0441\u0435\u043d. \u2013 \u0422\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u043e\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0435 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0432\u043e\u0441\u0442\u043e\u0447\u043d\u044b\u0445 \u0441\u043b\u0430\u0432\u044f\u043d (\u0432\u043e\u043f\u0440\u043e\u0441\u044b \u0442\u0438\u043f\u043e\u043b\u043e\u0433\u0438\u0438)<\/em>. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0442\u0440\u0443\u0434\u043e\u0432 \u0413\u041c\u041f\u0418 \u0438\u043c. \u0413\u043d\u0435\u0441\u0438\u043d\u044b\u0445. \u0412\u044b\u043f. 91. \u041c\u043e\u0441\u043a\u0432\u0430, 138\u2013160.<\/p>\n

Kvitka 1923 = \u041a\u0432i\u0442\u043a\u0430, \u041a\u043bi\u043c\u0435\u043d\u0442. \u0420\u0438\u0442\u043ci\u0447\u043di \u043f\u0430\u0440\u0430\u043b\u0435\u043bi \u0432 \u043fic\u043d\u044f\u0445 \u0441\u043b\u043e\u0432\u2019\u044f\u043d\u0441\u044c\u043a\u0438\u0445 \u043d\u0430\u0440\u043e\u0434i\u0432\u00a0\u2013 \u041c\u0443\u0437\u0438\u043a\u0430<\/em> \u2116 1, 2, 3.<\/p>\n

Kolessa 1907 = \u041a\u043e\u043b\u0435\u0441\u0441\u0430, \u0424\u0438\u043b\u0430\u0440\u0435\u0442. \u0420\u0438\u0442\u043c<\/em>i<\/em>\u043a\u0430 \u0443\u043a\u0440\u0430<\/em>\u00ef<\/em>\u043d\u0441\u044c\u043a\u0438\u0445 \u043d\u0430\u0440\u043e\u0434\u043d\u0438\u0445 \u043f<\/em>i<\/em>\u0441\u0435\u043d\u044c<\/em>. \u041b\u044c\u0432i\u0432<\/p>\n

Kubik, Gerhard 1968. Mehrstimmigkeit und Tonsysteme in Zentral- und Ostafrika<\/em>. Bemerkungen zu den eigenen, im Phonogrammarchiv der \u00d6sterreichischen Akademie der Wissenschaften archivierten Expeditionsaufnahmen. <\/em>\u00d6sterreichische Akademie der Wissenschaften, Philosophisch-historische Klasse, Sitzungsberichte 254\/4. Wien\/Graz\/K\u00f6ln: \u00d6sterreichische Akademie der Wissenschaften \/ B\u00f6hlau.<\/p>\n

Lippus, Urve. 1995. Linear Musical Thinking.<\/em> (Studia Musicologica Universitatis Helsingiensis VII.) Helsinki.<\/p>\n

Lobanov 2003 = \u041b\u043e\u0431\u0430\u043d\u043e\u0432, \u041c\u0438\u0445\u0430\u0438\u043b \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0440\u043e\u0432\u0438\u0447. \u0420\u0443\u0441\u0441\u043a\u0438\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0435 \u043f\u0435\u0441\u043d\u0438: \u0422\u0438\u043f\u044b \u0438 \u0432\u0430\u0440\u0438\u0430\u043d\u0442\u044b \u043d\u0430\u043f\u0435\u0432\u043e\u0432. <\/em>\u0412\u044b\u043f. 1: \u0420\u0443\u0441\u0441\u043a\u0438\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0435 \u043f\u0435\u0441\u043d\u0438 \u0432 \u0437\u0430\u043f\u0438\u0441\u044f\u0445 \u043b\u0435\u043d\u0438\u043d\u0433\u0440\u0430\u0434\u0441\u043a\u0438\u0445 \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440\u0438\u0441\u0442\u043e\u0432 (1927-1991). \u0421.-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433: \u0414\u043c\u0438\u0442\u0440\u0438\u0439 \u0411\u0443\u043b\u0430\u043d\u0438\u043d.<\/p>\n

Lobanov 2015 = \u041b\u043e\u0431\u0430\u043d\u043e\u0432, \u041c\u0438\u0445\u0430\u0438\u043b \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0440\u043e\u0432\u0438\u0447. \u0420\u0443\u0441\u0441\u043a\u0438\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0435 \u043f\u0435\u0441\u043d\u0438: \u0422\u0438\u043f\u044b \u0438 \u0432\u0430\u0440\u0438\u0430\u043d\u0442\u044b \u043d\u0430\u043f\u0435\u0432\u043e\u0432. <\/em>\u0412\u044b\u043f. 2: \u0417\u0430\u043f\u0438\u0441\u0438 \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440\u0438\u0441\u0442\u043e\u0432 \u0433\u043e\u0440\u043e\u0434\u043e\u0432 \u0420\u043e\u0441\u0441\u0438\u0438 \u0438 \u0437\u0430\u0440\u0443\u0431\u0435\u0436\u043d\u044b\u0445 \u0441\u0442\u0440\u0430\u043d (\u043f\u043e \u0438\u0437\u0434\u0430\u043d\u0438\u044f\u043c 1936-2007). \u0421.-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433: \u0414\u043c\u0438\u0442\u0440\u0438\u0439 \u0411\u0443\u043b\u0430\u043d\u0438\u043d.<\/p>\n

Messiaen, Olivier 1944. Technique de mon langage musical<\/em>. Paris: Alphonse Leduc.<\/p>\n

Metsvahi, Merili 2016. Sugudevahelise suhtlemise ja kosimise teema Ksenia M\u00fc\u00fcrsepaga tehtud intervjuudes. \u2013 Setumaa kogumik 7<\/em>. Toim. Helen K\u00e4stik ja Eva Saar. Tartu: Tartu \u00dclikooli Kirjastus (Tartu \u00dclikooli L\u00f5una-Eesti keele- ja kultuuriuuringute keskuse aastaraamat; XV-XVI), 93\u2212117 (leka_seto_parandatud.indd<\/a>, vaadatud 19.10.2024).<\/p>\n

Morgenstern, Ulrich 2022. Motif-Centricity and Binary Harmony. Two fundamental principles in European folk music and their significance for the Austrian\/Alpine tradition. \u2013 The Tenth International Symposium on Traditional Polyphony<\/em>, Proceedings, 20\u201324 October, 2020, Tbilisi. Ed. Rusudan Tsurtsumia, compiled by Nino Razmadze. Tbilisi: International Research Center for Traditional Polyphony of Tbilisi Vano Sarajishvili State Conservatoire, 362\u2013375.<\/p>\n

Nettl, Bruno 2015. The study of ethnomusicology: thirty-three discussions<\/em>. Urbana [etc.]: University of Illinois Press.<\/p>\n

Oras, Janika, \u017danna P\u00e4rtlas, Mari Sarv, Andreas Kalkun. 2021. The Metrics of Seto Choral Laments in the Context of Runosong Metrics. \u2013 Studia metrica et poetica<\/em> 8 (1), 40\u201398.<\/p>\n

Oras, Janika, Mari Sarv 2021. Metrics of Runosongs of the Border Area: Quantity and Broken Lines in Seto Songs. \u2013 Versification: Metrics in Practice<\/em>. (Studia Fennica Litteraria). Eds. Frog, Grunthal, Satu; Kallio, Kati; Niemi, Jarkko. Helsinki: Finnish Literary Society, 218\u2212233.<\/p>\n

Pino, Veera, Vaike Sarv 1981. Setu surnuitkud I<\/em>. Vihik 1 and 2. Tallinn: Eesti NSV Teaduste Akadeemia Keele ja Kirjanduse Instituut.<\/p>\n

Pino, Veera, Vaike Sarv 1982. Setu surnuitkud II<\/em>. Tallinn: Eesti NSV Teaduste Akadeemia Keele ja Kirjanduse Instituut.<\/p>\n

Porter, James 1998. Song Genres. \u2013 The Garland Encyclopedia of World Music<\/em>. Vol. 8, Europe. <\/em>New York \u2013 London, 127\u2013137.<\/p>\n

P\u00e4rtlas, \u017danna 1997. T\u00e4helepanekuid setu laulu laadiehitusest ja mitmeh\u00e4\u00e4lsusest. \u2013 Teater. Muusika. Kino<\/em>, 1, 23-28.<\/p>\n

P\u00e4rtlas, \u017danna 2000. Helide funktsionaalsuhetest setu pooltoon-poolteisttoon-laadis (mitmekanaliliste salvestuste distributiivanal\u00fc\u00fcsi p\u00f5hjal). \u2013 T\u00f6id muusikateooria alalt I<\/em>. Tallinn: Scripta musicalia, 115\u2013140.<\/p>\n

P\u00e4rtlas, \u017danna 2001. Viisi r\u00fctmilisest vormist ja laadir\u00fctmist setu mitmeh\u00e4\u00e4lses rahvalaulus. \u2013 Regilaul \u2013 keel, muusika, poeetika.<\/em> Toim. Tiiu Jaago, Mari Sarv. Tartu: Eesti Kirjandusmuuseum. Eesti Rahvaluule Arhiiv; Tartu \u00dclikool. Eesti ja v\u00f5rdleva rahvaluule \u00f5ppetool, 117\u2013152.<\/p>\n

P\u00e4rtlas, \u017danna 2006a. Setu rahvaviiside t\u00fcpoloogia alustest. \u2013 Individual and Collective in Traditional Culture. Individuaalne ja kollektiivne traditsionaalses kultuuris.<\/em> Toim. Triinu Ojamaa, Andreas Kalkun. Tartu: Eesti Kirjandusmuuseum, 19\u201329.<\/p>\n

P\u00e4rtlas, \u017danna 2006b. \u201cS\u00fcmmeetrilised laadid\u201d ja monointervalliline mitmeh\u00e4\u00e4lsus vokaalses rahvamuusikas: m\u00f5ningaid paralleele setu ja L\u00f5una-Venemaa rahvalaulu vahel. \u2013 Regilaul \u2013 esitus ja t\u00f5lgendus<\/em>. Toim. Aado Lintrop. Tartu: Eesti Kirjandusmuuseum, 219\u2013248.<\/p>\n

P\u00e4rtlas, \u017danna 2010. Setu Multipart Singing: Comparison of Written Sources and Sound Recordings. \u2013 Historical Sources and Source Criticism<\/em>. Eds. Susanne Ziegler, Urban Bareis. Stockholm: Svenskt Visarkiv, 227\u2013237.<\/p>\n

P\u00e4rtlas, \u017danna 2012. Retracing Processes of Change: the Case of the Scales of the Setu Songs (Southeast Estonia). \u2013 The Fifth International Symposium on Traditional Polyphony. Proceedings<\/em>. Eds. Rusudan Tsurtsumia, Joseph Jordania. Tbilisi: International Research Center for Traditional Poluphony of Tbilisi Vano Sarajishvili State Conservatoire, 185\u2013195.<\/p>\n

P\u00e4rtlas, \u017danna, Janika Oras 2012. Seto traditsioonilise laulmismaneeri j\u00e4ljendamise eksperimendist. \u2013 Res <\/em>M<\/em>usica<\/em>, 4, 22\u221243.<\/p>\n

P\u00e4rtlas, \u017danna 2018. The Brides of Death: the Seto Collective Funeral Laments to Maiden. \u2013\u00a0The Eighth International Symposium on Traditional Polyphony. <\/em>Proceedings.<\/em> Eds. Rusudan Tsurtsumia, Joseph Jordania. Tbilisi: International Research Center for Traditional Polyphony of Tbilisi Vano Sarajishvili State Conservatoire, 220\u2212233.<\/p>\n

P\u00e4rtlas, \u017danna 2020. Controlled Disorder in Polymusic: The Case of the Seto Wedding Song Genre Kaasitamine<\/em>. \u2013 Res Musica<\/em>, 12, 11\u221238.<\/p>\n

P\u00e4rtlas, \u017danna 2021a. Methodological Approaches to Folk Tune Typology: Modelling Harmonic Rhythm in Seto Multipart Songs (Southeast Estonia). \u2013 Shaping Sounds and Values: Multipart Music as a Means of Social and Cultural Interaction<\/em>. Ed. Ardian Ahmedaja. Riga: Musica Baltica, 75\u221292.<\/p>\n

P\u00e4rtlas, \u017danna 2021b. Rising and Falling Tonality in Seto Multipart Songs (South-East Estonia). The Kerg\u00fct\u00e4mine<\/em> Technique and its Functions.<\/em> \u2013 Lithuanian Musicology = Lietuvos Musicologija<\/em>, 22, 34\u221255.<\/p>\n

P\u00e4rtlas, \u017danna 2025. From Lament to Lamenting Song: Musical Models, Meanings and Expression in Seto Solo and Choral Funeral Laments. \u2013 Journal of Ethnology and Folkloristics<\/em>, 19 (1), 91\u2212124. DOI:\u00a010.2478\/jef-2025-0006<\/a>.<\/p>\n

Rudneva 1973 = \u0420\u0443\u0434\u043d\u0435\u0432\u0430, \u0410\u043d\u043d\u0430 \u0412\u0430\u0441\u0438\u043b\u044c\u0435\u0432\u043d\u0430. \u0410\u043d\u0430\u043b\u0438\u0437 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u043e-\u043f\u043e\u044d\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u0441\u0442\u0440\u043e\u0444\u044b \u043f\u0435\u0441\u043d\u0438 \u00ab\u0412\u044b\u0441\u043e\u043a\u043e \u0441\u043e\u043a\u043e\u043b \u043b\u0435\u0442\u0430\u0435\u0442\u00bb. \u2013 \u041c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u0430\u044f \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440\u0438\u0441\u0442\u0438\u043a\u0430<\/em>. \u0412\u044b\u043f. 1, \u041c\u043e\u0441\u043a\u0432\u0430: \u0421\u043e\u0432\u0435\u0442\u0441\u043a\u0438\u0439 \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0442\u043e\u0440, 6\u201334.<\/p>\n

Rudneva 1990 = \u0420\u0443\u0434\u043d\u0435\u0432\u0430, \u0410\u043d\u043d\u0430 \u0412\u0430\u0441\u0438\u043b\u044c\u0435\u0432\u043d\u0430. \u0420\u0443\u0441\u0441\u043a\u043e\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0435 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u043e\u0435 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u043e: \u041e\u0447\u0435\u0440\u043a\u0438 \u043f\u043e \u0442\u0435\u043e\u0440\u0438\u0438 \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440\u0430<\/em>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0421\u043e\u0432\u0435\u0442\u0441\u043a\u0438\u0439 \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0442\u043e\u0440.<\/p>\n

R\u00fc\u00fctel 1977 = \u0420\u044e\u0439\u0442\u0435\u043b, \u0418\u043d\u0433\u0440\u0438\u0434 1977. \u041e\u043f\u043e\u0440\u043d\u0430\u044f \u0441\u0438\u0441\u0442\u0435\u043c\u0430 \u0438 \u0437\u0430\u043a\u043e\u043d\u043e\u043c\u0435\u0440\u043d\u043e\u0441\u0442\u0438 \u0432\u0430\u0440\u044c\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u044f \u043c\u043e\u0431\u0438\u043b\u044c\u043d\u044b\u0445 \u044d\u043b\u0435\u043c\u0435\u043d\u0442\u043e\u0432 \u043a\u0430\u043a \u0441\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u043d\u044b\u0435 \u043f\u0440\u0438\u0437\u043d\u0430\u043a\u0438 \u0442\u0438\u043f\u043e\u043b\u043e\u0433\u0438\u0438 \u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0445 \u043d\u0430\u043f\u0435\u0432\u043e\u0432. \u2013 \u041f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u0442\u0430\u043a\u0441\u043e\u043d\u043e\u043c\u0438\u0438 \u044d\u0441\u0442\u043e\u043d\u0441\u043a\u0438\u0445 \u0440\u0443\u043d\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u043c\u0435\u043b\u043e\u0434\u0438\u0439<\/em>. \u0422\u0430\u043b\u043b\u0438\u043d: \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u044f \u043d\u0430\u0443\u043a \u042d\u0441\u0442\u043e\u043d\u0441\u043a\u043e\u0439 \u0421\u0421\u0420, 80\u2013118.<\/p>\n

R\u00fc\u00fctel, Ingrid 1980. Mustjala regiviiside t\u00fcpoloogia.<\/em> Tallinn: Valgus.<\/p>\n

R\u00fc\u00fctel, Ingrid 1981. Typology of Estonian runo-tunes: experiment and some results. <\/em>Tallinn: Academy of Sciences of the Estonian SSR. Division of Social Sciences.<\/p>\n

R\u00fc\u00fctel, Ingrid 1999. Setu rahvalaulu kihistused ja etnokultuuriline taust. \u2013 Keel ja Kirjandus, <\/em>1, <\/em>33\u201352.<\/p>\n

Sachs, Curt 1953. Rhythm and Tempo: A Study in Music History. <\/em>New York City: W. W. Norton.<\/p>\n

Sarv, Jaan 1977. \u00dcheksa setu rahvalaulu. \u2013 Soome-ugri rahvaste muusikap\u00e4randist<\/em>. Tallinn: Eesti Raamat, 68\u2013103.<\/p>\n

Sarv 1980 = \u0421\u0430\u0440\u0432, \u042f\u0430\u043d. \u0420\u0430\u0441\u0448\u0438\u0444\u0440\u043e\u0432\u043a\u0430 \u0441\u0435\u0442\u0443\u0441\u043a\u043e\u0433\u043e \u043c\u043d\u043e\u0433\u043e\u0433\u043e\u043b\u043e\u0441\u0438\u044f \u043f\u0440\u0438 \u043f\u043e\u043c\u043e\u0449\u0438 \u043c\u043d\u043e\u0433\u043e\u043a\u0430\u043d\u0430\u043b\u044c\u043d\u043e\u0439 \u0441\u0442\u0443\u0434\u0438\u0439\u043d\u043e\u0439 \u0430\u043f\u043f\u0430\u0440\u0430\u0442\u0443\u0440\u044b. \u2013 \u0424\u0438\u043d\u043d\u043e-\u0443\u0433\u043e\u0440\u0441\u043a\u0438\u0439 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u044b\u0439 \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440 \u0438 \u0432\u0437\u0430\u0438\u043c\u043e\u0441\u0432\u044f\u0437\u0438 \u0441 \u0441\u043e\u0441\u0435\u0434\u043d\u0438\u043c\u0438 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0430\u043c\u0438 \/ Soomeugrilaste rahvamuusika ja naaberkultuurid.<\/em> Toim. Ingrid R\u00fc\u00fctel. Tallinn: Eesti Raamat, 103\u2013126.<\/p>\n

Sarv, Vaike 2000. Setu itkukultuur<\/em>. Tartu; Tampere: Eesti Kirjandusmuuseumi etnomusikoloogia osakond. Tampereen yliopiston kansanperinteen laitos.<\/p>\n

Sarv, Vaike 2004. Jutustavate laulude h\u00e4\u00e4led Anne Vabarna viisivaramus. \u2013 Setumaa kogumik 2<\/em>. Koost. Mare Aun, Aivar J\u00fcrgenson. Tallinn: Ajaloo Instituut ja MT\u00dc Arheoloogiakeskus, 59\u201380.<\/p>\n

Svistkova 1987 = \u0421\u0432\u0438\u0441\u0442\u043a\u043e\u0432\u0430, \u0412. \u041e \u043d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u043e\u0441\u0442\u044f\u0445 \u043c\u0435\u043b\u043e\u0434\u0438\u0439 \u043b\u0443\u0437\u0441\u043a\u0438\u0445 \u00ab\u0434\u043e\u043b\u0433\u0438\u0445\u00bb \u043f\u0435\u0441\u0435\u043d. \u2013 \u0422\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u043e\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0435 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0432\u043e\u0441\u0442\u043e\u0447\u043d\u044b\u0445 \u0441\u043b\u0430\u0432\u044f\u043d (\u0432\u043e\u043f\u0440\u043e\u0441\u044b \u0442\u0438\u043f\u043e\u043b\u043e\u0433\u0438\u0438)<\/em>. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0442\u0440\u0443\u0434\u043e\u0432 \u0413\u041c\u041f\u0418 \u0438\u043c. \u0413\u043d\u0435\u0441\u0438\u043d\u044b\u0445. \u0412\u044b\u043f. 91. \u041c\u043e\u0441\u043a\u0432\u0430, 33\u201350.<\/p>\n

Tampere, Herbert 1956. Eesti rahvalaule viisidega I.<\/em> Tallinn: Eesti Riiklik Kirjastus.<\/p>\n

Tampere, Herbert 1958. Eesti rahvalaule viisidega III.<\/em> Tallinn: Eesti Riiklik Kirjastus.<\/p>\n

Tampere, Herbert 1960. Eesti rahvalaule viisidega II.<\/em> Tallinn: Eesti Riiklik Kirjastus.<\/p>\n

Tampere, Herbert 1964. Eesti rahvalaule viisidega IV.<\/em> Tallinn: Eesti Raamat.<\/p>\n

Volk, Anja, Peter van Kranenburg 2012. Melodic similarity among folk songs: An annotation study on similarity-based categorization in music. \u2013 Musicae Scientiae, <\/em>16(3), 317\u2013339.<\/p>\n <\/div>\n <\/section>\n","protected":false},"excerpt":{"rendered":"

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