Abstract

The existence of certain common characteristics of ecclesiastical singing in Banat and folk music, in its authentic form, usually is not considered a surprise. Noticed long time ago, it is a reality in the sphere of polyphony, harmony elements and in the domains of ornamentation and interpretation style. The mentioned similarities are evident after the analysis of representative books of collected songs and, of course, in the way church singers interpret the songs. This is the moment when unconsciously the concept of ornamentation and musical material enrichment steps on the scene.

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