1978, Micaela Daia Matei, The Romanian Doina[1], thesis submitted to University of Michigan, page 34:
Thus, one finds solo vocal doinas, solo instrumental doinas, and vocal or instrumental doinas accompanied by one instrument, by a taraf lăutăresc (folk band), or, a more recent tendency, by a folk orchestra.
1987, Multicultural History Society of Ontario, The Jews of North America[2], Wayne State University Press, →ISBN, page 98:
Even when klezmer music declined in the 1930s and 1940s because of economic hard times and the strength of the assimilationist drive among American Jews, the doina did not die out.
2006 February 2, Bruce Benderson, The Romanian: Story of an Obsession[3], Penguin, →ISBN:
Now that I've committed to it, our walk, in perfect time with each other, feels pastoral, like a dreamy tango with death and doinas, the music said to represent the emotional consciousness of Romania.
2012 October 12, Yale Strom, Shpil: The Art of Playing Klezmer[4], Scarecrow Press, →ISBN, page 125:
And when a klezmer found himself performing for Romanians, he was sure to play Romanian doinas, in the Romanian style, to please his listeners.
2019 September 24, Nicolae Iorga, A History of Romania: Land, People, Civilization[5], Center for Romanian Studies, →ISBN, pages 181–182:
the common people had only the invitations to the dance and the melancholy plaints of the doinas
