Auswahl der wissenschaftlichen Literatur zum Thema „Music Children's songs Folk songs“

Indonesian culture is very diverse with forms ranging from dance, batik cloth, folklore, folk music and songs, traditional clothing, traditional houses, traditional food and drinks, traditional games, performing arts, rituals and so on. At the writing of this library research, the researcher focused on folk songs that are famous in West Java. The title song is Tokecang. The thing related to this song is that a simple song sung by children has a deep meaning. In this literature review, researchers associate Tokecang songs with the formation of children's characters. The formation of children's characters in the Tokecang song teaches that we, as social beings, must have an attitude of affection and social care. Affection is an emotional reaction to a person, animal, or object.

Second graders through sixth graders ( N = 343) listened to 10 musical selections in music classes and marked their preference and perception of each selection's tempo on rating scales. Listeners responded to children's songs played with nine electronic keyboard sequenced accompaniments, including popular to more traditional folk styles. The tenth accompaniment style featured simple chords with piano timbre, included to represent a typical acoustic piano accompaniment. All selections were performed at the same tempo. Three versions of the survey, recorded with various song-style combinations, were prepared. Responses indicated lower preference for older students, but also revealed that students across grades judged styles more similarly than the songs. The most preferred styles were those labeled Hip-Hop, Heavy Rock Shuffle, Samba, and Funk2; the least preferred were Polka, March, Bluegrass, and Piano Chords. Song and style combinations affected children's musical preference. There was a significant correlation between perceived faster tempo and style preference for third through sixth graders, but not second graders. All styles except Samba revealed a significant but modest positive relationship between faster perceived tempo and greater preference. Students perceived the piano-chordal accompaniment to be much slower than the other styles.

"The Music Pedagogy Workshop working within the Institute of Music at the University of Nyíregyháza has initiated several programmes related to music methodology, financed by EU funds. Within the framework of subproject entitled “Renewing the practice of teaching music in public education based on folk traditions,” digital handbooks and teachers’ books have been designed for the Grades 1 to 4 of primary schools. The present paper introduces the novel features of the material designed for Grades 1 and 2. It touches upon the issues of the relevant points in curricular regulations, the possibilities of the innovative methods of score notation and score reading, tailored to the age characteristics of students, and the new approach to teaching the musical elements connected to a selected song corpus. The basic concept in designing the material of the first two grades was the amalgamation of folk culture, including folk tales and children’s game songs, and the world around children. The elements of the knowledge of the present and the past appear side by side in the individual thematic units. Interdisciplinarity also gets emphasised. The generative and creative music activities, the tasks aimed at developing receptive competences, games, and the application of graphic notation, targeting the development of fine motor skills and music literacy, have been designed to broaden the toolkit of music pedagogy for junior schools. Keywords: digital education material, folk music, children’s songs, graphic notation, generativity"

‘Middle music’ and the ‘middle music theory’ of the German Democratic Republic have received little interest, although their products survive until today. Kurt Schwaen is known for his compositions for folk instruments and for his famous children’s songs such as “Wenn Mutti früh zur Arbeit geht” [When mom goes to work early in the morning]. Schwaen was an author of music for the folk, namely for amateur singers, mostly children, or lay instrumentalists, who played in mandolin or accordion orchestras. Schwaen’s compositions may be considered as a variant of socialistic realism in music. They form a modern folk music by both respecting neomodal writing, derived from the 1920s, as well as by including international folk material and promising an authentic and unsuspicious tune which German folk music lacked since the Third Reich.

As a species-typical trait of Homo sapiens , musicality represents a cognitively complex and biologically grounded capacity worthy of intensive empirical investigation. Four principles are suggested here as prerequisites for a successful future discipline of bio-musicology. These involve adopting: (i) a multicomponent approach which recognizes that musicality is built upon a suite of interconnected capacities, of which none is primary; (ii) a pluralistic Tinbergian perspective that addresses and places equal weight on questions of mechanism, ontogeny, phylogeny and function; (iii) a comparative approach, which seeks and investigates animal homologues or analogues of specific components of musicality, wherever they can be found; and (iv) an ecologically motivated perspective, which recognizes the need to study widespread musical behaviours across a range of human cultures (and not focus solely on Western art music or skilled musicians). Given their pervasiveness, dance and music created for dancing should be considered central subcomponents of music, as should folk tunes, work songs, lullabies and children's songs. Although the precise breakdown of capacities required by the multicomponent approach remains open to debate, and different breakdowns may be appropriate to different purposes, I highlight four core components of human musicality—song, drumming, social synchronization and dance—as widespread and pervasive human abilities spanning across cultures, ages and levels of expertise. Each of these has interesting parallels in the animal kingdom (often analogies but in some cases apparent homologies also). Finally, I suggest that the search for universal capacities underlying human musicality, neglected for many years, should be renewed. The broad framework presented here illustrates the potential for a future discipline of bio-musicology as a rich field for interdisciplinary and comparative research.

Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.

Character education in early childhood is not new, and character education is also not just a transfer of knowledge, but something that needs to be built early on through various stimula- tions. This study aims to develop the character of early childhood through audio-visual media with traditional Javanese songs. Using educational design-based research to develop audio-visual media from traditional songs, this media was tested in the field with an experimental design with a control group. Respondents involved 71 kindergarten students from one experimental class in one control class. The data revealed that character education in children shows the average value of the experi- mental class is higher than the control group, this means character education in children can be built through traditional songs. Further research can be done to improve the character of early childhood through a variety of media that interests children. 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Children's traditional creativity as an inexhaustible inspiration, but also an alternative form of musical education, represents the biological human need. It is also an "extraordinary means of stimulating intelligence and a way of connecting and bonding people of the world" (Habermeyer, 2001). Our region features a large number of songs for pre-school children, as well as a large number of rhythmic games, which also belong to the field of physical and musical education, as well as domains of learning traditional games. More and more research suggests that children "possess the least knowledge of rhythmic games in general" (Dopudja, 1977). Although there has always existed a tradition of nurturing traditional games / dances that have been transferred to younger generations, both within families and in institutions for pre-school children, it can also be transferred through a well-organized and planned regional tourist offer if its contents are adapted and presented in one of the world languages. Every country in which tourism is one of the most important branches of the economy, naturally turns to its own traditional values and potentials. Furthermore, folklore heritage has proven to be an inexhaustible source of inspiration for both artists and lay people. One should bear in mind the important fact that tourism can be defined as "a correlation of services and other benefits used by tourists created from the need for temporary displacement of people. Having in mind the distinctiveness of tourism from the aspect of its heterogeneity, where the tourist aggregate is constituted of important elements" (Cuervo S. 1967) which also include folklore art as well as various forms of entertainment and leisure time (Stavric, Baros, 2005). If we are familiar with the fact that children primarily learn by listening, watching, doing or their combination, then it is clear that children's folk art and movement rhythmic games, music and art combine these three ways of learning, and at the same time, enhance the development of intelligence in children. All the elements, as well as the inevitable factors that accompany children's folk art, influence the psychophysical, intellectual and emotional development of a child (Planjanin-Simic, 2016). Such potentially offered cultural and educational content certainly leads to better understanding among people from different countries and regions. On the other hand, today, the English language has indubitably become the language of world communication, a contemporary “lingua franca”. What is more, the English language entered almost all spheres of life: music, entertainment, mass media, traveling, tourism... To that note, with the intention of bringing people who speak different languages closer together, this paper will offer the English translation of famous children folk songs, games and dances from our region, especially Montenegrin traditional rhythmic games, with the aim to present regional culture to foreigners and transcendent the language barrier.

This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music. Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education. Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century. The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources. At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions. The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.

Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.

In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.

Thesis (D.M.A.)--UCLA, 2008.
Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).

The research topic deals with the development of a music education on fundamental approach of teaching shakuhachi traditional music. The shakuhachi is a Japanese bamboo flute with four finger holes in the front and one thumb hole in the back. It is a very simple instrument and is played without a reed. The purpose of the study is to investigate the extent of the interaction of traditional musical issues on Japanese music education by tracing the new music curriculum in 2019. The topic of this study is the development of a fundamental approach of teaching Japanese traditional music. The author demonstrates a basic shakuhachi training method using two to five tones in Japanese traditional children's songs, and Japanese warabeuta (traditional children's songs) and minyo (folk songs). Students study how to make sound, then they play a simple piece. Also, they will be able to study Japanese cultural background through to shakuhachi.

Chapter 9 discusses the rare phenomenon of musical hallucinations. For some they are unwanted, persistent, and dramatically intrusive. Others hear phantom music that is sophisticated, beautiful, and sometimes original. People often describe their hallucinated music in terms of “playlists” composed of music in many different genres, from which fragments seem randomly selected. One such playlist might include folk songs, religious hymns, Christmas carols, patriotic songs, and children’s songs. The music often sounds as though played on a scratched or broken record, or on a tape constantly being rewound. Musical hallucinations are most likely to be experienced by elderly people with hearing loss, but young people with normal hearing, including excellent musicians, also experience them. Some may be caused by an unusually large amount of brain activation, particularly in the temporal lobe. People who have been isolated for long periods may also experience hallucinations, including of music. Hallucinations of speech are also described and discussed. Reports of musical hallucinations show that the different attributes of music can be retrieved or lost independently. A hallucinated piece might be heard in the wrong tempo or loudness, or as played by an unknown instrument. Famous musicians who hallucinated music include Robert Schumann, Bedřich Smetana, and Sviatislav Richter.

This chapter highlights certain aspects of Charley Patton's life and personality to provide a better understanding of the social context of his life and music. It is based largely on the internal evidence in Patton's songs that contain biographical details and allusions and on interviews with his relatives and associates, particularly his sister Viola Cannon, his niece Bessie Turner, his nephew Tom Cannon, two of his children, and Tom Rushing, a figure in one of his songs. Patton was the first recorded black folk artist to sing about local public events and about white people whom he knew. Indeed, his very existence was a bold challenge to the status quo in the Delta that was designed to keep him oppressed, to keep him from being a “great man.” Charley Patton knew his own greatness and was proud of it.

The purpose of the article is to show how modern technologies expand the educational possibilities of children's patriotic songs by enriching this genre with new means of expression, as well as the emergence of new forms of song representation (songs for movies, TV shows for children, laser shows, open-air performances, etc.). The direct participation of children in the preparation for participation in the events, performances in front of the audience, as well as the presence as spectators and the use of music teachers of these genres in the classroom have an effective educational impact on children of different ages for the purpose of patriotic education of young people in China.

The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.