Relevant bibliographies by topics / Belarusian Songs

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Academic literature on the topic 'Belarusian Songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Belarusian Songs"

1

Dayneko, Tatyana V. "Songs of Maslenitsa in Belarusian traditions of Siberian existence: structural and rhythmic typology." Sibirskiy filologicheskiy zhurnal, no. 2 (2022): 9–28. http://dx.doi.org/10.17223/18137083/79/1.

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This paper presents the results of the author’s typological study of the tunes of the ritual songs of Maslenitsa of Belarusian settlers of Siberia and the Far East. The study material includes archival and published recordings of songs of Maslenitsa made in the main regions of the settlement of Belarusians (Novosibirsk, Kemerovo, Omsk regions, Krasnoyarsk and Primorsky territories). The focus is on the most important aspect for calendar songs - the structural and rhythmic organization of tunes. The results of studying the song tunes of the resettlement tradition were found to correlate with the tunes of Maslenitsa songs of the metropolis presented in the classifications of Belarusian ethnomusicologists Z. Ya. Mozheiko and V. M. Pribylova. The analysis of the resettlement Belarusian tradition of Siberia and the Far East allowed identifying the groups of Maslenitsa songs correlating structurally with tunes identified by Belarusian researchers. It was revealed that despite there being a relatively small number of songs, the Siberian tradition features the tunes of type IV ves.-masl. (according to Z. Ya. Mozheiko; = IIb according to V. M. Pribylova), as well as tunes not only of the main types I, III, and IV according to classification of V. M. Pribylova, but also ones of their local varieties. In addition, a number of tunes of Siberian songs prove to have a non-typical structure.
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2

Dayneko, Tatyana V. "Spring songs of Belarusians of Siberia and the Far East: structural-rhythmic typology." Sibirskiy filologicheskiy zhurnal, no. 1 (2023): 9–25. http://dx.doi.org/10.17223/18137083/82/1.

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The paper presents the results of the typological study of the tunes of the spring songs of Belarusian settlers of Siberia and the Far East. The author has analyzed the archival and published recordings of spring songs made in 1970–1990 in the major regions of the settlement of Belarusians (Novosibirsk, Kemerovo, Omsk regions, Krasnoyarsk, and Primorsky territories). The analysis focused on the structural and rhythmic organization of tunes, considered the most important aspect of calendar songs. Studying the tunes of the songs of Belarusian settlers of Siberia and the Far East allowed the author to divide the spring songs into groups, correlating by their structure with the types of tunes identified by the Belarusian ethnomusicologist Z. Ya. Mozheiko. It was found that the Siberian collection contains tunes of type III ves., as well as, in a modified form, VI rus. and IX ves.-kup. (according to Z. Ya. Mozheiko). The spring ritual songs of Belarusian settlers were found to be based on other typical rhythmic formulas from the Belarusian classification: “arrow,” “stream,” and the rhythmic formula of the main type of carol songs. One group of songs was identified to be based on the verse structure “kolomyika,” common to the East Slavic peoples. The tunes of some songs cannot be classified as typical, although they do have the features of formulaicity. Seasonally timed songs tend to be based on the same verse structures and rhythmic formulas as the ritual ones. Of particular importance are round dance songs.
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3

Mazuryna, N. G. "MANIFESTATIONS OF VARIANCE IN THE BELARUSIAN CALENDAR AND RITUAL TRADITION (ON THE EXAMPLE OF THE SPRING SONG “VOL BUSHUE – VIASNU CHUYE”)." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 3 (August 25, 2018): 348–54. http://dx.doi.org/10.29235/2524-2369-2018-63-3-328-354.

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The article is devoted to the study of the variation of the Belarusian calendar-ritual songs on the example of the ancient and widespread spring song “Vol bushyе – viasnu chuye”. Dozens of tunes and lyrics of songs recorded in various places of Belarus at the end of the 19th and the beginning of the 21st century were analyzed. In modern folklore, variation is understood as a specific feature of folklore which manifests itself in the existence of works of folk art in variants. The method of comparing options has become one of the main ones in the process of revealing the features and patterns of the existence of song folklore in variants. As a result of the research, the facts of the existence of a variant set of Belarusian folk songs “Vol bushyе – viasnu chuye”, differences of local styles and traditions, revealed a number of reasons that influence the occurrence of song variants (place, time, form of being, age and individual abilities of performer and other). The rich material made it possible to draw some conclusions about the structural and semantic laws of the existence of variations of songs, the nature of metrorhythmic, melodic types, modes, plot variants. Variation, as one of the primary features of folk art in the cycle of Belarusian ritual songs and directly in the spring songs has its own characteristics. The peculiarity of rhythmics and melodies give the songs plasticity, drama, perfectly convey the emotional states that artistically combine with the plot-shaped system of spring song-calls.
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4

Dashuk, Volha. "The Land of the Sad Songs: Belarusian National Identity through Polish Documentary films in the 1930s." Panoptikum, no. 30 (December 28, 2023): 33–50. http://dx.doi.org/10.26881/pan.2023.30.02.

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Belarusian national identity is a taboo subject in Belarus nowadays, unless identity is understood in a Soviet/Lukashenko way. So for Belarusians, who have gone through national destruction more than once, this issue is not just a usual research topic but a crucial question that can contribute to national survival. In the 1920s-30s a part of Belarusian lands belonged to Poland and Polish filmmakers shot some documentaries there, which turned out to be the sole materials since whatever was taken in Soviet Belarus at this time, got burned later. This research aims to determine what these visual materials communicate, how they can add to the Belarusian identity and why it is important for modern Belarus and its cinema.
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5

Voloshyna, Iryna. "The Songs of Old Europe—Ancient Belarusian Folk Songs." Journal of American Folklore 135, no. 537 (July 1, 2022): 377–78. http://dx.doi.org/10.5406/15351882.135.537.26.

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6

Kazanina, Viola. "Ценные предметы в белорусских народных песнях с родины Адама Мицкевича." Białorutenistyka Białostocka 13 (2021): 329–40. http://dx.doi.org/10.15290/bb.2021.13.21.

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The article provides a description and an analysis of the literary context of valuable items in the well-known lyrics of national folk songs of the Belarusian Ponemania. A romantic poet Adam Mitskevich (1798–1855) was born in the land of Ponemania, not far from the town of Novogrudok and Lake Svityaz. In his poems, he borrowed a lot from local folklore – fairy tales, legends, and songs. The article aims to characterize the valuable items described in Belarusian folk songs, recorded in the homeland of Adam Mitskevich, from the perspective of the history of art and antiques.
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7

Dayneko, Tatyana V. "Subregional Calendar Traditions of Belarusian Settlers: Stable, Mobile and Unique Components." Critique and Semiotics 10, no. 2 (2022): 224–40. http://dx.doi.org/10.25205/2307-1737-2022-2-224-240.

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The article deals with the ritual and song components of the subregional calendar traditions of Belarusian settlers from the Omsk and Novosibirsk regions, Krasnoyarsk and Primorsky territories (records of songs and descriptions of rituals of the 1970s–2010s). It has been established that the subregional traditions of Belarusian settlers differ from each other in the composition of calendar rituals, the presence or absence of a song component in them and the number of song samples. The author comes to the conclusion that the annual calendar cycle of Belarusian migrants includes stable and mobile folklore and ethnographic complexes. Stable ones are developed in all the studied subregional traditions, in them the ratio of “rite-song genres” is balanced. Mobile ones may be present / absent in different sub-regional traditions or have different weight in their ritual-genre systems, the ratio of rituals and songs in such complexes is, as a rule, unequal. In addition, there are a small number of unique elements that distinguish any tradition from a number of others. The most stable is the winter festive folklore-ethnographic complex. It is present in all sub-regional traditions in sufficient completeness and safety. Only the Omsk subregion has a striking difference, where there is also a uniqat – the Christmas ritual game “Tereshka’s marriage”. The second stable component is the stubble ritual-labor complex with song genres related to it, including ritual ones and those dedicated to the season. The features of mobile folklore-ethnographic complexes are considered. The unique features of each subregional tradition are revealed.
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8

Hulak, Anastasia A. "Soviet heroic characters in the Belarusian war folklore." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 152–65. http://dx.doi.org/10.37816/2073-9567-2021-62-152-165.

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Based on materials collected by Belarusian Soviet folklorists in the first and later post-war expeditions, the paper examines manifestations of folklorization as part of assimilation and reinterpretation of different texts by the oral tradition. It focuses primarily on non-canonical war folklore, the examples of which are clustered around the three elements of the character code of Soviet heroics. Common songs about Kolya the Tractor Driver belong to the semantic field of the myth of the so-called “fiery tractor driver” — Pyotr Dyakov. They demonstrate that official art that could meet popular ideas of the war as a social and personal trauma were mostly open to folklorization. Folk songs about Zoya Kosmodemyanskaya vividly embody the motifs of suffering and demonstrate an expressive shift of the genre and content boundary from Soviet heroics to late traditional ballad forms. They substantively reveal the tragedy of human collision with the world of war. Songs about Zaslonov, popular among Belarusian partisans are derived from a productive ballad story about the death of a soldier. They steadily retain the semantics of the hero — people's defender. The revitalization of plots with such heroes — nation`s protectors is characteristic of the oral tradition of the period of social cataclysms. Songs about Zoya Kosmodemyanskaya and Konstantin Zaslonov are among the few that retained elements of their characters’ personal features in spite of being a part of the popular repertoire of the post-war period.
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9

Yakimenka, Tamara. "Landscapes of the Belarusian ethnic music of archaic layer: aspects of study (based on publications of ethnomusicological works of young musicologists BSC / BSAM 1991–2013)." Ethnomusic 16, no. 1 (2020): 170–88. http://dx.doi.org/10.33398/2523-4846-2020-16-1-170-188.

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Digests of articles by young musicologists of the Belarusian State Academy of Music, devoted to revealing the landscape panorama of the Belarusian ethnomusical culture of ritual genesis, are examined [1–5]. It’s shown that the considerations of young researchers published in the ethnomu- sicological editions of 1991–2013 aim at studying the autochthonous and historically deep phenomena of the Belarusian folklore fund, at revealing the features of ethnic song and instrumental melos in ritual complexes of calendar-farming and life cycles. A significant part of the research is devoted to the disclosure of typology, melo- geography, functional load, intonational, structural-rhythmic-compositional and eth- nophonic characteristics of song-ritual and instrumental practices of different regional and local traditions. In the subject spectrum of the articles the important issues are the sound world of ethno-song archaic layer considered in the aspect of mytho-sound-poetics [5], the pitch, articulation and ethnophony of the ancient melos, conditioning thereof by the signal-communicative sound activity as a factor of stability of ritual sound standards in the musical consciousness of carriers for many centuries. The ‘song territories’, which, as a result of placement on the borderland of his- torical-ethnographic and ethnocultural areas, are marked by a variety of linguistic in- fluences, the coexistence of diverse anthropological types in the autochthonous popu- lation (with the appropriate difference in beliefs, ritual practices and lifestyles) found their study in the issues of the ethnomusicological series. The ethno-song loci of various scales and levels – from their intraregional spe- cies (‘local’, ‘special’, ‘island’) [4] to status ones for ethnomusical cultures (the so- called ‘regional borderland’) [5] are studied. An ethnopsychological consideration is reflected in a number of articles [4]. Among the objects studied by young musicians there are significant ones in the ethnomusic culture of Belarusians song forms of the ‘Valachobny’ (Easter) and St George Day ancient rituals [1], congratulatory visiting rituals of the Carol period and the ‘Yashchar’ roundelay-game action assigned to the time of the Philippe post (Ad- vent) [2], childbirth and narrative (ballad) songs [4], groups of ‘Rajok’–‘Sparysh’– ‘Dazhynki’ (end of the Harvest) and ‘Aviasets’ (autumn) songs of Poozer’e (Lake district) [4], song traditions of the Maslenitsa (Shrovetide) ceremonies [4], the lead of the ‘Arrow’, ‘Rusal’, spring swings [5]. In the series of ethnomusicological collections of 1991–2013 landscapes of the ancient ethnomusic culture in its ‘Belarusian’ area on the territories of the Western Dvina basin, the upper course of the Dnieper, Dnieper–Druts–Berezina interfluve, Po- nemanje [1–5] were disclosed from the positions corresponding to the leading direc- tions of modern ethnomusicology. 187 The perspective of the researches carried out by young musicologists, their level and directly the potential of scientific problems were confirmed later in ethnomusico- logical dissertations [6–10], audio collections of the ‘Audio Atlas of the Traditional Musical Culture of Belarus’ and monographs [11–13].
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10

Dayneko, T. V. "Volochebnye Songs in the Belarusian Tradition of Siberian Existence." Critique and Semiotics, no. 2 (2023): 250–71. http://dx.doi.org/10.25205/2307-1753-2023-2-250-271.

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Books on the topic "Belarusian Songs"

1

Rahovich, U. I. Pesenny falʹklor Palessi︠a︡: U trokh tamakh. Minsk: "Chatyry chvėrtsi", 2001.

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2

Chaban, Mykola. "Zaspi͡a︡vaĭ mne na matchynaĭ move": Folʹklor. Dnipropetrovsʹk: Vyd-vo UkO IMA-pres, 2000.

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3

Mazheĭka, Z. I︠A︡. Pesni Belaruskaha Padni︠a︡proŭi︠a︡. Minsk: "Belaruskai︠a︡ navuka", 1999.

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Mozheĭko, Z. I︠A︡. Kalendarno-pesennai︠a︡ kulʹtura Belorussii: Opyt sistemno-tipologicheskogo issledovanii︠a︡. Minsk: Nauka i teknika, 1985.

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I, Rahovich U., ed. Vi͡a︡nok belaruskikh narodnykh pesenʹ. Minsk: "Navuka i tėkhnika", 1988.

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Pryemka, V. V. Lakalʹna-rėhii͡analʹnyi͡a asablivastsi belaruskikh vi͡aselʹnykh pesenʹ: Pinshchyna. Minsk: RIVSh. Respublikanskiĭ institut vyssheĭ shkoly, 2010.

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Fi︠a︡dosik, A. S. Kupalʹskii︠a︡ i pi︠a︡troŭskii︠a︡ pesni. Minsk: "Navuka i tėkhnika", 1985.

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8

Shyrma, R. R. Pesni͡a︡--dusha naroda: Z litaraturnaĭ spadchyny. Minsk: "Mastatskai͡a︡ lit-ra", 1993.

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9

Lis, Arsenʹ. Z͡H︡niŭnyi͡a︡ pesni. Minsk: Navuka i tėkhnika, 1993.

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Mukharinskai︠a︡, L. Belaruskai︠a︡ narodnai︠a︡ muzychnai︠a︡ tvorchastsʹ. Minsk: Vyshėĭshai︠a︡ shkola, 1993.

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Book chapters on the topic "Belarusian Songs"

1

Labyntsev, Yury A. "The Old Russian writer and preacher of 12th century, Cyril of Turov." In Materials for the virtual Museum of Slavic Cultures. Issue II, 162–66. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/0440-4.27.

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The article discusses the main milestones in the life and creative heritage of the outstanding writer of the Eastern Slavs, Bishop Cyril of Turov, as well as the history of the study of his work. He entered into the history of East Slav literature as an author of prayers, canons and homilies. His work’s popularity surpassed similar writings of other old Slavic authors for centuries. His spiritual works still echo today in the orthodox folk songs in Belarus’, Ukraine and Russia. Cyril of Turov is one of the most revered saints in Belarus’: one can see monuments to him in many Belarusian cities.
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2

Olson, Laura J., and Svetlana Adonyeva. "Chastushki." In The Oxford Handbook of Slavic and East European Folklore, C36P1—C36N2. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.36.

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Abstract Chastushki are short (one stanza) rhymed folk songs declaimed or sung on a simple melody to the accompaniment of accordion or balalaika. This chapter surveys Russian, Ukrainian, and Belarusian chastushki, focusing upon their history, content, collection, poetics, musical aspects, and pragmatics (the contexts in which they are sung or declaimed and the intentions of the singers). The contexts include entertainment, courtship, competition, humor and satire, propaganda, ritual (memorializing the dead, seeing off army recruits, weddings), and remembering the past. In public, social contexts, chastushki invite a dialogue: each text can be answered by another text. The chastushka genre gives singers the chance to express their point of view and therefore to exercise power in social situations.
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3

Jasiūnaitė, Birutė, and Jelena Konickaja. "Neigiamų žmogaus gyvenimo apraiškų ryšys su pelėdos vaizdiniu lietuvių ir slavų etninėje kultūroje / Związek negatywnych przejawów życia człowieka z wizerunkiem sowy w litewskiej i słowiańskiej kulturze etnicznej." In Wartości w językowym obrazie świata Litwinów i Polaków 3 / Vertybės lietuvių ir lenkų kalbų pasaulėvaizdyje 3, 227–39. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381388030.14.

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In the present article, the ethnolinguistic perspective on the interpretation of one of the most widespread birds in Lithuania and in the Slavic countries, namely, an owl, is studied. In the cultural tradition, both positive and negative aspects are associated with birds, and, as a rule, only negative ones are associated with birds of prey. The connection of an owl with negative aspects of life is analyzed on three levels: on the linguistic level (metaphors, fixed comparisons, phraseological units, etc.); on the level of folklore texts (songs, fairy tales, legends, etc.); and on the level of traditional concepts. The material for the study has been collected from the explanatory dictionaries of the Lithuanian and various Slavic languages, the phraseological dictionaries, folklore collections, etc. On the linguistic level, the analysis shows that in the Lithuanian and Slavic languages, an owl is usually associated with an ugly woman, with large bulging eyes, in Lithuanian it is also associated with an ugly sitting person (which is also found in Polish); in Slavic languages, there is a comparison between an owl and a person who has not slept at night for a long time. What is common in the Lithuanian and some Slavic languages is the love of an owl for its ugly children. In the Lithuanian song material, an owl is depicted as a comic character showing off its “beauty”. In the songs, there is an image of an owl as a rich woman (in Lithuanian and Belarusian folklore); the wedding motif of an owl married to a sparrow is popular in Lithuanian and some Slavic folklore traditions. The motif of widowhood, single motherhood is vividly represented in the Slavic languages. In Lithuanian and Slavic folklore, an owl is widely represented in marriage songs where this bird usually parodies the bride or another participant in the wedding ceremony. The nocturnal lifestyle is explained in Lithuanian and Slavic folklore by its fear of other birds chasing an owl during the day. An owl is demonized in the Lithuanian and Slavic folk tradition. For instance, Lithuanian folklore mentions that a witch can turn into an owl, while in Slavic folklore, an owl is often associated with other birds that are servants of the devil. In both Lithuanian and Slavic traditions, owls are able to foretell the future: either future misfortunes or a birth of a child. This is associated with the acoustic impression of owl’s cry, and with an idea of its connection with the other world. The above-mentioned general interpretations of an owl in the traditional culture of Lithuanians and Slavs, primarily Belarusians, Ukrainians, Poles, and to a lesser extent – the southern Slavs, Czechs and Slovaks, prove the close ties between Lithuanians’ and Slavs’ beliefs.
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Shchavinskaya, Larisa L. "Orthodox Bogoglasnik - the connecting thread of Western and Eastern Slavia." In Inter-Slavic cultural ties. Results and perspectives of research, 50–66. Institute of Slavic Studies RAS, 2021. http://dx.doi.org/10.31168/0452-7.04.

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The article is devoted to the history of the appearance and distribution of the mass folk book bogoglasnik, which became essentially a phenomenal literary phenomenon of the 18th-21st centuries, linking and uniting the Christian cultural and religious traditions of Western Slavia and Eastern Slavia. The history of the Orthodox Bogoglasnik has hardly been studied until now. The development of the Orthodox tradition of the Bogoglasnik coincided with the era of the Slavic Renaissance and the establishment of universal school education. This contributed to the gradual emergence of a large number of new writers of spiritual song and the emergence of an entire industry of their correspondence, both manually and through various available means of replication. Over time, the bogoglasnik turned into a national book of spiritual everyday life and became a kind of folk catechism of our days for millions of Eastern Slavs, mainly Ukrainians and Belarusians.
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Labyntsev, Yuriy A. "Sacred property of PAX CHRISTIANA: The literary heritage of hieromonk Christopher (1833-1897)." In Inter-Slavic cultural ties. Results and perspectives of research, 31–49. Institute of Slavic Studies RAS, 2021. http://dx.doi.org/10.31168/0452-7.03.

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The article deals with the problem of the continuity of the existence and development of Orthodox folk literature of the Eastern Slavs in the 19th-20th centuries on the example of the creative heritage of one of the most gifted Orthodox writers of the 19th century, hieromonk Christopher (Chrysanf Sakovich, 1833-1897). A native of Volhynia, he became the largest creator of religious poetic works for the common people, on which millions of Ukrainians, Belarusians and Russians were brought up and are being brought up. The main work of hieromonk Christopher was his poetic prayer cycle «The Song of the Cross», which became a real national book. It is massively replicated to this day in different countries in all possible ways, from handwritten correspondence to electronic typing. In general, the literary heritage of hieromonk Christopher is a very special phenomenon not only in the Slavic world, but also a phenomenal precious asset of Pax Christiana.
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Conference papers on the topic "Belarusian Songs"

1

Lamm, Maria. "Marginal folklore in the song of the Belarusian rock band Dzieciuki “Chastuhany”." In Slavic World: Commonality and Diversity. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/2619-0869.2022.3.01.

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