Academic literature on the topic 'Dong Folk songs'
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Journal articles on the topic "Dong Folk songs"
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Lee, Eugene. "The Status of Korean Folk Song Transmission in the Mid-1970s Seen through DBS Report “Minyo-ui Gohyang”." Society Of Korean Oral Literature 71 (December 31, 2023): 181–211. http://dx.doi.org/10.22274/koralit.2023.71.006.
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This study examines the actual status of the transmission of folk songs in South Korea in the mid-1970s through DBS Report "Minyo-ui Gohyang (Hometown of Folk Songs)" produced and broadcast by Dong-A Broadcasting System (DBS). DBS Report "Minyo-ui Gohyang" was a radio documentary series that covered farming and fishing villages to report on folk song transmission. DBS produced and broadcast 15 episodes of DBS Report "Minyo-ui Gohyang" in 1974 and 10 episodes in 1975. Although it did not cover all regions of the country, Gyeongsangnam-do, Gyeongsangbuk-do, Jeollanam-do, Jeollabuk-do, Gangwon-do, and Chungcheongbuk-do were included and the coverage was conducted at the village level. This program was significant in that it raised the public’s awareness of folk songs by covering and reporting in-depth on native folk songs rather than popular folk songs that were often heard through modern media, such as radio, TV, and LP at the time.
DBS Report "Minyo-ui Gohyang" not only reported what kind of folk songs remained in the farming and fishing villages but also how the villagers were passing down folk songs and what these meant to them. This program covered a total of 18 villages. In 8 villages, folk songs were actively transmitted, while in the rest 10 villages, folk songs were found but not actively transmitted. The main cause of this was the changes in living conditions. In fishing villages, the opportunities to sing fishing labor songs disappeared with the decline of traditional fishing due to the development of fishing technology and changes in fishing grounds. Similarly, in rural areas, the opportunities to sing folk songs decreased due to the mechanization of farming, the use of herbicides, and the industrialization of the region. The spread of popular songs through the radio also diminished the transmission of folk songs. However, it is noteworthy that some villages underwent the same changes while the villagers worked together to preserve their folk songs. For them, folk songs were not only a means of relieving the boredom and exhaustion of labor and increasing the efficiency of work but also a source of vitality for living, art that enriched daily life, and valuable cultural heritage to be passed on to future generations.
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Hong, Teahan. "A few views in looking at Folk Song -Looking at 『Collection of Folk Songs of Korea』 of Im Dong-gwon-." Korean Folklore 78 (November 30, 2023): 117–40. http://dx.doi.org/10.21318/tkf.2023.11.78.117.
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Sundari, Wiwiek. "Javanese Language Maintenance Through Javanese Traditional and Modern (Folk) Songs." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 4, no. 1 (July 12, 2020): 11–16. http://dx.doi.org/10.14710/culturalistics.v4i1.8143.
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Javanese Language is learnt and studied by many people throughout the world as it has a complex system of language covering the letters (Javanese Language Orthography), the politeness level, and also the history and the culture behind the language. However, there is a concern on Javanese Language shift by its young speakers because they tend to use Indonesian Language as Indonesia’s Official Language, English as the world’s international language, or another popular language in the world like Korean with its K-Pop phenomenon. Javanese Language maintenance is then needed to keep these young generation as the language users who will pass it to the next generation. One of the ways to do it is embracing their world so that the language is considered good and beneficial for them as the young generation. Since music and song is very close to the young generation as they are very up to date with the latest trend of it, the language maintenance can be done through exposing Javanese kinds of music and songs. Recently, a kind of Javanese music called Campursari along with its songs are gaining popularity with the fame of The Godfather of The Brokenheart, Didi Kempot, who creates thousands of Campursari songs full of love stories in the lyric, particularly the brokenheart storied. Out of nowhere, the young generation, who are Javanese, who are Javanese but do not understand Javanese Language or even who are not Javanese and not understand Javanese Language are joining the crowd and becoming his fans that previously filled with the old generation. This research shows how Junior Highschool Students maintain the Javanese Language usage by liking the music, singing the songs and understanding the Javanese Language in the lyric. This research also observes whether they still know or able to sing traditional Javanese songs they exposed from their family, environment (neighbourhood) or Javanese Language class at school that shows their Javanese Language maintenance. Keywords: language maintenance, Javanese Language, students, Junior Highschool, Campursari, Javanese music and song
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Ghimire, Ram Prasad. "A Folkloristic Study on the Folk Songs That Reflect Nature." Butwal Campus Journal 4, no. 1-2 (December 31, 2021): 137–46. http://dx.doi.org/10.3126/bcj.v4i1-2.45014.
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This article traces nature in the folk songs being concerned with why folk song creators associate their songs with nature. The study drew its firsthand data by doing field research in Arghakhanchi and the researcher has used folkloristic concepts to analyze the given folk songs. The folkloristic study on them shows that the folk singers of the given locality use nature for two purposes. One purpose of using nature is to produce rhyme in the songs with the objects of nature. This may be called a surface level association. The second one is to associate the subtle layers of their ideas and feelings that they pass through in their life with the virtues and qualities of the things of nature. As a result of this, their creation becomes dense with different virtues and tastes of images and symbols. Of course, human beings feel lively and energetic when they are close to nature. Since there is constant original link age of human beings with natural properties like earth, water, fire, air, and ether, they find and feel nature as the essential inspiring factor for both their life as well as their creation that is very often filled with various wonderful facets of nature.
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AVDYLİ, Merxhan, and Veli KRYEZİU. "Folk Songs about Canakkale in Albanian History and Literature." Rast Müzikoloji Dergisi 10, no. 2 (June 30, 2022): 289–309. http://dx.doi.org/10.12975/rastmd.20221028.
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Albanian culture coexisted for a period of over 500 years with Ottoman culture, at the turn of the new century, along with the Balkan troubles that led to the continued embrace of the transition from an old culture to the ideology of the Young Turk movement, and the continuation of joint Albanian-Turkish actions, in order to protect the Albanian Vilayets from the Serbo-Montenegrin occupiers. Early nineteenth-century Turkey emerged from bloody wars on all sides of its borders and from a weak government led by Abdul Hamid II faced a new war in 1915 now in defense of the Dardanelles in the bloodiest battle "The Battle of Canakkale". The First World War found Albanians divided and occupied in some of its territories, however, from 1912 Albania had declared Independence, but Kosovo, Skopje and Bitola, Ulcinj and Bar had remained outside the borders, while Chameria - the South of Albania had been invaded by Greece. During the First World War a large number of Albanians remained in the Turkish military service, many others joined the Turkish army, mainly Albanians who had migrated to Turkey from the violence of the Serbo-Montenegrin invaders, as well as some more from Kosovo, Skopje, Tetovo, Presevo, Shkodra, Ulcinj, etc who volunteered to help the Turkish army. According to history, oral literature and written documents, many Albanians died heroically, it is said that about 25,000 martyrs had died in this battle. In their honor, the Albanian people composed songs, it is worth mentioning the "song dedicated to the Battle of Canakkale" by the most prominent folklorists of the Albanian nation. Our research was done through a semi-structured interview with: 5 teachers of Albanian literature (at the same time master’s students at the University "Kadri Zeka" in Gjilan, Kosovo); 5 history teachers (at the same time master’s students at the University of Prishtina “Hasan Prishtina”, Prishtina, Kosovo); 2 independent researchers from the Institute of History "Ali Hadri" Prishtina, Kosovo.
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Putra, Rian Dwi Pratama, Dedy Firmansyah, and Feri Firmansyah. "Sajian Lagu Ribu Ribu Dalam Acara Pernikahan di Daerah Rambang Niru Muara Enim." Indonesian Research Journal On Education 3, no. 2 (April 11, 2023): 1090–98. http://dx.doi.org/10.31004/irje.v3i2.237.
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Folk songs have moral and ethical values that are very useful, to be used as a life guide for all children of the nation for an ideal stage in character building. Regional songs are often called traditional songs, each song in the archipelago has its uniqueness, be it in terms of beauty, the uniqueness of melodies, instruments, lyrics, and harmonies. The method used in this research is a qualitative descriptive method, which presents data using sentences in the form of narrative text. While the approach of this researchwith a direct approach using musicological science. The originator of the thousand songs is still unknown until now because the songwriter just sparked when doing the tembangan and according to information from the previous story the song ribu ribu the creator has died therefore the ribu ribu song has no patent owner but can be preserved. The ribu ribu song is well developed and very well received because this song includes tembangan or another word for tembangan according to the local language or Rambanglanguage is "Betembang" which means singing, until now the ribu ribu songs is still used in weddings. The use of ribu ribu songs at weddings in the Rambang Niru area is a tradition of the local community because ribu ribu songs are used to release the bride and groom because they are married and will live a new life, ribu ribu songs are a blend of between two families who feel happy because the child has found a soul mate.
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Bach, Thi Ngoc Trang, and Young-soon Kim. "Reservation and Development of Vietnamese Dong Ho Folk Painting." International Journal of Social Sciences and Management 2, no. 2 (April 25, 2015): 157–64. http://dx.doi.org/10.3126/ijssm.v2i2.12333.
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Dong Ho folk painting is a line of Vietnamese folk painting originating in Dong Ho village (Song H? commune, Thu?n Thành District, B?c Ninh Province). It is a culture heritage of Vietnam; so the preservation and development have been requisite. In this study, we endeavored to discover the meanings and values of Dong Ho folk painting; to find out the reasons why Dong Ho folk painting fell into oblivion and recent status of of Dong Ho folk painting village; then to propose some solutions to restore and develop it. Furthermore, in the trend of globalization, preservation and development of Dong Ho folk painting is the best methods to partly diffuse Vietnam’s traditional culture with its diversification.DOI: http://dx.doi.org/10.3126/ijssm.v2i2.12333 Int. J. Soc. Sci. Manage. Vol-2, issue-2: 157-164
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Mohammad Khan, Amir. "Folklore and Folk Songs of Chittagong: A Critical Review." Advances in Language and Literary Studies 8, no. 2 (April 30, 2017): 37. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.37.
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Folk Songs stems from Folklore are very rich in the southern region of Chittagong. In this part of the world Folk Songs play pivotal role in the lifestyle of people as a heart-touching and heavenly connection exists between human, nature and Folk Songs. Folk Songs in this area are special because we found the theme of Nature Conservation in them. We took the southern part of Chittagong (Lohagara, Satkania, Chandanaish and Patiya) as our research area, selected a village namely Chunati in the systematic sampling and more than 100 people were interviewed through focus group discussion and key informant interviews. The sufficient literature review is also done. People in this area love nature a lot. Here music personnel were born from time to time who not only worked for the musical development but also created consciousness among people to love nature and save it. We discussed about the origin of Folk Songs, pattern of Folk Songs to clarify the importance of Folk Songs of Chittagong for its connection to Folklore and at the same time for promoting the idea of Nature Conservation. Of course, this part of studies deserves more attention in the field of research. Our ultimate goal should be to conserve and promote Folk Songs of Chittagong with yearlong heritage that automatically will later enrich Folklore and Nature Conservation.
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Nazarova, N. V. "The use of texts of Russian folk songs in teaching a foreign language at a non-linguistic university." Evidence-based education studies, no. 2 (2024): 27–34. http://dx.doi.org/10.18323/3034-2996-2024-2-27-34.
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The professional activities of the Arts faculty graduates are largely associated with the promotion of the cultural heritage of the peoples of Russia. This research paper reveals the potential of the discipline “Foreign Language” in teaching values of Russian folk culture to the university students. The purpose of the study is to consider the possibility of using translations of Russian folk songs lyrics in foreign language classes. The Russian folk songs served as a basis for improving language skills and abilities, as well as introducing the students to the national picture of the world displayed in the lyrics, to their imagery and symbolism. The paper outlines three stages of working with the songs, including pre-text, text and post-text tasks. Different types of assignments for each stage are presented. Apart from the development of receptive and productive language skills, the given tasks help analyze the ways of transmitting specific words, images, symbols, lexical and syntactic expressive means by means of the English language. While doing the proposed assignments, the students get acquainted with the rich Russian cultural heritage. As the study has proven, the use of song lyrics contributes to the development of students’ creative abilities, increases their motivation to learn a foreign language, and facilitates acquisition of general and professional competencies of future cultural workers. The assignments presented in the article have practical application and can be used in foreign language classes for students of different academic programmes.
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Schmitges, Andreas. "Funem (sh)eynem vortsl aroys?!—Approaches to the Study of Parallel Eastern Yiddish and German Folk Songs." European Journal of Jewish Studies 8, no. 1 (June 25, 2014): 53–103. http://dx.doi.org/10.1163/1872471x-12341257.
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Yiddish and German are two languages and cultures that are considered autonomous and important within the European cultural diversity. Although they are linguistically very close and historically interwoven, not much research has been done concerning the comparison of their folk cultures. The present comparative study of Eastern Yiddish and German folk songs is a first step towards a deeper understanding of the processes of cultural migration and transfer since the Middle Ages. The paper concentrates on three aspects: 1. Discussion of previous undervalued research by scholars in the twentieth century. 2. Uncovering the roots and routes of parallel folk songs. 3. The significance of this research for the development of a historically informed performance practice (hip) for Yiddish folk songs.
Dissertations / Theses on the topic "Dong Folk songs"
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"嘎老音樂傳統與侗人社群認同: 以貴州省從江縣小黃侗寨為個案的考察與研究." Thesis, 2008. http://library.cuhk.edu.hk/record=b6074471.
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Al laox, is a kind of polyphonic folk song which are sung and widely practiced by parts of Dong people in southern China. As an indispensable component of the non-literary peasant society of Dong ethnic culture, Al laox music tradition has been systematically passed down, with full participation and ritualized performance in Dong people's daily life.As a case study of "local music tradition", this research will contribute to further research topics, such as the common characteristic of Dong traditional music, sociological meaning of polyphonic folk song and contemporary transformation of traditional music etc.
This dissertation aims to investigate the interaction between "Al laox music tradition and community identity of Dong People". Based on extensive fieldwork and textual analysis, this thesis discusses, on one hand, how Dong people construct their identity with Al laox music tradition, on the other hand, it examines what exactly the Al laox music tradition is and what it means to native people. Thus, this bidirectional concerns not only respond to the general ethnomusicological issue of "how culture shapes music", but also gives an interpretation of "how music function culture".
This dissertation has two methodological concerns: (1) a micro-ethnographical study of village social structure in relation to the Al laox music tradition, and (2) a survey of Al laox as a ritualized communal singing ritual. The former focuses on a typical Dong community as a locus to examine the operation of Gaolao music tradition, whereas the latter illustrates how Dong people construct distinct stratified identities through singing especially in three coorelative rituals. Specifically, this research takes Xiao Huang village in Congjiang county, Guizhou province and the relavant villages around as object and structures around three significant ritualized singing pattern, gabx gongx, xeegnl doul and weex yeek.
楊曉.
Adviser: Tsao Poon Yee.
Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2944.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 392-418).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Yang Xiao.
Books on the topic "Dong Folk songs"
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Huangping Xian Miao xue hui. Huangping qia bao dong: Hxib liongx hxak baod dongf. Guiyang: Guizhou da xue chu ban she, 2017.
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Guizhou Sheng min zu shi wu wei yuan hui. Wen jiao chu., ed. Dong zu qu yi yin yueh. Guiyang Shi: Guizhou min zu chu ban she, 1997.
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Bai, Fengxiang. Menggu Zhen Dong Meng duan diao min ge. Shenyang Shi: Liaoning min zu chu ban she, 2012.
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Yang, Chunnian. Dong zu dan sheng ge. Guiyang: Guizhou chu ban ji tuan, Guizhou ren min chu ban she, 2014.
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Phan, Thị Hsong Lan. Mot dong ca dao, cau ho, cau do mien Nam. Winston-Salem, NC: Miet Vuon, 1991.
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Guizhou Sheng min zu gu ji zheng li ban gong shi, ed. Dong zu he ge: Kgal nyal. Guizhou Sheng Guiyang Shi: Guizhou min zu chu ban she, 2013.
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Wu, Shiyuan. Bei bu Dong zu hun jia ge. [Guiyang]: Guizhou da xue chu ban she, 2015.
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Yang, Yi. Ge yu sheng huo: Ren lei xue shi yu xia de Dong zu da ge yan jiu. Beijing: Zhongguo she hui ke xue chu ban she, 2016.
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Wu, Shiyuan. Bei bu Dong zu wan shan liang yue ge: Gaeml bagl al liangc nyanl. Guiyang: Guizhou da xue chu ban she, 2016.
Find full textBook chapters on the topic "Dong Folk songs"
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Yaxiong, Du. "Social Change and the Maintenance of Musical Tradition among the Western Yugurs." In The Oxford Handbook of Music in China and the Chinese Diaspora, 229–46. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190661960.013.15.
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Abstract The Yugurs (裕固族) are a minority nationality with a long history and ancient cultural tradition. In the past forty years, due to the rapid development of China’s economy, the production and lifestyles of Yugur people have undergone tremendous changes. Yugur concepts of folk song have changed markedly. Some old folk songs have died out, with compositions called “new folk songs” coming into being. Yugur people realize that the preservation of their traditional culture is of fundamental importance in their national existence, and the preservation of traditional folk songs is a vital part of the maintenance of their traditional culture. Therefore, much has been done to preserve their traditional folk songs and culture.
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Manning, Jane. "DON KAY (b. 1934)Four Bird Songs from Shaw Neilson (2005)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 120–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0038.
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This chapter describes Tasmanian composer Dan Kay’s Four Bird Songs from Shaw Neilson (2005). The texts for this pleasing, fluent cycle are by the farmworker-poet Shaw Neilson, and reflect his close affinity with the natural world, especially the life of waterbirds. Kay’s palpable empathy with these unsophisticated but burningly sincere poems draws music of clarity and refinement. The frequent modal melodies and minor harmonies cannot help but call to mind Vaughan Williams and the English folk-song tradition, but Kay manages to inject an individual flavour by means of chromatic shifts and varied rhythms, especially in the last two, slightly longer, songs. A light young baritone with a safe high register would be ideal here. The piano writing is clear and uncluttered, with simple, repeated figurations, and there is no need to force the voice. Standard notation is used throughout.
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Saylor, Eric. "“The Best Thing I Have Done” (1909–1914)." In Vaughan Williams, 55–65. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190918569.003.0005.
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The effects of Ravel’s tutelage were soon evident in works like the String Quartet in G Minor, The Wasps, and the song cycle On Wenlock Edge, but the influences of Tudor ecclesiastical music, Elgarian symphonism, and English folk song were equally apparent in the Fantasia on a Theme by Thomas Tallis, A Sea Symphony, and the Five Mystical Songs, respectively, though increasingly harnessed to a distinctive idiom all Vaughan Williams’s own. New opportunities came his way, such as the chance to collaborate on the composition of an opera, a pageant, various pieces of incidental music, and a ballet (although that last did not come to fruition in its original form). He also penned the most strident manifesto of his career (“Who Wants the English Composer?”), a declaration of the value he found in creating music inspired by one’s own nation, and completed his first multi-movement symphonic work, A London Symphony, a testament to his ability to transform words into deeds. Such a range of achievements reflected the fact that people outside Vaughan Williams’s immediate sphere were increasingly aware of his music and his growing reputation, and he also benefited from new relationships with the likes of George Butterworth, Rebecca Clarke, Steuart Wilson, J. A. Fuller Maitland, Harold Child, Isadora Duncan, and Gilbert Murray, but his career came to a sudden halt when war broke out in 1914.
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Sandroni, Carlos. "“Pelo telefone”." In A Respectable Spell, 95–108. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252044021.003.0006.
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This chapter introduces and discusses the famous composition “Pelo telefone” (“On the Telephone”), by Donga and Mauro de Almeida, which, disseminated through recordings and published sheet music, turned samba into a widely successful musical genre during Rio de Janeiro’s 1917 Carnival season. The circumstances surrounding the song’s creation were subject to numerous controversies and were studied in detail by Flávio Silva in the 1970s. Building on the findings and conclusions of Silva, as well as on a new analysis of the form and content of the lyrics, this chapter introduces the song as a hybrid product, a patchwork quilt that brings folk elements together with authored contributions typical of urban popular music.
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Douglass Grana, Natalie. "Songs and Exercises by Tone Set." In A Singing Approach to Horn Playing, 9—C13.P88. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197603567.003.0002.
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Abstract The first section builds fundamental pitch and solfège skills with music organized by tone set (do-mi-sol, do-re-mi-sol, etc.), starting with three notes and gradually expanding by one new note at a time. Each unit includes folk songs, duets, stick notation and improvisation exercises. The content is inspired by Kodály Methodology, using simple songs as the foundation for pitch training. These songs are also paired by time signature so that they can be sung and played as duets. Each selection includes sequential instructions to transfer singing to playing the horn, including inner hearing, transposition, and polyphonic tasks. Variations are given so that exercises may be done independently or in parts with a second horn player.
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Saylor, Eric. "Early Works (1890–1901)." In Vaughan Williams, 15–27. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190918569.003.0002.
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Vaughan Williams’s marginalization of his early compositions—and self-deprecating references to his abilities as a young composer—has led many biographers and researchers to do the same. Doing so has created the erroneous impression that, with a handful of exceptions, he spent most of a decade passively assimilating elements from post-Wagnerian tonality, English folk song, Anglican hymnody, Tudor church music, and French impressionism rather than actively composing, or deliberately limited himself only to small-scale genres like songs, chamber works, and hymn tunes. While solo and part songs dominated Vaughan Williams’s student compositions, and two significant chamber compositions resulted from his study with Bruch, about half of Vaughan Williams’s works written between 1897 and 1902 come from large-scale choral and instrumental genres (including the Serenade for Small Orchestra, A Cambridge Mass, The Garden of Proserpine, the Bucolic Suite, and the Heroic Elegy and Triumphal Epilogue) that demonstrate considerable technical facility and creative depth. While most compositions from this period are not especially reminiscent of Vaughan Williams’s mature idiom, they are competent and often engaging works that show the musical influences that were especially important to him, and reveal a composer whose wide-ranging study, conscientious work habits, and dogged persistence would serve him well in years to come.
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Kennedy, Michael. "Recognition." In Portrait of Elgar, 56–78. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163657.003.0005.
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Abstract Recognition, of a kind, was not far away. Novello’s accepted another part-song, ‘O Happy Eyes’, to Mrs Elgar’s words, in March 1894, and Elgar composed a ceremonial piece for brass, organ, and strings, Sursum Corda, for the Duke of York’s visit to Worcester in April. Holidays in Sussex and, for seven weeks, at Garmisch in the Bavarian Highlands, are a sign of more relaxed nerves. But the greatest tonic is success, a sign that one’s work is wanted, and the interest shown in Elgar by Hugh Blair, rewarded by the dedication of The Black Knight and by orchestrating Blair’s Advent Cantata for him, was enough to stimulate further creative efforts. In July 1894 Elgar turned again to Longfellow and began work on Scenes from the Saga of King Olaf In doing so, he was not only setting a favourite poet of his and his mother’s—while in Heidelberg in 1892. he had sent her a letter describing a students’ torchlight procession, adding, ‘I must send a line from here about which we have read & thought so much ⃛ it did remind me of Hyperion & the beer scandal etc etc’—but he was, if unconciously, following a fashion for Scandinavian lore which can also be traced in William Morris’s Icelandic Sagas, in Delius’s Fennimore and Gerda, and in Schoenberg’s setting of Jacobsen’s Gurrelieder. At the same time, on returning from Garmisch, he worked on a suite of six part-songs of Bavarian Dances, to words which Alice had written in imitation of Bavarian folk-songs.
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Ensminger, David A. "Mike Watt." In Roots Punk, 159–70. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496848413.003.0012.
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This chapter hones in on Mike Watt, journey man bass player who was a foundational part of Minutemen, a “hardcore” punk band that delved into jazz, folk, classic rock, funk, and more. In doing so, the chapter reconsiders what exactly “roots” means—rather than seeing it as a pastiche of older music, it addressed the notion of memory and heritage, of being faithful to a sense of place and experience, and incorporating the elements of one’s life directly into song practice.
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Rasmussen, Knud. "Eskimo Poems." In A Republic Of Rivers, 165–70. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195061024.003.0028.
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Abstract The Danish ethnographer Knud Rasmussen (1879-1935) led the Fifth Thule Expedition across northern Canada from Baffin Island to Alaska during the years 1921-1924. This expedition constituted the first traverse of the North west Passage by dog sled. Along the way, Rasmussen made detailed ethnological and archaeological studies of the Inuit, a research project that eventually produced a monumental ten-volume work totalling over 5,000 pages. Rasmussen was interested in all cultural aspects of the Eskimo as they are found in the circumpolar north. Toward this end, he gathered and translated Eskimo folk tales, oral narratives, religious myths, songs; and poems. These poems are found scattered through the many volumes of his study, a few volumes of which were published posthumously.
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Tidwell, John Edgar, and Mark A. Sanders. "“Song Hunter”." In Sterling A. Brown’s, A Negro Looks At The South, 261–71. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313994.003.0041.
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Abstract The morning after the songfest, Willis James and I sat out on the lawn of President Bond’s home, under a large, shady water oak. Barely a current of air was stirring; it was quiet and drowsy. A farm truck might cough and splutter down the red road beyond the hedge, or a mule wagon might poke along, but there wasn’t much else active. Willis gave out with good talk. He was justly pleased at the showing his boys had made the night before. He wanted me to be sure to tell Kemper Harreld and Tic Tillman, his colleagues at Morehouse, and Florence Read, his boss at Spelman, just what he was doing. “I had made out all right with the fellows,” he said. “They took to you O.K. Probably talking about you now over in Macon.” As we were talking, a couple of men in work clothes yelled at each other across the road. “Ssh,” said Willis. “Listen.” “The bear gonna git you,” said the first. “How come he ain’t got you?” the second snapped back. Willis explained that “the bear” was the sun; the first man had meant, “The sun will get you, grab you, knock you flat.” The second one meant, “How come he gonna get me, if he ain’t got you? I’m as good a man as you.” “Where’s Zack?” the talk went on. “He’s gone with the peaches,” came to us over the hedge. The peaches had all been picked, were gone from this section, which was famous for them. Pickers followed them in both northeasterly and southwesterly directions. Pickers’ wages depended on the market; sometimes they were paid by the bushel, sometimes by the day. “It all depends on the white folks,” said Willis. “They’re so smart they don’t standardize. The more money peaches are bringing, the more leniency they show. Only natural.”
Conference papers on the topic "Dong Folk songs"
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Simion, Adrian, and Stefan Trausanmatu. "E-LEARNING TOOLS FOR ETHNOMUSICOLOGICAL STUDENTS BASED ON MUSIC INFORMATION RETRIEVAL TECHNIQUES." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-025.
Full textAbstract:
The content analysis of audio data is a paradigm in which algorithms are created and deducted from the data, allowing machines to "understand" the content of the audio signals and to process it further. This paper emphasis on applying musical information retrieval methods in order to provide a set of tools that could aid students in Musicology and Ethnomusicology. The analysis is done in a similar way that the famous composer Bela Bartok conducted his analytic study on folk songs, but making this process automatic through machine learning. Aesthetic reasoning has been used throughout this process in the attempt to synchronize the extracted relevant computed musicology data to ethnomusicology theory. By applying aesthetic means that are computed by the machine, we can regard this process an "Automated Artificial Musical Aesthete". Also the input data is being processed by using internal metrics that are relevant to a particular musical genre. The internal algorithm clusters this data finding characteristics that could be particular to more then one genere, thus leading to the link with the Musicology and Ethnomusicolgy fields that are concerned with the broad study of music, emphasizing on on more than one dimension. This set of tools could provide to students insight on the interconnections between the musical genres like social or cultural implications that were not so obvious at first, or simply provide metrics for each genre that could be the start for future research. The authors reused already established open source methods and developed a micro-system in which these tools become modules of a broader system.