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Морозов, Д. В. "Science of Folk Musical Culture: History and Methodology." OPERA MUSICOLOGICA 16/2, no. 2024 (June 26, 2024): 208–29. http://dx.doi.org/10.26156/operamus.2024.16.2.011.
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В статье рассматриваются вопросы становления и современного развития отечественных научных направлений: этномузыкологии, этноорганологии и этнохореологии. Исследование базируется на оценке содержания более 500 диссертаций, защищенных с 1970 по 2020 г., в которых раскрываются проблемы изучения народных песен и традиционной музыкальной культуры в целом, а также научных трудов в области музыкальной компаративистики, ареалогии, структурной и исторической типологии, эволюционизма и текстологии фольклора, практической этномузыкологии. Систематизация этномузыкологических методов проведена с использованием принципов классификации, разработанных З. И. Комаровой в лингвистике. Этномузыкология изучается на парадигмальном уровне как наука о народной музыкальной культуре и на дисциплинарном уровне как наука о формах народной музыки и их функционировании. The article discusses formation and modern development of domestic scientific directions: ethnomusicology, ethnoorganology and ethnochoreology. The study is based on an assessment of the content of more than 500 dissertations defended from 1970 to 2020, which reveal the problems of studying folk songs and traditional musical culture in general, as well as scientific works in the field of musical comparative studies, arealogy, structural and historical typology, evolutionism and textual criticism of folklore, practical ethnomusicology. The systematization of ethnomusicological methods was carried out using the principles of classification developed by Zoya I. Komarova in linguistics. Ethnomusicology is studied at the paradigmatic level as the science of folk musical culture and at the disciplinary level as the science of folk music forms and their functioning.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.
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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.
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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I consider other Yugoslav musical styles which predate turbofolk and make reference to pop-folk musical controversies in other Balkan states to help inform upon the issues at stake with regard to turbofolk. I argue that rather than being understood as a singular phenomena specific to Serbia under Milošević, turbofolk can be understood as a Serbian manifestation of a Balkan-wide post-socialist trend. Balkan pop-folk styles can be understood as occupying a liminal space – an Ottoman cultural legacy – located between (and often in conflict with) the imagined political poles of liberal pro-European and conservative nationalist orientations. Understanding turbofolk as a value category imbued with symbolic meaning rather than a clear cut musical genre, I link discussions of it to the wider discourse of Balkanism. Turbofolk and other pop-folk styles are commonly imagined and articulated in terms of violence, eroticism, barbarity and otherness the Balkan stereotype promises. These pop-folk styles form a frame of reference often used as a discursive means of marginalisation or exclusion. An eastern “other” is represented locally by pop-folk performers due to oriental stylistics in their music and/or ethnic minority origins. For detractors, pop-folk styles pose a danger to the autochthonous national culture as well as the possibility of a “European” and cosmopolitan future. Correspondingly I demonstrate that such Balkan stereotypes are invoked and subverted by many turbofolk performers who positively mark alleged Balkan characteristics and negotiate and invert the meaning of “Balkan” in lyrical texts.
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Vasic, Aleksandar. "Problem of the ′national style′ in the writing of Miloje Milojevic." Muzikologija, no. 7 (2007): 231–44. http://dx.doi.org/10.2298/muz0707231v.
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Dr. Miloje Milojevic (1884-1946) was a central figure in Serbian music criticism and academic essays between the World Wars. A large part of his writings on music were dedicated to the issue of the Serbian ?national music style?, its means of expression, and the question of modernity, i. e. to what extent modernity is desirable in the ?national style?. This paper analyzes some twenty articles - reviews, essays, and writings for special occasions - published by Milojevic between 1912 and 1942 in various Serbian newspapers magazines and collections: Srpski knjizevni glasnik (The Serbian Literary Magazine, 1912, 1913, 1914, 1923, 1924, 1935), Prosvetni glasnik (The Educational Herald, 1914, 1921, 1942), Politika (The Politics, 1921, 1922 1923, 1937, 1938, 1940, 1941), Muzika (The Music, twice in 1928) Spomenica-album Udruzenja muzikanata Kraljevine Jugoslavije 1928-1930 (The Commemorative Volume - The Album of the Society of Musicians of the Kingdom of Yugoslavia 1928-1930, 1930), Smena (The Change, 1938), and Slavenska muzika (The Slavonic Music, 1940). In the course of those thirty years Milojevic passionately believed that the future of Serbian music lies in the ?national style?, i.e. in the artistic transformation of anonymous Serbian folk songs and melodies. In spite of the changes of styles that occurred over the years, he never gave up anticipating the appearance of an ingenious composer who would develop the ?national style? to its climax and enrich Serbian music with ?national? symphonies, operas and chamber music. Milojevic was in favour of a ?national style? mainly on principle. He rarely got into a discussion about the stylistic and technical means he considered most suitable for the ?national style?. In his text Nas muzicko umetnicki program (Our music and artistic programme), published in the Serbian Literary Magazine in 1913, and another article, Za folklornu muziku (In favour of Folk Music), published in the Belgrade daily newspaper Politics in 1921, he recommended that Serbian ?national style? composers followed the model of some representatives of the European national schools of romanticism impressionism and moderately modern music. In a special kind of manifesto Za ideju umetnosti i umetnickog nacionalizma kod nas (In favour of the idea of art and artistic nationalism in Serbia), published in 1935 in the Serbian Literary Magazine, he gave an indirect answer to the question of which means of musical expression he preferred in the ?national style?. For example, he singled out the composition Sever duva (North Wind) by Kosta P. Manojlovic (1890-1949), from his collection of choral songs Pesme zemlje Skenderbegove (The Songs from the Land of Skenderbeg, 1933), as an outstanding example of what he meant by ?national style?. This Albanian folk music was transformed into a relatively modern, but yet not avant-garde composition. Therein lies the answer as to what kind of ?national style? Milojevic preferred. An advocate of a moderately modern music language, he wished Serbian art music to use its very rich folk heritage as best as it could. He was well aware that times had changed, and that there was not much inclination towards this style and ideology in the interwar period. However, he never abandoned this idea. Basically, he never accepted more radical, expressionist treatments of folk elements as a solution to the problems of ?national style?. It is also very significant that he never mentioned the name B?la Bart?k in his writings, which is something we analyze in this paper. He was never able to give up romanticism, a style that never had time to fully develop in Serbian music. Serbian folk music was a perfect basis for composing in a romantic style. Nevertheless, due to many unfavourable circumstances in Serbian history, the Serbs became part of European music world only at the beginning of the 20th century, when it was too late to develop a modern romantic national style.
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Vrana, Laura. "Leyla McCalla’s Tributes to Langston Hughes." Langston Hughes Review 29, no. 1 (March 2023): 29–50. http://dx.doi.org/10.5325/langhughrevi.29.1.0029.
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ABSTRACT Classically trained Black musician Leyla McCalla’s album Vari-Colored Songs: A Tribute to Langston Hughes (2014) intertwines innovative folk- and blues-inspired settings of Hughes’s blues poetry, interpretations of traditional Haitian folk songs, and original compositions. This article argues that the album constitutes both a vital homage to Hughes’s impact on Black diasporic culture and a feminist boundary-breaking reshaping of the expectations of the hegemonic, white-washing contemporary music industry. It reads together the album’s ambitious liner notes, accompanying visual elements, and sonic choices of selected tracks to show how McCalla, by innovatively syncretizing typically disparate genres, inherits and extends the radical political and cultural tradition of the blues women whom Hughes’s poetry often depicted. Thus, it draws on frameworks from Hughes criticism and from performance studies scholars such as Daphne Brooks to suggest that Black female artists like McCalla warrant the attention of diasporic cultural critics equally to and alongside aesthetic ancestors like Hughes who inspire them. These women are epistemologically intervening in the construction of literary and cultural history through projects like Vari-Colored Songs, an impressive artifact that wrenchingly brings together traditions to address diasporic problems such as eco-precarity and to celebrate Black women’s resilient persistence through such endemic conditions.
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FEDUN, Iryna. "ON THE QUESTION OF GENRES RESEARCH IN UKRAINIAN ETHNOORGANOLOGY." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 147–57. http://dx.doi.org/10.30970/vas.20.2019.10619.
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The term “genre”, as well as the name of the scientific discipline “genrology” or “genology” is rather novel, but were promptly incorporated into scientific use in various fields of cultural research. The study of arts’ genera has nevertheless a long history and is comprehensively elaborated in literary criticism. Instead, Ukrainian ethnomusicologists have very few special works devoted to the study of traditional music’s genres. Therefore, some information about its generic-gender relations can be derived from the principles of collections’ systematization or performers’ repertoire characteristics in scientific works. Thus, folk instrumental music compositions are divided by structure, function, performing means, origin, etc. However, all known repertoire grouping in ethnoorganology (single or multi-level), unfortunately, are not devoid of logical contradictions. After all, the artistic genre is a heterogeneous and systemic concept; therefore genre systematization is “doomed” to failure because of the inability to adhere to the elementary logical classification principles (unity of the basis, means and proportions, incompatibility and continuity). So it is no accident that the direction of nihilism emerged in genrology. But there is always a need to streamline the analyzed material, so despite all the imperfections of genre classifications, you have to choose the most optimal ones. One of these is the division of art, known since the ancient Greece times, into epic, lyric and drama. Similar to this triad, the division of music into singing (lyrics), dance and moves (drama) and listening (epic) was formed in the Ukrainian ethnoorganology. Author suggests to apply current division for the Ukrainian folklore as well. Therefore, depending on the research purpose, we can group instrumental compositions into certain parameters for the convenience of manipulating the material, but with the awareness of multiplicity of criteria applied to various formal categories.
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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.
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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
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Zamotin, M. P. "Blues as a Symbolic Resistance and Representation of Countercultural Groups in the United States in the late 19 – early 20 centuries." Discourse 8, no. 1 (February 25, 2022): 105–22. http://dx.doi.org/10.32603/2412-8562-2022-8-1-105-122.
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Introduction. This article examines the blues music tradition from the perspective of the use of symbolic representations by the creators of this form of culture, which formed a unique “hidden transcripts” transmitted by certain socio-cultural groups that lived and worked in a certain historical era. Since the blues tradition in the United States originates in black communities, in terms of the self-representation of representatives of this groups to the dominant culture, we can talk abut the music of this socio-cultural period of American history as an instrument for conveying “hidden transcripts”.Methodology and sources. The author used the comparative-historical methodology in the context of studying the relationship of domination and subordination between groups and individuals. All subordinate groups use resistance strategies that go unnoticed by superior groups. Open public interaction between dominant and oppressed groups is defined by the term “public transcripts” and criticism of power that takes place offstage by the term “hidden transcripts”. Forms of hidden transcripts are coded demonstrations by oppressed groups to resist and oppose themselves, their way of life, and the difficulties of inequality to dominant groups.Results and discussion. In the context of any dominance-subordination relationship, spaces of autonomy for oppressed racial and social groups were formed, in which there was an opportunity for self-expression as acts of resistance to existing inequality, which found its expression in songs, folk tales, clothing, language, and religious expression. The development of hidden transcripts depends not only on the creation of relatively uncontrollable physical places and free time, but also on the active human agents who create and disseminate them. The bearers are likely to be as socially marginalized as the places where they gather.Conclusion. Oppressed or marginalized groups create not just their art and culture as a social group caught up in a certain cultural context, but a culture of integration into society, as well as a culture of interaction with the social hierarchy in which these groups have a rather low position. Groups excluded from the decision-making process or weakly involved in it, develop their own models for demonstrating their presence in society, and also try to convey their content to all other members of society, whether groups and individuals close or distant in status and hierarchy.
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Zhou, Yi. "Verbal aspects of China’s vocal art system." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 137–49. http://dx.doi.org/10.34064/khnum2-21.09.
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Background. Art criticism, as part of the humanities, has long and productively used the terminology of related sciences. This is a systemic approach, the provisions of which significantly influenced the development of scientific thought in the XX–XXI centuries. Systematization and modeling greatly simplify the process of cognition and allow to highlight the parameters that determine the identity and ability to transform of each individual system. The same approach can be applied to the study of particular components of the meta-system of human culture. From this point of view, we will analyze the vocal culture of modern China as a whole, formed by the interaction of national and international cultural patterns – primarily by verbal and musical languages. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. In the system of artistic creativity, vocal art occupies a unique place because it is a product of the synthesis of music and words, sensual and rational, imaginative and conceptual. It is language that determines the identity of national schools of composition and performance. Chinese has an unprecedentedly long history of development – from the second millennium BC. All this time the national vocal culture of the country functioned as a system that included the following elements: – a body of philosophical works, the authors of which tried to determine the function of musical art (and, in particular, singing) in the development process of the state; – treatises, aimed at the comprehension of the art of singing as a separate area of human creativity and as a type of energy practice; – creative work of outstanding singers and epistolary testimonies about it; – the full scope of musical artifacts – folk, author’s songs, works of various vocal genres; – identifying areas of vocal performing, which for a long time had two basic locations – court and domestic; – specialists’ training system and concert establishments. Obviously, all these elements had to be united by something. Let’s point out two essential factors: mentality and language. It is known that the ethnic composition of the people who lived in ancient times in the territories of modern China was heterogeneous and only in the middle of the first millennium BC a single Chinese nation was formed. What brought people of different ethnicities together? Acceptance of common life values; gradual consolidation of Confucianism as a state-building ideology; attraction to figurative thinking and preference for contemplation. All this formed an interesting conglomeration of national artistic guidelines, which includes nature worship, philosophical understanding of the nature of art, understanding of the relationship between human existence and the laws of existence of the universe. It is from this position that the philosophers and artists of ancient China treated the art of singing, which was perceived as one of the means of communication with the world and a part of spiritual practices. This determined the uniqueness of Chinese folk song as one of the most important components of national culture. We note that, as in the culture of other countries, Chinese folk song was one of the most common musical genres, responding to changing of aesthetic dominants of society. From ancient times, the Music Department has been operating in China, one of the tasks of which was to select songs and approve the time and order of their performance. One of the most famous monuments is the famous Book of Songs «Shijing» (詩經), which presents the established genre and style typology of songwriting: domestic, labor, love songs and works that glorify the rulers. Another facet of folk art associated with the embodiment of fantastic images is reflected in another monument – «Chu Ci» or «Verses of Chu» (楚辭). These artifacts determined the development path of Chinese vocal culture. Now let’s turn to an important factor for our study – language. Due to its phonetic features, the Chinese forms a specific intonation of melos and unusual for the European listener vocal speech. Considerable attention in Chinese singing culture was paid to the emotional coloring of the “musical message”, the tension of which was achieved through timbre colors and the use of extremely high register. Another important aspect of the language that influenced China’s vocal culture is its rather complex rhythmic organization. Language affects the singer’s thinking, the formation of his organs of articulation. But can changes in vocal culture affect verbal language? Since the beginning of the twentieth century, the structure of the vocal art of the Celestial Empire has changed almost radically. Today it is practically identical to what we can find in any European country. But, in our opinion, there is something that significantly distinguishes the vocal art of modern China from other national vocal schools. It’s a question of language. After all, a singer who seeks to improve in the academic vocal art is forced to restructure the entire speech apparatus without which it is impossible to master bel canto as a basic vocal technique. Conclusions. The verbal component is an important part of vocal culture, because it is a representative of national picture of the world and through its structures embodies the specifics of thinking of a particular people. Language determines all the melodic parameters – semantic, intonation, compositional, emotional, etc. The most illustrative proof of this is the folk song culture, which is the basis for the further formation of academic genres of music. In this sense, China’s vocal culture is a unique phenomenon, in which academic culture is shaped by borrowing the cultural heritage of other countries. Moreover, one of the most important markers of this borrowing is the assimilation of music and speech resources namely.
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Kholmirzayev, Otamurod Eshmirza Ogli. "History of Uzbek folk music." Asian Journal of Multidimensional Research 10, no. 9 (2021): 499–503. http://dx.doi.org/10.5958/2278-4853.2021.00730.8.
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Heskes, Irene, Jan Ling, Linda Schenk, Robert Schenk, and Philip V. Bohlman. "A History of European Folk Music." Notes 54, no. 3 (March 1998): 707. http://dx.doi.org/10.2307/899909.
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Ogier, Jarod. "Selling Folk Music: An Illustrated History." Music Reference Services Quarterly 21, no. 4 (September 24, 2018): 228–29. http://dx.doi.org/10.1080/10588167.2018.1522888.
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Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.
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Petrošienė, Lina. "Singing Tradition of the Inhabitants of Lithuania Minor from the Second Half of the 20th Century to the Beginning of the 21st Century." Tautosakos darbai 61 (June 1, 2021): 97–121. http://dx.doi.org/10.51554/td.21.61.04.
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The article analyses how the folk singing tradition of the Lithuania Minor developed in the late 20th and in the early 21st centuries. It examines the activities of the folklore groups in the Klaipėda Region during the period of 1971–2020, focusing on those that assert fostering of the lietuvininkai singing tradition as their mission or one of their goals. The study employs the previously unused materials, which allow revising the former research results regarding the revival of the Lithuanian ethnic music and show the folklore ensembles working in the Klaipėda Region as a significant part of the Lithuanian folklore movement and the revival of the ethnic music, emerging from the 1960s. Special emphasis is placed on the early phase in adoption of the lietuvininkai singing tradition related to the activities of the folklore ensemble “Vorusnėˮ established in 1971 at the Klaipėda faculties of the State Conservatory of the former LSSR, and the role it had in prompting the creation of other folklore groups in Klaipėda, as well as its impact on the broader cultural and educational processes taking place in the Klaipėda Region.In the 20th century, the prevailing narrative regarding the Lithuanian inhabitants of the Lithuania Minor maintained that books, hymns, schools, church, social and cultural organizations, and choral or theatre activities were the most significant factors influencing the cultural expression of lietuvininkai, while the Lithuanian folklore was hardly practiced anymore or even considered an inappropriate thing. Judging from the folklore recordings, the folk singing tradition supported by the lietuvininkai themselves disappeared along with the singers born in the late 19th century. However, after the WWII, it was adopted and continued by the folklore groups appearing the Klaipėda Region. These groups included people from the other regions of Lithuania who had settled there. This is essentially the process of reviving the ethnic music, which began in Europe during the Enlightenment period and continues in many parts of the world.“Vorusnėˮ was founded in 1971 as the first institutional student folklore ensemble in Klaipėda Region. For 27 years, its leader was a young and talented professor of the Baltic languages Audronė Jakulienė (later Kaukienė). She became the founder of the linguistic school at the Klaipėda University (KU). In the intense and multifaceted activities of the “Vorusnėˮ ensemble, two different stages may be discerned, embracing the periods of 1971–1988 and 1989–2000.In 1971–1988, the ensemble mobilized and educated students in the consciously chosen direction of fostering the Lithuanian ethnic culture, sought contacts with the native lietuvininkai, collected and studied ethnographic and dialectal data, prepared concert programs based on the scholarly, written, and ethnographic sources, gave concerts in Lithuania and abroad, and cooperated with folklore groups from other institutions of higher education.In 1989–2000, the “Vorusnėˮ ensemble engaged in numerous other areas of activity. The children‘s folklore ensemble “Vorusnėlėˮ was established in 1989; both “Vorusnėˮ and “Vorusnėlėˮ became involved in the activities of the community of the Lithuania Minor founded in 1989. The leader of the ensemble and its members contributed to the establishment of the Klaipėda University, which became an important research center of the Prussian history and culture. The leader of the ensemble and her supporters created a new study program of the Lithuanian philology and ethnology at the KU, which during its heyday (2011–2014) had developed three levels of higher education, including bachelor’s, master’s and doctoral studies. The Folklore Laboratory and Archive was established at the Department of the Baltic Linguistics and Ethnology, headed by Kaukienė, and young researchers in philology, ethnology, and ethnomusicology were encouraged to carry out their research there. In the course of over two decades, Kaukienė initiated organizing numerous research conferences dealing with lietuvininkai language and culture.Until 1980, “Vorusnėˮ was the only folklore ensemble in the Klaipėda Region, but in 1985, there were already ten folklore ensembles. These ensembles developed different creative styles that perhaps most notably depended on the personal structure of these ensembles and their leaders’ ideas and professional musical skills. Generally, at the beginning of their activity, all these ensembles sang, played and danced the folklore repertoire comprising all the regions of Lithuania. The activities of “Vorusnėˮ and other folklore ensembles in Klaipėda until 1990 showed that revival of folklore there essentially followed the lines established in other cities and regions of Lithuania.During the first decade after the restoration of independence of Lithuania in 1990, folklore was in high demand. In Klaipėda, the existing ensembles were actively working, and the new ones kept appearing based on the previous ones. The folklore ensembles of the Klaipėda Region clearly declared their priorities, embracing all the contemporary contexts. Some of them associated their repertoire with the folklore of lietuvininkai, others with Samogitian folklore.The lietuvininkai singing tradition was adopted and developed in two main directions.The first one focused on authentic reconstruction, attempting recreation with maximumaccuracy of the song‘s dialect, melody, and manner of singing, as well as its relationship tocustoms, historical events or living environment. The second direction engaged in creativedevelopment, including free interpretations of the songs, combining them with other stylesand genres of music and literature, and using them for individual compositions. These twoways could be combined as well. Lietuvininkai are not directly involved in these activities, butthey tolerate them and participate in these processes in their own historically and culturallydetermined ways.The contemporary artistic expression of the promoters of the lietuvininkai singing tradition is no longer constrained by the religious and ideological dogmas that were previously maintained in the Lithuania Minor and in a way regulated performance of these songs. It is determined nowadays by consciousness, creativity, resourcefulness, and knowledge of its promoters. The dogmas of the Soviet era and modernity have created a certain publicly displayed (show type) folklore. The ensembles took part of the institutionalized amateur art, subsequently becoming subject to justified and unjustified criticism, which is usually levelled on them by the outsiders studying documents and analyzing processes. However, favorable appreciation and external evaluation by the participants of the activities and the local communities highlight the meaning of this activity.
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Avorgbedor, Daniel K., Leonardo D'Amico, and Francesco Mizzau. "Africa: Folk Music Atlas." International Journal of African Historical Studies 32, no. 2/3 (1999): 569. http://dx.doi.org/10.2307/220440.
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Malone, Bill C., Neil V. Rosenberg, and Alan Jabbour. "Transforming Tradition: Folk Music Revivals Examined." Journal of Southern History 62, no. 4 (November 1996): 843. http://dx.doi.org/10.2307/2211191.
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Huihui, Ji. "Integration of traditional folk music and contemporary pop music of China." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-2 (March 1, 2023): 200–207. http://dx.doi.org/10.31166/voprosyistorii202303statyi63.
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This article analyzes the main forms of modern pop music creation and the relationship between traditional folk music and modern pop music, and expounds the infiltration and integration path between traditional folk music and contemporary pop music. The article is aimed at identifying the ways of the most harmonious development of Chinese traditional and modern music.
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Yang, Siqi. "Overseas Dissemination of Chinese Folk Music: A Research of Zheng Music." Highlights in Art and Design 3, no. 2 (June 25, 2023): 40–43. http://dx.doi.org/10.54097/hiaad.v3i2.9927.
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Chinese folk music is a treasure of Chinese culture, embodying a long history and rich emotions. With the acceleration of globalization and the deepening of cross-cultural exchanges, the dissemination of Chinese folk music overseas has attracted increasing attention. As an important component of traditional Chinese music, the zheng, with its ancient history and unique musical style, has gained popularity among music enthusiasts both domestically and internationally. Since the last century, zheng has gradually stepped onto the world stage, receiving wider attention and recognition. This paper aims to explore the overseas dissemination of Chinese folk music by focusing on the origin and development of zheng music, the historical and current status of its overseas dissemination, as well as the impact and challenges of its overseas dissemination. I also want to share some Feasible development recommendations for the overseas dissemination of Chinese folk music.
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Ozoliņš, Gatis. "CREATIVITY OF CONTEMPORARY DIEVTURI GROUPS AS A CULTURAL POLITICAL DISCOURSE." Via Latgalica, no. 2 (December 31, 2009): 39. http://dx.doi.org/10.17770/latg2009.2.1609.
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Dievturība (dievturi - "God keepers", "people who live in harmony with God") is a newly created religious tradition having appeared in the second part of the 1920s – 1930s, its most essential source includes materials of Latvian folklore and folk traditions. These are interpreted by construing a religious ethical theory and creating a religion which is alternative to Christianity, with its own doctrine and rituals, and the conception of Latvianness in culture and politics. Latvianness is the most essential concept of cultural politics to which all activities of the dievturi are subjected (exaltation, family celebrations (krustabas, vedības (marriage), bedības (funeral)) as well as seasonal rituals, cultural historical excursions, tidying and spiritual restoration of the sacral sites (sacred places, castle mounds), folklore activities, article publications in mass media, summer thematic camps in the countryside marked by intensive mastering and cultivation of history and culture, celebration of Latvian public holidays and the most important remembrance days. Contemporary dievturi groups are seeking for new ideas in order to develop and popularize their conceptions, which can partly be characterized as a cultural political programme for theoretical (doctrine) and practical (exaltations, ceremonies, seasonal rituals) realization of Latvianness and its components. Within this publication, creativity means the system of ideas and values that promotes the development and perspectives of dievturi groups as well as includes them into a wider cultural political environment thus performing a culture-creating job. A special attention is paid to the essential ideas and values guiding the creativity of contemporary Latvian dievturi groups, making ample use of storyteller habitus, thus intentionally allowing the domination of group participant discourse. The two main directions of dievturi group participant creativity are the development of their doctrine (teaching) and the ritual practice (exaltations). These directions allow to attract wide attention of the society and mass media, new participants and supporters, to influence the political and cultural processes in Latvia. An important part in the doctrinal reflections of the dievturi, especially in the ritual practice (exaltations), has always been taken by Latvian literature writings. A selective choice of these supplement the textual canon of the dievturi continuing the tradition in line with “the mood of Latvian folk songs” and attributing a more modern shape and world outlook concepts to dievturi undertakings. The aim of an exaltation is always associated with the main cultural political concept of the dievturi – Latvianness, namely, to make Latvianness more active, to offer an opportunity to approach Latvianness, make efforts for deeper comprehension of it, being aware and living through it, although thematically it may be dedicated to separate components of Latvianness (people, land, language, God, Māra, Laima, work, virtues, human life, and the like). Also, the most essential ideas and values of dievturība – gender equality, domesticity, antiglobalism, ecology, traditional marriage formula, life style and appearance, environment (for example, use of Latvian language), music, art and literature priorities (classical and/or national music, use of local building materials and ornaments (all ornaments have been observed in Latvia’s nature), writers, poets and playwrights who most precisely depict the “Latvian spirit” – derive from folk songs and the cultural concepts deriving thereof. Activity in the field of Latvianness (ethnicity conception) is in accord with the activity in favour of the future of the Latvian people, symbolical non-forgetting of culture correspond to generating of culture. This attributes a political and social dimension to the cultural activity of dievturi. Dievturība does not perform an official cultural politics of cultural values, heritage, traditions etc., this is a task for politicians; however, it is at least a marginal participant of the cultural political sphere. Placing ethnicity, or the Latvian discourse, at the centre of cultural politics encompasses the range of further impact when the seeming encapsulation within the margins of culture are replaced by reflections on Latvian economy, guidelines in education and science, health care system, axiological juxtaposition of the countryside and city. Also, the evaluation and criticism of the activity of the Christian Church by the dievturi is connected with the conception of Latvianness. Dievturi strongly disclaim Christianity and any chance of mutual cooperation (and also vice versa), protest against its monopoly position in Latvian society, consider Christianity a historically alien religion having been forced upon Latvians and demanding the status of a traditional religion in Latvia also for dievturība including, for example, the right to wed, to celebrate religious festivals. The results of field research do not allow to speak about dievturība today as a strong and united manifestation of Latvian religious experience and way of life. Rather, it is possible to register (after the decline of the movement at the end of the 1990s and at the beginning of the 2000s) a quite consistent and sufficiently active revival which is connected with the appearance of new persons and creative ideas among Latvian dievturi. The future events depend on the fact whether dievturi themselves would be able to solve the protracted inner inconsistencies and find a uniting grounds for further development of the movement. The article is based on the study results obtained during the 2006–2008 field research carried out in dievturi groups (interviews with group leaders, participants and individual representatives, transcripts of audio and video materials). The study was carried out with the financial support of the project “Society and lifestyles” and using its accepted methods – ethnographic description, semi-structured interviews and methods of visual anthropology (photography, filming) and instructions by the Ethical Commission (for example use of assumed names for storytellers).
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Jun, Ma. "Music as a reflection of multinationality: ethnic traditions of Russian music." OOO "Zhurnal "Voprosy Istorii" 2023, no. 4-2 (April 1, 2023): 238–47. http://dx.doi.org/10.31166/voprosyistorii202304statyi52.
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The article provides a theoretical retrospective analysis of Russian folk music in the context of ethnic musical traditions on the example of four nationalities: Turkish, Avar, Chechen and Finno-Ugric. Historical information about the features of the formation of Russian folk music is given, its key national features are presented. More detailed information is given about the ethnic musical traditions of the Turkish, Avar, Chechen and Finno-Ugric peoples.
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Krajtl, Ondřej, and Michal Puchovský. "Eso-kitsch in Czech Folk Metal: A Case Study of the Band Odraedir." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 14, no. 3 (September 30, 2022): 122–40. http://dx.doi.org/10.24917/20837275.14.3.9.
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Some criticism Pagan oriented folk metal music as “commercial”, i.e., created primarily for profit. We are convinced that this distinction is worthless, unmeasurable, and unverifiable from an analytical point of view. However, within a given musical genre, music fans and critics still distinguish very different works in terms of quality. Therefore, we propose to replace the vague term “commercial production” with the term esoteric kitsch (eso-kitsch), which is based on Tomáš Kulka’s analytical-aesthetic theory of kitsch. Using examples from the Czechoslovak folk metal scene, we show that eso-kitsch is a suitable tool for identifying musical creations that are characterized not by economic, creative, or spiritual value but primarily by aesthetic value.
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Cliff, Janet M. "On Relationships between Folk Music and Folk Games." Western Folklore 51, no. 2 (April 1992): 129. http://dx.doi.org/10.2307/1499361.
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SMITH, AYANA. "Blues, criticism, and the signifying trickster." Popular Music 24, no. 2 (May 2005): 179–91. http://dx.doi.org/10.1017/s0261143005000449.
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Scholars in the field of literary theory have defined clearly the role of signifying in African-American literature. This article identifies one aspect of the signifying tradition and its influence on the early blues tradition. Since the Signifying Monkey is the ultimate trickster in the African-American narrative tradition, this article presents evidence for considering the blues singer as a trickster figure at several different levels. First, the singer identifies with the trickster's character traits through pseudo-autobiographical content in song narratives, particularly in expressing socially aggressive or unacceptable exploits. Second, the trickster figure can be perceived as the singer's alter ego, as in songs about the boll weevil and similar folk characters. Third, the topics or tropes associated with crossroads and railways, used frequently in blues texts, relate to the liminal nature of Esu-Elegbara (the African ancestor of the Signifying Monkey), who embodies the boundary between the word and its (mis)interpretation.
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Mlotek, Eleanor Gordon, and Mark Slobin. "Slobin's "Old Jewish Folk Music"." Jewish Quarterly Review 78, no. 3/4 (January 1988): 319. http://dx.doi.org/10.2307/1454650.
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Revuluri, Sindhumathi. "French Folk Songs and the Invention of History." 19th-Century Music 39, no. 3 (2016): 248–71. http://dx.doi.org/10.1525/ncm.2016.39.3.248.
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A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and geography: they made the provinces the place of history. Collecting songs from the provinces thus became a way of recovering France's past. Paired with contemporary discussions of musical progress and especially those related to harmony, the addition of piano accompaniments to monophonic songs now reads as a form of history writing. In this article, I argue that French music scholars of the fin de siècle acted out their preferred narratives of music history through folk-song harmonizations. What seemed like a unanimously motivated nationalist project actually reveals the development and contestation of the discipline of music history.
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Dumnic-Vilotijevic, Marija. "Contemporary urban folk music in the Balkans: Possibilities for regional music history." Muzikologija, no. 25 (2018): 91–101. http://dx.doi.org/10.2298/muz1825091d.
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Starting with Maria Todorova?s landmark study Imagining the Balkans (Todorova 1997), numerous authors have raised their voices against stereotypical images of the Balkans. Over twenty years after the publication of this book, the term ?the Balkans? seems to have lost some of its negative connotations related to wars in favour of characteristics with positive overtones, such as the Balkan peoples? joie-de-vivre and entertainment strongly related to music. The areal ethnomusicology drawing from fieldwork throughout the Balkan peninsula has been a fruitful topic for numerous local and foreign ethnomusicologists and the very term ?the Balkans? has raised a special interest in the ethnomusicological research of ?outsiders?, as well as in the music industry. This paper is written from the perspective of an ?insider? ethnomusicologist from the Balkans. I raise the question of the definition of the ?Balkan? popular music label and discuss its main structural characteristics. I offer a new possibility of (re)considering a specific musical genre of the region based on the research of urban folk music practices. I present characteristics of urban folk music practices from the second half of the nineteenth and the first half of the twentieth century in the countries of the Balkans, with special attention paid to their common aspects. Also, contemporary urban folk music, which is often criticized as a specific popular music form, is considered.
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Zheng, Qian. "The Application of Piano Accompaniment in Folk Music." Frontiers in Business, Economics and Management 1, no. 1 (April 7, 2021): 5–7. http://dx.doi.org/10.54097/fbem.v1i1.11.
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Piano accompaniment has a history of more than one hundred years. Chinese national instrumental music has a long history and rich culture, which is an indispensable part in the history of Chinese folk music. With the development and change of modern music, Chinese folk music has entered an era of diversified development. As the "king of Musical Instruments", the combination of piano and Chinese national instrumental music was born by good luck. This paper mainly serious piano accompaniment used in folk music in the production, the status quo, so that more people understand, accept and pay attention to this new things, and even more to develop and innovation, to create more excellent works.
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Xu, Lizhe. "Text Data Analysis in Chinese Folk Music with Effective Clustering Model toward Feature Identification of Inheritance." International Journal on Recent and Innovation Trends in Computing and Communication 11, no. 6s (June 6, 2023): 197–206. http://dx.doi.org/10.17762/ijritcc.v11i6s.6822.
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Folk music based on big data analysis can provide valuable insights into the history, culture, and evolution of traditional music. By understanding the historical and cultural contexts of folk music, one better appreciate its value and contribute to its continued development and inheritance. Big data analysis can help identify patterns and trends in the performance, distribution, and reception of folk music across time and space. In this paper designed a Weighted Clustering Euclidean Feature (WCEF) model to evaluate folk music on the development of inheritance. Initially, the text data is extracted from folk music for the estimation of features in the big data analysis. Secondly, the WCEF model uses a clustering model for a subset of the folk music dataset with Weighted Non-Negative Matrix Factorization (WNMF). With the clustered model feature extraction is computed with Named Entity Recognition (NER). The NER model uses the Euclidean distance estimation for the computation of features in the folk data analysis. Finally, the WCEF model uses the deep learning model for the classification of inheritance in folk music. The experimental analysis stated that the WCEF model effectively classifies the folk music words and their contribution to inheritance.
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FABBRI, FRANCO. "Orchestral Manoeuvres in the 1970s: l’Orchestra Co-operative, 1974–1983." Popular Music 26, no. 3 (October 2007): 409–27. http://dx.doi.org/10.1017/s0261143007001353.
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AbstractL’Orchestra, a cooperative established in 1974/75, based in Milan, Italy, was a unique organisation, involving musicians, sound and lighting engineers, music critics and teachers, and concert managers. It was started as a kind of artists’ union, a federation of folk, rock, political song, jazz, avant-garde groups, but in a few months it became a concert agency and a record company; it held music courses for amateurs and published music tutorials; it helped managing the first multipurpose art/social centre in Milan. L’Orchestra promoted studies along various disciplinary perspectives (sociology, music education, ideological criticism, semiotics) that in some respects embody and in others help explain the development of popular music studies and of the International Association for the Study of Popular Music (IASPM) in Italy.
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Khanh, Pham Tiet. "Enhancing Human Resources for the Conservation and Promotion of Cultural Values of Khmer Folk Music in Southern Vietnam." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 69–84. http://dx.doi.org/10.30819/aemr.10-9.
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Khmer folk music in Southern Vietnam is diverse in its forms and mainly serves religious rites and traditional ceremonies. However, with the trend of increasing integration and exchange, and under the strong and constant influence of the wave of Western civilization, the development and popularity of modern audiovisual media, new and attractive music shows on television and social sites, the folk music of the Khmer in the South is coping with a great deal number of difficulties and challenges. Although changing trends are inevitable, we need solutions to continue promoting the values of Khmer folk music in the South in new conditions and contexts without losing its identity, including training core human resources for this objective. The article focuses on two research objectives: the first is to understand the policies of the government of Vietnam and the results of practical training of human resources to preserve and promote the cultural values of Khmer folk music heritage in the South of Vietnam and the second is to propose solutions in developing and training human resources to preserve and promote the values of Khmer folk music and culture in the South of Vietnam.
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Jin, Xue. "An analysis of the artistic characteristics and development trend of modern Chinese folk opera." OOO "Zhurnal "Voprosy Istorii" 2023, no. 6-2 (June 1, 2023): 206–11. http://dx.doi.org/10.31166/voprosyistorii202306statyi58.
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Chinese folk opera is an important part of Chinese folk music. This work reviews the historical background and development of Chinese modern folk opera, it analyses the artistic characteristics of the development of Chinese modern folk opera, it points out the direction of development of Chinese modern folk opera.
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Paksa, Katalin. "Stage and folk tradition in the cultural history of the Kállai kettős (Couple Dance of Kálló)." Studia Musicologica 55, no. 3-4 (September 2014): 295–320. http://dx.doi.org/10.1556/6.2014.55.3-4.3.
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Zoltán Kodály’s Kállai kettős [Couple Dance of Kálló] was premiered by the Hungarian State Folk Ensemble in Budapest in 1951. However, it was not in Kodály’s work that the folk songs arranged in it were first presented to the cultured public. In the interchange of folk tradition and high culture they have already cropped up in the past three hundred years, among others in stage productions. This paper examines the folkloristic sources of Kodály’s work from a dual angle: how they were connected to the stage before Kodály’s arrangement and how their variants were embedded in the folk tradition. Today Kállai kettős is living also a “double life”: Kodály’s work is part of the national canon, but it is also present in the traditional productions of the revivalists of Nagykálló.
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Tolbert, Jeffrey A., and Dawn Keetley. "Folk horror: An introduction." Horror Studies 14, no. 2 (October 1, 2023): 159–72. http://dx.doi.org/10.1386/host_00067_2.
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Our introduction to this Special Issue is premised on the fact that the rich critical work on folk horror has far from exhausted what can be (and needs to be) said about folk horror. There is a particular need for scholarship that extends its reach beyond Britain and for that which self-consciously interrogates, expands and complicates initial theoretical formulations of folk horror. There is a need, in short, for a ‘second wave’ of folk horror criticism that develops the first – that attends more specifically, for instance, to modes within folk horror (and folk horror as a mode), to the ways in which folk horror productions are rooted in particular places and regional lore, and to the ways in which those productions deploy literary, narrative, aesthetic, visual and acoustic strategies. There is also a need to identify and interrogate (in specific contexts) the key (defining) concepts of folk horror, especially the ‘folk’, folklore and horror – all three of which this introduction explores before it introduces the six essays in this Special Issue.
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Smoliak, Oleg S., Anatoliy M. Bankovskyi, Oksana Z. Dovhan, Halyna S. Misko, and Natalia M. Ovod. "Stanyslav Lyudkevych’s Contribution to the History of Ukrainian Folk Music Research at the Beginning of the Twentieth Century." Musicological Annual 57, no. 1 (July 5, 2021): 177–200. http://dx.doi.org/10.4312/mz.57.1.177-200.
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The article explores and analyzes the activities of the famous Ukrainian composer, musical folklore collector and researcher Stanyslav Lyudkevych in the early twentieth century. The article presents an analysis of the ethnographic collection Halytsko-ruski narodni melodii (Galician-Rus Folk Melodies), which contributed to the emergence of a new direction in Ukrainian folk music ethnographic research – comparative musicology. In particular, this analysis explores structural and typological characteristics of Ukranian folk music.
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Bajic-Stojiljkovic, Vesna. "The process of shaping stage folk music through the prism of the development of folk dance choreography." Muzikologija, no. 33 (2022): 209–29. http://dx.doi.org/10.2298/muz2233209b.
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Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.
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Dan, Wang. "The penetration and fusion of traditional folk music and contemporary pop music in China." OOO "Zhurnal "Voprosy Istorii" 2023, no. 2-1 (February 1, 2023): 254–61. http://dx.doi.org/10.31166/voprosyistorii202302statyi05.
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Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.
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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.
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Whelan, Andrew. "Vinyl: A History of the Analogue Record." IASPM Journal 4, no. 1 (June 18, 2013): 135–36. http://dx.doi.org/10.5429/648.
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Hagedorn, Hans Christian. "Don Quijote en el jazz francés." Çédille, no. 18 (2020): 515–49. http://dx.doi.org/10.25145/j.cedille.2020.18.21.
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The intense reception that Don Quixote has had in French music is a well-known, well-documented and well-researched phenomenon. However, criticism has focused pri-marily on classical music and opera; few studies have been devoted to pop music, rock or folk, and none has so far dealt with the traces that the Cervantine novel has left in French jazz. In this paper we document, analyse and compare twenty examples of French jazz compositions that are inspired by the masterpiece of Cervantes, taking into account aspects such as its reception in jazz from other countries, or the interesting presence of the myth of Don Quixote in French jazz of the 21st century.
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Gao, Yu. "Study on the Historical Development of Folk Songs in Shanbei." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 166–67. http://dx.doi.org/10.54097/yz7r9e57.
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Northern Shanbei folk songs are famous traditional music in China. This study focuses on the origin and historical development of northern Shanbei folk songs, as well as its characteristics and ways of expression. The origin and development of northern Shanbei folk songs have not only incorporated ancient farming culture and theatre traditions, but also combined them with modern music to form a unique musical style and mode of expression. This has made northern Shanbei folk songs retain their ancient characteristics in their inheritance, while also advancing with the times and adapting to the needs of modern society. As an important part of Chinese folk songs, northern Shanbei folk songs are of great significance to the study of Chinese music culture and social history.
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Kablova, T. B., and S. O. Pavlova. "Ukrainian folk songs in music education of pupils." Musical art in the educological discourse, no. 2 (2017): 128–32. http://dx.doi.org/10.28925/2518-766x.20172.12832.
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The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic and musical texts, deep emotion, authenticity, profound statement thoughts, poetry, clean image, deep highly and true meaning, reflection the history of the people, their thoughts and feelings. Folk ensembels are the most accessible and authentic embodiment of the Ukrainian folk songs. Ukrainian folk music has a great pedagogical value and helps educate a highly moral individual, who would have aesthetic, philosophical and artistic aesthetic qualities; develops interest in folk music, artistic taste and imagination. On the other hand, there is a remarkable arttherapeutic component of Ukrainian folk song.
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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.
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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.
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Huang, Jun. "Study on the Structuring of Music for Buddhist Folk Funeral Rituals in Bijie." International Journal of Social Sciences and Public Administration 3, no. 3 (July 22, 2024): 425–30. http://dx.doi.org/10.62051/ijsspa.v3n3.53.
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I think I have made an in-depth study of folk Buddhist funeral ceremony music in Bijie area, which aims to explore the origin, development, evolution of folk Buddhist funeral ceremony music in Bijie area, as well as its position and role in society and culture, and education. This study adopts a variety of research methods such as field survey, literature study, and music analysis. A large amount of musical materials were collected through field surveys and recordings of different folk Buddhist funeral ceremony music in the Bijie area. Relevant historical documents, folklore and oral history materials were also sorted out and analyzed to understand the historical origin and cultural background of funeral ceremony music. The results of the study show that the folk Buddhist funeral ceremony music in the Bijie area has a long history and a unique style. These musical compositions usually consist of elements such as Buddhist scriptures, mantras, Buddhist music and folk music, forming a unique musical form. In funeral ceremonies, these musical compositions are used to pay homage to the deceased, transcend the spirits of the dead, and protect the living, etc., and they have both religious ceremonial and social functions (ethics and morals, Buddhist education, and rituals). In addition, the study also found that folk Buddhist funeral ritual music in the Bijie area was influenced by a variety of factors during its evolution, such as regional culture, religious sects, and social change. With the development and change of society, the funeral ceremony music also evolved and innovated, gradually forming unique local characteristics. In general, the music of BiJie folk Buddhist funeral rituals is characterized by its solemnity, solemnity, sadness, and mourning, and adds a unique atmosphere to the funeral rituals through various forms of Buddhist scripture recitation, gatha and music performance, so that people are more able to feel the presentation of cultural phenomena such as memorialization and prayers for the deceased, and expectations and teachings for the living, and so on. It reveals the historical origin, cultural background and evolution process of the music of Bijie folk Buddhist funeral ceremony, and provides theoretical and practical guidance for the protection and inheritance of this unique music culture.
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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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Muyassarkhon Achildiyeva and Dilafruz Madalieva. "Uyghur folk singing genre." International Journal on Integrated Education 3, no. 11 (December 3, 2020): 222–26. http://dx.doi.org/10.31149/ijie.v3i11.923.
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This article provides valuable information about the genres of Uyghur folk singing. The article also provides a detailed overview of the Uyghur musical heritage, which speaks to the ancient history of Uygur music culture.
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Lornell, Kip. "A New History of American and Canadian Folk Music." Journal of American Folklore 135, no. 535 (January 1, 2022): 113–14. http://dx.doi.org/10.5406/15351882.135.535.15.
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Bannister, Roland. "Singing Australian: A History of Folk and Country Music." Musicology Australia 28, no. 1 (January 2005): 131–35. http://dx.doi.org/10.1080/08145857.2005.10415283.
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Kohfeld, J. Michael. "Women sounding out: Listening for queerness in folk and popular music of the United States." Journal of Popular Music Education 6, no. 2 (July 1, 2022): 207–15. http://dx.doi.org/10.1386/jpme_00085_1.
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Folk music and other popular styles associated with rural regions of the United States appear to be unlikely places to find lesbian, gay, bisexual, transgender, queer and other gender/sexual minorities (LGBTQ+). Consequently, teaching folk music of the United States with attention to diversity, equity and inclusion can be challenging for music educators. In this article, I use Yves Bonenfant’s notion of ‘queer listening’ to discuss queer genders and sexualities in folk and popular music, applying the framework to three songs by women artists: Tracy Chapman’s ‘For My Lover’, the Indigo Girls’ ‘Closer to Fine’ and Amythyst Kiah’s version of ‘Black Myself’. By treating queerness as a ‘doing’ rather than a ‘being’, queer narratives of oppression, survival, resilience and triumph in folk music can be discussed in the music classroom with greater nuance in relation to history, performance and reception.
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Griffith, James S., and Neil Rosenberg. "Transforming Tradition: Folk Music Revivals Examined." Western Folklore 55, no. 2 (1996): 170. http://dx.doi.org/10.2307/1500185.
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