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1
Kamalov, Ablet. "UYGUR FOLK SONGS KOSHAH ABOUT THE PARTICIPATION OF THE UYGURS OF SEMIRECHYE IN THE UPRISING OF 1916." KAZAKHSTAN ORIENTAL STUDIES 8, no. 4 (May 11, 2024): 99–109. http://dx.doi.org/10.63051/kos.2023.4.99.
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This article is aimed at studying Uyghur folk songs of the “Koshak” genre, reflecting the participation of Uyghurs from Semirechye in the 1916 uprising, in order to identify their role in the formation of historical memory and national identity. As part of the study, the texts of Uyghur folk songs related to the events of the 1916 uprising are collected and analyzed. Particular attention is paid to the interpretation of these songs, identifying the main motifs and images, as well as analyzing their role in the cultural and historical context. This study makes a new contribution to the study of Uyghur culture and history by addressing the under-researched aspect of the use of folk songs in the context of the 1916 uprising and their significance in shaping the collective memory of the Uyghur people. The research is based on methods of analyzing the texts of folk songs using the methods of ethnography, literary criticism and historical analytics. A contextual approach to the interpretation of texts is also applied, taking into account the sociocultural and historical characteristics of the period. The results of the study make it possible to identify the main themes and motives of the Uyghur folk songs “Koshak” associated with the participation of the Uyghurs of Semirechye in the uprising of 1916, as well as to assess their influence on the formation of the collective historical memory and national identity of the Uyghur people.
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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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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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Peycheva, Lozanka. "Traditions in the Discussions about the obrabotvane of Folklore in the Avtorski Pesni v Naroden Duh from Bulgaria." Arts 9, no. 3 (August 12, 2020): 89. http://dx.doi.org/10.3390/arts9030089.
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The avtorski pesni v naroden duh (authored songs in folk spirit) are a modern and multifaceted phenomenon, which has accumulated a rich history in Bulgarian musical culture. This research presents the essential characteristics of these songs and a two-part typology (1. authorized/avtorizirani folk songs; 2. newly composed songs ‘in folk spirit’), which is based on both models of authorship (according to Michel Foucault, authorial function is manifested in two basic forms of authorship—plagiarism and appropriation). This study provides an overview of some of the thematic debates that attempt to resolve the inevitable contradictions and tensions surrounding songwriting in folk spirit. The avtorski pesni v naroden duh have attracted the critical attention of Bulgarian musicians and society and have been the subject of lively discussions, criticisms, and controversy in numerous publications from the first decades of the 20th century to the present. This survey offers different perspectives, opinions and arguments focused on one of the main discussion topics related to the creation and functioning of the avtorski pesni v naroden duh: pro and contra the obrabotvane (transformation, polishing, processing, cultivation) of folklore. This problem has been at the heart of intellectual discussions since the 1930s and during the 1950s–1980s. The critical discussion of the question pro and contra the obrabotvane of folklore, with its whole inconsistency, complexity and impossibility to be reduced to unambiguous answers, leads to sharp confrontations between the holders of different opinions.
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Niroo, Wolayat Tabasum. "Nurturing Masculinity, Resisting Patriarchy: An Ethnographic Account of Four Women's Folk Songs from Northeastern Afghanistan." Afghanistan 4, no. 2 (October 2021): 170–92. http://dx.doi.org/10.3366/afg.2021.0077.
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Western literature has presented the condition of Afghan women as either empowered or helpless. Their stories have been overlooked, romanticized, or seen as an outcome of tribalism, patriarchy, and war. Women's ability to articulate their personal experiences, grief, happiness, gender roles, and capacity to imagine an alternative has been missing. This article argues that through their folk songs women in northeastern Afghanistan criticize the behavior of husbands in their families while supporting their brothers, fathers, and sons. These women nurture and dismantle masculinity to their advantage. In singing space, women support but also bargain with patriarchy. The article concludes with recommendations for future research.
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Petrovic, Sonja. "Milovan Vojicic's epic songs about the Kosovo battle 1389 in the Milman Parry collection of oral literature." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 75 (2009): 21–43. http://dx.doi.org/10.2298/pkjif0975021p.
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In "The Milman Parry Collection of Oral Literature" on Harvard University out of 131 epic songs recorded from Milovan Vojicic, several are dedicated to the popular theme of the Serbian and Balkan epic - the Kosovo Battle 1389 (Prince Lazar and Milos Obilic, The Defeat of Kosovo, ?he Kosovo Tragedy, The Kosovo Field after the Battle, The Death of Mother Jugovici, The Death of Pavle Orlovic at Kosovo, noted in 1933-34 in Nevesinje). The paper examines Vojicic?s Kosovo songs from the perspective of textual, stylistic and rhetoric criticism, poetics, and memory studies. An analysis of Milovan Vojicic?s Kosovo epic poetry leaves an impression of an active singer who has internalised tradition, and on this foundation composes new works in the traditional manner and "in the folk style". Vojicic is a literate singer who was familiar with the collections of Vuk Karadzic, Bogoljub Petranovic, the Matica Hrvatska, and the songbooks of the time. He did not hesitate to remake or rewrite songs from printed collections or periodicals, which means that his understanding of authorship was in the traditional spirit. Vojicic?s compilations lie on that delicate line between oral traditional and modern literary poetry; he is, naturally, not alone in this double role - the majority of the gusle-players who were his contemporaries could be similarly described. In the body of Kosovo epic poetry Vojicic?s songs stand out (The Death of Pavle Orlovic at Kosovo, The Kosovo Tragedy), where he abandons the printed model and achieves the kind of originality which is in fact part of tradition itself. Vojicic highly valued oral tradition and the opportunity to perform it, as part of the process of creating an image of himself as a folk gusle-player in modern terms. For this reason, his repertoire includes both old and new themes. They are sung according to the epic standard, but also in accordance with the modern standard of epic semi-literary works. In Vojicic?s world, oral tradition is an important component in viewing the historical past, and in perceiving reality and the singer?s place in it. The epic is a form of oral memory and the guardian of remembrance of past events; however it also provides a space for surveying and commenting on modern historical situations in a popularly accepted manner, at times in an ideological key, as seen in songs which gather together major historical events. This perception of the epic tradition and history is mirrored in the heterogeneity of the corpus and in the repertoire of songs, and is all a consequence of vastly changed conditions of origin, existence and acceptance, i.e. the consumption of oral works in the first half of the 20th century, in a process of interaction between literature and folklore.
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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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Stundžienė, Bronė. "Turning to the Beginning of the Lithuanian Folksong Publication." Tautosakos darbai 56 (December 20, 2018): 133–55. http://dx.doi.org/10.51554/td.2018.28475.
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Against certain broader context of discussing the historical reflection of relationship between pre-literate culture and writing, the author of the article pays detailed attention to the unusual transformations in folksong development that are brought about by literacy. We usually rightfully consider literacy as an unmistakable indication of cultural progress. In this regard, subsequent recording and printing of folksongs that started in later periods of literacy also merit positive evaluation. Although both modes of fixation belong to the same period of Lithuanian cultural history, however, from the middle of the 18th century until the beginning of the 19th century, printed publications of folksongs acquired immense importance. Looking from a historical distance – the present times, the author of the article reconsiders and reinterprets the sociocultural surroundings of this new mode of folklore dissemination, taking into account what aims the first folklore publishers had and whether or not they managed to achieve them. Essentially, one particular aspect in the beginning of the written Lithuanian folksong tradition is in the focus of attention – namely, how and why the state of folksong altered in the process of becoming a printed source. In the first chapter, following the historical revisions of medieval culture, the author of the article reconsiders the prehistory of folklore publication as the common European process. She takes into account the sociocultural aspects of this period: namely, creations of the “singing peasantry” – the part of the society belonging to the lower classes and engaged in agriculture, which was essentially banned from writing and ignored by the literate society. Like in the rest of Europe, in the medieval literature of the multilingual Grand Duchy of Lithuania and the Lithuanian-speaking Eastern Prussia (currently, the Lithuania Minor), contemporary reflection of folk culture was almost entirely absent or obscure until the middle of the 18th century. As noted in the second chapter, the situation of folk poetry started changing in the Lithuania Minor (the early center of the Lithuanian written culture) with Philip Ruhig publishing his linguistic treatise in 1745 and including (for research purposes) three Lithuanian folksongs. Shortly after, Gotthold Ephraim Lessing reprinted two of them in one of his “Literary Letters” (1759). Subsequently, another famous figure of the German pre-Romanticism and its ideologist Johann Gottfried von Herder included as many as eight Lithuanian folksongs translated into German into his international collection “The Voices of Peoples in Songs”. Thus, the history of Lithuanian folksong publication started with altering attitude towards the so-called “third estate”; this shift is currently regarded as a sociocultural turn inspired by pre-Romanticism and clearing the way for the poetic folk creativity allegedly harboring the “national spirit”. These ideas inspired the famous theologian and pedagogue Liudvikas Rėza (Ludwig Rhesa) to edit the first book of Lithuanian folksongs. This bilingual collection (in Lithuanian and German) saw publication in Konigsberg in 1825. However, traces of the former social separation were persistent. As such, one could name the early tendency of folklore recording and publication: to indicate just the publisher (collector), leaving aside the main actors – the folk singers, although currently they stand out as representatives of the people. Folklorists would subsequently correct this situation. The author of the article goes on to discuss the losses suffered by the folk creativity under the new conditions of literacy. Comparison of the first printed folksongs with their mode of existence in the living folksong process of the 18th – beginning of the 19th century reveals clear changes in the folksong identity. The frozen printed variant loses its capacity to change, along with its former vitality granted by the oral culture; as any other product of the written culture, the printed folksong immediately becomes the past event. Besides, transition from the oral transmission to the area of written culture turns the song into some kind of literary work: therefore, the value of the songs would for a long time since be measured by literary means, and publishing of the songs as poems (leaving out the melodies) would become a common practice. The main thing is, nevertheless, that publication of folksongs in writing and their separate reading completely erase the typical folk communication of ritual culture by means of common places of folksongs – shared for many generations in the pre-literate culture. However, the emerging parallel folksong publication opens up entirely new mode of communication. Already at the very beginning of Lithuanian folksong publication, its publisher obviously acquired individual right to edit the folklore at discretion. Selection of materials for publication (including some changes and reconstructions made along the way) followed primarily the actual purposes of publication, which included presenting the folksong image that would be more readily acceptable to the contemporary readership and satisfy the community’s expectations. It is public knowledge that Rėza, the initiator of the first Lithuanian folksong book, following the nice inspiration of his pre-Romantic period (maintaining that national spirit lived in folklore) also aspired to use folksongs in order to reveal the noble and dignified picture of the ancient Lithuanian people. Part of this picture – harmonious family and correspondingly ideal relations between its members – received vivid attention in this collection. The article concludes with interpretation of a couple of folksongs discussing a case of early insignificant corrections of the motives reflecting the ritual purpose of folksongs. So far, the author leaves aside certain prominent tendencies of re-creation that already have received harsh criticism before.
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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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Mikhailova, Alevtina Anatol'evna. "Preservation of the traditional culture of the Cossacks in the scientific and creative priorities of the Department of Folk Singing and Ethnomusicology of the Saratov State Conservatory named after L. V. Sobinov." PHILHARMONICA. International Music Journal, no. 6 (June 2023): 10–22. http://dx.doi.org/10.7256/2453-613x.2023.6.69395.
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The article is devoted to the 55-year activity of the Department of Folk Singing and Ethnomusicology of the Saratov State Conservatory named after L. V. Sobinov. The focus is on one of the directions in the scientific and creative priorities of the department – the study and preservation of the traditional song heritage in the culture of the Cossacks. The author gives an excursion into the history of the study of musical folklore and the creation of a new specialty "head of a folk choir" at an academic university. The article highlights the role of prominent figures-folklorists associated with the study of the Cossack song tradition and the formation of the science of ethnomusicology at the Saratov State Conservatory – A.M. Listopadov, L.L. Christiansen, A.S. Yareshko. The article summarizes some results of the research, publishing, concert, creative and educational work of teachers and students of the Department of folklore research of the Cossack regions of Russia. The author also refers to the archive of audio recordings and theses with song notations in order to identify the earliest recordings of folklore expeditions to the Cossack regions of the Saratov Volga region, analyzing the musical, poetic and performing style of song folklore. When writing this article, the following art criticism methods were used – comparative historical (comparative) and musical-analytical research methods. Despite the fact that the Cossack song tradition has not been revealed in the territory of the modern Saratov Volga region in the form of a formed musical and ethnographic phenomenon, there are persistent stable indigenous signs characteristic of the Cossack song culture in local manifestations: both a set of song genres and characteristic musical-poetic and vocal-performing features of the Don Cossacks singing style: specific features of folk speech, diphthongs, word breaks, "entrances"-glissandings from below to the main sound, a special phonetic structure of vocal speech. Similar genre, musical style and performance features of the song folklore of the Cossack tradition in the recordings of the 70s and 80s of the twentieth century are found locally as residual phenomena. Later archival records in this region demonstrate the all-Russian late urban tradition. There are many reasons for this: both the influence of mass pop culture and the result of the lack of social ties between generations of different ages, continuity within the family, within singing groups and the "blurring" of the indigenous population by immigrants from different regions.
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Krinko, E. V. "Historical views оf Е.Р. Savelyev in the appraisals of contemporary researchers." Proceedings of the Komi Science Centre of the Ural Division of the Russian Academy of Sciences 1 (2022): 86–92. http://dx.doi.org/10.19110/1994-5655-2022-1-86-92.
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Evgraf P. Savelyev is one of the brightest and most popular Don historians of the early XX century, the author of generalizing monographs, essays, journalistic writings, reports on archaeological expeditions, poetic and prosaic works, dramas, and songs. The author refers to the appraisals of the historical views of E.P. Savelyev in modern historiography. The historiographic sources are the works of N.A. Mininkov, M.A. Ryblova, B.S. Kornienko, I.I. Yurchenko, A.Yu. Peretyatko, A.I. Kozlov, A.I. Agafonov, M.P. Astapenko, G.D. Astapenko and E.M. Astapenko, other Russian historians, as well as the publications of E.P. Savelyev. The greatest attention of researchers is attracted by the large generalizing work of E.P. Savelyev «The history of the Cossacks from ancient times to the end of the XVIII century. Historical research in three parts” (1915-1918), in which an original concept of the genesis and development of the Don Cossacks is proposed. Many Russian historians criticize this concept, especially the research methods of E.P. Savelyev, though it became widespread in connection with the processes of Cossack revival in the 1990s-2000s. A positive assessment of the views of E.P. Savelyev was given by representatives of the «new chronology» and Slavic folk history, considering it consonant with their own views. Other historical works by E.P. Savelyev are still less in demand among professional historians and a wide circle of readers, in particular those dealing with the activities of the Don atamans M.I. Platov and Prince N.I. Svyatopolk-Mirsky. Meanwhile, without them, it is impossible to give a comprehensive assessment of the work of E.P. Savelyev as an integral part of the Don historiography of the early XX century.
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Fokin, Aleksandr A., and Zalina M. Semenova. "Образ Ильи Муромца в сравнительно-историческом и историко-функциональном аспектах." Бюллетень Калмыцкого научного центра Российской академии наук, no. 3 (December 25, 2023): 135–51. http://dx.doi.org/10.22162/2587-6503-2023-3-27-135-151.
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Introduction. Bylina is an ancient Russian epic song about the life and heroic deeds of Russian heroes, as well as about events or remarkable episodes in the national history of the 11th–16th centuries. Cycles of epics about Ilya Muromets are formed on the basis of ancient legends, united by the origin and character of the main character. It is not the name of the hero, but artistic plots inherited from the distant past that form the basis on which the historical epic develops. The purpose of the article is to identify the conditions for the formation and transformation of epic stories about Ilya Muromets. Material and methods. Classic works of Russian literary criticism and folkloristics, individual plots of the Russian epic and the epic of neighboring peoples are analyzed. Comparative-historical and historical-functional research methods were used. Results. The scientific work examines the history of the development of the image of the Russian hero Ilya Muromets as a gradual “democratization” of the hero of the ancient Russian epic. A wide range of works of Russian, Belarusian, Serbian, Adyghe, Georgian, Ossetian folklore is analyzed. The points of view of folklorists of the 19th–20th centuries on the history, existence, methods and means of broadcasting the poetic biography of Ilya Muromets are presented and interpreted.; their scientific methods and approaches. Epic plots are traced, united by the name of Ilya and having not only an “external” but also a deep internal connection, determined by folk ideas about the hero, his entire appearance, growing on the basis of the entire set of artistic plots. The Conclusion is drawn about the “reworking” in Russian epics of the motifs of magical-heroic fairy tales, the heroic epic of the peoples of the North Caucasus, Transcaucasia and other ethnic groups.
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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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Hu, Xuwen. "A Study of the History of Hakka Mountain Song Education Transmission Based on Inheritance Historicity." SHS Web of Conferences 168 (2023): 03008. http://dx.doi.org/10.1051/shsconf/202316803008.
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Among the folk music of China, the Hakka Mountain Folk Songs of Gannan are a unique system with a long history. Understanding the rich humanistic connotation of Hakka and its place in the spiritual life of the people is of far-reaching significance to the study of Hakka culture, Hakka language and the spiritual sentiment of Hakka people in Ganzhou; and to arouse people’s awareness of the inheritance and protection of this precious cultural heritage which is on the verge of extinction. The distinctive local characteristics and folk features are fully expressed in the Hakka Mountain Folk Songs, and the local language and customs, local customs, artistic conditions， and political and cultural life are reflected in the Hakka Mountain Folk Songs in a very realistic way. In recent years, the academic community has paid more attention to the musical characteristics of the Hakka Mountain Folk Songs in Gannan, and the research has gained certain achievements. This paper will focus on the historical origin of Hakka Mountain Folk Songs in Gannan, the spiritual characteristics of Hakka people, the language of Hakka Mountain Folk Songs, the study of the musical characteristics of mountain songs and contemporary vocal works that successfully borrow from Hakka Mountain Folk Songs in Gannan. In the last part of the article, he writes some opinions about the inheritance and innovation of Gannan Hakka Mountain Folk Songs, which will help the creators to create more and better local music works and do their part to promote the inheritance of Gannan Hakka Mountain Folk Songs.
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Telexova, Oleksandra. "M. Rylsky's article "A word about Lesya Ukrainka" as a source of studying the poet's biography." 89, no. 89 (December 13, 2021): 34–36. http://dx.doi.org/10.26565/2227-1864-2021-89-05.
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The article considers the role of literary and artistic criticism in studying the life and career of Lesya Ukrainka; a review of a critical article by M. Rylsky about the writer. The purpose of the article is to prove the effectiveness of attracting literary and critical works in the process of studying the life and creative path of Lesya Ukrainka. Biographical, comparative and receptive methods were used in the study. It is shown that in the article "A word about Lesya Ukrainka" the critic pays great attention to the biography and worldview of the poet, emphasizing the love of freedom of her family, trying to find out the origins of freedom and captivity, protection of the oppressed and disadvantaged, whom she sought to protect with his poetic words. The critic draws attention to the versatility of poetry, the use of folk poetic elements, pointing to kinship with Taras Shevchenko, symbolism, Prometheanism, musicality, flexibility and diversity of the poetic word, emphasizing the thoughts with abundant quotations. M. Rylsky presents the creative history of the drama extravaganza "Forest Song", in which the poet showed an insatiable daughter's love for Ukrainian nature and native Volhynia, and this idea will go through all stages of studying the life and career of Lesya Ukrainka. The article offers methodical recommendations on the use of M. Rylsky's article in the process of studying the biography of Lesya Ukrainka. Given the important methodological, ideological and artistic significance, it can be used at any stage of studying the work of Lesya Ukrainka: acquaintance with the biography, clarification of issues and ideological and artistic features of software works.
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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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Dongcheng, Lang. "Inheritance and spread of local intangible cultural heritage – taking the protection and inheritance of Mongolian long tune folk songs as an example." OOO "Zhurnal "Voprosy Istorii" 2023, no. 5-1 (May 1, 2023): 222–29. http://dx.doi.org/10.31166/voprosyistorii202305statyi13.
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The article takes the protection and inheritance of Mongolian long-tune folk songs as an example. Strengthen the construction of local laws, regulations and systems for the protection and inheritance of Mongolian long-tune folk songs, provide legal systems and policy guarantees for the protection work, and make the protection of Mongolian long-tune folk songs a responsibility and obligation of the government, all sectors of society and citizens.
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Ma, Xi. "The Inheritance and Development of Guizhou Tujia Folk Song and Gaoqiang Mountain Song." BCP Social Sciences & Humanities 22 (August 2, 2023): 59–62. http://dx.doi.org/10.54691/bcpssh.v22i.5274.
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With the passage of history, the culture of the Tujia ethnic group has become increasingly rich and colorful. Tujia folk songs, with their beautiful melodies, have infected countless people and have their own unique characteristics among these 56 ethnic groups. The unique artistic charm of Gaoqiang folk songs has been included in intangible cultural heritage. The manifestation of Gaoqiang folk songs in Guizhou is more obvious. This article mainly studies the inheritance and development of the Tujia ethnic group's high pitched folk songs along the river.
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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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Terzioğlu, Ahmet Mutlu. "A Values Education Investigation of Folk Songs in Elementary School Music Textbooks." Shanlax International Journal of Education 10, S1-Aug (August 18, 2022): 110–15. http://dx.doi.org/10.34293/education.v10is1-aug.5187.
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The aim of this descriptive study was to examine the values in Turkish Folk Music songs included in the elementary school music textbooks developed in line with 2018 curriculum in Turkey. In this sense, 44 folk songs included in elementary school music textbooks used in Turkey in the 2019-2020 academic year were investigated in order to reveal the values in these songs. Content analysis was adopted in this study. The findings showed that the textbooks generally consisted of folk songs in which the values of love, patriotism and courage were addressed. In this context, 20 folk songs with the value of love and 4 folk songs with patriotism and courage are included in the textbooks. In addition, it was found that there were four folk songs with the value of local values, two with compassion, one with kinship,one with perseverance, and one with belonging.
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MÜRŞÜDOVA, U. B. "AZƏRBAYCANIN OĞUZ-TÜRK VƏ ŞİMALİ AMERİKANIN HİNDU XALQ NƏĞMƏLƏRİ: MÜQAYİSƏLİ TƏHLİL." Actual Problems of study of humanities 1, no. 2024 (April 15, 2024): 134–40. http://dx.doi.org/10.62021/0026-0028.2024.1.134.
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Azerbaijan Oguz-Turk and North American Hindu Folk Songs: a Comparative Analysis Summary Folk songs of Oguz-Turk and Hindu people have addressed themes that are universal to most of humanity throughout history, including love, loss, treachery, and early death. They serve as a historical account of the circumstances that existed when they were written or oral traditions that were carried down orally. Folk songs are essential to music since they provide a brief overview of the musicians' lives. Important information is also frequently passed down from generation to generation through folk tunes. Folk ballads narrate tales of a life that has been forgotten or is about to vanish. Traditional Oguz-Turk and Indian civilizations use music for a variety of purposes, such as religious rituals, healing rituals, social songs and dances, work songs, game songs, courting, storytelling, and songs to bring luck in hunting, agriculture, and warfare. Key words: Folksong, Comparative features, Main directions of folksongs, In-text conceptions, Characteristics of folksongs
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Zeng, Ao, and Kritsakorn Onlamul. "Historical Development in Education and Cultural Literacy of Chinese Tujia Working Songs in Chongqing." International Journal of Education and Literacy Studies 11, no. 4 (October 20, 2023): 218–24. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.218.
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Chinese Tujia folk songs, deeply rooted in the cultural heritage of the Tujia ethnic group, serve as a living repository of history, values, and traditions. The primary objective of this study is to investigate the historical development of education and cultural literacy in Chinese Tujia working songs in Chongqing. The comprehensive literature review provides insights into the history of the Tujia ethnic group, their musical heritage, and contemporary challenges to preserving their cultural traditions. The research site includes Youyang Tujia and Miao Autonomous County, Shizhu Tujia Autonomous County, Pengshui Tujia, and Miao Autonomous County, and Qianjiang District. Key informants, including accomplished artists, academic researchers, and local experts, share their invaluable insights related to the preservation and performance of Tujia folk songs. By using the principles of music aesthetics, music ethnology, and ancient Chinese music history. The result of this study underscores the critical importance of preserving intangible cultural heritage, especially in the context of today’s rapid modernization and globalization. They highlight those traditional folk songs, like Chinese Tujia working songs, hold immense cultural and historical value. The study also provides actionable recommendations for ensuring the continued vitality of these culturally rich songs. These suggestions can guide efforts to integrate Tujia folk songs into educational curricula, support local musicians and artists, and promote cultural events.
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Lin, Kang. "Folk songs in the content of general music education in China." Science and School, no. 5 (October 29, 2023): 203–10. http://dx.doi.org/10.31862/1819-463x-2023-5-203-210.
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The article is devoted to the problem of increasing the role of folk songs in the content of general musical education. This problem is relevant not only for China, but also for Russia. It is connected with the tasks of the modern state educational and cultural policy of these countries, aimed at educating the younger generations in the context of their own national and cultural traditions and spiritual and moral values. The purpose of the article is to reveal the role of Chinese folk songs in the content of modern general musical education in China. The article reveals certain aspects of the history and artistic originality of Chinese folk songs, considers the state requirements for their development by schoolchildren, presents the results of the analysis of folk songs included in music textbooks for grades 1–6 of China’s comprehensive schools. It was revealed that they include significantly fewer samples of folk music than Western European and modern Chinese. Among the folk songs, songs of ethnic minorities (Tibetan, Mongolian, etc.) prevail, and not of the Chinese ethnic group. From this, a conclusion was made about the need to develop and theoretically and methodologically substantiate the pedagogical conditions for increasing the role of Chinese folk songs in the content of general musical education in China.
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Yang, Jing, and Suthasinee Theerapan. "The Contemporary Status of Pingxian Folk Songs and Their Educational Significance in Qinghai Province Through Anthropological Analysis." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 2 (March 1, 2024): 367–78. http://dx.doi.org/10.60027/ijsasr.2024.4013.
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Background and Aims: This anthropological study delves into the contemporary status and educational significance of Pingxian folk songs in Qinghai Province, China. Pingxian folk songs are known for their delicate melodies. This research aims to analyze the contemporary status of Pingxian folk songs in Qinghai Province and their educational significance through anthropological analysis. Materials and Methods: The research is situated primarily in Qinghai Province, specifically focusing on Xining City, a central hub of Pingxian folk songs. Data collection involves in-depth interviews and systematic observation of performances, facilitated by structured interviews and observation forms. Four key informants, including local musicians, community elders, and music educators. Results: These songs have transitioned from local folk art to distinct local folk music, embracing diverse musical elements and the emergence of professional troupes. They continue to thrive through regular performances, preserving local dialects, and enchanting melodies, and serving as living repositories of history and culture. Furthermore, Pingxian folk songs play a pivotal role in fostering cultural identity, nurturing creativity, and enhancing social cohesion among learners, contributing to cultural heritage protection and the rejuvenation of Chinese traditions. Conclusion: Pingxian folk songs in Qinghai Province epitomize a dynamic cultural heritage that resonates with audiences today. Their enduring legacy, enriched by historical evolution and contemporary vitality, underscores their significance in education and cultural preservation. As valuable tools for instilling cultural identity and fostering creativity.
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Thayanithy, Murugu. "Feeling of love in Batticaloa folk songs." International Research Journal of Tamil 3, no. 4 (September 15, 2021): 108–21. http://dx.doi.org/10.34256/irjt21414.
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Literatures have been studied orally before taking written form. History makes it clear that such songs were written during the Sanskrit period. These oral literatures shed light on the life and history of a country and its flaws and serve as a mirror that reveals the cultures, customs, and ancient thoughts of the people. Although the study of folk songs on the world stage has been in vogue for a long time, it came into practice in Tamil Nadu in the 19th century and then came into the study. However, it has not been advanced as a separate discipline in the University of Sri Lanka to date. Instead, the study of folk songs is being carried out in collaboration with the Tamil Department.In the case of Batticaloa Tamil Nadu, the close connection between India and Sri Lanka due to migration, migration and migration from ancient times can be seen from the identification of Tamils as the first and last king of Sri Lanka.Therefore, it is possible to realize that folk songs are widespread among the people of Batticaloa as there was not only Tamil Nadu connection but also Indian national connection. The songs are arranged in the form of Ritual, Rain and Famine, Lullaby, Game, love, Marriage, Family, Community, Relationship and Career, Obpari, Swing, Satire, Mother Songs.These songs explore love songs, present the feeling of love found in them, show how they fit in with the general characteristics found in the literature of Sangala Agathi and reveal aspects of the Batticaloa socio-cultural hierarchy. The gist of the song is not to give a direct meaning, but to explain its essence. They are classified as motherly songs, Fatherly songs, Leader songs, Leader songs, Friend songs, and General songs.
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Meng, Yumeng, and Minghua Liu. "Exploring the inheritance and historical evolution of cultural values from the perspective of folk songs and chorus." Herança 6, no. 2 (October 11, 2023): 1–13. http://dx.doi.org/10.52152/heranca.v6i2.794.
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Folk songs and choirs are both ways of presenting musical works, and the participating groups of these two forms of music are more inclined towards grassroots people, recording the characteristics of people's lives and times. It carries the inheritance and historical evolution of cultural values in its development process. This article will analyze the development history and presentation methods of folk songs and choirs, as well as their recording patterns of culture and history. It will also explore the cultural value inheritance and historical evolution reflected in the growth of works from the perspectives of folk songs and choirs.
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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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Kyrgys, Kira. "From the history of collecting Tuvan folk songs: Yrlar and Kozhamyks." Religación. Revista de Ciencias Sociales y Humanidades 7, no. 33 (September 26, 2022): e210944. http://dx.doi.org/10.46652/rgn.v7i33.944.
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The ancient history and culture of the inhabited tribes of Tuva attracted the attention of travelers, linguists, ethnographers, and musicians, especially in recent decades. The primary recordings of yrlar (tuvan songs) and kozhamyk (ditties) in the writing sources of scientists contained samples of ancient musical poetry, including one-thousand-year history images, plots, motifs, and archaic vocabulary. Owing to ethnocultural values and beliefs of Tuvan people in Southern-Central Siberia it preserved features of relict cultures in music traditions. Based on field works conducted in the late 20th century, via ethnographic, historical, and typological principles of systematic approaches to folklore music genres, all songs were divided into occasional rituals and non-occasional songs, according to musical stylistic characteristics folk songs were classified into long songs ʽuzun yrlarʼ, short songs ʽkyska yrlarʼ and traditional ditties ʽkozhamykʼ. Tuvan culture is rich with musical traditions, it includes various song types, melodic recitations, instrumental creativity, calendar, and ritual songs, epic genres, etc. The author considers the development of song art as the most mobile layer, which absorbs all from the surrounding sound world. Songwriting reflects the spiritual experience and national character of the Tuvan ethnos.
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M, Murali. "Folk Thoughts in Bharathiyar Songs." International Research Journal of Tamil 4, S-11 (September 10, 2022): 184–89. http://dx.doi.org/10.34256/irjt224s1126.
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Bharathi is admired by the people as the National Poet, World Poet, and Mahakavi. Bharathi had many dimensions as a poet, writer, journalist, freedom fighter, and social reformer. Bharathiyar's songs contain many truths that endure across space and time. There are two types of songs. One is to pour out thoroughly with simplicity in the minds of the laity. Another thing is that the learned poets create slanderous words with sharp edges. There is no doubt that the poetry of the other poets is superior, but all his works are somehow indebted to folk literature. This is a fact known in all folk literature. There is evidence to show this in the history of Tamil literature. Bharathiyar, who wondered, 'there is no wonder like song in this world', loses himself whenever he listens to folk songs. The world should know them. The study aims to create awareness about Bharathi's works and folklore among the younger generation by studying the folk ideas in his works.
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Szurmińska, Hanna. "THE LITERATURE GROUP „ZEWONIA” HISTORY AND FOLKLORE." Polish Studies of Kyiv, no. 35 (2019): 424–27. http://dx.doi.org/10.17721/psk.2019.35.424-427.
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The article analyses the group of writers «Ziewonia», in the work and activities of which Slavophile ideas have strengthened through cycles of translations, songs and dumas. It reveals interest in the culture of the Slavic people in the 30s of the 19th century. It analyses the idea of national identity and ethnic culture using a differentiated approach to the phe- nomena of literary folklore, which becomes the main motive of «Ziewonia». The level of Ziewonia’s comprehension in Polish science is not significant yet but still to be more learned than in Ukrai- nian science. The article is said about the first period of the XIX century which is characterized by emergence of artistic achievements as exemplified by the interaction of intercultural literature. The Romantic era encouraged the first contact and special activity of folk Ukrainians interested by young Polish writers who are called in the Polish history of literature «Ziewonia». The main representatives were Augustin Bielovsky (the critic and translator, the employee of the Ossolineum institution), Josef and Alexander (Leshek) Dunin-Borkovsky (writers and critics), Lucian Semensky (the poet and novel- ist), Kazimiezh Vladislav Wojcicky (collector of folk songs) and Ludvik Jablonsky (also the critic of Ukrainian literature), finally the Ukrainian writers called the «Russian Trinity», the organization which united enthusiastic researchers of Ukrainian folklore. It is found out that main activities of this Slavophil group were translation and popularization of literature merits. They gave exemplary translations of important Slavic works such as: «Krolodworsky Manuscript», «Zielona Gora Manuscript», selected sonnets from «The daughters of Kollar’s fame», the significant number of Serbian folk songs, many Ukrainian poems and «The Tale of Igor’s Campaign». Folk society and folk songs were glorified and stylized. The key findings of the research prove that deep and intensive relationships between different literacy circles (Ukrainian and Polish) collaborated the future mutual writer’s group for the next historical period.
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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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Tang, Jing, and Phiphat Sornyai. "The Cultural Treasures of Baima Tibetan Folk Songs in Gansu Province, China, as a Resource for Literacy Education in Chinese Music History." International Journal of Education and Literacy Studies 11, no. 3 (July 31, 2023): 234–43. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.234.
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Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups - scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.
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Shun, Wang, and Pitsanu Boonsrianun. "Guidelines for Promoting Literacy Transmission and Education of Rongshui Han Folk Songs in Guangxi Zhuang Autonomous Region, China." International Journal of Education and Literacy Studies 11, no. 4 (October 20, 2023): 122–30. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.122.
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Rongshui Han folk songs, symbolic of Liuzhou’s ethnic culture, hold significant cultural value in transmitting history and traditions. However, contemporary scholars have limited attention, requiring further exploration and research. The objective of this study was to propose guidelines for promoting literacy transmission and education through Rongshui Han folk songs in Guangxi Zhuang Autonomous Region, China. This is a qualitative study that includes relevant literature research, surveys, interviews, and transcriptions. This information is drawn from the research of two scholar informants and four informal informants. Analyze data from Rongshui Han, Miao, and Zhuang folk songs, focusing on their cultural significance and historical context. The result of this study shows that the government plays a crucial role in promoting and safeguarding Rongshui Han folk songs for literacy transmission education. Emphasizing their unique attributes and leveraging their inherent advantages is essential. Nurturing younger generations and investing in training initiatives are crucial. Online media platforms can further broaden the dissemination of Rongshui Han folk songs for the preservation and propagation of this intangible cultural heritage. Increase awareness and understanding of local ethnic culture while engaging youth in cultural preservation and transmitting folk song traditions.
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Sokil-Klepar, N. "TOPONYMS OF BOYKO SONGS." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 3(101) (September 29, 2023): 196–206. http://dx.doi.org/10.35433/philology.3(101).2023.196-206.
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The article analyzed toponyms used by boykos in songs. Any proper names used in folk art are the object of study of folklore onomastics. Today, this science is in the field of view of many researchers who characterize both folk prose and folk songs from the point of view of proper names. On the basis of the source "Boyko Folk Songs" (vols. 1–2), 322 folklore toponyms were analyzed. The toponymic composition of the songs of the Boyko region was taken into account because of the autochthonous nature of the region and the preservation of many linguistic and cultural features of our people. The main points raised in this article were a wide representation of various types of toponyms preserved in the folklore of the Boikos, the reproduction of the verbal environment of the onym and the clarification of typical compatibility, as well as the clarification of the frequency of the use of such names and their functions in the folk text. As a result, it was found that oikonyms (148), choronyms (110), microtoponyms (38) and oronyms (26) function the most in songs. Onyms in the folk art of the Boykos correlate primarily with the plot, thematic and genre specifics of the texts. Toponyms are often combined with adjectives, pronouns and are also accompanied by prepositions, which emphasize and enhance the locativeness of the folk song space. The most frequent in the texts are the oikonym Lviv, the choronym Ukraine, the microtoponym Magura and the oronym Makivka. These toponyms vividly identify the national and symbolic expanse. Fixed proper names mainly perform identification, locative, emotional and symbolic functions. Therefore, in the course of the analysis, the view that folklore toponyms are the national and cultural map of Ukraine, our value, engraved in words, was confirmed. Such names contain information about the history of the region, about the landscape, social and cultural diversity of the Boykivshchyna.
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H.K, Santhosh. "Poothan Kali Songs : an analysis of their types, themes and functions." Indian Journal of Multilingual Research and Development 2, no. 1 (March 30, 2021): 24–34. http://dx.doi.org/10.34256/ijmrd2114.
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'Panappoothan' is an art form performed by the Pana community at festivals at the Bhagvati temples in old Valluvanad district of Kerala.Unlike the Poothan performance of other castes, Panans also sing songs in their Poothan and Andi kali. They perform 'anchati pattukal', hymns and 'kummi pattukal' along with the performance. These songs have not yet been recorded in our folk song tradition or literary history. This essay analyzes these songs descriptively and determines the folk identity expressed in it.
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M, Ganesan, and Chitra P. "People's Education and Social Status in Folk Songs." International Research Journal of Tamil 4, S-16 (December 12, 2022): 128–38. http://dx.doi.org/10.34256/irjt224s1617.
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Literature is created by the well-known poets and preserved by the learned people. Aru. Alagappan says folk songs are created by lay people and saved by them. They have created folk songs in the form of oral literature in various categories such as lullaby songs, ghummi songs, themmangu songs, sports songs. These songs are about the joys and sorrows of the common people but, they may not be documented. The songs do not have formal grammatical forms or word structure. But it has all the flavors and concepts of the people like pleasure, suffering, waiting, achievement, trial, heroism, love and loss. These songs are the time pieces that show the history of the people of that period. No one knows who composed these songs. Yet, it continues to be preserved by lay people and passed down to the next generation. These songs are still sung in villages. Just like a banana tree grows its offspring, these folk songs also continue to grow along the way. It may vary slightly from time to time in some places, but that does not detract from its authenticity. It is the duty of the learner to document this properly. There is a lot of difference between the world seen by educated people and laymen. The lay people sang the world as they had seen, the world they had to see, in the words they knew, in the ragas they knew, and solved their grief and pain. Even though all the songs are not recorded or written, they are preserved by word of mouth. We should not forget that all these are songs of an uneducated people. However, this article examines the folk songs sung by the lay people and how they gave importance to education and through these songs one can get a clear idea about their social status.
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Huang, RanRan, Khomkrich Karin, Yotsapan Pantasri, and Kittikun Jungate. "Guidelines for Literacy Transmission of Shan’ge Folk Songs in Guizhou Province, China." International Journal of Education and Literacy Studies 12, no. 1 (January 27, 2024): 199–205. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.199.
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Nestled within the captivating landscapes of Guizhou Province, China, Shan’ge folk songs, a cherished tradition of the Yi ethnic group, embody a rich cultural heritage. This study aims to investigate the contemporary status of Shan’ge folk songs in Guizhou, with a focus on Panzhou County, Lupanshui City, and the Yi community, while proposing guidelines for their transmission through education and literacy initiatives. Nine key informants, including local musicians and community members, were interviewed, and field observations were conducted. Thematic coding and comparative analysis were employed to analyze the data. The result of this study shows that the enduring cultural significance of these songs, serving as cultural beacons, rituals, and oral history repositories, remains consistent, but challenges such as urbanization, changing lifestyles, and language shift threaten their transmission. We conclude by suggesting guidelines that encompass integrating Shan’ge folk songs into school curricula, fostering community-based learning, and leveraging digital tools to ensure their continuity. In embracing these strategies, Shan’ge folk songs can bridge the gap between tradition and modernity, honoring the past while safeguarding their future.
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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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Lobkov, Aleksandr E. "An Episode from the History of Crimean Musical Folklore: a Collection of Crimean Tatar Songs by N. Borovko and M. Krasev." Golden Horde Review 11, no. 1 (March 29, 2023): 123–42. http://dx.doi.org/10.22378/2313-6197.2023-11-1.123-142.
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Research objectives: To outline the activities of Nina Borovko-Langlet as a collector and performer of folk songs of the Crimean Tatars and to introduce into scientific use a collection of Crimean Tatar songs and dances, prepared by her in collaboration with the composer M.I. Krasev. Research materials: The collection of Nina Borovko and Mikhail Krasev “Crimean Tatar Songs,” published in Stockholm in 1925, and little-known Russian and foreign journal articles served as additional material. As comparative material, the publications of Crimean folklore texts of the 1920s and 1930s were used. Results and novelty of the research: For many decades, the name of Nina Borovko-Langlet was forgotten in the history of Russian musical folklore. The materials presented in the article highlight the role of N. N. Borovko-Langlet in Crimean folklore studies of the 1920s and 1930s. She contributed largely to the popularization of Crimean Tatar music, and her concerts introduced Swedish audiences to the originality of Crimean Tatar folk songs and dances. The article reveals the existence of the collection “Crimean Tatar Songs,” containing six Crimean Tatar songs with translations into Russian, Swedish, and German, as well as a musical notation of two dance songs. It can serve as a valuable source for further comparative study of variants of Crimean songs. The paper also touches on some aspects of N.N. Borovko-Langlet’s collaboration with M.I. Krasev and describes the range of musical publications of the Soviet composer related to the Crimean theme.
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Sy, Ousseynou. "Toni Morrison’s transgressive literary preaching and folk songs as postmemory." International journal of linguistics, literature and culture 7, no. 4 (May 17, 2021): 241–54. http://dx.doi.org/10.21744/ijllc.v7n4.1720.
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This paper intends to study the sermons or ‘‘literary preaching’’ and folk songs in Toni Morrison’s fiction in the light of Marianne Hirsch’s concept of postmemory. Drawing on Hirsch’s postmemory then, this paper articulates that the ‘‘literary preaching’’ and folk songs function within Morrison’s novelistic discourse as postmemory medium that presses against the erasure and the death of a culture and history. The folk songs and ‘‘literary preaching’’ are mediums of transgenerational transmission of trauma and history. Hirsch defines postmemory as the memories that the survivors of trauma bequeathed to their children and grandchildren. Hirsch presents photographs as the instrument through which postmemory is archived and conveyed. She talks about ‘‘photographic archive’’ since photographs can bring back their referents. In comparison, the sermons and folk songs are analyzed as ‘‘oral/aural archive’’, for they have the attribute of triggering memory and postmemory. Also, through her literary preaching, Morrison deconstructs and questions mainstream Christianity by blending it with unorthodox Christian practices. For example, Baby Suggs’ sermon in Beloved gives precedence to the flesh over the spirit, and this sermon is remembered throughout the text as a subdued metaphor.
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N, Kayathri. "Rereading of Aaravalli Sooravalli Songs." International Research Journal of Tamil 4, S-16 (December 12, 2022): 224–30. http://dx.doi.org/10.34256/irjt224s1629.
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Folk literature has many different genres. They are folktales, myths, worships, beliefs, rituals, proverbs, idioms and performing arts. They found that the ideas in the songs and stories presented in the folk literature are aimed at reconstructing the history and so they theorized them. The history of Folk literature helps to reconstruct the history of the grassroot people and to advance identity politics. Narrative songs also have such characteristics but mythological narratives can have an impact on social psychology. Various stories based on the Mahabharata are found in Tamil. They are Archuna's penance, Karnamagarajan's story, Pavalakodi's story, Alli Arasani's garland, Draupadi's story. A story related to this is called Aaravalli Sooravalli songs. In this story seven sisters like Aaravalli Sooravalli created a kingdom for themselves and ruled it. One who oppose their kingdom are enslaved with their magical tricks. Unable to defeat them, Kannan, who helps the Pandavas in the Mahabharata, decides to fight against them to quell the seven sister’s arrogance and the arrogance of Veeman, who says that there is no one to defeat him. Inorder to avoid the war Dharma says that beeman is going to defeat everyone. Here women are portrayed as arrogant and invincible. These types of portrayals appear to evoke male self-reliance in social psychology. This article highlights the stereotypes that make women feel oppressed.
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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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Fikri, Hendrokumoro. "Tembang Batanghari Sembilan: Implicitness, Functions and Poor Inherent Culture." Journal of Electrical Systems 20, no. 4s (April 17, 2024): 1637–47. http://dx.doi.org/10.52783/jes.2226.
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This study aims to describe the meanings contained in each lyrical verse in the Batanghari Sembilan folk song and to explain clearly the function that arises from each meaning based on the theory of Rolland Barthes (1972). In this study, the researcher selected and analyzed only one folk song that contained 13 rhymes with semiotic perspective and explored the socio-cultural context related with the song lyrics. This study uses a qualitative descriptive approach. Data collection was carried out by listening to and writing all the song lyrics, then translating them into Indonesian. Afterwards, the data are analyzed based on Rolland Barthes' semiotic theory connected with socio-cultural context. The results of the study show that there are many kinds of meaning such as sadness, lamentation, pity, denial, criticism, pessimism, and gratitude which describe the overall flow of the song. In terms of cultural functions, the Batanghari Sembilan song shows several functions such as the function of expressing feelings, communication, social criticism, cultural preservation, and entertainment. Therefore, folk songs are not only talk about the art and wealth of a region, but also can reflect an implicit meaning, various functions, and identity habits.
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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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Bychak, Kaciaryna. "The Wandering of the Mother of God with the Child in the Folk Tradition of the Border Between Slavia Orthodoxa and Slavia Catholica: Apocryphal and Folklore Motifs." Palaeobulgarica 47, no. 2 (July 2023): 119–38. http://dx.doi.org/10.59076/2603-2899.2023.2.07.
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The narrative of the wandering Mother of God with the Child is popular within the corpus of the Folk Bible circulating on the frontier between Eastern and Western Christianity. In vernacular oral traditions transmitted on the borderlands of Poland, Belarus and Ukraine, we find not only interpretations of the canonical source of the New Testament motifs “Flight to Egypt” and “The Massacre of the Innocents” (Mat 2:13–19), but also some parabiblical motifs reaching back to apocryphal texts of the first centuries of Christianity (e.g. Prot. Jas., Arab. Gos. Inf.). The latter reflect traditional developments, incorporating portrayals of biblical characters into the native worldview of narrators. The motif of the wandering Mother of God with the Child is found in several types of oral transmission: a) The Nativity/Christmas ritual: carols, pastorals, church songs, sermons and homilies, fairground performances; b) in traditions relating to Marian devotion (folk Marian songs, iconography in Eastern Christianity); c) in axiological and moral traditions: songs, legends, charms. This paper presents collected variants of the motif of Wandering in folk culture and analysis of the origin of the motifs and their adaptation in the environment of vernacular tradition and of the social, religious and theological messages contained in the texts.
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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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Kazanina, Viola. "Ценные предметы в белорусских народных песнях с родины Адама Мицкевича." Białorutenistyka Białostocka 13 (2021): 329–40. http://dx.doi.org/10.15290/bb.2021.13.21.
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The article provides a description and an analysis of the literary context of valuable items in the well-known lyrics of national folk songs of the Belarusian Ponemania. A romantic poet Adam Mitskevich (1798–1855) was born in the land of Ponemania, not far from the town of Novogrudok and Lake Svityaz. In his poems, he borrowed a lot from local folklore – fairy tales, legends, and songs. The article aims to characterize the valuable items described in Belarusian folk songs, recorded in the homeland of Adam Mitskevich, from the perspective of the history of art and antiques.
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Yefremova, Liudmyla. "Folk Songs of the Central Ukraine: Surprising Cherkashchyna." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 126–33. http://dx.doi.org/10.15407/mue2021.20.126.
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Cherkasy Oblast, formed in 1954 from various districts of neighboring oblasts, is an important center of folk songs existence of Central Ukraine, covering a part of the ethnographic territories of Eastern Podillia and Middle Over Dnipro Lands. The history of recording folk songs with melodies on the territory of modern Cherkasy Oblast goes back more than a century and a half. Cherkashchyna is the region where Ukraine has been conceived as a state. The southwestern regions of the oblast belong to the ethnographic territory of Eastern Podillia, the rest belong to the Middle Over Dnipro Lands. Cherkashchyna is the center of the formation and development of a prominent regional cultural tradition, including folk singing. Cherkashchyna is the fatherland of Taras Shevchenko and Bohdan Khmelnytskyi, Ivan Nechui-Levytskyi and Mykhailo Starytskyi. Folk songs of the region have been recorded by Mykola Lysenko, Antin Kotsypinskyi, Oleksandr Koshyts, Andrii Konoshchenko, Klyment Kvitka, Mykhailo Haidai senior, Andrii Shmyhovskyi, Oleksandr Pravdiuk and others. Dialects of Zvenyhorodshchyna have been studied by Ahatanhel Krymskyi. The collections of folk songs by O. Oshurkevych and V. Dubravin have been published under the title Songs of the Shevchenko Region in 2005–2006. The project called Polyphony has been elaborated in 2014 (headed by Hungarian Miklós Both), supported by the European Union’s Creative Europe program. The archive is created in three languages: Ukrainian, Hungarian and English. The Museum of Ivan Honchar has become the moderator of the project from the Ukrainian side. A broad singing of vowels is typical for folk songs. Sometimes singers sing consonants marked with a separate sound in the notations. Performance is characterized by the presence of word breaks of various types. The means of concatenation – an interstanza opening, starting from the second stanza, when the last line of the previous stanza is repeated solo at the beginning of the next one – is considered as one of the signs of a long song style. From the musical point of view, the folk songs of the region combine the features of Eastern Podolian hum and Transdnieper prolonged polyphony.
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Redkova, Evgenia S. "The Concept of “Genre” in the Scientific Heritage of Feodosy Rubtsov." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 95–102. http://dx.doi.org/10.17516/1997-1370-0879.
Full textAbstract:
Professor of the Leningrad State Conservatory composer Feodosy Antonovich Rubtsov (1904-1986) entered the history of Russian musicology as the author of the original concept of the structure of scales of folk songs. The scientist formulated main positions in monographs “Intonation Relations in the Songs of Slavs” (1962) and “The principles of mode construction in Russian Folk Songs” (1964). Comprehension of the concept of “genre”, the definition of genre features of traditional folk songs is a little-known side of Rubtsov’s scientific heritage. The study of archival documents (in particular, the transcripts of the report “Principles for Determining Genres of Folk Songs”, which was made in 1966 at the Leningrad department of the Union of Composers at the scientific conference “Theoretical Problems of Musical Forms and Genres”) shows that the scientist formulated a number of positions that were relevant for the 1960–1970. “Genre” is a genus and species concept, multi-level concept. The main criterion for determining the genre is the function, the stylistic features and the type of form are important too. Rubtsov noted that the genre system of folklore is capable of renewal, and the characteristic property of the genres of musical folklore lies in their ability in a certain context to act as a function of another genre
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Cowdell, Paul. "The New Penguin Book of English Folk Songs." Folklore 124, no. 2 (August 2013): 247–48. http://dx.doi.org/10.1080/0015587x.2013.804242.
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