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1
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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TÜRKMENOĞLU, Ömer. "TURKISH FOLK SONGS ACCOMPANIED BY SYMPHONY." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 277–86. http://dx.doi.org/10.46291/zfwt/130214.
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In this study, by investigating the subject of Turkish folk songs accompanied by symphony; In the literature review, it was revealed that there is no previous academic study on this subject. It is clear that there should be a written source in addition to the performance regarding this subject, so this article is important in terms of contributing to the literature. Before we talk about symphonic arrangements, we need to have information about the first compilation and recording of Turkish folk songs. Symphonic arrangement of folk songs in Turkey started with the music revolution movement initiated by Atatürk after the foundation of the Republic. For the first time, the arrangements of our folk songs written by Turkish Fives were performed by symphony orchestras. Unfortunately, the symphonic arrangement works, which started to be made thanks to the Turkish Fives, had a long pause. Since the beginning of the 1990s, symphonic Turkish folk song arrangements; It has been reworked and continued by composers such as Turgay Erdener, Oğuzhan Balcı, Yusuf Yalçın, Murat Çelebi and Musa Göçmen. Since the arrangements in the Republican period had a complex harmonic structure, they did not attract much attention from the public. In addition, since the copyrights of many symphonically arranged Turkish folk songs belong to Western countries, the folk songs included in the concert programs remained very limited. Symphonic arrangements of our folk songs; It is of great importance in terms of being performed, announced and promoted both in national and international arenas. Keywords: Turkish Folk Song Collections, Symphonic Folk Songs, Polyphonic Turkish Folk Songs
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Shcherbakova, O. S. "Folk songs of Ust-Pustinka village of Krasnoshchekovsky district of Altay region: based on 2021 folk studies data." Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 16 (2021): 309–13. http://dx.doi.org/10.37386/2687-0584-2021-16-309-313.
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This article is dedicated to the question of the modern existence of song folklore in ethnical culture of the dwellers of Ust-Pustinka village of Krasnoshchekovsky district of Altay region. Here represented the analysis of the folk song materials, executed by ASUC students together with the article’s author in the july 2021. Texts of historical songs and ballad songs, literature creation songs and chastushkas are given. The conclusion is given about the extinction of traditional peasant creativity, but, so far, the preservation of songs of later origin.
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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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S, Kamaraj. "Types and Forms of Folk Songs Tradition in Malayalam Literature." International Research Journal of Tamil 4, no. 1 (December 9, 2021): 32–43. http://dx.doi.org/10.34256/irjt2215.
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The folk songs have been well flourished in Malayalam Literature. The Malayalam folk songs entirely different from the Tamil folk songs. But it is fact that the structure of Malayalam Pattu has been adopted from the Tamil Literature and we could understand that the Tamil structure has been following even today. Folk songs have a special place in Malayalam Literature. Folk songs in Malayalam are categorized into community songs, Worship songs, Professional songs and celebration songs etc. This study has been analysis the Types and forms of folk songs which related to worshiped.
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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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Bosman, Martjie. "Die FAK-fenomeen: populêre Afrikaanse musiek en volksliedjies." Tydskrif vir Letterkunde 41, no. 2 (April 20, 2018): 21–46. http://dx.doi.org/10.4314/tvl.v41i2.29672.
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Afrikaans popular music of a variety of genres and subgenres is currently flourishing. A very productive phenomenon is the re-interpretation of older songs, in particular folk songs. This article gives a short historical overview of the collection and publication of Afrikaans folk songs, followed by a brief description of various ways in which folk songs have previously been utilised. The collection of Afrikaans folk songs known as the FAK (Federation of Afrikaans Cultural Organisations) songbook earned itself an important position in Afrikaans cultural circles, but it was also stigmatised. Since the end of the 1990s, Afrikaans popular songwriters and singers showed a renewed interest in so-called FAK songs and a number of musical arrangements and re-writings of folk song lyrics have been recorded. A number of lyrics that either contain references to folk songs or are re-writings of folk songs, are discussed. Tension between the old, well-known words of the folk songs and the new songs often develops, while the intertextual references to older songs are used to comment on current situations. The importance of popular music in minor cultures is briefly discussed.
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K, Nivetha, Sasirekha P, Bhuvaneshwari K, and Raja M. "Psychology in Tamil Folk Songs." Indian Journal of Tamil 3, no. 3 (June 17, 2022): 5–10. http://dx.doi.org/10.54392/ijot2232.
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All Tamil literature is a gift given to us by our forefathers. All literature expresses the life values of the people. In this way, folk literature, which is unwritten literature, reflects human feelings. A man expresses his subconscious thoughts and beliefs through folk literature. In folk literature that includes folk songs, folk tales, fables, proverbs, etc., man expresses his life experiences from birth to death. Folk In literature, man expresses his life records from birth to death. In lullabies, events such as a mother's love for her child and making children realise the importance of relatives are important to human life. The way agriculture is expressed in special kummi songs, the subconscious impressions of man through faith in God, the subconscious impressions of man through themangu songs, the expression of male and female relationships through themangu songs, the characteristics of grooms who collect dowry from women through marriage, and indicate social disorders This review article is intended to reveal women lamenting the loss of their mothers in the metaphorical songs that express their characteristics at the end of human life, and women who have lost their husbands are marginalised in society due to their helpless condition.
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Felisilda, Violeta. "RURAL LIFE IMAGERY REPRESENTATIONS IN SELECTED FOLK SONGS." Journal Sampurasun : Interdisciplinary Studies for Cultural Heritage 2, no. 2 (February 28, 2017): 158. http://dx.doi.org/10.23969/sampurasun.v2i2.167.
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Pedagogical materials in teaching regional literature are needed in Philippine classrooms. However, the number of studies on regional literature that students and teachers can make use of is very limited. To cater to such academic demand, this study selected four folk songs of Southern Leyte, Philippines to determine the rural life imagery that they portray.
The formalism approach in literary analysis was used in this study. The chosen folk songs were “AwitsaBukid” (Song of the Mountain), “Barutu” (Boat), “Alibangbang” (Butterfly), and “May BalayGamaysaBungtud” (There Was a Hut on the Hill). The textual translation of the lyrics of the folk songs followed the Phonology-Orthography Correspondence: Sound-Letter System on pedagogic grammar for Cebuano Visayan. Coding and triangulation were applied to the data.
The findings revealed that the selected folk songs of Southern Leyte had the following rural life imagery representations: “AwitsaBukid” (Song of the Mountain) - farmers working to attain a good harvest, “Barutu” (Boat) - a coffin made out of a sawed-off boat and funeral activities, “Alibangbang” (Butterfly) - a man courting and exploiting a woman then leaving her for another woman, “May BalayGamaysaBungtud” (There Was a Hut on the Hill) - a socialite mother living in a shanty on a hill.
The literary analysis showed that the selected folk songs of Southern Leyte have representations of rural life imagery.
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DOĞANER, Ali, and Zeynep TÜRKERİ. "Presentation of Folk Songs Today and Changes in Folk Songs Texture." Akademik Dil ve Edebiyat Dergisi 6, no. 2 (August 30, 2022): 0. http://dx.doi.org/10.34083/akaded.1085329.
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From the earliest times to the present, the narrators/transmitters of the oral cultural products of Turkish literature have been poets and minstrels ozan, kam, baksı. The oral culture tradition, which has a dynamic structure, has left its place to another literary product over time, formed in accordance with the conditions of the age, the sensitivities of the society and individuals without disturbing its specific features and rules. Folk stories and love stories with folk songs, which have replaced the Turkish epic tradition, have also taken their place in various stages and different cultural environments of our oral literature tradition with its own formation process. Today, it maintains this position with its performers and audience in environments suitable for the conditions of the age. It has been determined that in the structure of folk tales and folk songs, performers/minstrels went to some differentiations and orientations due to the conditions and changes that emerged over time, especially due to the conditions and changes arising from the performance environment. This situation has been transferred from the oral culture environment to the written culture environment, and to environments such as TV, radio, cinema, internet with the developing technology and opportunities. In addition, it created a chain of differences for the changes to be seen, especially in the verse parts of the stories, in accordance with the psychological, sociological, political situations of the audience.
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Sipayung, Febri Ridho. "BUKU DODING HALELUYA SEBAGAI SALAH SATU MEDIA PELESTARIAN LAGU RAKYAT SIMALUNGUN DI GKPS SIMALINGKAR." Grenek Music Journal 7, no. 1 (January 3, 2018): 11. http://dx.doi.org/10.24114/grenek.v7i1.8782.
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This study aims to find out what folk song title Simalungun in Doding book Hallelujah,how is the form of the folk songs and the effectiveness of its conservation through replacementmethod lyrics/poems for the congregation GKPS Simalingkar.This study is based on the theoretical foundation to explain the meaning of HallelujahDoding Books, Media, Preservation, and Folk Songs SimalungunThe method used is descriptive qualitative. The population in this study are allSimalungun folk songs that are in the book Hallelujah Doding the 36 songs and 10 congregationsGKPS Simalingkar. The techniques of Data collection in this study conducted by fieldobservations, literature studies, interviews and documentations.Generally, this research shows that the contribution of 36 folk songs in the bookDoding Simalungun Hallelujah create varied impressions in the book. as well as with the form ofsongs that mostly consists of two parts. And look also the effectiveness of the preservation of thefolk song lyrics Simalungun with replacement method/lyrics towards more religious makeHallelujah Doding books as one of the media in the preservation of the folk song SimalungunGKPS Simalingkar.
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Santhirasegaram, Sinnathamby. "Song Composition Systems of Sri Lankan Tamil Rural Poets." Shanlax International Journal of Tamil Research 5, no. 2 (October 1, 2020): 19–25. http://dx.doi.org/10.34293/tamil.v5i2.3485.
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There is a long tradition of folk song called Folk ballads (Kaddup padalkal) among the Sri Lankan Tamils. These songs, written by somewhat literate rural poets, are written on the paper or published as pamphlets, as small print copies. But, in their practical way, they are mostly handed over orally.When these Folk ballads (Kaddup padalkal) compose by the rural poets, they follow some rules and regulations. Linguistic regulations are the main one of them. These rules clearly distinguish oral literature from written literature. It has been generally followed that songs should be composed mainly on the basis of various verbal elements. Namely, different features follow the same repetitive methodology.Similarly, we can observe that there is more similarity in the rhythm of the songs. They have been singing their songs in certain rhythms. Thus, they have adopted the method of using oral song forms such as epic, ammānai, sinthu, kummi, thālāttu, oppāri, kavi according to the nature of the objects. Their form and music structures are mostly similar to folk songs.Moreover, a general structure has been followed to the theme of the songs.
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Nargis Jabeen, Dr. Abdul Haleem Sadiq, Dr.Manzoor Baloch, and Nasreen Gul. "براہوئی خلقی شاعری نا شونداری ٹی ریڈیو نا کڑد." Al-Burz 9, no. 1 (January 15, 2021): 129–44. http://dx.doi.org/10.54781/abz.v9i1.90.
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The Role of this title is the role of radio in the development of Brahui folk songs. At all times, the Agricultural Dialogue of Literature has developed. Brahui folk song is an important place in literature due to its position. Its sincere position represents its feelings and emotions. Folk songs appear in nature. These folk songs indicate emotions, feelings, love. These emotions have been a role in radio in people's access to people. Radio folk songs have access to ordinary people in the main role of radio. And those who were far away from those songs. They are also using the radio. And the radio they're talking about. The people who have been given access to the common people. That is why. That kind of folk songs have been stirred up to the far-door areas through the radio. Balochistan is the area where yet the basic facilities are not available to ordinary people. Radio access is a major access to the right there. And these agricultural issues are spreading even more literary skills in modern times. That is why access key folk songs can be accessible to ordinary people, due to which I have to play a role in radio
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Khailo, Aliona. "The editions of folklore song in 1917—1918 years in special fund of the Book Chamber of Ukraine: bibliologycal research." Вісник Книжкової палати, no. 6 (June 25, 2020): 22–30. http://dx.doi.org/10.36273/2076-9555.2020.6(287).22-30.
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The article examines the publications of folk songs of 1919—1921, which are stored in the special fund of the Book Chamber of Ukraine — an inseparable part of the State Archive of Printing of 1917—1976, which contains literature banned by censors (the total number of publications of the special fund — 17 236). Both separate collections devoted entirely to the publication of folklore works and the publication of folk texts included in poetry collections with artistic author's texts are analyzed. In addition, taking into account the peculiarities of the period under study, the exploration also considered songs, the lyrics of which can be called "fakelore", or, in other words, pseudo-folklore. 17 editions of song texts from 1919 to 1921 were selected for the study, among which only three titles were devoted to traditional Ukrainian folklore: "Ten Ukrainian Folk Songs: Accompanied by a Piano" (1921), arranged by F. Blumendfeld; collection "Ukrainian folk songs (a capella): for mixed choir" (issue 4, 1920), compiled and arranged by P. Boychenko, and "School collection of Ukrainian folk songs for primary schools" (1919), compiled by S. Dremtsov. The remaining 14 copies are collections of revolutionary and workers' songs: 3 editions of "Battle Songs of the Communists" (all 1919); "Songs of Struggle to the End" (1919); "Workers' Liberation Songs" (1919); "Songs of the Revolution" (1919); "Battle Songs of the Revolution" (probably 1919); "Battle Songs of the Communists" (probably 1919); "Collection of Revolutionary Songs" (1920); "Revolutionary Songs" (1921, 2nd edition); "Under the Red Banner: Workers' Revolutionary Songs" (1920). After examining the part of the special fund of the Book Chamber of Ukraine, which consists of samples of folklore songs, we can conclude that in 1919—1921 the number of publications of traditional Ukrainian song folklore decreased significantly, while the volume of propaganda and ideological Bolshevik literature, on the contrary, increased rapidly.
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M, Sankar, and Annadurai T. "Women's Expression in Lullabies." International Research Journal of Tamil 4, S-18 (December 8, 2022): 255–58. http://dx.doi.org/10.34256/irjt224s1834.
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Literature is the mirror of life. Tamil literature portrays the background influences of human life. Folklore is a growing genre in Tamil literature. Folklore is the collection of incidents that occur in the life of the people from birth to death. Folk songs delight not only the singers and listeners but it also makes the poets and great peoples happier. Many poets are influenced by folk songs. Lullabies is a kind of folk songs. Lullaby is the first song that a child hears after his/her birth. Even the words are not understood by the child, the music of lullabies make child to fall asleep. Lullabies varies from region to region and from town to town. Although their purpose is the same, the theme, the situation, the mother's imagination and the words of the song vary according to their local dialect.
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Alexandrova, Elmira K. "Lithuanian Folk Songs in V. Ivanov’s Translation." Studia Litterarum 7, no. 2 (2022): 318–43. http://dx.doi.org/10.22455/2500-4247-2022-7-2-318-343.
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he study is devoted to the publication of Vyacheslav Ivanov’s Russian translation for Lithuanian folk songs, made for unpublished collection of Lithuanian literature (“Sbornik litovskoj literatury,” Petrograd, [1915–1917]; ed. by Iu. Baltrushaitis, M. Gorky). Around the same time, Baltrushaitis was the editor-compiler and translator of the collection of Lithuanian folklore at the publishing house of M. Sabashnikov. This project was also not implemented. Ivanov’s work on Lithuanian translations is chronologically close to his participation in other collections of national literatures. In an extensive introductory article, the author reconsctucts the history of the creation of translations from Lithuanian, using the correspondence of V. Ivanov, Y. Baltrushaitis, M. Sabashnikov. The research shows that Ivanov’s work on translations for the Lithuanian collection stretched from the beginning of 1916 to the summer months, when the poet’s family lived in a village near Sochi. The preamble also contains information about the first publication of an incomplete collection of these translations, made in 1973 by Yu. Tumyalis using unauthorized typescript from the Manuscript Department of the Institute of Lithuanian Literature and Folklore (Vilnius). In this publication, the texts of Ivanov’s translations are given by autographs from the Manuscript Department of the Institute of Russian Literature (Pushkinskiy Dom) of RAS and the Roman Archive of Vyach. Ivanov. The textual comments describe the currently available sources of Ivanov’s translations, such as correspondence of Iu. Baltrushaitis, epistolary materials of others, Ivanov’s preparatory materials, manuscripts, translations from the archival storages of St. Petersburg, Moscow, Rome, Vilnius.
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Ismagilova, Ekaterina I. "Folk song poetry of the Chuvash people of the Krasnoyarsk Krai." Sibirskiy filologicheskiy zhurnal, no. 4 (2022): 49–62. http://dx.doi.org/10.17223/18137083/81/4.
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To create an adequate picture of the existence of the oral folk art of the Chuvash settlers, it is necessary to characterize individual microlocal traditions. Such traditions include song samples recorded from the Chuvash of the Krasnoyarsk Territory in the Bolshemurtinsky (1981 year of recording) and Kazachinsky (2009 year of recording) regions. Genre-style composition of songs is heterogeneous. The calendar layer of folklore is represented by Maslenitsa and round dance songs. Life cycle patterns include wedding and recruiting songs. Untimed lyrics includes guest and traditional lyric songs, late lyric samples of the late 19th and 20th centuries, songs with plots and melodies borrowed from Russian folklore, and author’s songs. During youth meetings, ditties were performed in the Chuvash and Russian languages. The texts of ritual and traditional lyrical songs preserved a number of patterns that are characteristic of the Chuvash folk song poetry. These include the aphoristic type of versification, brevity of plot, two-link figurative parallelism. The texts of the songs accompanying the rite describe the ritual actions in detail. Ritual songs most often have a narrow local timing. There is also a supradialect layer of texts of much wider distribution (Siberia, the Volga region). This layer includes samples of untimed lyrics: some guest songs, many lyrical songs (especially of late origin), songs with borrowed plots and tunes, some ditties. Chuvash settlers who came from different places developed a common repertoire, one that includes songs known to most performers.
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Bamari, Ramzan. "Brahvi Women and their Folk Songs." Pakistan Journal of Applied Social Sciences 9, no. 1 (March 8, 2019): 1–13. http://dx.doi.org/10.46568/pjass.v9i1.499.
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Baluchistan is an ancient and historical land where also situated an ancient site, such as, Mahrgarh. It is a fact that before coming of Aryans in this region, it existed a great and civilized Baloch and Brahvi Civilization, the brahvis actually belong to the Baloch and like the Balochi Literature, the Brahvi literature is also divided into three periods, viz: Khalqi Adab (Creative literature), Ta’amiri Adab (Constructive literature), and Lok Adab (Folklore Literature). The women contribution in the Brahvi literature is known with the title of: ‘Zaibul’, ‘Zab Jan’, ‘Gul Jan’ , ‘Phul Jan’ , ‘Phulu’ , ‘Momal’ etc. The Brahvi society is a tribal one; that’s why the topics of the poetry are also very much influenced by tribal traditions and customs.
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Dattilo, Delia. "Folk Songs: Spaces and Reasons. Ruga, Love, Marriage, Departures." Tautosakos darbai 59 (June 2, 2020): 64–84. http://dx.doi.org/10.51554/td.2020.28367.
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This essay sheds light on habits, behaviours, and social practices by focusing on Southern Italian youth and their songs; more specifically, it deals with Calabria in the years between 1850 and the 1900s. Such samples – relics to us – allow us to infer how men and women of that generation communicated within the archaic and highly hierarchical society in which they lived. Sometimes through singing the youth of Southern Italy found a way to bypass prohibitions and to say what could not be normally said in everyday life. Since it is clearly impossible to hear the performers’ original voices, this essay relies on examples of poetry and songs as they were perceived, interpreted and published by philologists, folklorists and anthropologists during the second half of the 1800s. Literature draws on folk song collectors such as Achille Canale, Raffaele De Leonardis, and Francesco De Simone Brouwer. The songs and poems considered deal with the topics of love and disdain (sdegno), while a smaller group deals with the themes of lontananza and spartenza. A combined analysis of folk songs and local literature (Vincenzo Padula, Luigi Accattatis, Cesare Lombroso, Caterina Pigorini Beri et al.) allows us to better understand a context that was based on phenomena such as wooing strategies, kidnappings, ostentation of violence and other social events featured in folk songs, poetry and sayings.
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B, Ramani. "Folk Playing Songs used in Kalangkurichi of Salem District- Psychological Thoughts." International Research Journal of Tamil 4, S-16 (December 12, 2022): 179–85. http://dx.doi.org/10.34256/irjt224s1623.
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Folk literature is in use from the early days itself. Folk literature is just the expression of the people’s mind. Folk literature is also called oral literature or unwritten literature. Folklore is intertwined with the life of the common people. Folk songs are sung by the ordinary people and it is about their experience from birth to death. Lullabies, ritual songs, stories, professional songs, game songs, children songs, riddles and proverbs are sung by these ordinary people. Game songs are sung by both adults and children. The games which they played are related to nature and as time passes everything changes and now people create and adapt many games. They also formulated many rules for playing a particular game. Man learned to play from animals. Run and touch games may have originated from the phenomenon of one animal chasing another animal. Our forefathers have performed every game with a reason. Through the number sequence songs, they learned numeracy and the group songs shows their unity and self-confidence. At present people harm their body and mind by spending their time on mobile phone, playing video games and watching television. This article is intended to highlight the benefits of those games with the help of psychological thoughts.
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Setiowati, Shintya Putri. "PEMBENTUKAN KARAKTER ANAK PADA LAGU TOKECANG, JAWA BARAT." JURNAL ILMU BUDAYA 8, no. 1 (May 5, 2020): 172. http://dx.doi.org/10.34050/jib.v8i1.9980.
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Indonesian culture is very diverse with forms ranging from dance, batik cloth, folklore, folk music and songs, traditional clothing, traditional houses, traditional food and drinks, traditional games, performing arts, rituals and so on. At the writing of this library research, the researcher focused on folk songs that are famous in West Java. The title song is Tokecang. The thing related to this song is that a simple song sung by children has a deep meaning. In this literature review, researchers associate Tokecang songs with the formation of children's characters. The formation of children's characters in the Tokecang song teaches that we, as social beings, must have an attitude of affection and social care. Affection is an emotional reaction to a person, animal, or object.
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Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)." Linguistics, no. 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.
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Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.
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Lee, Jang-Won. "A Study Regarding the Music Teaching Method for Appreciating Folk Songs by Analyzing the Lyric’s Meanings: Focusing on a Jeju Folk Song, ‘Women Divers’ Rowing Song’." Korean Journal of Teacher Education 38, no. 4 (July 30, 2022): 5–29. http://dx.doi.org/10.14333/kjte.2022.38.4.01.
Full textAbstract:
Purpose: The purpose of this study was to design instruction measures for the efficient appreciation of folk songs through a learning design that focused on an analysis of the lyrics’ meanings.
Methods: A Jeju folk song, ‘Women Divers’ Rowing Song’, with many verses and excellent literary value was selected. This study analyzed the metaphorical and ironic expressions of the lyrics. and also aimed to appreciate the folk song from a comprehensive perspective by connectively examining the literature and culture related to the Haenyeo (Women Divers).
Results: The learning design procedures for improving the ability to appreciate folk songs are as follows. First, after understanding the overall context of the lyrics of the folk song, the meanings inherent in the keywords such as Ieodo, Jindo, and Jeoseung were analyzed. This process drew upon areas like various symbolisms of Ieodo, the rough pathway of leaving a hometown and the tough life of the Haenyeo, and the various emotional changes when working in the sea. Second, the characteristics of the Haenyeo were examined based on the approach to their historical/cultural background. The overall contents of the culture of Jeju’s Haenyeo, which were introduced by UNESCO showed the value of our culture, that the world recognized and aimed to learn. Also, based on the vivid description from the viewpoint of observer and lifestyle of the Haenyeo recorded in Shin Gwang-Su’s “Jamnyeo-ga”, the historical origin of the culture of the Haenyeo was examined. This study is significant as it establishes a foundation for appreciating folk songs from a comprehensive perspective by understanding the meanings of the lyrics and characteristics of the culture of Jeju’s Haenyeo through this series of processes.
Conclusion: The lyrics of folk songs contain philosophical values, lifestyle, and the nature-friendly life of ancestors. This study aims to see the establishment of educational conditions for deeply instructing students about the various sentiments in songs by continuously researching the learning design for analyzing the meanings of folk song lyrics.
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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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HOLIKOVA, Nataliia. "«LINGUOCULTUREMA «MARUSIA CHURAI» IN THE UKRAINIAN LITERATURE OF THE XIX – XX CENTURIES»." Culture of the Word, no. 92 (2020): 36–51. http://dx.doi.org/10.37919/0201-419x-2020.92.3.
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The article describes the folklore and literary evolution of the historical figure Marusia Churai in the prose, poetic, dramatic works of writers of the XIX– XX centuries. The concept of «folk song» is actualized, where folklorisms have a text-centric purpose for linguistic portrayal of the studied character. It is noted that Marusia Churai was the probable author of several dozen songs, which are now considered folk, and that the history of entering the literature of the author of the songs began with the folk ballad «Oh, don’t go, Hryts», which echoes similar pagan mythological legends. Based on the research of famous scientists, all the author’s texts, integrated with the plot of Hrits’s poisoning, are divided into two groups: 1) those that freely interpret the ballad; 2) those in which the content of the folk song is intertwined with ancient legends about Marusia Churai. A comparative analysis of semantic-semantic transformations, indicative of individual-author verbalization of thought in a number of artistic texts. Emphasis is placed on the novel «Marusia, Malorussian Sappho» by O. Shakhovskyi and on the historical novel in verse «Marusia Churai» by L. Kostenko. These are key works in which the precedent name of the author of the songs reflects the essence of the linguistic and aesthetic signs of Ukrainian culture, plays the role of a mythologeme or linguoculture, respectively. In conclusion, it is emphasized that Ukrainian society, being at the turn of worldviews, needs the protection of ethnolinguistic cultural values that maintain the connection of generations, accumulate the historical memory of the people.
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Jayalalitha. "Tamil Agathinai poems and Kannada folk songs - A comparison study." International Research Journal of Tamil 2, no. 4 (August 30, 2020): 16–23. http://dx.doi.org/10.34256/irjt2043.
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There is an emphasis in recent years on the study of literary and cultural parallel between Tamil and Kannada. This kind of research would enable one to arrive at Proto- Dravidian common cultural core. Anyhow my attempt is humble. I Try to make a comparison of the Akam (Love) poems. Which are found in Tolkappiyam and Sangam literature with some Kannada folk songs. Tolgappiyam says that the Akam poems of five division of land (Kurinji, Mullai, Marudam, Naidal and Paalai) should not mention the proper name of the characters. If we take a simple look at the different folk songs collection of Kannada, we note that there are no proper names of characters of such love songs. According to Tolkappiyam, the first grammar of Tamil, the concept of love is divided into ‘compatible love’ (anbin inthinai) and ‘incompatible love’ (porundha Kamam). We also come across such concept in the Kannada folk songs, which is explained in the theme of the song. There is a song of a man who is sitting on the bank of a river asking the girl permission to lean on her shoulder. The mention of a shoulder of a girl is a special feature mentioned in many Sangam poems.
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P, Umadevi. "Folk Elements in Sakkai Novel." International Research Journal of Tamil 3, S-1 (June 8, 2021): 51–59. http://dx.doi.org/10.34256/irjt21s18.
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Despite the advancement in the literacy knowledge of the human race, the truth and happeinings infered from the experiences of the ancestors is quite evident till today. The references of Folklore, devotional songs, work songs, Lullobies, Proverb, Quizzes, Medicinal hints in the literature till date proves the timelessness of the culture the way, the author expresses the rituals, traditions, Culture use of local languages, lifestyle of a particular region makes literature a tool to carry forward them to future. whenever the medical hints are mentioned in Literature. It is easier for the readers to understand the nature of the disease and the simple ways of cure in the literature by kalaiselvi, the objective of the article is to research the Pleasure and displeasure happenings in one life through folklore.
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Klobčar, Marija. "The Perception of Bilingual Songs in Slovenia and the Cultural Dimensions of Language Selection." Tautosakos darbai 59 (June 2, 2020): 209–28. http://dx.doi.org/10.51554/td.2020.28375.
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This article identifies the circumstances in which bilingual songs in Slovenia existed and follows the changes in the songs’ social role from the first half of the 19th century to the period after the end of the Second World War. It follows these changes as they occurred within the framework of folkloristics and in the practices that folklore scholars tried to shape and those that continued without intervention.In order to discern the circumstances in which bilingual songs were created, the author focuses on two songs that were documented by one of the first collectors and researchers of Slovenian folk songs, Stanko Vraz. These are the German-Slovenian toast song “Seid fröhlich, ihr Brüder”, which only rarely appears in later records, and a Slovenian song “Kam bova vandrala vandrovček moj” (‘Whither Shall we Wander, my Little Wanderer?’), which transcribers encountered in different dialects or supradialects. This song appears in the records as a bilingual, Slovenian-German song only later, in the 20th century. The author explores which social groups were characterized by bilingual songs and whether the negative attitude of folkloristics to these songs directed and changed only a selection of folk songs made by collectors, or the repertoire of singers as well.
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V, Gokila. "Folk Games in Thekkampatti of Salem District." International Research Journal of Tamil 4, S-16 (December 12, 2022): 150–54. http://dx.doi.org/10.34256/irjt224s1619.
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Folk literature is in use from the early days itself. Folk literature is just the expression of the people’s mind. Folk literature studies the customs, traditions and beliefs of the people. It is the mirror that clearly shows the lifestyles of the people. These people had many entertainments in their life such as singing songs, telling stories and playing games. Just like the origin of human history cannot be ascertained, the origin of folk literature also cannot be ascertained. Folklore literature is about the people’s life style and their activities. Folklore literature is very famous and it captured people’s heart. People’s life is filled with games, stories, arts, songs and proverbs. When compared to other literary genre in Tamil, folklore literature is something different that is the absence of author. This literature especially tells about the games and how it entertains people and strengthen their body.
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Kamitova, Alevtina Vasilevna. "FEATURES OF POEMS-SONGS OF THE UDMURT POET AIVO IVI." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 82–87. http://dx.doi.org/10.35634/2224-9443-2020-14-1-82-87.
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This article discusses the features of the functioning of the song genre in the creative practice of Aivo Ivi. The appeal of the Udmurt poets of the beginning of the XX century to the creation of literary songs, which were alterations, imitations, re-singing and stylization of folk songs, was a common phenomenon and played a positive role in the development of national literature. In this work, on the example of Aivo Ivi's creativity, the characteristic features of the poems-songs created by him are revealed. It is determined that his texts represent improvisation of folk songs with preservation of traditional plots, complicated by signs of time. In some cases, the popular melody of Russian songs was attracted by the Udmurt poet to "service" his compositions. In building the text on the basis of a simple plot line, the calculation for the ease of perception of information by the reader is obvious. It is established that the author's songs of Ivo Ivy went beyond the book existence. It is summarized that the song texts created by him as a whole were formed under the influence of socio-cultural trends and the previous song-poetic tradition. The "folk" form of poems, their adaptation to the tunes understandable to the illiterate population allowed the poet to realize ideological and educational meanings, were a way of creative self-realization, introducing the reader to the artistic word.
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Mohammad Khan, Amir. "Folklore and Folk Songs of Chittagong: A Critical Review." Advances in Language and Literary Studies 8, no. 2 (April 30, 2017): 37. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.37.
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Folk Songs stems from Folklore are very rich in the southern region of Chittagong. In this part of the world Folk Songs play pivotal role in the lifestyle of people as a heart-touching and heavenly connection exists between human, nature and Folk Songs. Folk Songs in this area are special because we found the theme of Nature Conservation in them. We took the southern part of Chittagong (Lohagara, Satkania, Chandanaish and Patiya) as our research area, selected a village namely Chunati in the systematic sampling and more than 100 people were interviewed through focus group discussion and key informant interviews. The sufficient literature review is also done. People in this area love nature a lot. Here music personnel were born from time to time who not only worked for the musical development but also created consciousness among people to love nature and save it. We discussed about the origin of Folk Songs, pattern of Folk Songs to clarify the importance of Folk Songs of Chittagong for its connection to Folklore and at the same time for promoting the idea of Nature Conservation. Of course, this part of studies deserves more attention in the field of research. Our ultimate goal should be to conserve and promote Folk Songs of Chittagong with yearlong heritage that automatically will later enrich Folklore and Nature Conservation.
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Kampāne-Štelmahere, Sintija. "Latvju dainu atbalsis Veltas Sniķeres lirikā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 124–34. http://dx.doi.org/10.37384/aplkp.2020.25.124.
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The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.
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Dembeck, Till. "Heute sprechen. Literatur, Politik und andere Sprachen im Lied (Herder, Alunāns, Barons)." Interlitteraria 26, no. 1 (August 31, 2021): 31–48. http://dx.doi.org/10.12697/il.2021.26.1.4.
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Speaking Today. Literature, Politics and Other Languages in Songs (Herder, Alunāns, Barons). This article claims that the politico-cultural relevance of literary texts in their respective present consists, among other aspects, of their handling of linguistic diversity. As examples, it presents three 18th and 19th century publications from the German and/or Latvian speaking territories which put (folk) songs into the centre of their rather different politicocultural endeavours. Herder’s collection of folk songs from 1778/79 is read as an attempt at a poetic new beginning that makes use of linguistic diversity qua translation in order to inspire originality in the ‘mother tongue’. The folk songs here serve to synchronise and dynamise linguistic means in the name of a new literature. The Dseesmiņas (‘little songs’), a collection of translations of European poetry into Latvian published by Alunāns in 1856, combines precisely this claim to renewal with an attempt at an anti-colonial synchronisation and modernisation of the Latvian language. Eventually, the six-volume collection of Latwju Dainas (Latvian folk songs), published by Barons around 1900, takes up Herder’s efforts to preserve folk songs. Barons synchronises a dialectally, materially and historically diverse corpus of songs in the name of anti-colonial emancipation. In terms of cultural policy, his project aims to give presence to pre-modern folk life under the conditions of modernity.
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Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.
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Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi music. The country or caste of which a sensitive human was oriented to express the feelings of his heart, on the same occasion, the self-proclaimed tone, rhythm, nature emerged from his mouth and the classical development which he developed by binding the same tone, song and rhythm Gaya became the only country music.
भारतीय लोक जीवन सदैव संगीत मय रहा है। भारत वर्ष का कोई अंचल कोई जाति ऐसी नहीं जिसके जीवन पर संगीत का प्रभाव न पड़ा हो। भारतीय संगीत के लिए कहा जाता है कि साहित्य से ब्रह्म का ज्ञान और संगीत से ब्रह्न की प्राप्ति होती है। भारत में पुरातन काल से विभिन्न पर्वो एवं अवसरों पर गायन, वादन व नृत्य की परंपरा रही है। लोकगीत प्राचीन संस्कृति एवं सम्पदा के अमिट वरदान है जिसमें अनेकानेक संस्कृतियों की आत्माओं का एकीकरण हुआ है। लोक संगीत जन-जीवन की उल्लासमय अभिव्यक्ति है। पद्म श्री ओंकारनाथ के मतानुसार-‘‘देवी संगीत के विकास की पृष्ठभूमि लोक संगीत है। जिस देष या जाति का सम्वेदनषील मानव जिस समय अपने हृदय के भावों को अभिव्यक्त करने के लिए उन्मुख हुआ उसी अवसर पर स्वयंभू स्वर, लय, प्रकृत्या उनके मुख से उद्भूत हुए और उन्हीं स्वर, गीत और लय को नियम बद्ध कर उनका जो शास्त्रीय विकास किया गया वही देषी संगीत बना।‘‘
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Benito, Neva. "Text and Context of the Blaan’s Folk Literature." JPAIR Multidisciplinary Research 40, no. 1 (March 10, 2020): 56–66. http://dx.doi.org/10.7719/jpair.v40i1.771.
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Blaans are one of the tribes that reside in the Mindanao archipelago in the Philippines. This study collected, transcribed, classified, and analyzed Blaan folk literature in the barangays of Sinapulan and Eday in the municipality of Columbio, Sultan Kudarat. This also sought to identify the context that brought about the folk literature’s citation and identified the beliefs and practices embedded in these literary texts. This Blaan oral literature was transcribed and translated in Cebuano or Filipino by the informants and analyzed using Alan Dundes’ theory of analyzing folklore- through its text, and context. The gathered Blaan folk literature was classified as occasional songs, work songs, and prose narratives depicting legends, and creation stories. It was also found out that the folk literature was recited during important occasions like weddings, tribal assemblies either as a form of entertainment or a form of reminder for the members in the importance of tribal peace and unity as well as their role in protecting nature and their environment. This study also revealed that Blaan folk literature embodies the tribe’s values and ideals like generosity, courage, bravery, and traditions like the giving of dowry to their intended bride. They also valued nature and believed in the Supreme Being, whom they call Dwata but whose traits are like the Christian god.
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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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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.
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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.
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Saikia, Lotika. "Biyanaam: A unique element of Assamese Culture; Understanding, Discussion and Preservation." Psychology and Education Journal 58, no. 1 (January 16, 2021): 3983–87. http://dx.doi.org/10.17762/pae.v58i1.1440.
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Folk literature has come to be identified as one of the priceless resources of an indigenous community. Folk literature is an important carrier of culture, heritage and tradition of a particular cultural or linguistic community. In this context, Assamese „Biyanaam‟ are one type of Folk literature which falls into this mentioned description. The biyanam presented during such ceremonies reflect the socio-cultural life of the Assamese community. This trend showcases the myths, outfits, jewellery, food habits, the cultural ethos etc. This folk songs are called ‘Biyanaam’ (Marriage songs) as they are sung or played only on occasions of marriage ceremony. Rather it is the reflection of collective emotions as well as collective consciousness of Assamese people surfacing as or in the form of oral literature. It transforms and travels along with the changing currents of time. The „biyanaam‟ or “wedding songs” sung in a traditional Assamese wedding ceremony is an integral part of Assamese culture. An Assamese wedding household is practically incomplete without these wedding songs that are sung throughout various ceremonies by the ladies present there.
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Tian, Ye, and Narongruch Woramitmaitree. "An Investigation of Yi Folk Song Knowledge and Development in Guizhou, China." Journal of Educational Issues 9, no. 1 (February 8, 2023): 161. http://dx.doi.org/10.5296/jei.v9i1.20663.
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The qualitative research methodology was applied in this investigation. The study’s objective was to investigate Yi folk song knowledge and development in Guizhou, China. The contemporary status of the Yi Folk Song is examined. The fieldwork methodology is mostly used for data collection, together with information from the document, using literature and interview methods. Interviews and observation are the primary research tools. To collect study data, we created a questionnaire, an interview, and an observation form based on the research objective. The study results confirmed: There are now around 350 songs recorded in the Guizhou Yi area, with 40 of them being the most popular. A group of 16 people are the inheritors of Yi folk tunes. There are eight recognized inheritors from Guizhou Province and eight recognized inheritors from Guizhou City among them. The number of Yi inheritors in Guizhou is currently small in proportion to the overall Yi population. The decrease in inheritance venues and the use of inheritance venues both have an impact on song inheritance. Yi folk songs have now become the key presentation and inheritance settings for festivals. There are five basic inheritance approaches proposed: 1) Educational institution inheritance 2) Society and community inheritance 3) family inheritance 4) social media inheritance; and 5) socialization and government participation inheritance.
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Sitas, Anestis. "Greek Folk Literature, Poetry, Folk Songs and the Library of Congress PA (Supplement) Schedule." Cataloging & Classification Quarterly 28, no. 1 (January 4, 2000): 53–68. http://dx.doi.org/10.1300/j104v28n01_06.
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A, Precilla. "Development of Pattu Literature in Malayalam." International Research Journal of Tamil 4, S-8 (August 20, 2022): 414–20. http://dx.doi.org/10.34256/irjt22s857.
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After the ruling of three kings Chera, Chola and Pandiya of the Chera dynasty, the people, small land kings, land lords and many other Political changes are happening. Due to various political interventions Kerala has been identified by various cultural, literature changes. When we search the literature works of ancient times in Kerala, it is noticeable that, they are flourished through the Sangham literature. When we explore the literary development of Kerala from north to south in every time period, various literature and literacy walks has been located. Among that, the effect of Tamil language had been seen directly or indirectly. When we try to investigate the history of Malayalam literature, the growth of poetic approach of literature has been identified into three major segments. They are: 1) Pattu (2) Manipravalam (3) Folk songs. The “Pattu” literature is the account of Tamil poem which are found in respective regional linquistics. Later on, in the 8th century A.D., “Manipravalam songs” that are assorted as a distinct language from the influence of absolutely different forms from both of them, “Folk songs” took place called Vadakkan Pattu and Thekkan Pattu. We can find Proto-Dravidian features in Sangam literature. After that this aspect focuses in folk literature now. The heroic poetry of Tamil folk literature is available in both Tamil Malayalam languages. They are detected in a way that reveal the specialties of the Malayalam and Tamil languages. Thus, the purpose of this article is to analyze the history of Pattu literature categorization in the Malayalam literature.
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Refael, Shmuel. "The Judeo-Spanish Folk Songs in Israel: Sephardic Music and Literature between Survival and Revival." European Journal of Jewish Studies 9, no. 1 (April 21, 2015): 38–51. http://dx.doi.org/10.1163/1872471x-12341271.
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The aim of this article is to examine the growing interest and involvement with Ladino folk songs in Israel in recent years. Its particular focus is on an overview of the stage performances, the rerecording of Ladino songs by a new generation of artists, and the inclusion of Sephardic music in the growing repertoire of Israeli folk music. The article presents a socio-cultural survey that attempts to answer the following questions: Is the growing involvement with Ladino folk songs in the realm of conservation—in other words, repetition—of the age-old Ladino cultural heritage, or are we witnessing a cultural process whose main thrust is appropriation and whose goal is to use new instruments to bring the cultural wealth from the past into the present and present it to a new generation, not necessarily the current generation of the Sephardic ethnic group?
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Rambing, Rosalina Rolany. "STRENGTHENING OF ORAL TRADITION: LITERATURE AND PERFORMING ARTS IN THE LOCAL LANGUAGE OF TONSEA IN NORTH MINAHASA." International Journal of Social Science and Economic Research 07, no. 12 (2022): 4139–52. http://dx.doi.org/10.46609/ijsser.2022.v07i12.020.
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Research on Oral Traditions: Literature and Performing Arts in the Tonsea Language. in Minahasa Utara aims to (1) identify and classify the oral traditions: literature and performing arts in the form of folk songs and dances, folk music in Tonsea regional language in North Minahasa; (2) Identifying and classifying oral traditions: results of oral literature and performing arts in the form of folk songs and dances, folk music, and which are still strictly performed by community groups using the Tonsea regional language in North Minahasa; and (3) Explaining the cultural meaning contained in oral traditions, literature and performing arts in the form of folk songs and dances, folk music, and folk music, in the regional language of Tonsea in North Minahasa. The method used in this research is descriptive qualitative method. Data collection techniques and tools: observation, interviews, focus discussions, document studies. There are two stages used in data analysis in this study, namely: (1) Anthropological Linguistic Analysis which aims to study and investigate scientifically about the relationship between language and aspects sociocultural based on ethnicity. (2) Data analysis according to Sudikan (2001) can be grouped into the stages of qualitative data analysis, namely: (1) the open coding stage is the researcher trying to vary what is related to the research object. Furthermore, the researcher carried out the process of detailing the data (breaking down), (conceptualizing) and categorizing (categorizing) primary and secondary data; (3) the axial coding stage is re- organizing data based on categories as a continuation of the previous stage. Then analyze the relationship between data / categories or data classification; and (4) the selective coding stage is the classification process of examining data on data categories, comparing, connecting and checking the intended data then draws final conclusions to make a general design. The results showed that in Tonsea region of North Minahasa there are 3 types of dance that are still strictly implemented, namely: Maengket Dance, Kabasaran Dance, and Tumatenden Dance. Furthermore, folk songs that are still strictly implemented are Maengket songs whose lyrics are usually sung together with the Maengket dance. Likewise, folk music that is still strictly performed by the people in the Tonsea region is only Kolintang music.
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T.R, Hebzibah Beulah Suganthi. "Folklore Elements in Vallikannan Novels." International Research Journal of Tamil 4, S-16 (December 12, 2022): 104–13. http://dx.doi.org/10.34256/irjt224s1614.
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Folk literature is created by the common people and preserved by them. Vallikannan is a renowned writer, journalist and author of all kinds of literature, his novels Iruttu Raja, Ninaivu charam and Oruveetin Kathi describe the life of Saiva Velalar in Nellai district in a rustic form. Among these games children's games are swinging, playing Tayakkatam, playing by singing and dancing, playing pandi, and playing Kannambuchi. Other common games are folk songs, titling, calling women by their village names, proverbs, folk performances related to religion, celebrating festivals, paying tribute to the village temple during festivals, performing arts, naming, marriage, processions, performing arts programs at weddings. They use figure of speech in their speech. The folk songs, proverbs and local idioms used by the Nellai district people reveals the author's general knowledge and approach to the people. It can be seen that the folk elements found in lullabies, folk tales, songs, stories, fables, myths, proverbs etc are mixed with the character and sentiment of the Tamil people. The article is about the folklore elements found in Vallikannan novels.
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Khakimyanova, Aigul M. "Cовременное состояние песенного фольклора башкир (по экспедиционным материалам XXI в.)." Oriental Studies 14, no. 2 (July 20, 2021): 409–19. http://dx.doi.org/10.22162/2619-0990-2021-54-2-409-419.
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Introduction. At present, people’s interest in the historical and ethnocultural heritage has increased, and the desire to preserve traditional values for future generations has grown stronger. Song recordings made in the 19th – 20th centuries are evidence of the developed musical and song tradition of the Bashkir people. Due to the collecting efforts of M. A. Burangulov, A. N. Kireev, S. A. Galin, N. D. Shunkarov and others, a whole layer of folk songs has been preserved. During expeditions that have been intensified since the beginning of the 21st century by the Institute of History, Language and Literature of the Ufa Scientific Center of the Russian Academy of Sciences, folklorists are working hard to multifacetedly cataloguize folk knowledge, on the basis of which one can judge the state of traditional modern folklore of the Bashkirs. In our understanding, ‘modern folklore’ is folklore that has existed since the middle of the 20th century to the present, regardless of the environment of existence. Goals. This work aims to consider the genres of traditional musical folklore of the Bashkirs that have survived today, to give a brief description of them, and also to analyze them from the viewpoint of assessing the modern spiritual state of the ethnos. Unlike other genres, musical genres are well preserved in the memory of the population. It is the song and takmaks that are the main genres of modern Bashkir oral and poetic creativity, which makes it possible to reveal the dynamics of the development of folklore. Materials and Methods. The research is based on the author’s expedition materials collected in the 21st century in different regions of the Republic of Bashkortostan and beyond, where the Bashkirs live compactly. They retain collective axiological attitudes and serve as a way of expressing shared emotions. These genres have a high level of demand among the population and therefore quantitatively prevail in expedition records. Folk songs are kept in the memory of people — bearers of folk musical culture, and are not recorded by them in writing. The transmission of musical and folklore works occurs orally. This means that any folk song is perceived and absorbed by each new generation by ear directly at the moment of sounding. Occasionally, songs can be recorded along with their stories and legends. The availability of songwriting histories is a characteristic feature of Bashkir folk songs. Many songs lose their names over time, but they do not completely disappear from the memory of the people, as evidenced by the comments of informants characterizing these works in expressions, such as ‘my mother’s song’, ‘this song was performed by my father’, etc. This phenomenon reflects the strong cultural connection between generations, when performers with special trepidation cherish the memory of their relatives and can reproduce the tune once performed by their father or mother. Along with drawling songs, short four-line songs without a title, drinking songs and takmaks are also common. Takmaks, in turn, are distributed not only orally but also in writing. Modern takmaks are distinguished by great mobility and efficiency, they instantly respond to urgent problems. In the light of recent events, takmaks have appeared on the topic of a pandemic, self-isolation, and online training. Results. A review of folklore materials collected in recent decades shows that the musical genres of Bashkir folklore continue to exist, which means that it is necessary to study not only the current state of the Bashkir song heritage but also its evolution. The folk song, folk singing traditions must be passed on to the younger generation, and only then the folk culture will develop and be preserved for future generations.
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.
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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
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Adhikary, Chanchal. "Oral Literature and Performing Arts of a Marginalized Community: The Chain of West Bengal." Contemporary Voice of Dalit 10, no. 1 (January 29, 2018): 28–47. http://dx.doi.org/10.1177/2455328x17744626.
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In this article, an attempt has been made to collect and examine the folk and oral traditions of the Chain community of West Bengal in an ethnohistorical context. These included marriage songs, Gambhira songs, rhymes, lullabies, Jhumur, Alkap, riddles, etc. All have been collected through field work.
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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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Kusto, Agata. "Pieśni ludowe Pojezierza Łęczyńsko-Włodawskiego. Z prac badawczych i materiałów folklorystycznych Instytutu Muzyki UMCS." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 1 (December 8, 2017): 103. http://dx.doi.org/10.17951/l.2017.15.1.103.
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<p>W artykule omówiony jest repertuar pieśni ludowych żyjących w tradycji ustnej na Pojezierzu Łęczyńsko-Włodawskim. Opracowanie zawiera tabelaryczne zestawianie incipitów pieśni, wyposażonych w odesłania do literatury i komentarze dotyczące wykonawców. Podstawą prezentowanego wywodu są rezultaty badań przeprowadzonych w latach osiemdziesiątych XX wieku przez Mirosława Grusiewicza – zamieszczone w jego pracy magisterskiej napisanej pod kierunkiem Zenona Kotera – oraz zebrane przez niego materiały fonograficzne, przechowywane obecnie w Instytucie Muzyki UMCS.</p><p>SUMMARY</p><p>The article discusses the repertoire of folk songs continued in oral tradition in the Łęczna-Włodawa Lake District. The survey contains a tabular specifi cation of song incipits with references to literature and comments concerning performers. The presentation is based on the results of research conducted in the nineteen-eighties by Mirosław Grusiewicz (they are contained in his MA thesis written under the supervision of Zenon Koter, PhD ), and on the phonographic materials he collected, now stored at the Maria Curie-Skłodowska University Institute of Music. In terms of its origin, the repertoire of the Łęczna-Włodawa Lake District consists of three groups. The fi rst group is the archaic collection of ritual wedding songs and couplets, the second comprises traditional common folk songs (inter alia class songs, and courtship and military songs) prone to variability and accommodation, and the third is made up of the youngest repertoire in terms of origin, containing occasional songs or those heard on the mass media.</p><p> </p>
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Al-Khalili, Raja. "Resisting cultural colonization: the role of folk songs in modern Irish drama." Journal of Language and Literature 5, no. 3 (August 30, 2014): 33–38. http://dx.doi.org/10.7813/jll.2014/5-3/6.
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