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Journal articles on the topic 'Folk songs, Low German'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Radyszewśkyi, Rostyslaw. "Węgiersko-polskie dialogi w twórczości Lwa Węglińskiego." Studia Slavica Academiae Scientiarum Hungaricae 65, no. 2 (2022): 327–40. http://dx.doi.org/10.1556/060.2020.00026.

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Artykuł dotyczy twórczości Lwa Węglińskiego (1827–1905), poety z pogranicza polsko-ukraińskiego, który wydał 6 zbiorów w języku ukraińskim pisanych alfabetem łacińskim i 7 książek w języku polskim, w których dominował materiał oparty o reminiscencje z historii i kultury różnych narodów, a także przekłady poezji i folkloru ludowego. Zbiór Snopek z niw słowiańskich i obcych (1885) jest w całości poświęcony przekładom z folkloru słowiańskiego: są w nim zawarte ukraińskie (42), morawskie (69), węgierskie – „obce pole” (21), niemieckie (60) pieśni ludowe. We wstępie Lew Węgliński określił pieśni wę

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Grudule, Māra. "The Transition from Song to Poetry in Latvian Literature in the Second Half of the 19th Century." Interlitteraria 28, no. 1 (2023): 49–63. http://dx.doi.org/10.12697/il.2023.28.1.5.

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The Latvian nation is a singing nation. The Singing Revolution and similar song- and singing-related references are traditionally associated with the image of Latvians. The origins of written Latvian are also related to song: the oldest known Christian song in Latvian, dating from 1530, is also one of the oldest examples of Latvian-language text. In the second half of the 18th century, as a result of transferring from a German to a Latvian cultural space, a new genre of song was created by the German pastor Gotthard Friedrich Stender, the secular, didactic and sentimental ziņģe (a term c

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Schmitges, Andreas. "Funem (sh)eynem vortsl aroys?!—Approaches to the Study of Parallel Eastern Yiddish and German Folk Songs." European Journal of Jewish Studies 8, no. 1 (2014): 53–103. http://dx.doi.org/10.1163/1872471x-12341257.

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Yiddish and German are two languages and cultures that are considered autonomous and important within the European cultural diversity. Although they are linguistically very close and historically interwoven, not much research has been done concerning the comparison of their folk cultures. The present comparative study of Eastern Yiddish and German folk songs is a first step towards a deeper understanding of the processes of cultural migration and transfer since the Middle Ages. The paper concentrates on three aspects: 1. Discussion of previous undervalued research by scholars in the twentieth

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Dembeck, Till. "Heute sprechen. Literatur, Politik und andere Sprachen im Lied (Herder, Alunāns, Barons)." Interlitteraria 26, no. 1 (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 lingu

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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 Slove

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Jackson, Myles. "Harmonious Investigators of Nature: Music and the Persona of the German Naturforscher in the Nineteenth Century." Science in Context 16, no. 1-2 (2003): 121–45. http://dx.doi.org/10.1017/s0269889703000759.

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ArgumentDuring the early nineteenth century, the German Association of Investigators of Nature and Physicians (Versammlung Deutscher Naturforscher und Ärzte) drew upon the cultural resource of choral-society songs as a way to promote male camaraderie and intellectual collaboration. Investigators of nature and physicians wished to forge a unified, scientific identity in the absence of a national one, and music played a critical role in its establishment. During the 1820s and 30s, Liedertafel and folk songs formed a crucial component of their annual meetings. The lyrics of these tunes, whose mel

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Xuan, Pham Thi, and Tran Anh Dung. "Choosing Folk Song for Children 5-6 Years Old Through Teaching Organization Music Activities in Preschool." European Journal of Theoretical and Applied Sciences 2, no. 3 (2024): 74–81. http://dx.doi.org/10.59324/ejtas.2024.2(3).08.

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Folk songs have the ability to have a strong impact on people's thoughts and emotions, helping us develop aesthetic abilities, thinking, intellectual, physical qualities, and good moral feelings. More importantly, it forms national consciousness and love for the homeland. Currently, teachers are aware of the importance of using folk songs for 5-6 year old children in organizing musical activities in preschools. However, preschool teachers do not know how to choose folk songs in organizing and teaching music activities, causing the results of the activities to be low. This article focuses on an

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Pham, Thi Xuan, and Anh Dung Tran. "Choosing Folk Song for Children 5-6 Years Old Through Teaching Organization Music Activities in Preschool." European Journal of Theoretical and Applied Sciences 2, no. 3 (2024): 74–81. https://doi.org/10.59324/ejtas.2024.2(3).08.

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Folk songs have the ability to have a strong impact on people's thoughts and emotions, helping us develop aesthetic abilities, thinking, intellectual, physical qualities, and good moral feelings. More importantly, it forms national consciousness and love for the homeland. Currently, teachers are aware of the importance of using folk songs for 5-6 year old children in organizing musical activities in preschools. However, preschool teachers do not know how to choose folk songs in organizing and teaching music activities, causing the results of the activities to be low. This article focuses on an

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Robb, David. "The mobilising of the German 1848 protest song tradition in the context of international twentieth-century folk revivals." Popular Music 35, no. 3 (2016): 338–59. http://dx.doi.org/10.1017/s0261143016000532.

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AbstractThe rediscovery of democratic traditions of folk song in Germany after the Second World War was not just the counter-reaction of singers and academics to the misuse of German folk song by the Nazis. Such a shift to a more ‘progressive’ interpretation and promotion of folk tradition at that time was not distinct to Germany and had already taken place in other parts of the Western world. After firstly examining the relationship between folk song and national ideologies in the nineteenth century, this article will focus on the democratic ideological basis on which the 1848 revolutionary s

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Schröder, Gesine. "Nationale Musik — Musik im Dienst am Volk. Zu einer Variante sozialistisch-realistischer Musik der frühen DDR: Der Fall Kurt Schwaen." Studia Musicologica 56, no. 4 (2015): 301–16. http://dx.doi.org/10.1556/6.2015.56.4.1.

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‘Middle music’ and the ‘middle music theory’ of the German Democratic Republic have received little interest, although their products survive until today. Kurt Schwaen is known for his compositions for folk instruments and for his famous children’s songs such as “Wenn Mutti früh zur Arbeit geht” [When mom goes to work early in the morning]. Schwaen was an author of music for the folk, namely for amateur singers, mostly children, or lay instrumentalists, who played in mandolin or accordion orchestras. Schwaen’s compositions may be considered as a variant of socialistic realism in music. They fo

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Петри, Э. К. "“The Joy of Love and the Sorrow of Love”: German Folk Songs from the Liederhort collection." АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, no. 1(72) (April 1, 2024): 26–35. http://dx.doi.org/10.26086/nk.2024.72.1.005.

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Классическое собрание немецких народных песен Liederhort не слишком известно в российском музыкознании. Между тем оно явилось источником вдохновения для многих композиторов эпохи романтизма и более позднего времени. Коллекцию песен начинал собирать Людвиг Эрк, а завершил и систематизировал Франц Бёме. Изданный им трехтомный труд до сих пор считается незаменимым справочником для исследования немецких народных песен. Он назван «Deutscher Liederhort» («Библиотека немецких песен»), но часто обозначается сокращённо как «Erk-Böhme» или просто – Liederhort. Его значение можно сравнить с «Волшебным

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Kravets’, Yarema. "Lusatian Folklore in the Slavic Research of the Italian Wolfango (Wolf) Giusti." Problems of slavonic studies 69 (2020): 36–44. http://dx.doi.org/10.30970/sls.2020.69.3487.

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Purpose: The article is devoted to the Sorbian studies work of the Italian Slavic scholar of Lusatian origin Wolfango Giusti (1901-1980) “The Folk Lusatian Serbian Song” (1926), totally unknown in Ukrainian Slavic scholars’ circles. The author of a large number of Sorbian studies publications printed in the 1920s and 1930s in the pages of Italian Slavic editions, he became a true popularizer of Lusatian culture, and his works found a special reverberation in the research papers of authoritative Sorbian scholars. W. Giusti’s name as researcher and translator has recently been more frequently me

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Vejvodová, Veronika. "Rané písně Antonína Dvořáka: literární předlohy, rukopisné fragmenty, nakladatelé." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 30–38. http://dx.doi.org/10.37520/mmvp.2022.015.

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In his songs from 1865–1882, Dvořák used poems by Czech authors Adolf Heyduk, Eliška Krásnohorská, Karel Jaromír Erben, Serbian folk songs translated by Siegfried Kapper (Czech-German author), Vítězslav Hálek and poems from the Dvůr Králové Manuscript. Most of the texts were probably obtained through Jan Ludevít Procházka, the important figure of Czech cultural life, who initiated Czech song writing for the concerts he organised in Prague. Some of Dvořák’s songs and cycles have survived in fragmentary form (Rozmarýna, s. op. and Like the Moon in the Heavens, No. 12 from Evening Songs, s. op.),

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Niroula, Dhundi Raj. "Manifestation of Sexist Ideology in Nepali Folk Songs." Humanities and Social Sciences Journal 14, no. 1 (2022): 1–15. http://dx.doi.org/10.3126/hssj.v14i1.57989.

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The objective of this research article is to examine and analyse the representative folk songs intonated by two Nepalese vocal maestros, Kumar Basnet and Ram Thapa. Feministic theoretical approach has been used to expose how patriarchal ideology belittles women as inferior sex. For that purpose, the perspective of sexist ideology has been employed. Thirteen different songs are taken as the primary texts in this research. Definitely, a number of researches have been carried out on Nepali folk songs by the foreign as well as home scholars basically from the descriptive approach. Aesthetic perspe

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EKİCİ, Savaş. "BARAK AND BOZLAK MELODİES İN THE CONTEX OF THE STYLİSTİC CHARACTERİSTİCS OF ŞERİF AKBAĞ FROM GAZİANTEP AND MUHARREM ERTAŞ FROM KIRŞEHİR." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 16, no. 1 (2024): 297–314. http://dx.doi.org/10.46291/zfwt/160119.

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Anelysition of Barak Songs Barak folk songs play a very important role in Gaziantep and Turkish folk music with its unique musical style. Barak folk songs are traditionally played at places such as Nizip, Oguzeli, Kargamis, Kilis, Gaziantep, Adana, and Kahramanmaras. They are considered to be "uzun hava", or particularly lengthy songs. They start of very high pitched and switched to period of low pitched. These songs typically switched between high pitched periods called "yuksek hava", and low pitched periods called "coma". Barak folk music is known for its crying, rebellious, and sometimes ev

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Kuzborska, Alina. "Martin Ludwig Rhesa’s Prutena: Between Vaterland (Fatherland) and Heimat (Homeland)." Senoji Lietuvos literatūra 58 (December 26, 2024): 63–82. https://doi.org/10.51554/sll.24.58.04.

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Martin Ludwig Rhesa’s (Lith. Martynas Liudvikas Rėza, 1776–1840) original work, the two-volume collection of his German poetry Prutena (1809, 1825), became available to Lithuanian readers approximately two hundred years later, when Antanas A. Jonynas translated it into Lithuanian (2023). This fact opens up the possibility not only to get to know Rhesa’s literary abilities, but also to delve into the world of East Prussian intellectual life, to which the poet undoubtedly belonged. Rhesa’s duality, his belonging to two cultures – German and (Prussian) Lithuanian – is clearly visible in his under

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Gao, Yu. "The Inheritance and Development of Northern Shaanxi Folk Songs in the Era of Big Data." International Journal of Global Economics and Management 3, no. 2 (2024): 334–44. http://dx.doi.org/10.62051/ijgem.v3n2.38.

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With the arrival of the big data era, the inheritance and development of northern Shaanxi folk songs are facing unprecedented opportunities and challenges. From the perspective of big data, this paper analyses the communication status of northern Shaanxi folk songs in contemporary society, discusses the impact of the big data era on the inheritance and development of northern Shaanxi folk songs, and puts forward a series of innovative inheritance and development strategies. Firstly, this paper gives a brief introduction to the concept and characteristics of the big data era, and elaborates on

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Bjelčevič, Aleksander. "Slovenski verz od srednjega veka do Prešerna." Jezik in slovstvo 65, no. 3-4 (2024): 55–84. http://dx.doi.org/10.4312/jis.65.3-4.55-84.

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The article presents the metrical and strophic repertoire, the rhythm and rhyme of religious songs from the Middle Ages to the end of the eighteenth century, addressing the Latin and German origins of this repertoire, the internationality of church songs, the gradual transformation from syllabic verse to accentual-syllabic, and the influence on the strophic repertoire of secular songs from Janez Dev to France Prešeren (from the second half of the eighteenth century to first half of the nineteenth century). Over the centuries, church songs have created dozens of stanzaic types, some very comple

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Moric, Anja. "GOTTSCHEER FOLK SONG – FROM A MEANS OF FOSTERING NATIONAL DIFFERENTIATION TO A MEMORY KEEPER IN THE DIASPORA." Traditiones 49, no. 2 (2020): 141–66. http://dx.doi.org/10.3986/traditio2020490208.

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The article focuses on changes in the roles and uses of Gottscheer folk song from the mid-nineteenth century to the present day. The first part addresses how nationalist activists used folk songs from the end of the nineteenth century to 1941/42 in order to instill the idea of a national identity in the Kočevje region. The second part offers insight into the role of folk song in preserving the identity of present-day Gottscheers in the diaspora. The paper also touches on the concept of “German linguistic islands” and points to the role of scholarship in the (mis)understanding of the multicultu

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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 (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. Res

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Siopsi, Anastasia. "Music in the Imaginary Worlds of the Greek Nation: Greek Art Music during the Nineteenth-Century's fin de siécle (1880s–1910s)." Nineteenth-Century Music Review 8, no. 1 (2011): 17–39. http://dx.doi.org/10.1017/s1479409811000048.

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This essay analyzes ways in which music becomes attached to the growing demand for national culture by the Greek middle class since the last decades of the nineteenth century.In modern Greece of that period, the predominant notions of ‘historic continuity’ and ‘Hellenism’, or ‘Greekness’, interpret Greek history as an uninterrupted evolution from the classical past to Byzantium. In terms of music, continuity was believed to be found from ancient Greek music to Byzantine hymns and folk songs. This theory, supported by important scholars and composers both in Greece and abroad, placed tradition

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S., A., and Doreen Helen Klassen. "Singing Mennonite: Low German Songs among the Mennonites." Yearbook for Traditional Music 22 (1990): 159. http://dx.doi.org/10.2307/767949.

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Keillor, Elaine, and Doreen Helen Klassen. "Singing Mennonite: Low German Songs among the Mennonites." Ethnomusicology 34, no. 3 (1990): 482. http://dx.doi.org/10.2307/851641.

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Bohlman, Philip V., and Doreen Helen Klassen. "Singing Mennonite. Low German Songs among the Mennonites." Jahrbuch für Volksliedforschung 36 (1991): 120. http://dx.doi.org/10.2307/847636.

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Ursachi, Doina Dimitriu. "9. The Romantic German Lied – An Overview." Review of Artistic Education 21, no. 1 (2021): 71–77. http://dx.doi.org/10.2478/rae-2021-0009.

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Abstract The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. tr

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Blažić, Milena Mileva, and Jani Kovačič. "ORPHEUS FROM HELL - A selection of songs from the concentration camps performed by Aleksander Kulisiewicz." Angloamericanae Journal (AAJ) 8, no. 1 (2023): 9–49. http://dx.doi.org/10.58885/aaj.v8i1.09.mb.

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Jani Kovačič, singer-song writer and prof. of philosophy in Gimnasium Ljubljana, have selected 23 songs by Aleksander Kulisiewicz: 15 songs from the CD Songs from the Depths of Hell (1979), 7 songs from the record Ballads and Broadsides: Songs from Sachsenhausen Concentration Camp 1940–1945 (2008), one song from the record Chants de la deportation (Songs of the Deportation, 1975) and one from the book Adresse: Sachsenhausen, Literarische Momentaufnamen aus den KZ (Address: Sachsenhausen, Literary Records of Moments from the Concentration Camp, 1997). Simona Klemenčič and I translated them from

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Vikárius, László. "What Did Béla Bartók's Five Hungarian Folk Songs Want to Do at the 1938 Baden-Baden Festival." Studia Musicologica 65, no. 1-2 (2024): 89–101. http://dx.doi.org/10.1556/6.2024.00004.

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AbstractThe peasant music Béla Bartók first discovered in 1904 and which he collected systematically between 1906 and 1918 belongs to what he generally described as “Eastern Europe.” His career as pianist and composer was naturally oriented towards Western Europe. His contract with one of the most important publishing houses of the period interested in contemporary music, Universal Edition in Vienna, seems to have conserved a Central European network during the interwar period – a network originating in the by then dissolved Austro-Hungarian Monarchy. Apart from pointing out the conspicuous co

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Lukin, Michael. "The Ballad in Eastern European Jewish Folklore: Origins, Poetics, Music." Judaic-Slavic Journal, no. 1 (3) (2020): 191–228. http://dx.doi.org/10.31168/2658-3364.2020.1.10.

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Analysis of the poetics and music of Yiddish folk ballads reveals that the Ashkenazi Jews of Eastern Europe did not preserve German songs,widely popular among them up to the beginning of their gradual migration to the east, but instead developed a ballad repertoire of their own.The group of songs, designated as “medieval” by Sophia Magid, the author of a monumental study on the Yiddish ballad, includes both old ballads and those borrowed from the Germans towards the end of the 18th century and later. While the borrowed songs carried a similarity to the German originals as shown in their melodi

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Branda, Eva. "Speaking German, Hearing Czech, Claiming Dvořák." Journal of the Royal Musical Association 142, no. 1 (2017): 109–36. http://dx.doi.org/10.1080/02690403.2017.1286129.

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ABSTRACTDiscussions of Dvořák's Sixth Symphony typically focus on its connections with Vienna. Dvořák wrote the symphony for the Vienna Philharmonic and dedicated it to Hans Richter. Its allusions to Brahms and Beethoven led David Brodbeck to describe it as a piece in which Dvořák ‘speaks German with an unusual degree of clarity’. Contemporary Czech critics tell a different story. After its 1881 Prague première, the work was dubbed the ‘Czech Spring Symphony’. One critic stated that it ‘speaks to us in pure Czech’. Indeed, the Sixth is Dvořák's only symphony to include a furiant, and Czech sch

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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct o

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Saipi, Muhammad, Feri Firmansyah, and Dedy Firmansyah. "Pembelajaran Menyanyikan Lagu Daerah Menggunakan Metode Drill pada Siswa Kelas VII SMP Negeri Muara Kulam." Indonesian Research Journal On Education 3, no. 1 (2022): 96–102. http://dx.doi.org/10.31004/irje.v3i1.157.

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Singing folk songs in unison or individually folk songs is still low, especially for subjects that lead to performance practices, this is seen from the minimum completeness criteria because there is still a lack of knowledge about tonic intonation and articulation. This research is to find out whether learning to sing folk songs using the drill method can improve the learning outcomes of class VII students of SMPN Muara Kulam. The method used in this study is a qualitative description of the data sources used areclass VII students and Mrs. Dian Permata Sari, S. Pd as a teacher of SMP Negeri Mu

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Gorban, Anca. "The perspective of fidelity in the translations of Herta Müller’s work." Studia Universitatis Moldaviae. Seria Ştiinţe Umanistice, no. 10(200) (December 2024): 214–19. https://doi.org/10.59295/sum10(200)2024_26.

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Herta Müller’s books are specifically addressed to a fairly wide readership. Translations, however, limit the scope of understanding, as they either reproduce untranslated structures from German culture, or cancel the writer›s voice in favour of the translator›s writing talent. Herta Müller’s work proves much more translatable for the Romanian reader than for any other reader. Even for Germans, the writer’s prose causes problems in some places, especially when she juggles lines from Romanian folk songs, when she utters love curses or when she curses with pathos like Romanians from Banat. The t

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Koryshev, Mikhail V. "On the subgenre system in medieval German catholic hymnography." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 54–59. http://dx.doi.org/10.20339/phs.6-20.054.

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This paper is an analysis of church hymns in the folk language using medieval German-speaking Catholic hymnography as a case study. Understudied by literary scholars, this phenomenon used to be in the center of attention of liturgics scholars. The only exceptions included philological and historical studies of ancient writings in the German language. The existence of church chant (German Kirchenlied) is manifested by a separate genre, which, in contrast to the views of Germanic language philologists in Germany is not a special case of the spiritual song (German Geistliches Lied). In relation t

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Heimrath, Ralf. "„Håns gäih huom“." Germanistische Linguistik 56, no. 1 (2024): 237–74. http://dx.doi.org/10.5771/0072-1492-2024-1-237.

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The village of Puhoi in New Zealand has been founded 1863 by Bohemian immigrants coming from the Egerland in the West of the todays Czech Republic, where the German dialect of Northern Bavaria has been spoken. The inhabitants kept their dialect for a long time in the 20th century. There is a musically and linguistic cultural heritage in the folk music of this village, which is different to the surrounding settlements. In the 1960ies and later, a series of songs and sayings have been recorded. Some of them can be followed back to the roots in the region of emigration. The contribution shows the

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Srivastava, Kinshuk, and Rashmi p. Dyondi. "THE REFLECTION OF SOCIETY REFLECTED IN FOLK MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3470.

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Culture is found in human society. This culture is transferred from one generation to another. That is why the culture of every society survives. The culture of each society is rooted in language, custom, knowledge, traditions, religion, law, music, folk art, folk music, folk tales, literature etc. Human interactions in society affect each other and it is on the basis of these actions that a cultural society is formed. Therefore, the mirror of the society lies in the folk culture itself. "Music is the most popular in the tradition of culture." Folk music is a huge variety of culture. The langu

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Votruba, Martin. "Hang Him High: The Elevation of Jánošík to an Ethnic Icon." Slavic Review 65, no. 1 (2006): 24–44. http://dx.doi.org/10.2307/4148521.

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In this paper, Martin Votruba traces the evolution of the Jánošík myth. The highwayman Jánošík is a living legend in Czech, Polish, and Slovak cultures. Contrary to common claims, the modern celebratory myth of the brigand hanged in the eighteenth century is at odds with the traditional images of brigandage in the western Carpathians. Folk songs and The Hungarian Simplicissimus of the seventeenth century often anathematize highway robbery. High literature of the mostly Slovak counties of the Kingdom of Hungary in the Habsburg empire similarly cast Jánošík as a criminal. Yet some intellectuals,

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Murniaty, Murniaty. "THE IMPACT OF APPLYING ENGLISH SONG IN LISTENING COMPREHENSION." Journal MELT (Medium for English Language Teaching) 2, no. 2 (2019): 126. http://dx.doi.org/10.22303/melt.2.2.2017.126-143.

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The study investigated about the sluggishness of students in English language lesson that caused them have low score. Due to that reason, it had researched teaching and learning process of listening comprehension. The students of one public junior high school, class VII were trained to listen songs as an experiment for several times in one semester, such as : folk songs, pop songs, etc. The research findings by applying Wilcoxon signed-rank test showed that Z &gt; 1,96, that is Z &gt; 5,147; which means there is significant difference after giving the treatment, or the score raised up

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Särg, Taive. "Elava rahvalaulu juurde jõudmine: Herbert Tampere teadlaseisiksuse kujunemine." Mäetagused 82 (April 2022): 81–130. http://dx.doi.org/10.7592/mt2022.82.sarg.

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The article analyses the life and activity of Estonian ethnomusicologist and folklorist Herbert Tampere (1909-1975), as well as the research history of Estonian folk songs until 1945, also paying attention to the influence of the Estonian Folklore Archives and its head Oskar Loorits. The historical background to Tampere’s activity is the establishment of independent statehood in Estonia (1919) after Estonians had existed as an ethic minority group subjected to the ruling classes of other nationalities for hundreds of years. The scientific and cultural background is constituted by the developme

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Turea, Elena. "The correlation of the voice and the piano parts in the vocal music of Schubert’s predecessors." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 54–60. http://dx.doi.org/10.55383/amtap.2022.2.09.

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This article analyzes the historical and cultural background of F. Schubert’s achievements in the field of chamber vocal music, in particular, in correlation with the vocal and piano parts. We are talking about the fact that the basis of Schubert’s Lied are the traditions of German and Austrian folk songs, the work of minnesingers, meistersingers, predecessor composers. Reliance on folklore determines the intonation, the rhythmic and structural patterns of Schubert’s songs. The influence of the masters of minnesang and meistersang is felt in the harmony and composition logic of the Austrian ge

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Andreiushkina, Tatiana N. "Poems-catalogues in the poetry of H.M.Enzensberger." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 400–428. http://dx.doi.org/10.21638/spbu09.2023.301.

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The article analyses the types of cataloguing and various sub-genres of the catalog in the poetry of the German poet, playwright and prose writer H.M.Enzensberger (1929–2022). The poet’s collections of 1957–2013 were anilysed. The article traces such methods of cataloguing lyrical material as a name indicating cataloguing, a series of baroque metaphors in Enzensberger’s catalogue poems, an arbitrary enumeration as an example of the illogicality of phenomena/actions, anaphoric repetitions of personal pronouns as a way of organizing a lyrical catalogue, dialogue as a method of lyrical cataloguin

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Amalia, Lisa, Petrus Gogor Bangsa, and Hesti Rahayu. "PERANCANGAN BOARD GAME EDUKATIF SEBAGAI MEDIA PEMBELAJARAN LAGU DAERAH JAWA UNTUK SISWA SEKOLAH DASAR USIA 9-11 TAHUN." Fenomen: Jurnal Fenomena Seni 1, no. 2 (2023): 32–44. https://doi.org/10.24821/fenomen.v1i2.10725.

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Berkembangnya teknologi dan informasi yang begitu pesat membawa banyak perubahan pada kebudayaan Indonesia, termasuk lagu daerah yang popularitasnya kian tergerus oleh keberadaan berbagai jenis lagu modern atau viral saat ini. Anak-anak, sebagai generasi penerus bangsa justru memiliki minat yang cenderung rendah terhadap lagu daerah. Meski sudah diperkenalkan secara formal sejak lingkungan sekolah dasar, minimnya jam pelajaran telah mengurangi intensitas pembiasaan lagu daerah sehingga dibutuhkan media alternatif yang cocok digunakan dalam lingkungan sekolah serta dapat membekas di ingatan ana

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Reznitckaia, Tatiana Borisovna. "“The Fine” and “The Expressive” in Hugo Wolf’s Songs." Pan-Art 2, no. 4 (2022): 94–102. http://dx.doi.org/10.30853/pa20220016.

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The purpose of this research paper is the characterize the creative heritage of Hugo Wolf from the position of “the fine” and “the expressive” in hic chamber and vocal compositions. There are more than three hundred of the composer’s songs which comprises the vocal cycles on the poems of H. Heine, E. Mörike, J. Eichendorff, J. Goethe, G. Keller, M. Buonarroti and the samples of author’s and folk poetry of Spain and Italy in the translation of E. Geibel and P. Heyse that were set to music. All these compositions rightfully belong to the gold fund of the Austro-German Lied. The paper presents th

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Moncada Linares, Sthephanny, and Xin Zhi-Ying. "Representations of Christmastide in Latin American Christmas Folk Songs: A Transitivity Analysis." Language Circle: Journal of Language and Literature 15, no. 1 (2020): 59–66. http://dx.doi.org/10.15294/lc.v15i1.25903.

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Considered as the universal language, music has been historically a means of communication and personal expression about the inner and outer world of its creator, it is present in almost every social activity of human beings as in the habitual religious celebration of Christmas across the largely Catholic countries. Therefore, the present paper will provide a descriptive text analysis of ten traditional Latin American Christmas folk songs on the base of the transitivity system informed by the Hallidayan Systemic Functional Linguistics theory. To reach this goal, both a quantitative and qualita

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Trymbach, Serhiі. "Ukraine on Fire Cinema Novel by Oleksandr Dovzhenko: Saving Gesture of the Artist." Folk art and ethnology, no. 3 (September 30, 2024): 17–21. http://dx.doi.org/10.15407/nte2024.03.017.

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The years of German-Soviet war (1941–1945) have become a period of special trials for the outstanding film director Oleksandr Dovzhenko. All hopes for the revival of the Ukrainian nation and its culture have turned out to be an illusion. The victory of the Soviet Union in the war has led to the collapse of the remnants of political and cultural autonomy in Ukraine, complete control of the imperial center over the processes of social and cultural life. Dovzhenko writes the film story Ukraine on Fire, which demonstrates the considerable resources of resistance of Ukrainians to totalitarian syste

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Sinkevičius, Rokas. "The Motif of the Hero’s Clothes Sprinkled with Oak Blood in Latvian Songs and in Martynas Liudvikas Rėza’s Song “Aušrinė”." Tautosakos darbai 67 (July 12, 2024): 33–52. http://dx.doi.org/10.51554/td.24.67.02.

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The subject of the article is the song “Aušrinė” (Morning Star) published in Lithuanian and German by Martynas Liudvikas Rėza, and similar versions of the Latvian mythological song (LD 34043) about the hero’s blood-spattered clothes. The goal is to assess how the motif of clothes sprinkled with oak blood is related to other motifs of the heavenly wedding in Latvian mythological songs. In order to explain the meaning of this motif, the author uses the comparative material of Latvian incantations and Latvian folk songs of other genres. In addition, the aim is to specify the origin of the song “A

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Marchuk, Karyna. "THE ORIGIN AND DEVELOPMENT OF GERMAN TARAS SHEVCHENKO SCIENCE." Shevchenko Studies, no. 1(26) (2023): 182–89. http://dx.doi.org/10.17721/2410-4094.2023.1(26).182-189.

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Taras Shevchenko is a writer who is known throughout the world. His works have been translated into many languages. However, the article focuses on the spread of Taras Hryhorovych's work in Germany, translations of his works into German. The article is devoted to the study of influence of Taras Hryhorovych on German culture, mainly literature. The main ways of spreading Kobzar's work were highlighted in the article. The first way was the spread through the work of German figures who lived in the territory of modern Ukraine. Interest in Taras Shevchenko also grew because of the Germans' love fo

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GOGOLEVA, Marina. "ИНТЕРПРЕТАЦИЯ ДРЕВНЕГО ФОЛЬКЛОРНОГО ТЕКСТА ЯКУТОВ". Eposovedenie 2, № 34 (2024): 77–85. http://dx.doi.org/10.25587/2782-4861-2024-2-77-85.

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The author deals with the text of an archival document discovered in the materials of the Second Kamchatka expedition led by Vitus Bering, in the collection of field notes of the expedition member, the German doctor and translator G. W. Steller. This fragment in Latin is a recording of a Yakut folk song of the first half of the 18th century. The purpose of this article is to introduce a previously unpublished archival text into scientific circulation by translating the text and describing its artistic features. As part of the research, the following tasks were set: to study the history of the

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Hengbin, Wu, Sensai Peerapong, and Phulaiyaw Akapong. "Knowledge of the Historical and Contemporary Status of Dong Ethnic Group's "Da Ge" Folk Music in Liuzhou, China." Education Quarterly Reviews 6, no. 1 (2023): 295–306. https://doi.org/10.31014/aior.1993.06.01.708.

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This research uses the qualitative research method, with the objectives of investigating the historical and contemporary status of the Dong ethnic group's "Da Ge" folk music. Using the research conceptual frameworks of Chinese art and music theory and western art and music theory, and the methodology of participant observations, experiments, simulations, questionnaires, and interviews, the three most representative types of "Da Ge" folk music of the Dong ethnic group in Liuzhou, China, selects two key informants. The study's findings are as follows: Many studies on

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Ma’rifah, Lilis Nurul, and Yajid Yajid. "PENINGKATAN AKTIVITAS DAN HASIL BELAJAR SISWA KELAS IV MATERI BERMAIN MUSIK SEDERHANA DALAM MENGIRINGI LAGU DAERAH MELALUI MODEL PEMBELAJARAN LANGSUNG DI MIN 2 PANDEGLANG." Ta'dibiya 2, no. 2 (2022): 74–87. http://dx.doi.org/10.61624/japi.v2i2.25.

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Low activity and learning outcomes are caused by students not understanding the subject matter, learning conducted by teachers is less interesting, students are less active and less enthusiastic when participating in learning the art of music. To increase the activity and student learning outcomes, the researchers used a learning model that made it possible to achieve these goals, namely the direct learning model. This classroom action research was conducted in 2 cycles. Each cycle consists of 2 meetings where cycle evaluation is carried out at the end of the cycle. Assessment of student learn

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Yastrub, Olena. "Musical and educational activities of Mykola Lysenko as a phenomenon of self-identification of the national culture." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 92–104. http://dx.doi.org/10.34064/khnum1-55.07.

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Formulation of the problem. In the globalized time-space of the 21st century, the musical heritage left by M.V. Lysenko motivates to comprehend at a new level the phenomenon of the creative universalism of the artist, the multiple manifestations of his musical-social, educational, ethnographic and composing activities. Given the importance of the choral singing for nurturing the national consciousness of young musicians, the role of M. Lysenko’s opera heritage for children and adolescents should be noted. The choice of the theme was actualized by the iconic premiere of M. Lysenko’s children’s

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