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Journal articles on the topic 'Folk songs'
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1
Zhang, Dezhi, Huihui Liao, Xiaowen Zhu, De Li, and Min Zhu. "English Publicity of Chinese Folk Songs—With the Tea Picking Dance as an Example." Journal of Education, Teaching and Social Studies 6, no. 1 (March 3, 2024): p95. http://dx.doi.org/10.22158/jetss.v6n1p95.
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Chinese folk songs have unique inheritance and dissemination value. While actively developing the local dissemination of folk songs, we should constantly expand the transmission of Chinese folk songs overseas and enhance the international influence of Chinese folk song culture. Utilizing folk song micro-lesson to popularize the knowledge of Chinese folk songs, conducting surveys and analyzing the attitudes of international students from different countries towards four folk song micro-lesson videos, we have obtained over 30 valid survey data. The survey found that 96.77% of respondents believe that this series of micro-lesson plays a certain role in spreading Chinese folk songs, and the majority of the audience is interested in folk song micro-lesson and willing to share them. Micro-lessons of folk songs is one of the media for disseminating Chinese folk songs and folk song culture in the new era, providing a reference for the new approach to the external dissemination of Chinese culture.
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Xiang, Jiajie, Jiawei Zhong, Junnan Chen, Jinwen Liu, Shasha He, and Chenghong Wang. "Enriching the Charm of Folk Songs with Multi part Forms: A Practical Exploration of the Creation of Multi part Chorus of Qiang Folk Songs." Journal of Education and Educational Research 5, no. 3 (October 1, 2023): 136–40. http://dx.doi.org/10.54097/jeer.v5i3.13651.
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The Qiang ethnic group is a long-standing ethnic group in China, and its historical changes, religious beliefs, customs, and customs have great research value. Qiang folk songs are a vivid display of their ethnic customs and living customs. Qiang folk songs have a rich flavor and diverse forms, including love songs, labor songs, mountain songs, wine songs, and other types. Folk song choir is an important way to inherit and promote Qiang folk songs. This article introduces the types of Qiang folk songs and creates a multi part choir to enrich the charm of folk songs with multi tone sound, in order to enable more music enthusiasts to understand Qiang folk songs and culture.
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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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J, Mohana Lakshmi. "Human’s Developmental Thoughts in the Tamil Folk Songs." International Research Journal of Tamil 4, S-16 (December 12, 2022): 69–77. http://dx.doi.org/10.34256/irjt224s1610.
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At first oral songs appeared in the archaic language. These oral songs are sung in different forms. Folk songs have no grammatical restrictions it is just sung. The song is very simple and it is easy to sing. Though the song is simple it has many meanings that are useful for life. This article shows up the emerging management ideas in the folk songs such as leadership characteristics, education, morals and human resources.
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Pavlova, N. V. "Traditional formulas in Yakut folk songs recorded S. I. Bolo and A. A. Savvin." Languages and Folklore of Indigenous Peoples of Siberia, no. 40 (2020): 38–49. http://dx.doi.org/10.25205/2312-6337-2020-2-38-49.
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The paper presents the results of the study of Yakut folk songs, with the principle of classification of traditional formulas of folk tales applied. The study focused on the songs included in the manuscript of the volume “Yakut folk songs” 2012 of the series “Monuments of folklore of the peoples of Siberia and the Far East”. The author draws several conclusions. All the songs under consideration contain some categories of medial formulas. Besides having the categories of medial formulas, the songs with their own plot contain some groups of initial formulas (“Song of the broom”, “Sippie”, “Ann with candy”). Three songs lack categories of initial formulas (“The song about cuckoo”, “The bull’s Song”, “The pedestrian’s Song”), all of them having only the categories of medial formulas. All these songs have the following medial formulas: formulas defining the characters’ image, formulas describing the characters’ actions, formulas included in the dialogue (typical characters’ phrases). There are no categories of final formulas in these songs. Whi le the categories of initial formulas in Yakut folk tales are used once, in folk songs, as in Olonkho, they can be repeated several times. Whereas the medial formulas in folk tales are found in the middle of the story, in folk songs, they can be found in all parts of the text.
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Bhetuwal, Kamali Kanta. "Code Mixing in Folk Songs: A Journey towards Linguistic Creativity." KMC Research Journal 4, no. 4 (December 31, 2020): 91–102. http://dx.doi.org/10.3126/kmcrj.v4i4.46469.
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Folk song is a true gift of culture. It is one of the traditional, intangible and indigenous pieces of the art of performing the melodious expression with the help of soft pipes that are forever invaluable cultural assets and musical property as well. In view of making a brief survey of the use of multiple languages in folk songs, different folk melodies have been selected randomly from seven provinces of Nepal where the folk melodies are more fertile. This paper aims at exploring the use of multiple languages in folk songs I, myself as a researcher in the field, encountered with in written and audio- or video-recorded form. Therefore, the main source of relevant data includes me and other written and audio or video documents of folk songs I found. As a multicultural country, Nepal is rich in terms of its folk songs. In this paper, I analyze how folk song can be a creative space where linguistic boundaries are challenged and new language practices are invented. Taking of folk songs as a social and cultural identity, I examine how folk song embraces local diversity and redefines the use of language a creative tool for public.
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Yan, Tingyu, Hong Yu, and Jiajun Tang. "Comparative Analysis of Folk Song Styles in The Huizhou Region." International Journal of Arts, Humanities & Social Science 05, no. 05 (May 5, 2024): 104–13. http://dx.doi.org/10.56734/ijahss.v5n5a11.
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The folk songs of the Huizhou region in Guangdong Province, China, are richly diverse and embody the area's profound cultural heritage. This study examines three distinct regional folk songs: the Huiyang Jiege, Ruhu Fishing Song, and Huidong Fishermen's Song, aiming to delineate their musical styles and cultural expressions and how they mirror the local culture. Utilizing both questionnaire surveys and in-depth interviews, this research engages with 326 residents and 16 cultural experts from various counties within Huizhou City. The study methodically evaluates the artistic features of these folk songs—including melody, theme, and lyrics—and investigates their transmission in contemporary times. The findings reveal that while these songs stem from a common cultural background, they exhibit distinct regional traits in their expression and social roles. For instance, the Huiyang Jiege is noted for its simple structure, whereas the Ruhu Fishing Song and Huidong Fishermen's Songs focus more on emotional expression and social interaction. The study advocates for enhanced local government support and collaborative research initiatives with universities. Additionally, it suggests leveraging modern media technologies to promote and preserve these folk songs as vital cultural assets. By thoroughly analyzing these locally distinctive folk songs, this research contributes to the academic field of ethnomusicology and offers valuable insights into the preservation and perpetuation of regional culture.
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Sharma, Sneha. "BIRDS IN SELECTED FOLK SONGS OF RAJASTHAN." International Journal of Research -GRANTHAALAYAH 8, no. 10 (October 26, 2020): 99–104. http://dx.doi.org/10.29121/granthaalayah.v8.i10.2020.1796.
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Folk songs play a substantial role in the cultural identity of a region. It is an expressive form of customs, traditions and daily life of the common folk which presents a multitude of stories and voices an array of feelings and emotions. Folk songs serve as testimony to the past events of war, community, customs and traditions, rites and rituals. Folk songs also identify and define the region, and help one understand the natural aspects like climate,seasons, topography, agriculture, flora and fauna. The present study focuses on the description and presence of Avifauna imagery and symbolism in Rajasthani folk songs, and the impact of industrialisation and migration resulting in the decline of bird population and folk song traditions.
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LYU, XINGYA. "Aesthetic Analysis and Historical Context of Shandong Folk Songs: Focus on 'Embroidering a Purse' from Cangshan, Shandong, China." Pacific International Journal 7, no. 3 (June 20, 2024): 71–76. http://dx.doi.org/10.55014/pij.v7i3.620.
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This study presents an in-depth aesthetic analysis and historical contextualization of the Shandong folk song "Embroidering a Purse" from Cangshan, Shandong, China. Shandong folk songs are a vital component of the province's cultural heritage, reflecting the region's history, values, and daily life. "Embroidering a Purse," a lyrical folk song, narrates the story of a young woman embroidering a purse for her lover, symbolizing love and craftsmanship. This research explores the song's lyrical content, musical structure, performance practices, and cultural significance. By analyzing its lyrics, melody, and performance style, the study highlights how "Embroidering a Purse" encapsulates the cultural and emotional landscape of Cangshan. Additionally, the study traces the historical development of Shandong folk songs through different dynastic and socio-political periods, offering insights into their evolution and enduring significance.
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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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V, Udhayakumar. "Folk Elements in the Marutha Thinai Songs." International Research Journal of Tamil 4, S-16 (December 12, 2022): 139–49. http://dx.doi.org/10.34256/irjt224s1618.
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In order to know the oral literary characteristics in Marutha thinai songs one must know the main characteristic features in oral. Plowing industry, planting industry, buffalo herding, ray cutting, fishing and other games such as paddy war, vallai song, silt removal, flower picking are the various kind of arts performed during the sangam period. The poets have recorded countless rituals, beliefs and customs in Marutha thinai songs. Through these songs one can know the culture, tradition and civilization of the ancient Tamil people. The article brings out the hidden folk elements in the Marutha thinai songs.
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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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Harahap, Addinul Arfansyah, and Nelly Astuti Hasibuan. "Implementation of LCM (Linear Congruent Method) Method in Region Song Game." IJICS (International Journal of Informatics and Computer Science) 4, no. 2 (September 6, 2020): 57. http://dx.doi.org/10.30865/ijics.v4i2.2118.
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The Regional Song Game is a game that educates players to hone the ability of knowledge about folk songs in the form of questions given the Regional Song game. With the game Regional Songs, players can expand the ability of players about the knowledge of regional songs. Aside from being a means of entertainment, games can also be an exciting learning medium and do not make players bored, so it becomes a pleasant learning atmosphere. The linear congruent method (LCM) is a random number generator method that is widely used by computer programs. The application of the Linear Congruent Method (LCM) in the Regional Song game is intended to randomize the questions that will be displayed by the Regional Song game. Regional Songs Game is an application designed to provide insights about folk songs for the players. This game aims to reintroduce folk songs to the people lost by the ages.
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Roper, Jonathan. "Formulas in Folk Verse and Folk Prose." Narodna umjetnost 59, no. 1 (June 20, 2022): 7–21. http://dx.doi.org/10.15176/vol59no101.
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The existence of formulas in traditional songs of various kinds has been long recognized by scholars, and the presence of formulas in traditional tales has increasingly become a subject of discussion too. This prompts the question whether an individual who has a substantial repertoire of both songs and tales would use some of the same formulas in both these two modes. Or would it be the case that, as tales and songs have their own separate norms and rules, their formulas will not involve any significant similarities? To provide an initial response to such questions, this article draws upon verbal art documented in the third quarter of the twentieth century from one remarkable Newfoundlander, whose recorded repertoire included nineteen different tales and more than thirty songs.
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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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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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Revuluri, Sindhumathi. "French Folk Songs and the Invention of History." 19th-Century Music 39, no. 3 (2016): 248–71. http://dx.doi.org/10.1525/ncm.2016.39.3.248.
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A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and geography: they made the provinces the place of history. Collecting songs from the provinces thus became a way of recovering France's past. Paired with contemporary discussions of musical progress and especially those related to harmony, the addition of piano accompaniments to monophonic songs now reads as a form of history writing. In this article, I argue that French music scholars of the fin de siècle acted out their preferred narratives of music history through folk-song harmonizations. What seemed like a unanimously motivated nationalist project actually reveals the development and contestation of the discipline of music history.
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Prkić-Palavra, Kristina, and Izet Pehlić. "Value Characteristics of Sevdalinka And Turbo-folk as Musical Genres." Društvene i humanističke studije (Online), no. 1(14) (February 4, 2021): 201–22. http://dx.doi.org/10.51558/2490-3647.2021.6.1.201.
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This paper has started from the fact that contextual analysis of song lyrics underlines that the meaning in lyrics is never completely clear, and its functional value and peculiarities are emphasized. This fact is based on insight into the relevant scientific and theoretical sources. The aim of this research was to establish the peculiarities and differences between sevdalinka and turbo-folk genres through a comparative analysis of sevdalinka lyrics and songs written in the spirit of sevdalinka, and turbo-folk songs lyrics. The research started from the assumption that the features of sevdalinka and turbo-folk music as musical genres are very different. The research methods used were the method of theoretical analysis and the method of content analysis, and the dataset consisted of 8 representative sevdalinka songs and songs based on the model of sevdalinka, and 8 turbo-folk songs, which were analyzed for conclusions. The results of the research showed how sevdalinka and turbo-folk songs promote different values. It was concluded that the positive values promoted by sevdalinka songs should be used to a greater extent for educational purposes.
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Domokos, Mária, and Katalin Paksa. "The Hungarian folk song in the 18th century." Studia Musicologica 49, no. 1-2 (March 1, 2008): 105–25. http://dx.doi.org/10.1556/smus.49.2008.1-2.6.
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In Hungary, the concept of “folk song” was clarified at the beginning of the 20th century only, accordingly, there were no “folk songs” noted down in the 18th century. Still, the number of music sources relating to folk music increased significantly in the 18th century. As a result of their scientific analysis the melodic parallels of some five hundred 18th-century tunes were found in the central folk music collection of the Institute for Musicology of the Hungarian Academy of Sciences. These melodic parallels involve 153 folk song types. In a specific era of folk culture there is always a coexistence of elements and styles of different age. The sources also contain examples of the descending pentatonic styles (that either originates or developed from oriental roots), of the lament style and of the medieval and early modern tunes. Of particular interest are the songs that first appeared in the 17th century, then undergone significant changes in form and rich collection of variants developed around them. The most remarkable result of our research is that contrary to former beliefs regarding its insignificance, the 18th century enriched the Hungarian folk music with some sixty new melody types. One of the most interesting groups of this rather mixed collection of songs is that of the songs in a major key with a narrow compass that seems to be the most characteristic music of the time. Plagal songs in a major key with perceptive functional chords behind their melodies also entered Hungarian tradition at this time. Plagal tunes, unfamiliar to Hungarian folk music, were sometimes transformed into descending tunes. The antecedents of the new Hungarian folk song style hardly feature in these sources — this style probably developed in the late 19th century. However, among the popular art songs that flourished from the 1830s onwards we found about a dozen melody types with a partial or full similarity to 18th-century melodies.
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Nasrullah, Nasrullah. "Mulai Lawan Bismillah: Religiosity of the Banjar People in the Banjar Songs Composed by Anang Ardiansyah." Al-Albab 7, no. 1 (October 9, 2018): 33. http://dx.doi.org/10.24260/alalbab.v7i1.987.
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Local folk songs are often only enjoyed by local people and, of course, only a few of these songs can become national songs. However, through the song called Paris Barantai composed by Anang Ardiansyah, the Banjar song can become a nationally recognized regional folk song. In addition, Anang Ardiansyah‘s other songs have a message or religious content that reflects the Islamic culture of the Banjar community. Therefore, this paper explores religious content of four songs composed by Anang Ardiansyah with the aim that the local folk songs are not only sung but reinforce the distribution of religious values and knowledge in relation to the Banjar culture. The results of this paper describe the religious practice of urang (people of) Banjar related to faith, prayer and shalawat in everyday life and the term haram menyarah (surrender is forbidden) as Banjar people's struggle doctrine depicted from the Banjar song composed by Anang Ardiansyah. Therefore, through these songs it becomes an important part of the efforts to strengthen the Banjar religious identity and religious value distribution will take place continuously.
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Zhang, Erhang, and Sarawut Choatchamrat. "Dissemination of Folk Song Literacy in China’s Northern Shaanxi Province." International Journal of Education and Literacy Studies 11, no. 4 (October 20, 2023): 131–40. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.131.
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This article examines and discusses the musical and artistic characteristics of Shaanxi folk songs, as well as how they can be more effectively disseminated in today’s rapidly changing social environment. This also provides some beneficial information for the dissemination and development of Shaanxi folk songs, allowing them to be disseminated and passed on more effectively. The study’s objectives were to analyze the musical characteristics of northern Shaanxi Province’s folk songs and to propose guidelines for the dissemination of folk song literacy in northern Shaanxi Province, China. The study investigates and analyzes how to better disseminate Shaanxi folk songs from various perspectives, including educational dissemination, media dissemination, and official institution dissemination, using qualitative research methods. The results of this study show that the folk songs of northern Shaanxi have a strong local flavor and a simple style that people appreciate. They have a distinct musical charm and range from small two-stanza styles to large multi-stanza styles. Guidelines for the dissemination of folk songs in northern Shaanxi Province, China, have been developed in order to introduce the world to the excellent folk songs of northern Shaanxi in a new language form as well as to various contemporary cultural activities and school education.
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Gurjar, Chatar Singh. "Carrier castes of folk songs and commercial songs." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 7 (July 31, 2022): 31–34. http://dx.doi.org/10.53573/rhimrj.2022.v09i07.008.
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There are some castes in Rajasthan who make their living by singing folk songs. These professional singers get neg in return by singing occasion-specific songs at specific host castes. Dhadhi, Dholi, Manganiyar, Langa etc. are prominent among professional singer castes. These singers mainly sing more love based songs. The beautiful combination of song and music is mesmerizing. The main feature of these songs is the poignant portrayal of love in ragas like Mand, Sorath, Maru, etc.
Abstract in Hindi Language:
राजस्थान में कुछ ऐसी जातियाँ हैं, जो लोकगीत गाकर अपना गुजर-बसर करती हैं। ये पेशेवर गायक विशिष्ट यजमान जातियों के यहां अवसरानुकूल गीत गाकर बदले में नेग प्राप्त करते हैं पेशेवर गायक जातियों में ढाढी, ढोली, मांगणियार, लंगा आदि प्रमुख हैं। ये गायक मुख्य रूप से प्रेमाख्यान मूलक गीत अधिक गाते हैं। गीत और संगीत का सुन्दर संयोग मनमोहक होता है। मांड, सोरठ, मारु, आदि रागों में प्रेम की विहृलता का मार्मिक चित्रण इन गीतों की प्रमुख विशेषता है।
Keywords: लोकगीत, लोक देवता, बगड़ावत, देवनारायण, महागाथा, व्यावसायिक गीत।
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Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (April 14, 2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.
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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language.
Abstract in Hindi Lanaguage:
लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है।
Keywords: लोक संगीत, कजरी, लोक वाद्य
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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.
Full textAbstract:
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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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.
Full textAbstract:
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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Lanszki-Széles, Gabriella. "A Somogy megyei Kisgyalán faluközössége által kedvelt népdalok és magyar nóták az elmúlt száz esztendőben." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 7 (2020): 321–66. http://dx.doi.org/10.26080/krrmkozl.2020.7.321.
Full textAbstract:
Respect for traditions is still consciousness and character-forming, which is reinforced by folk songs and Hun-garian songs. What is being said is easier and more beau-tiful with the help of the thoughts expressed by their lyrics.In order to study this, I recorded everyone’s most favored song, folk song, and sometimes ballad in my hometown, Kis-gyalán. From a methodological point of view, different ver-sions and variations of folk songs and Hungarian songs were searched. The favored songs varied based on the inhabit-ant’s occupation, character, appearance, different qualities, and also on their different abilities and orientations. Different songs were sung at a wedding, at work, at school, or even during drinking. What one wanted to let others know, s/he told them what was on his or her mind by singing. During the recall of the songs, long-unmentioned images of life also came to life.
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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.
Full textAbstract:
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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Erjian, Ma, and Sayam Chuangprakhon. "Transmission of Yugu Folk Song Knowledge in Sunan County, Gansu Province, China." International Education Studies 16, no. 3 (May 21, 2023): 43. http://dx.doi.org/10.5539/ies.v16n3p43.
Full textAbstract:
The qualitative research method is used in this study to investigate ways to transmit Yugu folk song knowledge in Sunan County, Gansu Province, China. The area was selected in Sunan County, Gansu Province, China. The fieldwork method is mainly used for collecting data, together with the information from the document. The study results are as follows: The origins of the Yugu people are not single but multiple. They are a new ethnic community formed by the integration of the ancient Uighurs and the ancient Mongolian tribes. The Yugu people are currently the best-preserved ethnic group in the world’s Ancient Turkic language, due to the characteristics of the language and the geomorphological characteristics of the Yugu area, making the Yugu music unique and different from the music of the surrounding Han and other ethnic groups. The development of Yugu folk songs can be divided into five periods: 1) the Mobei period before 840 AD and the production period of Yugu ancestral folk songs; 2) from 840 AD to the beginning of the 16th century, the gradual development of the art of Hui folk songs; 3) from the beginning of the 16th century to 1953, the excavation period of traditional folk songs of the Yugu people; 4) from 1953 to 1990, the prolific period of Yugu folk song creation; 5) since 1990, the trough period of traditional Yugu folk songs and the development period of newly created songs.
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Lee, Eugene. "The Status of Korean Folk Song Transmission in the Mid-1970s Seen through DBS Report “Minyo-ui Gohyang”." Society Of Korean Oral Literature 71 (December 31, 2023): 181–211. http://dx.doi.org/10.22274/koralit.2023.71.006.
Full textAbstract:
This study examines the actual status of the transmission of folk songs in South Korea in the mid-1970s through DBS Report "Minyo-ui Gohyang (Hometown of Folk Songs)" produced and broadcast by Dong-A Broadcasting System (DBS). DBS Report "Minyo-ui Gohyang" was a radio documentary series that covered farming and fishing villages to report on folk song transmission. DBS produced and broadcast 15 episodes of DBS Report "Minyo-ui Gohyang" in 1974 and 10 episodes in 1975. Although it did not cover all regions of the country, Gyeongsangnam-do, Gyeongsangbuk-do, Jeollanam-do, Jeollabuk-do, Gangwon-do, and Chungcheongbuk-do were included and the coverage was conducted at the village level. This program was significant in that it raised the public’s awareness of folk songs by covering and reporting in-depth on native folk songs rather than popular folk songs that were often heard through modern media, such as radio, TV, and LP at the time.
DBS Report "Minyo-ui Gohyang" not only reported what kind of folk songs remained in the farming and fishing villages but also how the villagers were passing down folk songs and what these meant to them. This program covered a total of 18 villages. In 8 villages, folk songs were actively transmitted, while in the rest 10 villages, folk songs were found but not actively transmitted. The main cause of this was the changes in living conditions. In fishing villages, the opportunities to sing fishing labor songs disappeared with the decline of traditional fishing due to the development of fishing technology and changes in fishing grounds. Similarly, in rural areas, the opportunities to sing folk songs decreased due to the mechanization of farming, the use of herbicides, and the industrialization of the region. The spread of popular songs through the radio also diminished the transmission of folk songs. However, it is noteworthy that some villages underwent the same changes while the villagers worked together to preserve their folk songs. For them, folk songs were not only a means of relieving the boredom and exhaustion of labor and increasing the efficiency of work but also a source of vitality for living, art that enriched daily life, and valuable cultural heritage to be passed on to future generations.
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Lenska, Dominika. "Musical and educative aspects of various forms of children’s folk song and play." Konteksty Kształcenia Muzycznego 5, no. 1(8) (December 20, 2018): 29–43. http://dx.doi.org/10.5604/01.3001.0012.8031.
Full textAbstract:
The author discusses the issues connected with children’s singing in the context of a folk song and of singing in general. She shows an analogy between a native song and mother tongue, indicating shared ‘steps’ that give a chance to express oneself through speech and song in a natural and universal manner. She also draws our attention to the link between a folk song and a life of particular communities, their culture and the world of nature. The author places children’s songs within an exceptionally colorful and varied repertoire of folk songs. Characteristic features of songs, such as a simple form, elementary melo-rhythmic phrases, narrow vocal range, texts about familiar matters, determine their value, enable children to learn them quickly and play a very important instructive-educative role.
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Gao, Xuehong, and Khomkrich Karin. "Preserving and Promoting Cultural Literacy through Education of Chinese Sani Folk Songs in Kunming City, Yunnan Province." International Journal of Education and Literacy Studies 12, no. 1 (January 27, 2024): 148–54. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.148.
Full textAbstract:
Chinese Sani folk songs, originating from the vibrant culture of the Sani people in Kunming City, Yunnan Province, represent a precious tapestry of musical heritage. This research aims to examine the preservation and promotion of cultural literacy through the education of Chinese Sani folk songs in Kunming City, Yunnan Province. Esteemed Sani scholars, composers, and song transmitters serve as key informants, providing valuable insights into the multifaceted process of preserving and promoting this cultural treasure. A mixed-methods approach is employed. Combining qualitative interviews and quantitative questionnaires, this research offers a comprehensive perspective on Sani folk song preservation. The results highlight the importance of education, legislative support, cultural promotion, and collaboration with universities in preserving Sani folk songs. Suggestions include the establishment of folk song learning workshops, youth education programs, the preservation of traditional living environments, and the creation of a Sani folk song database. Overall, this research underscores the urgency of safeguarding this unique cultural heritage and contributes to the global discourse on preserving endangered folk music traditions.
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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.
Full textAbstract:
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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Thořová, Věra. "The Occurrence of the Broadside Ballad Ó, radost má [Oh, My Joy] Among Folk Songs." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 6–18. http://dx.doi.org/10.1515/amnpsc-2017-0002.
Full textAbstract:
The broadside ballad O, radost ma [Oh, My Joy] was, as far as known, first printed in Kutna Hora in 1808. Later, it began to be sung to an unprecedented number of different tunes, inspired by folk and semi-folk songs, broadside ballads, church and artificial songs. Sometimes, the tune even literally quoted the folk melody. Variants of the song continued to appear in all Czech regions throughout the 20th century. In the Chodsko region, the song has become popular and has been sung as a folk song to this day.
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Han, Zhen, and Hongyang Lv. "Analysis of the Artistic and Cultural Connotation of Hebei Folk Song "Flower"." Economic Society and Humanities 1, no. 1 (January 2024): 94–96. http://dx.doi.org/10.62381/e244117.
Full textAbstract:
Hebei folk song is a kind of ancient han nationality folk music, with the characteristics of tragic and stirring and desolate, or melodious, showing the simple and honest temperament of the working people of all ethnic groups in Hebei province."Flower Flowers" is not only an excellent representative of Chinese national works, but also a widely circulated folk song in central Hebei. This paper analyzes the artistic connotation of the folk songs, folk flavor, regional characteristics and the style of The Times reflected in the Flower, so that readers have a comprehensive understanding of the artistic connotation of Hebei folk songs.
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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.
Full textAbstract:
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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Kyrgys, Kira. "From the history of collecting Tuvan folk songs: Yrlar and Kozhamyks." Religación. Revista de Ciencias Sociales y Humanidades 7, no. 33 (September 26, 2022): e210944. http://dx.doi.org/10.46652/rgn.v7i33.944.
Full textAbstract:
The ancient history and culture of the inhabited tribes of Tuva attracted the attention of travelers, linguists, ethnographers, and musicians, especially in recent decades. The primary recordings of yrlar (tuvan songs) and kozhamyk (ditties) in the writing sources of scientists contained samples of ancient musical poetry, including one-thousand-year history images, plots, motifs, and archaic vocabulary. Owing to ethnocultural values and beliefs of Tuvan people in Southern-Central Siberia it preserved features of relict cultures in music traditions. Based on field works conducted in the late 20th century, via ethnographic, historical, and typological principles of systematic approaches to folklore music genres, all songs were divided into occasional rituals and non-occasional songs, according to musical stylistic characteristics folk songs were classified into long songs ʽuzun yrlarʼ, short songs ʽkyska yrlarʼ and traditional ditties ʽkozhamykʼ. Tuvan culture is rich with musical traditions, it includes various song types, melodic recitations, instrumental creativity, calendar, and ritual songs, epic genres, etc. The author considers the development of song art as the most mobile layer, which absorbs all from the surrounding sound world. Songwriting reflects the spiritual experience and national character of the Tuvan ethnos.
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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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Violeta B. Felisilda. "Rural Life Imagery Representations In Selected Folk Songs." Journal of Educational and Human Resource Development (JEHRD) 3 (December 10, 2015): 51–65. http://dx.doi.org/10.61569/fyqn2g61.
Full textAbstract:
This study analyzed the rural life imagery representations in selected folk songs of Southern Leyte. The formalistic analysis revealed that “Awit sa Bukid” (Song of the Mountain) projected farmers working to attain a good harvest. The folk song “Barutu” (Boat) presented a coffin made out of a sawed-off boat and funeral activities. “Alibangbang” (Butterfly) featured a man courting and exploiting a woman then leaving her for another woman. “May Balay Gamay sa Bungtud” (There Was a Hut on the Hill) portrayed a socialite mother living in a shanty on a hill. The findings showed representations of rural life imagery in the selected folk songs of Southern Leyte.
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TERIGELE. "Experience and Reflection on Horqin's Narrative Folk Songs in the Study of Bel Canto Singing." Academic Journal of Management and Social Sciences 4, no. 3 (October 11, 2023): 14–15. http://dx.doi.org/10.54097/ajmss.v4i3.12392.
Full textAbstract:
With the development of China's national strength and economic progress, many of China's art have been gradually carried forward. For example, Horqin narrative folk songs, which were born in Horqin Grassland, are also famous at home and abroad. After historical development and innovation, Horqin folk song culture has also attracted more and more attention. It has developed from the Zhelim Horqin period to Horqin narrative folk songs. There are many works that need to be studied by scholars. In the process of vocal music learning, it is to think and experience in depth. In view of this, this article will discuss from three aspects: the style analysis of Horqin's narrative folk songs, the significance of folk songs in vocal music learning, and practical experience.
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Xu, Hong. "The Application of Multi-modal Discourse in English Translation of Tujia Folk Song Long Chuan Diao in Western Hubei Province." MATEC Web of Conferences 232 (2018): 02010. http://dx.doi.org/10.1051/matecconf/201823202010.
Full textAbstract:
Nowadays, multi-modal discourse, including language, picture, audio and video play a very important role in the translation of folk songs. Under the comprehensive framework of Delu Zhang, this paper analyses the application of multi-modal discourse in the translation of Tujia folk song Long Chuan Diao from four aspects: cultural level, context level, content level and expressive level. The study can better understand Tujia folk songs and transmit Tujia culture. Multi-modal discourse analysis plays an important role in translating and spreading Tujia folk songs in Western Hubei province.
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Richter, Pál. "The Harmonization of Folk Songs in Kodály’s Workshop." Studia Musicologica 60, no. 1-4 (October 21, 2020): 265–79. http://dx.doi.org/10.1556/6.2019.00013.
Full textAbstract:
When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.
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Еgorova, Irina L. "The Russian tradition of “playing songs” as a phenomenon of folk performance." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2022): 10–24. http://dx.doi.org/10.35852/2588-0144-2022-3-10-24.
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Russian musical folklore reflects the rich culture of the people, for them performing a song means to reveal the soul in it. Nowadays, there is an acute problem of preserving the traditional criteria of folk performance as a national treasure. But it can be solved not by imitation of the external signs of folklore intonation, but through a deep understanding of the primordial signs of the very process of folk song creation. Many of them are rooted in the Russian tradition of “playing songs”, which was widespread in Russia until the middle of the 20th century. The purpose of this work is to study its features as a phenomenon of folk performance. The signs of the tradition of “playing songs” form a complex, multi-valued concept, which is considered in the article from different positions. The main attention is focused on understanding the artistic, aesthetic and phenomenological principles of this phenomenon. In the folk environment, the concepts of “singing” and “playing” songs are delimited. Spiritual verses were sung, and songs were played. The expression “playing songs” contains a “genetic code’, marking the signs of the Proto-Slavic culture, when the very word “game” meant “singing and dancing in honor of a pagan deity”. In ritual folklore, this concept is revealed as the art of representation. In songs with deep psychological overtones – as the art of experiencing. “Playing a song”, the singers are able to penetrate into the subtle world of poetic images and into the intonation subtext of musical images. In the process of “immersion” in the conditional reality of the song space, they can interpret the idea of the song in a new way and, in the context of certain life circumstances, create new versions of the prototype.
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Pu, Tao. "A Research on the Five State Songs of the Khorchin Zasagt Banner." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 335–38. http://dx.doi.org/10.54097/yb1pt185.
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The five State songs,inherited from the old time are in the Zasagt banner. (They are also called as the religious and State songs). Five songs/hymns of religion and state: 1: Bayanun Tsagaan Altan Delkhii. 2: Yalguusan Erkhet Dalai Lama. 3: Namyan Dalai. 4: Praise of Mount Bayanzurkh. 5: Ungu Saitai.The five State songs, inherited from the old time in the Zasagt banner have been sung untill now.Three of them are long-songs and two of them short songs. The folk songs, passed on for many years are value of the unforgettable cultural heritage. The song”A Praise of mountain Bayanzurkh”has been sung over hundred years and we have analysed its three versions. The reason that the song is not changed for the full hundred years may be connected to the preservation of the specific “soul”, carried out by the worshipped mountain in comparison with the praise song/folk song changed by singers who enriched in their improvisation.
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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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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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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.
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Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.
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Lin, Yan, Hazlina Abdul Halim, and Farhana Muslim Mohd Jalis. "Building a Parallel Corpus for Chinese Folk Songs Translation Studies: A Case Study of Northern Shaanxi and Hua’er Folk Songs." Theory and Practice in Language Studies 14, no. 2 (February 1, 2024): 454–68. http://dx.doi.org/10.17507/tpls.1402.17.
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Folk songs, collaboratively created by the public and transmitted orally, have gained widespread popularity. The translation of folk songs primarily centers on lyrics translation, a subset of literary translation. Recent advancements in corpus technology have highlighted the significance of corpus-based research approaches for the analysis of literary translation. The corpus method, now employed as a hybrid research approach, enables the generation of quantitative data for descriptive translation studies. Scholars are increasingly using parallel corpora containing both the source text (ST) and the target text (TT) to explore translation universals across diverse texts. Despite the growing body of literature on the translation of Chinese folk songs, most studies have involved straightforward analyses of a limited number of translated texts without the utilization of quantitative approaches. This article aims to bridge this gap by presenting a prospective study on the creation of the Chinese-English Parallel Corpus of Northern Shaanxi and Hua’er Folk Songs (CEPCNSHFS). The study covers essential aspects such as sampling, corpus structure, corpora selection, and corpora processing. Moreover, to assess the practical utility of the CEPCNSHFS, a pilot study was conducted. The primary contributions of this article reside in the potential of the CEPCNSHFS to support diverse research topics, including the exploration of translation language characteristics, styles, and methods employed in translating Northern Shaanxi and Hua’er folk songs, both of which hold significant positions within Chinese folk song traditions.
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Budhathoki, Mahendra Kumar. "Social Representations on Singaru Folk Songs in Nepal." Patan Pragya 11, no. 02 (December 31, 2022): 82–92. http://dx.doi.org/10.3126/pragya.v11i02.52043.
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This study focuses on the portrayal of social values in singaru song of Salyan, Nepal. The study answered how singaru songs represent social phenomena of people. The study utilized interpretative qualitative method; the sample songs were collected through the participatory method in various occasions and ceremonies in Salyan and analysed from the perspective of social representation theory. The study has exhibited the social and cultural experiences, love-in-unionand love-in-separation emotion, caste discrimination, pleasing and traumatic feelings and sentiments caused by poverty, village headsmen, rich cunning people and fraudsters in singaru songs; political leaders also deceive needy people through corruption and oppression in the mechanism. They establish new jimwal and mukhiya in the village, and torture people in different ways. The paper exposes the readers to societies, cultures, experiences, places and political impact to the villages Salyan. It also brings singaru folk songs to the notice of international readers.
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Walker, Trent. "Folk Songs: A Selection of Wedding Songs." Manoa 34, no. 1 (2021): 30–32. http://dx.doi.org/10.1353/man.2021.0023.
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