Academic literature on the topic 'Folklore style'
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Journal articles on the topic "Folklore style"
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Kazimoglu-Imanov, Mukhtar. "The problem of style in folklore." Dede Gorgud, no. 03 (2023): 47. http://dx.doi.org/10.59849/2309-7949.2023.3.47.
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Berezyuk, S. V. "STYLE FEATURES MUSICAL FOLKLORE OF THE EVENKS." Social Anthropology of Siberia 1, no. 2 (2020): 32–40. http://dx.doi.org/10.31804/2687-0606-2020-1-2-32-40.
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Pătraş, Andra Daniela. "Expression of the Romanian Folk Style in Béla Bartók’s String Quartet No. 1." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (2022): 305–19. http://dx.doi.org/10.24193/subbmusica.2022.1.19.
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"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern era and the types of writing used, with a focus on the use of the melodic and rhythmic elements of folk music. The musical stylistics of this work is based precisely on the intertwinement and fusion of the two great creative principles: folk and art. Keywords: Béla Bartók, string quartet, folk elements. "
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Ramadhani, Rahimi, Hasanuddin WS, and Novia Juita. "STRUKTUR CERITA RAKYAT LEGENDA SI BAJAK SI KELAK KULIT DAN FUNGSI SOSIALNYA PADA MASYARAKAT DESA SIMALEGI KECAMATAN SIBERUT BARAT KABUPATEN KEPULAUAN MENTAWAI." Jurnal Bahasa dan Sastra 5, no. 1 (2018): 41. http://dx.doi.org/10.24036/898740.
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This research is aimed to describe: (1) the structure of folklore legends Si Bajak Si Kelak Kulit in Simalegi Village, West Siberut, District Mentawai Islands; (2) the social function of folklore legends Si Bajak Si Kelak Kulit in Simalegi Village, West District of Siberut, Mentawai Islands. This sort of research is a qualitative study using descriptive methods. This research data is folklore legends Si Bajak Si Kelak Kulit in Simalegi Village, West District of Siberut, Mentawai Islands. These data was collected from informants through interview, observation, and interviews records by informants. The data were analyzed by the steps of: (1) a data inventory phase; (2) classification of data; (3) the stage of discussion or conclusion from data classification results; and (4) the stage of reporting. Based on the research, was found the following statements. (1) the structure of folklore legends Si Bajak Si Kelak Kulit in Simalegi Village, West District of Siberut, Mentawai Islands including: (a) a language style, (b) the viewpoint of the speaker (the informant), (c) character and characterization, (d) the storyline/plots of the folklore, (e) the background, (f) the theme, and (g) the moral of folklore; (2) social functions contained in folklore is to educate, entertain, also to strengthen the tradition, as the way to bequeath the tradition.Keywords: structure, social function, folklores
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Dr., Dimple. "MYTH AND FOLKLORE IN CHITRA BANERJEE DIVAKARUNI'S NOVEL." International Journal of Multidisciplinary Research and Modern Education (IJMRME) 6, no. 2 (2020): 60–62. https://doi.org/10.5281/zenodo.7663188.
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Divakaruni uses mythic and folkloric motifs in her novels to mythopoetically narrativise the struggles that mark the Indo-American diasporic existence and female experience. This is not just a narrative style but a process of giving a cognisable shape to the chaotic matrix of women's existential and experiential predicaments in an alien land. It is figured forth through her mythological or quasi-mythological and folkloric treatments of some existential severe, political and cultural issues. This paper studied Myth and Folklore in Chitra Banerjee Divakaruni's Novel.
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Abduvahabova, Mohina Azatovna, Nargiza Xayitmuratovna Eshankulova, Barno Akbar qizi Burtabaeva, and Bobir Norboyevich Umarov. "Stylistic Characteristics of the Gender Based Folkloric Discourse." International Journal of Innovative Technology and Exploring Engineering (IJITEE) 10, no. 1 (2020): 163–66. https://doi.org/10.35940/ijitee.A8142.1110120.
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Discourse analysis includes such types of speech activities as speaking, listening, reading and writing, i.e. through this analysis it is possible to analyze dialogic, monologue texts, natural speech, any type of texts in terms of genre. Discourse analysis is usually connected to psychological (cognitive, cultural-historical), linguistic (grammatical, textological, stylistic), semiotic (semantic, syntactic, pragmatic), philosophical (structuralist, poststructuralist, deconstructivist), logical (argumentative and analytical), informational-communicative and rhetorical approaches. In this manuscript, we have explored the style of male and female folkloric text through various stylistic means. As a research method, we used the discourse analysis proposed by S. Mills. For many years, the use of the term “discourse” in textual research has become a tradition. Research on language and discourse relations is becoming as popular research on language and gender relations. However, the analysis of feminist and masculine discourse in linguistics is still minor for political and social reasons. This manuscript examines the style of the English, Italian and Uzbek folklore texts through gender based and functional stylistics. Undoubtedly, folklore texts are passed colloquially through words, they have neither narrator nor writer, so different folklore texts have been analyzed according to the gender of collectors of the three nations. The creation of a special categorical apparatus in the field of gender stylistics requires the introduction of “gender style” and “gender stylization”. Gender methodology is based on the author's gender characteristics, speech. Gender style varies depending on the gender change of the author and falls into a certain patterns. The plot and content structure of any type of text depends on the gender of the author or subject of the speech.
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Denisenko, A., A. V. Starkova, and O. M. Vassilyeva. "H.P. Lovecraft’s unique style: catalyst for the rise of Lovecraftian internet folklore." Vestnik of M. Kozybayev North Kazakhstan University, no. 3 (59) (October 23, 2023): 139–43. http://dx.doi.org/10.54596/2958-0048-2023-3-139-143.
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This article delves into the enduring influence of H.P. Lovecraft on internet folklore, specifically focusing on his distinctive writing style and narrative techniques. By analyzing examples from Lovecraft's seminal works, such as “At the Mountains of Madness” and “The Call of Cthulhu,” we illustrate how Lovecraft’s ability to evoke cosmic horror and existential dread has served as a catalyst for the emergence of Lovecraftian internet folklore. This study sheds light on how Lovecraft's legacy continues to shape and thrive in the dynamic digital landscape of internet folklore.
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Danylets, Viktoriia. "Stylistic and Genre Elements of Hutsul and Gural Folklore in the Works of Ukrainian and Polish Composers." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 82–87. https://doi.org/10.31866/2410-1176.43.2020.220093.
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The purpose of the article is to find out the key features for authentic music of the mountain areas in Ukraine and Poland and to characterise the influence of Hutsul and Gural folklore on the work of outstanding Ukrainian and Polish composers in the latter half of the 20th century. The research methodology is based on the theoretical, historical, comparative and analytical methods. The article applies methods of generalisation and concretisation of the scientific material. They are to understand the influence of genre and stylistic elements of Hutsul and Gural folklore on the work of significant Ukrainian and Polish composers. The scientific novelty of the study is in deciding the stylistic and genre elements of Hutsul and Gural folklore in the works of composers of Ukraine and Poland of the research period. The main features of Hutsul folklore, namely free improvisation of the melody line, original rhythm system and unique colouristic, have masterfully transformed into the creative principles and stylistic and genre structure of prominent Ukrainian composers’ musical works. They are V. Barvinsky, N. Nyzhankivsky, M. Kolessa, and A. Kos-Anatolsky. The features of Gural folk melodies can be traced in the genre and style within the works of Polish artists as K. Szymanowski and W. Kilar. The article has learnt that Hutsul and Gural’s folklores are tied by the dance music, lively rhythm and a wide range of variations in melodies. Conclusions. Reinterpretation of the genre and stylistic elements of Hutsul and Gural folk melodies is a force to recreate vivid images of archaic Carpathian folklore in the works of Ukrainian and Polish composers. The works of V. Barvinsky, N. Nizhankovsky, M. Kolessa, K. Shimanovsky and others are patterns of the national musical style, demonstrating the highly artistic transformation of Hutsul and Gural folklore. Kolomyjka in F-sharp minor by N. Nyzhankovsky, Three Kolomyjky by M. Kolessa, Harnasie Ballet by K. Szymanowski introduce new structural and compositional trends based on national traditions.
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Jazuli, Abdin Munib, and Febrian Mahardika Devanda. "Design of "Reog Ponorogo" Game Character Assets to Introduce Indonesian Folklore." International Journal of Social Science And Human Research 06, no. 04 (2023): 2056–59. https://doi.org/10.5281/zenodo.7801776.
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This research is entitled "Designing Character Assets with RPG Style based on Reog Ponorogo Folklore". And main problem are development of technology will be affects the interest of millennials in preserving Indonesian culture. Becomes an important point of problems in this work are (1) How to concept the de-sign of character assets in RPG style based on Reog Ponorogo folklore that are unique and interactive? (2) How to visualize the design of character assets adapted from Reog Ponorogo folklore figures to be attractive for the target audiences? The purpose of this work is to create an interactive media to reintroduce the local culture, especially Reog Ponorogo.
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Buryak, Marina K. "Creative Work of Novgorod Original Singers as a Reference for Modern Folk-Singing Education." Musical Art and Education 8, no. 3 (2020): 159–74. http://dx.doi.org/10.31862/2309-1428-2020-8-3-159-174.
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The article presents the theoretical grounding of the folk-singing technologies of Novgorod original singers (authentic performers) as fundamental to the developed author’s methods: intonational-formulaic, vocal-phonatory, polyphonic-specific, local-style. The identified features of authentic intonation-formulaic education and the study resulted singing fund of children’s song folklore became “key” and end-to-end mechanisms in the author’s method of forming and developing skills of sustainable singing intonation with each participant in the educational process aimed at preserving and further developing the traditions of Novgorod folk-song creation. Based on the study of the general-style singing specifics, vocal-phonation and polyphonic texture of ensemble singing of Novgorod authentic singers developed local-style singing classification, which, according to the terminology of the author of the article, Novgorod folk-singing styles are: old Slavic, Old Russian, part singing, as well as four mixed folk-singing styles. The differentiating mechanism of classification is the potential of the applied types of folk vocal phonation, polyphony in the ensemble singing and the type of singing articulation. On this local-style foundation, the author formed a specific Novgorod mixed folk-singing style, combining locally-style folk-singing technologies of Novgorod authentic performers and the academic school of Russian folk singing. This style is used in the singing of teachers and students of the Novgorod Children’s Music School of Russian Folklore. The implementation of the technologies developed by the author in pedagogical practice helps children achieve a high level of singing training and become ethno performer, a future ethnophore and a bearer of Russian local / regional folk song traditions.
Dissertations / Theses on the topic "Folklore style"
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Jones, Dena Kay. "The piano works of Joaquin Rodrigo: An evaluationof social influences and compositional style." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289715.
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This document represents the investigative research on the solo piano music of Joaquin Rodrigo, a repertoire that dates from 1923 to 1987. A biographical sketch of the composer precedes a general overview of his twenty-three solo piano works. Discussion of musical trends that influenced Rodrigo provides a context for tracing his development as a composer. Analytic descriptions of two of Rodrigo's early piano works, Suite para piano of 1923 and the Preludio al gallo mananero of 1926, demonstrate how Rodrigo incorporated early 20th century compositional techniques into his own style. Although Rodrigo alludes to Spanish nationalistic ideas in his music prior to 1931, his predominate musical language is more congruent with European compositional trends, popular during this period. It is in the Serenata espanola of 1931 where the use of Spanish folklore becomes more pronounced in Rodrigo's musical language. Descriptive analyses of the Serenata espanola of 1931 and his Sonatas de Castilla, con toccata of 1950 demonstrate not only Rodrigo's mature language and fully developed pianistic style, but most importantly his use of folklorismo--incorporation of folklore, music, and culture. Although similar in certain aspects to the Spanish traditional style of Albeniz, Granados, Falla, and Turina, Rodrigo's approach is also distinctive. In order to appreciate the similarities and contrasts between the traditional uses of folklorismo and Rodrigo's use of folklorismo, a brief historical overview of 20th century Spanish Nationalism ensues. Rodrigo's contributions derive from a successful synthesis of Nationalism and unique pianistic style.
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Gelfand, Lynn. "Tales, technology, and transformations how different media environments shape the structure, style, and content of folk narratives /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319906.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.<br>Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3267. Adviser: Mary Ellen Brown.
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Карагозян, Роксана, Євгенія Головчанська та Володимир Мусієнко. "Художньо-композиційні особливості сучасної веб-ілюстрації мобільних ігрових додатків". Thesis, Університет Григорія Сковороди в Переяславі, 2021. https://er.knutd.edu.ua/handle/123456789/18546.
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На основі аналізу історії геймдизайну та прототипів відомих ігор виявити тенденції дизайну ігрових додатків. Запропоновано дизайн, сюжет та стиль нового ігрового додатку, в основі якого ‒ герої українського фольклору.<br>Based on the analysis of the history of game design and prototypes of famous games to identify design trends in-game applications. The design, plot, and style of the new game application, based on the heroes of Ukrainian folklore, are offered.
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Bryant, Gai. "Cuban Folkloric and Traditional Music Styles: rumba, danzón, punto libre and bolero adapted for Jazz Big Band in Australia using Modern Compositional Techniques." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15760.
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This research has focused on the adaptation and interpretation of Cuban folkloric styles of rumba, danzon, punto libre and bolero. The dearth of commercial recording during the troubled years of Gerardo Machado's presidency (1925-1933) and the revolution of 1959 made it necessary to source archival recordings of rumba and punto libre as well as conduct interviews with living Cuban musicians and musicologists in order to research these folkloric genres. Whilst numerous recordings of danzón and bolero for large ensemble exist no texts were found regarding the orchestration of these styles across a standard jazz big band. This research investigates music and dance elements specific to each style and supports the orchestration of nine compositions for standard jazz big band using these elements. Experts in this field such as Rebeca Mauleón and Larry Crook have presented examples of rhythmic layering, call and response and improvisation inherent in these styles, but do not address the ways that instrumentation, tag lines, tempi, breaks and song forms in rumba, danzon, punto libre and bolero can be effectively adapted for large jazz ensemble. My finding is that big band composers including Lalo Schifrin ('LatinJazz Suite') have not employed the richness and complexity of the true folkloric elements of Cuban music styles in their arrangements. To fill this gap in current compositional knowledge my orchestrations and compositions respectfully draw from the elements that I have discovered through my research. A rigorous analysis of Cuban music styles in English accompanied by scores, recordings with examples of phrasing and the distribution of rhythmic and melodic material across the ensemble has been offered with this thesis.
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Bohui, Djedje Hilaire. "Forme et fonction de l'expression du haut degré dans deux oeuvres d'Ahmadou Kourouma." Clermont-Ferrand 2, 1995. http://www.theses.fr/1995CLF20079.
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Loin de la célébration oecuménique et de l'idéalisation négritudiennes de l'Afrique pré-coloniale et du culte du français normatif par les écrivains de sa génération, Kourouma élabore une nouvelle esthétique romanesque délibérement iconoclaste. Tentative de synthèse entre la tradition orale et l'écriture romanesque classique, l'esthétique kouroumienne se situe dans une problématique énonciative. Si l'objet d'étude est l'expression du haut degré, le but du travail est double. Il s'agit d'abord de montrer l'influence de la tradition orale sur le style du romancier à travers la présence obsédante de l'hyperbole dans la narration mais aussi, le travail se propose de montrer, grâce à la description du mécanisme d'expressivité linguistique en général, comment la question essentielle de la recherche d'une certaine crédibilité discursive est résolue. Ainsi sont abordés entre autres sujets, le problème des interférences et des particularismes linguistiques constituant l'ossature de l'esthétique kouroumienne, mais aussi les problèmes de synonymie, polysémie, création lexicale. C'est une étude de sémantique linguistique qui, sans prétention d'exhauxtivité, traite à la fois des questions de syntaxe expressive et affective, de grammaire et surtout, des conditions psychologiques et socioculturelles de l'énonciation<br>Far from the oecumenical celebration and the negritudian idealization of pre-colonial africa on the one hand, and the worship of formal franch language made from writers of his generation on the other hand, kourouma elaborates a new and deliberately inconoclastic and novelistic aesthetics in his novels. Half-way between oral tradition and classical novel writing, kouroumian aesthetics is embeded in an enunciative problematic. If the ultimate goal of this study is the expression of high degree, our approch is double-sided : showing the influence of oral tradition on the novelist's writing through his excessive use of hyperbole in the narration ; showing, by the description of linguistic expressiveness mechanism, in general, how the essential concern of the quest for a discursive credibility is solved. Among other subjects, we deal here with the frame of kouroumian aesthetics, that is, the problem of linguistic interferences and peculiarities, the problem of synonyms, polysemy and lexical creation. Un other words, without pretending to be exhaustive, this linguistic and semantic study intends to answer the questions of expressive and affective syntax, of grammar and, above all, of psychological and socio-cultural conditions of enunciation
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De, Leon Rebecca Casas. "Colorín colorado este cuento no se ha acabado : modernized folklore Latino style." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5249.
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This is a children’s literature review of recent Latino folklore. Three theoretical perspectives create the framework of this analysis: Funds of Knowledge (Moll, 1990), Reader Response theories (Rosenblatt, 1982), and Culturally Relevant Teaching (Ladson-Billings, 1992). This work is set within the context of bilingual education that promotes biliteracy. Four themes are identified: Latino Counter Stories of European Folklore, European Cumulative Rhymes Acculturated, New Adaptations of old Latino Folklore, and Folklore Characters in New Adventures. The first two categories include stories with Western European origins that have been adapted to a Latino perspective. In the second category all the stories are cumulative tales. The third category consists of stories of Latino origin that are retold, but modified from the traditional storyline. The last category is a mixture of both European and Latino folklore characters in completely new storylines. Students can expand their literacy while educators create an inclusive classroom by integrating Latino literature and student’s Funds of Knowledge into culturally relevant teaching.<br>text
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Bellaviti, Sean. "Negotiating Musical Style in Panama: Nationalism, Professionalism and the Invention of Música Típica Popular." Thesis, 2013. http://hdl.handle.net/1807/35775.
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This dissertation provides both an historical outline and contemporary ethnographic account of the Panamanian musical practice called “música típica popular,” which is commonly understood in Panama to denote a specific kind of vernacular music that is widely embraced. By examining the social-historical processes, events and discourses that have contributed to the genre’s development, this study seeks to develop greater understanding of what I argue is this music’s particular and pronouncedly ambiguous relationship to prominent themes of Panamanian cultural nationalism. Specifically, I endeavour to show that early on in its history música típica popular epitomized Panama’s (liberalist-identified) national ethos of progressive modernity and cultural cosmopolitanism while at the same time maintaining alignments to specific territories and musical practices significant to Panamanian vernacular imaginaries.
The historical outline covers música típica popular’s development beginning from the late nineteenth century to the present. Its focus is on the genre’s tandem commercialisation and massification, performance and production technologies and associated performance modalities, shared musical/sonic traits, repertoire and approaches to innovation through musical mixing or fusión (fusion). One of the central goals here is to trace and examine points of alignment between música típica popular and dominant paradigms governing isthmian geo-cultural self-identification—particularly the interplay between a rural-identified “vernacular” culture and the perceived urban cosmopolitanism of Panamanian metropolites.
Through ethnographic research this study also aims to examine the various sonic, social and economic factors that contribute to notions of música típica popular as a particular socio-musical collectivity actively in dialogue with discourses of Panamanian national and cultural identity. To this end, notions of “genre” and “style” provide an analytical framework particularly for coming to terms with the interplay between sensibilities of convention and common practice, and a need for meaningful differentiation among practitioners. It is my contention that while música típica popular practitioners actively cultivate links both to themes of Panamanian music-cultural vernacularism and cosmopolitanism, on the whole the relationship of the genre to nationalist discourse should be more properly understood as one of sustained ambiguity: not wholly aligned to one theme or the other, and in fact doggedly and often productively resistant to such binary categorizations.
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Lavoie, Sophie. "Les violoneux du Saguenay-Lac-St-Jean : style et répertoire des derniers de leur lignée." Thèse, 2019. http://hdl.handle.net/1866/23596.
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La région du Saguenay-Lac-St-Jean est géographiquement située dans une enclave qui a contribué à l’isolement des populations s’y étant installées. Aussi cet éloignement aurait-il favorisé la présence de certaines spécificités culturelles dans cette région, spécificités ayant été relevées au sein de plusieurs domaines tel que la génétique, la linguistique, le patrimoine culinaire, l’histoire et la musique. Cette recherche vise à documenter plus spécifiquement l’élément musical dans la région du Saguenay-Lac-St-Jean par l’analyse du style et du répertoire de quatre joueurs de violon traditionnel ayant appris par transmission orale. La classification du répertoire et l’identification de différentes techniques de jeu au niveau du style permettent de relever à la fois des éléments communs et distincts chez les quatre violoneux. Outre les analyses quantitatives et qualitatives proposées au niveau du répertoire et du style, cette recherche comprend un survol de l’histoire des populations de la région avançant différentes pistes sur les origines et les influences des violoneux ayant habité ou séjourné sur le territoire depuis la traite des fourrures jusqu’à l’industrialisation, de même qu’un recensement de plus d’une centaine de violoneux du Saguenay-Lac-St-Jean depuis la colonisation, et un lexique endogène de la terminologie des violoneux étudiés.<br>The Saguenay-Lac-St-Jean region is an enclave, and this fact contributed, through the years, to the isolation of the populations established there. This isolation is a factor that would have contributed to the presence of cultural distinctiveness amongst the inhabitants of the region. This cultural specificity has been observed in many fields of research, such as genetics, linguistics, culinary traditions, history and music. This thesis documents the musical element of culture in the region of Saguenay-Lac-St-Jean, through the analysis of style and repertoire of four fiddle players from the region. The classification of repertoire and the identification of different playing techniques, highlight both common and individual elements featured in the music of these four fiddlers. The research also contains a historical overview of the people who lived in or crossed the region, from the period of fur trading to industrialisation, and how they could have influenced the music in this region. Additionally, this research contains a census of over 100 fiddle players who have inhabited or passed through the region since colonisation, as well as a lexic explaining over 70 terms and expressions used by the fiddle players of Saguenay-Lac-St-Jean.
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Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.
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Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works.
My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana.
Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity.
The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).<br>Art history, Visual Ars and Musicology<br>D. Mus
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Prifti, Egli. "Klavír v soudobé albánské hudbě." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-334657.
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This dissertation deals with comprehensive analysis of contemporary Albanian piano pieces. There have been selected compositions with artistic and educational value for these purposes. The pieces also represent different genres of Albanian piano music. Genres are exceptionally important in this view; the stylish range was reduced, in recent past. The reason was based not on cultural field, but on strict ideological rules. Piano music is embedded in a broader historical context that allows to stress the peculiarities of the Albanian musical language and thereby to clarify the uniqueness and value of selected compositions for the educational needs. Keywords Piano; album, folk-music; neoclassical style; analysis; pedagogical interpretation
Books on the topic "Folklore style"
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Krakowie, Muzeum Narodowe w., ed. Polskie style narodowe 1890-1918: Polish national styles 1890-1918. Muzeum Narodowe w Krakowie, 2021.
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Donev, Vladimir. Folklor i narativno modelirane v beletristikata na Li͡u︡ben Karavelov. Izd-vo "PAN-VT", 1998.
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Lane, Anne Kelly. What's cooking in Cape Ann: Food-folklore-fun. Seastone Publications, 2001.
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Lane, Anne Kelly. What's cooking in Cape Ann: Food-folklore-fun. Seastone Publications, 2001.
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Gullatte, Mary Magee. Grits and redeye gravy: Classic country cookin' --a taste of culture, folklore and cures. M. Gullatte], 1994.
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Nusom, Lynn. Billy the Kid cook book: Recipes and folklore from Billy the Kid country. Arroyo Press, 1992.
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Dabney, Joseph Earl. Smokehouse ham, spoon bread & scuppernong wine: The folklore and art of Southern Appalachian cooking. Cumberland House, 2010.
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Dabney, Joseph Earl. Smokehouse ham, spoon bread & scuppernong wine: The folklore and art of Southern Appalachian cooking. Sourcebooks, 2010.
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Dabney, Joseph Earl. Smokehouse ham, spoon bread & scuppernong wine: The folklore and art of Southern Appalachian cooking. Sourcebooks, 2010.
Find full textBook chapters on the topic "Folklore style"
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Noorlander, Paul M., and Masoud Mohammadirad. "3. Narrative Style and Discourse in Kurdish and Neo-Aramaic Oral Literature." In Neo-Aramaic and Kurdish Folklore from Northern Iraq. Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0306.03.
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Castro, Rafaela G. "Z." In Chicano Folklore. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195146394.003.0025.
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Abstract A style of suit worn by African Americans, Filipino Americans, and Mexican Americans during the 1930s and 1940s. In Chicano culture this style of dress is primarily associated with the pachucos of the 1940s. The fashion at that time was to wear very baggy pants with pegged legs, long jackets with high and sharp shoulder pads, thick-soled shoes, and long watch chains dangling from the belt. An addition to the whole style common to Chicanos was a particular haircut, long with a ducktail and a wide-brimmed hat.
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"Style and Transliteration." In The Bible in Folklore Worldwide. De Gruyter, 2023. http://dx.doi.org/10.1515/9783110478211-204.
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N’Diaye, Diana Baird. "Agency, Reciprocal Engagement, and Applied Folklore Practice: Beyond the Smithsonian Folklife Festival." In Curatorial Conversations. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805980.003.0015.
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This chapter focuses on the participatory research projects African Immigrant Folklife and Will to Adorn: African American Style, Community, Identity, which provided fieldwork training that has yielded documentation for the planning of Smithsonian Folklife Festivals and other projects. The author reflects on the applied aspects of public folklore, describing a curatorial approach that prioritizes commitment to community self-determination and building reciprocal research-learning relationships between Smithsonian staff and community-based cultural researchers.
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Snow, K. Mitchell. "Mexicanism Russian Style." In A Revolution in Movement. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0003.
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The influence of Serge Diaghilev’s Ballets Russes saturated the artistic environment inhabited by Diego Rivera and Roberto Montenegro in Paris before World War I. In predecessors to the debates surrounding nationalism in Mexico, Diaghilev explored its intersections with folk art in the pages of his magazine Mir iskusstva. Montenegro studied with Diaghilev ally Hermen Anglada who urged his disciples to use elements from their nation’s folklore to escape the hegemony of Parisian modernism. Although Rivera disparaged the Ballet Russes’s influence on Mexican art, he painted his “Mexican trophy,” a cubist Zapatista landscape with a prominent serape, in response to an exhibit of Russian folk art that had been inspired by the success of Diaghilev’s dance company. Montenegro also cited this exhibition as one of the major influences in his decision to pursue Mexican folk art as a source of inspiration.
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Richardson, Todd. "Folklore in Vacuo (and Other Disciplinary Predicaments)." In Implied Nowhere. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496822956.003.0015.
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In the form of a lyric essay, this chapter interrogates the motives and methods of mainstream folklore scholarship. The author identifies a variety of factors that discourage folklorists from taking more expressive chances in order to understand the specialized style that has come to dominate folklore scholarship. This hyper-professionalization of folkloristic writing has, the author argues, led to what Benjamin Botkin once called “folklorists talking to themselves or folklore in vacuo.” In order to make folklore studies resonate with a broader audience, the author calls for folkloristic writing that is more imaginative and less thesis-driven, writing that invites the curious in rather than excluding them in the name of scholarly prestige.
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"A Unified National Style: Folklore Performance in the Soviet Context." In Performing Russia. Routledge, 2004. http://dx.doi.org/10.4324/9780203317570-7.
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Pellegrini, Ernestina. "Rapsodia critica per Nane Oca e il suo autore." In Per sentiero e per foresta. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-420-2/005.
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In the cycle of novels of Nane Oca, popular culture, folklore, visionary imagination and, at the same time, civic engagement are put together. This paper focuses on different features of the work and the author’s style, retracing the steps of a critical interest that dates back to the middle 1980s.
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Magyar, Zoltán. "Narratívtípusok és népi emlékezet: egy dél-erdélyi falu mondahagyománya." In A Magyarságkutató Intézet Évkönyve 2023. Magyarságkutató Intézet, 2024. https://doi.org/10.53644/mkie.2023.11.
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This paper aims to review the folklore tradition of Alsórákos (today: Racoş, Romania) a Hungarian-inhabited settlement on the southwestern part of Szeklerland, but already outside the historical administrative boundaries of Udvarhely county, presenting the most typical topics and legend types of local oral folklore. As known folklore collections are only sporadically known available since 19-20th centuries from this village, and they mostly reflect specific local folk custom, the majority of the thesis was compiled based on the ethnographic fieldwork of the last two decades, focusing on the textual folklore traditions revealed by local interviews. In some cases, this folklore heritage goes back several centuries in this village, closely linked to the rich historical tradition of the region and the notable monuments of the settlement (Bethlen castle, churches, Saxon-style folk architecture). The varied natural environment of this village (the gorge of the Olt River, the surrounding volcanic mountains), as well as the folk imagination, which also manifests itself in this landscape in a diverse thematic variety, reflecting on local heroes, war times, famous geographical places and geographical names, also served as a source of inspiration for the local folklore, and for the famous or notorious outlaws and hidden treasures. And last but not least, this paper presents the local lore of beliefs, which is rich in legends about the supernatural world and its figures.
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Pozhidaeva, Galina A. "Significance of the Russian Medieval Sacred Music for the Russian Musical Classics." In Hermeneutics of Old Russian Literature: Issue 20. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-579-591.
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The article reveals the interdependence of the most important typological qualities of the Russian professional school — the epic beginning and broad melody and chant — with the development of sacred music of the Middle Ages and folklore. The epic style of the znamenny chant that prevailed in the early period (11th–14th centuries) in many aspects coincides with the bylin epic. At a later period of Muscovite Russia (15th–17th centuries) the melody of Junior edition of the znamenny chant and the development of new lengthy chants — putevoj, demestvennyj and bolshoj — led to recognition of the leading role of melodic beginning. Not earlier than the end of the 16th century this was manifested in folklore, in the genre of lyrical (drawl) songs. Russian Church singing shows that the medieval musical tradition, like the architectural, fresco, iconographic, and hymnographic traditions, preserved its aesthetic and value foundations in the styles of later epochs, forming a typology of musical thinking, the leading trends of the Russian school, and the national mentality. The role of the sacred music in Russian history should be assessed objectively.
Conference papers on the topic "Folklore style"
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Liu, Limei. "THE RESEARCH ON THE SOURCES OF CHINESE MATERIALS IN JAPANESE THE LEGENDS OF TŌNO." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.40.
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Tono Monogatari, published in 1910, is the pioneering and classic work of Yanagida Kunio, the father of modern Japanese folklore. Using Tono Monogatari as the starting point, Yanagida himself created the Japanese folklore, which the Japanese are proud of. Japanese academic circles have always regarded Tono Monogatari as a record of the local folk in Tono, Northeast Japan. Even Zhou Zuoren, who first got acquainted with this book in Japan, regarded it as a work of purely Japanese local studies. This article first starts with the text of Tono Monogatari, examines the relationship between its “Chinese style” and Chinese culture, and points out the Chinese cultural influence. On this basis the author traced the source of certain stories in Tono Monogatari, analyzed the way and process of these Chinese materials spread to Japan, and the changes that occurred after they were incorporated into Japanese folklore. By finding out that Tono Story has derived from many aspects of Chinese culture, it refutes the academic view that Tono Story is a pure Japanese folk heritage.
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Tipa, Violeta. "Folklore (folkloric expressions) in the language of Ion Creanga’s characters (based on fi lms inspired by the writer’s work)." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.15.
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Th e rich folklore background, created over the millennia, is one of the inexhaustible sources of inspiration for the classic of our literature Ion Creanga. His vivid, unmistakable style, which is due to popular spirituality, became the subject of many researches of linguists, philologists, literati, who mentioned the writer’s ingenuity to captivate through the spoken word. His works are written in a popular language, enriched with the most diverse phraseological structures: comparisons, metaphors, sayings, proverbs and witty remarks, which give the text originality, depth and unrepeatable beauty. As the writer’s fi rst biographer, Jean Boutiere, noted, „Creanga imitates the living word admirably” and „constitutes a rich folk repertoire of great interest”. Most of these phraseological structures will be found in the language of the characters from the fi lms inspired by the Crengian works. We will try to analyze the verbal expression from the perspective of an important component of the audiovisual narrative, oft en getting involved in the dramaturgical collisions of these fi lms. We will watch how the language from Creanga’s works is projected in the fi lm in order to characterize characters, states, situations, etc.
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Piriyeva, Leyla. "THE ROLE OF CLOTHING VOCABULARY IN THE FORMATION OF FOLKLORE STYLE IN THE ASHUG’S WORK." In THEORETICAL AND EMPIRICAL SCIENTIFIC RESEARCH: CONCEPT AND TRENDS. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-28.05.2021.v1.70.
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Cazac, Radu. "Trio for violin, clarinet and piano by Oleg Negruța: characteristic aspects of language." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.08.
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The author’s aim is to study some structural and language elements applied in the work Trio for violin, clarinet and baritone by Oleg Negruța. Following the detailed analysis of the creation Trio for violin, clarinet and piano by O. Negruța, we point out that the given work consists of three contrasting parts according to the tempo Allegro con fuoco-Andante cantabile-Allegro vivace, in which the author is based on the tradition of classical and romantic music harmoniously combined with elements of the folkloric musical language. We can say that in part I, the direction of classical music prevails – language elements, form, tonal plane, etc. In general, part II stands out for its cantability, positive emotions, with a meditative, melancholic, narrative character and folklore influences in the middle section. The finale is traditionally festive, energetic, lavish, and in dance-style, in which classical elements combined with folk elements are present. The trio attracts with its clarity, simplicity and determines the specificity of the master's compositional writing.
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Munteanu, Angela. "Times and the interior and exterior architectural stylistic character of the Romanian-Moldovan traditional dwelling, incontestable museum decoration." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.09.
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Every nation has a history of multiple cultural, ethnic, linguistic interferences, which complement each other from one century to another. The Romanian people have a tumultuous past, with periods of Ottoman occupation, the liberation and unification of Greater Romania, but also the separation from the mother country after the Second World War. Currently, the political and national development path of the Republic of Moldova is struggling between the East and the West. Romanian traditional stylistics represents us through culture, tradition, and customs. We have a valuable cultural heritage inherited from our ancestors, characterized by architecture and folklore, costumes, traditions, and national holidays, which bring back the beautiful spring, winter, and autumn holidays of yesteryear. The home is a peasant house, today a monument of traditional-vernacular architecture (made by folk craftsmen) with architecture specific to each area of the Republic of Moldova, has currently become an ethnographic museum of this richly endowed land. The peasant house is the interior space characterized by the inhabitants of a country. The constructions had a plan, size, and aspect influenced by the physical-geographical conditions of the natural environment, by the particularities and specifics of the household system, historically and socially conditioned. Starting from the stylistic origins of manifestation in interior design and architecture, the traditional Romanian-Moldovan style can be aligned in a rustic ethnic style, monuments of peasant architecture. Therefore, according to its characteristics the rustic style represents the preservation or conservation of the traditional, the old, the folklore of a people, which makes you immediately think of the family home in an atmosphere torn from a fairy tale, sitting on a soft carpet in front of the fireplace (sobă). The rustic style is closely linked to tradition and the countryside. Traditional architecture, regardless of country and geographical area, presupposes the use of natural materials from the environment where the houses are built – wooden beams, stone, clay, straw both inside and outside. For example, the peoples of Romania, Moldova, Ukraine used wood in forested areas and stone in mountain areas.
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Crasnova-Severin, Ecaterina. "The vocal cycles of Maurice Ravel in the composer's creative heritage." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.04.
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The article analyzes three vocal cycles by Maurice Ravel „Five Greek Folk Melodies”, „Folk Songs” and „Two Jewish Songs”. They were written over the course of 10 years – from 1904 to 1914. Each cycle is individualized, has a unique character, having in common the support on the folklore source. The author characterizes the ideational structure of the cycles, their specific genre and style, and the peculiarities of the piano part. It is concluded that when M. Ravel works with folk sources, he leaves the vocal melody unchanged and performs the piano part as a commenting component of the ensemble, increasing the expressiveness of the vocal line and containing characteristic elements
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Gimunová, Marta, Tomáš Vodička, Kristián Jánsky, et al. "The effect of classical ballet, Slovakian folklore dance and sport dance on static postural control in female and male dancers." In 12th International Conference on Kinanthropology. Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9631-2020-4.
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Purpose: Classical ballet, Slovakian folklore dance, and sport dance training differ in their way how to master the art of dance; however, postural control is essential for the correct exe-cution of complex movements used in all types of dance. The aim of this study was to analyse the differences in static postural control between classical ballet dancers, Slovakian folklore dancers and sport dancers and to analyse the effect of body mass, body height and toe grip strength on postural control. Methods: 68 dancers, between 17 to 28 years of age, participated in this study: 21 dancers from Slovakian folklore dance group VSLPT Poľana Brno (12 females, 9 males), 22 dancers from Brno Dance conservatory (16 females, 6 males) and 25 sport dancers competing at Brno Dance Open 2019 (12 females, 13 males). All participants were asked to stand upright, barefooted, arms along the body, both feet on the Emed-at platform (Novel GmbH, Germany) for 10 seconds with their eyes open to obtain the length of COP line (cm), average velocity of COP (cm/s), the elliptic area (mm2) and numerical eccentricity of the ellipse. The toe grip strength was measured for each foot when sitting using toe grip dynamometer (Takei Scien-tific Instruments, Niigata, Japan). To analyse the effect of dance style, to grip strength, body mass, body height, and gender on postural control variables, Kruskal Wallis test, and Spear-man Rank Order Correlation were used. Results: Abetter postural stability measured by the length and average velocity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. Sport dancers are used to a greater load on the forefoot and to a special foot roll-of pattern when dancing, which may lead together with a constantly changing environment during competi-tions to their enhanced postural stability. Despite the differences in dance training and dance footwear of female and male dancers (high-heel shoes in sport and Slovakian folklore female dancers, pointe shoes in female ballet dancers), no statistically significant difference in pos-tural variables between genders was observed. Similarly, in analysed dancers, no effect of age, body mass, and body weight on postural control were observed. The toe grip strength was not observed to affect the postural variables in this study. The greatest toe grip strength was observed in female ballet dancers, despite their younger age. Ballet dance training in-cludes repetitive exercises focused on foot and toes such as battement tendu or demi-pointe and en pointe positions probably resulting in the greater strength of the toes. Conclusion: In this study, better postural stability measured by the length and average ve-locity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. In analysed dancers, no effect of body mass, body weight, gender, and toe grip strength on postural control variables was observed. Future studies focused on postural stability changes in non-dancers after a sport dance, classical ballet and Slovakian folklore dance training program would provide additional knowledge about the process how each type of dance enhance the balance and other coordinative skills.
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Nikolaev, Dmitry. "“HAPPY VICTORIOUS NEW YEAR, INVINCIBLE COUNTRY!”: PRAVDA'S POETRY IN THE BEGINNING OF 1943." In FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3635.khmelita-19/99-128.
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In the article, the poetic works published in the newspaper Pravda in January-March 1943 are considered for the first time as an unity of texts. The pathos, themes, poetics, style and genre features of the poems of N. Aseev, D. Bedny, A. Bezymensky, E. Dolmatovsky, N. Zaryan, V. Inber, S. Marshak, M. Rylsky, A. Surkov, N. Tikhonov, S. Shchipachev and others are analyzed. Poetry is considered in the context of the main historical events of the time - the break of the siege of Leningrad, the victory in the Battle of Stalingrad, as well as main soviet holidays and memorable dates. It is proved that the relevance and even concreteness of the poetry, its close connection with the news from the front is combined with the maximum generalization, and the actual journalistic, agitation and propaganda component requires in poetry solutions that maximally affect the mass reader such as folklore genres and images, traditions of classicism, satire, etc. Poetry on the pages of Pravda from the first days of 1943 has been claimed as poetry of victory, and the emotional content of many poems can be expressed by N. Aseev's formula: “Glee - rage // Stand up to help // Until the decisive end”. It is particularly noted that the poems presented in ‘Pravda' by poets of different nations of the USSR should reflect the unity of the multinational country’s in The Great Patriotic War
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Blidar, Crina-Rozalia. "Traditions and customs in the country of Codru, Maramureş." In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.
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The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area currently falls administratively in the counties of Maramureş, Satu Mare and Sălaj, although in in the past they belonged to Sălaj county, most of the localities being integrated into the Cehu Silvaniei network. The identification of ancient customs and traditions preserved to this day or the reconstitution of some long-forgotten customs or traditional occupations from the folklore area of Maramures Ţara Codrului would lead to the valorization of the way of transmitting local values, customs, occupations, beliefs and symbols shared by the community, so that, subsequently, they are implemented in the daily life of the new generations. Being one of the most important traditional dances of our country, the Caluşari dance dates back to the pre-Christian period, being related to the ancient cult of the Sun. Considered by some specialists as the decayed descendant of an ancient ritual, coming from the mists of time, this particularly spectacular Romanian folk dance is included in the heritage of humanity. The ritual dance of the Caluşaris, of high artistic value of Romanian folklore, is our symbol for the scenes of the world; it is the emblem that connects equally to history and myth, without ignoring its semantic and value universality. This living symbol of our culture represents the uniqueness of the Romanian people, both through the movements of the footmen and through their clothing. It must be emphasized that the people regarded the game of the Gags as an unusual fact, because the energy and frenzy that the Gags displayed during the game did not seem natural to them, perpetuating the idea that they are led by a supernatural force that gives them powers. In fact, it’s about the enthusiasm, passion and joy with which everyone interprets the role they have in this show, because in the end, the dance of the Horsemen is a majestic show, performed in the purest and most authentic style. In 1907 George Pop from Băseşti, driven by the desire to have an authentic Romanian dance, brought a master, Dr. Iustin C. Iuga from Alba Iulia, who stayed in Băseşti for three months and trained the troupe group that had its first official representation on the day of the great TRIBUN . Later, the Caluşari bands participated in all Astra events or other important events of the time because leading a national dance band was an occasion of pride and national affirmation, the dance of the Caluşaris from Transylvania becoming a national emblem for the artistic expression of the leading Romanian villages. It was believed, in that day that through this dance one contributes to the formation and strengthening of the spiritual unity of the national consciousness, because those who dance the Căluşarul can only be Romanians in origin. Băseşti commune is an area where the authenticity and values of Romanian folklore are preserved. Included in the community known generically under the term Şara Codrului, an area strongly impregnated with local traditions and customs, Băseşti remains a land of preservation of traditions and customs that have long since passed. For more than 100 years, in Băseşti, the bands of gaggles have appeared on the country’s stages, expressing the desire of Romanians everywhere to be united under a single, unique and unbroken banner, thus perpetuating the dream of the great tribune, George Pop of Băseşti. The stage appearances of the two caluşari formations, the big team and the small team, from Cluj and Baia Mare in the 80s, represented crucial moments for this dance, which has now become a constant habit in the lives of the people of Basăşti. The simultaneous dance of the two generations of gaggles symbolizes its antiquity and continuity in our traditional culture. Thus, the constancy and antiquity of the dance of the Caluşari from Băseşti gives it the right to be called a custom specific to Băseşti, with all the rights that derive from it. The dream of a human intertwined with the beauty of this beautiful dance of the Caluşaris, against the background of passion and dedication of the members of the formations established over time, make history in Băseşti, representing a reason for national and, above all, local pride. If the glorious past is the basic piece in maintaining our national consciousness, the present is the link between it and the young saplings, the future generations that can be formed in the spirit of love for nation and country, with the due place given to the elements of national identity, and of course with love for the perpetuation of traditions and customs, especially arousing and developing the passion to play the dance of the Caluşar from Băseşti, this should be a reason for pride and joy for them, like their ancestors. Any spectator who has the opportunity to watch the dance of the Caluşari from Băseşti can claim that it was shown to him in all its archaic splendor, reinforcing his feeling that Romanians have.
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Chiselita, Vasile. "Performer Valentina Cojocaru: aspects of heritage creation in the Folclor orchestra." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.02.
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In the study „Performer Valentina Cojocaru: aspects of heritage creation in the Folklor Orchestra” the author proposes a new interpretation of the meaning of ideational and pragmatic structures, represented by genres and styles included in the repertoire of neo-traditional music from the Soviet era of Moldovan SSR. The study focuses on issues concerning the context of the emergence and assertion of neotraditional art in the 1960s and 1980s as a branch of popular culture and mass culture, closely connected to the political agenda of the Soviet government. The path and stages of the artist's professional evolution are highlighted. Valentina Cojocaru's repertoire delimits two strategic aesthetic directions: one focused on the traditional folk ethos, the other – on the values of the new communist vision of the world. The main genera, styles and thematic species are discussed and exemplified.