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Journal articles on the topic 'Latin American Folk songs'
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Moncada Linares, Sthephanny, and Xin Zhi-Ying. "Representations of Christmastide in Latin American Christmas Folk Songs: A Transitivity Analysis." Language Circle: Journal of Language and Literature 15, no. 1 (October 21, 2020): 59–66. http://dx.doi.org/10.15294/lc.v15i1.25903.
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Considered as the universal language, music has been historically a means of communication and personal expression about the inner and outer world of its creator, it is present in almost every social activity of human beings as in the habitual religious celebration of Christmas across the largely Catholic countries. Therefore, the present paper will provide a descriptive text analysis of ten traditional Latin American Christmas folk songs on the base of the transitivity system informed by the Hallidayan Systemic Functional Linguistics theory. To reach this goal, both a quantitative and qualitative research method approach was applied. Findings indicated that among the six analyzed transitivity process types, the material processes (32%) dominate the construal of the musical pieces, followed by the mental (23%), behavioral (18%), and relational realizations (13%) whereas the verbal and existential processes are relatively low all together representing an overall frequency of 14%. This reveals the singers’ attempt to represent the Christmas season as a nostalgic time leap, an immediate enjoyment, and a rewarding exchange.
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Manuel, Peter. "From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics." Journal of the American Musicological Society 55, no. 2 (2002): 311–36. http://dx.doi.org/10.1525/jams.2002.55.2.311.
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Abstract This essay explores the sense of dual tonicity evident in a set of interrelated Spanish and Latin American music genres. These genres include seventeenth-century Spanish keyboard and vihuela fandangos, and diverse folk genres of the Hispanic Caribbean Basin, including the Venezuelan galerón and the Cuban punto, zapateo, and guajira. Songs in these genres oscillate between apparent “tonic” and “dominant” chords, yet conclude on the latter chord and bear internal features that render such terminology inapplicable. Rather, such ostinatos should be understood as oscillating in a pendular fashion between two tonal centers of relatively equal stability. The ambiguous tonicity is related to the Moorish-influenced modal harmony of flamenco and Andalusian folk music; it can also be seen to have informed the modern Cuban son and the music of twentieth-century Cuban composer Amadeo Roldán.
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Morinaka, Eliza Mitiyo. "Agnes Blake Poor e os poemas Pan-American." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 2 (May 31, 2019): 127–52. http://dx.doi.org/10.5007/2175-8026.2019v72n2p127.
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The considerations and arguments of this article were developed based on the information printed in Diário de Notícias, a newspaper from Salvador, Bahia, in Brazil, which states that Agnes Blake Poor was the first North-American woman to translate Brazilian literature into English. Poor edited the anthology Pan-American Poems (1918) that brought a collection of Latin-American poems in English translation. Brazil is represented by Gonçalves Dias, Bruno Seabra, the Portuguese Francisco Manuel de Nascimento, and a gypsy folk-song. Using the theoretical and methodological tools from Descriptive Translation Studies, the objective of this article is to analyse the political and literary dimensions in which the anthology was published in the United States and compare the source and target poems to pinpoint the translational norms. The results show that the governmental translation project was aimed to foster Pan-Americanism and to unite the Americas during war time, which was key to determine the choice of the poems and the translation norms.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.
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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Ptashenko, Serhii. "Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 67–82. http://dx.doi.org/10.34064/khnum1-59.05.
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Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.
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Garcia, Marcelo Velloso, and Vítor Castelões Gama. "Brazilian native metal and the experience of transculturation." Metal Music Studies 7, no. 1 (March 1, 2021): 171–77. http://dx.doi.org/10.1386/mms_00041_1.
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Politics and identity go together in Brazilian heavy metal. Headbangers often experience accusations regarding their less-than-Latin-American identity for enjoying a foreign musical style more than their own native styles. Even though this is partially true, Brazilian heavy metal engages national and musical identity in at least two different ways. The first is through the denial of any connection to Brazilian culture and its roots by accepting this anglophone genre. The second is through the transformation of the musical genre itself, thanks to the influence of Brazilian folk music. Based on these changes, we intend to describe how Sepultura laid down the roots that eventually flourished in the music of Arandu Arakuaa, a band associated with a movement known as the ‘Insurgency of Native Metal’, which describes itself as a union of Brazilian metal bands that write and perform songs about their country. We will also delve into how Sepultura, a highly regarded group often added as part of the ‘big five’ of thrash metal, used this influence to pave the way for other Brazilian bands, specifically Arandu Arakuaa, encouraging them to explore further possibilities regarding transculturation. Thus, in this article we intend to contemplate transculturation as a theoretical concept and as a tool to understand Brazilian heavy metal within its contradictions and core beliefs.
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Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.
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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.
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Graziano, John. "The Use of Dialect in African-American Spirituals, Popular Songs, and Folk Songs." Black Music Research Journal 24, no. 2 (2004): 261. http://dx.doi.org/10.2307/4145494.
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Hisama, Ellie M. "The Ruth Crawford Seeger Sessions." Daedalus 142, no. 4 (October 2013): 51–63. http://dx.doi.org/10.1162/daed_a_00236.
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Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often remain unacknowledged. This article underscores the link between her work in American traditional music and Bruce Springsteen's best-selling 2006 album “We Shall Overcome: The Seeger Sessions” in order to give Crawford Seeger due credit for her contributions. By examining her prose writings and song settings, this article illuminates aspects of her thinking about American traditional music and elements of her unusual and striking arrangements, which were deeply informed by her modernist ear.
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Schrader, Arthur, Anne Warner, and Jerome S. Epstein. "Traditional American Folk Songs from the Anne & Frank Warner Collection." American Music 3, no. 4 (1985): 488. http://dx.doi.org/10.2307/3051843.
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Kramer, M. J. "Life Flows On in Endless Song: Folk Songs and American History." Journal of American History 97, no. 4 (March 1, 2011): 1102. http://dx.doi.org/10.1093/jahist/jaq091.
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Rotola, Albert C. "Traditional American Folk Songs from the Anne & Frank Warner Collection." Manuscripta 30, no. 2 (July 1986): 147–49. http://dx.doi.org/10.1484/j.mss.3.1199.
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Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.
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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s works with great respect and persistence. The artist’s pedagogical activity, his talent as a teacher and mentor was found itself in students who achieved outstanding success thanks to high-quality professional training. The object of the research is O. Nazarenko’s musical activity. The aim is to determine characteristic features of O. Nazarenko’s authorial style in the context of Kharkiv Accordion School traditions. Methodology. This study is based on historical, genre and stylystic as well as interpretive method. The methodological basis is formed by the works of Yu. Diachenko (2012), M. Pliushenko (2017), I. Sniedkov (2016), A. Strilets (2018), which partly appeal to O. Nazarenko’s work and the history of Kharkiv Accordion School. Presenting the main material. One of the brightest representatives of Kharkiv Accordion School is the teacher, performer, composer and conductor O. I. Nazarenko. In the context of Kharkiv Accordion School formation and development, O. Nazarenko was remembered for his networking with famous Kharkiv composers. From 1967 to 1987 O. Nazarenko performed many authorial programs of such Kharkiv composers as V. Bibik, F.Bogdanov, O. Zhuk, V. Zolotukhin, D. Klebanov, I. Kovach, T. Kravtsov, G. Finarovsky, S. Faintukh and N. Yukhnovska. Working as a solo accordionist and accompanist, O. Nazarenko gained richer experience and recognition of stage colleagues; he accompanied the People’s Artists of the USSR such as Ye. Chervoniuk, M. Manoilo, Yu. Bogatykov and N. Surzhina, People’s and Merited Artists of Ukraine as V. Arkanova, A. Rezilova, Yu. Ivanov and others. While setting piano vocal works by Kharkiv composers, O. Nazarenko made editions for accordion and enriched the texture of his own works in every possible way. Materials of arrangements, settings, transcriptions were periodically published in such publishing houses’ collections as “Music” (Moscow), “Musical Ukraine” (Kyiv). We cannot ignore the maestro’s creative contacts with V. Podgorny, who influenced his further activity and made a contributive mark on the path of his professional development. Mastering the technique of influencing the listener through emotional and expressive accordion playing was important for O. Nazarenko. V. Podgorny who possessed a brilliant technique of working with sound, was mentioned by O. Nazarenko as “the artist of sound”. It was communication and creative contact with V.Podgorny that enriched the professional background and stimulation of the composer’s talents in young Olexandr’s soul. O. Nazarenko’s specific performing and composing style was formed under V. Podgorny’s influence also. As one of his brightest students, he collaborated with him, was interested in new creative ideas and imitated the teacher’s manner. O. Nazarenko’s work is more connected with singing and folklore; Ukrainian, Russian, Gypsy, Georgian and Latin American motives became the basis of his musical compositions. Based on folk and authorial melodies, he created largescale complex structures with vivid musical images. A typical feature of topics for adaptation, transcription and arrangement was the idea of taking unfamiliar works, which no one had previously addressed to. This attracts performers to search for their own interpretations without imitating already known performer interpretations. Many works in the maestro’s interpretation are characterized by a waltz manner. During his life, from childhood, all the memories and experiences accumulated and became the basis for many of his works. According to his words, he actively attended music evenings in a village club and school after the war, where he could listen to modern waltz-like music by Soviet composers. The first author’s melody, “Elegy Waltz”, which represents lyrics and romantic images as memories, was a dedication to his brother Volodymyr. The author comments that it was his brother who showed him waltz and taught him to dance it in his childhood. Many accordion works by O. Nazarenko are characterized by symphonic principles of development, which are also used in fantasia genre. In this genre, a dramatic and deeply psychological work interpreting Russian folk song “Thin Rowan” was written, which absorbed the emotions of the author’s inner experiences (being a dedication to his mother Alexandra Monakova). Being an excellent accordionist, he is aware of the instrument’s possibilities and implements this knowledge in working on musical works. He pays much attention to image intonation and the specifics of imitation of other instruments. His performance methods were based on the works by S. Richter, E. Hilels, L. Kohan, Ya. Heifetz and many other maestros. These ideas gave him, as a performer, an extremely subtle feeling of timbre. In the manner of his performance, he made the audience not only listen, but also hear, which is very important for perception of musical work. O. I. Nazarenko managed to raise a large number of students for many years of pedagogical activity. They represent his name not only in Ukraine but also abroad. Conclusions. O. Nazarenko’s authorial style is original and multifaceted, it consists of composition, performance and pedagogical activities. The authorial style formation was greatly influenced by Kharkiv cultural environment, creative connection with V. Podgorny and performing traditions of Kharkiv Accordion School in general. O. Nazarenko’s original compositional style is manifested in the genres of transcription, fantasia and arrangement of folk songs for accordion. O. Nazarenko’s works include a number of ones written and dedicated to people who left a great dramatic imprint in his life. Works dedicated to his mother, father, wife and brother are a musical word where dramatic images emphasize the expression and specificity of addressing close people. Due to the bright timbres, rich texture and registers, the composer’s musical compositions become symphonic, going far beyond the basic thematic material. Based on folk and authorial melodies, he created large-scale complex structures with vivid musical images. O. Nazarenko’s works require a performer’s high level of technical training, an intellectual approach to understanding all the musical text details, fastidious work on the sound. These components of performing skills are inherent in the maestro as a representative of Kharkiv Accordion School.
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Burnsed, Vernon. "Differences in Preference for Subtle Dynamic Nuance between Conductors, Middle School Music Students, and Elementary School Students." Journal of Research in Music Education 49, no. 1 (April 2001): 49–56. http://dx.doi.org/10.2307/3345809.
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This study began as a systematic replication of two previous studies in which a significant proportion of elementary and middle school music students preferred versions of American folk songs with explicit variation in dynamics over versions of the same folk songs where the dynamics were held constant. In the present study, the preference test used in the previous studies was modified to reflect a more realistic representation of dynamic nuance. Dynamic variation was reduced by one-third, and smoother curvatures were applied to the crescendos and decrescendos of the expressive versions of the 10 folk songs. This revised test was administered to 288 Grade 1–5 students, 78 middle school music students, and 22 conductors. The results of the study indicate that age and/or musical experience may affect perception and preference for subtle dynamic nuance in music.
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Dzuris, Linda. "Using Folk Songs and Ballads in an Interdisciplinary Approach to American History." History Teacher 36, no. 3 (May 2003): 331. http://dx.doi.org/10.2307/1555690.
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Stashko, Halyna. "An American woman through the prism of the epithet: semasiological aspect in creating images." Lege Artis 2, no. 2 (December 1, 2017): 356–91. http://dx.doi.org/10.1515/lart-2017-0019.
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Abstract The paper describes the use of epithets in creating female images in American folk songs. The results of the stylistic analysis show how different types of epithets intensify female images and testify to the connection between semantics and culture. Multifunctionality of the epithet tends to be of paramount importance in creating and interpreting images and backgrounds to them in folk song texts. This synergy provides valuable and handy clues, which help understand the evolution of a woman in America.
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Shuvera, Ryan. "“New Life” into Old Sounds." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 178–90. http://dx.doi.org/10.1525/jpms.2020.32.2.178.
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Simone Schmidt is a folk and country musician based in tkaronto (Mohawk word from which Toronto, Ontario, is derived). Schmidt's 2017 album Audible Songs from Rockwood is part of their solo work as Fiver and part of an attempt to write “new life into and around folk, country, and rock songs.” The album is based on their time spent at the Archives of Ontario reading the original case files of the Rockwood Asylum for the Criminally Insane that operated in Kingston, Ontario, from 1856 to 1881. The songs are sung from the imagined perspectives of different women imprisoned at Rockwood. I read and engage with Schmidt's work as a performance of unsettling. Unsettlement comes through on this album in direct ways, such as Schmidt's challenges to ideas of land possession and challenges to the bases of the medical and psychiatric designations. More subtle challenges come through the portrayals of the women, which, though largely imagined, come from a place of self-reflexivity. In this paper I will examine how Schmidt uses the sounds of traditional North American folk and country music as a sonic bed for a performance of unsettling on Audible Songs from Rockwood.
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Todorovic, Predrag. "The mysterious Misirlou." Muzikologija, no. 15 (2013): 61–89. http://dx.doi.org/10.2298/muz1315061t.
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My article deals with an unusual story on the roots of a song that has left a significant imprint on the twentieth century popular music all over the world. It is the song Misirlou, created somewhere on the territory of the Ottoman Empire, probably in Asia Minor. The author of this song is unknown. It was created in the so-called rebetiko musical style, typical of the Greeks from Asia Minor, who developed that style after the World War I. The first recordings of this song were made in the 1930s by Greek musicians Tethos Demetriades and Mihalis Patrinos. In no time, there was a true proliferation of different versions of this song, in almost every possible musical genre: jazz, latino, taksym, klezmer, makam, Serbian folk, hip hop, trash metal, pop and rock?n?roll. A number of these versions are mentioned in the article. The fact that this song is considered by many nations ? Greeks, Turks, Arabs, Serbs, Jews, Americans ? as their own, demonstrates its aptitude for incredible metamorphoses. What attracted me to this song was the story on how it was appropriated into Serbian folk music by the remarkable composer and singer Dragoljub Dragan Tokovic. The song was called Lela Vranjanka [Lela, the girl from Vranje] and became a standard in the so-called ?Vranje folk music?, marvelously interpreted by the singer Stanisa Stosic. I also compare various textual versions of Misirlou, in different languages, in order to show its parallel development in verse.
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Stølen, Marianne. "Om Grundtvigs sanges liv i Nordamerika." Grundtvig-Studier 59, no. 1 (January 1, 2008): 170–93. http://dx.doi.org/10.7146/grs.v59i1.16532.
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Om Grundtvigs sanges liv i Nordamerika[On the life of Grundtvig’s songs in North America]By Marianne StølenThe article discusses three important conditions for that rich life which Grundtvig’s songs have enjoyed among Danish-Americans in North America. Treated first is the songbook of Frederik Lange Grundtvig, Sangbog for det danske Folk i Amerika [Songbook for the Danish folk in America] (1888), commonly known as “the red one,” with focus upon F. L. Grundtvig’s selection of familiar and unfamiliar songs and hymns gathered from his father’s treasury of song and his reworking of some of these with regard to their relevance for use among the Danish immigrants. Next is described the production of songs among the migrants, especially the Danish pastors, with examples of the word-choice which reveals an assimilation of key conceptwords from Grundtvig’s writings along with readily recognisable echoes of lines from the Grundtvig classics. There follows a description of the Hymnal for Church and Home (1927) and the Danish-American A World of Song (1941), each of which in its way collaborated in building a bridge between successive generations of users. Particular attention is drawn to the translations contributed to the songbook by the Danish-American translator and pastor S. D. Rodholm, with use of examples from Grundtvig’s authorship.Finally a glimpse is offered into the role played today by Grundtvig’s songs in the song-repertoire of Danish-American conventions and among the present members of two singing groups in the Pacific Northwest.
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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture." Jurnal Humaniora 30, no. 1 (February 24, 2018): 27. http://dx.doi.org/10.22146/jh.32137.
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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of rhyme delivered with his idiosyncratic, deep and intense range of voices. Dylan is the official son of the legacies of social, communal, and ritual music-making that mirrors contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodies of medieval troubadours, and the blessed rhythms of Christianity and Judaism. The study is an attempt to illustrate how musicology and ethnomusicology in particular can contribute to understanding Dylan as a ‘performing artist’ within the postmodern paradigm. Thus, the study seeks to establish Dylan as a phenomenal, prolific postmodernist artist, as well as an anarchist. The power and originality of Dylan’s music constitute a prima facie case that his performances should be considered postmodernist art.
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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture." Jurnal Humaniora 30, no. 1 (February 24, 2018): 27. http://dx.doi.org/10.22146/jh.v30i1.32137.
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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of rhyme delivered with his idiosyncratic, deep and intense range of voices. Dylan is the official son of the legacies of social, communal, and ritual music-making that mirrors contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodies of medieval troubadours, and the blessed rhythms of Christianity and Judaism. The study is an attempt to illustrate how musicology and ethnomusicology in particular can contribute to understanding Dylan as a ‘performing artist’ within the postmodern paradigm. Thus, the study seeks to establish Dylan as a phenomenal, prolific postmodernist artist, as well as an anarchist. The power and originality of Dylan’s music constitute a prima facie case that his performances should be considered postmodernist art.
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Lee Eden, Bradford. "American Folk Songs: A Regional Encyclopedia2009387Norm Cohen. American Folk Songs: A Regional Encyclopedia. Westport, CT and London: Greenwood Press 2008. , ISBN: 978 0 313 34047 5 £103.95/$149.95 2 vols." Reference Reviews 23, no. 8 (October 23, 2009): 48–49. http://dx.doi.org/10.1108/09504120911003528.
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Bucciferro, Claudia. "Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora." JOMEC Journal, no. 11 (July 6, 2017): 65. http://dx.doi.org/10.18573/10.18573/j.2017.10147.
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This article addresses the connection between music and social activism in Latin America, centering on a discussion of ‘the music of exile’ as a cultural artifact of historical and conceptual significance for diasporic Latin American communities. The music produced by artists who were persecuted during the years of military rule was characterized by an engagement with social and political affairs, and often helped bring people together in the struggle for democratization. Despite censorship laws and other repressive measures enacted by the dictatorships, the music not only endured, but traveled across nations and continents, carried by the millions of people who were displaced due to State-sponsored violence. Now distributed through new media platforms such as YouTube, this music functions as a repository of memory and an emblem of solidarity that connects dispersed Latin American communities. Using Cultural Studies as a theoretical framework and employing an interpretive methodology, this study focuses on a selection of songs written between 1963 and 1992, presenting an analysis that centers on their lyrics and connects their meanings to larger social processes.
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Bucciferro, Claudia. "Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora." JOMEC Journal, no. 11 (July 6, 2017): 65. http://dx.doi.org/10.18573/j.2017.10147.
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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.
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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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RICHTER-IBÁÑEZ, CHRISTINA. "Latin American Songs in the GDR and the East German Singer-Songwriter Repertoire (1970–2000): Gerhard Schöne's ‘Meine Geschwister’ in the Light of Translation Studies." Twentieth-Century Music 17, no. 3 (October 2020): 401–17. http://dx.doi.org/10.1017/s1478572220000195.
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AbstractLatin American folkloric-popular music had an impact on the music scenes of both Germanies, where singer-songwriters emerged and became interested in Chilean Nueva Canción, the Argentinian Movimiento del Nuevo Cancionero, and Cuban Nueva Trova in the 1970s. Particularly interesting in this context is the contact of some Latin American countries with the German Democratic Republic (GDR). Based on translation theory and articles on Nueva Canción in Europe, this article examines the Latin American presence at the Political Song Festival in East Berlin and analyses some publications that focus on this annual event. The article focuses on the singer-songwriter Gerhard Schöne, who during the 1980s, took Nicaragua as a political example, as is shown in songs, and who also composed German lyrics to melodies by Violeta Parra, Atahualpa Yupanqui, and Silvio Rodríguez, transferring the songs into a new context.
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Iizuka, Mieko, and Michikazu Nakamura. "Many elderly Japanese patients with dementia have a liking for old European and American folk songs." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 133. http://dx.doi.org/10.1080/08098131.2016.1180168.
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Kalvāne, Skaidrīte. "ON SOME JOURNALS WRITTEN DURING THE LATIN PRESS BAN." Via Latgalica, no. 6 (December 31, 2014): 32. http://dx.doi.org/10.17770/latg2014.6.1655.
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<p>The work of gathering information about writers and rewriters started soon after the abolition of Latin press ban in 1904, especially actively participating in the process on the 40th and the 50th anniversary. During the 80s of the 20th century a bibliographer and specialist in literature Aleksejs Apīnis named the writers of Press ban time the farmers’ Prometheus.</p><p>From about 20 currently known rewriters the life and creative work of Andrivs Jūrdžs have been revealed most exhaustively. Many Prometheus are known only by their name, but not the text, that they had recorded. The problematic issue is also the question of how not to mistake the author (a text writer) with the text owner.</p><p>The aim of the article is to have a closer look at some of the manuscripts, which have been so far kept in private collections and seen as an integral part of family history. The authors of these works are known, so the list of the writers of Latin print ban time will be complemented.</p><p>In some 20-page notebook a former soldier Jezups Veituls (1845–?) in 1878 recorded two fasting period and two Christmas time songs. The song of 74 verses “Dzismie ap muku kunga Jezu Chrysta” seems as a summary of several Fasting songs, united by a refrain “Atey Jesu, Atey Jesu, Atej Jesu O! prica./ Miłoju tiewi sirds wysa”. The song tells about Saviour’s pathway of pain. The second song – “Pazamud cyłwaks” – calls for a return to God. Both songs have failed to find originals. Scientists have managed to find the origin of Christmas songs – “Pasokat miłi Ganini” and “Pestitoys dzyma”. The first one is the translation of some variant of the Polish song “Powiedzcie, pasterze mili” (from the book “Symfonie anielskie” (“Symphony of Angels”), 1631), the other one is the translation from Polish “Mesjasz przyszedł na świat prawdziwy” (“W Kanie Galilejskiej”), which was read the first time in Latgalian in the book “Eysas łyugszonas un dzismies” (1824). It is one of the few spiritual songs, that were sung at Latgalian weddings.</p><p>The author of the article finds it essential to search for originals of spiritual songs, because their absence would allow writers to think about the poet’s talent and would enable to see some creative sparkle. Texts are compared with Andrivs Jūrdžs’ recorded works. We would like to believe, that there was an edition of spiritual songs translated under the guidance of some clergyman or organist. References can be found in the Polish Catholic press in the 80s of the 19th century. But it should be inspected separately.</p><p>Veitulu Jezups, who was 33 years old, when he was recording songs, was a farmer and a skilled carpenter. He graduated from folk school, where it was not taught to read and write in Latvian (Latgalian). What made him write? Was it salary for the recorded text, the lack of songs, or maybe it was still wish for self-actualization? The writer’s great-grandson Ivars Vītols has carried out a valuable research on his family, which will be replenished with a proud of great-grandfather’s belonging to the unique recorder’s circuit of Latin Press Ban time.</p><p>One of the first known women transcribers during the Latin Press Ban was Anna Laizāne (1873–1958), who acquired the literacy at home. She was a colorful personality, in Taunagas Manor bill book next to a variety of medical prescriptions and incantations suitable for healing, she transcribed so-called heavenly book – with the registration of unfortunate 42 days and divine instructions.</p><p>The witness of people’s faith in living with superstition is the book written on canvas by the farmer Benedikts Višņevskis (1871–1943), who lived in Atašiene. Heavenly letter transcribed in 1903 (shortly before the abolition of the press ban) revealing many promises and also threats shows the time, when faith is suppressed and books are banned, but superstition replaces enlightenment. But the recorders daring to get into the unknown world through print signs and incomprehensible expressions of rewritable sources must be accordingly evaluated. A small cloth book has been used as an amulet, so it is a value for another Višņevskis family. The work transcribed by B. Višņevskis is the evidence of the existence of hitherto unmentioned heavenly books or genre of letters in Latgalian spiritual literature.</p><p>The works of Press Ban time can also be found today – 110 years after the abolition of the ban, but still there are many, including still unknown and undiscovered written evidences of the life of people at the end of the 19th century – at the beginning of the 20th century.</p>
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Karbashevska, Oksana. "English Folk Ballads Collected By Cecil James Sharp in The Southern Appalachians: Genesis, Transformation and Ukrainian Parallels." Journal of Vasyl Stefanyk Precarpathian National University 1, no. 2-3 (December 22, 2014): 79–85. http://dx.doi.org/10.15330/jpnu.1.2-3.79-85.
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The purpose of this research, presented at the Conference sectional meeting, is to tracepeculiarities of transformation of British folk medieval ballads, which were brought to theSouthern Appalachians in the east of the USA by British immigrants at the end of the XVIIIth –beginning of the XIXth century and retained by their descendants, through analyzing certain textson the levels of motifs, dramatis personae, composition, style and artistic means, as well as tooutline relevant Ukrainian parallels. The analysis of such ballads, plot types and epic songs wascarried out: 1) British № 10: “The Twa Sisters” (21 variants); American “The Two Sisters”(5variants) and Ukrainian plot type I – C-5: “the elder sister drowns the younger one because of envyand jealousy” (8 variants); 2) British № 26: The Three Ravens” (2), “The Twa Corbies” (2);American “The Three Ravens” (1), “The Two Crows”(1) and Ukrainian epic songs with the motif oflonely death of a Cossack warrior on the steppe (4). In our study British traditional ballads areclassified according to the grouping worked out by the American scholar Francis Child(305 numbers), Ukrainian folk ballads – the plot-thematic catalogue developed by the Ukrainianfolklorist Оleksiy Dey (here 288 plots are divided into 3 spheres, cycles and plot types). Theinvestigation and comparison of the above indicated texts witness such main tendencies: 1) theAmerican counterparts, collected in the Appalachian Mountains, preserve the historic-nationalmemory and cultural heritage of the British immigrant bearers on the level of leading motifs,dramatis personae, composition peculiarities, traditional medieval images, epithets, similes,commonplaces; 2) some motifs, characters, images, artistic means, archaic and dialectal English ofthe Child ballads are reduced or substituted in the Appalachian texts; 3) realism of Americanballad transformations, which overshadows fantasy and aristocracy of their British prototypes, issimilar to the manner of poetic presentation of the typologically-arisen and described events by theUkrainian folk ballads and dumas .
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Patterson, Michelle Wick. "Singing Wagner to Navajos: Natalie Curtis's Journey From Classical Music to Native and African American Folk Songs." Journal of the Gilded Age and Progressive Era 13, no. 1 (January 2014): 93–108. http://dx.doi.org/10.1017/s1537781413000509.
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Dmitrieva, T. A. "Evolution of the representation of folk artistic culture in cinema." Northern Archives and Expeditions 4, no. 4 (December 25, 2020): 21–28. http://dx.doi.org/10.31806/2542-1158-2020-4-4-21-28.
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In the presented article, the features of the reflection of folk art culture in the cinema are considered. The author examines films that reflect the folk art culture of the American Indians, Udege, meadow mari, residents of the village of Palekh, as well as the folk art culture of the colonial countries, China and Japan. This article examines the films of both foreign and Russian directors, as the author refers to global trends in cinema. The author identifies several stages, considering the evolution of folk art culture, starting from films of the early twentieth century and ending with modern cinematography: “Folk art culture in early films. Ethnographic cinematography”, “Criticism of the urban industrial space in the cinema of the 20s. XX century»,»Colonial cinema», «Postcolonial cinema», «Cultural appropriation», «Orientalism», «Transnational culture in the postmodern era», «Cinematography of the metamodern». Based on the material of Russian and foreign films, the author notes that folk art culture is manifested in both documentary and fiction cinematography. The author concludes that folk art culture was reflected in the cinema at every stage of its historical development. The author notes that in modern cinema the topic of folk art culture has not simply lost its relevance, but has become one of the most relevant trends in connection with the processes of glocalization in the culture of the 21st century. Each stage considered by the author has its own specific features and reasons for the display of folk art culture. The article describes the main ways of representing folk art culture in cinema – folklore, traditional textiles, embroidery, folk songs.
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Verba, Ericka Kim. "To Paris and Back: Violeta Parra's Transnational Performance of Authenticity." Americas 70, no. 02 (October 2013): 269–302. http://dx.doi.org/10.1017/s0003161500003242.
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In 1964, at what was surely the acme of her career, Violeta Parra became the first Latin American to have a solo show at the Louvre. During the five-odd weeks that her artwork was on display, Parra was at the museum every day. She chatted with visitors, put finishing touches on her tapestries, sang songs, played her guitar, served empanadas, and turned the exposition hall into a veritable Chilean ramada. The exhibit received favorable reviews in the press, and was visited by important dignitaries and a who's who of the Parisian and expatriate Latin American artistic community. Parra sold several of her tapestries, including one to the Baroness Rothschild. By all accounts, the show was a great success.
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Verba, Ericka Kim. "To Paris and Back: Violeta Parra's Transnational Performance of Authenticity." Americas 70, no. 2 (October 2013): 269–302. http://dx.doi.org/10.1353/tam.2013.0091.
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In 1964, at what was surely the acme of her career, Violeta Parra became the first Latin American to have a solo show at the Louvre. During the five-odd weeks that her artwork was on display, Parra was at the museum every day. She chatted with visitors, put finishing touches on her tapestries, sang songs, played her guitar, served empanadas, and turned the exposition hall into a veritable Chilean ramada. The exhibit received favorable reviews in the press, and was visited by important dignitaries and a who's who of the Parisian and expatriate Latin American artistic community. Parra sold several of her tapestries, including one to the Baroness Rothschild. By all accounts, the show was a great success.
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Mellard, Jason. "Hear My Sad Story: The True Tales that Inspired Stagolee, John Henry, and Other Traditional American Folk Songs." History: Reviews of New Books 45, no. 3 (March 10, 2017): 58–59. http://dx.doi.org/10.1080/03612759.2017.1271229.
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Gootenberg, Paul. "A Forgotten Case of “Scientific Excellence on the Periphery”: The Nationalist Cocaine Science of Alfredo Bignon, 1884–1887." Comparative Studies in Society and History 49, no. 1 (December 15, 2006): 202–32. http://dx.doi.org/10.1017/s001041750700045x.
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In recent years, Latin American history has been awash in an exciting wave of scholarship on the history of science and medicine. Historians are exploring Latin American reactions to foreign medical, sanitary and scientific missions; the creation of national research institutions; the impact of epidemics on conceptions of urban space, politics and social control; the role of indigenous and folk cures in modern public health campaigns; and the relation of transnational eugenics movements to national anxieties about race, among other fertile topics. Pioneering medical historian Marcos Cueto dubs this focus “scientific excellence on the periphery”—the idea that surprising avenues of research and innovation occurred in societies generally deemed “underdeveloped,” especially in modern scientific activities and outlooks.
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Nadiani, Giovanni, and Christopher Rundle. "Pianure Blues: From the Dialect of the Plains to the English of the Blues." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (June 20, 2016): 125–40. http://dx.doi.org/10.4312/elope.13.1.125-140.
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In this article the authors describe a joint performance project called Pianure Blues, in which poems in Romagnolo dialect are transposed into English and performed as blues songs, and in which songs from the Anglo-American blues/roots/folk tradition are transposed and performed as poems in Romagnolo dialect – a process they have called ‘trans-staging’. A process in which they are writers and performers and, especially, translators; translators of each other’s voices, stories, landscapes, rhythms and sounds as they look for the bond between places, languages and traditions that seem very distant from each other but which find a common mood and poetic language, a common aesthetic, in their performances. The authors reflect on the creative process involved and on the significance of establishing an intersemiotic dialogue between a ‘minority’ dialect such as Romagnolo and a ‘global’ language such as English, and the blues, have become.
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WALDEN, JOSHUA S. "“The Hora Staccato in Swing!”: Jascha Heifetz's Musical Eclecticism and the Adaptation of Violin Miniatures." Journal of the Society for American Music 6, no. 4 (November 2012): 405–31. http://dx.doi.org/10.1017/s175219631200034x.
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AbstractJascha Heifetz (1901–87) promoted a modern brand of musical eclecticism, recording, performing, and editing adaptations of folk and popular songs while remaining dedicated to the standard violin repertoire and the compositions of his contemporaries. This essay examines the complex influences of his displacement from Eastern Europe and assimilation to the culture of the United States on both the hybridity of his repertoire and the critical reception he received in his new home. It takes as its case study Heifetz's composition of the virtuosic showpiece “Hora Staccato,” based on a Romany violin performance he heard in Bucharest, and his later adaptation of the music into an American swing hit he titled “Hora Swing-cato.” Finally, the essay turns to the field of popular song to consider how two of the works Heifetz performed most frequently were adapted for New York Yiddish radio as Tin Pan Alley–style songs whose lyrics narrate the early twentieth-century immigrant experience. The performance and arrangement history of many of Heifetz's miniatures reveals the multivalent ways in which works in his repertoire, and for some listeners Heifetz himself, were reinterpreted, adapted, and assimilated into American culture.
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Cabrera, Daniel Antonio Milan. "PENGARUH MUSIK AMERIKA LATIN TERHADAP INDONESIA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, no. 1 (November 20, 2020): 36–50. http://dx.doi.org/10.33153/sorai.v13i1.3093.
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Since the beginning of the last century, Latin American music has been succes in the U.S. music industry because its intrinsic musical characteristics and its involvement within the film industry. Through the U.S. and Europe, it has been influencing popular music around the world; including Indonesia, Malaysia, Singapore, and India, countries that also contributed to the diffusion of Latin styles in Indonesia. The corpus of original works of Indonesian-Latin music is quite huge and has great quality; particularly audio recordings done in the 1950s and 1960s that mixed Latin, Western, and regional musical elements to create new musical forms know as lagu daerah (regional songs) and pop daerah (regional pop). This article aims to provide some understandings of this complex diffusion process utilising mainly a bibliographical research method (books, journals, digital news, etc.), interviews, and listening-based information from old audio recordings. My hipothesis is that Latin American music has been well accepted in Indonesia, espetially in Java and Sumatra, due to historical crossroads that spread musical and cultural similarities in both regions. In order of its importance in Indonesian-Latin music, these are: the conection of Asia and America during the Spanish, Portugal, and Holand colonial era; the Islamic influence in Indonesia, India, Malaysia, and the Iberic peninsula; the influence of Dutch music in Indonesia and German music in Latin America; the role of African music in Latin America and the probable two side influences between Africa and Indonesia; and the inmigration to Amerika from Nusantara-Oceania sailors in prehistoric times.
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Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (May 1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.
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The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and struggle’, enshrined in the titles of two Spanish American anthologies (C. W. 1967 and Gac Artigas 1973), which nicely stresses both their ‘combative’ and their ‘constructive’ aspects, while one of the best of their singers – the Uruguayan Daniel Viglietti – describes his own songs as being ‘in some measure both de protesta and de propuesta’ (i.e. as much ‘proposing’ as they are ‘protesting’). The document with which this article is chiefly concerned uses the term ‘revolutionary song’, which clearly covers both those aspects, but such songs may be seen to perform a far more complex range of tasks than any of those labels might suggest, as soon as their functions are examined ‘on the ground’ within the immediate context of the predominantly oral cultures of Latin America to which they are addressed: cultures in which traditional folksong has retained its power and currency largely undiminished by the changes of the twentieth century, and in which the oral nature of song (with the message of its lyrics reinforced by music) helps it to gain a wider popular diffusion than the more ‘literary’ but unsung texts which make up the greater part of the genre of so-called ‘committed poetry’ (‘poesía de compromiso’) to which the lyrics of such songs clearly belong (see Pring-Mill 1978, 1979).
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MERCER-TAYLOR, PETER. "Bill Staines's Bridges and the Art of Meta-Folk." Journal of the Society for American Music 1, no. 4 (November 2007): 423–52. http://dx.doi.org/10.1017/s1752196307070411.
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AbstractFolksinger-songwriter Bill Staines came of age at the height of the mid-twentieth-century American folk music revival and has spent the years since then writing and playing music that seems impelled by the conviction that this vanished era's core stylistic premises and clear-eyed optimism remain as alive and available as they were at the revival's peak. Through this exploration of his 1984 album Bridges, I seek to show that Staines accomplishes this fantasy of the revival's continued vitality not, as his commentators frequently suggest, by clinging fast to decades-old stylistic practices but by introducing a dimension of reflexivity into his craft. What comes to matter is not music's political or social meaning but the self-conscious celebration of the idea of music having such a meaning.The article's first section explores Staines's self-mythologizing enfolding of his own persona into Woody Guthrie's in the Guthrie ballad that opens the album. The second section examines Bridges' poetic weaving of music into narratives of social redemption and personal self-actualization. The third section examines Bridges' many moments of diegetic song, which effectively collapse the worlds of Staines's poetic subjects into that of his immediate audience. The last section explores how melodic choices in the traditional song that closes the album have the effect of bringing many of the songs that precede it directly into the fold of traditional music.
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McCrary, Jan. "Ethnic Majority/Minority Status: Children's Interactions and Affective Responses to Music." Journal of Research in Music Education 48, no. 3 (October 2000): 249–61. http://dx.doi.org/10.2307/3345397.
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This study is an examination of the effect of classroom ethnic majority/minority status on third-, fifth-, and seventh-grade children's ( N = 118) interactions and affective responses while these children listened to and discussed a Latin salsa artist, an African-American rhythm and blues artist, and a European-American folk artist. Classroom ethnic-group proportions determined African-American and European-American children's classroom status. The study also examined the children's preference ratings for each artist. The researcher recorded the children's interactions on a laptop computer while they listened to and discussed the performers. The findings suggested that classroom status affected girls' interactions more than boys'. The study reports statistically significant differences among the children's music preferences.
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Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.
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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.
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Jeong, Hyun Jeong, Hye Young Syn, and Na Young Hong. "A Study of Latin American Ethnic Styles Based on Folk-Costume Characteristics of Mayan, Aztec, and Inca Civilizations." Journal of the Korean Society of Costume 68, no. 5 (August 31, 2018): 87–106. http://dx.doi.org/10.7233/jksc.2018.68.5.087.
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Isaacs, Miriam. "Rachmiel Peltz, From immigrant to ethnic culture: American Yiddish in South Philadelphia. Stanford, CA: Stanford University Press, 1998. Pp. xix, 263. Hb $49.50, pb $18.95." Language in Society 29, no. 1 (January 2000): 147–50. http://dx.doi.org/10.1017/s0047404500311034.
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South Philadelphia can be added to the littered landscape of Jewish geography, in which Chelm, Belz, Odessa, Boiberik, and Brownsville are terrain abandoned by Jews. They are romanticized in folk songs, but they make poor real estate investments. Similarly, Yiddish cultural life may be seen as a landscape of outmoded lifeways. The Yiddish language and its dialects have been cast off, but at the same time they remain cherished in memory. Peltz's ethnography explores Yiddish as it survives among what is left of a Yiddish-speaking community in Philadelphia. The story of Yiddish is one of powerlessness; Peltz takes us to the seemingly marginal Jews, the yidelekh – working-class, elderly women and men who are marginalized as a function of their old age, their accents, and their lack of higher education.
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Shuvera, Ryan Ben. "Southern Sounds, Northern Voices." Journal of Popular Music Studies 30, no. 4 (December 2018): 177–90. http://dx.doi.org/10.1525/jpms.2018.300412.
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Wilf Carter (Montana Slim) crossed the Canadian-U.S. border in 1935 to further his career as a country musician. Hank Snow moved to Nashville in 1945, reaching the stage of the Grand Ole Opry in 1950. Twenty-one years later Neil Young settled into Nashville’s Quadraphonic Sound Studio to record songs that would be featured on the album Harvest. Today, Nashville’s New West Records represents country-inspired Canadian musicians Daniel Romano and Corb Lund. These artists make up part of a notable history of northerners blending North American identities through country music. A significant and overlooked part of this history came to light in 2014 with the release of the Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 compilation from Light In The Attic Records. NNA (Vol. 1) is a collection of limited releases from Indigenous musicians from across Canada and Alaska. It is significant because it makes audible that Indigenous musicians performed—and continue to perform—country, folk, and rock music, challenging the borders and identities forced on them through settler-colonialism. These artists bring together southern sounds and northern voices—often using northern Indigenous languages—to articulate different experiences under North American colonization. This paper begins to explore how artists such as Willie Dunn, John Angaiak, and William Tagoona unsettle North American boundaries and identities through country music. This paper also begins to explore the opportunities and challenges this compilation presents to white settler listeners.
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Milnes, Gerald. "Hear My Sad Story: The True Tales That Inspired “Stagolee,” “John Henry,” and Other Traditional American Folk Songs by Richard Polenberg." West Virginia History: A Journal of Regional Studies 10, no. 2 (2016): 185–86. http://dx.doi.org/10.1353/wvh.2016.0027.
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Bernal-Marcos, Marcos José, Jorge Castro-Tejerina, and José Carlos Loredo-Narciandi. "Psychological keys in the study of African American religious folk songs in the early work of Howard W. Odum (1884–1954)." History of Psychology 20, no. 1 (2017): 28–49. http://dx.doi.org/10.1037/hop0000049.
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Huffard, Scott. "Hear My Sad Story: The True Tales That Inspired “Stagolee,” “John Henry,” and Other Traditional American Folk Songs by Richard Polenberg." Journal of Southern History 83, no. 1 (2017): 195–96. http://dx.doi.org/10.1353/soh.2017.0044.
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Mateer, David. "Hugh Davis's Commonplace Book: A New Source of Seventeenth-Century Song." Royal Musical Association Research Chronicle 32 (1999): 63–87. http://dx.doi.org/10.1080/14723808.1999.10540984.
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Among the Stafford family papers in Staffordshire Record Office is a small bundle of miscellaneous musical items which is as yet uncatalogued. There are incomplete sets of Richard Dering's Cantiones Sacrae (1617) and Cantica Sacra (1618) for five and six voices respectively, Giovanni Croce's Musica Sacra: To Sixe Voices (1611 edition), Agostino Agazzari's Madrigali a Cinque Voci (1602), George Kirbye's First Set of English Madrigalls (1597), and Thomas Watson's Italian Madrigalls Englished (1590), as well as the Abbé Duval's Principes de la musique pratique par demandes et par réponses (1764). The only manuscript item in the collection is a commonplace book that appears to have been compiled over a number of years by a certain Hugh Davis. Its varied contents range from songs, catches, poems, and Latin orations written in the early 1650s, to folk remedies for various ailments, extracts from Charles Butler's The Principles of Musik in Singing and Setting (1636), and a verbatim copy of James II's first Declaration of Indulgence of 4 April 1687. Although the first ten pieces have been torn out and those that remain are roughly and at times inaccurately notated, the manuscript is of interest in that it provides a rare insight into the musical and literary tastes of an undergraduate in mid-seventeenth-century Oxford, and preserves not only a number of hitherto unrecorded songs but also new sources of acknowledged works by such figures as Nicholas Lanier, John Wilson, Thomas Holmes and the Lawes brothers.
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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (July 9, 2019): 285. http://dx.doi.org/10.31192/np.17.2.3.
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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensamble, composing procedures and use of musical expression elements, their purpose, and finally, their artistic range and significance. Created at the time of predominance of small, chamber music forms, especially solo songs, piano miniatures and reveilles, Livadić’s masses, among a multitude of works of the composers of the time, and especially within the Croatian church musical heritage, mean the continuity of a multi-Century tradition of that music genre. While Missa croatica pastoralis is related to the pastoral (folk) one voice masses with the organ accompaniment (with inserted text/extensions of the Kajkavian dialect), the concerto vocal-orchestral Missa in C, with its musical features and its base on the international music vocabulary, manifests a compound of Classicist simplicity and early Romantic lyricism, representing the essence of Livadić’s creativity in the area of sacral music.