To see the other types of publications on this topic, follow the link: Music and folklore.
Journal articles on the topic 'Music and folklore'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Music and folklore.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Kovačič, Bojan, and Nejc Černela. "Stališča strokovnih delavcev do folklorne dejavnosti v osnovnih šolah s posebnim programom vzgoje in izobraževanja / Views of professionals regarding folklore activities in primary schools with a special education program." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (June 30, 2021): 91–113. http://dx.doi.org/10.26493/2712-3987.17(34)91-113.
Full textAbstract:
The paper examines the views of professionals in primary schools with a special education program in relation to folkloric activities and content. The research involved 240 professionals from all 28 Slovenian educational institutions implementing the program. Respondents rated their agreement on statements related to formal education and folklore activities, inclusion of folklore content and activities, attitudes towards folklore and classroom work, and use of folklore content for therapeutic purposes on a 5-point scale. The main findings relate to the fact that during institutional training, professionals did not acquire sufficient knowledge to teach folkloric content when working with students with special needs, suggesting that there are still many opportunities for progress in the integration of folkloric content and activities, with a focus on folk dances, folk songs, folk games and customs and habits, in institutions that implement the special education program of education. This is confirmed by the fact that the professionals have a very positive attitude towards folklore in general. The results can represent a starting point for future research, which would confirm the need for an interdisciplinary approach in different scientific fields (special and rehabilitation education, music didactics, folklore, ethnochoreology, music therapy, psychology and kinesiology).
2
Hurston, Zora Neale. "Folklore and Music." Frontiers: A Journal of Women Studies 12, no. 1 (1991): 182. http://dx.doi.org/10.2307/3346585.
Full text
3
Bralović, Miloš. "Listening to the worlds far away: Josip Slavenski and the music of India." Kultura, no. 181 (2023): 59–70. http://dx.doi.org/10.5937/kultura2381059b.
Full textAbstract:
Josip Slavenski's opus displays the composer's infatuation with musical folklore, starting from his own folklore of Međimurje, and expanding to other nonEuropean (mostly Asian) folklore. In this paper I particularly studied the biographical background of Slavenski, which had led him to a meticulous research of musical folklore, via field recordings, in his mature years. It is worth noting that the folklore of Međimurje provided a basis for his musical language i.e. his musical mother tongue (while he later also studied the folklore of non-European peoples). Thus, for Slavenski, folklore became a means for creating a new vital music, and that vitality was something that the western music of the 20th century often lacked. Geographically, Slavenski "has travelled" the farthest while studying musical folklore of India, China and Japan. Results of his research were manifested in the Buddhists movement of the Symphony of the Orient, 1934, which was analysed in this paper. The analysis has unveiled a complex musical construction, constructed music, or musical building of orchestral layers, hence the subtitle of the movement, Musica architectonica.
4
Vieru, Neculai. "THE ROLE OF FOLKLORE IN THE FORMATION OF STUDENTS’ MUSICAL FEELING IN THE MUSIC EDUCATION LESSON." Review of Artistic Education 27 (April 1, 2024): 130–34. http://dx.doi.org/10.35218/rae-2024-0015.
Full textAbstract:
The present paper reprezent an analysis of the characteristic features of naţional folklore that allow the cultivation of the musical feeling in students through the folkloric musical discourse wilthin the music education lessons. Through popular music, we offer the opportunitz tho reflect on sone earlz stages in the evolution of musical folklore. This fact can lead us to some important aspects regarding the origin of popular music, the discoverz of the charactristic features of the musical language. By cultivating musical frrlings in students during music education classes, we develop a favorable behavioral attitude towareds Romanian spirituality, expressed in its multiple historical valoues. On this value component, we take into account the human perceptive capacity, and the forms of musical manifestation. The students will be trained in music education classes, through the folkloric musical discourse, which will allow a direct development of the students personality in the national spirit.
5
Mirələm qızı Qasımova, Pərvanə. "Characteristics of folklore." SCIENTIFIC RESEARCH 12, no. 8 (August 27, 2022): 24–29. http://dx.doi.org/10.36719/2789-6919/12/24-29.
Full textAbstract:
Folklorun estetik əhəmiyyəti ilk öncə onunla şərtlənir ki, o dil, fikir və bədii düşüncənin əsasında xalqın yaratdığı mükəmməl bir söz sənətidir. Folklor xəyal, təxəyyül, fantaziya və simvolikadan sənətkarlıqla istifadə edərək gerçəkliyi dolayı yolla motivləndirir və onu poetikləşdirir. Bu poetikləşdirmə, sənət yaratma prosesində əsas vəzifəni xalqın bəddi zövqü yerinə yetriri. Yəni, xalqın bədii zövqü folklorun estetik ölçülərini müəyyənləşdirən və modelləşdirən əsas faktor rolunda çıxış edir. Folklor formaları əsrlərlə xalq sənətkarları tərəfindən cilalanıb və estetik ölçülərini sabitləşdirib. Ona görə də folklor estetik hissi, gözəllik hissini, dil, ritm və forma gözəlliyi duyğusunu inkişaf etdirir. Folklorun estetik gücü ədəbiyyat, musiqi, teatr və s. kimi sənət növlərinin inkişafında böyük əhəmiyyət daşıyır. Məqalədə bütün bunlar öyrənilərək araşdırılır, foklorun səciyyəvi xüsusiyyətləri üzə çıxarılır. Açar sözlər: folklor, xalq, xüsusiyyət, ədəbiyyat, estetika Parvana Miralam Gasimova Characteristics of folklore Abstract The aesthetic importance of folklore is determined by the fact that it is a perfect art of words created by the people on the basis of language, ideas and artistic thinking. Folklore indirectly motivates reality and poeticizes it by skillfully using dreams, imagination, fantasy and symbolism. In the process of this poeticization, art creation, the main task is performed by the people's bad taste. That is, the artistic taste of the people acts as the main factor that determines and models the aesthetic dimensions of folklore. Folklore forms have been polished by folk artists for centuries and stabilized their aesthetic dimensions. Therefore, folklore develops aesthetic sense, sense of beauty, sense of beauty of language, rhythm and form. The aesthetic power of folklore is literature, music, theater, etc. is of great importance in the development of such arts. In the article, all this is studied and investigated, the characteristic features of folklore are revealed. Keywords: folklore, folk, character, literature, aesthetics
6
Bizhga, Denis. "The Influence of Folklore on the Cultivated Albanian Music of the XX Century." European Journal of Multidisciplinary Studies 5, no. 3 (December 12, 2020): 47. http://dx.doi.org/10.26417/237vbd89w.
Full textAbstract:
Folklore is one of the components and transmitters of a nation's national identity and its spiritual heritage. The great folkloric wealth of Albanian people shows its antiquity and creative genius. As the first creation of folklore, it is the basis for the creation and continuous functioning of other cultivated arts, such as: music, literature, choreography or other visual arts. Albanian folklore also represents a vital, early, stable and rich tradition. It is not a memory of the past, but it is alive and full of life and day by day it comes and is practiced articulated emotionally, developing, enriching and growing together with the Albanian people themselves, despite the many changes that are noticed in the realities of Albanian folklore in general. Through folklore, our people over the centuries manifested outstanding talent, spiritual expressive potential, great promotional skills. Albanian folk music tradition is generally an oral tradition based on the memory of the people; she did not feel the need for writing because she was born, spread and selected to live word of mouth and generation after generation, adapting to the needs and requirements of life.
7
Ramalho, Marcel. "Folkloric Nationalism and Essential Nationalism in José Siqueira’s Loanda and Maracatu." Per Musi, no. 42 (May 6, 2022): 1–24. http://dx.doi.org/10.35699/2317-6377.2022.38325.
Full textAbstract:
This article describes how Brazilian composer José Siqueira (1907-1985) used musical elements from the folkloric tradition known as Maracatu in the composition of the songs titled Loanda and Maracatu. A secondary goal is to suggest interpretative performance approaches that take into consideration the musical, textual, and sociocultural aspects of these songs. The methodology for the analyses was based on the categories and terms for examining the musical frameworks of art songs outlined by Carol Kimball in her two books about art song, as well as Siqueira’s own-devised Trimodal System. In Loanda and Maracatu, the composer uses several rhythmic cells that are characteristic of the Maracatu folkloric tradition, as well as a clear twentieth-century musical language, confirming Siqueira’s two aesthetic orientations: Folkloric Nationalism (when the composer uses the pure elements of folklore) and Essential Nationalism (when the composer draws inspiration from folklore to create his own musical language).
8
Kwami, Robert. "A West African Folktale in the Classroom." British Journal of Music Education 3, no. 1 (March 1986): 5–18. http://dx.doi.org/10.1017/s026505170000509x.
Full textAbstract:
The author describes an investigation into the use of West African folklore in the school curriculum by means of an African folktale which became the basis for a project in the class music lessons. Starting with research into West African folklore, particularly children's stories and songs, in Ghana and Nigeria between 1979 and 1983, music was composed in a basically African style to go with an adaptation of one of the stories.The practical work in a London primary school investigated ways of minimising the apparent dichotomy between African and Western musics in the curriculum.
9
Gelažiūtė-Pranevičienė, Eglė. "Shifts in Authenticity: Electronic Dance Music as Environment for Contemporary Folklore Forms." Tautosakos darbai 61 (June 1, 2021): 122–40. http://dx.doi.org/10.51554/td.21.61.05.
Full textAbstract:
The article discusses the most prominent creators of the Lithuanian post-folklore electronic music and their stylistic uniqueness, mainly focusing on the Electronic Dance Music (EDM) branch. An important fact is that the authors tend to create full-length music albums rather than single songs, thus emphasizing their conscious choice, constant and consistent activity. The two fields – modern and old – expand each other, attracting regular listeners with new expressions, thus continuing the development of folklore and enriching electronic music with cultural values and identity. Authentic folklore and its modernized forms do not overshadow each other and are often practiced in parallel.Electronic post-folklore music could be stylistically divided into EDM, ambient, and experimental subgenres. All of them often intertwine and shall be assigned to a genre depending on what prevails in the sound. Typically, folksongs are used in electronic dance music in two ways: by including an authentic sound recording or a folksong performance by contemporary singers. The second direction prevails, with the folklore content reaching the listener with a slightly altered timbre, depending on whether the singer is practicing authentic folklore or not.The stylistics of electronic music in each case reflects the author’s musical inclinations. The majority of the above-mentioned composers consistently work with at least one or more other musical styles, play more than one live instrument, often have their own recording studios. Due to its stylistic and structural agility, the only obligatory elements being the percussion and bass lines, electronic dance music can be very easily combined with basically any other material, in this case, folksong, without disrupting its integrity.The folksong is usually performed unchanged, maintaining its structure, melody, and text, with a minimum of “stretching” the rhythm, so that the song can be “loaded” into the aligned structure of the contemporary music. Harmony and the rhythm of EDM are essential factors (and thus variables) that point the direction and surprise the listener with new outcomes.Post-folklore dance music is expressed in various genres, combining folklore with dub, techno, house, trance, triphop, big-beat, and other styles, emphasizing the rhythmic and bass part, and improvising with the ethnic material. The works are usually based on consistent internal development, rather than on specific song forms typical of, for example, modern popular dance music, without overloading the pieces with sound layers, allowing each of them to unfold. Folksongs or their motifs appear as the main material, but instrumental folklore music or its recordings are not used – sometimes the whole of electronic music is supplemented with folk instruments while performing contemporary music part.Such music is especially welcome at festivals, intellectual music parties, listened to on digital music platforms, thus bringing the old culture closer to a modern human, creating conditions both for experiencing new expressions of folklore and becoming interested in authentic ethnic culture, returning to the roots, and learning the “pure” folklore.
10
Lehri, Inayat Ullah, and Hafeez Ullah Sarpra. "براہوئی خلقی شئیرو باگل آ تیٹی فن." Al-Burz 8, no. 1 (December 20, 2016): 31–44. http://dx.doi.org/10.54781/abz.v8i1.144.
Full textAbstract:
This article aims to enlighten the various genres of Brahui folk music developed thousands of years ago. These are not just songs but their heartily emotions, Natural feelings, Eternal love and expression with the poetic words and immortal heart touching music. Music has been the most favorite tool of expression in Brahui nomadic life. Most of the folklores have been created, composed and sung by the women. Although Brahui folklores have many genres but this article deals with and describes some of the most important and famous genres like loli (lullaby), keluarha, zaheeri, lihako, Lailarhi, Bar Naz ana, Laili Mor, Suronzi and Moda (Dirge Elegy) etc. with art and techniques of the music. These famous folklore genres are discussed here with the needs of musical techniques and art. The melody of brahui folklores their tunes and other musical bases are described according to present discipline of music. And the genres of folk music are defined with their creation and natural feelings and emotions.
11
Aslanova, Leyla. "Historical Background for the Creation of the Research Room of Music." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (December 3, 2021): 230–39. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245802.
Full textAbstract:
The article discusses the research issues conducted in the field of music education in Azerbaijan in the early twentieth century. The article also looks at the process of collecting and transmitting the oral folk heritage of Azerbaijan to future generations and examines the purposeful work carried out in this area. In addition, the article provides information about prominent Azerbaijani educators in the field of writing and studying samples of national folklore, based on archival materials, highlights several relevant sources in this regard. The article emphasizes the peculiarities of the folklore environment of Baku and Sheki, where oriental concerts are held. The purpose of the research is to determine the features of the collection and recording of Azerbaijani folklore samples. The article emphasizes the work of the Research Music Room, which is important in the field of education. The study of national and cultural values of the Azerbaijani people in modern times and the solution of the problems of spiritual heritage protection are the basis of the research as a working principle of the research music room. The research methodology is based on music-analytical and historical analysis. It was noted that the research music room has established its activities in the field of collection and study of folklore within the requirements of modern times. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research practices of Azerbaijani and foreign musicologists in the study of musical folklore, comparison of oral folk-art examples, recording of folk music samples. The scientific novelty of the research is that for the first time, the activity features of the scientific room within the framework of Azerbaijani music were examined, and the working principles were studied in detail. At the same time, based on the research, the article presents a scientifically substantiated study of the features of the process of collecting and studying musical folklore in the early twentieth century, the oral folklore recording. Conclusions. The presented article allows us to cover the activity of the Research Room of Music established at the Azerbaijan State Conservatory in 1932, in particular, to get important results in the study of Azerbaijani folklore. The article analyzes the continuation of the educational movement in Azerbaijan, in particular, the popularization and use of oral folklore, using articles, transcripts and speeches of meetings periodically published in the press. It is noted that the processes of globalization taking place in the world today emphasize the value system of traditional heritage. This is especially important in the field of humanities in terms of studying the history and folklore of Azerbaijani music culture up to modern times. The problems of writing and studying Azerbaijani music folklore were raised by national educators. From this point of view, it is especially important to systematically publish materials on the study of oral folk art in periodicals. It was noted that the educators paid special attention to the educational significance of oral folk art. In this sense, the research draws attention to Hasan bey Zardabi’s research on folk art, especially its educational function. From this point of view, it is very important to emphasize that the first researches on oral folklore carried out by Azerbaijani enlighteners allowed national folklore to enter the world folk art system. Such issues as identifying the uniqueness of the collection of oral folk art, studying music folklore as a whole, comparing examples of oral music, determining the regularities and harmonization of folk music from the activities of the Research Room of Music, and assessing the protection of spiritual heritage were noted. At present, the research music room continues to play an important role in the study of music folklore and generalizes the study of music science at a certain stage in the history of Azerbaijan.
12
Urdea, Alexandra. "Folklore Music on Romanian TV." Television Histories in (Post)Socialist Europe 3, no. 5 (June 24, 2014): 35. http://dx.doi.org/10.18146/2213-0969.2014.jethc054.
Full textAbstract:
Music genres rooted in folklore have often been interpreted as ideological manoeuvres to forge a sense of national identity (Gordy, Mihailescu, Baker, Cash). This article explores formalized folklore performances of muzică populară as forms ‘media rituals’ (Couldry), and focuses on the role that television has played in establishing the genre as we know it today. It analyses the link between muzică populară as rooted in mass participation activities during communism, and ‘media rituals’ as framed on television (Couldry), indiscriminately and democratically involving the entire population that it addresses (and is available beyond that).
13
Zhivitsa, A. R. "MODERN TRENDS OF ETHNIC MUSIC." Arts education and science 1, no. 30 (2022): 172–79. http://dx.doi.org/10.36871/hon.202201020.
Full textAbstract:
Modern ethnic music, represented by a wide palette of styles and trends, is an interesting global musical phenomenon, based on the actualization of national musical traditions and building intercultural dialogue. In this article, we clarify the terminological apparatus and conceptual environment of ethnic music, which in Russian realities is understood as a part of contemporary culture that combines traditional music and folk music, as well as consider the socio-cultural prerequisites for the emergence of this phenomenon and the main tendencies of ethnic music. Born as a youth folklore movement, based on a search for new sources of inspiration for young musicians and composers, today the phenomenon of ethnic music presents a rich palette in contemporary music space. These directions, formed by merging elements of different national musical traditions, synthesizing different musical styles or combining different methods, have at their core the main component — traditional musical folklore, which is embodied in new modern forms, reinterpreted and interpreted by ethnic musicians. Thus, a rich corpus of folk music culture is preserved and actualized. Among the main directions of ethnic music, we distinguish: musical folklore; folk music; ethno-fusion; new age; ethno-jazz; ethno-electronics, including folk-rock, pop-folk, folk-house and other movements based on the synthesis of musical folklore and current musical styles.
14
Pintilie-Romanenco, Cristina. "Folkloric elements in the repertoire of the instrumental vocal ensemble „Orizont”." Dialogica. Revistă de studii culturale și literatură, no. 1 (May 2023): 72–80. http://dx.doi.org/10.59295/dia.2023.1.09.
Full textAbstract:
The purpose of this article is to identify the methods of interaction of national folklore with the idioms of pop music and jazz in the creation of the vocal-instrumental group „Orizont”, led by Oleg Milstein. Based on the detailed analysis of the compositions „La morișca”, „Leana”, „Moldovan tunes”, etc. the author reveals the most representative methods of involving Romanian folklore in the sound texture of the pieces performed by the band „Orizont”. Among them it is worth mentioning: quoting popular songs, composing contrapuntal lines to folk melodies, combining themes of folkloric origin with stylistic and genre elements of pop, rock and jazz music. Special attention is paid to the treatment of vocal jazz methods used by the members of the „Orizont” band.
15
Cohen, Judith R., and Josep Criville i Bargallo. "El Folklore musical." Yearbook for Traditional Music 17 (1985): 217. http://dx.doi.org/10.2307/768449.
Full text
16
Dovhalyuk, Iryna, and Lina Dobryanska. "Ethnomusicology of Ukraine at The Turn of XX–XXI Centuries (1991–2021):Centers, Pedagogy, Documentation." Problems of music ethnology 16 (December 29, 2021): 5–23. http://dx.doi.org/10.31318/2522-4212.2021.16.249638.
Full textAbstract:
The restoration of Ukraine’s independence in 1991 created favorable conditions for the powerful development of domestic ethnomusicology. Ukrainian musical folklore research has a long tradition, but for a hundred years the research has been conducted in difficult historical and political realities. This did not contribute to the proper development of folk music research, especially in the Soviet period. The period 1991–2021 is quite interesting, although difficult and ambiguous. The revival of Ukrainian ethnomusicology began in the early 1990s. Unfortunately, not all initiatives have been continued. Many initiatives had to be stopped due to financial difficulties, political circumstances, lack of sufficient specialists and so on.
This article was inspired by the need to summarize everything that has been done in Ukrainian musical folklore over the past 30 years, to consider the achievements of Ukrainian ethnomusicology in 1991–2021. Previously, there was no general research on this topic, because various Ukrainian scientists have written about certain aspects of ethnomusicological work and about different time periods in the history of musical folkloristics of the period of independence. The research will be published in two parts: in this issue of the yearbook the main Ukrainian ethnomusicological centers will be presented, the state of domestic ethno-pedagogy will be discussed, documentation (field and archival) of folk music will be considered. The next issue will analyze the scientific, publishing, conference, promotional activities of Ukrainian researchers of folk music.
Kyiv and Lviv have been the main Ukrainian centers for the study of folk music since the early twentieth century. The same is true today: the basic Ukrainian ethnomusical centers are the Rylsky Institute of Art Studies, Folklore and Ethnology (IAFE) of the National Academy of Sciences of Ukraine, the Tchaikovsky National Academy of Music of Ukraine and the Lysenko Lviv National Academy of Music. Research Scientific Laboratory of Music Ethnology and Departments of musical folklore were opened in both Academies in the early 1990s. Well-known scientists, doctors of science and PhD, and their junior colleagues work in these centers. Publishing activity is developing: encyclopedias, monographs, folklore collections, collections of articles, periodicals are published. Kyiv and Lviv higher music institutions publish the only in Ukraine purely ethnomusicological yearbooks of scientific articles and materials – «Problems of music ethnology» and «Ethnomusic». Regional ethnomusicological centers operate in many cities of Ukraine – Kharkiv, Odessa, Dnipro, Sumy, Rivne, Uzhgorod, etc.
During the period of Independence, ethnomusicological education was actively developing. The two main areas are the education of ethnomusicologists-theorists and ethnomusicologists-practitioners, leaders of folklore ensembles. The first ones are prepared mainly by Kyiv and Lviv Music academies, where various specialized disciplines are taught. The second is taught in higher educational institutions of Kyiv, Kharkiv, Rivne, Sumy.
An important area of activity of almost all Ukrainian ethnomusicological centers in the period of Independence was the documentation of folk music: the collection of musical folklore, transcription and archiving. Folk music was most actively collected in the early 1990s, but over time this work has slowed down, in part because authentic tradition is dying out and living in the passive memory of performers. Today the largest archives of folk music are in IAFE and Kyiv and Lviv Music academies. Archival collections are actively digitized, some materials can be found on the Internet – both on special sites-archives of folk music, and YouTube channels, which usually refer to the different ethnomusical centers. The main prospect of Ukrainian archivists engaged in musical folklore is the creation of the Central Electronic Archive of Ukrainian Folklore
17
Batubara, Junita. "Composing Music Based on Batak Folklore." International Journal of the Arts in Society: Annual Review 5, no. 1 (2010): 275–86. http://dx.doi.org/10.18848/1833-1866/cgp/v05i01/35820.
Full text
18
Patidinovich, Nurdinov Qamardin. "Classification of Uzbek music folklore genre." ACADEMICIA: An International Multidisciplinary Research Journal 11, no. 6 (2021): 258–65. http://dx.doi.org/10.5958/2249-7137.2021.01606.2.
Full text
19
Неклюдов, С. Ю. "“Bublichki” Between Folklore and Pop Music." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (March 29, 2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.
Full textAbstract:
Среди музыкальных текстов «эпохи НЭПа» особенно широкой известностью пользовалась песенка «Бублички» («Купите бублики…»), наиболее вероятный автор которой — одесский поэт Яков Ядов (1926), а мелодия, по-видимому, восходит к еврейской народной песенке «Уголь». Песня сразу широко расходится по традициям городского фольклора и связанным с ним эстрадным подмосткам, включая русское зарубежье. С 1927 по 1945 г. в Европе и Америке напечатано более полусотни записей, инструментальных (бóльшей частью) и вокально-инструментальных (не только по-русски); в СССР была лишь одна «пробная» грамзапись Леонида Утесова. Наибольшее количество пластинок приходится на период 1927–1930 гг., по 1929 г. идет стремительный рост этого показателя, затем его резкое снижение, до одной пластинки в год. Интерес к песне возрождается после выступления сестер Берри с версией «Бубликов» на идише (в СССР — 1959 г.), но особенно с 1960-х гг., в русле ретро-увлечения русским романсом и городской песней. Сейчас мы располагаем 13 полными грамзаписями «Бубличек», включая иноязычные переработки (польскую, французскую, еврейскую). Кроме того, текст песни цитируется современниками и мемуаристами, а также размещается на нотных листках и в песенниках — печатных (1929–1930) и рукописных (1940-е). Всего в нашем распоряжении не меньше двух десятков записей, которые были зафиксированы вскоре после появления первотекста и могут рассматриваться как репрезентирующие «начальную» фазу развития данной песенной традиции. Их сопоставительный анализ позволяет описать вероятный содержательный состав этого первотекста и процесс последующего образования двух основных версий песни и их различных редакций. Among the musical texts of the New Economic Policy (NEP) era, the song “Bublichki” (“Kupite bublichki ...”) [Little Hot Buns or Bagels (Buy Little Hot Buns)], most likely authored by the Odessa poet Yakov Yadov (1926), was especially widely known. Its melody, apparently, goes back to the Jewish folk song “Coal.” The song quickly spread and became part of urban folklore. It was also performed on the pop stage, both in Russia and in the Russian diaspora. From 1927 to 1945, more than fifty recordings appeared in Europe and America, most of them instrumental, and some both vocal and instrumental (and it was not only sung in Russian); in the USSR there was only one “test” recording by Leonid Utesov. The largest number of records dates from the period 1927–1930; in 1929 there was a rapid jump of this indicator, which then sharply declined to one record per year. Interest in the song revived after the Berry Sisters performed a Yiddish version of “Bublichki” in the USSR in 1959, and grew from the 1960s onwards in the wake of the retro fascination with Russian romance and urban folk songs. The author has traced thirteen complete gramophone recordings of “Bublichki,” including versions in Polish, French, and Yiddish. In addition, the text of the song was quoted by contemporaries and memoirists, and also made its way into sheet music and into songbooks, both printed (in 1929–1930) and manuscript (in the 1940s). In total, the author counts at least two dozen records which were recorded soon after the appearance of the first, presupposed “primary” text, and that can be regarded as representative of the initial phase of the development of this song tradition. Their comparative analysis allows us to reconstruct the probable content of this primary text and the subsequent formation of two main versions of the song and their various modifications.
20
Інна Терешко and Лариса Пшемінська. "M. LEONTOVYCH’S WORK OF FOLKLORE IN THE CONTEXT OF THE NEW UKRAINIAN SCHOOL." Collection of Scientific Papers of Uman State Pedagogical University, no. 4 (September 4, 2020): 128–35. http://dx.doi.org/10.31499/2307-4906.4.2020.224180.
Full textAbstract:
The methodical concepts of organization, recording, processing and documentation of folklore by the outstanding Ukrainian composer, conductor, teacher Mykola Leontovych are defined in the article. The artist's interest in folk songs is revealed, and his purposeful work as a recorder of folk melodies is studied. The composerʼs approaches to collecting, studying and popularizing the folklore of Ukraine are defined. The memories of friends and students, which reveal the composer’s and folklore activities, are analyzed.Much attention is paid to the definition of individual perception, techniques and methods of presentation of folklore in the professional activities of M. Leontovych, in particular, describes the diverse and multilevel system of the composerʼs creative approach to folk songs and outlines the leading role of folklore in music and aesthetic education. The article considers the national originality of M. Leontovych’s choral music, reveals the close connection of the composer’s activity with the rich folk song culture of Ukraine, highlights the composer’s innovative approaches to the embodiment of folklore in Ukrainian music, traces the artist’s influence on the development of the choral miniature genre. The paper presents a creative understanding of the folk song heritage of the composer and the use of its best examples in the education and artistic training of todayʼs young generation. Some aspects of the development of professional skills of future teachers of music are highlighted. The use of certain forms, methods, techniques of educational activities contribute to the formation of studentsʼ readiness to use arrangements of M. Leontovychʼs song folklore in modern secondary schools in the context of the New Ukrainian School.
21
Chuvjurov, Aleksandr A. "“In the Square in Liverpool, Dressed in Tailored Suits”: The Beatles in Russian Urban Folklore." Texts and History: Journal of Philological, Historical and Cultural Texts and History Studies 1 (2021): 158–88. http://dx.doi.org/10.31860/2712-7591-2021-1-158-188.
Full textAbstract:
The article examines texts of several genres of urban folklore the content of which is related to the Beatles. These texts are remakes of lyrics (“Michelle”, “Back in the U.S.S.R”), jokes, and various kinds of fictional narratives, like funny stories about writing particular songs and about some events from the life of the band members. Some jokes about the Beatles involve popular characters of Soviet jokes (anekdot) — Vasilii Ivanovich (Chapaev) and his batman Pet’ka. The song “Can’t Buy Me Love” was also rendered in a folkloric manner (“In the Square in Liverpool…”). Variations of this song were widespread among rock music fans in the USSR in the 1970s. Today, modern communication modes, like the Internet and social networks, are instrumental in the revival of these folklore (post-folklore) texts.
22
Popova, Irina. "V.F. Odoyevsky and public music education: the background of the problem and the reception of the scholar’s ideas in Russian folklore." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 70–84. http://dx.doi.org/10.7256/2453-613x.2021.2.35122.
Full textAbstract:
The author of the article thinks through the views of an outstanding writer, musician, scholar, collector and music folklore and the Old Russian art of singing researcher, Prince Vladimir Fyodorovich Odoyevsky on public music education. The author considers Odoyevsky’s opinion about the education of the lowest tiers of Russian society and female education and the possible ways of public music education. The research is based on Odoyevsky’s letters and diaries, and three articles about primary music education methods and the peculiarities of giving solfegio classes to broad public. The author focuses on the role of “numerical technique” in the development of Russian folklore music notating.The scientific novelty of the research consists in the understanding of Odoyevsky’s contribution to the popularization of the music notating system created by Émile-Joseph-Maurice Chevé. The author of the research is the first to establish Odoyevsky’s priority in developing and supporting government and social initiatives in the field of public music education. The author demonstrates the universal character of approaches of the Russian enlightener to solving educational problems and explains the reception of some scientific ideas of the scholar in Russian folklore milieu. The author uses the examples of typologically homogeneous terms of the theory of music applied by Odoyevsky and still used by folklore musicians.
23
Ilienko, O., and A. Furdychko. "PERFORMANCE FEATURES OF THE «CHERVONA RUTA» FESTIVAL: FOCUS ON THE INHERITANCE OF TRADITIONS." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 24 (2022): 34–40. http://dx.doi.org/10.34079/2226-2849-2022-12-24-34-40.
Full textAbstract:
The national character of Ukrainian pop music today is determined by the appeal of folklore at various levels. This way of creating compositions leads to such types of interrelationship of folklore with jazz, pop and rock music, arrangements of folk songs, folk music and citation of materials, creation of original compositions based on folklore, fusion of the national manner of performing non-folklore. Today, songs that are synthesized in ethnic motifs and folklore in a modern setting are popular. But back in the 70s, B. Ivasiuk and the Chervona Ruta vocal and instrumental band were the founders of this approach. So far, the arrangements of folk melodies by the band "Chervona Ruta" have been used by popular rock bands - "Haydamaki", "Mandry", "Perkalaba", "Hutsul calypso", "Kobza original", "Crying", "Down" and others. The modern Ukrainian pop band continues the tradition and modernizes its songs in various interpretations. The paper studies the features of the "Chervon Ruta" festival from 1988 to 2016. The focus is on continuing the traditions of the participants of the ensemble festival of the same name. The practical significance is to highlight the directions of musical creativity of the bands that continue (transform) the traditions of the Chervona Ruta ensemble. Keywords: "Chervona Ruta", festival, Ukrainian music, pop standard.
24
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 (June 30, 2022): 305–19. http://dx.doi.org/10.24193/subbmusica.2022.1.19.
Full textAbstract:
"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. "
25
Roginsky, Dina. "Folklore, Folklorism, and Synchronization: Preserved-Created Folklore in Israel." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 44, no. 1 (January 2007): 41–66. http://dx.doi.org/10.2979/jfr.2007.44.1.41.
Full text
26
Sommers, Laurie Kay, Robert Baron, and Nicholas R. Spitzer. "Public Folklore." Ethnomusicology 39, no. 3 (1995): 491. http://dx.doi.org/10.2307/924632.
Full text
27
Trouelnikova, L. "The music-folklore sources of the cultural landscape of Ukraine." Musical art in the educological discourse, no. 3 (2018): 54–60. http://dx.doi.org/10.28925/2518-766x.2018.3.5460.
Full textAbstract:
Theorisation of music and folklore sources of the cultural landscape of Ukraine is done. The author has focused on the cultural understanding of the essential content of the category — folklore as the earliest type of folk artistic culture. It is based on the ethnic and national picture of the world. The author has emphasised that the national-ethnic picture of the worldview and world reflection is defined as the single cognitive orientation, which is the non-verbal and implicit expression of the group understanding of the “life rules”, caused by the social, natural and supernatural forces. The author has underlined that the musical folklore is a national mode in the Ukrainian traditional culture. It forms values and behavioural guidelines for the representatives of the community. They look like the grammar rules, reflected unconsciously by many people, structurise and direct their linguistic behaviour. The art historical analysis of the musical and folklore component in the rites of the Ukrainians is traced. The theorisation of the folklore as a type of culture, which shows the worldview of the subject and the system of its sociocultural orientation, allows us to understand its transformation and historical social dynamics.The purpose of the article is the cultural reflection of Ukrainian folklore as a the reflection of the worldview. The latter depends on the changes of the socio-historical realities in the folk wisdom, which forms the spiritual world as well as in the spiritual culture of the nation and the individuals. It changes as the embodiment of the people’s knowledge and values.The methodology of the research includes the using of the wide range of art history and musicology methods of the representation of the musical and folklore material and the analysis of academic commentary literature. In addition, the author applies the methods of the systematic review of the works of musical and folklore spectrum and the artistic activity of the individuals in the context of the Ukrainian rituals, which have allowed the author to use the the results of the research of the culturological system in the analysis of the facts of the manifestations of the sphere of musical folklore and their place in the Ukrainian life practices.The scientific novelty of the work is the representation of the Ukrainian music folklore as a type of culture, which differs from the professional and the mass ones. It expresses the national picture of the universe and the value-normative system of the people’s life. The author considers the picture of the world as the representation of the surrounding reality, the features of its perception, caused by the unity of subjective and objective conditions and factors of the formation of the national landscape. It allows the theorists and cultural practitioners to realize the significance of the music and folklore concept in the formation of the fundamental values of the Ukrainian nation. Thus, we should research the folklore, taking into account the actual content of the surrounding reality and human activity, its subjects (a bearer), social content, forms of life and functions, etc. It becomes possible if we consider the folklore as the reflection of a picture of the world that changes in accordance with socio-historical processes. We should note that folklore is a type of art as well as a folk wisdom that forms the spiritual world, the spiritual culture of the people and individuals. Finally, it is the embodiment of knowledge, values, norms and the patterns of social groups, communities and individuals.
28
Wolffenbüttel, Cristina Rolim. "Music Education and Folk Music." International Journal of Social Science Studies 9, no. 1 (December 28, 2020): 64. http://dx.doi.org/10.11114/ijsss.v9i1.5114.
Full textAbstract:
This essay deals with aspects related to folk music and its insertion in music education, considering the possibilities that the pedagogical-musical work, in dialogue with the teaching of music can bring. It also presents some suggestions for activities, both in Basic Education and in a more specific work with music teaching, as in schools specialized in this teaching. Focusing on folklore and its importance in people's lives and teaching, the essay proposes the use of various folk music genres, weaving historical and musicological explanations, in order to support the planning of possible pedagogical-musical activities.
29
Bolle-Zemp, Sylvie. "Institutionalized Folklore and Helvetic Ideology." Yearbook for Traditional Music 22 (1990): 127. http://dx.doi.org/10.2307/767936.
Full text
30
Oring, Elliott. "Folklore and Advocacy." Journal of Folklore Research 41, no. 2 (2004): 259–67. http://dx.doi.org/10.1353/jfr.2005.0011.
Full text
31
Юрий Новиков and Антон Генкин. "ИВАН ФРАНКО И УКРАИНСКАЯ МУЗЫКА." World Science 2, no. 2(54) (February 28, 2020): 4–7. http://dx.doi.org/10.31435/rsglobal_ws/28022020/6932.
Full textAbstract:
The article considers the contribution to Ukrainian in the music of the late 19th - early 20th centuries of the poet, public figure, researcher Ivan Franko. Advocating Western Ukrainian folklore, the poet turned to journalism and music criticism. Ukrainian composers created romances, choirs, cantatas, oratorios, vocal-symphonic cantatas, symphonic poems, radio dramas, operas, ballets based on poems by Ivan Frank. The special attention of Ivan Franko to Ukrainian folklore is noted.
32
Collins, John. "Copyright, folklore and music piracy in Ghana." Critical Arts 20, no. 1 (July 2006): 158–70. http://dx.doi.org/10.1080/02560040608557784.
Full text
33
Sinelnikova, V. V., and I. H. Sinelnikov. "MUSIC FOLKLORE IN THE SCENE: SUSTAINABLE TRENDS." Innovate Pedagogy 14, no. 1 (2019): 140–44. http://dx.doi.org/10.32843/2663-6085-2019-14-1-28.
Full text
34
Kablova, T. B., and S. O. Pavlova. "Ukrainian folk songs in music education of pupils." Musical art in the educological discourse, no. 2 (2017): 128–32. http://dx.doi.org/10.28925/2518-766x.20172.12832.
Full textAbstract:
The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic and musical texts, deep emotion, authenticity, profound statement thoughts, poetry, clean image, deep highly and true meaning, reflection the history of the people, their thoughts and feelings. Folk ensembels are the most accessible and authentic embodiment of the Ukrainian folk songs. Ukrainian folk music has a great pedagogical value and helps educate a highly moral individual, who would have aesthetic, philosophical and artistic aesthetic qualities; develops interest in folk music, artistic taste and imagination. On the other hand, there is a remarkable arttherapeutic component of Ukrainian folk song.
35
Kerékfy, Márton. "Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken." Studia Musicologica 57, no. 1-2 (June 2016): 35–47. http://dx.doi.org/10.1556/6.2016.57.1-2.3.
Full textAbstract:
Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Macabre, Hungarian Rock, Passacaglia ungherese and the Horn Trio. Finally, it traces back Ligeti’s “lamento melody,” that appears for the first time in the last movement of the Horn Trio, to certain types of the Hungarian folk lament. Ligeti’s references to folklore do not mean an idealization of his past, but are rather signs of an ambivalent attitude toward his own roots, in which nostalgic longing, ironic distancing, and desperate mourning are equally present.
36
STROUD, SEAN. "Marcus Pereira's Música Popular do Brasil: beyond folklore?" Popular Music 25, no. 2 (May 2006): 303–18. http://dx.doi.org/10.1017/s0261143006000869.
Full textAbstract:
If Brazilian and international audiences now have a far broader view of the range of the musical tradition in Brazil, and particularly the heterogeneous richness of the regional tradition of popular music in that country, it is largely due to the pioneering work of Marcus Pereira. Following the example of Cecil Sharp and Alan Lomax, the Brazilian collector of popular music and culture set out in the mid 1970s to independently produce a series of recordings of regional popular music entitled Música Popular do Brasil. This huge project is important for three main reasons. First, in a climate of uncompromising political and artistic censorship, Pereira attempted to bring to the fore elements of a cultural and political debate that had polarised Brazil in the early 1960s: a debate that was abruptly terminated by the military dictatorship that seized power in 1964. Second, Música Popular do Brasil demonstrates the beginning of an awareness of a new, more complex relationship between traditional, largely rural popular culture and the increasingly urbanised Brazilian society of the mid-1970s. Finally, at a time when popular music in Brazil was increasingly orientated towards influences emanating from abroad, Marcus Pereira dramatically bucked the trend and re-introduced the Brazilian public to aspects of the regional, rural tradition of popular music and culture that would have a huge influence in Brazilian popular music over the last three decades of the twentieth century.
37
Kostadinova Kolovska, Tsvetanka. "EDUCATIONAL AND THEMATIC REVIEW OF FOLKLOR IN MUSIC TRAINING IN KINDERGARDEN." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (March 20, 2019): 459–64. http://dx.doi.org/10.35120/kij3002459k.
Full textAbstract:
The course of the changes in the Bulgarian education system is a direct reflection of the changes in the different structures and institutions in recent years. Among the key areas of refor, the pre-school and school education system has undergone significant changes in structures, models and practices. The personal development process starts from childhood, with the upbringing in the kindergarten, where children get acquainted with the world and themselves. The musical upbringing has an important role for their socialization and formation of social and civic competences. In the pre-school music education curricula developed in accordance with the new SER for educational content and approved by the Ministry of Education and Science, Bulgarian musical folklore as a factor for children's musical, emotional, intellectual and physical development is educational and thematic. The positive aspects of communication between children from the earliest age with its models - the variety of songs and music for performance and perception, movements, folk dances and games - is the basis for the authors of all approved educational materials for the kindergarten in the educational field Music to include it. During the work with Bulgarian musical folklore in the contemporary educational process of music in the kindergarten the musical pedagogue skillfully combines traditional and interactive methods, integrates knowledge, experience and skills with the other educational directions. This greatly encourages unity to be enjoyable and beneficial. Children learn easily about music content in an interesting and entertaining way. Working with musical folklore provides incredible opportunities to develop the individual abilities and interests of each child, while building team skills. The specificity of musical-pedagogical work with folklore in the kindergarten reflects the personal and professional profile of the musical pedagogue, covers both the methods and approaches that the teacher uses in the music education, the acquired knowledge, skills and competences on a professional basis, as well as the personal attitude that the teacher uses to present the Bulgarian musical folklore as a national spiritual value. Building this value in children from pre-school is one of the most important. The professional training of the music pedagogues allows them to gain both knowladge and develop self-discipline. It models the conditions in which the child enriches his personality, forms any kind of culture - ethic, moral, musical, mathematical, ecological, health, physical. In this sense, the figure of the music pedagogue is also a factor and a condition in the process of building the child's personality, as well as the guardian of the national values. In the kindergarten the modern music teacher performs new tasks in the modern educational environment, adopts new criteria for structuring the pedagogical and educational process of music, preserving the individuality and stimulating the creativity of the children. The educational and thematic presence of Bulgarian musical folklore is the basis for understanding these ideas.
38
Kyrgys, Zoya Kyrgysovna, and Bady-Dorzhu Vladimirovich Ondar. "Following the Footsteps of Russian Tuvian Folk Music Scientists." PHILHARMONICA. International Music Journal, no. 1 (January 2023): 35–40. http://dx.doi.org/10.7256/2453-613x.2023.1.43883.
Full textAbstract:
This article aims to highlight the significance of song folklore recordings when documenting the scientific heritage of the first scientists and researchers of Tuvan musical folklore—A. N. Aksenov and E. V. Gippius—during the period 1927 to 1965. The methodological basis consists of the principles of historical continuity, objectivity, a holistic approach to the analysis of the history of the development of traditional Tuvan vocal music and the prospects for its development. The study of folk music is inextricably linked with the development of professional art. Currently, the works of visiting Soviet composers, melodically associated with Tuvan folklore, are practically not performed in the repertoire of concert programs of creative collectives of the city of Kyzyl. One of the main obstacles to their further application is the absence of these works in the curricula in music educational institutions. The issues of the prospects for the use of preserved sources in the digital archive of the Academy "Xөөmei" are analyzed. The question is raised about the need to create a single institutional repository of works and materials on the work of Russian specialists, musicologists, and scientists who studied the musical culture of Tuvinians in the Soviet period. Modern Tuvan musical folklore was largely based on the results of Aksenov's research, whose activities served as the main reference point for the study of Tuvan folk music and contributed to the flourishing of Tuvan musical art in Tuva.
39
Cimardi, Linda. "Folklore and tradition in ethnomusicology." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 355–71. http://dx.doi.org/10.31724/rihjj.44.2.1.
Full textAbstract:
The terms folklore and tradition (and the derived adjectives) in relation to music have been employed to define the subject of ethnomusicologists’ study. In this article, the meaning of these words is considered in their historical use in ethnomusicology and akin disciplines, as well as in the common sense in English, Italian and Croatian, trying to identify the main shared elements as well as the differences. While folklore is a word of foreign origin integrated in several languages, where it assumes diverse connotations also in terms of esthetical and moral value, the related adjective folk has local equivalents in Italian (popolare) and Croatian (narodni), which have been employed with reference to national musical expressions. Tradition is semantically partly overlapping with folklore, and in recent years the derived adjectives (tradicionalan, tradicijski) have been preferred in Croatian, while in Italian the word traditional (tradizionale) can be used to refer to non-European musics, and in general the locution musiche di tradizione orale is today favoured to define the subject of ethnomusicology. It appears that the national use of these words has marked their local understanding, as well as the related scholarship, and thus a reflection on the use of English in present academic and non-academic contexts is necessary.
40
Sugarman, Jane C., Jean-Pierre Graziani, Marcel Cellier, Herman C. Vuylsteke, and Kaim Murtishi. "Folklore Instrumental Albanais." Ethnomusicology 30, no. 3 (1986): 547. http://dx.doi.org/10.2307/851598.
Full text
41
Zaborskikh, Tamara Petrovna. "Folklore traditions: axiological foundations." Culture. Art. Education, no. 1 (December 26, 2022): 23–33. http://dx.doi.org/10.37816/2949-1762-2022-1-1-23-33.
Full textAbstract:
The article substantiates the view of folklore, according to which folk traditions contain the fundamental values of Russian culture. Values such as love, goodness and beauty can be found in folk tales, fairy tales, bylinas, epics and music. It is according to these values that the narrative of folklore lore of domestic culture and folklore consciousness is based. Originally existing in peasant life with the help of modern media folklore becomes a reference point of moral order for all segments of the population. Modern studies of folklore consciousness are built on the fact that they mark important value dominants. Depending on what comes first - truth, goodness, beauty, or love - the nature of the narrative of a folklore work changes.
42
Kyrgys, Zoya Kyrgysovna, and Bady-Dorzhu Vladimirovich Ondar. "Following the Footsteps of Russian Scientists of Tuva Folk Music." PHILHARMONICA. International Music Journal, no. 1 (January 2023): 17–25. http://dx.doi.org/10.7256/2453-613x.2023.1.39753.
Full textAbstract:
The article aims to highlight the significance of song folklore recordings on the example of the documentary scientific heritage of the first scientists-researchers of Tuvan musical folklore A. N. Aksenov, E. V. Gippius for the period from 1927 to 1965. The methodological basis consists of the principles of historical continuity, objectivity, a holistic approach to the analysis of the history of the development of traditional Tuvan vocal music and the prospects for its development. The study of folk music is inextricably linked with the development of professional art. Currently, the works of visiting Soviet composers, melodically associated with Tuvan folklore, are practically not performed in the repertoire of concert programs of creative collectives of the city of Kyzyl. One of the main obstacles to their further application is the absence of these works in the curricula in music educational institutions. The issues of the prospects for the use of preserved sources in the digital archive of the Academy "Xөөmei" are analyzed. The question is raised about the need to create a single institutional repository of works and materials on the work of Russian specialists, musicologists, scientists who studied the musical culture of Tuvinians in the Soviet period. Modern Tuvan musical folklore was largely based on the results of A. N. Aksenov's research, whose activities served as the main reference point for the study of Tuvan folk music and contributed to the flourishing of Tuvan musical art in Tuva.
43
Kurbanova, Djamilya. "Genre Classification and the Current State of Turkmen Musical Folklore." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 155–67. http://dx.doi.org/10.31866/2410-1915.24.2023.287693.
Full textAbstract:
The aim of the article is to characterise the existing classification systems of Turkmen musical folklore, as well as to outline new ways of studying folklore genres to determine their typological characteristics. Results. Turkmen music is part of a single common Turkic culture, and its musical folklore is distinguished by a variety of genres and forms. Having studied the currently available systems for classifying the musical folklore genres, the author suggests classifying Turkmen folk songs not only based on their functional features but also by grouping them by timbre and methods of sound production. Scientific novelty. The study of folklore heritage allows us to penetrate into the deep layers of the artistic consciousness of the people and identify the features of their spiritual life. The issues of studying the musical heritage of the Turkic peoples are the focus of attention of many researchers, who agree that the formation of folk genres of Turkmen music, as well as the entire Turkic culture, is based on the life cycle, with its gradation by age (children, adolescents, adults), whose attitude reflects the corresponding genres of musical folklore. Conclusions. In the modern space, it is almost impossible to find examples of genuine folklore in its purest form. The change in the forms of human life, social formations, the development of professional arts, the departure from applied functions, and the oral method of transmitting traditions — all this led to the inevitable modification and disappearance of many genres of folklore. In such a situation, the study of folklore and the search for its origins become an important task for contemporary folklore studies. The multi-layered expressive means of folklore heritage requires an integrated approach to its study, taking into account the analysis of timbre and intonation, words and rhythm, melody and general compositional structure, as well as the technique of performing folk art samples.
44
Suprun-Yaremko, Nadiya. "Hryhorii Kontsevych’s Music-foikloristic activity." Ethnomusic 16, no. 1 (2020): 93–114. http://dx.doi.org/10.33398/2523-4846-2020-16-1-93-114.
Full textAbstract:
Musical and folkloristic activities of the Kuban activist Hryhorii Kontsevych, Ukrainian in origin, lasted for half a century under conditions of the Russian Empire, and from 1920 – Soviet totalitarian socio-political reality, of which he became the in- nocent victim in 1937, accused of being involved in the preparation of terrorist attack against Stalin. Kontsevych’ name o and his versatile activity as a chanter, folklorist, composer, teacher and organizer of music affairs in the Krasnodar Territory of the Russian Federation have been hushed up for 52 years (until 1989). In her paper, the author, as a native of the Krasnodar Territory and researcher of folk culture of the Ukrainians from Kuban, set out an objective to draw up a creative portrait of H. Kont- sevych and review his folklore collections and papers that were reprinted or found in the libraries and archives of Krasnodar with the support of the leader of Kuban Cossack Choir, folklorist, Honoured Artist of Russia, Ukraine and Adygea Viktor Zakharchenko. The paper draws up Kontsevych’s creative portrait, examines (based on republication of 2001) the entire corpus of arranged and published in 1904–1913 276 song and analyses the collection “Musical folklore of Adygei in the records by H. M. Kontsevych”, written shortly before his death, but first published in 1997. The research essay “Chumaks in folk songs” introduced to the scientific circulation. The research essay “Chumaks in folk songs” introduced to the scientific circulation. The conclusion is drawn up that it was exactly Hryhorii Komtsevych, who made the great- est contribution to the formation of Kuban musical folklore.
45
Wolkowicz, Vera. "Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950." Journal of Musicology 36, no. 2 (2019): 228–60. http://dx.doi.org/10.1525/jm.2019.36.2.228.
Full textAbstract:
When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s compositions and Moreno’s music analyses. It demonstrates how they either included Incan culture in or excluded it from a national music history, in dialogue with scholars outside Ecuador. Early twentieth-century musical discourse in Ecuador produced a series of conflicting and converging perspectives on national and continental music that contribute to our understanding of the global history of nationalistic art musics.
46
Öztürkmen, Arzu. "Folklore on Trial: Pertev Naili Boratav and the Denationalization of Turkish Folklore." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 42, no. 2 (May 2005): 185–216. http://dx.doi.org/10.2979/jfr.2005.42.2.185.
Full text
47
Derevianchenko, Olena. "Mykhailo Verikivskyiʼs “Five Pieces For String Quartet on Folk Themes”: Principles of Folklore Processing." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 69–84. http://dx.doi.org/10.31318/2522-4190.2022.134.269612.
Full textAbstract:
Relevance of research. The introduction to the musicological using of the manuscript of M. Verikyvskyi's early work, which was previously only briefly mentioned in the literature, is connected with the current scientific trend of studying little-known pages of the history of Ukrainian music of the era of national liberation struggles of the 20th century. The return of the forgotten artefact of the composer's heritage is intended to contribute to the establishment of more complete and objective picture of the development of genres, stylistic trends, individual authorial style, etc. The purpose of the study. The purpose of the article is to explore the principles of processing folklore in the M. Verikyvskyʼs cycle "Five pieces for a string quartet on folk themes" in the genrestylistic aspect, to find out the extent of the influence of theoretical views and didactic instructions of B. Yavorskyi on the writing of the work, to outline the meaning of the composition in the context of the evolution of the author's creativity and directions development of Ukrainian quartet music of the 20th century. Methods. The article uses source, genre and style studies, structural and intonationalconstructive methods of analysis of musical work. The results and conclusions. The composer's notes in the margins of the manuscript are commented in the context of the artist's creative life (1921), social-political and aesthetic-artistic trends of the era, communication with the teacher of composition. The stylistic features of neofolklorism were revealed in the work: appeal to folk archaic and principles of folklore thinking, combination of folk elements with technical and compositional means of the modernist era, subjugation of the folklore theme to an individual artistic idea. The influence of the theoretical and didactic instructions of B. Yavorskyi, M. Verikyvskyiʼs teacher at the Kyiv Conservatory, can be observed on two levels: 1) general aesthetic views on the use of folklore in the composer's work, 2) specific compositional and stylistic techniques in the plane of lado-harmonic processes (the role of the tritone, constructive and modal continuous exposition), dynamization of the metrorhythm, texture, formation. In the composer's creativity, this work initiates the genre of instrumental folklore composition, prepares the appearance of large-scale neo-folkloric compositions (oratorio, symphonic uite, ballet, opera), tests for the first time the model of the five-part suite cycle, built on the principles of contrast, symmetry and concentricity. In Ukrainian quartet music, this opus is located near the origins of the folklore line of development of the genres of piece (folk miniature) and suite.
48
Ritzarev, Marina. "King David and the Frog." Musicological Annual 50, no. 2 (April 3, 2015): 31–42. http://dx.doi.org/10.4312/mz.50.2.31-42.
Full textAbstract:
The interrelations between the liturgical and paraliturgical genres of sacred music in both live practice and in historiography are explored. Parallels are found between eighteenth-century Russian and modern Hebrew religious music. The author's theory of the vernacular in music is applied to explain the stylistic openness in paraliturgical music (as a parallel to onto-vernacular folklore).
49
Bjeljac, Željko, and Nevena Ćurčić. "An Evaluation of Folklore Events in Serbia in Terms of Tourism." Issues in Ethnology and Anthropology 5, no. 3 (May 14, 2010): 227–42. http://dx.doi.org/10.21301/eap.v5i3.11.
Full textAbstract:
In Serbia there are many traditional events based on tradition, folklore, old customs and traditional crafts and trades. Folklore events are the oldest elements in the development of tourism and provide a sufficient motive for tourist visits. On the basis of their program content, these events can be divided into folklore and folk music festivals, festivals of folk customs, and children’s folklore festivals. This paper offers a categorization of folklore events according to economic and geographic criteria; particular attention has been given to events that already are, or have great potential for becoming, a major attraction of the tourist destination in question and can thus contribute to a faster and higher-quality development of tourism.
50
Nazarova, Elena O., and Yanwen Bu. "Original article Folklore Origins of Ma Sicong's Music." Университетский научный журнал, no. 66 (2022): 45–52. http://dx.doi.org/10.25807/22225064_2022_66_45.
Full text