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Journal articles on the topic 'Music and folklore'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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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 (2021): 91–113. http://dx.doi.org/10.26493/2712-3987.17(34)91-113.

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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,

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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.

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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.

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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

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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.

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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 favor

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5

Mirələm qızı Qasımova, Pərvanə. "Characteristics of folklore." SCIENTIFIC RESEARCH 12, no. 8 (2022): 24–29. http://dx.doi.org/10.36719/2789-6919/12/24-29.

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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 sabitləşdiri

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6

Bizhga, Denis. "The Influence of Folklore on the Cultivated Albanian Music of the XX Century." European Journal of Multidisciplinary Studies 5, no. 3 (2020): 47. http://dx.doi.org/10.26417/237vbd89w.

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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

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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.

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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 Loa

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8

Kwami, Robert. "A West African Folktale in the Classroom." British Journal of Music Education 3, no. 1 (1986): 5–18. http://dx.doi.org/10.1017/s026505170000509x.

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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.

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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.

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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 folklo

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10

Lehri, Inayat Ullah, та Hafeez Ullah Sarpra. "براہوئی خلقی شئیرو باگل آ تیٹی فن". Al-Burz 8, № 1 (2016): 31–44. http://dx.doi.org/10.54781/abz.v8i1.144.

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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, B

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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 (2021): 230–39. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245802.

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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 fol

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12

Urdea, Alexandra. "Folklore Music on Romanian TV." Television Histories in (Post)Socialist Europe 3, no. 5 (2014): 35. http://dx.doi.org/10.18146/2213-0969.2014.jethc054.

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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

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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.

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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 movemen

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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.

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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 w

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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.

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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.

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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 cont

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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.

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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.

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19

Неклюдов, С. Ю. "“Bublichki” Between Folklore and Pop Music." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.

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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

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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.

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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 a

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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.

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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

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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.

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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&rsquo;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&rsquo;s letters and diaries, and three articles about primary music education methods and the peculiarities of giving solfegio classes to broad

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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.

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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 founde

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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 (2022): 305–19. http://dx.doi.org/10.24193/subbmusica.2022.1.19.

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"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern er

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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 (2007): 41–66. http://dx.doi.org/10.2979/jfr.2007.44.1.41.

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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.

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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.

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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. Th

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28

Wolffenbüttel, Cristina Rolim. "Music Education and Folk Music." International Journal of Social Science Studies 9, no. 1 (2020): 64. http://dx.doi.org/10.11114/ijsss.v9i1.5114.

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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 ped

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Bolle-Zemp, Sylvie. "Institutionalized Folklore and Helvetic Ideology." Yearbook for Traditional Music 22 (1990): 127. http://dx.doi.org/10.2307/767936.

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Oring, Elliott. "Folklore and Advocacy." Journal of Folklore Research 41, no. 2 (2004): 259–67. http://dx.doi.org/10.1353/jfr.2005.0011.

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Юрий Новиков та Антон Генкин. "ИВАН ФРАНКО И УКРАИНСКАЯ МУЗЫКА". World Science 2, № 2(54) (2020): 4–7. http://dx.doi.org/10.31435/rsglobal_ws/28022020/6932.

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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.

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Collins, John. "Copyright, folklore and music piracy in Ghana." Critical Arts 20, no. 1 (2006): 158–70. http://dx.doi.org/10.1080/02560040608557784.

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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.

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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.

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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

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Kerékfy, Márton. "Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken." Studia Musicologica 57, no. 1-2 (2016): 35–47. http://dx.doi.org/10.1556/6.2016.57.1-2.3.

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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 Ma

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STROUD, SEAN. "Marcus Pereira's Música Popular do Brasil: beyond folklore?" Popular Music 25, no. 2 (2006): 303–18. http://dx.doi.org/10.1017/s0261143006000869.

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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

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Kostadinova Kolovska, Tsvetanka. "EDUCATIONAL AND THEMATIC REVIEW OF FOLKLOR IN MUSIC TRAINING IN KINDERGARDEN." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (2019): 459–64. http://dx.doi.org/10.35120/kij3002459k.

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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 musi

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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.

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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 visitin

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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.

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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

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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.

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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.

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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 imp

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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.

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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

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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.

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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

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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.

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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 aut

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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.

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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

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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 (2005): 185–216. http://dx.doi.org/10.2979/jfr.2005.42.2.185.

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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, № 134 (17 листопада 2022): 69–84. http://dx.doi.org/10.31318/2522-4190.2022.134.269612.

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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

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Ritzarev, Marina. "King David and the Frog." Musicological Annual 50, no. 2 (2015): 31–42. http://dx.doi.org/10.4312/mz.50.2.31-42.

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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).

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Bjeljac, Željko, and Nevena Ćurčić. "An Evaluation of Folklore Events in Serbia in Terms of Tourism." Issues in Ethnology and Anthropology 5, no. 3 (2010): 227–42. http://dx.doi.org/10.21301/eap.v5i3.11.

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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

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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.

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