Academic literature on the topic 'Music Folk music Okpe poetry'
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Journal articles on the topic "Music Folk music Okpe poetry"
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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 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.
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Haapoja-Mäkelä, Heidi Henriikka. "Silencing the Other’s Voice?" Ethnologia Fennica 47, no. 1 (June 25, 2020): 6–32. http://dx.doi.org/10.23991/ef.v47i1.84255.
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Kalevalaic runosinging is a Baltic-Finnic tradition of metered oral poetry. In Finland, runo singing and the national epic Kalevala based on this tradition are often seen − especially in public speech − as nationally significant symbols of Finnishness.
In this article, I examine how the idea of the Finnishness of traditional runo songs has been constructed in the changing paradigms of studying and performing folk music and oral poetry in Finland across the last hundred years, and how the concept of cultural appropriation relates to this. I will concentrate on early Finnish folk music studies as well as on the contemporary Finnish folk music scene; I tie these fields together by following the circulation of an Ingrian runosong theme called Oi daiafter it became part of archived folklore collections in Finland in 1906.
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Doesburg, Charlotte. "Of heroes, maidens and squirrels: Reimagining traditional Finnish folk poetry in metal lyrics." Metal Music Studies 7, no. 2 (June 1, 2021): 317–33. http://dx.doi.org/10.1386/mms_00051_1.
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The Kalevala (1849), the Finnish folk epic, has inspired all types of artists throughout the years. It could be argued that it was only a matter of time before Finnish metal musicians started adapting material from the epic in their music and lyrics. This article presents two case studies of two lyrics. The first is ‘Lemminkäisen laulu’ (‘Lemminkäinen’s Song’) by Kotiteollisuus. This song is about one of the epic’s main heroes, Lemminkäinen, and his unfortunate marriage to Kyllikki. It draws on poems 11‐13 from the Kalevala and on the book Seitsemän veljestä (‘The Seven Brothers’) (1870) by novelist Aleksis Kivi. The second song discussed is ‘Rautaa rinnoista’ (‘Iron from the Breasts’) by Mokoma. The lyrics for this song are inspired by the painting Raudan synty (‘The Origins of Iron’) (1917) by Joseph Alanen. This painting is based on the birth of iron poem from the Kalevala. The interpretation of the lyrics of both songs will show that artists in the same genre have a larger general awareness of other cultural products, including those inspired by the Kalevala and that they use the epic for different purposes. The two case studies will show that adaptation of Finnish folk poetry can be used for various reasons, such as to parodize contemporary society or to voice personal ideas and world-views. Furthermore, the analysis of these lyrics will show that the songs are connected to a sense of Finnishness and the topics and themes of metal music internationally.
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TÜRKMEN, Fikret, and Hande Devrim KÜÇÜKEBE. "TURKISH FOLK POETRY AND FOLK MUSIC IN MECMUÂ-İ SÂZ U SÖZ BY ALİ UFKÎ BEY (ALBERT BOBOWSKI)." Turk Dunyasi Dergisi, no. 43 (June 15, 2017): 259–82. http://dx.doi.org/10.24155/tdk.2017.14.
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GLAUERT, AMANDA. "‘NICHT DIESE TÖNE’: LESSONS IN SONG AND SINGING FROM BEETHOVEN’S NINTH SYMPHONY." Eighteenth Century Music 4, no. 1 (March 2007): 55–69. http://dx.doi.org/10.1017/s147857060700070x.
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AbstractDiscussions of the recitative intervention from the solo baritone in the finale of Beethoven’s Ninth Symphony usually focus on how his words might offer a commentary on the discourse of the symphony as understood in instrumental terms. This article seeks to interpret the baritone’s words as a call to song – song in its literal as well as idealized sense, as identified through strophic treatment and folk-like character. Beethoven’s borrowing of material from his own setting of Bürger’s Gegenliebe for his ‘Ode to Joy’ tune is taken as a sign of the composer engaging with Bürger’s advocacy of simple diegetic song, an advocacy that sits provocatively alongside the abstract idealism of Schiller’s An die Freude. Concentrating on the song-like aspects within the finale of the Ninth Symphony in this way might seem to magnify the effect of the silences and disjunctures within the movement. However, Johann Gottfried Herder (the poet and theorist of the lyric) embraced silence as one of the conditions of folk-like song, as Beethoven seems to have understood from his own settings of Herder’s poetry. A comparison between the Ninth Symphony finale and some of Beethoven’s actual settings suggests a new understanding of how the composer uses silence within the symphony. It also points up the radical nature of his balance between abstract and literal renditions of song in this work, a balance that even outstrips the Helen-Gretchen contrast in Goethe’s Faust for its subtlety and pervasiveness.
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Podmaková Ú, Dagmar. "From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance." Slovenske divadlo /The Slovak Theatre 65, no. 2 (June 27, 2017): 172–95. http://dx.doi.org/10.1515/sd-2017-0011.
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Abstract In the 1940s the Drama Company of the Slovak National Theatre introduced four poetry productions, which demonstrated the stage potential of the symbiosis of verse and a music-accompanied recitation in an original stage design solution. The single presentation of poetry of Poézia revolúcie a boja [The Poetry of Revolution and Fight, 1945] directed by Ján Jamnický and Pásmo poézie Janka Jesenského [The Show of Poetry by Janko Jesenský, 1946] directed by Jozef Budský were the first independent attempts at staging selected poetry. Besides recitation, they were dominated by the visual sign, powerful music sometimes accompanied by the singing of individuals and a voice band, and distinctive lighting design. Botto’s Smrť Jánošíkova [The Death of Jánošík] and Sládkovič’s Marína (both in 1948) directed by Jozef Budský displayed all features of synthetic theatre, combining recitation, voice band singing, scenic and visual solutions, metaphor, originally composed music inspired by the folk song, dance, film screening, and meaningful lighting. Jozef Budský indirectly built on Czech theatre, particularly on E. F. Burian. Both masterpieces by the authors of Štúr’s generation (Ján Botto, Andrej Sládkovič) aroused the interest of the expert public and the audience. It triggered arguments about excessive directorial intervention and insufficient ideological character, especially in the theatre form of Marína.
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Miyakawa, Felicia M. "‘Jazz at Night and the Classics in the Morning’: musical double-consciousness in short fiction by Langston Hughes." Popular Music 24, no. 2 (May 2005): 273–78. http://dx.doi.org/10.1017/s0261143005000498.
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Leaders of the Harlem Renaissance – intellectuals such as Jessie Faucet, Alain Locke, James Weldon Johnson and W.E.B. DuBois – hoped to gain respect for African Americans through participation in emblems of high culture such as poetry, novels, serious plays, and the highest of all classical music genres: the symphony.1 They encouraged artists to mine folk themes for use in new, elevating works, transforming ‘indigenous’ materials into uplifting examples of high cultural resonance. Artists themselves, however, were ambivalent about privileging ‘high’ art, and especially so when making and writing about music. Indeed, as Samuel Floyd has argued, the most vibrant music to come out of the Harlem Renaissance took the form of blues, boogie woogie, and hot jazz, found in venues such as clubs, juke joints, rent parties, and stage shows (Floyd 1990, pp. 5–6).
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Iațeșen, Loredana Viorica. "Number 13 / Part I. Music. 6. Requiem by Karl Jenkins. An Analytical Approach to The Interweaving of Various Traditions in Music." Review of Artistic Education 13, no. 1 (March 1, 2017): 43–59. http://dx.doi.org/10.1515/rae-2017-0006.
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Abstract In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musical compositions of the last decades of the 20th century. Once with the return to the functional system, either through minimalism or through neo-romanticism, the artist has successfully covered a potential sonority path of modern opposites, also evoking references to creative models of the past. We are referring to the musical valorizing of the sacred in a synthetic vision between tradition and innovation, in the works included in the Adiemus cycle, in the opus choir Missa for Peace and, more particularly, in the Requiem (2005), a significant score in the contemporaneity. The manner in which the composer, while resorting to a musical genre originating from the Roman Catholic cult and drawing on the liturgical text of the Mass for the dead, inserted Japanese poetry, written following the structure of haiku, belonging to representative authors - Gozan Koshigaya, Issho Kosughi, Hokusai Katsushika, Kaga-no-Chiyo, is highly surprising. This study aims to highlight the interweaving imagined by Karl Jenkins between the two cultures as well as to conduct a semantic analysis of an opus in which the relationships between music and words entail a highly emotional response.
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Lourido Hermida, Isaac. "Entre Rosalía 21 y Labregos do tempo dos sputniks: la poesía gallega como espectáculo." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (January 9, 2012): 90. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218551.
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El objetivo de este trabajo es analizar la presencia de la poesía en el espacio público gallego en la actualidad. Para ello, se estudian los discursos que han combinado poesía, oralidad y música en las últimas cuatro décadas. Con la intención de investigar los cambios sufridos por los modelos convencionales del recital, la canción de autor o el uso de textos poéticos en la música folk, son analizadas tres propuestas musicales contemporáneas: el proyecto interdisciplinar Rosalía 21, el programa de intervención política de Labregos do tempo dos sputniks y, finalmente, la iniciativa del grupo Fanny + Alexander, que vincula pop electrónico y letras contemporáneas. Palabras clave: poesía gallega, espacio público gallego, normalización cultural, intermedialidad. The paper aims to analyze the presence of poetry in the Galician public sphere nowadays. Therefore, discourses combining poetry, orality, and music over the last four decades are covered here. In order to study changes in conventional recital and singer-songwriting models, as well as the use of poetic texts in traditional music, the paper analyzes three contemporary musical proposals: the interdisciplinary project Rosalía 21, the political action program of Labregos do tempo dos sputniks and, finally, the work of the group Fanny + Alexander, that links electronic pop and contemporary lyrics. Keywords: Galician poetry, Galician public sphere, cultural normalization, intermediality.
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Dahlig, Piotr. "Oskar Kolberg (1814–1890) the Founder of Musical Ethnography in Poland." Musicology Today 11, no. 1 (December 1, 2014): 1–5. http://dx.doi.org/10.2478/muso-2014-0008.
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Abstract The article presents the greatest Polish ethnographer, who was also a professionally educated musician. He concentrated his activities on the oral musical culture, still vital in the 19th century but liable to changes. Culture studies by Kolberg concerned mainly rural communities, statistically dominating in those times. He planned to edit 60 volumes geographically covering the first Polish State from before 1772; he managed to print 33 of them in his lifetime and prepare many further anthologies for editing. Up till now, the editorial work is still in progress. The already edited 80 volumes show us an old social culture, folk ceremonies, musical repertoire including ritual singing, songs and instrumental pieces. Kolberg’s printed monument is a source of reflection on the past and can inspire social studies, ethnomusicological research as well as musical ensembles performing traditional ethnic music of peasant origin. The size of Kolberg’s documentation means that a special Institute of Oskar Kolberg had to be established to continue editorial and research work. In spite of his positivistic and empirical attitude, Kolberg still kept a romantic faith in the significance of folk songs and singing for the preservation of national components in cultural consciousness. Simultaneously, he developed a model for structural analysis of popular/folk culture and intended to build a cultural atlas of the country, building on the work of his father, professor of the University of Warsaw, an outstanding cartographer. But the core of Kolberg’s programme, its “planetary centre”, was always music. It was music that gave him the stimulus to interpret the culture of Central-Eastern Europe. To preserve regional diversity, he wrote down more than 20 thousand vocal melodies, song texts and instrumental pieces, paying special attention to variants and ornamentation. For the contemporary composer, Kolberg’s volumes are a useful musical reader. These huge anthologies of elementary but highly integrated musical concepts demonstrate the collective creativity and a fascinating prefiguration of mass culture, still open to symbols and to poetry. Kolberg’s music transcriptions, catching music in the process of performance, should not be treated as unchangeable patterns for copying, but rather as a source that helps understand creativity in traditional oral culture.
Dissertations / Theses on the topic "Music Folk music Okpe poetry"
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Gómez, Sobrino Isabel. "Poesia hecha cancion: adaptaciones musicales de textos poeticos en España desde 1960 hasta el 2010." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937390.
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.
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The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
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Ancín, Itziar. "The Kabir Project. Bangalore and Mumbai (India)." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23290.
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The Kabir Project (K.P.) was born in Bangalore, India, in 2002, after the Gujarat pogrom, which occurred in the same year. In the context of increasing divisions in Indian society, defined by religion, social class, caste and gender, this research explores how this initiative, through live concerts and documentary films, spreads the folk music traditions of the 15th century mystic poet Kabir along with his messages of unity and understanding between confronted identity groups. This study presents the context of violence between Muslims and Hindus since the Indian Partition and the reasons for gendered violence in the conflict. It focuses also on the connections between globalization and minorities’ prosecution in liberal democracies; on the colonial roots and socioeconomic reasons which led to the Gujarat massacre in 2002; and the social role of the mystic as bridging cultural and religious differences. Through two complementary methods: in-depth interviews to audiences and organizers at the K. P. festivals in Bangalore and survey questionnaires distributed to the Kabir Festival Mumbai audiences, this study tries to answer the following questions: What is the potential for social change of the K. P. in the world-views of today's Indian citizens? Are the messages presented by films and folk music capable of generating positive attitudes towards dialogue between confronted identity categories? In which ways?The research reveals the success of the K. P. to challenge audiences’ minds through communication for development events, whose objectives are reached by spreading Kabir values through artistic forms, and by creating shared spaces between confronted identity sections. Festivals in rural areas help to diminish the distance between those antagonized communities. In addition, urban festivals also generate positive attitudes in elites towards dialogue and coexistence, since that is the social profile of the audience.
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Forsberg, Jacob. "“It ain’t the melodies that’re important man, it’s the words” : Dylan’s use of figurative language in The Times They Are A-Changin’ and Highway 61 Revisited." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-41174.
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This essay compares the figurative language of Bob Dylan’s albums The Times They Are A-Changin’ (1964) and Highway 61 Revisited (1965), with a focus on how Dylan remained engaged with societal injustices and human rights as he switched from acoustic to fronting a rock ‘n’ roll band. The essay argues that Dylan kept his critical stance on social issues, and that the poet’s usage of figurative language became more expressive and complex in the later album. In the earlier album Dylan’s critique, as seen in his use of figurative language, is presented in a more obvious manner in comparison to Highway 61 Revisited, where the figurative language is more vivid, and with a more embedded critical stance.Uppsatsen jämför det figurativa språket i Bob Dylans skivor The Times They Are A-Changin’ (1964) och Highway 61 Revisited (1965), med ett fokus på hur Dylan fortsatte vara engagerad inom samhällsfrågor och mänskliga rättigheter när han gick över från akustisk solomusik till att leda ett rockband. Uppsatsen argumenterar för att Dylan behöll sin kritiska syn på samhällsfrågor, och att poetens användning av figurativt språk blev mer expressivt och komplext i det senare albumet. I det tidigare albumet är Dylans kritik, som den framstår i hans användning av figurativt språk, presenterad mer direkt i jämförelse med Highway 61 Revisited, där det figurativa språket är mer levande och innehåller en mer förtäckt kritik.
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Idamoyibo, Ovaborhene Isaac. "Igoru music of Okpeland a study of its functions and compositional techniques /." 2005. http://upetd.up.ac.za/thesis/available/etd-01192007-134924/.
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Idamoyibo, Ovaborhene Isaac. "Igoru music in Okpeland : a study of its fuctions and compositional techniques." Thesis, 2006. http://hdl.handle.net/2263/24078.
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This study focused on the functions of Igoru music in Okpe land. It also examined the compositional techniques of the music typology. The primary source for data collection was oral interview. Secondary sources include publications, and records. Unstructured research questions formed basis for the study. The texts of eighty seven (87) songs were transcribed and translated for this study. Fifty songs from this sample were further transcribed in staff notation, for analysis and discussion. At the end of the study, the following findings were made: - Igoru musicians, in their foresight, investigate, evaluate, probe, counsel, warn, and foretell future events in Okpe, to avoid painful experiences, since in traditional Okpe society, life experiences are shared.
- Most of the themes in Igoru music are derived from the sense of realism than idealism. The songs being quite topical had to be realistic than idealistic in tendency. Various sound and speech elements are put together to make communication effective.
- Igoru music praises and commends deserving members, in order to encourage those who are doing well in the society to continue in their good deeds, as well as stimulate others to emulate them.
- The musicians defend their political system, their territorial land mass, traditional religion and themselves from various attacks.
- Igoru music represents the Okpe identity, thus it was selected amongst other music typologies of the culture to represent it, both in social and political-oriented activities in Lagos and elsewhere.
- Igoru music uses the hexatonic scale system. Almost all the songs were found to be composed in compound quadruple metre. The performers involve in two-part polyphonic singing. Consecutive parallel 3rds, 4ths, and 5ths are prevalent and melodic cadences resolve upwards than downwards. Shifts of tonal centre (key), according to the convenience of performers, as well as recycling of themes are also common features.
Thesis (Doctor of Music (DMus))--University of Pretoria, 2007.
Music
unrestricted
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Borrajo, Aarón Pérez. "Folk music and poetry of Spain and Portugal: Kurt Schindler e a problemática da recolha de música popular portuguesa de tradição oral." Master's thesis, 2020. http://hdl.handle.net/10316/93742.
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Dissertação de Mestrado em Estudos Artísticos apresentada à Faculdade de LetrasEsta dissertação de fim de mestrado tem por objetivo abordar o estudo da figura de Kurt Schindler e do seu trabalho etnomusicológico, concretamente o relacionado com a música popular portuguesa de tradição oral. Para isso, em primeiro lugar, vamos referir-nos às atividades etnográficas e etnomusicológicas portuguesas mais relevantes desde o final do século XIX até as primeiras décadas do século XX. Contextualizaremos, por conseguinte, a situação e as iniciativas mais interessantes com as quais se encontrou Kurt Schindler à sua chegada a Portugal. Por outro lado, a imprescindível análise biográfica do nosso protagonista permitir-nos-á conhecer o papel desempenhado pelos seus patronos no que respeita à orientação do seu trabalho, aprofundando no interesse das elites americanas pela cultura popular ibérica.Seguidamente, procederemos a examinar o Folk music and poetry of Spain and Portugal (1941), cancioneiro póstumo em que se encontram recolhidas um conjunto de sessenta canções populares portuguesas num bloco final. Realizaremos, portanto, um estudo dos procedimentos criativos, da história e dos agentes culturais que participaram na edição final desta obra, fornecendo assim nova informação sobre uma fonte dedicada à música popular portuguesa e omitida em numerosas ocasiões. Analisar o conteúdo musical português deste cancioneiro, o qual foi recolhido principalmente na região de Trás-os-Montes, nos facilitará a abordagem de questões muito interessantes ligadas aos processos de transferência e intercâmbios musicais em contextos geográficos transfronteiriços. Estas hipóteses serão desenvolvidas e verificadas através do estudo de caso da peça portuguesa no. 944 Habas Verdes, um exemplo musical único que demonstra a adaptação do género musical castelhano das Habas Verdes. Este facto nos permitirá refletir sobre a importância e a responsabilidade do etnomusicólogo na contribuição do seu trabalho à definição cultural e identitária de um território.
The aim of this dissertação de fim de mestrado is to address the study of the Kurt Schindler's figure and his ethnomusicological work, specifically that work related to Portuguese popular music from oral tradition. To this end, firstly, we will consider the study of the most relevant Portuguese activities in the fields of ethnography and ethnomusicology from late 19th century to first decades of 20th century. We will contextualize, then, the references and situation which Kurt Schindler could find when he arrived in Portugal. Additionally, the indispensable biographical analysis of our protagonist will allow us to know what kind of role his patrons displayed in the orientation of his work and we will go deep into the interest from American élites when it comes to the Iberian popular culture.Next, we will examine the Folk music and poetry of Spain and Portugal (1941), posthumous song book which include a final group of sixty Portuguese popular songs. We will enter the study of the creative process, history and agents that took part in the final edition of this work, providing new information on a source devoted to the Portuguese popular music many times omitted. The analysis of the Portuguese musical content of this song book, collected mainly in the Região de Trás-os-Montes, will make available to tackle very interesting questions bounded to the transference and musical exchange process located in cross-borders spaces. In order to develop and demonstrate all this point we will study the case of the Portuguese piece no. 944 Habas Verdes, which constitute a unique musical example of Portuguese adaptation from the Castilian musical genre Habas Verdes. This very fact will also allow us to reflect about the ethnomusicologist's importance and responsibility when it comes to contribute with his work to define the identity and culture from a particular territory.
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Dhliwayo, Elizabeth. "A critical study of the praise singer yesterday, today and tomorrow." Diss., 2007. http://hdl.handle.net/10500/1334.
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The study sets to establish trends with regard to the role of the praise singer, the changes with regard to the traditional praise singer's rendition/performance and the material or content of his/her poetry. Thus the study highlights the distinction observed between the praise singer of the past and the present praise singer. The study also shows that the praise singer's performance, in terms of his/her role and content, is in the state of flux.
The study also demonstrates that the singer of the past and the present praise singer have the same role and their chants or poetry or songs have the same effect. It also highlights situations where praises are chanted in modern times. These are graduation ceremonies, weddings, political gatherings and traditional ceremonies, for example, the annual rain making ceremonies. These events or occasions are inextricably linked to traditional praises. The study also highlights the fact that traditional praises present the history and heroic deeds of members of the clan to which the beneficiary belongs. They also express the deep feeling of royalty and loyalty. Like in the past they boost morale.African Languages
M.A. (African Languages)
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Jandová, Zuzana. "Vítězslav Novák: Dvě balady na slova lidové poezie moravské pro smíšený sbor a čtyřruční klavír (orchestr) op. 23." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405555.
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Vítězslav Novák wrote his second opus of choral ballads, Two Ballads on Words of Moravian Folk Verses Op. 23 Vražedný milý and Neščasná vojna, in 1900. He set Moravian folk song texts from contemporary song collections to music, the first version was for mixed choir and piano four hands, followed by an orchestration for symphony orchestra. The ballads were a great contribution to choir repertoire and have made their mark in choral concert life, as evidenced by the press. Despite such a great interest, the orchestral score has never been printed and is only available in manuscript. Even critical literature did not deal with this topic more specifically, so there is still some ambiguity, for example, concerning premieres or the state of the sheet music.
Books on the topic "Music Folk music Okpe poetry"
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Pullicino, Guzè Cassar. Maltese oral poetry and folk music. Msida (Malta): Malta university publishers, 1998.
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Cassar-Pullicino, Joseph. Maltese oral poetry and folk music. Msida (Malta): Malta university publishers, 1998.
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Scheub, Harold. The poem in the story: Music, poetry, and the narrative. Madison: University of Wisconsin Press, 2002.
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The song contests of Turkish minstrels: Improvised poetry sung to traditional music. New York: Garland, 1995.
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"The given note": Traditional music and modern Irish poetry. Newcastle, UK: Cambridge Scholars Pub., 2008.
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Steingrímsson, Hreinn. Kvæđaskapur =: Icelandic epic song. Iceland: Mál og mynd, 2000.
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Institut istorii, arkheologii i ėtnografii narodov Dalʹnego Vostoka (Rossiĭskai︠a︡ akademii︠a︡ nauk), ed. Belorusskie tradit︠s︡ii v narodno-bytovoĭ kulʹture Primorʹi︠a︡. Vladivostok: RAN. Dalʹnevostochnoe otd-nie. In-t istorii, arkheologii i ėtnografii narodov Dalʹnego Vostoka, 2002.
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Braziūnas, Vladas. iš naminio audimo dainos: Kompozicija poeto balsui ir skambančiai gausai. Vilnius: leidykla KRONTA, 2008.
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Erdélyi, János. Nyelvészeti és népköltészeti, népzenei írások. Budapest: Akadémiai Kiadó, 1991.
Find full textBook chapters on the topic "Music Folk music Okpe poetry"
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Solomon, Thomas. "Azerbaijani rap music and oral poetry between “the folk” and “the popular”." In Turkic Soundscapes, 77–99. Routledge, 2018. http://dx.doi.org/10.4324/9781315161655-5.
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Nemtsov, Jascha. "‘National Dignity’ and ‘Spiritual Reintegration’: The Discovery and Presentation of Jewish Folk Music in Germany." In Jewishness, 105–30. Liverpool University Press, 2008. http://dx.doi.org/10.3828/liverpool/9781904113454.003.0005.
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This chapter details how Jewish folk music was presented as high art to concert audiences in early twentieth-century Germany and how that strategy was criticized. In January of 1901, the first issue of the journal Ost und West (East and West) appeared in Berlin. It served as the most important organ of cultural Zionism for the next two decades, and, as its title suggests, it attempted to bridge the cultural divide between east and west European Jews with the aim of creating an ethnic nationalist goal. The first issue contained, among other things, an article by the renowned Jewish philosopher Martin Buber entitled ‘Jewish Renaissance’ — a term that was to characterize this movement. Critical to this renaissance was the establishment of a common spirit binding a modern nation. Although based in Germany, the leaders of the movement envisioned that this spirit would be found in the ‘authentic folk’ of eastern Europe and the ethno-poetry of the folk song. The chapter then uncovers the often overlooked story of these leaders, particularly Leo Winz and Fritz Mordechai Kaufmann, and the significance of their renaissance movement for modern Jewish thought and culture.
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Zeitlin, Steve. "Intimacy in Language." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0003.
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In this chapter, the author considers poetry in family expressions, which, along with in-jokes and associations, are packed with alliteration, rhythm, and hyperbole. The author recalls how he was drawn to folklore because, even at an early age, he was aware of the beauty and power of folklore in his own life. The author grew up as an American expat in São Paulo, Brazil. His parents, Shirley and Irv, belonged to that notable group called sojourners—those who immigrate but never fully assimilate. He shares his experience with a song called “Red River Valley,” which he says inspired his love of folk music and also played a part in his becoming a folklorist and meeting his future wife, Amanda, a fellow folklorist. Besides the song, a few other incidents contributed to the serendipity of meeting Amanda. The author remembers a time when a conversation between him and Amanda shifts from prose toward poetry, a moment that highlights the importance of intimacy in language.
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Milner, Andrew, and J. R. Burgmann. "Cli-fi in Other Media." In Science Fiction and Climate Change, 171–89. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621723.003.0008.
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This chapter explores cli-fi in other print media (short stories, published poetry, comics and graphic novels), recorded popular music (folk and rock), and audio-visual media (cinema, television and videogames). It identifies rhetorically effective instances of cli-fi from a wide range of media, notably Carol Ann Duffy’s ‘Keep It in the Ground’, Brian Wood’s The Massive, Anohni’s Hopelessness, Franny Armstrong’s The Age of Stupid and Darren Aronofsky’s Noah. But it concludes, nonetheless, that it is in cli-fi novels and trilogies, especially those that deal with mitigation and negative or positive adaptation, that the major effort to respond to the climate crisis has taken shape. The more general conclusion, then, is that longer narrative forms seem best suited to climate fiction.