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Journal articles on the topic 'Music Folk music Okpe poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

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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Haapoja-Mäkelä, Heidi Henriikka. "Silencing the Other’s Voice?" Ethnologia Fennica 47, no. 1 (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 stu
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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 (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 no
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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 (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 advocac
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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 (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
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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 (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 writi
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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 (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 musi
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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 (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 Fan
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Dahlig, Piotr. "Oskar Kolberg (1814–1890) the Founder of Musical Ethnography in Poland." Musicology Today 11, no. 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
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TÜRKMENOĞLU, Ömer, and Zümra AZİZOĞLU. "THE FIRST OPERA OF THE TURKISH WORLD "LEYLI AND MAJNUN’’." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (2021): 305–20. http://dx.doi.org/10.46291/zfwt/130216.

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The Turkish world's opera history gave its first example in 1908 with the opera "Leyli and Majnun" by Azerbaijani composer Üzeyir Hacıbeyli. According to many sources, "Leyli and Majnun" is described as the first opera of the Turkish world and the Islamic world, and the east. The most important feature of this opera is the masterful synthesis of classical western music and folk music. The opera, which was composed for the first time in this way, influenced the east with its staging and ensured that the art of opera was adopted by the public. The great composer Uzeyir Hajibeyli was born in the
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Wolff, William. "Springsteen, Tradition, and the Purpose of the Artist." Biannual Online-Journal of Springsteen Studies 1, no. 1 (2014): 36–73. http://dx.doi.org/10.26443/boss.v1i1.16.

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In 2012, Bruce Springsteen delivered the keynote address at the South By Southwest Music Conference and Festival. His task was daunting: reconnect authenticity to a traditional approach to creating art. By bringing together ideas on authenticity, creativity, and culture, Springsteen’s talk joins a lineage of essays that defend poetry, creativity, and culture, including famous works by William Wordsworth and T.S. Eliot. In this article, I connect Springsteen’s ideas to the “folk process,” which leads to considering Wordsworth’s ideas on the voice of the common citizen and Eliot’s ideas on histo
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Лобкова, Г. В. "Collections of Folk Songs and Instrumental Tunes by Nikolay Solovyov: On Manuscript Attribution." OPERA MUSICOLOGICA, no. 1 (March 15, 2021): 26–56. http://dx.doi.org/10.26156/om.2021.13.1.002.

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В статье представлено рукописное наследие Николая Феопемптовича Соловьёва (1846–1916), композитора, профессора Санкт-Петербургской консерватории, включающее 162 записи народных песен и инструментальных мелодий. До настоящего времени считалось, что поэтические тексты и напевы русских народных песен (117 образцов) в двух записных книжках из фондов Научно-исследовательского отдела рукописей Научной музыкальной библиотеки (НИОР НМБ) Санкт-Петербургской государственной консерватории имени Н. А. Римского-Корсакова относятся к автографам известного композитора А. Н. Серова. В статье находит подтвержд
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Weinreich, Matthias, and Mikhail Pelevin. "The Songs of the Taliban: Continuity of Form and Thought in an Ever-Changing Environment." Iran and the Caucasus 16, no. 1 (2012): 45–70. http://dx.doi.org/10.1163/160984912x13309560274055.

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AbstractThe second half of the 1990s saw the emergence of a new, distinctive type of Afghan poetry, the Taliban tarana performed in Pashto by one or more vocalists without instrumental accompaniment and characterised by the melodic modes of local folk music. Over the last fifteen years the tarana chants have gained wide distribution within Afghanistan and Pashto speaking parts of Pakistan, as well as among the Pashtun diaspora. Considering their unambiguous ideological status and their immense popularity within the country of origin they can be regarded as the signature tune of the Afghan insu
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15

Berkan-Jabłońska, Maria. "Selected 19th-Century Poetic Paeans Celebrating Stanisław Moniuszko." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 8 (December 30, 2019): 269–300. http://dx.doi.org/10.18778/2299-7458.08.17.

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This article has a nature of a record. It was inspired by the 200th anniversary of the birth of Stanisław Moniuszko, and its main goal is to reference selected celebratory poems created in the 19th century in order to commemorate the composer. The author of this article indicated how different authors interpreted the ideological expressions of Moniuszko’s music, its sources, and the functions it fulfilled. She also discussed the directions of the evolution regarding how the composer was depicted in poetry, as he was initially perceived as a “native busker”, a Vilnius lyrnik, and a compatriot,
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari
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VYSOTSKA, Zoriana. "“MY LOVE, I’M IN FRONT OF YOU…” (VERBAL IMAGE OF “LOVE” IN LINA KOSTENKO’S POETRY)." Culture of the Word, no. 92 (2020): 101–13. http://dx.doi.org/10.37919/0201-419x-2020.92.8.

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The article offers an analysis of the verbal image of “love” in the poetry of Lina Kostenko, traces its lexical-associative and functional-stylistic development. Cognitive-textual analysis shows that the individual linguosophy of the image of “love” in Lina Kostenko’s poetry harmoniously combines tradition and innovation. In particular, there is a continuation of the tradition of sublime-romantic description of the feeling of love, its sacralization. The harmonization of human feelings and the state of nature characteristic of Ukrainian folk poetics, which is manifested in numerous natural-mor
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Novodvorchuk, Olha. "Lexical and stylistic features of Olesya Mamchych’ poetry for children." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 63–67. http://dx.doi.org/10.34079/2226-3055-2019-12-21-63-67.

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The article deals with the consideration of lexical and stylistic features of poems for children of the modern writer O. Mamchych. The study contains a selective analysis of the poetry of the writer, which reveals the peculiarities of modeling the poetry of different genres (in the form of small folklore genres and contemporary lyrics), the use of a mix of traditional and contemporary images, allusions to the works of oral folk art and works of classical literature for children. The article covers the plot, thematic and ideological content of poetry. The author analyzes the peculiarities of th
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Holikova, Nataliia. "The linguocultureme of “Song” in the poetic discourse of Lesia Ukrainka." Culture of the Word, no. 93 (2020): 77–87. http://dx.doi.org/10.37919/0201-419x-2020.93.6.

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The article examines the functional and stylistic features of the linguocultureme of “song” in the idiolect of Lesia Ukrainka. It is emphasized that in the analyzed poetic discourse the word “song” is a key, stylistically marked component, which testifies to the relevance of semantics in the field of Ukrainian song and music culture. The branched semantic structure of the keyword in the language of various genres of poetic works of the writer, which consists of common and contextually determined lexical-semantic variants, is traced. The specificity of the symbolic meanings of the keyword “song
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Savchyn, V. R. "Vasyl Mysyk and Mykola Lukash: two interpretations of Robert Burns’s poetry." Movoznavstvo 313, no. 4 (2020): 37–50. http://dx.doi.org/10.33190/0027-2833-313-2020-4-003.

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The paper examines the representation of Burns’s poetical oeuvre in Ukrainian translations by Mykola Lukash (1919–1988) and Vasyl Mysyk (1907–1983), who established the Ukrainian canon of Robert Burns. Their translations are included in school textbooks, radio broadcasts and set to music. These translations confirmed a paradox of co-existence of two equally successful, but quite different interpretations of Burns made through the prism of translators’ ideology, personality, poetic motivations and other constraints. Mysyk’s ambition was to show real Burns in all the variety of his works. He ado
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Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth." Muzikologija, no. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.

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Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the
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Chen, Ying. "Research on the Protection and Inheritance of Opera Art in Linchuan Area Based on the Effectiveness Analysis of Witch Elements in Big Data Era." E3S Web of Conferences 218 (2020): 04031. http://dx.doi.org/10.1051/e3sconf/202021804031.

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Opera art, which is a cultural symbol and life memory of a nation and a region, is the cultural root of people’s homesickness, which combines various artistic elements such as excellent music, dance and poetry of the Chinese nation. Witchcraft custom, which has appeared since the primitive human period, is a series of activities made by human beings to try to explain some phenomena in daily life, and to predict, influence and control the development of implementation objects with the help of illusory supernatural forces. Witches and artists have the same line of thinking-similar social identit
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Gusāns, Ingars. "CULTURAL SIGNS IN TEXTS OF LATGALIAN BANDS." Via Latgalica, no. 8 (March 2, 2017): 139. http://dx.doi.org/10.17770/latg2016.8.2236.

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During ten years, since Latgalian popular music has returned to the mainstream Latvian music stage, 44 Latgalian music albums have been released. The lyrics of these songs are written by musicians, Latgalian and Latvian poets and as a result of teamwork of poets and music authors. The subject of the present research is represented by cultural signs in the song texts of Latgalian bands; the research object is song lyrics of Latgalian bands. Sources selected for the research are the song texts of Latgalian bands and performers: "Borowa MC", "Bez PVN", "Dabasu Durovys", "Green Novice", Laura Bicā
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Sovtys, Nataliia. "THE PECULIARITIES OF THE UKRAINIAN-POLISH LINGUISTIC AND CULTURAL FRONTIER." Ezikov Svyat volume 18 issue 2, ezs.swu.v18i2 (June 30, 2020): 29–35. http://dx.doi.org/10.37708/ezs.swu.bg.v18i2.4.

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Prolonged coexistence within a single state, i.e. the Commonwealth of Poland, laid the foundations for the emergence of common cultural and linguistic features along the Ukrainian-Polish borderlands. The article substantiates the peculiarities of the choice of terminology in defining the concepts of “border studies”. Due to the Ukrainian-Polish language contacts, a southern Polish peripheral dialect arose, which was spread over a large territory of the Polish-Lithuanian Commonwealth, and formed the literary Polish language with the ethnic Polish dialects, since the effects of borrowing are rec
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Luo, Jun, and Guijun Li. "A Culturalist Interpretation of the Dark Brothers’ Sound Bitterness in Hughes’s I, Too, Sing America." Studies in Linguistics and Literature 2, no. 1 (2018): 27. http://dx.doi.org/10.22158/sll.v2n1p27.

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<em>Langston Hughes is an important poet over the Harlem Renaissance who has contributed to the enhancement of the thematic profundity of his poetry in the association of African-American culture rooted in its literature, music, theater, art, and politics with his poetic production. Inspired by the original newness of his great poems, many foreign and Chinese scholars and critics have not only discussed much about his indispensable role in promoting dark brothers’ folk culture on the basis of their valuable explorations among his works but also made a mention of dark brothers’ lower soci
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Nizhnik, Anna. "Literary rhythm of the cycle by Isaac Babel “Red Cavalry”." Litera, no. 12 (December 2020): 10–17. http://dx.doi.org/10.25136/2409-8698.2020.12.34407.

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This article examines the cycle by Isaac Babel “Red Cavalry in the context of literary trends of the 1920s. I. Babel avoided various literary organizations and loud manifestos; therefore, his role within the post-revolutionary literary system remains somewhat isolated: he had a reputation of a realist writer (although with some reservations) mostly due to specifically historical backstory of his military cycle. In this regard, his literary style is rarely viewed as a phenomenon of modernist literature – metareflective, intertextual, centered on the experiments with literary
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Rozmus, Rafał. "Kolęda jako źródło inspiracji w twórczości kompozytorów polskich w latach 1945-2005." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, no. 1/2 (2019): 101. http://dx.doi.org/10.17951/l.2018.16.1/2.101-181.

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<p>Repertuar muzyki bożonarodzeniowej z lat 1945-2005 ugruntowanej na rodzimej tradycji kolędowej przedstawia się jako dość obszerna część twórczości polskich kompozytorów. Jest to zjawisko zróżnicowane, obejmujące różne sposoby traktowania materiału kolędowego, rozmaite rozwiązania z zakresu formy, techniki kompozytorskiej, wielorakie rodzaje składów wykonawczych i różnorodne odcienie ekspresji dźwiękowej. Znajdujemy tu m.in.: częste nawiązania do polskiej muzyki ludowej, stylizacje historyzujące, język romantyczny i neoromantyczny, archaizacje, emanacje nowego języka dźwiękowego (sonor
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Mir-Bagirzade, Farida. "ORIENTAL SYMBOLISM OF THE BALLET “SEVEN BEAUTIES” BASED ON THE POEM BY NIZAMI GANJAVI." Historical Search 1, no. 4 (2020): 197–201. http://dx.doi.org/10.47026/2712-9454-2020-1-4-197-201.

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The author explores creative interpretations of the work “Seven Beauties” written by a humanist poet Nizami Ganjavi (7th century) from the “Hamse” cycle. The poet was a genuine erudite, connoisseur of not only Koranic texts, history, ancient and Muslim philosophy, but astronomy as well. This article is an attempt to trace the oriental symbolism in the images of Ganjavi in one of the creative interpretations of the poem “Seven Beauties” through the prism of choreographic and scenographic art. The method of research is a semiological analysis, the object of study is the ballet “Seven Beauties”,
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Wang, Duangui. "Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 89–102. http://dx.doi.org/10.34064/khnum1-50.07.

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Formulation of the problem. In the chamber-vocal genre, the composer exists in two images: he is both the interpreter of the poetic composition and the author of a new synthetic music and poetic composition. The experience of the style analysis of one of the best examples of Ukrainian vocal lyrics of the first third of the 20th century shows that the cycle op. 20 characterizes the mature style of the composer, which was formed, on the one hand, under the influence of European Romanticism. On the other hand, the essence of the Ukrainian “branch” of the Western European song-romance (“solo-singi
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Tymoshenko, A. V. "Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization." Aspects of Historical Musicology 14, no. 14 (2018): 74–91. http://dx.doi.org/10.34064/khnum2-14.06.

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Background. In recent years, there has been an increasing interest in the phenomenon of lyricism in Ukrainian musicology. This growth is more so conspicuous given that in the Soviet Musical Encyclopedia this term was omitted, and now it is the pivot of various researches, up to Ph. D. dissertations [7]. There is also a tendency to use this term regarding not only to vocal, but to instrumental music as well, including works lacking noticeable traits of lyrical mood. Works devoted to literature contain valuable information on lyricism, including remarks on the apprehension of this phenomenon in
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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.

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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert
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Michelsen, William. "Nekrolog over Gustav Albeck." Grundtvig-Studier 46, no. 1 (1995): 9–17. http://dx.doi.org/10.7146/grs.v46i1.16213.

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Gustav Albeck 1906 - 1995By William MichelsenWilliam Michelsen writes an obituary of Gustav Albeck, Professor of Nordic Literature. In his commemorative words, William Michelsen quotes at some length from the commemorative speech, made by Bishop Henning Høirup, Doctor of Divinity, on the occasion of Gustav Albeck’s funeral in the Cathedral of Aarhus.In his commemorative speech Bishop Høirup describes Gustav Albeck’s close ties to Aarhus, where his father, Chief Consultant Viggo Albeck, was the prime mover behind the foundation of the University of Aarhus. Thus, Gustav Albeck’s first publicatio
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Cherkashina, O. V., N. M. Utesheva, and O. M. Yakymchuk. "Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text." Aspects of Historical Musicology 17, no. 17 (2019): 60–73. http://dx.doi.org/10.34064/khnum2-17.04.

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Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The
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Makliuk, D. M. "Specificity of embodiment of Shevchenko’s image in Lev Colodub’s opera “Poet”." Aspects of Historical Musicology 18, no. 18 (2019): 40–57. http://dx.doi.org/10.34064/khnum2-18.03.

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Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts consider
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Kuzmina, O. A. "“The House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children." Aspects of Historical Musicology 15, no. 15 (2019): 231–49. http://dx.doi.org/10.34064/khnum2-15.12.

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Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. How
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Patel, Naresh, and Seema Bhupendra. "HABIB TANVIR: TUNING THE FOLK AND THE MODERN." Scholarly Research Journal for Interdisciplinary Studies 4, no. 36 (2017). http://dx.doi.org/10.21922/srjis.v4i36.10072.

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Eminent playwright Habib Tanvir was one of the greatest stalwarts of the modern Indian stage who is known for blending folk theatre and poetry in his dramaturgy thus leaving an indelible mark on the minds of the common people. Folk music and the songs were the first major attractions which triggered his interest in folk performance traditions. The presence of live music, songs and dances thus formed the base his theatre. The present paper humbly attempts to trace the musical journey of Habib Tanvir’s theatrical world showing how songs are not mere ornamental addition but an intrinsic part of t
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Kayumova, Elvira Rimatovna. "Mamadysh Kriashen Folk Music Traditions in Contemporary Recordings (review of materials collected in 2013)." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 20 (June 27, 2017). http://dx.doi.org/10.17161/folklorica.v20i0.6606.

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The article characterizes folk music traditions of Kriashens, the Christianized Tatars of the Volga-Ural region. The author focuses on materials collected during an expedition in 2013 to the Mamadysh region of Tatarstan, Russia. Recordings of music and poetry samples, notation, transcription of verbal texts, and photographs were made by the author. The author presents remarks on the genre structure of the material (including lore associated with calendric rites and divination; life cycle rites; game and dance songs; childlore; religious lore as well as the instrumental musical tradition) and d
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Alexander, Susan. "Emblematizing Hope, Inspiration and the Call to Reconsider: Australian Flora, Fauna and Land in Judith Wright." Scholarly Research Journal for Humanity Science & English Language 5, no. 25 (2018). http://dx.doi.org/10.21922/srjhsel.v5i25.10949.

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Poetry played a very crucial role in laying the foundations of Australian literature. The enormous collection of vibrant folk songs and ballads might have been the reason for providing such a strong foundation for poetry. Australian poetry can roughly be divided into three periods- the nineteenth century which endeavoured to create an indigenous literary poetry, the early twentieth century lasting upto the period of the Second World War and the later twentieth century extending from the post war period to the present. Australian Bush music is the most popular and is a narration of people’s exp
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Labaree, Robert. "Living With the I-Word: Improvisation and its Alternates." Critical Studies in Improvisation / Études critiques en improvisation 9, no. 2 (2014). http://dx.doi.org/10.21083/csieci.v9i2.2204.

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The word improvisation is burdened with limitations placed on it by changes occurring in Europe in the 19th century, the period when the model of the hyphenated performer-composer prevailing in Europe up to that point was being split into two specialties. By the 20th century, composition and improvisation had been cast in bronze as mutually defining opposites, the presumed starting point of any approach to how music is made and heard, regardless of historical period or cultural origin. As a way of creating a more critical approach to discourse dependent on the ubiquitous "I-word," this essay s
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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont
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Helviga, Anita. "Mācību grāmata kā nozīmīgs terminoloģijas resurss: Luda Bērziņa “Ievads latviešu tautas dzejā”." Letonica, no. 42 (2021). http://dx.doi.org/10.35539/ltnc.2021.0042.a.h.0007.

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Keywords: Ludis Bērziņš, textbook, folklore studies, dainology, resource of terminology The personality of Ludis Bērziņš (1870–1965) in Latvian culture has been characterised using such words as poet, theologian, pedagogue, and even scientist. The initiative for this study is based on Bērziņš’ pedagogical work and research, which resulted in a textbook being an important resource of terminology for Latvian folklore studies. The study is dedicated to the 150-year remembrance of Bērziņš and the 80th anniversary since the publication of his monograph on the metrics and stylistics of folk songs Ie
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Gimaliev, Vagiz. "И. Я. ЯКОВЛЕВ О ВОСПИТАТЕЛЬНОМ ЗНАЧЕНИИ ТЕАТРА". Bulletin of the Chuvash State Pedagogical University named after I.Y. Yakovlev, № 1((106)) (15 квітня 2020). http://dx.doi.org/10.37972/chgpu.2020.81.77.018.

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В статье отражены взгляды И. Я. Яковлева на театр и музыку как средства духовно-нравственного и эстетического воспитания личности. Оособое внимание уделено деятельности Симбирской чувашской учительской школы по формированию духовных потребностей и эстетической культуры учащихся путем использования разнообразных видов музыкального и театрального искусств: художественного чтения, исполнения по ролям басен И. А. Крылова, спектаклей по произведениям классиков русской литературы, хорового пения, игры на музыкальных инструментах и др.; проведения различных мероприятий в школе и на концертных площадк
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Jaakkola, Maarit. "Forms of culture (Culture Coverage)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/2x.

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This variable describes what kind of concept of culture underlies the cultural coverage at a certain point of time or across time. The variable dissects the concept of culture into cultural forms that are being journalistically covered. It presupposes that each article predominantly focuses on one cultural genre or discipline, such as literature, music, or film, which is the case in most articles in the cultural beat that are written according to cultural journalists’ areas of specialization. By identifying the cultural forms covered, the variable delivers an answer to the question of what kin
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"II. The Eclogues." New Surveys in the Classics 28 (1998): 5–27. http://dx.doi.org/10.1017/s0533245100030352.

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Pastoral as a kind of poetry is a paradoxical combination of apparent naïveté and sophistication; William Empson refers to ‘the pastoral process of putting the complex into the simple’. The pastoral landscape in its more ideal moments is the stage for simple country folk who lead an easy and uncomplicated life. But landscape and shepherds appear in poems written by sophisticated poets, whose self-consciousness weighs heavily on the figures who speak in their poems. The picture of an idyllic world often conjured up by the words ‘pastoral’ or ‘bucolic’ is a trivializing and selective simplificat
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Krulikovska, Tetiana. "Musical Shevchenko Series of Vladyslav Zaremba." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 78–92. http://dx.doi.org/10.33398/2310-0583.2019.44.78.91.

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The article deals with a generalized musicological analysis of the songs from two vocal collection series, titled «Kobzar Tarasa Shevchenka» (Taras Shevchenko’s Kobzar) by the 19th century Ukrainian composer of Polish origin Vladyslav Zaremba in order to attract attention to the composer’s creative heritage, reveal the most typical features of his musical language and determine their stylistics in the context of the 19th century musical culture. Also the article attempts to specify the significance of the vocal works collection in the context of developing the Ukrainian romance and the 19th ce
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Ryan, Robin Ann. "Forest as Place in the Album "Canopy": Culturalising Nature or Naturalising Culture?" M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1096.

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Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge
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Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi
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Foster, Kevin. "True North: Essential Identity and Cultural Camouflage in H.V. Morton’s In Search of England." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1362.

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When the National Trust was established in 1895 its founders, Canon Rawnsley, Sir Robert Hunter and Octavia Hill, were, as Cannadine notes, “primarily concerned with preserving open spaces of outstanding natural beauty which were threatened with development or spoliation.” This was because, like Ruskin, Morris and “many of their contemporaries, they believed that the essence of Englishness was to be found in the fields and hedgerows, not in the suburbs and slums” (Cannadine 227). It was important to protect these sites of beauty and historical interest from development not only for what they w
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Kabir, Nahid. "Why I Call Australia ‘Home’?" M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2700.

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 Introduction I am a transmigrant who has moved back and forth between the West and the Rest. I was born and raised in a Muslim family in a predominantly Muslim country, Bangladesh, but I spent several years of my childhood in Pakistan. After my marriage, I lived in the United States for a year and a half, the Middle East for 5 years, Australia for three years, back to the Middle East for another 5 years, then, finally, in Australia for the last 12 years. I speak Bengali (my mother tongue), Urdu (which I learnt in Pakistan), a bit of Arabic (learnt in the Middle East); but
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