Relevant bibliographies by topics / Music Folk-songs

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music Folk-songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Music Folk-songs"

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Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.

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Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi music. The country or caste of which a sensitive human was oriented to express the feelings of his heart, on the same occasion, the self-proclaimed tone, rhythm, nature emerged from his mouth and the classical development which he developed by binding the same tone, song and rhythm Gaya became the only country music. भारतीय लोक जीवन सदैव संगीत मय रहा है। भारत वर्ष का कोई अंचल कोई जाति ऐसी नहीं जिसके जीवन पर संगीत का प्रभाव न पड़ा हो। भारतीय संगीत के लिए कहा जाता है कि साहित्य से ब्रह्म का ज्ञान और संगीत से ब्रह्न की प्राप्ति होती है। भारत में पुरातन काल से विभिन्न पर्वो एवं अवसरों पर गायन, वादन व नृत्य की परंपरा रही है। लोकगीत प्राचीन संस्कृति एवं सम्पदा के अमिट वरदान है जिसमें अनेकानेक संस्कृतियों की आत्माओं का एकीकरण हुआ है। लोक संगीत जन-जीवन की उल्लासमय अभिव्यक्ति है। पद्म श्री ओंकारनाथ के मतानुसार-‘‘देवी संगीत के विकास की पृष्ठभूमि लोक संगीत है। जिस देष या जाति का सम्वेदनषील मानव जिस समय अपने हृदय के भावों को अभिव्यक्त करने के लिए उन्मुख हुआ उसी अवसर पर स्वयंभू स्वर, लय, प्रकृत्या उनके मुख से उद्भूत हुए और उन्हीं स्वर, गीत और लय को नियम बद्ध कर उनका जो शास्त्रीय विकास किया गया वही देषी संगीत बना।‘‘
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Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.

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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.
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Kang, Sangmi, and Hyesoo Yoo. "Effects of a Westernized Korean Folk Music Selection on Students’ Music Familiarity and Preference for Its Traditional Version." Journal of Research in Music Education 63, no. 4 (December 30, 2015): 469–86. http://dx.doi.org/10.1177/0022429415620195.

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The purpose of this study was to reveal the effects of Westernized arrangements of traditional Korean folk music on music familiarity and preference. Two separate labs in one intact class were assigned to one of two treatment groups of either listening to traditional Korean folk songs ( n = 18) or listening to Western arrangements of the same Korean folk songs ( n = 22); a second intact class served as a control group with no listening ( n = 20). Before and after the listening treatment session, pre- and posttests were administered that included 12 music excerpts of current popular, Western classical, and traditional Korean music. Results showed that participants who listened to traditional folk songs demonstrated significant increases in both familiarity and preference ratings; however, those who listened to Westernized folk songs showed increases only in familiarity ratings but not preference ratings for the same Korean songs in traditional versions. An analysis of participants’ open-ended responses showed that affective–positive responses were used most frequently when explaining preference for traditional versions of Korean folk songs (28.1%) among the traditional Korean listening group; structural–negative reasons (47.8%) were the most frequent among the Westernized listening group.
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Bosman, Martjie. "Die FAK-fenomeen: populêre Afrikaanse musiek en volksliedjies." Tydskrif vir Letterkunde 41, no. 2 (April 20, 2018): 21–46. http://dx.doi.org/10.4314/tvl.v41i2.29672.

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Afrikaans popular music of a variety of genres and subgenres is currently flourishing. A very productive phenomenon is the re-interpretation of older songs, in particular folk songs. This article gives a short historical overview of the collection and publication of Afrikaans folk songs, followed by a brief description of various ways in which folk songs have previously been utilised. The collection of Afrikaans folk songs known as the FAK (Federation of Afrikaans Cultural Organisations) songbook earned itself an important position in Afrikaans cultural circles, but it was also stigmatised. Since the end of the 1990s, Afrikaans popular songwriters and singers showed a renewed interest in so-called FAK songs and a number of musical arrangements and re-writings of folk song lyrics have been recorded. A number of lyrics that either contain references to folk songs or are re-writings of folk songs, are discussed. Tension between the old, well-known words of the folk songs and the new songs often develops, while the intertextual references to older songs are used to comment on current situations. The importance of popular music in minor cultures is briefly discussed.
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Muminova, D. "Lyrical songs in uzbek folk music." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 4 (2020): 89. http://dx.doi.org/10.5958/2249-7137.2020.00106.8.

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Erdely, Stephen, Bela Bartok, Sandor Kovacs, and Ferenc Sebo. "Hungarian Folk Songs. Complete Collection." Yearbook for Traditional Music 26 (1994): 128. http://dx.doi.org/10.2307/768251.

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Myers, Helen, Norman Cazden, Herbert Haufrecht, Norman Studer, Haufrecht Cazden, and Studer. "Folk Songs of the Catskills." Yearbook for Traditional Music 17 (1985): 210. http://dx.doi.org/10.2307/768445.

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Domokos, Mária, and Katalin Paksa. "The Hungarian folk song in the 18th century." Studia Musicologica 49, no. 1-2 (March 1, 2008): 105–25. http://dx.doi.org/10.1556/smus.49.2008.1-2.6.

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In Hungary, the concept of “folk song” was clarified at the beginning of the 20th century only, accordingly, there were no “folk songs” noted down in the 18th century. Still, the number of music sources relating to folk music increased significantly in the 18th century. As a result of their scientific analysis the melodic parallels of some five hundred 18th-century tunes were found in the central folk music collection of the Institute for Musicology of the Hungarian Academy of Sciences. These melodic parallels involve 153 folk song types. In a specific era of folk culture there is always a coexistence of elements and styles of different age. The sources also contain examples of the descending pentatonic styles (that either originates or developed from oriental roots), of the lament style and of the medieval and early modern tunes. Of particular interest are the songs that first appeared in the 17th century, then undergone significant changes in form and rich collection of variants developed around them. The most remarkable result of our research is that contrary to former beliefs regarding its insignificance, the 18th century enriched the Hungarian folk music with some sixty new melody types. One of the most interesting groups of this rather mixed collection of songs is that of the songs in a major key with a narrow compass that seems to be the most characteristic music of the time. Plagal songs in a major key with perceptive functional chords behind their melodies also entered Hungarian tradition at this time. Plagal tunes, unfamiliar to Hungarian folk music, were sometimes transformed into descending tunes. The antecedents of the new Hungarian folk song style hardly feature in these sources — this style probably developed in the late 19th century. However, among the popular art songs that flourished from the 1830s onwards we found about a dozen melody types with a partial or full similarity to 18th-century melodies.
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Khudoynazarovich, Madrimov Bahrom. "Teaching Bukhara Children Folk Songs in Music Lessons as an Actual Problem." International Journal of Psychosocial Rehabilitation 24, no. 4 (April 30, 2020): 6049–56. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020415.

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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.

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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.
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Dissertations / Theses on the topic "Music Folk-songs"

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Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.

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Baltagi, Ibrahim H. "Relationships among folk song preferences of grade five students." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.

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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Lin, Pei-Ying. "Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.

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Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.
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Diehl, Keila. "Echoes from Dharamsala : music in the lives of Tibetan refugees in north India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

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Cheung, Kwok-hung Stephen. "Traditional folksongs in an urban setting a study of Hakka Shange in Tai Po, Hong Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364846.

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Ward, Marilyn. "The extent to which American children's folk songs are taught by general music teachers throughout the United States." [Gainesville, Fla.]: University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000820.

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Thurston, Donna. "Irish music in Wellington : a study of a local music community : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1258.

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Messoloras, Irene Rose. "East meets West arranging traditional Greek folk songs for modern chorus /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2008.
Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).
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Books on the topic "Music Folk-songs"

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Mashmalon, Micah. Palestinian folk songs. Silver Spring, Md: Shazco, 1988.

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Ventura, Florie. Filipino folk songs. So. San Francisco, [Calif.]: VJ Music Productions, 1994.

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Camp songs, folk songs. [Place of publication not identified]: Xlibris, 2014.

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Litova-Nikolova, Lidii︠a︡. Bulgarian folk music. Sofia: Marin Drinov Academic Pub. House, 2004.

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Eugenio, Damiana L. Philippine folk literature: The folk songs. Malate, Manila, Philippines: De La Salle University Press, 1996.

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Sieling, Peter. Folk songs. Broomall, Pa: Mason Crest Publishers, 2003.

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Seeger, Pete. A child's celebration of folk music. Redway, CA: Music for Little People, 1996.

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Moyle, Richard M. Traditional Samoan music. Auckland, N.Z: Auckland University Press in association with the Institute for Polynesian Studies, 1988.

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Schaeffer, Deborah L. Irish folk music: A selected discography. New York: Greenwood Press, 1989.

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Kodály, Zoltán. Folk music of Hungary. New York: Da Capo Press, 1987.

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Book chapters on the topic "Music Folk-songs"

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Christoforidis, Michael. "Fabricating Spanish folk songs in Paris." In Manuel de Falla and Visions of Spanish Music, 68–87. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315142135-5.

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Patel, Anshul, Anuj Shah, Krutarth Gor, and Sapan H. Mankad. "IFSC: A Database for Indian Folk Songs Classification." In Advances in Speech and Music Technology, 171–86. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6881-1_15.

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Mukherjee, Himadri, Ankita Dhar, Sk Md Obaidullah, Santanu Phadikar, Kaushik Roy, and Sukumar Nandi. "An Artificial Intelligence-Based Approach Towards Segregation of Folk Songs." In Advances in Speech and Music Technology, 133–43. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6881-1_12.

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Manning, David. "English Folk-Songs." In Vaughan Williams on Music, 184–200. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0039.

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Manning, David. "Introduction to Classic English Folk Songs." In Vaughan Williams on Music, 288–92. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0065.

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Manning, David. "Folk Songs of the Four Seasons." In Vaughan Williams on Music, 369–70. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0088.

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"The Folk Songs of Ashkenaz." In Recent Researches in the Oral Traditions of Music, 6. A-R Editions, 2001. http://dx.doi.org/10.31022/ot006.

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Manning, David. "Introduction to Folk Songs from the Eastern Counties." In Vaughan Williams on Music, 183. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0038.

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"Jewish Folk Songs from the Baltics." In Recent Researches in the Oral Traditions of Music, 11. A-R Editions, 2014. http://dx.doi.org/10.31022/ot011.

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"Folk Songs, Translation and the Question of (Pseudo-)Originals." In Translation and Music, 49–66. Routledge, 2016. http://dx.doi.org/10.4324/9781315538204-5.

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Conference papers on the topic "Music Folk-songs"

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"Primary discussion on the integration of university national vocal music education and original folk songs." In 2017 2nd International Conference on Education & Education Research. Francis Academic Press, 2018. http://dx.doi.org/10.25236/eduer.2017.070.

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Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.
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Batyrshina, Gulnara. "ALGORITHMIC TRAINING OF STUDENTS � FUTURE MUSIC TEACHERS WHO ARE LEARNING TO PLAY BY EAR USING THE TATAR FOLK SONGS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/34/s13.002.

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Jing, Fan. "Analysis on the Embodiment of Sichuan Han Folk Songs in the New Sichuan Opera High-pitched Tune Music Taking “Bashan Xiucai”, “Jin Zi” and “Jiang Jie” as an Example." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.135.

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