To see the other types of publications on this topic, follow the link: Music Folk-songs.
Journal articles on the topic 'Music Folk-songs'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Music Folk-songs.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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।‘‘
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full text
6
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.
Full text
7
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.
Full text
8
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.
Full textAbstract:
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.
9
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.
Full text
10
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.
Full textAbstract:
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.
11
Chaturvedi, Saraswati. "Culture of Rajasthan and its inherent folk music." International Journal of Research -GRANTHAALAYAH 6, no. 2 (February 28, 2018): 197–201. http://dx.doi.org/10.29121/granthaalayah.v6.i2.2018.1562.
Full textAbstract:
The state of Rajasthan, as the name suggests, is a state filled with many colors, the food, dress and dress of this state are very much embedded in the folk culture, folklore, folklore, folk dance and folklore.Word meaningThe word 'Lok' is a very ancient word, the meaning of the word 'Lok' can be derived from the mass society which is deeply spread on the earth. The word 'Lok' refers to an important mass community.Folk songs used in Rajasthan's folk cultureIn these folk songs we have the philosophy of folk culture of Rajasthan, they can be categorized as follows -Ritual folk songs: Wadhwa, Chalk, India, Zartzga, turmeric, horse etc. are the main folk songs related to the rites.Folklore related to dance: Different types of folk songs are sung by different castes in dances performed on festivals.Folklore of commercial castes: In Rajasthan, many castes sing these folk songs to make a living.Folklore of Bhil caste: The life of Bhil caste people is full of dance, songs and humor humor.The following institutions are contributing immensely in promoting the folk culture of Rajasthan. Their names are Jawahar Arts Center Jaipur, Western Zone Cultural Center Udaipur etc. In this way we can say in the context of folk music of Rajasthan that their future will be bright.
राजस्थान राज्य जैसा कि नाम से ही प्रतीत होता है कि यह राज्य कई रंगों से भरा हुआ राज्य हैं, इस प्रदेश का खान-पान, पहनावा यहाँ की लोकसंस्कृति, लोकवाद्य, लोकगीत, लोकनृत्य तथा लोकनाट्य जनसमुदाय में अत्यन्त रूप से समाहित दिखाई देते है। लोक शब्द से तात्पर्य’लोक’ शब्द एक बहुत प्राचीन शब्द है ’लोक’ शब्द का अर्थ उस जन समाज से लगाया जा सकता है जो गहराई से पृथ्वी पर फैला रहता है। ’लोक’ शब्द एक महत्वपूर्ण जन समुदाय की ओर संकेत करता है।राजस्थान की लोकसंस्कृति में प्रयुक्त लोकगीतइन लोकगीतों में हमें राजस्थान की लोक संस्कृति के दर्शन होते हैं उनका निम्नलिखित प्रकार से वर्गीकरण किया जा सकता है -संस्कार सम्बन्धी लोकगीतः- वाधावा, चाक, भारत, जरतजगा, हल्दी, घोड़ी आदि संस्कार सम्बन्धी प्रमुख लोकगीत होते हैं।नृत्य सम्बन्धी लोकगीतः- त्यौहार-पर्वों पर किये जाने वाले नृत्यों में विभिन्न जातियों द्वारा विभिन्न प्रकार के लोकगीत गाये जाते हैं। व्यवसायिक जातियों का लोकगीतः- राजस्थान में अनेक जातियाँ अपनी जीविका चलाने के लिये इन लोकगीतों को गाती है। भील जाति के लोकगीतः- भील जाति के लोगों का जीवन नृत्य, गीतों एवं हास्य विनोद से परिपूर्ण होता हैं। राजस्थान की लोक संस्कृति को प्रोत्साहन देने में निम्नलिखित संस्थाऐं अत्यधिक योगदान दे रही हैं। उनके नाम है, जवाहर कला केन्द्र जयपुर, पश्चिम क्षेत्र सांस्कृतिक केन्द्र उदयपुर आदि। इस प्रकार से हम राजस्थान के लोक संगीत के सन्दर्भ में कह सकते हंै कि इनका भविष्य उज्जवल रहेगा।
12
Kablova, T. B., and S. O. Pavlova. "Ukrainian folk songs in music education of pupils." Musical art in the educological discourse, no. 2 (2017): 128–32. http://dx.doi.org/10.28925/2518-766x.20172.12832.
Full textAbstract:
The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic and musical texts, deep emotion, authenticity, profound statement thoughts, poetry, clean image, deep highly and true meaning, reflection the history of the people, their thoughts and feelings. Folk ensembels are the most accessible and authentic embodiment of the Ukrainian folk songs. Ukrainian folk music has a great pedagogical value and helps educate a highly moral individual, who would have aesthetic, philosophical and artistic aesthetic qualities; develops interest in folk music, artistic taste and imagination. On the other hand, there is a remarkable arttherapeutic component of Ukrainian folk song.
13
Revuluri, Sindhumathi. "French Folk Songs and the Invention of History." 19th-Century Music 39, no. 3 (2016): 248–71. http://dx.doi.org/10.1525/ncm.2016.39.3.248.
Full textAbstract:
A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and geography: they made the provinces the place of history. Collecting songs from the provinces thus became a way of recovering France's past. Paired with contemporary discussions of musical progress and especially those related to harmony, the addition of piano accompaniments to monophonic songs now reads as a form of history writing. In this article, I argue that French music scholars of the fin de siècle acted out their preferred narratives of music history through folk-song harmonizations. What seemed like a unanimously motivated nationalist project actually reveals the development and contestation of the discipline of music history.
14
Richter, Pál. "The Harmonization of Folk Songs in Kodály’s Workshop." Studia Musicologica 60, no. 1-4 (October 21, 2020): 265–79. http://dx.doi.org/10.1556/6.2019.00013.
Full textAbstract:
When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.
15
Burnsed, Vernon. "Differences in Preference for Subtle Dynamic Nuance between Conductors, Middle School Music Students, and Elementary School Students." Journal of Research in Music Education 49, no. 1 (April 2001): 49–56. http://dx.doi.org/10.2307/3345809.
Full textAbstract:
This study began as a systematic replication of two previous studies in which a significant proportion of elementary and middle school music students preferred versions of American folk songs with explicit variation in dynamics over versions of the same folk songs where the dynamics were held constant. In the present study, the preference test used in the previous studies was modified to reflect a more realistic representation of dynamic nuance. Dynamic variation was reduced by one-third, and smoother curvatures were applied to the crescendos and decrescendos of the expressive versions of the 10 folk songs. This revised test was administered to 288 Grade 1–5 students, 78 middle school music students, and 22 conductors. The results of the study indicate that age and/or musical experience may affect perception and preference for subtle dynamic nuance in music.
16
Sahai-Achuthan, Nisha. "Folk Songs of Uttar Pradesh." Ethnomusicology 31, no. 3 (1987): 395. http://dx.doi.org/10.2307/851663.
Full text
17
Dyen, Doris J., Norman Cazden, Herbert Haufrecht, Norman Studer, Vance Randolph, and Norm Cohen. "Folk Songs of the Catskills." Ethnomusicology 31, no. 2 (1987): 363. http://dx.doi.org/10.2307/851907.
Full text
18
Zokhrabova, Leila R. "The Melodicism of Azerbaijani Folk Songs." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2020): 186–94. http://dx.doi.org/10.33779/2587-6341.2020.2.186-194.
Full text
19
Hui, Yu, and Antoinet Schimmelpenninck. "Chinese Folk Songs and Folk Singers. Shan'ge Tradition in Southern Jiangsu." Yearbook for Traditional Music 31 (1999): 147. http://dx.doi.org/10.2307/767991.
Full text
20
Stock, Jonathan, and Antoinet Schimmelpenninck. "Chinese Folk Songs and Folk Singers: Shan'ge Traditions in Southern Jiangsu." Asian Music 29, no. 2 (1998): 142. http://dx.doi.org/10.2307/834369.
Full text
21
Srivastava, Kinshuk, and Rashmi p. Dyondi. "THE REFLECTION OF SOCIETY REFLECTED IN FOLK MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3470.
Full textAbstract:
Culture is found in human society. This culture is transferred from one generation to another. That is why the culture of every society survives. The culture of each society is rooted in language, custom, knowledge, traditions, religion, law, music, folk art, folk music, folk tales, literature etc. Human interactions in society affect each other and it is on the basis of these actions that a cultural society is formed. Therefore, the mirror of the society lies in the folk culture itself. "Music is the most popular in the tradition of culture." Folk music is a huge variety of culture. The language of folk music is simple, tunes easy and heart-rending for the entertainment of the general public of the society. Daily activities of human society, plowing, cattle grazing, grinding mill, cowling. Fishing water from wells, wedding marriages, christenings, festivals, festivals, natural places, sweltering fields, the sound of river flowing water, waterfalls, waterfalls, waterfalls, rain, spring season, blooming colorful flowers, etc. Natural events origin of folk songs Places are "" For folk songs, Shriram Tripathi has adopted the word 'Gramgeet'. The experience behind calling folk songs as village songs is that only rural people have preserved the tradition of folk songs. The place of various rites and festivals associated with Indian life is relatively low in urban life, so the songs sung on various occasions are getting destroyed without the opportunity to sing while the countryside still has enthusiasm for festivals and festivals. Therefore, at the time of sowing, harvesting, nairai, marriage and marriage of fields, these songs are spontaneously released from their hearts. These melodious waves of folk music do not cease to be heard only at these festivals and fairs and festivals, but these enchanting taunts constantly resonate in the lives of the people who live here. Folk music holds an integral place even on occasions ranging from human birth to death. Folk songs are automatically created from the heart of the common people at various times, filled with different emotions according to different circumstances. Hence, folk music is a simple mood expression of an ordinary person living in society with tone, rhythm and rhythm.
मानव समाज में संस्कृति पायी जाती है। यह संस्कृति एक पीढ़ी से दूसरी पीढ़ी को हस्तान्तरित होती रहती है। इसी कारण प्रत्येक समाज की संस्कृति जीवित रहती है। प्रत्येक समाज की संस्कृति भाषा, प्रथा, ज्ञान, परम्पराएँ, धर्म, कानून, संगीत, लोक कला, लोक-संगीत, लोक-कथाएँ, साहित्य आदि में निहित होती हैं। समाज में मनुष्य की पारस्परिक अन्तः क्रियाएँ एक-दूसरे को प्रभावित करती है तथा इन्हीं क्रियाओं के आधार पर ही सांस्कृतिक समाज बनता है। अतः समाज का दर्पण लोक संस्कृति में ही निहित है। ‘‘संस्कृति की परम्परा में संगीत सबसे अधिक लोकप्रिय है। लोक संगीत संस्कृति की विशाल विभूति है। समाज के जनसाधारण के मनोरंजनार्थ लोक संगीत की भाषा सरल, धुनें सहज एवं हृदय ग्राहय होती है। मानव समाज की दैनिक क्रिया, हल चलाना, पशु चराना, चक्की पीसना, गोड़ना। खेते नियरानों कुओं से पानी भरना, शादी ब्याह, नामकरण, उत्सव, त्यौहार, प्राकृतिक स्थल लहलहाते खेत, नदी के बहते जल की ध्वनि, झर-झर झरते झरने, वर्षा, बसंत ऋतु ,खिलते रंग बिरंगे फूल आदि प्राकृतिक घटनाएँ लोक गीतों के उद्गम स्थल हैं ‘‘लोक गीतों के लिये श्रीराम त्रिपाठी जी ने ‘ग्रामगीत’ शब्द को अपनाया है। लोक गीतों को ग्रामगीत कहने के पीछे यह अनुभव है कि ग्रामीण लोगों ने ही लोकगीतों की परम्परा को सुरक्षित रखा है। भारतीय जीवन से संबद्ध विभिन्न संस्कार व उत्सवों का स्थान शहरी जीवन में अपेक्षाकृत कम है, अतः नाना अवसरों पर गाए जाने वाले गीत गाने के अवसर पाए बिना नष्ट हो रहे हैं जबकि देहातियों के लिए अभी भी उत्सवों ,त्यौहारों के किए उत्साह है। अतः खेतों की बुआई, कटाई, नियराई, शादी ब्याह के समय, अनायास ही उनके हृदय से ये गीत निःसृत हो जाते हैं। लोक संगीत की ये स्वर लहरियाँ इन्हीं त्यौहारों तथा मेले व पर्वाें पर ही सुनाई देकर समाप्त नहीं होती बल्कि ये मनमोहक ताने यहाँ के बसने वाले जनसाधारण के जीवन में निरन्तर गूँजती है। मानव जन्म से लेकर मृत्यु तक के अवसर पर भी लोक संगीत अभिन्न स्थान रखता है। लोक गीत विभिन्न परिस्थिति अनुसार अलग-अलग भावनाओं से भरपूर अनेक समय पर जन साधारण के हृदय से स्वतः ही निर्मित होते चले जाते हैं। अतः लोक संगीत समाज में रहने वाले साधारण व्यक्ति की स्वर, लय व ताल युक्त साधारण मनोभावाभिव्यक्ति है।
22
Hamilton, Marybeth. "On the Trail of Negro Folk Songs." Journal of Popular Music Studies 18, no. 1 (April 2006): 66–93. http://dx.doi.org/10.1111/j.1524-2226.2006.00076.x.
Full text
23
Hughes, David W. "Japanese "New Folk Songs," Old and New." Asian Music 22, no. 1 (1990): 1. http://dx.doi.org/10.2307/834289.
Full text
24
Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.
Full textAbstract:
From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
25
TÜRKMENOĞLU, Ömer. "TURKISH FOLK SONGS ACCOMPANIED BY SYMPHONY." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 277–86. http://dx.doi.org/10.46291/zfwt/130214.
Full textAbstract:
In this study, by investigating the subject of Turkish folk songs accompanied by symphony; In the literature review, it was revealed that there is no previous academic study on this subject. It is clear that there should be a written source in addition to the performance regarding this subject, so this article is important in terms of contributing to the literature. Before we talk about symphonic arrangements, we need to have information about the first compilation and recording of Turkish folk songs. Symphonic arrangement of folk songs in Turkey started with the music revolution movement initiated by Atatürk after the foundation of the Republic. For the first time, the arrangements of our folk songs written by Turkish Fives were performed by symphony orchestras. Unfortunately, the symphonic arrangement works, which started to be made thanks to the Turkish Fives, had a long pause. Since the beginning of the 1990s, symphonic Turkish folk song arrangements; It has been reworked and continued by composers such as Turgay Erdener, Oğuzhan Balcı, Yusuf Yalçın, Murat Çelebi and Musa Göçmen. Since the arrangements in the Republican period had a complex harmonic structure, they did not attract much attention from the public. In addition, since the copyrights of many symphonically arranged Turkish folk songs belong to Western countries, the folk songs included in the concert programs remained very limited. Symphonic arrangements of our folk songs; It is of great importance in terms of being performed, announced and promoted both in national and international arenas. Keywords: Turkish Folk Song Collections, Symphonic Folk Songs, Polyphonic Turkish Folk Songs
26
Prkić-Palavra, Kristina, and Izet Pehlić. "Value Characteristics of Sevdalinka And Turbo-folk as Musical Genres." Društvene i humanističke studije (Online), no. 1(14) (February 4, 2021): 201–22. http://dx.doi.org/10.51558/2490-3647.2021.6.1.201.
Full textAbstract:
This paper has started from the fact that contextual analysis of song lyrics underlines that the meaning in lyrics is never completely clear, and its functional value and peculiarities are emphasized. This fact is based on insight into the relevant scientific and theoretical sources. The aim of this research was to establish the peculiarities and differences between sevdalinka and turbo-folk genres through a comparative analysis of sevdalinka lyrics and songs written in the spirit of sevdalinka, and turbo-folk songs lyrics. The research started from the assumption that the features of sevdalinka and turbo-folk music as musical genres are very different. The research methods used were the method of theoretical analysis and the method of content analysis, and the dataset consisted of 8 representative sevdalinka songs and songs based on the model of sevdalinka, and 8 turbo-folk songs, which were analyzed for conclusions. The results of the research showed how sevdalinka and turbo-folk songs promote different values. It was concluded that the positive values promoted by sevdalinka songs should be used to a greater extent for educational purposes.
27
Katz, Daniel S., and Hans Nathan. "Israeli Folk Music: Songs of the Early Pioneers." Notes 54, no. 4 (June 1998): 991. http://dx.doi.org/10.2307/900100.
Full text
28
Dahm, Annkatrin, and Hans Nathan. "Israeli Folk Music. Songs of the Early Pioneers." Jahrbuch für Volksliedforschung 43 (1998): 261. http://dx.doi.org/10.2307/848162.
Full text
29
Mohammad Khan, Amir. "Folklore and Folk Songs of Chittagong: A Critical Review." Advances in Language and Literary Studies 8, no. 2 (April 30, 2017): 37. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.37.
Full textAbstract:
Folk Songs stems from Folklore are very rich in the southern region of Chittagong. In this part of the world Folk Songs play pivotal role in the lifestyle of people as a heart-touching and heavenly connection exists between human, nature and Folk Songs. Folk Songs in this area are special because we found the theme of Nature Conservation in them. We took the southern part of Chittagong (Lohagara, Satkania, Chandanaish and Patiya) as our research area, selected a village namely Chunati in the systematic sampling and more than 100 people were interviewed through focus group discussion and key informant interviews. The sufficient literature review is also done. People in this area love nature a lot. Here music personnel were born from time to time who not only worked for the musical development but also created consciousness among people to love nature and save it. We discussed about the origin of Folk Songs, pattern of Folk Songs to clarify the importance of Folk Songs of Chittagong for its connection to Folklore and at the same time for promoting the idea of Nature Conservation. Of course, this part of studies deserves more attention in the field of research. Our ultimate goal should be to conserve and promote Folk Songs of Chittagong with yearlong heritage that automatically will later enrich Folklore and Nature Conservation.
30
Radinović, Sanja. "Béla Bartók and the development of the formal analysis of Serbian vocal folk melodies." Studia Musicologica 48, no. 1-2 (March 1, 2007): 183–200. http://dx.doi.org/10.1556/smus.48.2007.1-2.12.
Full textAbstract:
Abstract Béla Bartók's and Albert Lord's capital work on folk songs of the Serbs and Croats (Serbo-Croatian Folk Songs, Texts and Transcriptions of 75 Folk Songs from the Milman Parry Collection and a Morphology of Serbo-Croatian Folk Melodies, New York: Columbia University Press, 1951) has been known for more than six decades to Serbian experts. Yet, in Serbia Bartók's contribution have remained insufficiently studied and valued by the time being, specially his methodology of formal analysis and precious conclusions about the principles of traditional melopoetic shaping, realized on that basis. The author of this paper presents Bartók's notions on the formal structure of Serbo-Croatian folk songs, and then highlights delayed and extremely negative reaction on Bartók's work, made by the cultural public in postwar Belgrade. Namely, on account of this book of Bartók, Stanislav Vinaver and Josip Slavenski, renowned representatives of the then expert public opinion, engaged in a fierce debate with the Hungarian writer József Debreceni in the Književne novine (literary magazine) during the 1950's, concerning Bartók's political pretensions to a part of the Yugoslav territory, which are supposedly distinguishable precisely from some of the conclusions from the said study. Today it transpires that in the delicate political climate of the time the great authorities of Vinaver and Slavenski had a direct bearing on the negative reception of the said Bartók's ethnomusicological work, which considerably slowed down the potential development of Serbian ethnomusicology, primarily its methodological bases.
31
Jain, Nisha. "RAJASTHANI FOLK MUSIC IMPACT ON SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3464.
Full textAbstract:
Rajasthan has always been a subject of curiosity for tourists, musicians, craftspeople etc. due to the originality of its civilization and culture in the states of India. The culture of Rajasthan is unique at all times for food, clothing, dance, music and folk songs. The treasury of regional living, food and folk songs is hidden in the cultural culture flourishing in Rajasthan. The rituals here are the center of attraction for women living in the way of living, dress, bright colors, Teej festivals, fairs, festivals, and the men and sarongs that are tied on the head. Rajasthani folk music is sung and played on all special occasions. The dance dramas in Rajasthani songs in the same colorful costumes captivate the minds of the audience.
भारत के प्रदेषों में राजस्थान अपनी सभ्यता एवं संस्कृति की मौलिकता के कारण सर्वदा से पर्यटक, संगीतकार, षिल्पकार आदि के लिए कौतूहल का विषय रहा है। राजस्थान की संस्कृति खान-पान, वेषभूषा, नृत्य, संगीत एवं लोक गीतों के लिए प्रत्येक समय में विषिष्ट बनी हुई है। राजस्थान में पल्लवित लोक संस्कृति में क्षेत्रीय रहन-सहन, खान-पान व लोकगीतों का खजाना छिपा हुआ है। यहाँ के रीति-रिवाज रहन-सहन, वेषभूषा, चटकीले रंग, तीज त्यौहार, मेले, पर्व में पहनावा तथा सिर पर साफे बंधे हुए पुरूष एवं घेरदार लहँगे में महिला षहरवासियों के आकर्षण का केन्द्र होती है। राजस्थानी लोक संगीत सभी विषिष्ट अवसरों पर गाए एवं बजाये जाते हैं। राजस्थानी गीतों पर वहीं की रंगीन वेषभूषा में नृत्य नाटिकाएँ दर्षकों का मन मोह लेती हैं।
32
Ferencziné Ács, Ildikó. "The Nyíregyháza Model: The Teaching of Teaching Music / of Making Music." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 9–36. http://dx.doi.org/10.24193/subbmusica.2020.2.01.
Full textAbstract:
"The Music Pedagogy Workshop working within the Institute of Music at the University of Nyíregyháza has initiated several programmes related to music methodology, financed by EU funds. Within the framework of subproject entitled “Renewing the practice of teaching music in public education based on folk traditions,” digital handbooks and teachers’ books have been designed for the Grades 1 to 4 of primary schools. The present paper introduces the novel features of the material designed for Grades 1 and 2. It touches upon the issues of the relevant points in curricular regulations, the possibilities of the innovative methods of score notation and score reading, tailored to the age characteristics of students, and the new approach to teaching the musical elements connected to a selected song corpus. The basic concept in designing the material of the first two grades was the amalgamation of folk culture, including folk tales and children’s game songs, and the world around children. The elements of the knowledge of the present and the past appear side by side in the individual thematic units. Interdisciplinarity also gets emphasised. The generative and creative music activities, the tasks aimed at developing receptive competences, games, and the application of graphic notation, targeting the development of fine motor skills and music literacy, have been designed to broaden the toolkit of music pedagogy for junior schools. Keywords: digital education material, folk music, children’s songs, graphic notation, generativity"
33
Shuvera, Ryan. "“New Life” into Old Sounds." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 178–90. http://dx.doi.org/10.1525/jpms.2020.32.2.178.
Full textAbstract:
Simone Schmidt is a folk and country musician based in tkaronto (Mohawk word from which Toronto, Ontario, is derived). Schmidt's 2017 album Audible Songs from Rockwood is part of their solo work as Fiver and part of an attempt to write “new life into and around folk, country, and rock songs.” The album is based on their time spent at the Archives of Ontario reading the original case files of the Rockwood Asylum for the Criminally Insane that operated in Kingston, Ontario, from 1856 to 1881. The songs are sung from the imagined perspectives of different women imprisoned at Rockwood. I read and engage with Schmidt's work as a performance of unsettling. Unsettlement comes through on this album in direct ways, such as Schmidt's challenges to ideas of land possession and challenges to the bases of the medical and psychiatric designations. More subtle challenges come through the portrayals of the women, which, though largely imagined, come from a place of self-reflexivity. In this paper I will examine how Schmidt uses the sounds of traditional North American folk and country music as a sonic bed for a performance of unsettling on Audible Songs from Rockwood.
34
Refael, Shmuel. "The Judeo-Spanish Folk Songs in Israel: Sephardic Music and Literature between Survival and Revival." European Journal of Jewish Studies 9, no. 1 (April 21, 2015): 38–51. http://dx.doi.org/10.1163/1872471x-12341271.
Full textAbstract:
The aim of this article is to examine the growing interest and involvement with Ladino folk songs in Israel in recent years. Its particular focus is on an overview of the stage performances, the rerecording of Ladino songs by a new generation of artists, and the inclusion of Sephardic music in the growing repertoire of Israeli folk music. The article presents a socio-cultural survey that attempts to answer the following questions: Is the growing involvement with Ladino folk songs in the realm of conservation—in other words, repetition—of the age-old Ladino cultural heritage, or are we witnessing a cultural process whose main thrust is appropriation and whose goal is to use new instruments to bring the cultural wealth from the past into the present and present it to a new generation, not necessarily the current generation of the Sephardic ethnic group?
35
Krader, Barbara, Zmaga Kumer, Milko Maticetov, Boris Merhar, and Valens Vodusek. "Slovenske ljudske pesmi (Slovenian Folk Songs)." Ethnomusicology 31, no. 1 (1987): 136. http://dx.doi.org/10.2307/852299.
Full text
36
Schröder, Gesine. "Nationale Musik — Musik im Dienst am Volk. Zu einer Variante sozialistisch-realistischer Musik der frühen DDR: Der Fall Kurt Schwaen." Studia Musicologica 56, no. 4 (December 2015): 301–16. http://dx.doi.org/10.1556/6.2015.56.4.1.
Full textAbstract:
‘Middle music’ and the ‘middle music theory’ of the German Democratic Republic have received little interest, although their products survive until today. Kurt Schwaen is known for his compositions for folk instruments and for his famous children’s songs such as “Wenn Mutti früh zur Arbeit geht” [When mom goes to work early in the morning]. Schwaen was an author of music for the folk, namely for amateur singers, mostly children, or lay instrumentalists, who played in mandolin or accordion orchestras. Schwaen’s compositions may be considered as a variant of socialistic realism in music. They form a modern folk music by both respecting neomodal writing, derived from the 1920s, as well as by including international folk material and promising an authentic and unsuspicious tune which German folk music lacked since the Third Reich.
37
Slobin, Mark, M. D. Gol'din, I. I. Zemtsovsky, and L. M. Pecherskaya. "[Anthology: Jewish Folk Songs] Antologiya evreyskaya narodnaya pesnya." Yearbook for Traditional Music 27 (1995): 140. http://dx.doi.org/10.2307/768110.
Full text
38
Hisama, Ellie M. "The Ruth Crawford Seeger Sessions." Daedalus 142, no. 4 (October 2013): 51–63. http://dx.doi.org/10.1162/daed_a_00236.
Full textAbstract:
Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often remain unacknowledged. This article underscores the link between her work in American traditional music and Bruce Springsteen's best-selling 2006 album “We Shall Overcome: The Seeger Sessions” in order to give Crawford Seeger due credit for her contributions. By examining her prose writings and song settings, this article illuminates aspects of her thinking about American traditional music and elements of her unusual and striking arrangements, which were deeply informed by her modernist ear.
39
Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.
Full textAbstract:
Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.
40
Ladič, Branko. "Transformations of folklorism in 20th-century Slovak composition." Studia Musicologica 56, no. 4 (December 2015): 367–95. http://dx.doi.org/10.1556/6.2015.56.4.6.
Full textAbstract:
Folkloristic musical works played an essential role in the creation of a ‘Slovak idiom’ in classical music of the post-war period. From the simple arrangement of folk songs to a more autonomous art music (which may have been only partly influenced by folk traditions) there existed a broad spectrum of musical practices, including also film music and music for the professional ‘folk music ensembles’ that appeared after 1948. By referring to specific examples from this large body of music, I will show how composers worked with harmonic and poetic elements that were particular to folk music: my discussion of examples from the breadth of this music — including music for the film Zem spieva ([The land sings], music by F. Škvor), the ‘model’ compositions for the ensemble SĽUK (A. Moyzes) and, finally, the subjective folklorism of the avantgarde in the 1960s and 1970s — shows how Slovak composers worked under changing ideological influences to bring about an ‘ennobling’ of folk music.
41
Nozbuvi, Boychaeva. "Theoretical and Practical Significance of Depicting Ancestral Heritage through Music." Psychology and Education Journal 58, no. 2 (February 1, 2021): 1306–11. http://dx.doi.org/10.17762/pae.v58i2.2274.
Full text
42
Prokeš, Josef. "The Literary, Musical and Social Conditioning of the Czech Folk Song." Tekstualia 2, no. 53 (July 29, 2018): 79–86. http://dx.doi.org/10.5604/01.3001.0013.3292.
Full textAbstract:
The article consists of three excerpts from the book Czech Folk Songs from the 60s to 80s of the 20th century by Josef Prokeš. The publication maps out the phenomenon of singer-songwriting in Czechoslovakia. The fi rst two extracts – „Folk Song lyrics in the context of Literary Studies” and „The Folk Song Genre in the context of Music Studies” – deal with methodological issues regarding the ways of analysing folk song lyrics in a wider cultural context, and the possibility of situating folk music in the fi eld of Czech Music Studies. The third excerpt, entitled „The Status of the Czech Folk Song in national culture”, discusses the sources of folk music in Czech culture, the inspirations of major singer-songwriters, the development of folk music in the analysed period as well as its signifi cance during the totalitarian era in Czechoslovakia, and fi nally poses questions about its future in the context of national culture.
43
Santhirasegaram, Sinnathamby. "Song Composition Systems of Sri Lankan Tamil Rural Poets." Shanlax International Journal of Tamil Research 5, no. 2 (October 1, 2020): 19–25. http://dx.doi.org/10.34293/tamil.v5i2.3485.
Full textAbstract:
There is a long tradition of folk song called Folk ballads (Kaddup padalkal) among the Sri Lankan Tamils. These songs, written by somewhat literate rural poets, are written on the paper or published as pamphlets, as small print copies. But, in their practical way, they are mostly handed over orally.When these Folk ballads (Kaddup padalkal) compose by the rural poets, they follow some rules and regulations. Linguistic regulations are the main one of them. These rules clearly distinguish oral literature from written literature. It has been generally followed that songs should be composed mainly on the basis of various verbal elements. Namely, different features follow the same repetitive methodology.Similarly, we can observe that there is more similarity in the rhythm of the songs. They have been singing their songs in certain rhythms. Thus, they have adopted the method of using oral song forms such as epic, ammānai, sinthu, kummi, thālāttu, oppāri, kavi according to the nature of the objects. Their form and music structures are mostly similar to folk songs.Moreover, a general structure has been followed to the theme of the songs.
44
Jackson, Myles. "Harmonious Investigators of Nature: Music and the Persona of the German Naturforscher in the Nineteenth Century." Science in Context 16, no. 1-2 (March 2003): 121–45. http://dx.doi.org/10.1017/s0269889703000759.
Full textAbstract:
ArgumentDuring the early nineteenth century, the German Association of Investigators of Nature and Physicians (Versammlung Deutscher Naturforscher und Ärzte) drew upon the cultural resource of choral-society songs as a way to promote male camaraderie and intellectual collaboration. Investigators of nature and physicians wished to forge a unified, scientific identity in the absence of a national one, and music played a critical role in its establishment. During the 1820s and 30s, Liedertafel and folk songs formed a crucial component of their annual meetings. The lyrics of these tunes, whose melodies were famous folk songs, were rewritten to reflect the lives of investigators of nature and physicians. Indeed, the singing of these Liedertafel songs played an important part in the cultivation of the Naturforschers’ persona well into the twentieth century.
45
Kuo-Huang, Han. "Folk Songs of the Han Chinese: Characteristics and Classifications." Asian Music 20, no. 2 (1989): 107. http://dx.doi.org/10.2307/834022.
Full text
46
Sipos, János. "In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019)." Studia Musicologica 60, no. 1-4 (October 21, 2020): 313–26. http://dx.doi.org/10.1556/6.2019.00015.
Full textAbstract:
The Hungarian language belongs to the Finno-Ugric linguistic family, but several pre-Conquest strata of Hungarian folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations. Investigations authenticated by fieldwork have also been ongoing to the present day, parallel to theoretical research. Initially, the main goal was to explore the eastern relations of Hungarian folk music, which gradually broadened into the areal research of the Volga-Kama-Belaya region. I further expanded this work to encompass the comparative investigation of Turkic-speaking groups living over the vast Eurasian territory. This paper provides a summary of the findings of this field research examining the folk music of Anatolian Turk, Azeri, Karachay, Kazakh, Turkmen, Uzbek and Kyrgyz people. I briefly describe the sources, the fieldwork, the methods of processing the collected material, and most interestingly, I summarize new findings. After providing an overview of traditional songs of several Turkic peoples, selected results are provided in three tables: 1) a grouping of Turkic folk-music repertoires; 2) Turkic parallels to Hungarian folk music styles; and 3) the current state of Turkic folk music research conducted by Hungarian scholars.
47
Dalos, Anna. "Parlando Rubato György Kurtág and Hungarian Folk Music." Studia Musicologica 60, no. 1-4 (October 21, 2020): 115–27. http://dx.doi.org/10.1556/6.2019.00006.
Full textAbstract:
This study focuses on the use of the parlando rubato style of Hungarian folk music in György Kurtág’s compositions. Kurtág applies the terms parlando, rubato,and molto rubato several times, and these designations always refer to a clearly defined meaning in his compositions, connected to “Hungarianness” and sexuality. This study aims to reveal these meanings, aided by Kurtág’s compositional sketches and notes preserved in the Paul Sacher Foundation in Basel, as well as through analysis of vocal works such as the Four Songs (op. 11), S. K. –Remembrance Noise (op. 12), Attila József Fragments (op. 20), Seven Songs (op. 22), Eight Choruses (op. 23), Kafka Fragments (op. 24), and Three Old Inscriptions (op. 25).
48
Ulehla, Julia. "The Essence and Evolution of Song. By Vladimír Úlehla. Translated by Julia Ulehla; edited by Katherine Freeze and Richard K. Wolf." Ethnomusicology Translations, no. 7 (October 5, 2018): 1–136. http://dx.doi.org/10.14434/emt.v0i7.25715.
Full textAbstract:
Vladimír Úlehla (1888-1947) uses his expertise in the biological sciences to perform an in-depth and ecologically situated study of folk songs from his native Czechoslovakia. His posthumous magnum opus Živá Píseň (Living Song, 1949) chronicled the musical traditions of Strážnice, a small town at the western hem of the Carpathian Mountains at the Moravian-Slovakian border. Informed by four decades of ethnographic inquiry, transcription, and several music-analytical methods, in Chapter VI Úlehla considers the songs from Strážnice as living organisms, links them to their ecological environs, and isolates musical characteristics that he believes correspond to stages of their evolution. He discusses modulation, vocal style, ornamentation, melodic and poetic structure, and identifies a diverse array of musical modes—evidence that he uses to refute the prevailing assumption of the day that folk music was derivative of art music.
49
Rancāne, Anna. "CONTRIBUTION OF CHOIR CONDUCTORS TERĒZE BROKA AND STANISLAVS BROKS TO THE DEVELOPMENT OF LATGALIAN CULTURE IN DAUGAVPILS IN THE 60s OF THE 20TH CENTURY." Via Latgalica, no. 10 (November 30, 2017): 141. http://dx.doi.org/10.17770/latg2017.10.2774.
Full textAbstract:
Latgalian culture of the 60s and 70s of the 20th century is still insufficiently studied and evaluated. Although this time in Latvia is marked by the dominance of the Soviet ideology in all spheres of social life, russification, and ban of Latgalian print, there were people who managed to develop Latgalian identity and culture. Terēze Broka (1925) and Stanislavs Broks (1926–1977), the two outstanding choir conductors, are among such people. After graduation from Latvia State Conservatory they were appointed to work in Daugavpils. In this city, characterized by Russian spirit and with no choirs, the two conductors within a short period of time managed to establish musical collectives and develop repertoires where along with the obligatory Soviet songs Latgalian folk songs were included. In autumn 1954, Terēze Broka established a women’s vocal ensemble „Daina” and a group of kokle (a Latvian national musical instrument) players, and looked for more unknown Latgalian songs at the Academy of Sciences of the Latvian SSR. The folk songs were arranged by her husband, conductor and director of Daugavpils Music College Stanislavs Broks who in 1956 established a mixed choir, later called „Daugava”. Due to their persevering work in a short period of time both Daugavpils musical collectives gained brilliant success and were nominated to the VI World Youth and Students Festival in Moscow in summer 1957 where they were awarded the silver prize. This success is followed by the bright parade of Latgalian performance, the week of Latgalian culture in Riga in December 1958, where the two Daugavpils collectives were at the centre of all events. It is noteworthy that the two collectives mainly consisted of Latvians, Russians and Poles who did not know the Latgalian language, but were diligent and motivated to learn to be able to sing in Broks’ collectives. In 1961 the Latvian Music Department in Minneapolis (USA) released the first disc of the Latgalian folk songs “Latgalian (Latvian) Folk songs“ compiled by Mikelis Bukšs. The disc contains 15 music pieces from the repertoire of Daugavpils mixed choir „Daugava” (conducted by S. Broks) and the women’s vocal ensemble „Daina” (led by T. Broka). „Aiz azara bolti bārzi”, „Aiz azara augsti kolni...”, „Siermi zyrgi, jauni puiši...”, „Audzit muni gari lyni”, „Es sovai māmeņai...” and other Latgalian folk songs arrangements served as a specific brand of Daugavpils, which strengthened the self-confidence of Latgalians of that time.
50
Lilliestam, Lars. "On playing by ear." Popular Music 15, no. 2 (May 1996): 195–216. http://dx.doi.org/10.1017/s0261143000008114.
Full textAbstract:
The vast majority of all music ever made is played by ear. To make music by ear means to create, perform, remember and teach music without the use of written notation. This is a type of music-making that has been little observed by musicology, which has mainly been devoted to notated music. Even in the research on folk and popular music, which has expanded in the last twenty or thirty years, questions of musical practice when you play by ear are rarely treated: how do you learn to play an instrument, how do you make songs, how do you teach and learn songs and how do you conceive of music theory?