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Journal articles on the topic 'Songbooks'
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Snow, Don, and Jiajia Eve Liu. "The language of Chaozhou songbooks." Global Chinese 9, no. 1 (2023): 49–68. http://dx.doi.org/10.1515/glochi-2023-0015.
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Abstract In the pre-modern era, women in the Chaoshan region of southeastern China had a tradition of learning and performing long narrative songs. From the mid-1800s into the mid-1900s these songs were widely produced by local publishing houses in inexpensive woodblock print books called Teochew songbooks (Chaozhou gece 潮州歌册). These song texts made considerable use of the Teochew language. This paper discusses the history of Teochew songs and songbook publishing, and then examines the language used in one typical songbook, The Case of Haimen (Haimen An 海门案). The paper suggests that the use of different language varieties in the songbook texts is best viewed as a translanguaging phenomenon, as the songbook authors fluidly drew on different linguistic resources and integrated them into a creative genre with its own style, rather than keeping varieties separate for different functions (unlike some other pre-modern texts that use regional Chinese languages). The paper also argues that while the variety of Teochew used in the text has a poetic style which differs in some ways from spoken Teochew, when compared to other pre-modern texts that used regional Chinese languages, the language of the songbooks is relatively close to the norms of spoken Teochew. Finally, the paper argues that in many ways Teochew songbooks are quite typical of pre-modern Chinese texts that use regional languages; in fact, Teochew songbooks exhibit almost all of the distinguishing characteristics commonly found in such texts. In the pre-modern era, women in the Chaoshan region of southeastern China had a tradition of learning and performing long narrative songs. From the mid-1800s into the mid-1900s these songs were widely produced by local publishing houses in inexpensive woodblock print books called Teochew songbooks (Chaozhou gece) that made considerable use of the Teochew language.
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Ūsaitytė, Jurgita. "Songbooks as a Mode of Personal Notes." Tautosakos darbai 50 (December 28, 2015): 200–225. http://dx.doi.org/10.51554/td.2015.28997.
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The article presents an introductory survey of one variety of the written folklore, namely, the songbooks, which so far have been neither collected nor analyzed in any more consistent manner in the Lithuanian scholarly discourse. However, the two centuries-old tradition of compiling the songbooks calls for discussion of the objective considerations lying behind such disdainful attitude towards them. Certain neglect of the songs rendered in writing resulted from the long-time prevalent notion of folklore as the oral folk creativity. The majority of researchers and folklore collectors considered only those songs that informants performed vocally as truly traditional and authentic; while regarding the texts amassed by the same informants in their personal notebooks as less valuable sources or some rough drafts. Besides, the criteria of value attributed to folklore that was shaped as early as the beginning of the 20th century, encouraged the folklore collectors to search exclusively for the pieces of classical tradition, along with pointing them towards the informants of the elderly generation. Such orientation not only hindered systematic research of the verbal tradition, but also resulted in the tradition of compiling the songbooks, although considerably popular and widespread in the society, to remain essentially unanalyzed and very poorly documented. On the other hand, the absence of methods for collecting the songbooks (as well as other kinds of personal notes) in turn caused the lack of contextual information on their appearing and functioning. This is perhaps the greatest obstacle for carrying out the relevant research of the written folklore.In order to trace back sources of the Lithuanian songbook tradition, the author of the article compares them to other akin forms of the written culture. Songbooks as products of the written culture should doubtless be related to the earlier tradition of the personal writings. The whole paradigm of the personal writings, reaching as far back as the Baroque in Lithuania, comprises miscellaneous sources: diaries, memoirs, autobiographies, silva rerum, letters, albums, notebooks, etc. For instance, some songbooks from the 19th century seem similar to the silva rerum in terms of the miscellaneous contents of both collections, the selection of texts based on the individual logics, and the demand acutely felt by the author / owner to belong to the written culture.Along with considering causes for the increasing number of the songbooks (written in Lithuanian) during the second half of the 19th century, the author also attempts to examine the individual reasons that could have shaped the peculiarity of certain notes, at the same time bearing in mind certain social and historical circumstances. Moreover, detailed analysis of the songbooks compiled in the beginning of the 20th century by a single person – Vincentas Dumčius, allows for grasping intersections of different contexts and for revealing an integral network of cultural and social connections.Description of the formal side of the notebooks (e. g. separation of the headings, numbering of texts, remarks and comments, graphic elements, various inclusions, etc.) demonstrates the ways by which simple structural elements help to create the genre particularity of the writings in question (shaping them as songbooks). It also testifies to the vitality and dynamism of this cultural tradition. Detailed analysis of contents elucidates a special case of the genre contamination, typical not only to the Lithuanian, but also to some other national traditions–namely, the songbook albums.On the basis of experience accumulated while working with the Lithuanian material, as well as relying on the insights by the foreign researchers, several directions for the future investigation are attempted to define that would allow for further interpretation of this form of the written folklore.
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Love, Timothy M. "Irish Nationalism, Print Culture and the Spirit of the Nation." Nineteenth-Century Music Review 15, no. 2 (2017): 189–208. http://dx.doi.org/10.1017/s1479409817000015.
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Recent investigations into the survival and dissemination of traditional songs have elucidated the intertwining relationship between print and oral song traditions. Musical repertories once considered distinct, namely broadside ballads and traditional songs, now appear to have inhabited a shared space. Much scholarly attention has been focused on the print and oral interface that occurred in eighteenth- and nineteenth-century Britain.Less attention has been paid, however, to music in Ireland where similar economic, cultural and musical forces prevailed. Yet, Ireland’s engagement in various nationalist activities throughout the nineteenth century added a distinctly political twist to Ireland’s print–oral relationship. Songbooks, a tool for many nineteenth-century nationalist movements, often embodied the confluence of print and oral song traditions. Lacking musical notation, many songbooks were dependent on oral traditions such as communal singing to transmit their contents; success also depended on the large-scale distribution networks of booksellers and ballad hawkers. This article seeks to explore further the print–oral interface within the context of Irish nationalism. Specifically, I will examine how one particular movement, Young Ireland, manifested this interface within their songbook, Spirit of the Nation. By examining the production, contents, and ideology of this songbook, the complex connections between literature, orality and nationalism emerge.
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Ūsaitytė, Jurgita. "Song as a Propaganda Tool: Surveying the Soviet Time Songbooks." Tautosakos darbai 65 (July 24, 2023): 97–127. http://dx.doi.org/10.51554/td.23.65.05.
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The subject of the article comprises the repertoire of the Soviet-period songbooks. The author focuses on personal song collections compiled in the first half of the Soviet-period, which is identified in historiography with Stalinism and the Thaw. The aim is to find out how the contents of songbooks changed during the first two or three decades after the occupation of Lithuania. According to the analysis, during the WWII and the first postwar decade, the songbook repertoire was influenced by the interwar folksong tradition, especially romances, the military-historical and literary songs. Subsequently, however, the Lithuanian patriotic thematic fades out and is replaced with popular songs broadcasted by the mass media. Inclusion of ideologically marked songs into personal song collections reflects the strong Soviet indoctrination experienced by the society. Mass culture broadcasted by the official media and bolstered by numerous amateur song and dance groups served for entrenching postulates of the communist ideology in the society. This is shown in the article by detailed discussion of the main features of the Soviet-period song lyrics and aesthetics.
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Stillman, Amy K. "Published Hawaiian Songbooks." Notes 44, no. 2 (1987): 221. http://dx.doi.org/10.2307/941570.
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Jelušić, Iva. "Warfare with Songbooks." Connexe : les espaces postcommunistes en question(s) 9, no. 1 (2023): 158–63. http://dx.doi.org/10.5077/journals/connexe.2023.e1400.
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In this “Stop on Archives”, the author writes about songbooks that were published during World War II on the territory of Yugoslavia. These publications are discussed as an entry point into everyday experience of the communist-led antifascist resistance. Namely, in spite of the raging war and shortages of everything from food and clothes to arms and ammunition, materials that would facilitate leisure-related activities were in high demand. The songbooks, therefore, shed light on the existence of widespread enthusiasm for cultural activities during the war. They provided the opportunity for replacing fear and pain at least temporarily with shared enjoyment and fun. But also, because the content of the songs was adapted to the wartime circumstances and guided by the demands of politics and ideology, shared fun could include the sensation of hope in the better future as well.
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LEACH, ELIZABETH EVA. "Adapting the motet(s)? The case of Hé bergier in Oxford MS Douce 308." Plainsong and Medieval Music 28, no. 02 (2019): 133–47. http://dx.doi.org/10.1017/s0961137119000032.
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AbstractThe present article seeks to further recent discussion of the diversity of the motet in the long thirteenth century by considering a specific, rather unusual example of motet-related materials in a songbook. It examines a two-stanza pastourelle in the songbook that forms part of Oxford, Bodleian Library, MS Douce 308, and its connection to a network of related materials in various thirteenth-century motet sources. In so doing, it proposes the ostensibly unlikely scenario that this monophonic song derives from two separate motets that may already have been linked through their shared tenor and possibly also performed together in some way. This article brings the important conclusions of Fred Büttner in regard to these materials to Anglophone scholarship, while nuancing his reasoning in light of more recent scholarly work on thirteenth-century motets copied in songbooks.
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Riman, Kristina, and Helena Pavletić. "Poetske, tematske i leksičke značajke uglazbljene dječje poezije 19. stoljeća na primjeru tekstova Ljudevita Varjačića." Magistra Iadertina 14, no. 2 (2020): 87–102. http://dx.doi.org/10.15291/magistra.3148.
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In the second half of the 19th century, children’s poems were mostly published in periodicals and poem collections. Until now less attention has been devoted to the poems that had been set to music and included in the songbooks published in the late 19th century. Ljudevit Varjačić was the acclaimed author of children’s verses used for song lyrics. He is known as a particularly prolific collaborator of the Smilje magazine, whose songs were often set to music. Among other things, he also published “Lira”, a songbook with music notation for male and female school youth, and his poems were set to music in other songbooks for children and youth. Varjačić poems set to music are analysed in this paper with regard to their poetic, thematic and lexical features. His poetry is written with the well-defined overall metric pattern and rhyme, marked by pedagogical and ethical tendencies. Lexical analysis showed several topics on which Varjačić writes: songs that refer to physical work, songs that inspire learning, songs expressing love for mother, patriotic songs, religious songs, and songs about vacation and fun. Although some of these lyrics are still offered to children, we conclude that their poetic, thematic and lexical features are no longer close to the contemporary recipient.
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Mihelač, Lorena. "The Role of Songbooks in the Preservation of Children’s Folk Songs in Kindergarten." Revija za elementarno izobraževanje 15, no. 3 (2022): 301–15. http://dx.doi.org/10.18690/rei.15.3.301-315.2022.
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The paper presents an analysis of songbooks used in kindergarten. It outlines the need for renewal of the existing kindergarten curriculum from the perspective of preserving the Slovenian music tradition, and within this context, the indispensable role of children’s folk songs in the preservation of Slovenian folk music. Furthermore, it tackles the following three issues: (i) the disproportionate representation of children’s folk songs and author songs in songbooks; (ii) the information provided about children’s folk songs in songbooks, and (iii) the representation of children’s folk songs in kindergarten.
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O'Sullivan, Daniel E. "Thibaut de Champagne and Lyric Auctoritas in MS Paris, BnF fr. 12615." Textual Cultures 8, no. 2 (2015): 31–49. http://dx.doi.org/10.14434/tc.v8i2.13274.
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Medieval composers and audiences alike took great stock in the cultural value of auctoritas, the notion that new compositions should closely follow the patterns set by previously accepted authors. The present study examines the concept as it applies to the composition of a particular manuscript: Paris, BnF fr. 12615. The codex underwent at least two, and most likely three, stages of compilation. Strategies of compilatio and ordinatio are examined to demonstrate how the compiler uses earlier songbooks dedicated to Thibaut de Champagne (d. 1253) to shape his own songbook and gradually move his anthology from aristocratic to urban, Artesian notions of auctoritas. Subsequent additions to 12615 enhance the original compiler’s scheme.
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McGuire, Kenneth M. "Common Songs of the Cultural Heritage of the United States: A Compilation of Songs That Most People “Know” and “Should Know”." Journal of Research in Music Education 48, no. 4 (2000): 310–22. http://dx.doi.org/10.2307/3345366.
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Recently, there have been attempts to identify songs common to the heritage of the United States. Although researchers in previous investigations have studied songs that are common to specific geographical areas, this studys purpose was to determine which songs are familiar to U.S. citizens across several regions and also to uncover various epistemological definitions of what it means to “know” a song. By cross-referencing modern lists with the contents of two songbooks popular during the community song movements of the World Wars I and II, I sought to determine which songs were common across the eras studied. Also important to this study was finding out how many of the 42 songs listed in MENC's Get American Singing … Again! (1996) appeared in previous investigations and in either of the community song movement books. Results indicated that there is a disparity between the songs that Americans actually know and those that experts say they should be learning. Experts seem to be more in agreement with songbook editors of previous eras than with people who are currently learning and re-creating a new generation of common songs. Finally, 38% of the songs included on MENC's list were not found in any previous study or in either of the community songbooks, raising questions about their inclusion on a national list.
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Ūsaitytė, Jurgita. "Personal Songbooks: Imprints of Identity in the Nineteenth-Century Lithuanian Written Culture." Folklore: Electronic Journal of Folklore 85 (April 2022): 115–40. http://dx.doi.org/10.7592/fejf2022.85.usaityte.
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With the growth of literacy in society, the tradition of personal collections of texts took root among common people in Lithuania in the second half of the nineteenth century. One of the more popular forms of vernacular literacy turned out to be songbooks which included copied texts of poems and songs. The article focuses on historical and sociocultural contexts which shaped the user of songbooks and formed the distinctive repertory of these collections. The main factors which motivated the distribution of songbooks were the growth of literacy and the increase of secular press. The dynamic of these social and cultural areas of life was also intricately connected with Lithuanian national movement. In the current investigation, songbooks are viewed as a form of self-expression of people and as a manifestation of their cultural and national identity. It has also been observed that personal collections of texts reveal the inclination of their compilers towards the content created and existing within the written tradition. Growing competences in literacy encouraged people to pursue and acquire values associated with the written culture as they were identified with modernity, progress, and authoritativeness. Essentially, songbooks created in the written medium and maintained by it reveal the selective approach of their compilers towards the oral folklore tradition and attest to the priority given to the folk literature of a new style.
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Sanders, Paul D. "Temperance Songs in American School Songbooks, 1865–1899." Journal of Historical Research in Music Education 38, no. 2 (2017): 178–208. http://dx.doi.org/10.1177/1536600616667602.
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The period from 1865 to 1900 proved to be one of tremendous growth for music education in the United States, as well as a time of renewed activity for the temperance movement. Numerous single-volume school songbooks were published, and several sources note the inclusion of temperance songs in these songbooks. By conveying the temperance message to school children, reformers both indoctrinated those children to temperance ideology and used them as intermediaries to convey the message of temperance to their parents and other adults. This study examines temperance songs included in sixty-seven school songbooks from this period, noting common themes and tactics employed by temperance lyricists as well as variations in dominant themes across this thirty-five-year span.
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Honea, Sion M. "Nineteenth-Century American Masonic Songbooks." Music Reference Services Quarterly 3, no. 4 (1995): 17–32. http://dx.doi.org/10.1300/j116v03n04_02.
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Coyle, M. "Jazz Songbooks and Modernist Tradition." Genre 37, no. 1 (2004): 65–83. http://dx.doi.org/10.1215/00166928-37-1-65.
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Поздеев, В. А. "Sociocultural and Emotional-Psychological Features of Komsomol and Pioneer Songs of the 1920–1980s." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (2024): 81–91. http://dx.doi.org/10.26158/tk.2024.25.1.005.
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В статье рассматриваются особенности комсомольских и пионерских песен 1920–1980-х гг. Часть исследования посвящена социально-политическим и культурным предпосылкам создания «новых» революционных песен и песенников. Песенники публиковались в столицах и в провинции, по составу часто они перекликались. Выявлена структура и состав песенников различных лет. Специальное внимание уделено элементам эмоциональной направленности песен, а также языковым средствам, используемым при выражении чувств автора/исполнителя. Определяется эмотивная лексика и другие элементы текста, которые воздействуют на эмоциональную сферу слушающего. Показано, как трансформация социально-исторических и эмоционально-психологических установок в советской комсомольской и пионерской песне 1920– 1980х гг. отражает «волнообразный» процесс идеологических изменений в массовой музыкально-песенной культуре. This study examines Komsomol and Pioneer songs of the 1920s–1980s. Part of the study is devoted to the socio-political and cultural prerequisites for the creation of revolutionary songs and songbooks. Songbooks were created both in the capitals and provinces; their content often overlapped. The structure and composition of songbooks of various years is also considered. The article focuses in particular on the emotional elements of the songs as well as the linguistic means used to express the performer’s feelings, as emotive vocabulary and other elements in the text affect the listener’s emotional responses. It suggests that the transformation of socio-historical and emotional-psychological attitudes in Soviet Komsomol and Pioneer songs of the 1920s–1980s reflects a “wave-like” process of ideological change in mass music and song culture.
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Plejić Poje, Lahorka. "Archiwa a chorwacka historiografia literacka. Nieznane śpiewniki kajkawskie." Poznańskie Studia Slawistyczne, no. 19 (February 23, 2021): 135–47. http://dx.doi.org/10.14746/pss.2020.19.6.
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Archival research is of great importance for the study of old Croatian literature, as a large part of the body of literary texts has been preserved in manuscripts to the present day, and many of them are kept in archives. Although at its beginnings Croatian national philology was strongly focused on archival work, in the 20th century this kind of research was abandoned, despite the fact that there was still a lot of unanalyzed material left in the archives, as well as many possibilities for correction or supplementing previous conclusions. Thus the handwritten Kajkavian songbooks, especially the secular ones, have been only partially examined. In addition, some songbooks from the Croatian State Archives have never become an object of research. This article draws attention to the importance of fundamental archival research, without which it is impossible to properly draw a picture of the Kajkavian element of old Croatian literature.
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Pisk, Marjeta. "ROKOPISNE PESMARICE – MED RELIGIOZNIM IN LJUDSKIMMANUSCRIPT SONGBOOKS: BETWEEN RELIGIOUS AND FOLK." Traditiones 48, no. 2 (2019): 69–95. http://dx.doi.org/10.3986/traditio2019480204.
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Rokopisne pesmarice so pomemben, a premalo upoštevan vir raziskovanja cerkvenih in ljudskih nabožnih pesmi ter procesa ponarodevanja avtorskih pesmi. V članku so analizirani vzroki za nezanimanje raziskovalcev za to področje in predstavljene dileme žanrskega razmejevanja v rokopisnih pesmaricah, v katerih so zapisane tako avtorske cerkvene kot ljudske pesmi. Vprašanja razmerij med institucionalno religioznim in ljudskim dopolnjujejo prepletanja med pisnim in ustnim.***Manuscript songbooks as a very important source have only partly been taken into account in research on church songs and religious folk songs and in the process of folklorization of art songs. This article analyzes the reasons for researchers’ lack of interest of in this topic, and it presents the problems of genre demarcation in manuscript songbooks, which contain both church songs and folk songs. Discussion of the relations between institutional religious and folk elements are complemented by the interplay between written and oral material.
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Sanders, Paul. "Temperance Songs in American School Songbooks, 1840–1860." Journal of Historical Research in Music Education 37, no. 1 (2015): 5–23. http://dx.doi.org/10.1177/1536600615608464.
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Adriansen, Inge. "Grundtvigs bidrag til udvikling af danske nationale symboler." Grundtvig-Studier 57, no. 1 (2006): 67–98. http://dx.doi.org/10.7146/grs.v57i1.16493.
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Grundtvigs bidrag til udviklingen a f danske nationale symboler[Grundtvig ’s contribution to the development of Danish national symbols]By Inge AdriansenBroadly speaking, all Danish national symbols, both official and unofficial, are to be found in Grundtvig’s authorship. However, it is difficult to specify in what way and to what degree Grundtvig inspired the dissemination of the various symbols. The most important routes of dissemination were through Den Danske Salmebog [The Danish Hymnal] and Folkehøjskolens Sangbog [The Folk-highschool Songbookl. since the corrmosition of songs weighs heaviest in Grundtvig’s literary production. This is owing to his strong belief in the significance of song in educating the people, and to his talent for bringing to life the message of song in oral form. Since both the Hymnal and the Highschool Songbook continue to be published in revised editions, they have contributed to securing Grundtvig’s significance.Grundtvig’s hymns have often been perceived as the expression of something very Danish. Therefore he was almost entirely excluded from the first hymnal produced for the Danish-speaking congregations in the Duchy of Schleswig after its incorporation into Prussia in 1867. Some of Grundtvig’s hymns were characterised by Bishop Theodor Kaftan of Schleswig-Holstein as politically dubious and having Danish national colouring.After North Slesvig’s reunification with Denmark in 1920, Grundtvig’s hymn Den signede Dag [The blessed day] gained a special status. It was sung both at the meetings in January and February before the plebiscite and at the reunification festivities over the spring and summer. When, after the summer vacation, the schools reopened under Danish leadership, Den signede Dag was everywhere sung as the first moming-hymn. The children of Slesvig were in no doubt that Grundtvig was referring to Denmark in the final verse, which begins: “Nu rejser vi til vort Fadreland” [Now journey we to our fatherland]. In Grundtvigian homes in Slesvig the hymn was often sung at family festivities, and here it was that the tradition developed of standing up during the final verse - out of respect for the homecoming to fatherland and nation.The most significant contribution to the history of folk-education in Denmark is Grundtvig’s unitary view over hymn, historical ballad, and songs of fatherland and of folk-life. This achieves its expression in the Highschool Songbook which was first published in 1894 and has ever since helped set the norms for other Danish songbooks. The latest edition of the Highschool Songbook (from 1989) is the seventeenth, and here there are 119 songs by Grundtvig. This is 21% of the songbook’s 572 songs, and it shows that Grundtvig’s image-world continues to put its stamp upon representations of Danishness. This 17th edition was printed in over 500,000 copies, and thereby the Highschool Songbook became the Danish songbook published in the largest impression.Grundtvig has been the most significant generator of historical consciousness in Denmark, but it is a problem that only a small part of his enormous authorship and complex world of ideas is usually presented to us. At certain periods of his life Grundtvig was what many today would perceive as nationalistic. But it should be emphasised that he always stressed that Danishness has an historical and a geographical delimitation. Unfortunately there is little space within national symbolism for such complexity, and his metaphorical language was so multivalent that it has not been suited to being transposed into easily grasped symbols.Even so, this obscure metaphorical language has had a decisive significance in the development of Danish national symbolism. This is attributable in particular to the fact that Grundtvig managed to create that special interweaving of Christian, national and social identities which many Danes experience as being a matter of course and more or less of natural origin, something which has been here since the dawn of time.[Editors' note: Such terms as folkeopdragelse and folkeliv, here rendered as ‘folk-education’ and ‘folk-life’, confront Gr's translators with a special difficulty. The element folk- has little to do with the English term ‘folk-’, as in ‘folk-song’ and ‘folk-art’ with its implication of rustic or peasant provenance. Nor can it always be satisfactorily translated as ‘national’ or ‘popular’ though these can be aspects of its meaning. It essentially relates, in Grundtvigcontexts, to Gr's concept of folkelighed [‘folkliness’]: a form of social cohesion achieved by way of thinking and of conducting one's life in an enlightened and benevolent awareness of the mutual obligations and shared commitments and aspirations of a people or community identifiable by such cultural markers as a common history and a common language. In principle an inclusive concept, it nevertheless always had a potential to become exclusive in practice.]
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HUCK, OLIVER. "Songs materialising as music: medieval monophony in song books and music manuscripts." Plainsong and Medieval Music 32, no. 2 (2023): 147–66. http://dx.doi.org/10.1017/s0961137123000037.
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ABSTRACTThis survey of the mise-en-page of manuscripts that include medieval monophonic song focuses on complex multigraphic written artefacts presenting music on staves. Comparing the formatting of thirteenth-century French chansonniers and fifteenth-century collections of monophonic songs (BnF fr. 9346 and BnF fr. 12744), there are obvious differences in the mise-en-page. But when, where and why did the changes in the production of manuscripts and the materialisation of songs take place? This article proposes a distinction between entirely pre-ruled ‘“full” music manuscripts’, ‘music manuscripts’ employing pre-ruling and ‘manuscripts with music’ where the staves were drawn only after the text has been written. Moreover, ‘songbooks’ mainly interested in lyrics can be distinguished from ‘song books’ focusing on the music. The interrelation of production process, content and manuscript type is discussed using the example of the conductus In hoc ortus occidente. The emergence, interrelation and particularities of layouts are discussed for vernacular thirteenth- or fourteenth-century songbooks with Dutch, English/Anglo-Norman, French, Galego-Portuguese, German, Italian and Occitan texts. The two-column layout is found in songbooks all over Europe (except for Italian laudari). This article examines models such as rolls, libelli, Dominican liturgical books, particularities of layouts such as different strophic page layouts and as the separation of verses in some troubadour chansonniers and Galego-Portuguese cancionieros as well as the dissemination in German speaking regions through minstrel schools. Comparing French, German and Italian song books of monophonic song as well lais/Leich and/or polyphony reveals differences in the production process of Italian ‘“full” music manuscripts’ (BAV Rossi 215/I-OST, I-REas and I-Fl Mediceo Palatino 87), German ‘music manuscripts’ (A-Wn 2701, A-Wn 2777 and CZ-Pu XI E 9) and French ‘manuscripts with music’ (BnF fr. 146 and the Machaut-collections).
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Serrano, Alvaro Ochoa. "El Mariache resuena." Aztlán: A Journal of Chicano Studies 27, no. 2 (2002): 75–86. http://dx.doi.org/10.1525/azt.2002.27.2.75.
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This descriptive essay details the origins of mariachi, musical ensembles that produce various genres of Mexican music. Mariachi proliferated in Central and Western Mexico, then traveled to Southern California where it spread through songbooks, recordings, and orchestras. The demographic growth of Latinos in Southern California stimulated demand for mariachi. Various mariachi artists are described.
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Isyna Finurika та Alif Kafa Toyyibah. "إعداد مواد التعليمية غناء العربية عن المفردات لطلبة مستوى متوسطة الإسلامية". KILMATUNA: Journal of Arabic Education 1, № 1 (2021): 48–59. http://dx.doi.org/10.55352/pba.v1i1.153.
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Abstract: Vocabulary is an important element in language, students will easily become skilled in their Qiro'ah, Kitabah, Istima 'and Kalam also because of their mastery in vocabulary, so the authors are interested in raising discussions related to the preparation of teaching materials in the form of Arabic songbooks about vocabulary in Arabic books Madrasah Tsanawiyah level, because students become helped and easy to memorize vocabulary with Arabic songs, this book will be read together every time starting learning activities with the aim of stimulating student enthusiasm at the beginning of the lesson. The research method used in this research is Research and Development (R&D) or research and development. In this study, researchers used 3 data collection techniques, namely: observation, interviews and questionnaires. In this study the researcher only tested the Arabic songbook about this vocabulary in the form of socialization. From the results of small group trials, the researcher gets the results of a questionnaire to determine the quality of the textbooks 83% (perfect), from the results of the field trials, the researcher gets the questionnaire results 79% (very good) or has a pretty good quality as a guide to memorize Arabic vocabulary. easy according to 7th grade students at Madrasah Tsanawiyah Al-Muhtadi.
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Isyna Finurika та Alif Kafa Toyyibah. "إعداد مواد التعليمية غناء العربية عن المفردات لطلبة مستوى متوسطة الإسلامية". Kilmatuna: Journal Of Arabic Education 1, № 1 (2021): 48–59. http://dx.doi.org/10.55352/pba.v1i1.58.
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Vocabulary is an important element in language, students will easily become skilled in their Qiro'ah, Kitabah, Istima 'and Kalam also because of their mastery in vocabulary, so the authors are interested in raising discussions related to the preparation of teaching materials in the form of Arabic songbooks about vocabulary in Arabic books Madrasah Tsanawiyah level, because students become helped and easy to memorize vocabulary with Arabic songs, this book will be read together every time starting learning activities with the aim of stimulating student enthusiasm at the beginning of the lesson. The research method used in this research is Research and Development (R&D) or research and development. In this study, researchers used 3 data collection techniques, namely: observation, interviews and questionnaires. In this study the researcher only tested the Arabic songbook about this vocabulary in the form of socialization. From the results of small group trials, the researcher gets the results of a questionnaire to determine the quality of the textbooks 83% (perfect), from the results of the field trials, the researcher gets the questionnaire results 79% (very good) or has a pretty good quality as a guide to memorize Arabic vocabulary. easy according to 7th grade students at Madrasah Tsanawiyah Al-Muhtadi.
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Chang, Hyun Kyong Hannah. "Colonial circulations: Japan's classroom songbooks in Korea, 1910–1945." Ethnomusicology Forum 27, no. 2 (2018): 157–83. http://dx.doi.org/10.1080/17411912.2018.1506941.
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Binns, Georgina. "An annotated bibliography of nineteenth century New Zealand songbooks." Musicology Australia 11, no. 1 (1988): 110–11. http://dx.doi.org/10.1080/08145857.1988.10420643.
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Cardaño, M., and Baudilio Herrero. "Plants in the Songbooks of Castilla y León, Spain." Ethnobotany Research and Applications 12 (November 24, 2014): 535. http://dx.doi.org/10.17348/era.12.0.535-549.
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Martí, Sadurní. "La sentencia del certamen poético de Sant Just (1438): edición y estudio preliminar." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 1. http://dx.doi.org/10.7203/scripta.10.11072.
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Resumen: En este trabajo publica por primera vez la sentencia de un concurso poético medieval celebrado en la iglesia Barcelonesa de Sant Just en junio de 1438. El tema elegido para la ocasión fue el maldecir de Amor y la joya fue ofrecida por Bartomeu Castelló. Sabemos que a él concurrieron Guillem y Joan Berenguer de Masdovelles. Lo sorprendente de esta sentencia reportada por el Cancionero del Marqués de Barberà es que, no sólo presenta el discurso-sermón inicial (con un sorprendente diálogo casi teatralizado), sino también una glosa de las piezas presentadas, en un texto que alterna catalán y latín. Palabras clave: Consistori, Poesía de certamen, Masdovelles, Cançoners Abstract: This paper edits for the first time the sentence of a medieval poetical contest celebrated at the Sant Just church of Barcelona, in June 1438. The chosen thema was the lament against Love and the jewel to be awarded was offered by Bartomeu Castelló. We know the poets Guillem and Joan Berenguer de Masdovelles participated. The most remarkable aspect of this verdict, written in Catalan and Latin, and copied in the songbook of the Marquis of Barberà, is that not only presents the starting speech-preaching (which includes a para-theatrical dialogue), but also a commentary of the pieces that competed. Keywords: Consistori, Contest poetry, Masdovelles, Songbooks
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Lebedinski, Ester. "The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music." Early Music 48, no. 1 (2020): 75–90. http://dx.doi.org/10.1093/em/caaa003.
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Abstract The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music This article discusses Henry Purcell’s theatre song ‘If love’s a sweet passion’ (from The Fairy Queen, 1692) and its journey into various contexts in England and abroad. The article analyses the song’s appearance in printed songbooks, broadside ballads and single-sheet engravings, and in the Dutch manuscript songbook Finspång 9096:7 (now in Norrköping, Sweden), to show how the song was adapted to various contexts and conventions. The appearance of ‘If love’s a sweet passion’ in Finspång 9096:7 further suggests that there was greater reciprocity in the exchanges between England and continental Europe than hitherto thought. I nuance this claim by arguing that such exchanges were dependent on translation and mediation by musicians such as John Abell (1653–after 1716) or translators such as Abel Boyer (?1667–1729). Boyer used ‘If love’s a sweet passion’ in his Compleat French-Master (1694) and his French lyrics appear in Finspång 9096:7. The article shows the variety of uses and adaptations of ‘If love’s a sweet passion’ in English and French-language contexts. This both challenges notions of ‘elite’ and ‘popular’ music as entirely separate, and invites scholars and performers to imagine Purcell’s theatre songs performed and consumed in new ways.
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Volk, Terese M. "Little Red Songbooks: Songs for the Labor Force of America." Journal of Research in Music Education 49, no. 1 (2001): 33–48. http://dx.doi.org/10.2307/3345808.
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Since the early part of the twentieth century, there have been selected colleges in the United States dedicated to the training of future leaders for labor unions. Four of the most prominent are Work Peoples' College, Duluth, Minnesota; Brookwood College, Katonah, New York; Commonwealth College, Mena, Arkansas; and Highlander College, Monteagle, Tennessee. Education at these colleges, including music education, ran counter to the educational establishment of their time. Issues of labor versus management, traditional versus nontraditional education, and structured (formal) curricula versus practical (informal) curricula are all in evidence. All four institutions had songbooks. An examination of archival copies of these songbooks, within the context of the curricula of the schools and the labor movement in the United States, shows that nearly all the songs were parodies set to the folk and popular tunes of the day. These songs provided a means through which to teach union solidarity and labor concepts. Music education at these colleges was generally done on an informal basis. Students developed their skills as lyricists, song leaders, and performers through sing-alongs and the use of music in drama. Nontraditional though this was, the practical music training the students experienced in these labor colleges produced powerful results in their unions.
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Pessarrodona, Aurèlia. "Ensalades en clausura: Una primera aproximació als cançoners del convent de les carmelites descalces de Santa Teresa de Vic." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 7, no. 7 (2016): 187. http://dx.doi.org/10.7203/scripta.7.8476.
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Resum: La recent troballa de dos cançoners al convent de Santa Teresa de Vic, datables al segle XVII, ve a ampliar i enriquir de manera considerable el que ja se sabia sobre la creació literària conventual i la presència de música, cants i altres manifestacions performatives dins de la clausura del Carmel descalç femení durant l’Edat Moderna. En aquest article es fa una primera aproximació a aquests cançoners, que posa de manifest les diferències entre ambdós: un recull repertori forà més antic, del segle XVI i inici del XVII, entre el que hi destaca la curiosa presència de moltes de les ensalades editades per Mateu Fletxa el Jove a Praga l’any 1581; i l’altre és un excel·lent exemple de la creació literària de les pròpies monges, amb obres que abarcarien tot el segle XVII i inicis del XVIII. A més de descriure els manuscrits i apropar-se al seu contingut situant-lo en el seu context, en el present article es reflexiona sobre la possible praxi performativa del repertori, especialment sobre les ensalades. Paraules clau: carmelites descalces, clausura, cançoners, ensalades, Mateu Fletxa Abstract: The recent finding of two songbooks in the convent of Saint Therese in Vic (Barcelona), dated to the 17th century, broadens and enriches strikingly what was already known about the literary creation in monasteries and performative manifestations —music, theater, dance— in the enclosed life of female discalced Carmel during the Modern Age. This article provides a first approach to these songbooks, that shows significant differences between them. The first one collects a foreign and older repertory, from 16th and early 17th centuries, that includes the unusual presence of ensaladas edited by Mateu Fletxa the Youger in 1581. The other one is an excellent example of literary creation of the nuns, with works dated from 17th to early 18th century. As well as a description of the manuscripts, an approximation to their content and placing them in their context, the article includes some reflections concerning the performative practice of this repertory, above all of the ensaladas. Keywords: discalced carmelites, cloister, songbooks, ensaladas, Mateu Fletxa
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Tagore, Pramantha. "Songs for the Empress: Queen Victoria in the Music History of Colonial Bengal." Victorian Literature and Culture 52, no. 1 (2024): 61–83. http://dx.doi.org/10.1017/s1060150323000827.
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In the final decades of the nineteenth century, music significantly occupied the cultural and social life of the Bengali people. As the epicenter of British political and economic influence in the subcontinent, Calcutta witnessed the emergence of schools offering instruction in Indian and Western art music. The flourishing city housed private and public printing presses, which ensured the circulation and distribution of large numbers of songbooks, manuals, and theoretical treatises on music. The city was also home to a diverse assortment of hereditary music practitioners and occupational specialists illustrative of a variety of musical traditions spread across Bengal and North India. Around the 1870s, Bengali musicians, patrons, and connoisseurs began to take up music as an intellectual activity, examine its history as a source for social and political substance, and view musical instruments as material objects for disciplinary study. This emerging interest in musicology, broadly conceived, coincided with the proclamation of Victoria as queen and empress of India, considerably transforming Bengal's political fabric and cultural worldview. The pioneering musicologist Sourindro Mohun Tagore (1840–1914) was among the many authors who published works celebrating Queen Victoria's ascension as empress of India. In this article, I examine Tagore's songbooks dedicated to the queen, reading them as cultural artifacts representing a richly nuanced historical and musical legacy: a textual and aural archive demonstrating how Bengali musicians used sound to mediate the effects of colonization.
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Williams, Richard David. "Salacious Songs: Khemṭā Dance and Participatory Printed Media in Nineteenth-Century North India". International Journal of Islam in Asia 3, № 1-2 (2023): 182–204. http://dx.doi.org/10.1163/25899996-20230017.
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Abstract Songbooks were an especially popular product in the colonial-era book industry of northern India. From cheap chapbooks to multi-volume tomes, collections of lyrics covered a range of tastes and genres, appealing to different social settings and performance practices. This article excavates the worlds of music-making invoked by these books through the case study of khemṭā. The khemṭā dancing girl was a low-status performer, associated with the playboy culture of early-nineteenth century Calcutta. Khemṭā lyrics were considered especially salacious and sensual, and the common view today is that the genre was geared towards titillation rather than artistry. Following the exile of Wajid ʿAli Shah of Awadh (r. 1847–1856) to Calcutta, this genre began to be choreographed and performed in the royal court, and the former king began to collect – and compose his own – khemṭā lyrics. By the late nineteenth century, khemṭā dancers were performing at fairs across northern India, and their verses were being compiled and printed in different scripts and languages. Khemṭā’s increasing popularity challenges the general impression of the late nineteenth century as a period of rising conservatism posed against “decadent” literary and musical forms. This view of the period presents an obstacle to making sense of the activities of Muslim lyricists, choreographers, dancers, and songbook editors. Countering this narrative, this article considers how khemṭā was printed, read, sung, and danced, and the modes of listening and arousal embedded in the printed song text.
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Zhang, Eu-jeong. "Aspects and Features of Popular Songs about Flowers in 1950s Songbooks." Journal of Korean Oral Literature 58 (September 30, 2020): 131–58. http://dx.doi.org/10.22274/koralit.2020.58.004.
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Savelieva, Yu V. "Popular Vocal Music in Russian Lyrics Songbooks of Early XIX Сentury". Университетский научный журнал, № 43 (2018): 104–13. http://dx.doi.org/10.25807/pbh.22225064.2018.43.104.113.
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Tucker, Karen B. Westerfield. "A Decade of Christian Song: Observations on Recent Hymnals and Songbooks." Studia Liturgica 31, no. 2 (2001): 193–210. http://dx.doi.org/10.1177/003932070103100205.
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Johnson, Joseph R. "Flying Letters andFeuilles Volantes: Symptoms of Orality in Two Troubadour Songbooks." Exemplaria 28, no. 3 (2016): 193–211. http://dx.doi.org/10.1080/10412573.2016.1178445.
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Harris, Kristine Haglund. ""Who Shall Sing If Not the Children?": Primary Songbooks, 1880-1989." Dialogue: A Journal of Mormon Thought 37, no. 4 (2004): 90–127. http://dx.doi.org/10.2307/45227650.
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McAulay, Karen E. "Sexy bibliography (and revealing paratext)." Library Review 64, no. 1/2 (2015): 154–61. http://dx.doi.org/10.1108/lr-09-2014-0104.
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Purpose – This paper aims to explore the advantages of applying best pedagogical practice to library-based teaching, using targeted content in order to contextualise the teaching within a performing arts curriculum. The author, dual-qualified in music and librarianship, is responsible for providing library user education and instructing readers in the use of electronic resources, literature review, related research and bibliographic skills and Scottish songbook history in a performing arts institution. A recent opportunity to take a short course, The Teaching Artist, prompted the author to re-examine her approach to such library-based teaching. Her observations arise from the reflective practice that was a core component of The Teaching Artist course. Design/methodology/approach – The main focus of this concept paper is a consideration of best pedagogical practice, and a discussion of how best to embed it in a curriculum designed for performers and other creative artists. Turning from a role as a bibliographic instructor to that as an academic adjunct, the author addresses similar pedagogical issues in a session on Scottish songbooks, which is delivered each year to second-year undergraduates. Findings – The author wrote a paper on user education for a librarianship journal in 1991. The present paper reflects upon the discernible differences in approach between then and now, and finds that gaining pedagogical expertise has enabled significant improvements. Originality/value – There is comparatively little published about user education in music libraries, about pedagogical training for librarians working in this field, or about scholar-librarians availing themselves of suitable training to improve their delivery of academic course components.
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Garnczarski, Stanisław. "Lauda Sion, Salvatorem Sequence and its Polish Translations in the Source Songbooks." Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II 11, no. 2 (2020): 219. http://dx.doi.org/10.15633/pch.3759.
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Veldhorst, Natascha. "PHARMACY FOR THE BODY AND SOUL: DUTCH SONGBOOKS IN THE SEVENTEENTH CENTURY." Early Music History 27 (October 2008): 217–86. http://dx.doi.org/10.1017/s0261127908000326.
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Mention sixteenth- and seventeenth-century Dutch vocal music and the knowledgeable music lover usually thinks immediately of the brilliant polyphonic creations of famous Flemish masters like Josquin des Prez, Adrian Willaert and Orlande de Lassus. And they did indeed write compositions that still appeal to the imagination. Take Josquin’s polyphonic, chirping El Grillo, a relatively simple but effective piece that can entice even the most a-musical twenty-first-century student into the world of the Renaissance. Those familiar with the Baroque will recall Jan Pietersz Sweelinck, the organist of the Oude Kerk in Amsterdam and a composer of bewitching instrumental and vocal music, including his four books of polyphonic Pseaumes de David (1604–21) to the texts of Clément Marot and Theodore Bèze, which are still being performed regularly. Perhaps, too, the French, Latin and Italian arias by Constantijn Huygens from his Pathodia sacra et profana (1647). But it is then that the singing seems to stop in the Low Countries. The names of the composers, at least, are barely known beyond our borders.
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de Morrée, Cécile. "Fashions of Old and New Songs: French Popular Printed Songbooks around 1535." Book History 26, no. 1 (2023): 1–47. http://dx.doi.org/10.1353/bh.2023.0000.
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Strijbosch, Carla. "‘Vare Wel Dur Luf’." Early Modern Low Countries 6, no. 1 (2022): 51–70. http://dx.doi.org/10.51750/emlc12171.
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This article traces the phenomenon of tune indications from their beginning to their use in three sixteenth-century manuscripts which hover on the border between alba amicorum and songbooks. The tune indication, the reference that shows which melody the song can be sung to, forms part of ‘song literacy’, the art of conserving a song beyond the moment of performance. Songs written down in alba amicorum may fill a gap in existing theories about the rapid development of song literacy in the sixteenth century. In addition, concentrating on the tune indicators may help to sharpen the definition of an album-with-songs compared to a songbook. In the Low Countries, tune indicators began to be attached to religious songs in the last decades of the fifteenth century. They were used to communicate new religious texts to an audience and to facilitate overruling sinful worldly texts. In printed collections of secular songs tune indicators seems to have been introduced after 1550 – but it took well into the 1600s before they became conventional in printed song collections. In handwritten collections the tune indicator was not the norm, with one notable exception: in circles of chambers of rhetoric. As alba-with-songs from the sixteenth century show, in the century’s last decades it became fashionable, at least within a small circle of alba owners in the western Low Countries, to provide a tune indicator. In these circles a good tune functioned as an important creative impulse to write new songs, especially semi-religious ones. These alba-with-songs might be considered harbingers of the song-minded Dutch ‘Golden Age’.
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Davila, Carl. "Al-Ḥāʾik’s Notebook, Part I". Al-Abhath 67, № 1 (2019): 30–67. http://dx.doi.org/10.1163/18115586-67010002.
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By far the most important manuscript anthology of the texts of the Andalusian music in Morocco (al-āla), Kunnāsh al-Ḥāʾik has undergone a lengthy process of evolution since its apparent first iteration (manuscript #144 at al-Khizāna l-Dāwūdiyya in Tetouan, dated 1202 AH). This article presents an annotated listing of all known songbooks relating to al-āla, whether in manuscript or print form, as reference material for scholarship and raw data for later articles in a series that explores the complex history of the Kunnāsh. Annotations include publication information for print anthologies, material descriptions of manuscripts, and occasional observations about notable features, contents, etc.
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Sobakina, O. V. "The Poetry of A. Mickiewicz in the Chamber-Vocal Works by S. Moniuszko." Art & Culture Studies, no. 4 (December 2023): 556–77. http://dx.doi.org/10.51678/2226-0072-2023-4-556-577.
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Adam Mickiewicz’s poetry attracted many composers, but it left the most noticeable trace in the work of Stanisław Moniuszko, who turned to lyrical poems, ballads, sonnets, as well as excerpts from the poems Konrad Wallenrod and Dziady. Fragments of them were also used by the composer in romances included in various issues of his Home Songbooks (Śpiewnik domowy), and as a result, the texts of Mickiewicz accompanied Moniuszko from the very first works to those published posthumously. The composer’s works based on Mickiewicz’s poems, like the original source itself, represent completely different forms and genres, but they are all in the halo of Polish romantic creativity and one aesthetic and patriotic concept. The purpose of the work is to consider various ways of implementing the ballad genre and the genre of musical portrait in Stanisław Moniuszko’s chamber-vocal works based on Adam Mickiewicz’s poems. Among Moniuszko’s numerous appeals to Mickiewicz’s poetry (more than 20 works), the sixth issue in the series of Home Songbooks, written entirely on the poet’s texts, stands out. A special place in it is occupied by the ballad Fish (Rybka, 1859) based on the text of the poet’s youth work of the same name, representing the composer’s chamber vocal style in the most perfect form and written with a truly symphonic scope. The dynamic musical narrative follows all the twists and turns of the plot, its dramaturgy is based on the comparison of contrasting images, direct speech, dialogues of the characters, and replicas from the author, embodying the specifics of the poetic original. The influence of ideological and aesthetic views associated primarily with folklore and patriotic themes, the poetics and topos of Mickiewicz manifested itself in many ways in Moniuszko’s chamber-vocal works, which allows us to draw conclusions about the synthesis of meanings and symbols characteristic of romantic art.
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De Koninck, Tine. "“Au cœur d’un amoureux, plus fidèle qu’heureux”: airs de cour in zeventiende-eeuwse Zuid-Nederlandse liedhandschriften in de Gentse Universiteitsbibliotheek." Handelingen - Koninklijke Zuid-Nederlandse Maatschappij voor Taal- en Letterkunde en Geschiedenis 73 (November 6, 2019): 33–46. http://dx.doi.org/10.21825/kzm.v73i0.17276.
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The library of the University of Ghent holds a valuable corpus of seventeenth century song manuscripts and alba amicorum from the Southern Low Countries. These manuscripts belonged mainly to young women of the bourgeoisie and/or the nobility. They collected their favourite songs and often had members from their circle of acquaintances completing the manuscripts. They appear to have had a strong preference for French profane songs from the air de cour repertoire. These songs were initially intended to be sung at the Parisian court. The airs de cour soon appeared in print, after which they were also picked up by the wealthy youth in the Southern Low Countries and were written down in their songbooks.
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Łubocki, Jakub Maciej. "Musical sources – meaning of the term in bibliology and museology." Z Badań nad Książką i Księgozbiorami Historycznymi 17, no. 1 (2023): 103–25. http://dx.doi.org/10.33077/uw.25448730.zbkh.2023.759.
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Although it may seem improbable, various types of musical sources can also be found in the collection of the Publishing Art Department of the National Museum in Wrocław. They are not only music sheets and songbooks, but also written documents related to musical works or people of music, and in the future, they could be even printed elements of sound documents or ephemeras related to music life. This was the reason for the general reflection on the understanding of the term “musical sources” (“musicals”) and its meaning in relation to the universes of music and publishing art. Then, basic categories of museum objects that are simultaneously from both universes – music and publishing art – were presented (with examples).
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Talfani, Camilla. "The Circulation of Troubadour Music between Southern Languedoc and the Crown of Aragon." Tenso 39, no. 1 (2024): 39–63. http://dx.doi.org/10.1353/ten.2024.a923466.
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Abstract: This study investigates the possible circulation of common compilation sources between southern Languedoc and the territories of the Crown of Aragon, sources which very probably contained both the text and the melody of troubadour songs. Though we have a very limited number of surviving troubadour melodies, certain clues reveal that Languedoc troubadour chansonniers (songbooks) C, E , and R and Catalan chansonnier V shared some common materials also available for copying music, which only chansonnier R conserves. A comparative analysis of the common transmitted texts, for which the four manuscripts manifest various affinities, shows that for most of these texts the melody is currently preserved by at least one of the four troubadour music witnesses.
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Hamilton, Jack. "Review: Songbooks: The Literature of American Popular Music, by Eric Weisbard." Journal of Popular Music Studies 33, no. 4 (2021): 223–25. http://dx.doi.org/10.1525/jpms.2021.33.4.223.
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Prelovšek, Anita. "TRADICIJA LJUDSKIH PESMI V GLASBI SODOBNIH POGREBNIH SLOVESTNOSTIMANUSCRIPT SONGBOOKS: BETWEEN RELIGIOUS AND FOLK." Traditiones 48, no. 2 (2019): 97–112. http://dx.doi.org/10.3986/traditio2019480205.
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Po ugotovitvah terenske raziskave pogrebne glasbe v sodobni Sloveniji ostaja ljudska pesem glavna spremljevalka slovesa od pokojnih. Iz pisnih virov in pogovorov z glasbeniki, ki na pogrebih nastopajo več desetletij, izvemo, da je bila na pogrebih v preteklosti ljudska glasba v izvedbi moških pevskih skupin tradicionalna glasbena praksa. Terenska raziskava je pokazala, da se danes ta tradicija dopolnjuje z uporabo različnih zvrsti glasbe od klasične do popularne v izvedbi vokalnih ali inštrumentalnih skupin in solistov.***The field research of funeral music in today's Slovenia indicates that traditional songs are often employed to accompany the process of bidding farewell to a deceased person. From written sources and in conversations with musicians performing at funerals for decades, we find out that traditional music performed by male vocal groups was a traditional musical practice at funerals in the past. Field research revealed that this tradition is complemented by the use of various types of music from classical to popular, performed by vocal and instrumental soloists and groups.