Relevant bibliographies by topics / Thao Folk songs

Contents

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

Academic literature on the topic 'Thao Folk songs'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Thao Folk songs"

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Suphanyot, Buaphan. "Sexuality in Thai Folk Songs." MANUSYA 10, no. 4 (2007): 92–101. http://dx.doi.org/10.1163/26659077-01004007.

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Combining fieldwork research with textual analysis, this paper investigates the role of traditional Thai folk songs in teaching sexuality and sex education in contemporary Thai society. Although this mode of teaching is not formally included in school curricula, folk songs have easily lent themselves to the role of education and the transmission of cultural values. They are filled with humour, easy to remember, and do not challenge prevailing Thai moral standards. This paper shows how folk songs have long been an important way for Thai people to learn about sexual desire, the functioning of se
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RUSDIANSYAH, PUTRI ADILAH, and ANDI SUCI RAHMADANI. "MEANING ANALYSIS OF THE SONG ‘MARENDENG MARAMPA’." Quantum Journal of Social Sciences and Humanities 3, no. 2 (2022): 57–63. https://doi.org/10.55197/qjssh.v3i2.131.

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Local songs are one of the literary genres in demand and enjoyed by the public. Not only to hear the song's lyrics, but some people are also interested in producing and even covering some folk songs. In terms of language, folk songs tend to be free, not bound by special rules. The lyrics mostly come from stories or circumstances from a region. The use of Local languages, which contain many symbolic meanings, makes it sometimes difficult for us to understand the meaning contained in the lyrics of a folk song. This study aims to describe the meaning contained in the Toraja folk song "Marendeng M
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Roper, Jonathan. "Formulas in Folk Verse and Folk Prose." Narodna umjetnost 59, no. 1 (2022): 7–21. http://dx.doi.org/10.15176/vol59no101.

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The existence of formulas in traditional songs of various kinds has been long recognized by scholars, and the presence of formulas in traditional tales has increasingly become a subject of discussion too. This prompts the question whether an individual who has a substantial repertoire of both songs and tales would use some of the same formulas in both these two modes. Or would it be the case that, as tales and songs have their own separate norms and rules, their formulas will not involve any significant similarities? To provide an initial response to such questions, this article draws upon ver
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吉田文子, 吉田文子. "漢朝民間歌謠之修辭技巧". 語文與國際研究期刊 28, № 28 (2022): 053–68. http://dx.doi.org/10.53106/181147172022120028004.

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<p>樂府詩之起源為民間流傳歌謠，初期樂府歌辭皆是為了配樂吟唱而作。因此漢朝樂府歌辭中除了音樂符號等特色外，亦多呈現各種修辭技巧，例如：疊字、疊句、對偶、頂真、排比、層遞等。此些修辭技巧共同特色為形式與意義上的「重疊反覆」，在歌辭中亦蘊含著獨特的節奏感。其中的「頂真格」即如接龍遊戲，「對偶」則上下對照相似兩句，作者從研究中認為這兩項修辭技巧在配樂而吟唱的樂府詩中扮演重要的角色。據此，本文研究範圍為「鼓吹曲辭」、「相和歌辭」中的漢朝民歌，探討其中獨特的修辭技巧。主要針對民歌中的「頂真格」在釀造節奏感的作用中對詩意產生的影響，以及在六朝時期已普遍化的「對偶」在漢朝民歌中又曾是如何的角色，這兩大部分進行分析與探討。</p> <p> </p><p>Yue-fu poetry originated from folk songs, and most of the early days of Yue-fu poetry were accompanied by music. For this reason, not only musical symbols can be seen in the lyrics of Yue-fu poetry in the Han Dynasty, but also various rh
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Ghimire, Ram Prasad. "A Folkloristic Study on the Folk Songs That Reflect Nature." Butwal Campus Journal 4, no. 1-2 (2021): 137–46. http://dx.doi.org/10.3126/bcj.v4i1-2.45014.

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This article traces nature in the folk songs being concerned with why folk song creators associate their songs with nature. The study drew its firsthand data by doing field research in Arghakhanchi and the researcher has used folkloristic concepts to analyze the given folk songs. The folkloristic study on them shows that the folk singers of the given locality use nature for two purposes. One purpose of using nature is to produce rhyme in the songs with the objects of nature. This may be called a surface level association. The second one is to associate the subtle layers of their ideas and feel
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qizi, Babajanova Marjona Zarif. "The tradition of metaphorical interpretation in Turkish folk songs." American Journal of Philological Sciences 5, no. 2 (2025): 38–40. https://doi.org/10.37547/ajps/volume05issue02-11.

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In this article, a semantic classification of metaphors used in Turkish folk songs was carried out. We hope that our article will be of interest to other young scholars who wish to conduct research on various aspects of the relationship between language, art and metaphor.
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Mahaliyanarachchi, R. P., and S. Panapitiya. "Folk Poems and Songs to Empower Human Resources Engaged in Sri Lankan Paddy Farming: An Empirical Study." Journal of Agricultural Sciences – Sri Lanka 18, no. 3 (2023): 347–54. http://dx.doi.org/10.4038/jas.v18i3.10131.

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Purpose: Folk poetry was used to alleviate the drudgery and harshness of agricultural life. The research problem here is whether folk poetry has been used for the spiritual thinking and mental development of people engaged in agriculture since ancient times. The main objective of this study is to reveal that these poems and songs stimulated the rice farming of the farmers.Research Method: The method used for this purpose is the Ethnographic research method. In those songs, the words used and the rhythm are considered prominent for this. Folk poems and songs related to farming recorded from dif
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AVDYLİ, Merxhan, and Veli KRYEZİU. "Folk Songs about Canakkale in Albanian History and Literature." Rast Müzikoloji Dergisi 10, no. 2 (2022): 289–309. http://dx.doi.org/10.12975/rastmd.20221028.

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Albanian culture coexisted for a period of over 500 years with Ottoman culture, at the turn of the new century, along with the Balkan troubles that led to the continued embrace of the transition from an old culture to the ideology of the Young Turk movement, and the continuation of joint Albanian-Turkish actions, in order to protect the Albanian Vilayets from the Serbo-Montenegrin occupiers. Early nineteenth-century Turkey emerged from bloody wars on all sides of its borders and from a weak government led by Abdul Hamid II faced a new war in 1915 now in defense of the Dardanelles in the bloodi
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DOĞANER, Ali, and Zeynep TÜRKERİ. "Presentation of Folk Songs Today and Changes in Folk Songs Texture." Akademik Dil ve Edebiyat Dergisi 6, no. 2 (2022): 0. http://dx.doi.org/10.34083/akaded.1085329.

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From the earliest times to the present, the narrators/transmitters of the oral cultural products of Turkish literature have been poets and minstrels ozan, kam, baksı. The oral culture tradition, which has a dynamic structure, has left its place to another literary product over time, formed in accordance with the conditions of the age, the sensitivities of the society and individuals without disturbing its specific features and rules. Folk stories and love stories with folk songs, which have replaced the Turkish epic tradition, have also taken their place in various stages and different cultura
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Tao, Yuyu, Narongruch Woramitmaitree, and Sayam Chuangprakhon. "Musical Literacy in Chinese Fuyang Folk Songs through the ‘Dui Duo Luo’ Music Piece." International Journal of Education and Literacy Studies 13, no. 1 (2025): 121–28. https://doi.org/10.7575/aiac.ijels.v.13n.1p.121.

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Fuyang folk songs, rooted in the cultural traditions of Anhui Province, China, represent a vital component of intangible cultural heritage, encapsulating the region’s linguistic, musical, and cultural identity. This study explores the musical literacy in Chinese Fuyang folk songs through the ‘Dui Duo Luo’ music piece. The research investigates the song’s textual, melodic, and performative elements using qualitative methods, including fieldwork, interviews with five key informants, and musical analysis. The findings reveal that the lyrics of ‘Dui Duo Luo’ serve as a repository of local dialects
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Dissertations / Theses on the topic "Thao Folk songs"

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Chyou, Shang-Fen, and Shang-Fen Chyou. "Music has more than charm: a historical and stylistic discussion of Chinese folk songs." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624795.

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Wang, Yumei. "Songs that Touch our Soul - A Comparative Study of Folk Songs in two Chinese Classics: Shijing and Han Yuefu." Thesis, 2012. http://hdl.handle.net/1807/33581.

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The subject of my thesis is the comparative study of classical Chinese folk songs. Based on Jeffrey Wainwright, George Lansing Raymond, and Liu Xie’s theories, this study was conducted from four perspectives: theme, content, prosody structure and aesthetic features. The purposes of my thesis are to trace the originality of 160 folk songs in Shijing and 47 folk songs in Han yuefu, to illuminate the origin of Chinese folk songs and to demonstrate the secularism reflected in Chinese folk songs. My research makes contribution to the following four areas: it explores the relation between folk
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Books on the topic "Thao Folk songs"

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Bunčhœ̄m, Sawing. Khwāmsō̜i-khwāmthūai. Samnakphim Mō̜radok ʻIsān, 1999.

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Phatthrāchai, Sukanyā. Phlēng patiphāk: Botphlēng hǣng patiphān khō̜ng chāobān Thai. Khana ʻAksō̜nrasāt, Čhulālongkō̜nmahāwitthayālai, 1997.

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Phimsēn, Pramūan. Phayā hō̜ khlōng. Nūai ʻAnurak Singwǣtlō̜m Sinlapakam Thō̜ngthin Čhangwat Khō̜n Kǣn, 1995.

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Rattanakhunnasāt, Phim. Phim kawī Sī ʻĪsān, Dō̜rō̜. Phim Rattanakhunnasāt: Ramlưk bō̜rommakhrū phūpraphan klō̜n lam phư̄a mō̜lam nai dindǣn ʻĪsān. Samnak Songsœ̄m Sinlapawatthanatham, Mahāwitthayālai Khō̜n Kǣn, 1997.

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Krō̜pthō̜ng, Siriphō̜n. Wiwatthanākān phlēng lūkthung nai sangkhom Thai. Samnakphim Phanthakit, 2004.

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Khōttarachomphū, Nārin, та Sathāban Rātchaphat Kamphǣng Phet, ред. Kānlalēn phlēng phư̄nbān Tambon Nakhō̜n Chum, ʻAmphœ̄ Mư̄ang, Čhangwat Kamphǣng Phet. Sathāban Rātchaphat Kamphǣng Phet, 1997.

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Kētprathum, Wichīan. Phlēng phư̄nbān čhāk Phayuhakhīrī. Sūn Watthanatham Čhangwat Nakhō̜n Sawan, Witthayālai Khrū Nakhō̜n Sawan, 1987.

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Somchai. Lak tham thāng Phra Phutthasātsanā thī prākot yū nai botphlēng lūkthung Thai =: Principle of Buddhism as found in Thai folk songs, phleng luk thung. Mahāčhulālongkō̜nrātchawitthayālai, 1995.

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Sǣngthō̜ng, Kritsanā. Phlēng patiphāk: Watthanatham dontrī læ phāpsathō̜n sangkhom khō̜ng chāo Tambon Khao Thō̜ng, ʻAmphœ̄ Phayuhakhīrī, Čhangwat Nakhō̜n Sawan. Sūn Sinlapawatthanatham, Sathāban Rātchaphat Nakhō̜n Sawan, 1997.

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Sǣnthawīsuk, Piyaphan. Dontrī phư̄nbān ʻĪsān: Khītakawī ʻĪsān, tamnān khrư̄ang dontrī læ kānrīanrū dontrī phư̄nbān ʻĪsān. Čhangwat Mahā Sārakhām], 2006.

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Book chapters on the topic "Thao Folk songs"

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Yaxiong, Du. "Social Change and the Maintenance of Musical Tradition among the Western Yugurs." In The Oxford Handbook of Music in China and the Chinese Diaspora. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190661960.013.15.

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Abstract The Yugurs (裕固族) are a minority nationality with a long history and ancient cultural tradition. In the past forty years, due to the rapid development of China’s economy, the production and lifestyles of Yugur people have undergone tremendous changes. Yugur concepts of folk song have changed markedly. Some old folk songs have died out, with compositions called “new folk songs” coming into being. Yugur people realize that the preservation of their traditional culture is of fundamental importance in their national existence, and the preservation of traditional folk songs is a vital part
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Campbell, Katherine. "Enactments and Representations of the National Bard: Burns and the Folk Context." In Performing Robert Burns. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474457149.003.0011.

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The chapter examines the performance of Burns's songs in folk tradition drawing on two major sources of evidence: 'The Greig-Duncan Folk Song Collection' from Northeast Scotland and the Tobar an Dualchais/Kist o Riches website of archival audio recordings. It finds that Burns's songs could vary substantially from their original form as a result of the reworkings of folk tradition. In particular, the tune Burns desired was quite often not used once the song entered the tradition, with singers instead sometimes turning to something with which they were already familiar.
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Titan, Jeff Todd. "Music, Folk and Traditional." In Folklore, Cultural Performances, And Popular Entertainments. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069198.003.0023.

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Abstract Generally speaking, folk music comprises traditional, orally transmitted, and regionally and ethnically based genres of mu sic, often performed in small groups with a major everyday emphasis on face-to-face communication and social interaction (see Genre; Interaction, Face-To-Face). Early folklorists understood folk songs to differ both from popular music (tainted by professionalism, the profit motive, and mass media) and from art music (composed and per formed for an urban, educated elite). Folk songs, they thought, could be found only among an agrarian, illiterate peasantry; literac
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Kennedy, Michael. "Folk Song and Nationalism." In The Works of Ralph Vaughan Williams. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163305.003.0003.

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Abstract It is convenient to date the beginning of the English folk-song revival from 1843, when the Rev. John Broadwood, who at the time was living in Worthing, published his Old English Songs as now sung by the Peasantry of the Weald of Surrey and Sussex. He had noticed the beauty of the songs sung by the country people at harvesting and other rustic festivities. His volume, which was published privately, contained sixteen songs harmonized by George A. Dusart, organist to the Chapel of Ease at Worthing. Dusart, unused to flattened sevenths, protested that the tunes contained wrong notes, but
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TORABI, JOSH. "Re-Joycing in Song: Love, Death, and Nationhood in Ulysses." In SONG IN THE NOVEL. British AcademyLondon, 2024. http://dx.doi.org/10.5871/bacad/9780197267745.003.0008.

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Abstract This chapter re-evaluates James Joyce’s multifarious use of song in his modernist epic Ulysses, focusing on a selection of songs of love, death, and nationhood in order to examine both the literary function of song in the text and the ways in which songs can elucidate key characters and themes. By analysing specifically Joyce’s use of song, as opposed to music in the broader sense (that is, Joyce’s adoption of musical effects, structures, and techniques), Torabi’s chapter resituates the centrality of song in Ulysses. The specific examples of songs cited in Joyce’s novel are heterogene
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Garber, Michael G. "“Bill Bailey, Won’t You Please Come Home?”." In My Melancholy Baby. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834294.003.0002.

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This chapter presents a history, reception study, and analysis of “Bill Bailey, Won’t You Please Come Home?” (Hughie Cannon, 1902). The discussion establishes the relationship of this comic rhythm song to a long line of previous and later coon songs, proto-blues, love ballads, and torch songs. It details the “Bill Bailey” song cycle, initiated by the collective innovation of the creative circle surrounding Cannon. Details are presented of the song’s popularity, folk traditions, revival as the quintessential Las Vegas number, and incorporation (including as a lullaby) in movies and in literatur
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Hayes, John. "Singing of Death—and Life." In Hard, Hard Religion. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469635323.003.0003.

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This chapter explores New South folk songs of personified Death, with special focus on the Lloyd Chandler composition “Conversation with Death”—its geographic scope, probable spread over time, and broad community of appropriators. The roots of “Conversation with Death” are traced to the late medieval Dance of Death, and the song is interpreted as articulating a medieval/modernist vision. Folk songs of Death are shown to be strikingly different from the songs of death in the dominant religious culture, where death is a release and the focus is on life after death as one’s true home. In contrast
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Howard, Keith. "Songs for the Great Leader." In Songs for "Great Leaders". Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0002.

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Chapter 1 explores key songs to establish the formative issues and political ideologies of North Korea, from the beginnings of the creation of official history, through the notion of “popular,” to the 1960s, by which time cultural production was being brought into line with the juche ideology of “self-reliance” and the Ch’ŏllima unitary system of work under the cult of the paramount leader, Kim Il Sung. It looks at Soviet and Chinese influence on song production, and at the legacy of Japanese colonialism, as well as the factionalism that was rife among artists in Pyongyang. The chapter explore
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Davis, Susan G. "Advanced Studies in Folklore." In Dirty Jokes and Bawdy Songs. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042614.003.0007.

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In 1953, forced out of business by postal authorities, Legman moved to Paris. There he turned his attention to a long-planned series, Advanced Studies in Folklore, which he hoped would eventually cover songs, stories, jokes, rhymes, and vocabulary, as well as nonverbal forms like gestures and graffiti. His first volume in the series was anonymous, The Limerick (1954), which garnered him fans in the United States and provided a modest income. Legman moved on to research folk songs in English that had been censored or ignored because of their erotic or obscene content. His “Ballad” project would
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Bohlman, Philip V. "The Folk Song Project at the Confluence of Music and Nationalism." In Song Loves the Masses. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520234949.003.0004.

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Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of
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Conference papers on the topic "Thao Folk songs"

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Kravtsova, Marina. "“A LOST TREASURE”: ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI)." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.

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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th cen
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Stan, Alina-Lucia. "The land of the foresters, Hunedoara, a pillar area for ethnomusicological research." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.16.

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The Land of the Foresters, Hunedoara is a well-defined archaic area, preserving traditional material and immaterial values, a fact that aroused the interest of researchers from early on. The area was first explored by Béla Bartók (1913–1914), who reached the villages Cerbal, Chelari and Feregi, from where he collected around 80 vocal and instrumental songs, published in the Romanian Folk Music. Between 1946 and 1960, a group of specialists from Bucharest made song collections in 12 villages. The research was completed by the publication by Emilia Comișel of the Folkloric Anthology from the Lan
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Șchiopu, Constantin. "THE TEXTS OF THE ROMANIAN FOLK SONGS: POETICITY AND ARTISTIC DILETTANTISM." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.17.

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The article addresses several issues related to the Romanian folk songs. Initially, the texts of several Romanian folk songs from the perspective of poetics are analyzed. The author, through concrete analyzes, shows that authenticity is the defining feature of folk songs, implicity of their texts. What characterizes the texts of these folk songs are errors of expression, poetic poverty, lack of affectivity, of the force of suggestion, of musicality, of the ambiguity of the word. Keeping the spirit of partying, of total joy, characteristic of the period of socialist construction, a large parte
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Wiśniewski, Piotr. "Polish church songs - Easter tropes." In ALTITUDO MUNDI SPIRITUALIS. Духовність у сучасному світі: просвітницько-культурогічний підхід. Publishing House "Krok", 2024. http://dx.doi.org/10.37835/ams-2024-17-18-04-1.01.

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The article notes that Gregorian chant had a special influence on the emergence and development of Polish liturgical hymns. Crucial for the development of Easter hymns was the appearance in the church liturgy of the so-called troparas, i.e. short phrases or whole sentences that supplement the original liturgical texts, which are considered the primary source of religious hymns in national languages. The oldest Polish sources on this topic date back to the 14th century. It has been noted that the custom of singing Polish Easter songs during the procession of the Resurrection of Christ dates bac
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Kučerová, Judita. "Najdeme edukační potenciál lidové písně i v současné hudební výchově?" In Musica viva in schola. Masaryk University Press, 2023. http://dx.doi.org/10.5817/cz.muni.p280-0272-2023-8.

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The author of the paper reflects on the possibilities of applying musical folklore in schools. It is based on the long-standing tradition of applying Czech, Moravian and Silesian songs in music education and at the same time on the findings of empirical surveys that were carried out in the Czech Republic. Her study contains historical aspects of the issue, further discusses the importance of folk songs from the point of view of the ontogenesis of the child and presents the possibilities of applying folk songs in the conditions of contemporary education.
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Crasnova-Severin, Ecaterina. "The vocal cycles of Maurice Ravel in the composer's creative heritage." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.04.

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The article analyzes three vocal cycles by Maurice Ravel „Five Greek Folk Melodies”, „Folk Songs” and „Two Jewish Songs”. They were written over the course of 10 years – from 1904 to 1914. Each cycle is individualized, has a unique character, having in common the support on the folklore source. The author characterizes the ideational structure of the cycles, their specific genre and style, and the peculiarities of the piano part. It is concluded that when M. Ravel works with folk sources, he leaves the vocal melody unchanged and performs the piano part as a commenting component of the ensemble
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Young, Choi So. "A STUDY ON THE ORIGIN OF CHEOYONG: THE ANCIENT CULTURAL EXCHANGE BETWEEN CENTRAL ASIA AND KOREA." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-18.

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In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts
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8

Kieu Trung, Son. "The Phenomenon of Writing new Lyrics for Folk Songs to Broadcast on Mass Media in Vietnam." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.5-3.

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The phenomenon of creating new lyrics for folk songs provides an interesting combination between the two fields of linguistics and ethnomusicology (or performing arts) and is highly applicable for life in Vietnam. This research aims at the meaning of choosing folk melodies to express language and to express an ideological content. Based on the thesis of linguistic anthropology, considering language to be a reflection of the human being, this study considers the choice of the way language is transmitted as part of that reflection. To conduct this study, we will look at the Voice of Vietnam Radi
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9

Olărescu, Dumitru. "Folk music in cinematographic formulas." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.11.

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Th e folk music, being a complete sociocultural phenomenon, expresses over the centuries the most diverse emotional-psychic states about the inner wealth of man, his emotional relationships with other people, with society, with his native lands. Th e local documentary fi lm managed to record the images and voices of several popular music performers in order to preserve and capitalize on this art, which contains priceless samples of our spiritual culture, of our identity valences. Several fi lmmakers devoted their fi lms to the creation of popular music performers: Emil Loteanu, Anatol Codru, A
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Van, Irina. "FOLK STORIES AND SONGS ABOUT THE BURYAT USURERS IN THE OLD MONGOLIAN SCRIPT ON THE EXAMPLE OF THE MANUSCRIPT OF DASHI BUBEEV." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.36.

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The article reveals the peculiarities of folk stories and songs about some Buryat usurers who lived in the Aginsky steppes of Zabaikalye in the second half of the 19th — first quarter of the 20th centuries, recorded by the Buryat chronicler Dashi Bubeev from the old residents of that time. A particular scientific interest lies in the fact that a previously unknown handwritten source in the old Mongolian script Brief historical notes, stories and songs about the Buryat usurers and noyons (Burayad ulus-yin urda-yin bayad noyad tuqai üge-nüüd ba daγun-uud-un tobči tedüi teüke amui) kept in the Mo
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