Relevant bibliographies by topics / Tibetan Folk songs

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

Academic literature on the topic 'Tibetan Folk songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Tibetan Folk songs"

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Chen, Junnan, Jiawei Zhong, Jiajie Xiang, Yingjie Gong, Yilu Li, and Chenghong Wang. "Musical Characteristics of Tibetan Folk Songs in Baima." International Journal of Education and Humanities 6, no. 3 (January 3, 2023): 88–89. http://dx.doi.org/10.54097/ijeh.v6i3.4195.

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Baima Tibetan is a branch of Tibetan in Longnan area. Its historical origin, religious beliefs, customs and folk customs are very different from Tibetan. Baima Tibetan folk songs have rich flavor and various forms, including toasting songs, labor songs, dance songs, sacrificial songs and other types. Baima Tibetan folk songs are a vivid display of their national customs and living customs. This paper introduces the types of Baima Tibetan folk songs, and analyzes their music characteristics, hoping that more researchers can go to Baima Tibetan and learn about the charming Baima Tibetan folk songs.
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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.

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Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.
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Tang, Jing, and Phiphat Sornyai. "The Cultural Treasures of Baima Tibetan Folk Songs in Gansu Province, China, as a Resource for Literacy Education in Chinese Music History." International Journal of Education and Literacy Studies 11, no. 3 (July 31, 2023): 234–43. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.234.

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Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups - scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.
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Lin, Kang. "Folk songs in the content of general music education in China." Science and School, no. 5 (October 29, 2023): 203–10. http://dx.doi.org/10.31862/1819-463x-2023-5-203-210.

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The article is devoted to the problem of increasing the role of folk songs in the content of general musical education. This problem is relevant not only for China, but also for Russia. It is connected with the tasks of the modern state educational and cultural policy of these countries, aimed at educating the younger generations in the context of their own national and cultural traditions and spiritual and moral values. The purpose of the article is to reveal the role of Chinese folk songs in the content of modern general musical education in China. The article reveals certain aspects of the history and artistic originality of Chinese folk songs, considers the state requirements for their development by schoolchildren, presents the results of the analysis of folk songs included in music textbooks for grades 1–6 of China’s comprehensive schools. It was revealed that they include significantly fewer samples of folk music than Western European and modern Chinese. Among the folk songs, songs of ethnic minorities (Tibetan, Mongolian, etc.) prevail, and not of the Chinese ethnic group. From this, a conclusion was made about the need to develop and theoretically and methodologically substantiate the pedagogical conditions for increasing the role of Chinese folk songs in the content of general musical education in China.
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Brown, Mason. "We Drew a Swastika of Grain: Vernacular Religion in the Tibetan Songs of Nubri, Nepal." Religions 11, no. 11 (November 9, 2020): 593. http://dx.doi.org/10.3390/rel11110593.

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The academic study of Tibetan Buddhism has long emphasized the textual, philological, and monastic, and sometimes tended to ignore, dismiss, or undervalue the everyday practices and beliefs of ordinary people. In this article, I show that traditional folk songs, especially changlü, are windows into the vernacular religion of ethnically Tibetan Himalayans from the Nubri valley of Gorkha District, Nepal. While changlü literally means “beer song”, and they are often sung while celebrating, they usually have deeply religious subject matter, and function to transmit Buddhist values, reinforce social or religious hierarchies, and to emplace the community in relation to the landscape and to greater Tibet and Nepal. They do this mainly through three different tropes: (1) exhortations to practice and to remember such things as impermanence and death; (2) explications of hierarchy; and (3) employment of spatialized language that evokes the maṇḍala. They also sometimes carry opaque references to vernacular rituals, such as “drawing a swastika of grain” after storing the harvest. In the song texts translated here, I will point out elements that reproduce a Buddhist worldview, such as references to deities, sacred landscape, and Buddhist values, and argue that they impart vernacular religious knowledge intergenerationally in an implicit, natural, and sonic way, ensuring that younger generations internalize community values organically.
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DOLGUSHINA, MARINA. "CROSS-CULTURAL CONNECTIONS IN BRIGHT SHENG'S OPERA THE SONG OF MAJNUN." Культурный код, no. 2023-1 (2023): 100–111. http://dx.doi.org/10.36945/2658-3852-2023-1-100-111.

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The article is devoted to the opera The Song of Majnun by Bright Sheng, the modern American composer of Chinese origin. This one-act opera was composed in 1992 and premiered in Chicago. In Russian musicology, this work is being studied for the first time. The authors analyze the history of the creation of the opera, the plot, composition, dramaturgy, and the specifics of the musical style. They pay special attention to the search for cross-cultural connections - the interaction of elements of Eastern (Persian, Chinese, Tibetan) and Western European cultures. The libretto of the opera is based on the plot of an ancient Persian legend. The composition of the opera was influenced by the art of the Persian book miniature of the 13th century. For the musical themes of the main characters Majnun and Laila, folk songs of ethnic Tibetans from the Chinese province of Qinghai were used. Many opera melodies are composed with the use of pentatonic scale. The orchestration uses techniques typical for Beijing Opera Orchestra. Conclusions are drawn about the peculiarities of combining elements of Chinese folklore and European composing technique of the 20th century. The importance of the opera The Song of Majnun for the further work of Bright Sheng is noted.
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Konch, Hemanta. "Nominal Inflection of the Tutsa Language." International Journal of Innovative Technology and Exploring Engineering 10, no. 4 (February 28, 2021): 138–40. http://dx.doi.org/10.35940/ijitee.d8428.0210421.

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North-East is a hub of many ethnic languages. This region constitutes with eight major districts; like-Assam, Arunachal Pradesh, Nagaland, Manipur, Mizoram, Tripura, Meghalaya and Sikkim. Tutsa is a minor tribe of Arunachal Pradesh. The Tutsa was migrated from the place ‘RangkhanSanchik’ of the South-East Asia through ‘Hakmen-Haksan’ way to Arunachal Pradesh. The Tutsa community is mainly inhabited in Tirap district and southern part of Changlang district and a few people are co-exists in Tinsukia district of Assam. The Tutsa language belongs to the Naga group of Sino-Tibetan language family. According to the Report of UNESCO, the Tutsa language is in endangered level and it included in the EGIDS Level 6B. The language has no written literature; songs, folk tales, stories are found in a colloquial form. They use Roman Script. Due to the influence of other languages it causes lack of sincerity for the use of their languages in a united form. Now-a-days the new generation is attracted for using English, Hindi and Assamese language. No study is found till now in a scientific way about the language. So, in this prospect the topic Nominal Inflection of the Tutsa Language has been selected for study. It will help to preserve the language and also help in making of dictionary, Grammar and language guide book.
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Королева, Е. В. "THE IMAGE OF OIROT-KAAN IN THE CONTEXT OF THE ALTAI HISTORICAL LEGENDS." Гуманитарные науки в Сибири 31, no. 2 (June 28, 2024): 33–40. http://dx.doi.org/10.15372/hss20240205.

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В статье представлены результаты анализа алтайских фольклорных текстов с участием героя Ойрот-Каана. Установлено, что исторические предания алтайцев описывают историю III Ойратской конфедерации и содержат мессианские мотивы, связанные с ожиданием возвращения Ойрот-Каана и последующим возрождением государства. Определены тексты, описывающие политическое устройство Джунгарии. Выявлены линии передачи преданий, восходящие к политическим противникам (партии Дабачы и Амыр-Саны). Отмечено присутствие мотивов, отражающих Тибетские походы джунгаров. Зафиксировано включение архаичных онтологических мотивов в сюжеты исторических преданий с целью внесения оценочных суждений. Сделан вывод, что образ Ойрот-Каана является сложносоставным, сюжеты с его участием сочетают достоверные исторические реалии и традиционные литературные клише, а также обобщенные представления алтайцев о Джунгарском государстве, в том числе модель идеального будущего. The article presents the result of the historical analysis of Altai historical and ontological legends, historical songs and Burkhanist hymns. The main sources used are the bilingual edition of the “Altai folk legends”, carried out by the Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, and the collection of Altaic folklore texts by B.Yu. Bedyurov. The author remodels the formation of the folklore image of Oirot-Kaan, reflecting the ideas of the Altaians about the Zhungar state (III Oirat Confederation), which it symbolizes. The Altaian historical tradition describes the history of the III Oirat Confederation from its creation in 1635 to its collapse in 1658, and contains messianic motifs related to the expected return of Oirot-Kaan and the subsequent rebirth of the Oirot Khanate. All the names and epithets of Oirot-Kaan, such as Kairakhan, Galdan, Kon-Taidi, Konodoi, have been collected and translated from Altai language. The texts describing the political structure of Zhungar state are defined in the article. The lines of transmission of legends belonging to political opponents (Dabachi and Amyr-Sanaa parties) have been revealed. The presence of motifs reflecting the Tibetan campaign of 1717, as well as the earlier ones, is noted. The overlap of folklore images of Tibet and Qing China has been found in the Altai tradition. The inclusion of archaic ontological motifs in the plots of historical legends is recorded in order to make valuable judgments in the narrative. It is concluded that the image of Oirot-Kaan is complexly composite, the plots which include him combine reliable historical realities and traditional literary clichés, as well as generalized ideas of the Altaians about the Oirot Khanate in the past, and a model of an ideal future.
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9

Yang, Bo. "Exploring Jiarong Tibetan's Diverse Religious Culture through the Intangible Cultural Heritage of Buzha Drama." Asian Journal of Arts and Culture 23, no. 2 (December 22, 2023): 263471. http://dx.doi.org/10.48048/ajac.2023.263471.

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The Buzha drama of the Garzê Tibetan people is a unique “ritual dance” performed periodically in various religious settings. This form of performance, which falls between theater and dance, reflects the diverse cultural and belief systems of the local people and has been listed as an intangible cultural heritage for protection in recent years. Tribal organizations integrate various religious and cultural forms, including folk beliefs, Bon, Tibetan Buddhism, local customs, and regional knowledge into folk song and dance, transforming them into psychological customs and ethnic emotions, penetrating cultural elements. This article takes an anthropological perspective and examines the relationship between the artistic representation of the Buzha drama and the region's life, spiritual beliefs, and ethnic identity through prop making, ritual procedures, and dance content. The article also explores the characteristics and values of the diverse religious culture of the Garzê Tibetan people.
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10

Бакаева, Эльза Петровна. "THE WAY TO TIBET: RELIGIOUS SONGS OF THE KALMYKS AND THE REALITIES OF TRAVEL." Tomsk Journal of Linguistics and Anthropology, no. 3(33) (November 28, 2021): 91–104. http://dx.doi.org/10.23951/2307-6119-2021-3-91-104.

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В статье анализируются калмыцкие народные песни о паломничестве в Тибет на примере текстов «Зу гидг һазр» ‘Страна, называемая Тибет’, «Алта гидг һазрас» ‘Из местности, называемой Алтай’. На основе сравнительного исследования разновременных записей песни «Зу гидг һазр» (1897 г., 1903 г., а также записи конца XX в.) и сопоставления с историческими данными о посольствах и паломничествах в Тибет и вариантами преданий о Джиджетен-ламе сделан вывод о том, что религиозная песня посвящена паломническому посольству хана Дондук-Даши (1755‒1757 гг.) и в ней отражены сведения о пути в Тибет через Монголию и Кукунор. Анализ песни «Алта гидг һазрас» и данных наиболее полного текста песни «Зу гидг һазр» в записи Г. Й. Рамстедта позволил сделать вывод о том, что в них отражены сведения о двух основных путях в Тибет. Архивные и литературные материалы о паломничествах в Тибет свидетельствуют, что в XVII в., когда территория формирующегося Калмыцкого ханства была подвижной, к святыням Лхасы, называвшейся калмыками «Зу», отправлялись по традиционному пути через территории расселения ойратов — «из местности, называемой Алтай». С начала XVIII в. по ряду причин путь в Тибет пролегал через Монголию и Кукунор. И лишь в начале XX в. вновь был освоен путь в Тибет, бывший традиционным для их предков, который теперь назывался «новым». The article analyzes the Kalmyk folk songs about the pilgrimage to Tibet through the example of the texts titled “Zu gidg gazr” (“The Country Called Tibet”), “Alta gidg gazras” (“From the Land Called Altai”). The comparative study of records of the song “Zu gidg gazr” of different times (1897, 1903, late 20th century) and insights into historical data and versions of legends about Jijeten Lama conclude that the religious song is dedicated to the pilgrimage embassy of Khan Donduk-Dashi (1755‒1757) and contains information about the way to Tibet through Mongolia and Kokonor. The analysis of the song “Alta gidg gazras” and the data of the most complete text of the song “Zu gidg gazr” recorded by G. J. Ramstedt makes it possible to conclude that those reflect information about two main routes to Tibet. Archival and literary materials about pilgrimages to Tibet indicate that in the 17th century when boundaries of the emerging Kalmyk Khanate were still mobile, routes to the shrines of Lhasa (Zu) went through the traditional territories of Oirat settlement ― “from the area called Altai”. From the beginning of the 18th century, for a number of reasons, the way to Tibet lay through Mongolia and Kokonor. Only at the beginning of the 20th century the path to Tibet which had been traditional for ancestors (now called the “new one”) was mastered again.
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Dissertations / Theses on the topic "Tibetan Folk songs"

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Diehl, Keila. "Echoes from Dharamsala : music in the lives of Tibetan refugees in north India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Gamble, Ruth Ellen. "The view from nowhere : the travels of the third karmapa, rang byung rdo rje in story and songs." Phd thesis, 2014. http://hdl.handle.net/1885/151661.

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Rang byung rdo rje (1284-1339), the third Karmapa, was an important figure in the development of Tibetan Buddhism. He is most famous for his commentaries and treatises that systemised the lineages of tantric Buddhism he inherited, works that have been the subject of numerous studies. Until this present study, however, his personal writing, both his biographical liberation-stories (rnam thar) and his songs (mgur/glu) have not been translated in full or studied. As much of his writing in these two genres was composed while he travelled around first Tibet, then Mongolia and China, travelling is one of these works' major themes, and therefore the thematic subject of this thesis. The study's thematic approach to these compositions has allowed it to examine them as both literature and historical sources. A combination that, in turn, has not only provided many more details about his life than earlier studies, but also enabled an investigation of Rang byung rdo rje's contribution to Tibet's literary culture, in which the two genres of rnam thar and mgur/glu have played a central role. As this thesis explains, what becomes evident in this literary and historical examination of Rang byung rdo rje's writings in these genres is that his influence on Tibetan culture was not limited to his contribution to Tibet's intellectual history. He also played a pivotal role in the development of two other important elements of Tibetan culture: the sacralisation of Tibet's environment and the tradition of recognising reincarnated gurus, both of which he helped establish on his travels. Moreover, this investigation shows how intertwined these processes were in Rang byung rdo rje's writing: how much Rang byung rdo rje's presentation of the Karmapa reincarnate lineage - the first reincarnate lineage upon which others were modelled - depended on the sacralisation of the Karmapas' environments to sustain their status across lives; and how much the sacralisation of the Karmapas' environments depended on both their sanctified presence, and their cultural "landscaping" of these sites through architecture, art and most influentially literature. In establishing this connection between sacred sites and the development of Tibet's first reincarnation lineages, this thesis further demonstrates how Rang byung rdo rje's participation in both these projects depended on his claims to and articulation of otherworldly visions. Through these visions he established a religious, otherworldly, periphery-focused authority upon which he could make claims about identity and territory that stood in opposition to those made on the same region by its this-worldly rulers, the Mongol Empire. It also shows how this alternate vision was aided by Rang byung rdo rje's promotion of the mahamudra tradition, a tradition whose sceptical approach to all phenomena suggested experiences of this and other worlds were equally unreal.
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Books on the topic "Tibetan Folk songs"

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"Byang ʼbrog shes rig dpe tshogs" Rtsom-sgrig Tshogs-chung. Sgor gzhas khrom gyi dgaʼ ston. Zi-ling: Mtsho-sngon mi rigs dpe skrun khang, 2014.

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Hainan Zangzu Zizhizhou san tao ji cheng ban gong shi. Mtsho-lhoʼi dmangs glu. [Gonghe]: [Hainan Zangzu Zizhizhou san tao ji cheng ban gong shi], 1992.

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Kun-bzaṅ-phrin-las. ʼBrug gi glu deb. Thimphu: Ke-aem-kri dpe skrun khaṅ, 2010.

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Dge-legs-phun-tshogs. Sde-dgeʼi mdun bro. Cheʻng-tu: [Si-khron Bod-yig Dpe-rñiṅ Bsdu-sgrig Khaṅ], 2014.

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Tshe-ʼbar and Dgoṅs-pa-mtsho, eds. Dmaṅ glu sñan dbaṅ bdud rtsi. Xining: Mtsho-sṅon mi rigs dpe skrun khaṅ, 1997.

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Bod-ljoṅs Lho-kha sa khul mi rigs kyi śul bźag rig gnas myur skyob khaṅ., ed. Lho-khaʼi dmaṅs gźas phyogs btus. [Lha-sa: Bod-ljoṅs mi dmaṅs dpe skrun khaṅ nas bskrun, 1999.

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Bod-ljoṅs Lho-kha sa khul mi rigs kyi śul bźag rig gnas myur skyob khaṅ., ed. Kruṅ-goʼi dmaṅs khrod glu gźas phyogs btus sa gnas pod. [Lha-sa: Bod-ljoṅs mi dmaṅs dpe skrun khaṅ, 1999.

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Stong-nyid-rdo-rje. Si-khron Bod khul nas bsdus paʼi dmangs khrod glu gzhas ʼdems sgrig. Pe-cin: Mi rigs dpe skrun khang, 2014.

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Rgya-mtsho, Don-grub-phun-tshogs, and Bod-ljoṅs Lho-kha sa khul mi rigs kyi śul bźag rig gnas myur skyob khaṅ., eds. Lho-khaʾi dmaṅs khrod gźas ma gtam phyogs btus. Lha-sa: Bod-ljoṅs mi dmaṅs dpe skrun khaṅ, 2005.

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"Byang ʼbrog shes rig dpe tshogs" Rtsom-sgrig Tshogs-chung. ʼBri ruʼi steng dkar ras pa. Zi-ling: Mtsho-sngon mi rigs dpe skrun khang, 2014.

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Book chapters on the topic "Tibetan Folk songs"

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"Glu and La Ye in a Mdo: An Introduction to Contemporary Tibetan Folk Songs." In Proceedings of the Ninth Seminar of the IATS, 2000. Volume 5: Amdo Tibetans in Transition, 173–96. BRILL, 2002. http://dx.doi.org/10.1163/9789004483095_011.

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Conference papers on the topic "Tibetan Folk songs"

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Ding, Shuyue. "Study on the Artistic Characteristics of Tibetan Folk Songs." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.45.

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Cheng, Juanjuan. "The Analysis of the Beauty and Characteristics of Tibetan Folk Songs in Nanping Sichuan." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.13.

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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 Mongolian fund of the Center of Oriental Manuscripts and xylographs of the Institute for Mongolian, Buddhist and Tibetan studies is introduced into scientific circulation for the first time. In addition to this manuscript, the Mongolian fund contains about thirty other works by the chronicler D. Bubeev. This manuscript is an original monument of Buryat literature and folklore in Old Mongolian script with elements of the genre of travelogue.
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