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Journal articles on the topic 'Western Apache Folk songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Kang, Sangmi, and Hyesoo Yoo. "Effects of a Westernized Korean Folk Music Selection on Students’ Music Familiarity and Preference for Its Traditional Version." Journal of Research in Music Education 63, no. 4 (2015): 469–86. http://dx.doi.org/10.1177/0022429415620195.

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The purpose of this study was to reveal the effects of Westernized arrangements of traditional Korean folk music on music familiarity and preference. Two separate labs in one intact class were assigned to one of two treatment groups of either listening to traditional Korean folk songs ( n = 18) or listening to Western arrangements of the same Korean folk songs ( n = 22); a second intact class served as a control group with no listening ( n = 20). Before and after the listening treatment session, pre- and posttests were administered that included 12 music excerpts of current popular, Western cl

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2

Xu, Hong. "The Application of Multi-modal Discourse in English Translation of Tujia Folk Song Long Chuan Diao in Western Hubei Province." MATEC Web of Conferences 232 (2018): 02010. http://dx.doi.org/10.1051/matecconf/201823202010.

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Nowadays, multi-modal discourse, including language, picture, audio and video play a very important role in the translation of folk songs. Under the comprehensive framework of Delu Zhang, this paper analyses the application of multi-modal discourse in the translation of Tujia folk song Long Chuan Diao from four aspects: cultural level, context level, content level and expressive level. The study can better understand Tujia folk songs and transmit Tujia culture. Multi-modal discourse analysis plays an important role in translating and spreading Tujia folk songs in Western Hubei province.

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Wei, Sun, and Krisada Daoruang. "An Analysis of Music Composition Techniques of Bao Yuankai: Case Study of “Little Cabbage”." SHS Web of Conferences 183 (2024): 03005. http://dx.doi.org/10.1051/shsconf/202418303005.

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The composition techniques of the folk song “Little Cabbage” within Chinese composer Bao Yuankai's “Yan Huang Feng Qing” are analyzed as research subjects. The concept of symphonic Chinese folk songs and musical creation techniques are investigated. The manner in which the composer incorporates Chinese and Western music theories in his compositions through the application of musical theory techniques is analyzed. The results of the research findings were: 1) The Chinese pentatonic scale 2) The use of Chinese folk melody in Western orchestra and 3) 3 Music texture: polyphonic technique and Chin

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TÜRKMENOĞLU, Ömer. "TURKISH FOLK SONGS ACCOMPANIED BY SYMPHONY." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (2021): 277–86. http://dx.doi.org/10.46291/zfwt/130214.

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In this study, by investigating the subject of Turkish folk songs accompanied by symphony; In the literature review, it was revealed that there is no previous academic study on this subject. It is clear that there should be a written source in addition to the performance regarding this subject, so this article is important in terms of contributing to the literature. Before we talk about symphonic arrangements, we need to have information about the first compilation and recording of Turkish folk songs. Symphonic arrangement of folk songs in Turkey started with the music revolution movement init

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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

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Dangaura, Mohan. "Spatial Memory and Ecologically Displaced Subjectivity in Western Tharu Folk Songs of Nepal." Literary Studies 35, no. 01 (2022): 57–67. http://dx.doi.org/10.3126/litstud.v35i01.43675.

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This paper critically examines the folk dance songs of Dangaura Tharu fromthe perspective of space, memory, and performance. The paper establishes the relationship between Tharu subjectivity and conscience of their past topography inherent intheir folk dance songs. In one aspect where the overall folk performance of Tharu reflects their lifestyle, in another aspect, their folk songs and rituals assist them to connect with the natural environment where they inhabit. This paper has brandied their performance as the art reflecting their bucolic lifestyle and melancholic memory. The songs have bee

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Richter, Pál. "The Harmonization of Folk Songs in Kodály’s Workshop." Studia Musicologica 60, no. 1-4 (2020): 265–79. http://dx.doi.org/10.1556/6.2019.00013.

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When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song

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Meng, Yumeng Liu Minghua. "National Cultural Heritage Through Hebei Folk Song Education among School Choir: Psychological Well-being Survey." Multicultural Education 8, no. 12 (2022): 98. https://doi.org/10.5281/zenodo.7434346.

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<em>Hebei folk songs refer to the folk music spread in Hebei Province. Their representative works include "Little Cattle Release", "Going Back to Her Mother's Home" and "Little Cabbage". Hebei folk song is an ancient kind of Han folk music. Is plain, honest, or solemn, and stirring desolate, or melodious, and other characteristics. It shows the simple and honest temperament of the working people of all nationalities in Hebei Province. Most are to depict real life, but also some are to praise historical figures. For thousands of years, tens of thousands of folk

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Duan, Siyu, and Jinyan Li. "Corpus－Based Study on the Translation Methods of the Figures of Speech in Zhuang’s Folk Songs of Napo." Asian Journal of Current Research 9, no. 4 (2024): 95–106. http://dx.doi.org/10.56557/ajocr/2024/v9i48907.

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The figures of speech in Zhuang’s Folk Songs of Napo exhibit distinct cultural characteristics compared to mainstream Chinese folk songs or Western literary traditions, and their translation requires careful attention not only to the figures of speech but also to the effective transmission of Zhuang culture. Based on a self-built bilingual corpus, this paper examines the translation methods of figures of speech in the English translations of Zhuang’s Folk Songs of Napo. The study reveals that translators predominantly use literal translation to preserve the cultural features of figures of spee

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Kazakevich, Olga. "The anticipation of love and death in Western Evenki personal folk songs." Rodnoy Yazyk. Linguistic journal, no. 2 (December 2024): 247–59. https://doi.org/10.37892/2313-5816-2024-2-247-259.

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Evenki musical folklore has long attracted the attention of researchers. The earliest publication of traditional Evenki song texts was produced by G. Hut at the beginning of the 20th century. The first audio recording of Evenki songs was made using a phonograph by L. Y. Sternberg in 1910. The Phonogramme Archive of the Pushkin House in St. Petersburg includes extensive collections of traditional Evenki personal and shamanic songs, which were recorded in the first quar‑ ter of the 20th century and still need to be transcribed and analyzed. Since then, a number of articles and monographs dedica

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Sun, Haotian, and Peerapong Sensai. "The Literacy Preservation and Transmission of Yangzhou Folk Songs: Evolution, Adaptation and Modern Relevance." International Journal of Education and Literacy Studies 13, no. 2 (2025): 50–57. https://doi.org/10.7575/aiac.ijels.v.13n.2p.50.

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Yangzhou folk songs, an important part of China's intangible cultural heritage, capture the region's historical, cultural, and artistic traditions. This research investigates the evolution, preservation, and transmission of Yangzhou folk songs, focusing on topic development, vocal skills, and accompanying instruments across history. These songs represent each period's socioeconomic and cultural dynamics, beginning as work chants in the Sui and Tang dynasties and evolving into artistic expressions in the Ming, Qing, and Republican eras. Modern versions, such as incorporating Western musical ele

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Choudhary, Maitrayee. "Revisiting the Folk Songs of Manganiyar: A Desert Tribe of Rajasthan." RESEARCH REVIEW International Journal of Multidisciplinary 10, no. 2 (2025): 46–49. https://doi.org/10.31305/rrijm.2025.v10.n2.005.

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“Folklore comprises traditional creations of people, primitive, civilized. These are achieved using sounds and words in metric form and prose, and include also folk beliefs and superstitions, customs and performances, dances and plays” (Jonas Balys 382). Verbal folklore is an integral part of any society. Here folk music provides a voice to the subalterns and is carried forward orally. This paper will explore traditional Folk songs like ‘Ave re Hichki’, ‘Saawan’, ‘Mumal’ etc sung by folk singers like Dapu Khan and others. These folk singers come from a family of Manganiyar community and carry

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Iyyanar, M., and C. Jebakumar. "A Comparative Study On Folk Songs and Western Songs in the Contemporary Tamil Cinema." International Journal of Computer Sciences and Engineering 6, no. 12 (2018): 927–29. http://dx.doi.org/10.26438/ijcse/v6i12.927929.

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Baljin, Danbuerjiafu (Damrinjav), та Baazr A. Bicheev. "Орос болон өрнө дахинд ойрад-халимагийн ардын дууг цуглуулан тэмдэглэж, эмхэтгэж, хэвлүүлсэн тойм (= История записи и публикации народных песен ойрат-калмыков в России и Европе)". Монголоведение (Монгол судлал) 12, № 3 (2020): 529–66. http://dx.doi.org/10.22162/2500-1523-2020-3-529-566.

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Introduction. Oirats of China, Mongolia and Kalmyks of Russia live in three different countries — but share common ethnic ancestry. Oirats of China primarily reside in Xinjiang, Qinghai, Gansu, Inner Mongolia, and Hara-Muren (Amur River valley). In Mongolia, Oirats traditionally inhabit western provinces, such as Uvs, Khovd, Bayan-Ölgii, Zavkhan, and Khӧvsgӧl. In Russia, Kalmyks live in the Republic of Kalmykia and Astrakhan Oblast. Some minor Oirat and Kalmyk groups reside in Kyrgyzstan, Europe, and America. Despite being separated by historical eras, state borders and differing cultural-econ

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Karabulatova, I. S., and R. V. Loseva. "The interpretations of Russian traditional song folklore in the Internet virtual space in the aspect of digital linguistic folklore studies." Key Issues of Contemporary Linguistics, no. 1 (May 13, 2025): 17–36. https://doi.org/10.18384/2949-5075-2025-1-17-36.

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Aim. To identify the features of the interpretation of Russian traditional song folklore in the virtual space of the Internet through the prism of digital linguistic folkloristics.Methodology. The empirical material was collected by the authors in the south of Western Siberia during the 30 years, incorporating Russian lyrical songs of the descendants of the first settlers and selfpropelled guns. The collected array of lyrical folk songs, reflecting the regional peculiarities of culture and worldview, allows for the formalization of folkloratives in their post-interpretative diversity. The pecu

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Chaturvedi, Saraswati. "Culture of Rajasthan and its inherent folk music." International Journal of Research -GRANTHAALAYAH 6, no. 2 (2018): 197–201. http://dx.doi.org/10.29121/granthaalayah.v6.i2.2018.1562.

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The state of Rajasthan, as the name suggests, is a state filled with many colors, the food, dress and dress of this state are very much embedded in the folk culture, folklore, folklore, folk dance and folklore.Word meaningThe word 'Lok' is a very ancient word, the meaning of the word 'Lok' can be derived from the mass society which is deeply spread on the earth. The word 'Lok' refers to an important mass community.Folk songs used in Rajasthan's folk cultureIn these folk songs we have the philosophy of folk culture of Rajasthan, they can be categorized as follows -Ritual folk songs: Wadhwa, Cha

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Air, Narendra Bahadur. "Aesthetic Expressions in Ḍeuḍā Song Lyrics: An Analysis of Shreeṅgār and Karuṇa Rasas". Batuk 11, № 1 (2025): 57–67. https://doi.org/10.3126/batuk.v11i1.74443.

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In recent years, many authors have shed light on the hidden world of folklore, particularly on folk songs seeking to re-envision the practices of the traditional society. This research on a folk song of Far Western Nepal i.e. Ḍeuḍā holds special promise for analyzing it in the light of Rasa theory; a theory about aesthetic flavor in arts that evokes emotions and feelings of the readers. The study reflects upon the theory of rasa and attempts to make an assessment of it in relation to the Deudā song that adopts qualitative research method, using observations and interviews as data collections

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TOPRAK, Betül, and Salih AKKAŞ. "ANALYSİS OF THE PERFORMANCE OF THE SONG NAMED “GRAND BAZAAR İN AYDIN” BY HALE GÜR FROM THE TRT THM REPERTOİRE." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 16, no. 1 (2024): 233–54. http://dx.doi.org/10.46291/zfwt/160116.

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In the compilation studies during the Republic period, folk songs were notated taking into account the Western music sound system. Considering these two types of music, which have different performance practices and sound systems, it can be seen that the practice is far from a scientific approach. This situation prevents the local elements that add richness to the folk songs by giving them their characteristic features from being reflected in the performance and creates standard, monotonous performances. In this regard, it is thought as a solution to write the notes taking into account the voc

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Robb, David. "The mobilising of the German 1848 protest song tradition in the context of international twentieth-century folk revivals." Popular Music 35, no. 3 (2016): 338–59. http://dx.doi.org/10.1017/s0261143016000532.

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AbstractThe rediscovery of democratic traditions of folk song in Germany after the Second World War was not just the counter-reaction of singers and academics to the misuse of German folk song by the Nazis. Such a shift to a more ‘progressive’ interpretation and promotion of folk tradition at that time was not distinct to Germany and had already taken place in other parts of the Western world. After firstly examining the relationship between folk song and national ideologies in the nineteenth century, this article will focus on the democratic ideological basis on which the 1848 revolutionary s

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Хуан, Л. "Application of Chinese folk music in solfegio lessons." Bulletin of Pedagogical Sciences, no. 5 (May 17, 2024): 278–82. http://dx.doi.org/10.62257/2687-1661-2024-5-278-282.

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в настоящей статье рассматриваются способы применения китайской народной музыки на уроках сольфеджио. Автором приводится краткая характеристика системы музыкального образования в китайских учебных заведениях, а также ее отличительные особенности. В работе также рассматривается народная музыка и музыкальные инструменты различных регионов Китая как важное культурное наследие страны, которое необходимо сохранять и передавать будущим поколениям. Выделяются две музыкальные системы в контексте традиционного китайского искусства, как «лулу» и «цзимин», которые могут использоваться на уроках сольфеджи

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Fedorniak, Nataliia. "Emigrant Songs of Ukrainians in the Context of Scientific Research of Robert Klymasz (Canada)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 65–78. http://dx.doi.org/10.31866/2616-7581.7.1.2024.303769.

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The purpose of the research is to analyse the genre and thematic, musical component and peculiarities of the transformation of emigrant songs from the collections of folk songs Introduction to the Ukrainian-Canadian Immigrant Folklore Cycle and Ukrainian Folk Songs from the Prairies by R. Klimasz (Canada). The research methodology is based on the principles of objectivity, systematicity and historicism, which is supported by the historical and cultural approach. The musicological, textual, stylistic, and contextual analyses are applied, which reveal the musical, literary, historical and cultur

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Fedorniak, Nataliia. "Emigrant Songs of Ukrainians in the Context of Scientific Research of Robert Klymasz (Canada)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 65–78. https://doi.org/10.31866/2616-7581.7.1.2024.303769.

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<strong>The purpose of the research </strong>is to analyse the genre and thematic, musical component and peculiarities of the transformation of emigrant songs from the collections of folk songs Introduction to the Ukrainian-Canadian Immigrant Folklore Cycle and Ukrainian Folk Songs from the Prairies by R. Klimasz (Canada). <strong>The research methodology </strong>is based on the principles of objectivity, systematicity and historicism, which is supported by the historical and cultural approach. The musicological, textual, stylistic, and contextual analyses are applied, which re

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Wu, Zirong. "Literature Review on the Tujia Daliuzi Music of Western Hunan." Communications in Humanities Research 65, no. 1 (2025): 1–5. https://doi.org/10.54254/2753-7064/2024.19677.

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The Tujia is an ancient ethnic group with a long history, and the Xiangxi Tujia and Miao Autonomous Prefecture is one of their inhabited areas. This region, with its continuous mountains and rich cultural heritage, has nurtured diverse forms of music. Unique Tujia musical forms such as Daliuzi, wedding weeping songs, Tima songs, Youshui labor chants, and Tujia folk songs were included in the national intangible cultural heritage list in the 21st century. This paper focuses on the Tujia Daliuzi music of Western Hunan. Through platforms such as CNKI, Wanfang, VIP, and Chaoxing, relevant literatu

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Bychak, Kaciaryna. "The Wandering of the Mother of God with the Child in the Folk Tradition of the Border Between Slavia Orthodoxa and Slavia Catholica: Apocryphal and Folklore Motifs." Palaeobulgarica 47, no. 2 (2023): 119–38. http://dx.doi.org/10.59076/2603-2899.2023.2.07.

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The narrative of the wandering Mother of God with the Child is popular within the corpus of the Folk Bible circulating on the frontier between Eastern and Western Christianity. In vernacular oral traditions transmitted on the borderlands of Poland, Belarus and Ukraine, we find not only interpretations of the canonical source of the New Testament motifs “Flight to Egypt” and “The Massacre of the Innocents” (Mat 2:13–19), but also some parabiblical motifs reaching back to apocryphal texts of the first centuries of Christianity (e.g. Prot. Jas., Arab. Gos. Inf.). The latter reflect traditional de

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M.B.Satisha. "FOLKLORE LITERATURE STUDY: INTERDISCIPLINARY APPROACH." Shanlax International Journal of Arts, Science and Humanities 6, S2 (2019): 38–41. https://doi.org/10.5281/zenodo.2633413.

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        Folk literature can be identified under two categories; Pre-colonial and Post colonial approach. Collection of folk literature and textual criticism were undertaken during the pre-colonial period. However the British collected the folk literature in a bid to understand the indigenous knowledge and the ancient literary tradition in Kannada. The Indian folk scholars followed the footsteps of western scholars in collecting folk literature and collected folk songs which were considered to be a literary genre. During the Post colonial phase, there was a sh

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Ulehla, Julia. "The Essence and Evolution of Song. By Vladimír Úlehla. Translated by Julia Ulehla; edited by Katherine Freeze and Richard K. Wolf." Ethnomusicology Translations, no. 7 (October 5, 2018): 1–136. http://dx.doi.org/10.14434/emt.v0i7.25715.

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Vladimír Úlehla (1888-1947) uses his expertise in the biological sciences to perform an in-depth and ecologically situated study of folk songs from his native Czechoslovakia. His posthumous magnum opus Živá Píseň (Living Song, 1949) chronicled the musical traditions of Strážnice, a small town at the western hem of the Carpathian Mountains at the Moravian-Slovakian border. Informed by four decades of ethnographic inquiry, transcription, and several music-analytical methods, in Chapter VI Úlehla considers the songs from Strážnice as living organisms, links them to their ecological environs, and

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Savage, Patrick E., Adam T. Tierney, and Aniruddh D. Patel. "Global Music Recordings Support the Motor Constraint Hypothesis for Human and Avian Song Contour." Music Perception 34, no. 3 (2017): 327–34. http://dx.doi.org/10.1525/mp.2017.34.3.327.

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There has recently been renewed interest in using quantitative data to explore questions about musical universals. One explanation for certain musical universals is that they reflect ways of singing that are most energetically efficient, as opposed to biological specializations for human music. Previous research found support for this “motor constraint hypothesis” by comparing pitch contour shapes in samples of human and avian songs, but the sample of human songs was limited to notated scores of European and Chinese folk songs from the Essen database. Here we test this hypothesis using a more

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Baral, Raj Kumar, and Mahesh Paudyal. "Rhetoric of some Nepali Folklores and their Changing Modes of Expressions." Batuk 11, no. 1 (2025): 68–85. https://doi.org/10.3126/batuk.v11i1.74444.

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This article critically observes three cultural assets of Nepal: gaon khane katha or folk riddles available all over Nepal, some folk songs performed by the Gandharavas of mid-western Nepal and some songs accompanied by dances performed by the Limbu community of eastern Nepal. It examines how changing logic of rhetorics, including political changes, advent of modernity and the burgeoning of digital technology have forced changes, adaptation or altogether discontinuity of some of these cultural assets in spite of governmental and public efforts for preservation and promotion. The article conclu

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JIN, XIE, and YU DA NI. "The characteristics of folk music in the art songs of Chinese composer Shi Guangnan." Korean Society of Music Education Technology 62 (January 31, 2025): 169–92. https://doi.org/10.30832/jmes.2025.62.169.

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The Chinese composer Shi Guangnan's musical life, especially his art songs, contains profound musical characteristics of the Chinese nation. He has an important position in the development of modern Chinese art songs. From the content of this study, we find that Shi Guangnan's unafraid of difficulties and unyielding will and his love for the Chinese nation are the main driving forces for his success. In the aspect of music creation, he perfectly combined the folk songs of China's ethnic minorities with traditional music, and made flexible use of them in his art songs. At the same time, he also

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Wang, ZhenNi, and Yi Lu. "Cultural Synthesis in Zhang Zhao's “Chinese Melody”: National Characteristics in Piano Adaptations of Folk Songs." International Journal of Sociologies and Anthropologies Science Reviews 5, no. 4 (2025): 493–504. https://doi.org/10.60027/ijsasr.2025.6702.

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Background and Aim: The piano adaptations of Chinese Melody by Chinese pianist-composer Zhang Zhao represent a major contribution to the synthesis of cross-cultural music. This study seeks to explore the national characteristics embedded in these works and examine how Zhang integrates Western compositional techniques with Chinese musical traditions. Materials and Methods: This research employs a comprehensive musicological analysis of selected folk song adaptations, concentrating on four key dimensions: melodic treatment, harmonic language, rhythmic patterns, and timbral exploration. Results:

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Särg, Taive. "Elava rahvalaulu juurde jõudmine: Herbert Tampere teadlaseisiksuse kujunemine." Mäetagused 82 (April 2022): 81–130. http://dx.doi.org/10.7592/mt2022.82.sarg.

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The article analyses the life and activity of Estonian ethnomusicologist and folklorist Herbert Tampere (1909-1975), as well as the research history of Estonian folk songs until 1945, also paying attention to the influence of the Estonian Folklore Archives and its head Oskar Loorits. The historical background to Tampere’s activity is the establishment of independent statehood in Estonia (1919) after Estonians had existed as an ethic minority group subjected to the ruling classes of other nationalities for hundreds of years. The scientific and cultural background is constituted by the developme

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Mironov, Arseny. "VALUE OF ACTIVE COMPASSION IN THE HEROIC EPIC: RUSSIAN EPIC CONCEPT." Проблемы исторической поэтики 19, no. 2 (2021): 7–32. http://dx.doi.org/10.15393/j9.art.2021.8842.

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The article uses the comparative historical method to analyze epic folklore from around the world with regard to the functioning of the concept of active compassion. Proceeding from extensive factual material, the author demonstrates that different national and civilizational traditions imply various interpretations of this concept. While The Epic of Gilgamesh, Homer’s Iliad, and medieval Western European epic songs don’t treat mercy as an axiologically important principle, the folk epics created by the Orthodox peoples maintain its value in accordance with the Christian ideal of sacrificial l

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Klymenko, Iryna. "Volynian Calendar and Ritual Melotypology: the Classical Lviv School and an Alternative Approach." Ethnomusic 20, no. 1 (2024): 76–105. https://doi.org/10.33398/2523-4846-2024-20-1-76-105.

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In 2021, the folk songs collection of ethnographic Volynia in the recordings of 1934-1935 Volhynian Folk Songs from the Archive of Filaret Kolessa was published in Lviv. The collection was compiled and prepared for publication by Lviv ethnomusi- cologists Viktoriya Yarmola and Yuriy Rybak on the basis of archival materials found in the archive of F. Kolessa by Professor Iryna Dovhaliuk. The book contains a detailed preface and an analytical article by Yuriy Rybak, which outlines the principles of compiling the oldest layer of melodies associated with the ancient rituals of the annual agricultu

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பா., ஓவியா /. P. Oviya. "குமரி மாவட்ட மரபுவழி பெண்சார் மருத்துவம் / Traditional Gynaecology in Kumari District". IJTLLS 7, SPL 1 (2025): 50–67. https://doi.org/10.5281/zenodo.15120818.

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<em>Traditional life has been linked with us from ancient times to the present day as a reminder in our lives in the form of stories, songs, folk tales, folk songs, proverbs, musical forms, dance forms, customs, beliefs, games, festivals, worship, rituals, medicine, etc. This can be seen in the rural areas. In the current urban environment, the ways of life and arts are on the brink of extinction. So, it is necessary to protect it. In arts, folk medicine is in danger of extinction. One of the 64 intellectual arts of Tamil is medicine. Tamil traditional medicine has lagged due to the arrival of

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Nəzərova, Adilə. "UZEYIR HAJIBAYLY: NATIONAL VALUES AND RESOURCES." Scientific Works 92, no. 2 (2025): 27–31. https://doi.org/10.69682/arti.2025.92(2).27-31.

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It is known that in Eastern countries the main genre is considered folk art. In Azerbaijan, the combination of mugham and folk songs, which have a complex idea, emotional meaning, and express deep thinking, with Western music - opera was first used in the work of U. Hajibayly. These works were written in the history of world music under the name "mugham opera". In the works of U. Hajibayly, especially in his operettas, the desire of the Azerbaijani people for legal freedom was expressed in unity with the expression of their spiritual freedom - the inner freedom of man. As a teacher, the brilli

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Dolgova, Daria K. "Folk songs as a source of themes for S. S. Prokofiev’s "Russian Overture"." Ученые записки Российской академии музыки имени Гнесиных 2, no. 53 (2025): 48–62. https://doi.org/10.56620/2227-9997-2025-2-48-62.

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"Russian Overture" opens a line of creativity of S. S. Prokofiev, associated with an appeal to genuine Russian musical folklore. The song sources of the themes that served as the basis of the work are established. They turned out to be two samples from the repertoire of the State Academic Russian Folk Choir named after M. E. Pyatnitsky, being prepared for publication during the period of writing and premiere of the overture. Both tunes belong to the wedding tradition of the Western Russian territory and have a similar compositional structure. The characteristic features of the use of authentic

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Zeyu, Gong. "National and Western Characteristics of Composition in the Concerto for the Bamboo Flute “Four Songs of Northern Shaanxi” (“陕北四章”) by Cheng Dazhao". Университетский научный журнал, № 79 (24 квітня 2024): 119–25. http://dx.doi.org/10.25807/22225064_2024_79_119.

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Shaanxi, as one of the birthplaces of Chinese civilisation, has an ancient history and culture, and the music of the province is imbued with a distinct local fl avour. The bamboo fl ute concerto “Four Songs of Northern Shaanxi” was created by Cheng Dazhao based on the intonations of the folk songs of Shanbei, and therefore the work has pronounced local characteristics. Within the framework of the article, the artistic characteristics and technique of performing the concert are analysed and considered. In the process of analysis, it was established that the composition technique of the “Four So

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Lin, Li Mao, and Shafizan bin Sabri. "The Fusion of Tradition and Modernity: Reviewing the Lyrics and Vocal Style of Chinese Art Songs." Grenek Music Journal 14, no. 1 (2025): 60–67. https://doi.org/10.24114/grenek.v14i1.64501.

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This study explores the characteristics of Chinese art songs, with a particular focus on their lyrics and vocal style, through a literature review approach. Chinese art songs (yishu gequ) emerged during the May Fourth Movement as a fusion of Western compositional techniques and traditional Chinese cultural elements. The lyrics are deeply rooted in Chinese ancient poetry, drawing on classical themes such as nature, emotions, and philosophy, while maintaining structural integrity through poetic forms like shi (詩) and ci (詞). The linguistic complexities of Mandarin Chinese, a tonal language, pres

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Thompson, Peggy. "New Directions: An Interview with Kate Weiss." Canadian Theatre Review 59 (June 1989): 24–28. http://dx.doi.org/10.3138/ctr.59.006.

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Kathleen Weiss, Artistic Director of Tamahnous Theatre, Vancouver’s only experimental company, has after three seasons decided not to renew her contract. Her recent decision makes this introduction to my already planned interview with her an appropriate venue for an overview of the Weiss years at Tamahnous. National audiences may recognize at least two of the titles of shows created during her tenure: the highly acclaimed The Haunted House Hamlet, an environmental staging of the Bard adapted by her husband Peter Eliot Weiss, which was presented to Eastern audiences during Montreal’s prestigiou

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Daniel, Ondřej. "Songs for Ordinary People." Communist and Post-Communist Studies 55, no. 2 (2022): 84–103. http://dx.doi.org/10.1525/j.postcomstud.2022.55.2.84.

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This article aims to illuminate the links between culture and class in the post-socialist years in the Czech Republic. To this end, it considers the reception of two music acts—the country folk duo Bratři Nedvědi in the 1990s and the “nationalist rock” band Ortel in the 2010s—and discusses the labeling of their fans based on their social class profiles. My analysis draws on mainstream Czech media coverage of these acts, materials reflecting fans’ perspectives, and broader scholarly debates about the links between music consumption and social class. One similarity between these bands lay in the

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Vikárius, László. "What Did Béla Bartók's Five Hungarian Folk Songs Want to Do at the 1938 Baden-Baden Festival." Studia Musicologica 65, no. 1-2 (2024): 89–101. http://dx.doi.org/10.1556/6.2024.00004.

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AbstractThe peasant music Béla Bartók first discovered in 1904 and which he collected systematically between 1906 and 1918 belongs to what he generally described as “Eastern Europe.” His career as pianist and composer was naturally oriented towards Western Europe. His contract with one of the most important publishing houses of the period interested in contemporary music, Universal Edition in Vienna, seems to have conserved a Central European network during the interwar period – a network originating in the by then dissolved Austro-Hungarian Monarchy. Apart from pointing out the conspicuous co

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Yefremova, Liudmyla. "Influences of Regional Cultural Breaks and Migration Processes on Children’s and Winter Calendar and Ritual Song Folklore of Kirovohrad Oblast." Slov'ânsʹkij svìt, no. 21 (December 30, 2022): 39–61. http://dx.doi.org/10.15407/slavicworld2022.21.039.

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Kirovohrad Oblast, founded in 1939, is situated in the central part of Ukraine, on the right bank of the Dnipro. The southern center of Ukraine, in particular the territory of Kirovohrad Oblast, has been settled quite late, in the 17th–18th centuries. The conglomeration of East-Podillian, Central-Ukrainian and Trans-Dnieper singing has formed a specific folklore zone here. Resettlers from the northern and western lands have also brought well-preserved folklore traditions to these lands. They have formed a peculiar marginal culture here, which is defined by a number of distinctive features in t

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Trusenko, Sofiia. "The Specific of Folk Song Arrangements in Yaroslav Vereshchagin's Vocal Cycles." Ukrainian musicology 49 (June 30, 2023): 100–111. http://dx.doi.org/10.31318/0130-5298.2023.49.298986.

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It is well known that the genre of folk song arrangement is widespread in Ukrainian music, as the folklore heritage of Ukraine is extremely rich and diverse. It is not surprising that authentic folklore samples have become a source of inspiration for many composers and performers. Artists use the folk melody in their work, embodying it through modern arrangements and processing. This approach allows not only to preserve the historical heritage, but also to give it a new sound. The analysis of musicological research shows that every Ukrainian composer in his work intentionally or subconsciously

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Putra, Purniadi Adi. "Implementasi Pendidikan Karakter: Integrasi Lagu Melayu Sambas dalam Pembelajaran pada MIN Kabupaten Sambas." Sosial Budaya 16, no. 2 (2019): 83. http://dx.doi.org/10.24014/sb.v16i2.6942.

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The lack of understanding and knowledge of children about the song and the type of song itself will have an impact on the character crisis, this is due to many who memorize the western-style romance songs compared to their own folk songs. The aim of learning Sambas Malay regional songs in the madrasa introduces directly to students and preserving Sambas Malay local culture especially at the elementary level children will sustain in the process of maintaining regional culture to stay alive, transfer and develop by means of learning processes contained in subjects and extracurricular regional ar

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Shanahan, Daniel, and Joshua Albrecht. "Examining the Effect of Oral Transmission on Folksongs." Music Perception 36, no. 3 (2019): 273–88. http://dx.doi.org/10.1525/mp.2019.36.3.273.

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Sociolinguists frequently examine the nature of gradual, internal shifts in languages and dialects over time, arguing for both cognitive and cultural factors, as well as those that might be somehow internal to the language itself. Similarly, musicologists have often argued that musical genres and even specific songs can be examined through gradual diachronic shifts, which seem to be especially accelerated in traditions that rely on oral transmission. For example, Spitzer (1994) examined the stemma of “Oh! Susanna” and noticed that it tended to become more pentatonicized at cadence points by dr

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Миненок, Елена Викторовна. "A Folk Song as a ‘Witness’ to the Ethnic History of the Descendants of Stolypin Migrants." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2022): 47–59. http://dx.doi.org/10.26158/tk.2022.23.3.003.

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Статья основана на экспедиционных исследованиях, проведенных автором в д. Ахины Эхирит-Булагатского района Иркутской области в 2015 и 2017 гг., и посвящена проблеме динамики фольклорной традиции в ситуации переселения ее носителей из деревень Западного Полесья (Кобринского уезда Гродненской губернии, по современному территориально-административному делению - из Ивановского района Брестской области Республики Беларусь) в Восточную Сибирь по Столыпинской аграрной реформе (1906-1914). «Материнская» традиция сохранилась в песенных репертуарах первого поколения исполнителей, родившихся уже в сибирс

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Zhang, Zishu. "SCIENTIFIC SOURCES FOR THE DEVELOPMENT OF A METHODOLOGICAL SYSTEM FOR TEACHING STUDENTS IN EXPRESSIVE PERFORMANCE OF CHINESE FOLK SONGS." Municipal education: innovations and experiment 2, no. 94 (2024): 66–71. https://doi.org/10.36871/2306_8329_2024_94_2_66.

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The relevance of the article is due to the modern reform of Chinese education, aimed at the development and implementation of its nationally oriented model. Similar reforms are currently taking place in Russian higher education, which recently emerged from the Bologna process. The reform process also extends to the professional training of students studying in the “Academic Vocal” direction, where it is necessary to overcome the dominance of Western European traditions and significantly increase the role of national musical culture. The goal is to highlight the scientific sources that form the

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Gibbs, Levi S. "Going Beyond the Western Pass: Chinese Folk Models of Danger and Abandonment in Songs of Separation." Modern China 47, no. 2 (2021): 178–207. http://dx.doi.org/10.1177/0097700419860417.

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From the early Qing dynasty (1644–1911) to the beginning of the People’s Republic, men in northern China from drought-prone regions of northwestern Shanxi province and northeastern Shaanxi province would travel beyond the Great Wall to find work in western Inner Mongolia, in a migration known as “going beyond the Western Pass” 走西口. This article analyzes anthologized song lyrics and ethnographic interviews about this migration to explore how songs of separation performed at temple fairs approached danger and abandonment using traditional metaphors and “folk models” similar to those of parents p

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Gibbs, Levi S. "Going Beyond the Western Pass: Chinese Folk Models of Danger and Abandonment in Songs of Separation." Modern China 46, no. 5 (2019): 490–520. http://dx.doi.org/10.1177/0097700419874888.

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From the early Qing dynasty (1644–1911) to the beginning of the People’s Republic, men in northern China from drought-prone regions of northwestern Shanxi province and northeastern Shaanxi province would travel beyond the Great Wall to find work in western Inner Mongolia, in a migration known as “going beyond the Western Pass” 走西口. This article analyzes anthologized song lyrics and ethnographic interviews about this migration to explore how songs of separation performed at temple fairs approached danger and abandonment using traditional metaphors and “folk models” similar to those of parents p

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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.

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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of

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