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Artículos de revistas sobre el tema "Music and folk-songs"

Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, fami

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2

Gao, Yu. "Study on the Historical Development of Folk Songs in Shanbei." International Journal of Education and Humanities 14, no. 1 (2024): 166–67. http://dx.doi.org/10.54097/yz7r9e57.

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Northern Shanbei folk songs are famous traditional music in China. This study focuses on the origin and historical development of northern Shanbei folk songs, as well as its characteristics and ways of expression. The origin and development of northern Shanbei folk songs have not only incorporated ancient farming culture and theatre traditions, but also combined them with modern music to form a unique musical style and mode of expression. This has made northern Shanbei folk songs retain their ancient characteristics in their inheritance, while also advancing with the times and adapting to the

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3

Mihelač, Lorena. "The Role of Songbooks in the Preservation of Children’s Folk Songs in Kindergarten." Revija za elementarno izobraževanje 15, no. 3 (2022): 301–15. http://dx.doi.org/10.18690/rei.15.3.301-315.2022.

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The paper presents an analysis of songbooks used in kindergarten. It outlines the need for renewal of the existing kindergarten curriculum from the perspective of preserving the Slovenian music tradition, and within this context, the indispensable role of children’s folk songs in the preservation of Slovenian folk music. Furthermore, it tackles the following three issues: (i) the disproportionate representation of children’s folk songs and author songs in songbooks; (ii) the information provided about children’s folk songs in songbooks, and (iii) the representation of children’s folk songs in

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4

Terzioğlu, Ahmet Mutlu. "A Values Education Investigation of Folk Songs in Elementary School Music Textbooks." Shanlax International Journal of Education 10, S1-Aug (2022): 110–15. http://dx.doi.org/10.34293/education.v10is1-aug.5187.

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The aim of this descriptive study was to examine the values in Turkish Folk Music songs included in the elementary school music textbooks developed in line with 2018 curriculum in Turkey. In this sense, 44 folk songs included in elementary school music textbooks used in Turkey in the 2019-2020 academic year were investigated in order to reveal the values in these songs. Content analysis was adopted in this study. The findings showed that the textbooks generally consisted of folk songs in which the values of love, patriotism and courage were addressed. In this context, 20 folk songs with the va

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5

Zhang, Xiaopeng. "Inheritance and Innovation of Chinese Folk Song Vocal Music: Tradition and Integration in Modern Vocal Perform." Philosophy and Social Science 1, no. 4 (2024): 85–94. http://dx.doi.org/10.62381/p243413.

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This paper explores the integration of traditional and modern elements in Chinese folk song vocal music, examining its historical evolution, artistic characteristics, and modern innovations. Chinese folk songs originated from ancient ritual chants and developed through the Tang and Song dynasties. However, with the impact of globalization and social changes, the inheritance of these songs faces a crisis. This study discusses the artistic nuances of folk songs, emphasizing regional differences in melody, rhythm, and cultural significance, highlighting their importance as carriers of cultural he

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6

Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.

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Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi

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7

Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.

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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music a

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8

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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9

Bao, Wenni. "The Relationship between Tu Nationality and Mongolia from the Characteristics of Folk Songs." International Journal of Education and Humanities 17, no. 2 (2024): 322–24. https://doi.org/10.54097/66dcg255.

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The long historical connection between the Tu nationality and the Mongol nationality is not only reflected in oral legends and documentary records, but also deeply reflected in their music culture. This paper deeply probes into the inheritance of the music characteristics of Mongolian folk songs, and reveals the deep connection between the two nationalities through the analysis of folk songs. Through the investigation of the use of Mongolian words, rhythm and melody development techniques in Tu folk songs, it clearly shows the absorption and retention of Tu folk song culture to Mongolian music

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10

Bosman, Martjie. "Die FAK-fenomeen: populêre Afrikaanse musiek en volksliedjies." Tydskrif vir Letterkunde 41, no. 2 (2018): 21–46. http://dx.doi.org/10.4314/tvl.v41i2.29672.

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Afrikaans popular music of a variety of genres and subgenres is currently flourishing. A very productive phenomenon is the re-interpretation of older songs, in particular folk songs. This article gives a short historical overview of the collection and publication of Afrikaans folk songs, followed by a brief description of various ways in which folk songs have previously been utilised. The collection of Afrikaans folk songs known as the FAK (Federation of Afrikaans Cultural Organisations) songbook earned itself an important position in Afrikaans cultural circles, but it was also stigmatised. Si

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11

Duan, Zhipeng, Chutima Maneewattana, and Xiulei Ren. "The Development of Yunnan “New Folk Songs”." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 6 (2024): 269–82. http://dx.doi.org/10.60027/ijsasr.2024.4917.

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Background and Aim: This study investigates the evolution of the “New Folk Song” in Yunnan and analyzes how historical, cultural, and social changes have influenced their development. Yunnan folk songs are a cultural product with local characteristics and close to the development of the working people in Yunnan that is close to the people's daily life. The "New Folk Songs" of Yunnan is a musical form combining “nation” and “modern” innovation. In the process of development, it is constantly endowed with new definitions and connotations and presents the situation of diversified development. Due

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12

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 (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 son

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13

Xiang, Jiajie, Jiawei Zhong, Junnan Chen, Jinwen Liu, Shasha He, and Chenghong Wang. "Enriching the Charm of Folk Songs with Multi part Forms: A Practical Exploration of the Creation of Multi part Chorus of Qiang Folk Songs." Journal of Education and Educational Research 5, no. 3 (2023): 136–40. http://dx.doi.org/10.54097/jeer.v5i3.13651.

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The Qiang ethnic group is a long-standing ethnic group in China, and its historical changes, religious beliefs, customs, and customs have great research value. Qiang folk songs are a vivid display of their ethnic customs and living customs. Qiang folk songs have a rich flavor and diverse forms, including love songs, labor songs, mountain songs, wine songs, and other types. Folk song choir is an important way to inherit and promote Qiang folk songs. This article introduces the types of Qiang folk songs and creates a multi part choir to enrich the charm of folk songs with multi tone sound, in or

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14

GÖK, Emre, and İsmet DOĞAN. "COMPILATION WORKS OF BELA BARTOK IN ANATOLIA." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 2 (2022): 113–30. http://dx.doi.org/10.46291/zfwt/140206.

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Composer and ethnomusicologist Bela Bartok, who came to Turkey in 1936 in order to hold conferences and studies on Turkish folk music, researched.both the relationship between Turkish folk music and Hungarian folk melodies and the roots of the similarities between the music of the two countries, which are thought to come from the same root and got interesting and valuable information. He made field studies in certain regions of Turkey, compiled the folk songs in the areas he worked, notated the songs which he compiled and then classified these folk songs. In addition to her field work, she als

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15

Wu, Jiayu, Cheong Jan Chan, and Julia Chin Yee Chieng. "The Innovation of Mongolian Folk Song Music Cultural Inheritance Path Based on Intelligent Computing Analysis of Communication Big Data." Security and Communication Networks 2022 (April 11, 2022): 1–13. http://dx.doi.org/10.1155/2022/5752751.

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Cultural inheritance and innovation is an important measure to enhance the vitality of traditional culture and realize the sharing of national culture. Mongolian folk music, as an important part of Chinese cultural resources, plays an irreplaceable role in inheriting Mongolian culture. How to better inherit the music culture of ethnic minorities has been a hot topic in the music education circle in recent years. However, when we focus on the campus inheritance of ethnic minority music, we have to pay attention to the original living space of ethnic minority music and its unique local inheritan

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16

Liu, Keling. "The Soul of Ethnic Music: The Mongolian Ethnic Song "Hongyan" as an Example." Highlights in Art and Design 4, no. 2 (2023): 7–8. http://dx.doi.org/10.54097/hiaad.v4i2.12183.

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In the era of new media, Chinese film music presents a diversified development situation, and in Chinese film music, the element of ethnic music is an important part that cannot be ignored, and it has an important influence on the development of Chinese film music. The article mainly starts from the content and role of film music, specifically analyses the application of folk music in Chinese film music, and explores the three major elements of folk music, namely, musical instruments, folk songs and operas, and at the same time, takes the Mongolian song "The Wild Geese" as an example, and focu

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17

Csüllög, Judit. "The Proportion and Importance of Folk Music in Piano Method Volume 1 and 2." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 353–81. http://dx.doi.org/10.24193/subbmusica.2023.2.26.

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"The study focuses on the folk music aspect of Piano Method Volume 1 and 2, which are still widely used in Hungarian piano teaching. It examines the proportion and function of Hungarian folk songs in the volumes. It sheds light on folk songs appearing in different phases of piano teaching and their methodological possibilities of use. Keywords: Hungarian folk music, Piano Method, piano teaching, piano methodology"

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18

KALKAN, Ali. "TURKİSH FOLK MUSİC SCHOOL IN THE SCHOOL SONG REPERTOİRE THE CONDİTİONS OF THE SONGS OF HARMONY WİTH THE BAĞLAMA." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 14, no. 3 (2022): 269–84. http://dx.doi.org/10.46291/zfwt/140317.

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In this study, the compatibility of the achievements of the school instrument baglama trai-ning course, which is one of the courses in the music teaching departments of universities, with the folk songs in the school song repertoire was analyzed comparatively. As it is known, each instrument has its own sound system and physical characteristics. The har-mony of the baglama, whose empty strings can be tuned according to different voices, with the folk songs in the school song repertoire forms the basis of the research. The folk songs and playing skills learned in the education given in the scho

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19

MÜRŞÜDOVA, U. B. "AZƏRBAYCANIN OĞUZ-TÜRK VƏ ŞİMALİ AMERİKANIN HİNDU XALQ NƏĞMƏLƏRİ: MÜQAYİSƏLİ TƏHLİL." Actual Problems of study of humanities 1, no. 2024 (2024): 134–40. http://dx.doi.org/10.62021/0026-0028.2024.1.134.

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Azerbaijan Oguz-Turk and North American Hindu Folk Songs: a Comparative Analysis Summary Folk songs of Oguz-Turk and Hindu people have addressed themes that are universal to most of humanity throughout history, including love, loss, treachery, and early death. They serve as a historical account of the circumstances that existed when they were written or oral traditions that were carried down orally. Folk songs are essential to music since they provide a brief overview of the musicians' lives. Important information is also frequently passed down from generation to generation through folk tunes.

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20

Gao, Yu. "The Integration of Shanbei Folk Songs in Vocal Music Teaching in University of China." International Journal of Social Sciences and Public Administration 3, no. 2 (2024): 423–31. http://dx.doi.org/10.62051/ijsspa.v3n2.51.

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Northern Shaanxi folk songs are an important part of China's folk music, with distinctive regional characteristics and deep cultural heritage. With the development of society and the improvement of education level, the teaching of vocal music in colleges and universities is gradually showing a diversified trend. The integration of northern Shaanxi folk songs into college vocal teaching not only helps to inherit and promote the culture of northern Shaanxi folk songs, but also enriches the teaching content and improves the comprehensive quality of students. This paper discusses the characteristi

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21

TERIGELE. "Experience and Reflection on Horqin's Narrative Folk Songs in the Study of Bel Canto Singing." Academic Journal of Management and Social Sciences 4, no. 3 (2023): 14–15. http://dx.doi.org/10.54097/ajmss.v4i3.12392.

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With the development of China's national strength and economic progress, many of China's art have been gradually carried forward. For example, Horqin narrative folk songs, which were born in Horqin Grassland, are also famous at home and abroad. After historical development and innovation, Horqin folk song culture has also attracted more and more attention. It has developed from the Zhelim Horqin period to Horqin narrative folk songs. There are many works that need to be studied by scholars. In the process of vocal music learning, it is to think and experience in depth. In view of this, this ar

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22

Widyanti, Yenny Eta. "Perlindungan Hukum Lisensi Hak Cipta Lagu dan Musik Daerah Berdasarkan Undang-Undang Nomor 28 Tahun 2014 Tentang Hak Cipta Dan Konvensi Bern." Warkat 3, no. 1 (2023): 38–48. http://dx.doi.org/10.21776/warkat.v3n1.3.

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This paper analyzes legal issues regarding the legal protection for folk song and music licenses in Indonesia. Indonesia which has cultural diversity is expressed through several folk songs whose creators are anonymous, so they are very susceptible to being changed, re-performed in a way that is inconsistent with the values that live in society and even claimed by irresponsible foreigners. This research is a normative legal research, using a statutory approach. Based on primary and secondary legal materials, then the results of the research show that the copyright of folk songs and music is

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23

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 (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, marriag

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24

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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Hu, Xuwen. "A Study of the History of Hakka Mountain Song Education Transmission Based on Inheritance Historicity." SHS Web of Conferences 168 (2023): 03008. http://dx.doi.org/10.1051/shsconf/202316803008.

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Among the folk music of China, the Hakka Mountain Folk Songs of Gannan are a unique system with a long history. Understanding the rich humanistic connotation of Hakka and its place in the spiritual life of the people is of far-reaching significance to the study of Hakka culture, Hakka language and the spiritual sentiment of Hakka people in Ganzhou; and to arouse people’s awareness of the inheritance and protection of this precious cultural heritage which is on the verge of extinction. The distinctive local characteristics and folk features are fully expressed in the Hakka Mountain Folk Songs,

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Soldatenko, Oleksandr. "Innovative Forms of Folk Songs Arrangement." Folk art and ethnology, no. 4 (December 30, 2024): 49–56. https://doi.org/10.15407/nte2024.04.049.

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The purpose of the article is to research, analyze and systematize innovative forms of processing folk songs in the context of modern Ukrainian culture. The works of Ukrainian scientists researching the issues of song folklore processing are analyzed in the article. These are, for example, Andrii Kovbasiuk, Andrii Soloviov, Nataliia Fedorniak, Ruben Tolmachov, Hennadii Savenko, Andrii Mosieiev, Andrii Furdychko, Olena Batovska, Olha Buha, Oleksandr Yakovchuk. The reasons for the relevance of the use of innovative forms of processing folk songs by musicians, composers and producers are consider

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Domokos, Mária, and Katalin Paksa. "The Hungarian folk song in the 18th century." Studia Musicologica 49, no. 1-2 (2008): 105–25. http://dx.doi.org/10.1556/smus.49.2008.1-2.6.

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In Hungary, the concept of “folk song” was clarified at the beginning of the 20th century only, accordingly, there were no “folk songs” noted down in the 18th century. Still, the number of music sources relating to folk music increased significantly in the 18th century. As a result of their scientific analysis the melodic parallels of some five hundred 18th-century tunes were found in the central folk music collection of the Institute for Musicology of the Hungarian Academy of Sciences. These melodic parallels involve 153 folk song types. In a specific era of folk culture there is always a coe

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Liu, Lin, and Hao Liang. "Analysis of the Style Characteristics of Regional Folk Songs and Music Classification Algorithms." Journal of Advanced Computational Intelligence and Intelligent Informatics 29, no. 1 (2025): 33–40. https://doi.org/10.20965/jaciii.2025.p0033.

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Regional folk songs have a rich history and are filled with cultural values. In this paper, first, the style characteristics of regional folk songs are briefly introduced. Using four regional folk songs from the northwest, northeast, southwest, and Hakka as examples, time domain, frequency domain, and mel-frequency cepstral coefficient (MFCC) features were extracted. Finally, the bidirectional long short-term memory (BiLSTM)-based music classification algorithm is used to realize the classification of folk songs from different regions. It was found that using the time-frequency domain + MFCC a

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Liu, Hui, Kun Jiang, Hugo Gamboa, Tingting Xue, and Tanja Schultz. "Bell Shape Embodying Zhongyong: The Pitch Histogram of Traditional Chinese Anhemitonic Pentatonic Folk Songs." Applied Sciences 12, no. 16 (2022): 8343. http://dx.doi.org/10.3390/app12168343.

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As an essential subset of Chinese music, traditional Chinese folk songs frequently apply the anhemitonic pentatonic scale. In music education and demonstration, the Chinese anhemitonic pentatonic mode is usually introduced theoretically, supplemented by music appreciation, and a non-Chinese-speaking audience often lacks a perceptual understanding. We discovered that traditional Chinese anhemitonic pentatonic folk songs could be identified intuitively according to their distinctive bell-shaped pitch distribution in different types of pitch histograms, reflecting the Chinese characteristics of Z

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Meng, Na, and Azli Ariffin. "RESEARCH ON THE MUSICAL CHARACTERISTICS AND SINGING STYLE OF ZHENBA FOLK SONGS IN CHINA." International Journal of Modern Education 7, no. 24 (2025): 165–73. https://doi.org/10.35631/ijmoe.724011.

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As a carrier of traditional culture, Zhenba folk songs have faced a serious impact from modern media in recent years. Contemporary young people are more fond of pop songs, resulting in Zhenba folk songs gradually losing the new generation of successors and singers. This problem is especially urgent when most of the original singers are now in their old age. In order to cope with this cultural crisis, this study aims to systematically analyse the characteristics, classification, musical features and singing styles of Zhenba folk songs, as well as to explore in depth the issues of their history,

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Nawrizbaeva, A.A. "THE PERFORMANCE SKILLS OF KARAKALPAK BAKSHIS." MODERN SCIENCE AND RESEARCH 2 (October 31, 2023): 906–10. https://doi.org/10.5281/zenodo.10056785.

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EKİCİ, Savaş. "BARAK AND BOZLAK MELODİES İN THE CONTEX OF THE STYLİSTİC CHARACTERİSTİCS OF ŞERİF AKBAĞ FROM GAZİANTEP AND MUHARREM ERTAŞ FROM KIRŞEHİR." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 16, no. 1 (2024): 297–314. http://dx.doi.org/10.46291/zfwt/160119.

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Anelysition of Barak Songs Barak folk songs play a very important role in Gaziantep and Turkish folk music with its unique musical style. Barak folk songs are traditionally played at places such as Nizip, Oguzeli, Kargamis, Kilis, Gaziantep, Adana, and Kahramanmaras. They are considered to be "uzun hava", or particularly lengthy songs. They start of very high pitched and switched to period of low pitched. These songs typically switched between high pitched periods called "yuksek hava", and low pitched periods called "coma". Barak folk music is known for its crying, rebellious, and sometimes ev

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Muminova, D. "Lyrical songs in uzbek folk music." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 4 (2020): 89. http://dx.doi.org/10.5958/2249-7137.2020.00106.8.

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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.

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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and inst

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Nnamdi-Eruchalu, Geraldine Ifesinachi. "Folk Songs and Social Realities: The Nsude Igbo Women Example." Advances in Social Sciences Research Journal 9, no. 2 (2022): 366–85. http://dx.doi.org/10.14738/assrj.92.11860.

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This study is aimed at documenting and analyzing the folk songs of Nsude women of South East Nigeria with the aim of understanding and reconstructing the traditional culture of the people which is shrinking in the face of westernization. The researcher observed that Christian songs and popular music have taken over the roles women previously performed by folk songs. The study argues that the decline in the use of folk songs by the womenfolk could be depriving the younger generations of the people certain values, beliefs, norms, and social practice which hitherto controlled behaviour and held t

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Yang, Jing, and Suthasinee Theerapan. "The Contemporary Status of Pingxian Folk Songs and Their Educational Significance in Qinghai Province Through Anthropological Analysis." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 2 (2024): 367–78. http://dx.doi.org/10.60027/ijsasr.2024.4013.

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Background and Aims: This anthropological study delves into the contemporary status and educational significance of Pingxian folk songs in Qinghai Province, China. Pingxian folk songs are known for their delicate melodies. This research aims to analyze the contemporary status of Pingxian folk songs in Qinghai Province and their educational significance through anthropological analysis. Materials and Methods: The research is situated primarily in Qinghai Province, specifically focusing on Xining City, a central hub of Pingxian folk songs. Data collection involves in-depth interviews and systema

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Xuan, Pham Thi, and Tran Anh Dung. "Choosing Folk Song for Children 5-6 Years Old Through Teaching Organization Music Activities in Preschool." European Journal of Theoretical and Applied Sciences 2, no. 3 (2024): 74–81. http://dx.doi.org/10.59324/ejtas.2024.2(3).08.

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Folk songs have the ability to have a strong impact on people's thoughts and emotions, helping us develop aesthetic abilities, thinking, intellectual, physical qualities, and good moral feelings. More importantly, it forms national consciousness and love for the homeland. Currently, teachers are aware of the importance of using folk songs for 5-6 year old children in organizing musical activities in preschools. However, preschool teachers do not know how to choose folk songs in organizing and teaching music activities, causing the results of the activities to be low. This article focuses on an

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Pham, Thi Xuan, and Anh Dung Tran. "Choosing Folk Song for Children 5-6 Years Old Through Teaching Organization Music Activities in Preschool." European Journal of Theoretical and Applied Sciences 2, no. 3 (2024): 74–81. https://doi.org/10.59324/ejtas.2024.2(3).08.

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Folk songs have the ability to have a strong impact on people's thoughts and emotions, helping us develop aesthetic abilities, thinking, intellectual, physical qualities, and good moral feelings. More importantly, it forms national consciousness and love for the homeland. Currently, teachers are aware of the importance of using folk songs for 5-6 year old children in organizing musical activities in preschools. However, preschool teachers do not know how to choose folk songs in organizing and teaching music activities, causing the results of the activities to be low. This article focuses on an

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39

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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Erdely, Stephen, Bela Bartok, Sandor Kovacs, and Ferenc Sebo. "Hungarian Folk Songs. Complete Collection." Yearbook for Traditional Music 26 (1994): 128. http://dx.doi.org/10.2307/768251.

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Myers, Helen, Norman Cazden, Herbert Haufrecht, Norman Studer, Haufrecht Cazden, and Studer. "Folk Songs of the Catskills." Yearbook for Traditional Music 17 (1985): 210. http://dx.doi.org/10.2307/768445.

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Noh, Yebin, and SungKyoo Hong. "Research on the Characteristics of Colombian Folk Music as Portrayed in Disney's Animation ‘Encanto’: Centered on Vallenato Music." Korean Society of Culture and Convergence 45, no. 11 (2023): 397–410. http://dx.doi.org/10.33645/cnc.2023.11.45.11.397.

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This study examined the cultural and folk music characteristics of Colombia as portrayed in Disney's animated film “En-canto”. It focused on the analysis of prominent songs that prominently feature the characteristics of Vallenato, a Colombian folk music genre, such as “The Family Madrigal” and “Colombia Mi En-canto”. Specifically, the study analyzed the utilization of traditional musical instruments in the Vallenato ensemble, musical elements, as well as rhythm and melody. Furthermore, it explored how Colombian folk music elements and contemporary musical elements are integrated within the mu

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Zeng, Ao, and Kritsakorn Onlamul. "Historical Development in Education and Cultural Literacy of Chinese Tujia Working Songs in Chongqing." International Journal of Education and Literacy Studies 11, no. 4 (2023): 218–24. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.218.

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Chinese Tujia folk songs, deeply rooted in the cultural heritage of the Tujia ethnic group, serve as a living repository of history, values, and traditions. The primary objective of this study is to investigate the historical development of education and cultural literacy in Chinese Tujia working songs in Chongqing. The comprehensive literature review provides insights into the history of the Tujia ethnic group, their musical heritage, and contemporary challenges to preserving their cultural traditions. The research site includes Youyang Tujia and Miao Autonomous County, Shizhu Tujia Autonomou

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XIWEN, ZHOU, and TAZUL TAJUDDIN. "THE ISSUES OF SURVIVAL AND INHERITANCE OF YUNNAN ETHNIC MINORITY FOLK SONGS IN CHINA." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, no. 04 (2023): 01–09. http://dx.doi.org/10.37602/ijrehc.2023.4401.

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Yunnan Province is home to many of China's ethnic minorities, with 25 ethnic groups living in an area of 394,100 square kilometers. Chinese ethnic minority music is an art form created by ethnic minority groups in their daily life and widely spread among the folk. As an indispensable part of people's lives, it condenses the daily life, labor, production activities, and folk habits of all ethnic groups, and is a true portrayal of the normal life of ethnic minorities. The diversity of ethnic groups has contributed to the various styles of ethnic folk songs. The diverse ethnic folk songs serve as

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SUYE. "Exploration of the Symbiotic Relationship and Inheritance Path of Sihu Music and Folk Songs in the Non-heritage Field." International Journal of Education and Humanities 20, no. 1 (2025): 43–45. https://doi.org/10.54097/e5pt1658.

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Under the macro background of intangible cultural heritage protection, Sihu music and folk songs are important parts of China's traditional music culture, and there is a close and unique symbiotic relationship between the two. This article deeply analyzes the symbiotic basis of Sihu music and folk songs in terms of historical origin, artistic characteristics, cultural connotation, etc., and explores the symbiotic model of interdependence and mutual promotion between the two. At the same time, in view of the many challenges facing the current inheritance process, such as the narrowing of the au

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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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Samarasinghe, Kamani, and Rohan Nethsinghe. "Social Processes that Shaped Sinhala Folk Music and its Characteristics Based on the Purposes of Usage." Journal of Research in Music 1, no. 2 (2023): 54–70. http://dx.doi.org/10.4038/jrm.v1i2.12.

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Folk music is the music of the people. People have used folk songs to express different emotions. This research paper argues that the social processes that have shaped Sinhala folk music are multifaceted and have significant cultural and historical implications. By exploring the different categories of Sinhala folk music and their purposes of usage, this study aims to fill the research gap in understanding the characteristics and functions of this musical tradition, highlighting its role in preserving the cultural heritage of the Sinhalese people. Brief explanations of why these songs were use

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Tosheva, Dilbar Muzaffar kizi. "THE PECULIARITIES OF FOLK SONGS." XXI ASRDA INNOVATSION TEXNOLOGIYALAR, FAN VA TAʼLIM TARAQQIYOTIDAGI DOLZARB MUAMMOLAR 1, no. 5 (2023): 88–92. https://doi.org/10.5281/zenodo.8025375.

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This article written about origin of folk literature. Besides that, folk music vividly depicts people's lives, their attitudes toward reality, and various inner experiences through a variety of sound colors. Song enhances people's spiritual and moral world by influencing their emotions.This article highlights the important role of folk song in the moral and aesthetic education of students.

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Akande, Sunday Olufemi. "FOLK SONGS AS CONTRIVANCE FOR PROMOTING YORUBA CULTURAL VALUES AND SOCIAL INTERACTION AMONG YORUBA CHILDREN." Ethnomusic 19, no. 1 (2023): 171–86. http://dx.doi.org/10.33398/2523-4846-2023-19-1-171-186.

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Music is share of culture and therefore establishes an integral part of the life of people. The inherent value of folk music cannot be challenged in promotion of cultural values and social interaction in a Yoruba child and in the making of a child as being resourceful, useful and a good citizen, living according to the societal norms and customs. This study employed the historical research method. The study identifies and provides musical notation of some selected Yoruba folk songs materials that can be interpreted musically and also examines the influence and efficacy of Yoruba folk songs in

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Xu, Huihui. "Problems and Suggestions of Teaching Folk Songs in Middle School Music: The Teaching Materials of Renyin Edition." Journal of Education and Educational Research 6, no. 1 (2023): 102–5. http://dx.doi.org/10.54097/jeer.v6i1.14168.

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Folk songs are an important part of Chinese traditional music culture, which contains the deep humanistic connotation and values of the Chinese nation. School music education as an important position for the inheritance of Chinese traditional excellent music culture, teachers should take up the responsibility and obligation to promote and innovate Chinese traditional excellent music culture. The author takes the Renyin edition junior high school music textbook as the research object, and carries out in-depth research and analysis on the music textbook as well as the problems existing in the im

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