Bibliographies thématiques / Folk songs, Swiss (French)

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Littérature scientifique sur le sujet « Folk songs, Swiss (French) »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 29 juillet 2025

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Articles de revues sur le sujet "Folk songs, Swiss (French)"

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Revuluri, Sindhumathi. "French Folk Songs and the Invention of History." 19th-Century Music 39, no. 3 (2016): 248–71. http://dx.doi.org/10.1525/ncm.2016.39.3.248.

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A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and ge
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Handayani, Sri. "La chanson folklorique enfantine comme media de l’apprentissage interculturel et du transfert des valeurs morales." Digital Press Social Sciences and Humanities 3 (2019): 00040. http://dx.doi.org/10.29037/digitalpress.43313.

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<p class="MsoNormal" style="text-indent:0in">Children's folk song is an example
 of cultural products that has several goals in its creation. Aside from
 entertaining, this type of song also aims to transfer moral values or character
 building to children. Thanks to its moral values, this type of song is a
 potential medium as a media of character learning and also intercultural
 learning. This article aims to propose a compilation of Javanese children's
 folk songs translated into French intended not only for Indonesian learners who
 learn French, but
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Sonderegger, Viviane. "Tobler goes digital." Schweizer Jahrbuch für Musikwissenschaft 40 (April 19, 2024): 109–12. http://dx.doi.org/10.36950/sjm.40.10.

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The digital edition project "Tobler goes digital" provides online access to a collection of almost forgotten folk songs by the Swiss composer Johann Heinrich Tobler (1777-1838), bringing a rich choral music repertoire back into the limelight.
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Χριστακούδη-Κωνσταντινίδου, Φ. "Greek wedding folk songs in Claude Charles Fаuriel’s collection “Chants populaires de la Gréce moderne”". Kathedra, № 18(1) (15 травня 2024): 221–31. http://dx.doi.org/10.52607/26587157_2024_18_221.

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Τα δημοτικά τραγούδια ανήκουν στην προφορική τέχνη, που σημαίνει ότι δημιουργούνται και αναπαράγονται με κανόνες διαφορετικούς από αυτούς των γραπτών κειμένων. Τεράστια συμβολή στην παρουσίαση του θησαυρού των ελληνικών δημοτικών τραγουδιών στην Ευρώπη τον 19ο αιώνα έχει ο Γάλλος επιστήμονας Κλοντ Σαρλ Φοριέλ (1772–1844) και η συλλογή του από ελληνικά δημοτικά τραγούδια με τίτλο «Ελληνικά δημοτικά τραγούδια από τη σύγχρονη Ελλάδα» («Chants populaires de la Grèce moderne»). Ο ίδιος, αν και ποτέ δεν είχε επισκεφτεί προσωπικά την Ελλάδα, οδηγούμενος από την αγάπη του για το παρελθόν της και το έθ
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Senior, Nancy. "Whose song, whose land? Translation and appropriation in Nancy Huston’s Plainsong / Cantique des plaines." Meta 46, no. 4 (2002): 675–86. http://dx.doi.org/10.7202/004090ar.

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Abstract Short extracts from many songs, particularly hymns and folk or popular songs, are quoted in Nancy Huston's Plainsong / Cantique des plaines. The songs quoted serve as a structuring element of the novel, as a temporal marker, and as a commentary on the action; in addition, some of them are part of the action itself. Their meaning within the novel is sometimes considerably different from the original meaning. In the French version, they carry cultural information but for the most part cannot be sung. As a result, an important element does not survive the passage into French. However, in
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Babanazarova, G.Y. Sultanov B.S. "A GLANCE AT BOTIR ZOKIROV'S CREATION." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 2, no. 12 (2022): 26–28. https://doi.org/10.5281/zenodo.7418369.

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Botir Karimovich Zokirov is a talented singer, translator, artist and actor who laid the foundation stone of Uzbek pop music un the 60 years of the XX century. His operas, arias, Uzbek folk songs, and foreign strokes were all over the world in their time and have not lost their significance to this day. In addition to national songs, the singer’s repertoire includes songs in Italian, French, Spanish, Russian, Greek, Iranian, Arabic and Hindi.
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Babanazarova, G.Y. Sultanov B.S. "A GLANCE AT BOTIR ZOKIROV'S CREATION." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY ECHNOLOGY 2, no. 12 (2022): 26–28. https://doi.org/10.5281/zenodo.7425963.

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Botir Karimovich Zokirov is a talented singer, translator, artist and actor who laid the foundation stone of Uzbek pop music un the 60 years of the XX century. His operas, arias, Uzbek folk songs, and foreign strokes were all over the world in their time and have not lost their significance to this day. In addition to national songs, the singer’s repertoire includes songs in Italian, French, Spanish, Russian, Greek, Iranian, Arabic and Hindi.
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Pervushina, Elena Vladimirovna. "French quadrille “on Russian themes”." Культура и искусство, no. 11 (November 2021): 58–68. http://dx.doi.org/10.7256/2454-0625.2021.11.34939.

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This article examines the historical factors of the emergence and existence of French Quadrille to Russian dance melodies. The author traces the strict rules in performing French quadrille in high society, their gradual changes since it initial emergence in Russia until 1917. Analysis is conducted on the proliferation of French quadrille to the masses, its further development, and theatrical treatment of national quadrille after the revolution. Special attention given to the fact of the appearance of fashion for Russian costumes, dances and songs in the late XIX – early XX centuries
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Ries, Ardelle. "True Reflections on Barron’s Reflections of Canada: “Canada 150: Music and Belonging”." Articles 36, no. 2 (2018): 47–55. http://dx.doi.org/10.7202/1051597ar.

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Esteemed Canadian music educator John Barron (1939–2014) commissioned and edited Reflections of Canada (RofC)—a three-volume collection of 147 Canadian folk songs arranged for a cappella choirs between 1985 and 1991. Published by Frederick Harris Music, RofC contains folk songs derived from Indigenous, French, and English traditions and was considered to be a fine resource for music educators. In the late 1990s, RofC was declared out of print, with publishing rights returned to the editor, composers of the arrangements, and other copyright holders. To celebrate confederate Canada at 150 and br
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Marcoline, Anne. "George Sand and Music Ethnography in Nineteenth-Century France." Nineteenth-Century Music Review 12, no. 2 (2015): 205–25. http://dx.doi.org/10.1017/s1479409815000300.

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In Les Visions de la nuit dans les campagnes (1851–1853), George Sand responded to the French government’s newly announced project of collecting the ‘popular’ or folk songs of France, with a critique of their methods of collection as perfunctory. Sand was adamant not only about a more rigorous approach to amassing the nation’s folk songs but also about the inclusion of the music with the lyrics, and her concise, insightful critique of archival methods came after nearly two decades of her own occupation with rendering music in her fiction and, more immediately, a decade focused on folk music in
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Thèses sur le sujet "Folk songs, Swiss (French)"

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Baltagi, Ibrahim H. "Relationships among folk song preferences of grade five students." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.

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Pooley, William George. "'Misery in the moorlands' : lived bodies in the Landes de Gascogne, 1870-1914." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aacf3b35-fc90-4a75-a24b-5193bc8f6c5e.

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This thesis explores the embodied experiences of the rural population in nineteenth-century France. The prevailing historiography has treated rural bodily culture as a cultural survival swept away by ‘modernisation’ in the nineteenth century. By turning to the lives and words of rural labourers and artisans from the Landes de Gascogne, the thesis questions this account, instead showing ways that popular cultures of the body were flexible traditions, adapted by individuals to meet new needs. It does so through a close focus on the stories, songs, and other oral traditions collected by Félix Arn
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Livres sur le sujet "Folk songs, Swiss (French)"

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1866-1939, Jones James Edmund, ed. French-Canadian songs: With French and English versions. F. Harris Co., 1994.

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Massignon, Geneviève. Trésors de la chanson populaire Française: Autour de 50 chansons recueillies en Acadie. Bibliothèque Nationale de France, 1994.

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Ribouillault, Claude. Chantuseries en rolea: Recueil de chants populaires entre Loire et Gironde, Vendée, Poitou, Anjou, Aunis, Saintonge--. Geste, 2006.

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O'Neal, Debbie Trafton. Are you sleeping? Augsburg, 2003.

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Coirault, Patrice. Répertoire des chansons françaises de tradition orale. Bibliothèque nationale de France, 1996.

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Georges, Delarue, ed. Répertoire des chansons françaises de tradition orale. Bibliothèque nationale de France, 1996.

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Bernard, Pouchèle, ed. Le bruit de fond de l'histoire: Ces chansons qui ont fait la France. Cheminements, 2006.

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Martin, Pénet, ed. Mémoire de la chanson: 1200 chansons du moyen-âge à 1919. Omnibus, 2001.

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Cécile, Huot, ed. Chansons de ma vie. Guérin, 2001.

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Martin, Pénet, ed. Mémoire de la chanson: 2400 chansons du Moyen-Age à 1945. Omnibus, 2004.

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Chapitres de livres sur le sujet "Folk songs, Swiss (French)"

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Haydar, Adnan. "5. Qarrādī and Its Various Manifestations." In Semitic Languages and Cultures. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0424.05.

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The fifth chapter provides a thorough discussion of Qarrādī, starting with Maronite hymns (Afrāmiyyāt) and folk poetry, caddiyyāt (counting rhymes), hymns, and other examples. Included are musical transcriptions of popular Lebanese songs in the qarrādī style. An in-depth analysis of Khuzām (Lebanese Muwashshaha style) is undertaken, including an example in Lebanese dialect and French, reminiscent of Hispano-Arabic prototypes.
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Dandarova-Robert, Zhargalma, Christelle Cocco, Grégory Dessart, and Pierre-Yves Brandt. "Where Gods Dwell? Part I: Spatial Imagery in Children’s Drawings of Gods." In When Children Draw Gods. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_6.

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AbstractSupernatural agents, although imagined by humans as omnipresent, cannot escape being placed (at least mentally) by believers somewhere in physical space. For example, kami in Shintoism are believed to reside in natural elements of the landscape. In Christianity, God is typically associated with Heaven. Similarly, Jesus is said to have ascended into Heaven after his resurrection. According to Buddhist mythology, gods live in the heavens, and the next Buddha, Maitreya, will descend to earth from heaven.This study (Part I of a two-part project) investigates the role of spatiality in child
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Vézina, Caroline. "Black American/French Creole Folk Music." In Jazz à la Creole. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496842404.003.0003.

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Chapter 2 starts by describing the characteristics of, and similarities between, Black American folk music and Creole songs and their variants, while outlining the latter distinctive use of Caribbean rhythms such as the habanera and the tresillo. Creoles songs, including dance songs, work songs, street cries, and Voodoo songs, were played and sang on the French plantations, Congo Square and in the streets of New Orleans. New information about Congo Square after the Civil War where Danses Créoles were held, and the survival of similar dances, and Voodoo ceremonies in New Orleans and in the coun
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Keillor, Elaine. "Conrad Laforte’s classification system for French folk songs." In Music in Canada. McGill-Queen's University Press, 2008. http://dx.doi.org/10.1515/9780773574762-019.

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Malinovich, Nadia. "The Media and the Arts." In French and Jewish. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113409.003.0007.

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This chapter focuses on the expansion of the Jewish press, the development of a lively Jewish art and music scene, and the strengthening of the interfaith movement. It discloses the creation of a wide variety of journals of differing Zionist, literary, and religious orientations that marked an important change in contemporary French Jewish life. It also investigates the journals that served as a vehicle to discuss new developments in the Jewish associational and cultural life of the day and provided a forum to discuss diverse aspects of Jewish culture and history. The chapter discusses the pro
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DiSavino, Elizabeth. "7. Introduction by Elizabeth DiSavino." In Katherine Jackson French. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178523.003.0008.

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By at least one account, Katherine Jackson had, by 1909, accumulated over sixty ballads (five more than were included in Campbell and Sharp’s 1917 English Folk Songs from the Southern Appalachians) and set about compiling them in a scholarly manner. Sadly, a large number of those ballads were lost over the years, and fewer than half remain today. I have included everything that remains of the collection, a total of twenty-eight ballads (twenty-five of British origin and three native) in forty-three variants, one thirteenth-century song, and one Appalachian tune. Four versions of Jackson’s ball
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Agapitos, Panagiotis. "‘Words Filled With Tears’: Amorous Discourse as Lamentation in the Palaiologan Romances." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0020.

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This chapter examines a particular way in which feelings of love are expressed in the Palaiologan romances (c. 1250–1350). This manner of expression is presented through the systematic use of an imagery and vocabulary of lamentation, that incorporates into these highly artful poetic narratives a discourse deriving from folk poetry. These amorous laments (moirologia), as they are sometimes called by the narrators or even the characters, are not direct quotations of actual folk laments or songs as folklorists in the early twentieth century believed. They are a way of presenting amorous feelings
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Saylor, Eric. "The Music of 1923–1929." In Vaughan Williams. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190918569.003.0010.

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Now fifty years old, Vaughan Williams had fully attained the personal musical idiom that he had so diligently cultivated over the previous three decades. The maximalist tendencies of works like the Sea and London Symphonies were now largely purged from his style, while the influences of French impressionism and English folk song were increasingly subsumed within a flexibly pandiatonic framework enriched by modal and octatonic elements. Such an approach reached its extreme in works such as Flos Campi, Sancta Civitas, and the Seven Housman Songs (later revised and renamed Along the Field), but m
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Kárpati, János. "Bartók in North Africa: A Unique Fieldwork and Its Impact on His Music." In Bartók Perspectives. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125627.003.0012.

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Abstract It is perhaps well known how Bartok eventually extended his trips to collect folk music in the territory of Greater Hungary, from the central Hungarian population to the Slovaks in the north and Romanians in the east.1 It is uncertain when he decided to extend his fieldwork to non-European regions. His intention to undertake a North African trip begins with his correspondence of 1911. On July 9, his letter to Mrs. Janos Bu itia from Munich states that he was en route to Paris, “in order to study Arab folk songs.”2 During his stay in Paris, July 11–23, he wrote to his wife, Marta, that
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Norland, Patricia D. "Minh." In The Saigon Sisters. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749735.003.0003.

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This chapter is dedicated to Minh, as the third Saigon sister who joined the resistance with slight apprehension due to the tug of being a dutiful daughter. It mentions how Minh resented saluting the French tricolor flag every morning in the courtyard of the Lycée Marie Curie and having to resort to an Encyclopédie Larousse to picture the flag of Vietnam. It also recounts Minh's youth of reading about the French youth under German occupation, singing songs from the maquis, and learning folk dances. The chapter illustrates Minh's risky role as liaison for her sisters and others in the resistanc
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Actes de conférences sur le sujet "Folk songs, Swiss (French)"

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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizie
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizie
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