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Articles de revues 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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1

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 &ndash; 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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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct o

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Kitada, Makoto. "চর্যাপদ ও দোহাকোষের অনুবাদ: মুহম্মদ শহীদুল্লাহ্, পের ক্‌ভার্নে ও সাম্প্রতিক ঐতিহ্য Translation of Charyapada and Dohākosa: Muhammad Shahidullah, Per Kværne and Recent Traditions". BHĀBANAGARA: International Journal of Bengal Studies 18, № 21-22 (2024): 2189–98. https://doi.org/10.64242/bijbs.v18i21-22.1.

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This Article explores the translation of Charyapada and Dohākosa by Muhammad Shahidullah and Per Kværne, focusing on linguistic and cultural significance. Dr. Makoto Kitada of Osaka University discusses the monumental contribution of Shahidullah's French book Les Chants Mystiques de Kanha et de Saraha (1928), which is a pivotal work for linguists studying New Indo-Aryan languages. Shahidullah's translation and analysis of Charyapada and Dohākosa, with a particular focus on the mystic poets Kāņha and Saraha, provide an insightful understanding of the development of Bengali and other regional la

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Plourde, Éric. "Kalevala through Translation: Continuity, Rewriting and Appropriation of an Epic." Langue, traduction et mondialisation : interactions d’hier, interactions d’aujourd’hui 51, no. 4 (2006): 794–805. http://dx.doi.org/10.7202/014343ar.

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Abstract The Kalevala, the national epic of the Finnish people, published in the 19th century and created by E. Lönnrot from songs collected in the Karelian countryside (Northwestern Russia), is the result of a long process of rewriting. This process has manifested itself through successive retranslations in various languages and through certain strategies favored by the epic’s translators. Recent translations reflect a tendency to appropriate the epic through the use of a vocabulary and poetic style that are specific to the culture of the translator. For example, verse translations in Tamil a

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Asimov, Peter. "Transcribing Greece, Arranging France: Bourgault-Ducoudray’s Performances of Authenticity and Innovation." 19th-Century Music 44, no. 3 (2021): 133–68. http://dx.doi.org/10.1525/ncm.2021.44.3.133.

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Louis-Albert Bourgault-Ducoudray (1840–1910), composer, folklorist, and long-time professor of music history at the Paris Conservatoire, dedicated intense energies to the propagation of ancient Greek modes as a modern resource for French composition. Instigated by his 1875 folk-song collection mission in Greece and Anatolia, Bourgault-Ducoudray’s attraction to Greek modes was bolstered by ideological commitments to Aryanism (nourished by his relationship and correspondence with philologist Émile Burnouf), and further reinforced by his observation of “Greek modes” in Russian and Breton folk son

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Crasnova-Severin, Ecaterina. "The vocal cycle five greek folk songs by M. Ravel: the interpretative potential of treating the author’s text." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(47) (March 2025): 56–62. https://doi.org/10.55383/amtap.2024.2.09.

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This article examines Maurice Ravel’s vocal cycle Five Greek Folk Songs from the perspective of identifying potential interpretative possibilities in approaching the original text. Three versions are analyzed: that of the French baritone Gérard Souzay with the renowned American concert master Dalton Baldwin; of the Canadian operatic baritone Gerald Finley accompanied by the British pianist Julius Drake; and of the Russian singer Nina Dorliak in a duet with the pianist Sviatoslav Richter. These interpretations are equally justified, although the original text is approached differently in each o

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Karatsuba, Myroslava. "The Families of Rylskis and Bulakhovskis: From the Memories on Creative Contacts during the Second World War and the Postwar Period." Folk art and ethnology, no. 1 (March 30, 2025): 41–49. https://doi.org/10.15407/nte2025.01.041.

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The reminiscences of the representatives of the family of academician linguist Leonid Bulakhovskyi: his wife – Tetiana Bulakhovska (candidate of philological sciences, specialist in French language and literature and opera singer) and his daughter Yuliia Bulakhovska – a doctor of philological sciences, polonist, professor, academician of the Academy of Sciences of the Higher School, about communication with M. Rylskyi and his family in evacuation in Ufa (Bashkyriia, 1941–1942), and Kyiv (end of 1943–1961) are submitted in the article. The focus of attention is on the creative meetings of two o

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George, T. K. "Ethnic Mentality in the Context of a Folklore Culture." Prepodavatel XXI vek, no. 4, 2019 (2019): 425–34. http://dx.doi.org/10.31862/2073-9613-2019-4-425-434.

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The study of a foreign language is inseparable from the understanding of the culture of its speakers, and the study of culture will inevitably touch on the national features of ethnicity. The character of ethnos is due to and at the same time is the guiding vector at the moment of interpretation of the life of the people, the history and culture. The paper analyses in a comparative view the French and the Russian folk songs and the Spanish romance with a similar initial situation and different options of development/stagnation of intrigue, which is due to the exclusivity of national worldview

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Tymoshenko, A. V. "Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization." Aspects of Historical Musicology 14, no. 14 (2018): 74–91. http://dx.doi.org/10.34064/khnum2-14.06.

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Background. In recent years, there has been an increasing interest in the phenomenon of lyricism in Ukrainian musicology. This growth is more so conspicuous given that in the Soviet Musical Encyclopedia this term was omitted, and now it is the pivot of various researches, up to Ph. D. dissertations [7]. There is also a tendency to use this term regarding not only to vocal, but to instrumental music as well, including works lacking noticeable traits of lyrical mood. Works devoted to literature contain valuable information on lyricism, including remarks on the apprehension of this phenomenon in

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Poliquin, Laurent. "Ziguezon’s Voyage: Modal Memory and Cultural Transformation from France to Quebec." SPC Journal of Social Sciences 6, no. 1 (2025): 1–8. https://doi.org/10.14419/6r45mq29.

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This article explores how oral traditions preserve memory, subvert authority, and reinvent identity by tracing the transatlantic journey of “La Ziguezon”, a French folk song that La Bottine Souriante revived in Quebec in 1983. Drawing on historical chansonniers, ethnomusicological studies, and oral recordings, it examines how the song evolved from a 16th-century Breton ballad into a contemporary emblem of Québécois folklore. Focus is given to its melodic resilience, nonsense refrain (“ziguezon zinzon”), and gendered narrative, in which a young woman rejects patriarchal reward and composes her

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Остроумова, Наталия Викторовна. "Lost and Newly Acquired “Ariadne”." Музыкальная академия, no. 1(777) (March 31, 2022): 54–69. http://dx.doi.org/10.34690/218.

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Статья посвящена опере «Прекрасная и верная Ариадна» Иоганна Георга Конради, поставленной на сцене Гамбургского театра в 1692 году. Излагается история ее партитуры, приводятся краткие сведения о композиторе. Далее рассматриваются драматургия оперы, музыкальные характеристики главных персонажей, описываются жанровые и структурные особенности арий и других вокальных номеров. В результате осуществленного анализа отмечаются французские и итальянские влияния в музыке сочинения. Итальянские влияния проявляются в формах вокальных номеров и в характеристиках главных действующих лиц. В ярком французско

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Ruswanto, Yohanes, and Juanita Theresia Adimurti. "Church music inculturation by way of an experiment of arrangement of Dolo-Dolo mass ordinarium accompaniment- composed by Mateus Weruin for woodwind quintet." Harmonia: Journal of Arts Research and Education 17, no. 1 (2017): 23. http://dx.doi.org/10.15294/harmonia.v17i1.8467.

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<p class="IsiAbstrakIndo"><span lang="EN-GB">Inculturation of Church music in an experiment of creating this arrangement aims to bring a different form of musical ordinarium accompaniment form of <em>Dolo-Dolo</em> Mass from Flores, with a different media that uses the woodwind quintet (flute, oboe, clarinet, French horn, and Basson). The experiment took one of the ordinary songs from <em>Madah Bakti</em> “<em>Tuhan Kasihanilah Kami</em>”. The harmonization fine-tunes to the chorus arrangement composed by Mateus Weruin. The literature study was c

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PAPUSHYNA, Valentyna. "ENLIGHTENMENT REALISM AESTHETICS IN VOLTAIRE’S STORY “THE SIMPLETON” AND I. KOTLYAREVSKY’S PLAY “NATALKA POLTAVKA”." Folia Philologica, no. 7 (2024): 52–57. https://doi.org/10.17721/folia.philologica/2024/7/7.

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Based on the methodology of comparative analysis, the article examines the aesthetic ideas of the Enlightenment in the French story “The Simpleton” by Voltaire (1767) and the Ukrainian play “Natalka Poltavka” by I. Kotlyarevsky (1819). The closeness of the authors’ exploration of the enlightenment ideas aimed at the formation of moral and aesthetic ideals of their contemporaries: the national character of a person, thinking “with the heart”, education and culture of a “natural man” is determined. It is emphasized that I. Kotlyarevskyi’s play “Natalka Poltavka” joins the polemic raised by Volta

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Nizhnik, Anna. "Literary rhythm of the cycle by Isaac Babel “Red Cavalry”." Litera, no. 12 (December 2020): 10–17. http://dx.doi.org/10.25136/2409-8698.2020.12.34407.

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This article examines the cycle by Isaac Babel &ldquo;Red Cavalry in the context of literary trends of the 1920s. I. Babel avoided various literary organizations and loud manifestos; therefore, his role within the post-revolutionary literary system remains somewhat isolated: he had a reputation of a realist writer (although with some reservations) mostly due to specifically historical backstory of his military cycle. In this regard, his literary style is rarely viewed as a phenomenon of modernist literature &ndash; metareflective, intertextual, centered on the experiments with literary

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Ponamaryov, O., and M. Cheremsky. "The Teacher for unfortunates and humbles." New Collegium 4, no. 106 (2021): 15–23. http://dx.doi.org/10.30837/nc.2021.4.15.

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Johann-Heinrich Pestalozzi are prominent Swiss teacher-humanist and writer and founder of education for poor children. Pestalozzi was been founder of orphanages in Neuhof and Stans and Burgdorf and Yverdon. Pestalozzi are author of elementary method of education. The perceptible experience of child is base of elementary method. The more bright impressions from observation of surrounding world the more intensive is development of child. Therefore education must have impudent form of studies. The visual method is helping to understand essence of objects and appearances of surrounding world. Pest

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Harasym, Yaroslav. "MYKHAILO HRUSHEVSKY AS A HISTORIAN OF UKRAINIAN FOLKLORE." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 33–36. http://dx.doi.org/10.17721/1728-2659.2023.34.06.

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The article highlights Mykhailo Hrushevskyi’s scientific views on the problem of historicism of the Ukrainian oral literature and periodization of folk songs. The scientific and critical reception of the historical literary strategies of the author, the essence of the main discussion questions addressed by the reviewers is clarified to the researcher. Based on the analysis of folkloristic volumes "History of Ukrainian Literature" and separate ethnological works of the scientist trace the formation of the methodological foundations of M. Hrushevskyi, a folklorist, established their conceptual a

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Hambridge, Katherine. "Staging Singing in the Theater of War (Berlin, 1805)." Journal of the American Musicological Society 68, no. 1 (2015): 39–98. http://dx.doi.org/10.1525/jams.2015.68.1.39.

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Almost fifty years after the original event, Willibald Alexis’s historical novel Ruhe ist die erste Bürgerpflicht (1852) commemorated a musical performance that had taken place on October 16, 1805, at Berlin’s Nationaltheater. According to both Alexis’s reimagining and contemporary reports, after the closing “Reiterlied” of Schiller’s Wallensteins Lager a new war song was sung by audience and actors. The sensation this caused—in a city awaiting its troops’ departure for war against Napoleon—established Schiller’s play as a privileged site for political singing in Berlin and across German lands

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კენჭოშვილი, ირაკლი. "ფრანგული რომანსის ორგვარი ათვისება". სჯანი 25 (18 жовтня 2024): 23–29. http://dx.doi.org/10.62119/sjn.25.2024.8103.

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In Georgian poetry of the 19th century new types of song poems were widely developed, including romances, its variations and songs modeled on folk poetry. This process finds a peculiar manifestation in Alexander Chavchavadze’s poem “When you loved me...”, composed probably in 1907-1811, after he was summoned from Tambov exile to St. Petersburg for political reasons. The study of the genesis of this poem led us to such texts as Aleksey Merzlyakov’s “To Her (Rondo)” (“You loved me...”, 1806), Vasily Zhukovsky’s “Song. Translated from French” (“When I was loved...”, 1807) and the French source of

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Gadamska-Serafin, Renata. "Góry Kaukaz jako wrota Orientu. Motywy orientalne w twórczości Tadeusza Łady-Zabłockiego." Góry, Literatura, Kultura 11 (July 17, 2018): 111–41. http://dx.doi.org/10.19195/2084-4107.11.9.

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THE CAUCASUS AS A GATE TO THE ORIENT. ORIENTAL MOTIFS IN TADEUSZ ŁADA-ZABŁOCKI'S OEUVREThe East, its culture and literature were always part of the rich, erudite poetic imagination of Tadeusz Łada-Zabłocki 1811–1847, a tsarist exile to the Caucasus. He spoke Oriental languages Georgian and Persian and had a thorough knowledge of the Koran, a short fragment of which he even translated probably from French. Although today we only have his poetry inspired by the Caucasian mountains, he was also no stranger to extensive travel accounts unfortunately, his Dziennik podróży mojej do Tyflisu i z Tyfli

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Bierzeņš, Aņss Ataols. "„f“ AND „h“ LETTERS' PROBLEM IN LATGALIAN LANGUAGE." Via Latgalica, no. 3 (December 31, 2010): 51. http://dx.doi.org/10.17770/latg2010.3.1671.

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<p>In the article is told about the problem of letters’ (and sounds’) f and h in Latgalian language. These sounds have never been in any Latgalian dialect, in foreign words speakers always have been replaced them with other sounds. At the same time letters f and h have been used in written Latgalian at all times: from the first known book „Evangelia toto anno“ to the present day. What to do in this situation: to keep the way of the still alive traditional spoken language, or to yield to the pressure of other languages?</p><p>The author analyzes a variety of sources: tells abo

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DANYLYUK, Nina, and Oksana ROHACH. "SOURCES OF THE FORMATION OF AHATANHEL KRYMSKYI’S LINGUISTIC PERSONA." Culture of the Word, no. 95 (2021): 17–29. http://dx.doi.org/10.37919/0201-419x-2021.95.2.

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The article is devoted to the sources of the formation of a linguistic persona of the future famous scholar, writer, translator, and polyglot – Ahatanhel Krymskyi. In the article there has been conducted an analysis of the communicative geographical and epistolary discursive area of A. Krymskyi at the times of his childhood and adolescence. These periods of his life we consider the decisive ones for his linguistic individualization and the definition of the parameters of a linguistic persona. The linguistic persona’s features were caused by the origin of A. Krymskyi (the Crimean Tartar roots,

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Неклюдов, С. Ю. "“Bublichki” Between Folklore and Pop Music." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.

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Среди музыкальных текстов «эпохи НЭПа» особенно широкой известностью пользовалась песенка «Бублички» («Купите бублики…»), наиболее вероятный автор которой — одесский поэт Яков Ядов (1926), а мелодия, по-видимому, восходит к еврейской народной песенке «Уголь». Песня сразу широко расходится по традициям городского фольклора и связанным с ним эстрадным подмосткам, включая русское зарубежье. С 1927 по 1945 г. в Европе и Америке напечатано более полусотни записей, инструментальных (бóльшей частью) и вокально-инструментальных (не только по-русски); в СССР была лишь одна «пробная» грамзапись Леонида

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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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Chub, Maksym. "The principles of F. Martin’s composer style and their embodiment in the «Trio on popular Irish melodies»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 73, no. 73 (2024): 32–51. https://doi.org/10.34064/khnum1-73.02.

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Statement of the problem. Frank Martin (1890–1974) is an outstanding composer of the 20th century who made a unique contribution to the treasury of world musical art. He lived a long life and reached remarkable heights in his fruitful career. His creative output consists of a wide range of musical genres: from arrangements of folk melodies to symphonic, oratorio and opera works. F. Martin’s compositional writing combines elements of various musical trends, including neoclassicism, impressionism and expressionism. The relevance of the topic of this study is determined by the fact that there is

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Попова_Бонналь, Т. "POÉSIE DE LA GUERRE MODERNE : TENDANCES DE DÉVELOPPEMENT À LA LUMIÈRE DU GENRE POETIQUE ET DE LA SPÉCIFICITÉ THÉMATIQUE." Journal “Ukrainian sense”, no. 1 (December 2, 2023): 30–44. http://dx.doi.org/10.15421/462304.

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Background. From the first day of the war, on February 24, 2022, Ukrainian poetry gained a new impetus for development. The actualization of this type of creativity isdriven, on the one hand, by the experience of the tragic moment because such poetry often emerges in the immediate aftermath of war events, and on the other hand, by the expected therapeutic effect of poetic words. Social media platforms played a significant role in the dissemination of amateur and professional poets' verses, providing people with moral support and the opportunity to uplift one another. It is worth conducting a c

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Yastrub, Olena. "Musical and educational activities of Mykola Lysenko as a phenomenon of self-identification of the national culture." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 92–104. http://dx.doi.org/10.34064/khnum1-55.07.

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Formulation of the problem. In the globalized time-space of the 21st century, the musical heritage left by M.V. Lysenko motivates to comprehend at a new level the phenomenon of the creative universalism of the artist, the multiple manifestations of his musical-social, educational, ethnographic and composing activities. Given the importance of the choral singing for nurturing the national consciousness of young musicians, the role of M. Lysenko’s opera heritage for children and adolescents should be noted. The choice of the theme was actualized by the iconic premiere of M. Lysenko’s children’s

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Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.

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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing i

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Dr., Ram Lalit. "TRANSCENDING FAMILY/UNIVERSALITY: A PSYCHOANALYTIC STUDY OF ROHINTON MISTRY'S SUCH A LONG JOURNEY." International Journal of Multidisciplinary Research and Modern Education 3, no. 1 (2017): 507–12. https://doi.org/10.5281/zenodo.823277.

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Tracing the origin of psychoanalytical interpretation of the literary texts M.A.R. Habib writes: Critics, rhetoricians, and philosophers since Aristotle have examined the psychological dimensions of literature, ranging from an author’s motivation and intentions to the effect of texts and performances on an audience. The application of psychoanalytic principles to the study of literature, however, is a relatively recent phenomenon, initiated primarily by Freud and in other directions by Alfred Alder and Carl Jung. The notion of the “unconscious” was not in itself new, and it can be found in man

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Mihailescu, Ioan. "The Suite for Piano in the Creation of George Enescu and Constantin Silvestri - Tradition and Originality." Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts, January 31, 2024, 149–56. http://dx.doi.org/10.31926/but.pa.2023.16.65.3.15.

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The composers George Enescu and Constantin Silvestri played an important role in the evolution of the piano suite genre in the Romanian music of the 20th century. The Piano Suite in D major op. 10 (1901-1903) by G. Enescu combines elements of baroque origins with elements of French music (present especially in the music of Ravel and Debussy) and elements of folklore influence from genres of Romanian traditional folk music (doinas and dances ). The Suite III op.6 no. 1 (1933) by Constantin Silvestri includes pieces that feature an Expressionist theme. The melody is defined by a fusion between i

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Hopkin, David. "‘My Gunners will Burn Your Houses, My Soldiers will Pillage them’: What French People were Singing about When they Sang about Napoleon." French History, May 22, 2021. http://dx.doi.org/10.1093/fh/crab018.

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Abstract Fifty years after his death, almost the only song that French people still sung about Napoleon retold his conquest of the city of Mantua in 1797. ‘Le bombardement de Mantoue’ is an example of a popular European folk genre, the siege song. Siege songs use the metaphor of a violent wooer and a reluctant maiden to narrate the capture of cities. They circulated, in print and orally, from the mid seventeenth to the mid nineteenth centuries, updated for all conflicts by the substitution of the name of the besieger and the city. While often factually inaccurate, such songs are evidence of hi

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Ryuko Reid. "Apollo’s Banquet for children: Teaching baroque music to the young violinist." Royal Conservatoire Research Portal, no. 1 (October 25, 2016). http://dx.doi.org/10.22501/koncon.256810.

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Name: Ryuko Reid Main Subject: Baroque Violin Research Supervisor: Johannes Boer Title of Research: Apollo’s Banquet for Children: Teaching baroque music to the young violinist Research Question: How can the baroque “rules” being used today in the field of historically informed performance practice be taught at a young age? Summary of Results: The purpose of this study is to investigate what aspects of the musical language of the baroque era can be experienced from twenty songs found in John Playford’s Apollo’s Banquet. This is a collection of country-dances, broad street ballads, theatre tune

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Labaree, Robert. "Living With the I-Word: Improvisation and its Alternates." Critical Studies in Improvisation / Études critiques en improvisation 9, no. 2 (2014). http://dx.doi.org/10.21083/csieci.v9i2.2204.

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The word improvisation is burdened with limitations placed on it by changes occurring in Europe in the 19th century, the period when the model of the hyphenated performer-composer prevailing in Europe up to that point was being split into two specialties. By the 20th century, composition and improvisation had been cast in bronze as mutually defining opposites, the presumed starting point of any approach to how music is made and heard, regardless of historical period or cultural origin. As a way of creating a more critical approach to discourse dependent on the ubiquitous "I-word," this essay s

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Yerazhisht, Daniel. "Արտահայտչամիջոցների գործառույթները Կոմիտասի «Անտունի» երգում (Ի՞նչ է լսել Դեբյուսին «Անտունի» երգում)". Կոմիտասի թանգարան-ինստիտուտի տարեգիրք, 24 грудня 2021. http://dx.doi.org/10.52853/kmi-2021-v.z-02.

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Հոդվածը նվիրված է Կոմիտասի «Անտունի» երգին: XX դարասկզբին Փարիզում Կոմիտասի դասախոսությունների և համերգների շնորհիվ ֆրանսիացի անվանի գործիչները ծանոթացան հայ հոգևոր և ժողովրդական երաժշտության գլուխգործոցներին: Դրանք արժանացան Ռոմեն Ռոլանի, Գաբրիել Ֆորեի, Լուի Լալուայի և այլոց բարձր գնահատականին: Ի թիվս այլ երգերի՝ հնչեց «Անտունին», որը խորապես հուզեց հատկապես Կլոդ Դեբյուսիին: Սույն հոդվածում փորձ է արվում լուսաբանելու Դեբյուսիի բարձր գնահատականի շարժառիթները: Վերլուծվում է բանաստեղծական տեքստը, մեղեդին, այնուհետև Կոմիտասի՝ երգից բխեցրած դաշնամուրային նվագակցությունը: Անշուշտ, Դեբյուսին նկատած

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King, Emerald, and Monika Winarnita. "Fashioning Gender in Asia and Beyond." M/C Journal 25, no. 4 (2022). http://dx.doi.org/10.5204/mcj.2933.

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Walk, walk, fashion babyWork it, move that b***h crazy — Lady Gaga, “Bad Romance” There's a brand new dance but I don't know its nameThat people from bad homes do again and againIt's big and it's bland, full of tension and fearThey do it over there but we don't do it hereFashion! Turn to the leftFashion! Turn to the right — David Bowie, “Fashion” Piece by pieceMy emotions are glued togetherYou’re a new patternSent towards one another: We have a secretive and thrilling motionOoh ooh ooh, you are my fashion — TaeYeon, “Fashion” The word ‘fashion’ conjures images of glitzy 90s supermodels stompin

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Stewart, Jonathan. "If I Had Possession over Judgment Day: Augmenting Robert Johnson." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.715.

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augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audi

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