Thematische Bibliographien / Magar Folk songs

Auswahl der wissenschaftlichen Literatur zum Thema „Magar Folk songs“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024
Zuletzt aktualisiert am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Magar Folk songs"

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Lanszki-Széles, Gabriella. „A Somogy megyei Kisgyalán faluközössége által kedvelt népdalok és magyar nóták az elmúlt száz esztendőben“. Kaposvári Rippl-Rónai Múzeum Közleményei, Nr. 7 (2020): 321–66. http://dx.doi.org/10.26080/krrmkozl.2020.7.321.

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Respect for traditions is still consciousness and character-forming, which is reinforced by folk songs and Hun-garian songs. What is being said is easier and more beau-tiful with the help of the thoughts expressed by their lyrics.In order to study this, I recorded everyone’s most favored song, folk song, and sometimes ballad in my hometown, Kis-gyalán. From a methodological point of view, different ver-sions and variations of folk songs and Hungarian songs were searched. The favored songs varied based on the inhabit-ant’s occupation, character, appearance, different qualities, and also on their different abilities and orientations. Different songs were sung at a wedding, at work, at school, or even during drinking. What one wanted to let others know, s/he told them what was on his or her mind by singing. During the recall of the songs, long-unmentioned images of life also came to life.
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Kocsis, Réka. „Személynévhasználat a magyar halottsiratókban“. Névtani Értesítő 33 (30.12.2011): 113–19. http://dx.doi.org/10.29178/nevtert.2011.10.

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The paper examines whether Sándor Solymossy was right in his assumption that the function of personal names in Hungarian mourning songs was to conjure up the dead person’s soul. The author analyses the personal names appearing in the volume of “A magyar népzene tára [The Collection of Hungarian Folk Music]” that is dedicated to mourning songs. The name of the dead person turns up in approximately 30% of the texts, and significant differences can be observed as far as the degree of relationship is concerned. Regarding name forms, most frequently the full or the Christian name appears, standing usually at the beginning of the mourning song and reappearing again and again in the text. The assumed magic function of the name in the text is put in question by several factors. In the observed songs from the 20th century, the role of the name is rather to recall and identify. Names of other persons, dead or alive, though fewer in number, also appear with different functions in the songs. Using the collected data, the author draws conclusions about the relations between names and humans as well.
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Tigountsova (Hellebust), Inna. „“Chizhiki tak i mrut”“. Philosophy Journal of the Higher School of Economics 5, Nr. 3 (29.09.2021): 172–87. http://dx.doi.org/10.17323/2587-8719-2021-3-172-187.

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My article will investigate the ways in which metaphors for birds, especially birds of song, in the correspondence between the protagonists of Dostoevsky's novel “Poor Folk” (Бедные люди, 1846) — Makar Devushkin and Varen'ka Dobroselova — refer back to Goethe's scandalously popular epistolary novel “The Sufferings of Young Werther” (Die Leiden des jungen Werthers, 1774). I propose that Dostoevsky involves a metaphoric net as an oblique subtext of references to recent popular European literature to convey the idea of Romantic death (bearing in mind the extent to which “Werther”, though written in the late eighteenth century, retained its cultural relevance for Russian readers in Dostoevsky's time). As I am investigating the larger picture of Dostoevsky's treatment of death and suicide in his shorter fiction as well as his dialogue with Goethe on this subject, I also argue that in “Poor Folk” the parody and stylization of Romantic discourse in Rataziaev's texts (and elsewhere) reveals thematic parallels between the Russian and the German narratives, and demonstrates Dostoevsky's viewpoint on death, Romanticism and Realism. For the methodological basis of my study, I will apply Mikhail Bakhtin's ideas on parody and stylization from his seminal “Problems of Dostoevsky's Poetics” (especially from the chapter “Dostoevsky's Discourse”.
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Tsend, Naranchimeg, und Yundenbat Sonom-Ish. „Documentary history of the mongolian folk song “Soyol erdene”.“ Mongolian Journal of Arts and Culture, 29.12.2023, 148–55. http://dx.doi.org/10.69561/mjac.v25i47.3464.

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The aim of this study is to explore the life and musical contributions of Dorjdagva Jigzav, a renowned singer and composer of Mongolia. It was the Prime Minister of Mongolia, Amar Anand, who first introduced Dorjdagva J. to the famous singer Dugarjav Magsar khurts. Dorjdagva J. was well-known for his work in the development of long and folk songs, choral singing, and contemporary music. He was committed to preserving and promoting Mongolian music, and his compositions played a significant role in elevating Mongolian music to new level. Additionally, Dorjdagva J. was also a researcher, educator, and teacher of long songs. Together with Dugarjav M. and other composers, he published several collections of Mongolian long and folk songs, including “A Collection of Mongolian Long Songs” in 1935 and 1936, and “108 Long Songs” with their musical notes in 1970. Between 1933-1942, he created his greatest works, which included over 30 songs, more than 10 song lyrics, and 5 pieces of long song music and lyrics. This study is intended to protect the copyright of Dorjdagva Jigzav’s songs, song music and lyrics, recognizing the importance of his contributions to Mongolian music. “Соёл эрдэнэ” дууны баримтат түүх Хураангуй: Монгол улсад уртын болон ардын дуу, найрал дуу, шинэ цагийн дуу хөгжмийг хөгжүүлэхэд үнэтэй хувь нэмэр оруулсан гавьяатнуудын нэг бол Анандын Амар сайд Алдарт дуучин Магсар хурцын Дугаржав дуучинтай танилцуулсан анхны Алдарт Гавьяат дуучин Жигзавын Дорждагва юм. Ж.Дорждагва нь монголын урт болон ардын дууны хөгжил, түүний хадгалалт хамгаалалт, өвлүүлэн үлдээхэд онцгой анхаарч, авьяас чадвар, ур ухаан, сэтгэл зүрхээ зориулсан билээ. Монголын хөгжмийн урлагийг шинэ шатанд гаргахад дууны судлаач, сурган хүмүүжүүлэгч, багш, хөгжмийн зохиолч байжээ. Ж.Дорждагва 1935, 1936 онд Алдарт дуучин М.Дугаржав нарын уран бүтээлчидтэй хамтран “Монгол урт дуунуудын түүвэр”, “Монгол ардын дуунуудын түүвэр”, 1970 онд 108 уртын дууг ноотлон, “Уртын дуу” номыг хэвлүүлсэн байна. 1933- 1942 онд дууны хөгжмийн бүтээлийнхээ гол бүтээлүүдээ туурвисан ба нийт 30 гаруй дууны хөгжмийг, 10 гаруй дууны шүлгийг, 5 уртын дууны хөгжим, үгийг зохиосон байна. Ийм учраас үг, хөгжмийг зохиосон дууны зохиогчийн эрхийг хамгаалахыг зорилоо.Түлхүүр үг: түүхэн өв са н, тодруулга, оюуны өмч
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BÓLYA, ANNA MÁRIA. „MACEDÓN ARCHAIKUS ÉNEKEK FORDÍTÁSAI“. Macedón Tudományos és Kulturális Közlemények 3, Nr. 1 (31.08.2020). http://dx.doi.org/10.56309/mtkk.v3i1.8871.

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Absztrakt A macedón folklór kutatója macedón archaikus énekeket ültetett át macedón nyelvről magyar nyelvre. Abstract The researcher of the Macedonian folklore transferred texts of archaic folk songs from the Macedonian to the Hungarian language.
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Տիգրանյան, Մարիաննա. „Երկու վարդապետ. Սահակ Ամատունի և Կոմիտաս“. Historical-Philological Journal, 20.07.2022, 201–15. http://dx.doi.org/10.54503/0135-0536-2022.2-201.

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70–80-е гг. XIX столетия – период становления армянской музыкальной фольклористики, первоначальным этапом которого была запись и собирание народных песен. Особую роль в этом процессе сыграли Христофор Кара-Мурза, Никогайос Тигранян, Макар Екмалян, Аршак Брутян, Степан Демурян. Среди этих великих сынов армянского народа – имя Саака архимандрита Аматуни (1856–1920), который стоял у самых истоков армянской музыкальной фольклористики. Под руководством известного музыканта-теоретика Н. Ташчяна, который занимался записью армянских духовных песнопений, С. Аматуни собрал и записал новоармянской нотописью множество церковных гимнов-шараканов, которые вошли в состав «Шаракноца» (сборник гимнов). Он одним из первых стал записывать армянский музыкальный фольклор и составил сборник народных песен (1884). Научные труды С. Аматуни очень высоко оценила армянская интеллигенция. По свидетельству современников, Аматуни был любимым преподавателем Комитаса, и именно его творческие воззрения имели большое значение в становлении великого композитора. Свои первые записи народных песен Комитас сделал после знакомства с Аматуни – в 1884 году. Два архимандрита – Аматуни и Комитас – были не только духовными отцами, но и просвещенными сынами своего отечества, оставивши- ми неоспоримый след в становлении и развитии армянской музыкальной научной мысли. The 70s-80s of the 19th century was the period of the formation of Armenian musical folkloristics, whose initial stage incorporated the recording and collection of folk songs. Christopher Kara-Murza, Nikoghayos Tigranyan, Makar Yekmalyan, Arshak Brutyan, Stepan Demuryan played a special role in this process. Among these great sons of the Armenian people is the name of Archimandrite Sahak Amatuni (1856-1920), who stood at the very origins of Armenian musical folkloristics. Under the guidance of the prominent theoristmusician N. Tashchyan, who was engaged in recording Armenian spiritual chants, S. Amatuni collected and recorded numerous church hymns-sharakans in the new Armenian notation, which were included in the “Sharaknots” (collection of hymns). He was one of the first to record Armenian musical folklore and compiled a collection of folk songs (1884). The scientific works of S. Amatuni were highly estimated by the Armenian intelligentsia. According to contemporaries, Amatuni used to be Komitas’s favorite teacher, and it was his very creative views that were of great importance in the development of the great composer. Komitas made his first recordings of folk songs after meeting Amatuni in 1884. The two archimandrites – Amatuni and Komitas were not only spiritual fathers, but also the enlightened sons of their fatherland, who left an indisputable mark on the formation and development of the Armenian scientific musical thought.
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Bakó, Endre. „Élmény és világkép az első világháború magyar költészetében“. Studia Litteraria 54, Nr. 3-4 (01.07.2015). http://dx.doi.org/10.37415/studia/2015/54/4172.

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Taking stance regarding the question of war was the “litmus paper” of the test of patriotism. Whoever was against war was a defeatist, moreover, a traitor. The conservative, folk-national group – with a few exceptions - was on the side of war, while the generation producing “new songs for new times” (Endre Ady, Mihály Babits, Dezső Kosztolányi, Margit Kaffka, Ernő Szép, Menyhért Lengyel, Ákos Dutka, Árpád Tóth, etc.) was, apart from some initial hesitation, on the side of peace. The full scale of production cannot be measured; we are talking about tens of thousands of work. One of the main characteristics of war poetry was the emphasis on the defensive aspect. Many poems connected the First World War with the Hungarian War of Independence of 1848-49. Some poets (such as Mihály Szabolcska) saw the essence of Hungarian identity in war-time valour. The main core of these poems consists of heroic and sentimental texts, belittling dying and praising heroic death. Some militarist poems disparaged “rotten” peace as the root of liberalism, cosmopolitanism, and ideas of freemasonry. Propaganda poetry was advocating national unity. War poetry drew an idealistic portrait of the relationship between the officers and the troops. Finally, one can find a multitude of poems mocking and hating the enemy. The Hungarian poetry of the First World War only gained a position of value by an ideological-performative power act; all other instances reveal its rhetorical emptiness.
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Dissertationen zum Thema "Magar Folk songs"

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Lee, Yu-Young. „Béla Bartók's Eight Hungarian folk songs for voice and piano: vocal style as elaborated by harmonic, melodic, and text factors“. Thesis, 2006. http://hdl.handle.net/2152/2807.

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Bücher zum Thema "Magar Folk songs"

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author, Rāyamājhī Durgā, Hrsg. Magara jātiko lokagīta tathā lokasaṅgīta. Dāṅa: Rāptī Kshetra starīya Paryaṭana Pravarddhana Samiti, 2017.

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Magara, Mīna Śrīsa. Paścimāncala vikāsa kshetrakā Magara samudāyamā pracalita lokagītanr̥tyako vartamāna avasthā ra cunautiharū. Kāṭhamāḍauṃ: Magara Adhyayana Kendra, 2009.

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Prājna-Pratishṭhāna, Nepāla Saṅgīta Nāṭya, Hrsg. Magarako ghān̐ṭonāca. Kāṭhamāḍauṃ]: Nepāla Saṅgīta tathā Nāṭya Prajñā-Pratishṭhāna, 2019.

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Kiadó, Balassi, Hrsg. A magyar népzene keleti kapcsolatai. Budapest]: ELKH Bölcsészettudományi Kutatóközpont Zenetudományi Intézet, 2022.

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Voigt, Vilmos. Magyar folklór szöveggyűjtemény. Budapest: Osiris Kiadó, 2005.

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Boros, Zoltán. Énekben hallottam...: Régi magyar világi énekek. Kolozsvár: Kriterion Könyvkiadó, 2012.

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Borsi, Ferenc. Mi vagyunk a rózsák: Az érzékiség képi abrázolása a magyar népdalokban. Dunaszerdahely: Csemadok Dunaszerdahelyi Területi Választmánya, 2003.

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Pál, Demény István. Széles vízen keskeny palló: Magyar és összehasonlító folklórtanulmányok. Csíkszereda: Pallas-Akadémia, 2002.

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Pávai, István. Zene, vallás, identitás a moldvai magyar népéletben: Tanulmányok, interjúk. Budapest: Hagyományok Háza, 2005.

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Zoltán, Kodály. Ungarische Volksmusik: Magyar népzene. Dalok közép hangra = Hungarian folk music. The songs for medium voice. Wien: Universal Edition, 1989.

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Buchteile zum Thema "Magar Folk songs"

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Suchoff, Benjamin. „The Genesis of Bartók’s Musical Language“. In Bartók Perspectives, 113–28. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125627.003.0008.

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Abstract When Bela Bartók entered the Budapest Academy of Music at the turn of the century, Hungary was in the throes of a new national movement for independence from Austria. He therefore decided that his contribution to the cause would be the creation of a specifically Hungarian style of composition, and he sought inspiration in Hungarian popular art song, known as magyar nóta, that is, Hungarian tune or national melody, which was then considered to be the true Hungarian folk music. During the nineteenth century, a large number of such melodies had been composed by amateur musicians of the educated Hungarian classes and published with hackneyed piano accompaniments. The most popular tunes were for the most part disseminated by Gypsy bands in Hungarian and Austrian towns, who performed their repertories with an excess of rubato and ornaments.1 In fact, it was such Gypsy-styled national melodies that Liszt used in his Hungarian Rhapsodies and as source material for the unique tonal language in his Piano Sonata in B Minor.
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