Zeitschriftenartikel zum Thema „Roots (Botany) – Songs and music“
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Vergano, Rina, und Roxana Vilk. „Songs that live in the bones“. British Journal of Music Education 39, Nr. 3 (November 2022): 286–91. http://dx.doi.org/10.1017/s0265051722000328.
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AbstractIn conversation with playwright and theatre journalist Rina Vergano, multidisciplinary artist and musician Roxana Vilk unpicks her own experience of diaspora and the ways in which her cultural, familial and political roots have informed her artistic practice and inspired her current project about the power of lullabies.
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Graebner, Werner. „Whose music? The songs of Remmy Ongala and Orchestra Super Matimila“. Popular Music 8, Nr. 3 (Oktober 1989): 243–58. http://dx.doi.org/10.1017/s0261143000003548.
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In his song ‘Asili ya Muziki’ (‘The Roots of Music’) Remmy Ongala, one of the most prolific singers/composers in Tanzanian music, discusses the complex and ambiguous position of music and musicians. In Tanzania musicians are commonly considered to be wahuni, i.e. vagabonds, drunkards, drugtakers, while their music, is enjoyed by the same people who call them these names.
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Tang, Jing, und 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, Nr. 3 (31.07.2023): 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, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.
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Evans, David. „Music Makers: Portraits and Songs from the Roots of America (review)“. Notes 61, Nr. 2 (2004): 469–71. http://dx.doi.org/10.1353/not.2004.0134.
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GÖK, Emre, und İsmet DOĞAN. „COMPILATION WORKS OF BELA BARTOK IN ANATOLIA“. Zeitschrift für die Welt der Türken / Journal of World of Turks 14, Nr. 2 (15.08.2022): 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 also worked with important musicians such as Ahmet Adnan Saygun, Necil Kazım Akses, Ulvi Cemal Erkin, whom we know as Turkish fives today. Throughout all his studies in Anatolia, he said that there were both similarities and differences between Turkish and Hungarian folk music, but he argued that the two musical cultures emerged from the same root. One of the most important theses he defended was that he said that Hungarian music culture was a clear Turkish music culture and that the motifs in Turkish melodies were seen in Hungarian music. Keywords: Bela Bartok, Turkish folk music, Hungarian folk music, Cultural transfers and similarities, Pentatonic
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Bernstein, Tamara. „The Vocal Music of Ana Sokolović: Love Songs for the Twenty-First Century“. Circuit 22, Nr. 3 (20.02.2013): 19–35. http://dx.doi.org/10.7202/1014226ar.
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Enchanted by the vocal music of Serbian-born Canadian composer Ana Sokolović, Tamara Bernstein visited the composer at her home in Montreal. Sokolović’s music draws on several sources, including the theatrical world and the culture of the Balkans. The extended vocal techniques in Sokolović’s music are rooted not in the avant-garde music of the twentieth century, but in the oral traditions and poetic voice of Serbia. It seems that the more the composer returns to her cultural roots, the more she embraces the universality of the human soul.
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Cox, Gordon. „Towards the National Song Book: The History of an Idea“. British Journal of Music Education 9, Nr. 3 (November 1992): 239–53. http://dx.doi.org/10.1017/s0265051700009128.
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This paper traces the relationship between music and national feeling which permeated popular education during the latter part of the nineteenth century, culminating in the publication ofThe National Song Book(Stanford, 1906). By the First World War there was hardly a school in the country which did not possess a copy. The roots of the idea of national songs are traced back to Herder and Engel, and in particular to William Chappell'sPopular Music of the Olden Time(1858–9). The paper argues that music educationists developed distinct theories about the educative value of such songs in developing notions of nationhood, patriotism and racial pride. Specifically a line of development is traced in the development ofThe National Song Bookthrough Charles Stanford, W. H. Hadow and Arthur Somervell, while taking cognisance of the dissenting views of John Stainer and Cecil Sharp. The paper concludes thatThe National Song Bookproclaimed the hegemony of the literate tradition as opposed to the oral, and considers the view that national songs contained within them the danger of the manipulation of patriotism.
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Domokos, Mária, und Katalin Paksa. „The Hungarian folk song in the 18th century“. Studia Musicologica 49, Nr. 1-2 (01.03.2008): 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 coexistence of elements and styles of different age. The sources also contain examples of the descending pentatonic styles (that either originates or developed from oriental roots), of the lament style and of the medieval and early modern tunes. Of particular interest are the songs that first appeared in the 17th century, then undergone significant changes in form and rich collection of variants developed around them. The most remarkable result of our research is that contrary to former beliefs regarding its insignificance, the 18th century enriched the Hungarian folk music with some sixty new melody types. One of the most interesting groups of this rather mixed collection of songs is that of the songs in a major key with a narrow compass that seems to be the most characteristic music of the time. Plagal songs in a major key with perceptive functional chords behind their melodies also entered Hungarian tradition at this time. Plagal tunes, unfamiliar to Hungarian folk music, were sometimes transformed into descending tunes. The antecedents of the new Hungarian folk song style hardly feature in these sources — this style probably developed in the late 19th century. However, among the popular art songs that flourished from the 1830s onwards we found about a dozen melody types with a partial or full similarity to 18th-century melodies.
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Duinker, Ben. „Song Form and the Mainstreaming of Hip-Hop Music“. Current Musicology 107 (27.01.2021): 93–135. http://dx.doi.org/10.52214/cm.v107i.7177.
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Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).
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Zadorozhna, Tetyana. „THE SEMANTICS OF THE ACADEMIC SONGS AS A SIGNIFICANT FORM OF UKRAINIAN MUSIC COMPOSITION: EPISTEMOLOGICAL ASPECT“. Baltic Journal of Legal and Social Sciences, Nr. 2 (25.10.2022): 65–70. http://dx.doi.org/10.30525/2592-8813-2022-2-11.
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The Ukrainian academic song is a phenomenon that clearly demonstrates the significance of the ethnic national identity of Ukrainian music composition. Its origins are obviously Ukrainian folk songs, which determined the stylistic roots of Ukrainian chamber vocal lyrics with its genre stylistic diversity. And therefore, the importance of posing the problem lies in the fact that a certain system of its genre stylistic specialization was formed from among the genre varieties of Ukrainian chamber solo singing, which was discussed in the research of S. Lyudkevych regarding the solo songs of M. Lysenko to the lyrics of T. Shevchenko. Therefore, continuing the research traditions of the Galician scholar, as well as taking into accopunt modern analytical works, an updated view is offered regarding the genre stylistic priorities of Ukrainian academic songs. Research methods used are analytical and discursive, which means a logical elaboration of the existing research on the problems of generic specialization of chamber vocal lyrics as a whole. It is to be hoped that the selected research approach will be favorable for a heuristically fruitful and epistemologically plausible interpretation of the mental specificity of the Ukrainian academic songs.
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Coppi, Antonella, und Johann van der Sandt. „Andrá tutto bene! Musicking together and apart: The role of popular music and singing during the COVID-19 period in Italy“. Journal of Popular Music Education 6, Nr. 1 (01.03.2022): 65–80. http://dx.doi.org/10.1386/jpme_00075_1.
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The role and power of music in community life are indisputable. Music not only inspires people to continue struggling and fight for their rights but also plays a comforting role in times of grief, loss or in the face of hardship like the COVID-19 crisis has brought upon the world. Music is fundamental to our social roots, and the fundamental link that music provides for us is about emotion and communicative expression. Popular songs shared from windows and balconies became a means for emotional expression and communication in all regions of the Italian peninsula during the COVID-19 lockdown (March‐May 2020). This article offers a report of qualitative research using a phenomenological approach on what role popular music played during that period.
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Coppi, Antonella, und Johann van der Sandt. „Andrá tutto bene! Musicking together and apart: The role of popular music and singing during the COVID-19 period in Italy“. Journal of Popular Music Education 6, Nr. 1 (01.03.2022): 65–80. http://dx.doi.org/10.1386/jpme_00075_1.
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The role and power of music in community life are indisputable. Music not only inspires people to continue struggling and fight for their rights but also plays a comforting role in times of grief, loss or in the face of hardship like the COVID-19 crisis has brought upon the world. Music is fundamental to our social roots, and the fundamental link that music provides for us is about emotion and communicative expression. Popular songs shared from windows and balconies became a means for emotional expression and communication in all regions of the Italian peninsula during the COVID-19 lockdown (March‐May 2020). This article offers a report of qualitative research using a phenomenological approach on what role popular music played during that period.
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Chaloupková, Lenka. „The Chinese Art Song, yishu gequ: Between Tradition and Modernity“. AUC PHILOLOGICA 2021, Nr. 3 (15.02.2022): 29–46. http://dx.doi.org/10.14712/24646830.2022.2.
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The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level. As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole. The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.
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Akhmetova, A. K., und L. U. Brimgazina. „PROBLEMS IN THE DEVELOPMENT OF CREATIVE ABILITIES OF STUDENTS OF PRIMARY CLASSES THROUGH A.ESBAEV SONGS“. BULLETIN Series of Pedagogical Sciences 68, Nr. 4 (30.12.2020): 232–39. http://dx.doi.org/10.51889/2020-4.1728-5496.34.
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The article considers the development of creative abilities of young students. The concepts of "ability", "creativity", "creative ability" are studied in detail in the work of scientists. Also, there was discussed the issue and the question of regeneration of virtues, inherited from our forgotten ancestors, rooted in our blood and roots. In particularly, our national traditions, language and music, literature, customs, especially, our national spirit must always remain in our heart. In the framework of "Spiritual Revival" is a detailed analysis of the use of the song by Abilahata Espaeva in school music programs, which correspond to the problem of education. In particularly, the composer's songs in music lessons are intended for the development of creative abilities of young schoolchildren. The authors thoroughly studied the content, character and theme of the song of the composer.
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Cusimano, Christophe. „« The two old bachelors » de Edward Lear: étude sémantique et traductologique“. Journal for Foreign Languages 11, Nr. 1 (30.12.2019): 291–302. http://dx.doi.org/10.4312/vestnik.11.291-302.
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Cet article a pour ambition de saisir du point de vue de la sémantique interprétative un court-texte poétique de Edward Lear intitulé « The two old bachelors »1 (tiré de Laughable lyrics, a fourth book of nonsense poems, songs, botany, music, etc, 1877) traduit en français exactement un siècle plus tard par Patrick Hersant (Edward Lear – Nonsense, 1977, éd. Ombres). Outre une analyse proprement sémantique de la version originale anglaise du poème et de ce qui en fait un texte absurde, nous souhaitons montrer sur la base de cette analyse préparatoire comment Patrick Hersant a tranché le dilemme traductologique auquel il a été confronté : en effet, une partie de l'absurde reposant sur l'homonymie en anglais, le traducteur a livré une interprétation très peu fidèle à l'original, peut être volontairement.
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Regmi, Aarati. „Redefining the Society in Hip-Hop Music: A Nepali Perspective“. SCHOLARS: Journal of Arts & Humanities 3, Nr. 1 (01.03.2021): 18–25. http://dx.doi.org/10.3126/sjah.v3i1.35355.
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Nepali Rapper Utsaha Joshi, aka Uniq poet's title song “Mero Desh Birami” and Chirag Khadka's album 5:55 title song “Samadhi and Aaago ko Jhilko” display intimate relationships between the socio-political and cultural context and the youngsters' powerful voice through music. This paper analyzes rap music as a medium and power to convey socio-cultural values, truth of conspiracy, and interests among youngsters. Both singers have portrayed the mainstream culture, faith, and patriotism, which have shaped people’s minds and behaviours. Rap songs have become so popular among young people who have always been informed by specific phenomenal interests. It has touched the consciousness that shapes the relationship between humans and culture. The road to these rap songs speaks the voice of cultural roots via its elements. To add, rap singers display popular means of conveying cultural intimacy through their music and of introducing a phenomenal symbol of society. However, Nepali Hip-hop redefines a relative degree of social conspiracy rather, it promotes positivity among the youngsters as it motivates and generates energy. Yet, hip-hop generates and navigates a voice of fear, woes, dissatisfaction, disagreement, anxiety, and other sensitive anti-socio-political crimes like rape, homicide, power augmentation game, etc.
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TOPÇU, Ömer Yusuf. „OVERVIEW OF POLYPHONY AND NATIONALISM IN EUROPE, OTTOMAN AND OTTOMAN TÜRKİYE“. International Refereed Journal of Humanities and Academic Sciences, Nr. 30 (2023): 57–72. http://dx.doi.org/10.17368/uhbab.2023.30.04.
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Aim: This research investigates the relationships between the folk songs, which are the roots of choral music in Turkey, and the qualities in polyphony practices were questioned and the approaches with which they were polyphonic were investigated from a quantitative perspective. Method: Under the titles of melody and harmony of polyphonic works; The use of major-minor scales, pentatonic and maqam transitions, dynamic and expression terms, triad, multiplication, scoredorg, double-quadruple-quintet harmony were evaluated by quantitative analysis method, findings and results were obtained and interpreted. Polyphony practices in choral works, whose source is folk songs, have been researched with a comparative perspective. Findings: In order to eliminate the problems arising from modality while the works in which Turkish music maqam scales are used are polyphonic, different from the triple harmony system, which was defined by Kemal İlerici (1910-1986), it was formed by the overlapping of the quartets and based on the Hüseyni maqam. It was determined that the quartet harmony system was also used. Conclusion: Folk songs and polyphonic choral works that take them as a source show affinity in terms of musical characteristics. The words of the material have undergone few changes, some of them have been given a canonical structure, dynamic and expressive indicators have been added. Chromatic transitions, double, quadruple and quintuple intervals are used cyclically on SATB lines.
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Temperley, David. „The origins of syncopation in American popular music“. Popular Music 40, Nr. 1 (Februar 2021): 18–41. http://dx.doi.org/10.1017/s0261143021000283.
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AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.
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Gibbs, Levi S. „“Forming Partnerships”: Extramarital Songs and the Promotion of China's 1950 Marriage Law“. China Quarterly 233 (26.12.2017): 211–29. http://dx.doi.org/10.1017/s0305741017001692.
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AbstractShortly after a push to promote China's 1950 Marriage Law in 1953, scholars from the Chinese Music Research Institute on a collection trip to a small locality in northern China encountered a large number of folksongs about extramarital affairs. They interpreted this as evidence of the need for marriage reform. The folksong lyrics highlighted controversial aspects of the Marriage Law by espousing one of the law's central tenets – free love – while also expressing women's desires to leave their husbands. In this article, I explore how the researchers placed the song lyrics in a liminal moral-temporal category between “feudal” arranged marriage and the new marriage system before declaring the songs to be relics of the victimization of women in a “feudal” past. I argue that additional light-hearted elements complicate the researchers’ conclusion and suggest that when the promotion of social agendas in the 1940s and 1950s cast songs about illicit affairs as morally ambiguous, Chinese scholars chose to ascribe the songs’ “roots” to other groups or to the “feudal” past of the people they sought to praise and/or transform.
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Grimshaw, Michael. „‘Redneck religion and shitkickin' saviours?’: Gram Parsons, theology and country music“. Popular Music 21, Nr. 1 (Januar 2002): 93–105. http://dx.doi.org/10.1017/s0261143002002052.
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The country singer Gram Parsons (1946-73) has in the last decade been increasingly cited as a seminal influence upon the development of contemporary alt.country and the roots/americana revivial. This article critiques Parsons and his music within the realm of contextual theology, using him as a bridge to examine the wider issue of what a theology of country music might entail. Both Parsons and Country Music in general are strongly religious in language, ethos and culture, yet the theology articulated both explicitly and implicitly is not evangelical as those outside the genre and culture might assume. Rather, the theology of country music involves a gospel of liminality, a theology of redemptive transgression that is expressed in ‘white spirituals’ where the song is a locus of grace. The article asks if Parsons was a locus of grace; are his songs those of liminal presence; does country music employ a theology of redemptive transgression?
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Beck, Guy. „Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition“. Religions 10, Nr. 2 (29.01.2019): 85. http://dx.doi.org/10.3390/rel10020085.
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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.
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Apanavičius, Romualdas. „Upowszechnianie się polskiej etnicznej kultury muzycznej na Litwie w XVI–XX wieku“. Analecta Cracoviensia 40 (04.01.2023): 323–44. http://dx.doi.org/10.15633/acr.4021.
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Influence of Polish ethnic musical culture in Lithuania is evident mainly in usage of European musical instruments and of folk dances repertoire as well in the religious ethnic music.European musical instruments were spread in Lithuania at the beginning of 16th – 17th cc. These instruments were adopted by Lithuanians from Poland or from Western Byelorussia, where the Catholic Church and strong traditions of Polish culture were prevailing. European folk dances were performed by the Lithuanians at the beginning of 18th – 19th cc., and the main part of these dances was spread to Lithuania from Poland. Noticeable part of folk dances repertoire consists of Polish dances. These new dances were lead by the music of the European instruments; it was the noticeable innovation, because until this period, Lithuanian games and round games, as well as in all the other nations of Europe, were performed by singing.We can notice less Polish influence in Lithuanian ethnic songs, while researching monody of Lithuanians and Poles is evident, that songs of this style of ethnic music of both nations were spread from Great Poland to Southern and Middle Lithuania, most probably, marking the common area of former culture of ethnic music. The roots of this former culture could reach the pre – historical times.Polish influence is evident in the traditions of co – called “literary” songs, which were popular in 19th – beginning of 20th cc., and in the repertoire of latest centuries of ethnic musical instruments.The ethnic music from Poland of the Additional service in Lithuania: devotions and songs of Advent Little hours of St. Mary the Virgin, devotions and songs of Mournful Whining and devotion and songs of the Žemaičių Kalvarija (Samogitia in Latin) – are the reflection of the Polish origin.In Poland and Lithuania from time immemorial on Advent Sundays, as early as before the sunrise, early Mass (Matins) has been held which begins with the words Rorate coeli and therefore it is called Rarotos (in Lithuania). Its origin in Lithuania is linked to Poland. Their basis was The Little hours of St. Mary the Virgin or Godzinki (in Poland). This cult has come to Lithuania from Cracow in the 17th century.The customs of Mournful Whining or Gorzkie Żale (in Poland) prayers and songs is known only in Lithuania and Poland. The liturgy of Rome does not have this customs. The earliest manuscript text of Gorzkie Żale was founded in Poland (Calvaria Zebrzydowska, War- saw) in 17th century. Having this religious practice originated in Poland, finally is spread in Lithuania as late as mid-19th century.The devotions and songs of the Žemaičių Kalvarija (Samogitia) are established by the model of Polish Calvaria Zebrzydowska. The cult of Žemaičių Kalvarija was born in 1637. Its religious ethnic music – the analogue Polish religious culture.Roots of the Polish influence arose not only because of the neighbourhood of the both nations, but also because of living in the common state and the same Catholic faith, which was one of the strongest common feature of the ethnic and musical culture of Lithuanians and Poles.
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Garcia, Marcelo Velloso, und Vítor Castelões Gama. „Brazilian native metal and the experience of transculturation“. Metal Music Studies 7, Nr. 1 (01.03.2021): 171–77. http://dx.doi.org/10.1386/mms_00041_1.
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Politics and identity go together in Brazilian heavy metal. Headbangers often experience accusations regarding their less-than-Latin-American identity for enjoying a foreign musical style more than their own native styles. Even though this is partially true, Brazilian heavy metal engages national and musical identity in at least two different ways. The first is through the denial of any connection to Brazilian culture and its roots by accepting this anglophone genre. The second is through the transformation of the musical genre itself, thanks to the influence of Brazilian folk music. Based on these changes, we intend to describe how Sepultura laid down the roots that eventually flourished in the music of Arandu Arakuaa, a band associated with a movement known as the ‘Insurgency of Native Metal’, which describes itself as a union of Brazilian metal bands that write and perform songs about their country. We will also delve into how Sepultura, a highly regarded group often added as part of the ‘big five’ of thrash metal, used this influence to pave the way for other Brazilian bands, specifically Arandu Arakuaa, encouraging them to explore further possibilities regarding transculturation. Thus, in this article we intend to contemplate transculturation as a theoretical concept and as a tool to understand Brazilian heavy metal within its contradictions and core beliefs.
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Szczepaniak, Colette, und Aleksander Cywiński. „Pedagogia intelektualisty publicznego na przykładzie życia i twórczości Gordona Matthew Sumnera (Sting)“. Parezja. Czasopismo Forum Młodych Pedagogów przy Komitecie Nauk Pedagogicznych PAN, Nr. 1(19) (2023): 67–78. http://dx.doi.org/10.15290/parezja.2023.19.06.
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G.M. Sumner (Sting) is a teacher and pedagogue by education. After a short period of schoolwork, he began a career as a professional musician. As a musician with pedagogical education (from the second half of the 1970s to the present day), he achieved significant successes in the artistic field, functioning not only in the real world but also in the digital world, thanks to the mediatized everyday life, currently existing in many different social media. We believe that Sting is a Public Intellectual not least because of the message his songs convey, but also because of his charity work and involvement in the social issues of the modern world. On the example of a few selected texts of his songs and his activities outside of music, we reconstructed his pedagogy, which has its roots in recognizing the importance of the relationship between man and nature.
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JOUBERT, ESTELLE. „SONGS TO SHAPE A GERMAN NATION: HILLER’S COMIC OPERAS AND THE PUBLIC SPHERE“. Eighteenth Century Music 3, Nr. 2 (September 2006): 213–30. http://dx.doi.org/10.1017/s1478570606000583.
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In this article I assert that our modern understanding of the singspiel as a genre has been shaped not by eighteenth-century principles but rather by nineteenth-century notions of ‘romantic’ German opera. In contrast to a later through-composed ideal, Johann Adam Hiller’s comic operas, often viewed as the prototype of the German comic genre, were designed precisely in order that the songs might easily be detached from the spoken dialogue, disseminated outside of the public opera house and sung by audiences in various other contexts. The express purpose of these songs, as articulated by librettist Christian Felix Weisse, was to promote communal singing in social circles across Germany. The genre was thus designed for circulation within what Habermas describes as the public sphere: a conceptual space between the State and the private home in which texts, ideas and musical works were circulated and debated.Composed in what was called the German Volkston (in the manner of the Volk), Hiller’s melodies are recorded as being sung and played throughout the streets and parks of major German cities and became so popular that they became known as folksongs. This idea of the Volk as a collective entity and of the Volkston, however, was rooted in a deeper sense of the public as nation. Inspired by Le devin du village and J. J. Rousseau’s writings on politics, language and the fine arts, Weisse and Hiller’s operas employ the pastoral mode, in which idealized peasants sing in the manner of a folksong. The idyllic simplicity of these early German-language comic operas appealed to a diversified German audience by affirming their roots, the public use of their language and their morally upright character as a nation. Thus comic opera as a genre was circulated within the public sphere with the intention of transcending the boundaries of social class to unite the German nation in song.
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Zhumagazin, Zhanbolat. „Evolution of opera at early stages of development as a musical theater“. Pedagogy and Psychology 42, Nr. 1 (30.03.2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.
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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.
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Butler, Mark. „Taking it seriously: intertextuality and authenticity in two covers by the Pet Shop Boys“. Popular Music 22, Nr. 1 (Januar 2003): 1–19. http://dx.doi.org/10.1017/s0261143003003015.
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When musicians ‘cover’ a previously recorded song, they provide an intertextual commentary on another musical work or style. This paper considers several ways in which such commentaries engage constructions of authenticity, focusing on two covers by the Pet Shop Boys: ‘Where the Streets Have No Name’, originally by U2, and ‘Go West’, first recorded by the Village People. I analyse the musical sound, performance style, and lyrical themes of each pair of songs, as well as the discourse surrounding their production and reception. I also consider how scholars have theorised authenticity in the interpretive traditions engaged by these songs. I argue that the Pet Shop Boys’ version of ‘Where the Streets Have No Name’ is subversive, poking fun at certain common ways of expressing authenticity in 1980s rock, while their cover of ‘Go West’ repositions disco - a genre that has widely been construed as inauthentic - as a type of ‘roots music’ for the gay community of the 1990s.
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Muntean, Loredana. „THEORETICAL PERSPECTIVE ON THE THERAPEUTIC ROLE OF CHILDREN'S FOLK SONGS“. Különleges Bánásmód - Interdiszciplináris folyóirat 6, Nr. 1 (30.03.2020): 75–81. http://dx.doi.org/10.18458/kb.2020.1.75.
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Starting from the idea that treating a problem is done more efficiently when we address the causes that generated it than when dealing with symptoms, respectively from theories that claim that most of the mental disorders have their roots in the mother-child relationship developed in the early childhood, through the paper entitled A Theoretical Perspective on the Therapeutic Role of Children's Folk Songs we intend to argue the more use of songs from children's folklore in music therapy. Thus, in the first part of the paper, we bring to the attention of the main theories that demonstrate the importance of the mother-child relationship from the early childhood in order to a healthy evolution of the child from the point of view of its psychic development, with special emphasis on their expression through vocal singing. In the second part of the study, we propose to approach the defense mechanisms from the perspective of the positive functions that it performs in the case of normal persons, as a defense mechanism and defense behavior. In the third part of the paper, we present an analysis of the repertoire of songs from the children's folklore from the perspective of the content of ideas, of the structure of the melodic line, of the specific rhythms, as a mirror of the relationships that children develop with themselves and with others, in particular with my mother. In the fourth part of the paper, we argue the use of songs from children's folklore in music therapy in order to trigger certain memories from the first childhood so that the traumas that have not been overcome are then treated properly. The paper concludes with some final considerations.
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Maneliuk, Oksana. „CHAPEL “BESKYD” (IVANO-FRANKIVSK CITY) – POPULARIZER OF LEMKO SONGS“. Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, Nr. 2 (23.05.2023): 24–33. http://dx.doi.org/10.25128/2411-3271.19.2.4.
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The article deals with the importance of Lemko folklore for the collective conducted by P. Cholovsky, the Honored Art Worker of Ukraine, Associate Professor of the Department of Folk Instruments and Musical Folklore at the Institute of Arts of the V. Stefanyk Precarpathian National University. The place of Lemko folklore in the Ukrainian musical and ethno-cultural space was described and multi-genre models of the choral repertoire, which is a vivid expression of the Lemko “soul”, were analyzed. The creative figure of P. Cholovsky as an arranger of Lemko songs and his creative work was investigated. The cultural heritage of the Lemko subethnos, widely presented in Ivano-Frankivsk, remains a “blank spot” in Ukrainian music regionalistics, Ukrainian musicology, as the merciless deportations of this group of the Ukrainian people have negatively impacted the elevation of their spiritual life. And although, such phenomena usually lead to the loss of roots or creative achievements, it is not the case with Lemkos who from the beginning have developed and cultivated their songs, dances, national costumes, etc. F. Kolessa, O. Rоzdolsky, O. Kolberg, V. Hnatyuk, Ya. Golovatsky resorted to the study of Lemko folklore. However, not so many scholars investigate this topic nowadays, in particular, there is no thorough research on the place of the Lemko song in the repertoire of Ivano-Frankivsk choir collectives. The first written mention of Lemko roots dates back to the 16th century. Lemkos are one of the multinational minorities of the Carpathian Region, who lived and worked on the hillsides of the Low, Middle and Western Beskyds. Today this territory belongs not only to Ukraine, but also to Poland and Slovakia. The Lemko culture is a sub-ethnic part of the Ukrainian folklore. Lemkos’ musical art synthesizes Polish, Slovak, Hungarian and Ukrainian cultures. To preserve the original artifacts of the Lemko culture and unite the scattered families, Lemko public organizations were founded in Galicia in the late 20th century. This process was facilitated by the positive changes in the political and cultural life of Ukraine, achieving the state’s independence in particular. In 1990, the center of the society “Lemkivshchyna” was created in Ivano-Frankivsk thanks to the support of the ardent patriot, pedagogue, linguist P. Pyrtei, and, in 1991, Lemkos of Kalush, Rozhnyativ, and Ivano-Frankivsk united into the regional social and cultural society “Lemkivshchyna”. The All-Ukrainian Society “Lemkivshchyna” appeared in Lviv in 2001. These societies became the centers of Lemkos’ cultural life on the territory of Carpathian region, and primarily artists gathered there, they contributed to the organization of creative groups – ensembles, choirs, music and choreographic groups. The “Beskyd” choir, founded in 1991 on the initiative of Ivanna Senko, the graduate of Petro Tchaikovsky National Music Academy of Ukraine, teacher of Denys Sichynsky Music College of Ivano-Frankivsk, was among such artistic organizations. Orest Turko, who was also a Lemko descendant, became the conductor of the choir. Later on, “Beskyd” was given the title of “amateur folk choir” (1995) due to the persistent and hard work of the collective and its conductor and owing to their high performing level. At present, the “Beskyd” choir of Ivano-Frankivsk Region Society “Lemkivshchyna” is an active promoter of the Lemko song in the Carpathian region. Its creative and concert palette is quite extensive, it is well-known in Europe, it actively concerts in Ukraine and neighboring states. Thanks to the great creative potential and professionalism of Maestro P. Cholovsky, the Lemko song in the activity of the choir, became the light for the restoration of the Lemko culture, language and songs in the Carpathian region. The collective firmly states that the Lemko song is one of the greatest and most interesting strata of the Ukrainian folklore, which should occupy an honorary place in the folklore hierarchy.
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BODURIAN, Agota. „The evolution of Armenian liturgical music“. Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), Nr. 1 (20.06.2020): 39–48. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.4.
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"The purpose of this paper is to briefly outline the evolution of Armenian music, from Antiquity to the nineteenth century. The troubled history of the Armenian people defines to a great extent the way the arts have developed, and also the way that vast and rich culture that characterizes the Armenian people, spread throughout the world, has formed. Starting from the earliest roots of music, our study follows the path of the different secular and liturgical genres, which developed in close correlation over the centuries. The paper presents the local traditions and the influences of the peoples with whom the Armenian people came in contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the development of the musical art. At the same time, we discuss some fragments / texts from the first songs that were preserved from the ancient times, as well as the troubadours of the Armenian Middle Age; we mention the most famous scholars and composers and to the founding of the first universities and present in a concise manner the first attempts of an Armenian music notation system. The paper - as mentioned before - presents only briefly this vast and very interestin g topic, and the in-depth study of the problem is to be carried out in the continuation of the doctoral studies."
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Sanfratello, Giuseppe. „A Byzantine Chant Collection From Sicily. A Cοllaboration Between Cοpenhagen and Piana degli Albanesi (Palermo)“. Kulturstudier 7, Nr. 1 (14.07.2016): 80. http://dx.doi.org/10.7146/ks.v7i1.24055.
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The aim of this paper is to give an account of the collaboration between a collector of the Byzantine chant tradition of Piana degli Albanesi (Palermo) in Sicily, namely fr. Bartolomeo Di Salvo, and the editorial board of the Monumenta Musicae Byzantinae, i.e. an institution under the aegis of the University of Copenhagen. Before describing precisely how this collaboration has developed, I will briefly introduce the “Sicilian-Albanian” oral liturgical chant tradition. Among his publications are Oral performances in a (post)-literate society (Lund, 2016), The songs of the roots (forthcoming chapter on Cretan music, University of Vienna), Creative performance in the liturgy: a formulaic melodic language in the Sicilian-Albanian chant tradition (forthcoming, University of Joensuu, Finland), and several articles as chapters of his doctoral thesis.
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Weinreich, Matthias, und Mikhail Pelevin. „The Songs of the Taliban: Continuity of Form and Thought in an Ever-Changing Environment“. Iran and the Caucasus 16, Nr. 1 (2012): 45–70. http://dx.doi.org/10.1163/160984912x13309560274055.
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AbstractThe second half of the 1990s saw the emergence of a new, distinctive type of Afghan poetry, the Taliban tarana performed in Pashto by one or more vocalists without instrumental accompaniment and characterised by the melodic modes of local folk music. Over the last fifteen years the tarana chants have gained wide distribution within Afghanistan and Pashto speaking parts of Pakistan, as well as among the Pashtun diaspora. Considering their unambiguous ideological status and their immense popularity within the country of origin they can be regarded as the signature tune of the Afghan insurgency. The present article, which focuses on the literary roots of these songs, attempts to demonstrate that their authors are following century old patterns of Pashto oral and written poetry while adopting traditional material to the needs and the milieu of contemporary Afghan society. The publication is supplemented by a transcription and English translation of five tarana chants.
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Bohlman, Andrea F. „Solidarity, Song, and the Sound Document“. Journal of Musicology 33, Nr. 2 (2016): 232–69. http://dx.doi.org/10.1525/jm.2016.33.2.232.
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This essay offers a media archeology of the cacophonous sounds and songs of the occupational strikes at the Lenin Shipyards in Gdańsk, Poland. Political action over the course of August 1980 led to the formation and legalization of Solidarity, the first independent trade union behind the Iron Curtain. The Polish case study provides a model for the study of music and political activism that brings together history, sound, and music studies, and prompts a broader examination of listening, singing, and collective action. In their immediate wake, the successful protests stimulated celebration, critical analysis, and documentary effort. Across the initial written, recorded, and filmed accounts of the strikes, I observe a pervasive effort to invest sound with the power to authenticate these records as grass-roots history. Such chronicles, which I theorize as “sound documents,” draw attention to the important yet multivalent presence of sound and music in the project of collective opposition to state socialism in Poland through the 1980s. Two ambitious sound documents—an eclectic almanac and a radio montage—form the basis of a variegated account of the highly mediatized soundscape of the Polish strikes. They reveal the significance of anthems and simultaneously underscore the lack of sonic coherence in Gdańsk. Through the sound document, music emerges as a crucial tool through which to rethink and reconfigure the cultural history of collective action.
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Cooper, B. Lee. „Rock; Greatest Hits; Songs Our Daddy Taught Us: A Journey into the Roots of the Everly Brothers … and American Music“. Rock Music Studies 3, Nr. 1 (17.07.2014): 122–24. http://dx.doi.org/10.1080/19401159.2014.939454.
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Rahmawati, Aulia, Syafrida Nurrachmi Febriyanti und Ririn Puspita Tutiasri. „Young, Noisy and Angry: Voice of Baceprot and Feminism in Metal Band“. Journal of Gender, Culture and Society 3, Nr. 2 (13.11.2023): 55–63. http://dx.doi.org/10.32996/jgcs.2023.3.2.5.
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This paper examines the significance of the Indonesian all-female teenage metal band Voice of Baceprot (VoB) in spreading messages of empowerment and social change through music. Drawing on feminist critical discourse analysis and textual analysis, this study analysed four VoB song lyrics. The analysis reveals three central themes in VoB music: resisting systemic oppression of women, advocating for freedom of self-expression and identity, and voicing sociopolitical criticism. This paper argues that VoB’s lyrics portray empowerment as exposing and dismantling the prejudicial roots of injustice, making space for marginalised voices, and demanding human rights and equity as lived realities. The VoB suggests that empowerment requires transgressing societal constraints to integrate identity into one’s own terms. As hijabi women perform metal music, the VoB signifies the radical possibilities of claiming space through art and courage. Their songs convey that empowerment starts by refusing control and determining one's path. Despite receiving some criticism regarding the inappropriateness of Muslim women playing in a metal band, the VoB's success illuminates the possibility of change through grassroots efforts. The paper concludes that VoB's lyrics envision alternative futures by advocating justice, equality, and empowerment. Their messages make empowerment possible by calling for oppression and creating space for marginalised voices. VoB represents hope for change, driven by creativity and perseverance.
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Mukherjee, Kamalini. „Bangla Rock: exploring the counterculture and dissidence in post-colonial Bengali popular music“. International Journal of Pedagogy, Innovation and New Technologies 4, Nr. 2 (28.12.2017): 35–47. http://dx.doi.org/10.5604/01.3001.0011.5843.
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This paper is an attempt to explore the politics and the poetics of vernacular music in modern Bengal. Drawn from extensive and in-depth research into the current “scene” (as popularly referred to in the musician and music lover circles), this paper delves into the living histories of musical and linguistic revolutions in a part of India where the vernacular literature has been historically rich, and vastly influenced by the post-colonial heritage. The popular music that grew from these political and cultural foundations reflected its own pathos, and consecutively inspired its own form of oral tradition. The linguistic and musical inspirations for Bangla Rock and the eventual establishment of this genre in a rigidly curated culture is not only a remarkable anthropological case study, but also crucial in creating discourse on the impact of this music in the creation of oral histories. This paper will discuss both the musical and the lyrical journey of Bengali counterculture in music, thus in turn exploring the scope of Bangla – as in the colloquial for Bengali, and Rock – the Western musical expression which began during the 50’s and the 60’s (also populist and political in its roots). The inception of this particular political populist narrative driven through songs and music, is rooted in the Civil Rights movement, and comparisons can be drawn in the ‘soul’ of the movements, though removed both geographically and by time. Thus this paper engages with the poetics of Bangla Rock, to understand the marginal political voices surfacing through alternative means of expression.
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Morgan, Elizabeth. „Combat at the Keys: Women and Battle Pieces for the Piano during the American Civil War“. 19th-Century Music 40, Nr. 1 (2016): 7–19. http://dx.doi.org/10.1525/ncm.2016.40.1.7.
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During the American Civil War, women in the parlor imagined life at the front through music, playing pieces and singing songs on topics related to the conflict. Among the genres that they performed were battle pieces for the piano, episodic works that depict incidents of battle and their outcome in victory. These pieces constituted a genre that had long been a favorite of female amateur performers, their lineage beginning with Frantisek Kotzwara's 1788 Battle of Prague, which remained steadily popular throughout the nineteenth century. This article examines Civil War battle pieces by tracing their roots to Kotzwara's famous piece. By constructing a reception history of that work as it appears in nineteenth-century literary sources, the article retrieves some alternatives to the abundant satirical readings of the Battle of Prague in period fiction. It suggests that Civil War battle music played several important roles in the lives of its players. The music invited women to imagine and embody the conflicts on the battlefield, to challenge society's expectations of women as both pianists and as contributors to the war effort in public capacities, and to reflect on the costs of the war. The article goes on to examine a battle piece by a female composer and to consider amateur women's performances of battle repertoire during the war years. Finally, drawing inspiration from the accounts in fiction of Kotzwara's Battle of Prague, it concludes by imagining a woman's performance of a battle piece on the heels of the Battle of Gettysburg.
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Chomsky, Aviva. „Rewriting Gender in the New Revolutionary Song“. Radical History Review 2020, Nr. 136 (01.01.2020): 142–55. http://dx.doi.org/10.1215/01636545-7857319.
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Abstract This essay examines the meanings of gender in the music of Cuba’s Nueva Trova, an important expression of what came to be known as the Nueva Canción (New Song) that flourished throughout Latin America between the 1960s and the 1980s. The continent-wide movement sought to challenge the commercialization of the airwaves by raising profound, revolutionary, and deeply Latin American themes while revaluing traditional instruments and styles. Music played an important role in articulating a rejection of capitalist and colonial values, a turn to popular and indigenous roots, a commitment to continent-wide revolution, and a vision of a better world. Through festivals, gatherings, and conferences, mass concerts and radio, international travel, and, under dictatorship, clandestinely circulated cassette tapes, the Nueva Canción exemplified a generation’s search for multiple meanings of liberation. In participating in radical critiques of Latin America’s social order, the Nueva Canción rewrote gender norms embedded in society and its music. Revolutionary singer-songwriters explored the meanings of human emancipation in ways that challenged traditional gender roles and ideologies. Political, personal, and love songs upended gender stereotypes to offer new, revolutionary meanings to romantic love. Songwriters linked the Cuban Revolution to other Latin American revolutionary processes and imagined how the new society would liberate the human spirit and human potential. Socially committed art reflected, explored, and contributed to imagining the new world, and reimagining gender played a role in the process and in its music.
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Jaime, Karen. „“I’m A Stripper, Ho": The Sonics of Cardi B’s Ratchet, Diasporic Feminism“. Performance Matters 8, Nr. 1 (09.06.2022): 83–96. http://dx.doi.org/10.7202/1089680ar.
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In this article, the author attends to how performer Cardi B employs urban vernacular aesthetics to articulate a ratchet, diasporic feminism. Beginning with her early Instagram videos and participation in Love and Hip Hop: New York and followed by her commercially successful song “Bodak Yellow,” Cardi B mobilizes her work between diverse musical genres and sonic registers, challenging listeners and the music industry to find room for the particularities of her ethnic and racial identity and the type of feminist practice she lyrically articulates. The author interrogates how Cardi B’s chart-topping songs, Instagram videos, and interviews on talk shows and online operate as sonic strategies that challenge, disrupt, and reject respectability politics. In turn, the author highlights how Cardi B engages with gender, class, and sexuality, proudly claiming her positionality as a former erotic dancer/stripper in order to craft a sonic narrative, framing her current success as predicated on her diligent work ethic and immigrant roots.
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Watulo, Aggrey Wafula. „Figurative language and Symbolism Manifested in Bukusu Cultural Songs and Proverbs“. Sociometry Journal of Social Science, Art and Humanity 1, Nr. 1 (31.07.2021): 26–34. http://dx.doi.org/10.24127/sociometry.v1i1.1342.
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The paper investigates the place of song, dance and proverbs as manifested in selected cultural practices of Bukusu community. Song, dance and proverbs are notoriously utilized with each having roots and a focus to a specific event. The objective of the study include the role, occasion and function of such markers of culture that have been utilized during crowded festivities despite the Covid 19 pandemic. In light of this, the proposition made is that language and culture have a close interplay and promote social ties hence maintaining societal cultural festivities like marriage, burial, circumcision just to list a few. The trajectory created in such rich cultural festivities has been thwarted by the pandemic. Amid the pandemic, such manifestation of cultural rights are promoted either publicly or in hideout in a number of homes to ensure that culture is passed from one generation to the other. The argument raised in view of this, is one that ensures that culture is promoted through linguistic ability, oratory skills, song, music and dance with an aim of creating a cohesive society hence building a rich cultural society. Culture is communicated through literary and linguistic tools such as proverbs, song, symbolism and propaganda. Coupled with a myriad of cultural activities among the community the paper forms a base for an analysis of selected festivities that have gained prominence amid the ravages of the pandemic. The study adopts convenience sampling technique to identify subjects. Data was collected through participant observation and focus group discussion of the cultural activities within Bungoma County. The participants were drawn from notorious villages that have continuously promoted the cultural festivities through crowds despite the escalating numbers of Covid 19 victims. The data will be analyzed descriptively.
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Burtsev, Mуkyta. „Christian images in chamber vocal music of Western Europe of the 19–20th centuries“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, Nr. 66 (09.04.2023): 27–41. http://dx.doi.org/10.34064/khnum1-66.02.
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Statement of the problem. The development and popularization of vocal genres in performance practice of the 19th century was accompanied by a tendency to move liturgical singing to concert halls. Its consequence was the appearance of a new genre variety – “sacred song”. This is a chamber composition for the voice and piano with a brightly pronounced sacred meaning of the poetic base (sometimes borrowing texts from the Bible). Despite the fact, that vocal music was dominated by secular themes at that time (sometimes even demonic, as evidenced by the popularity of the image of Mephistopheles), religious spirituality remained in a place of honour and had an important mission. Carl Dalhaus explained the departure of the Church from the “mainstream” of musical history in the 19th century as follows: “...the sociopsychological roots of the ideal of church music as an escape from the world can be seen in the bourgeois tendency to separate these two spheres and drive religion into the ghetto, thus protecting it from ‘reality’ and, at the same time, not allowing it to interfere with this reality” (Dalhaus, 1989: 179). Thus, the tendency to hide religion from life into a “reserve” had a significant impact on the sacred music of the 19th century. However, composers who appealed to divine meanings in their compositions acted contrary to this tendency. The essence of romanticism required a personal experience of religious feelings passed through the “crucibles” of one’s own experience, and this is what endowed spiritual genres with a missionary role in the art of the society of that time. Objectives, methods, and novelty of the research. Elucidation of Christian meanings in the chamber vocal genre is a new and understudied musicological problem. Although the works of L. Beethoven, F. Schubert, A. Dvořák, J. Brahms, and R. Vaughan-Williams considered in the article are well-known and in the repertoire, scientific works very rarely focus specifically on the Christian content of these songs and vocal cycles. The purpose of the research is to trace Christian meanings in the chamber vocal work of prominent Western European composers of the 19th–20th centuries. The application of the historiographical method highlights the retrospective of development of the chamber-vocal music of Western Europe of the 19th–20th centuries; the genrestylistic method allows to reveal the characteristic features of the composer’s interpretation of religious images; the textological one reveals the linguistic features of the selected samples; the performance analysis defines the specific creative tasks facing the singer. Research results and conclusion. The practical result of the research should be an increase in the level of awareness of the performers regarding the substantive and stylistic components of the composer’s idea in order to create an interpretation adequate to it. Based on the analysis of selected chamber and vocal works with Christian themes, their typology is proposed, which depends mainly on the text used. The first type is songs based on Biblical texts (psalms or direct quotations of fragments of the Old and New Testaments), which imitate the style of church chants (F. Schubert’s “Evangelium Johannis”, A. Dvořák’s 10 “Biblical Songs”, J. Brahms’s “Four Serious Songs”). The second type is the lyrics of the hymn on verses glorifying God, which can be used at divine services. Songs of this type quite often contain quotations from church music (L. Beethoven’s “Bitten”, “Die Liebe des Nächsten”, “Vom Tode”, “Die Ehre aus der Natur” and “Gottes Macht und Vorsehung”, F. Schubert’s “Das grosse Halleluja”, R. Vaughan-Williams’s “Easter”, “The call” and “Antiphone”). The third type includes chamber-vocal works on lyrical texts of an intimate, reflective nature, where confession, human communication with God, and philosophical questions are present (L. Beethoven’s “Buβlied”, F. Schubert’s “Im Abendrot”, R. Vaughan-Williams’s “I Got Me Flowers” and “Love Bade Me Welcome”). The development of a typology of chamber-vocal works of Christian themes seems necessary to facilitate the creative work of vocalists-interpreters, which should meet the modern level of requirements for the general culture of musical performance.
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Spyra, Piotr. „Religijne inspiracje w twórczości muzyków jazzowych“. Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, Nr. 2 (12.01.2017): 119. http://dx.doi.org/10.17951/l.2016.14.2.119.
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<p>The main purpose of the dissertation is an attempt to answer the question of how religion inspired and still inspires the works of jazz musicians. Some people think that jazz and religion have nothing in common or even that they are in opposition. The present article tries to show that this common way of thinking is not correct: jazz grew from religious music, and owing to its creative freedom (improvisation) it can be very a good way of expressing religious feelings. The thesis consists of two major parts. The first part contains an attempt to systematize the relationship between music and religion. Relying on the knowledge about ethnography and religion, the author discusses the subordinate role of music in relation to religion. The next chapter presents the most important philosophical and theological attempts to explain the phenomenon of music. The last chapter is devoted to the presentation of the religious roots of jazz. The second part discusses the works of selected jazz musicians in the context of different religions. Featured here are the following faiths: Christianity, Islam, Buddhism, Hinduism, Scientology and some original religious systems. At the end of the paper there is a summary. The author proves that over the centuries religion has accompanied and inspired the works of the most famous musicians who have gone down in history as outstanding jazz musicians. Many of them openly declared their faith, thanked God on CD’s, in interviews, in the titles of songs. Many of them created forms associated with religious (sacred) music. Others sought in the spiritual world their identity, sources of their talent and mystery of making music, and some were inspired by selected aspects of religion.</p>
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KELL, JODIE, und STEVEN GAGAU. „Songs of the Solomon Islands. 2017. A Tree With Roots Music. Recorded and produced by Andrew Murphy and David Bettencourt. Accompanied by video report available at https://atreewithrootsmusic.wordpress.com/. CD, 21 tracks (61:03).“ Yearbook for Traditional Music 53 (Dezember 2021): 181–83. http://dx.doi.org/10.1017/ytm.2021.18.
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Edwards, Leigh H. „The Songs of Jimmie Rodgers: A Legacy in Country Music by Jocelyn R. Neal�Meeting Jimmie Rodgers: How America's Original Roots Music Hero Changed the Pop Sounds of a Century by Mazor, Barry“. Journal of Popular Music Studies 22, Nr. 1 (März 2010): 111–14. http://dx.doi.org/10.1111/j.1533-1598.2010.01227.x.
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Purik, Elsa E., Marina G. Shakirova, Mars L. Akhmadullin und Vilur R. Shakirov. „The Melody of Form and Space: Music as a Source of Inspiration“. ICONI, Nr. 2 (2020): 97–107. http://dx.doi.org/10.33779/2658-4824.2020.2.097-107.
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The article is devoted to the artistic legacy of Bashkir sculptor Ruslan Nigmatullin, one of the leading masters of contemporary visual arts in the republic. The relatedness of artistic expressive means of music with those in the plastic arts, their expressive elements become more apparent in the comparison of music and abstract art in the process of generation of the artistic image. The authors examine the artist’s oeuvres in the context of the particularity of sculpture as a peculiar art which requires from the viewer the knowledge of the laws of artistic form-generation and an understanding of their language, based on such elements as mass and space. The article presents an analysis of the artist’s works made of stone, metal or wood, while the artist himself sees their source as being connected with music. During the course of his entire artistic path Ruslan Nigmatullin has created sculptures in different directions: realism, decorative plastic and abstract art. The master’s art works, according to the authors of the article, are all unified by an inner figurative idea: when looking at the sculptor’s works it is possible to observe their inherent qualities: contemplation, abstraction and pure sound — natural, ethnic and sometimes purely songrelated, enhancing their relatedness to music. The artist considers one of the sources of his inspiration to be the historical Asian melodies, which share common roots with the ethnic music of the Bashkirs, Kazakhs and Tuvans. The authors provide an analogy between the folk songs of these peoples and their instrumental tunes, the latter being marked with a concise, measured rhythmic structure, and the artist’s works, his ability to create new forms, frequently just as abstract as the melodies with which it is associated.
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Di Santo, Federico. „Sull’origine della poesia romanza: ipotesi andalusa e mediolatina alla luce del rapporto fra rima e melodia“. Zeitschrift für romanische Philologie 135, Nr. 2 (05.06.2019): 535–82. http://dx.doi.org/10.1515/zrp-2019-0029.
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AbstractWithin the long-standing, and yet still lively debate over the origin of Romance poetry in general, and of regular rhyme in particular, one key element appears to have been often overlooked: music. Although it is very well known that Troubadour lyric poems were meant to be sung, their melodic form has so far indisputably been considered to be independent from the formal structure of the texts. However, a radical reconsideration of this common belief, based on a brand-new approach that takes orality into account, leads to the opposite conclusion that regular rhyme schemes, at their origins, were indeed closely related to the musical form of the songs. Linking rhymes to music may therefore represent a potentially decisive argument in the quest for the origin of Romance lyric poetry. For, even if rhymes and rhyme schemes may be found in many different and independent literary traditions, their structural relation to musical form is by far much rarer, hence offering a much more specific hint about the origin of Vernacular lyric forms, which are based on regular rhyme schemes. Tracing this metrical-musical technique back to its roots, may validate once and for all one of the two main theories competing around the origin of Vernacular lyric poetry, namely the Medieval Latin and the Andalusian Arabic theory.
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Harris, Rachel. „China's New Voices: Popular Music, Ethnicity, Gender, and Politics, 1978–1997. By Nimrod Baranovitch. [Berkeley, Los Angeles and London: University of California Press, 2003. xiv+332 pp. £16.95; $24.95. ISBN 0-520-23450-2.]“. China Quarterly 178 (Juni 2004): 518–19. http://dx.doi.org/10.1017/s0305741004270291.
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An enjoyable overview of the world of pop, rock and politics in Beijing, accessible for students of Chinese culture and popular music studies. This is an area that has been exceptionally well covered in the literature, and Baranovitch's claim to originality lies mainly in his focus on ethnicity and gender. The overview of the development of pop from 1978–97 does a useful job of drawing together the various strands, though most of this is very familiar from the writings of Geremie Barmé, Andrew Jones et al. We begin with the introduction of Gangtai (Hong Kong and Taiwan pop) to the mainland, led by Deng Lijun whose ‘coquettish nasal slides,’ Baranovitch rightly suggests, were more truly subversive in China in 1978 than any of the subsequent rock and punk styles. Baranovitch chronicles the rise of the xibeifeng, the Shaanbei folk-infused rock style, linking it into the xungun roots movement and Tiananmen. An interesting section on qiuge or ‘prison songs,’ popular in 1988, explores somewhat less well-known territory. We follow the rise of the commercial, the karaoke craze and Mao fever, and the co-option of at least some of the rebellious rockers by the state. Baranovitch enthusiastically reveals the significance of music in the political arena, and its ability to prefigure, even shape the political.
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Osameka Oyindamola Mercy und Eze Mabel Nkechinyere. „The Influence of Western Drama on Contemporary African Drama“. International Journal of Sustainable Applied Sciences 2, Nr. 3 (01.04.2024): 185–98. http://dx.doi.org/10.59890/ijsas.v2i3.1481.
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African drama is generally believed to find its roots in the tradition and culture of the African society such as the celebration of the new yam festival (festivity) the display of masquerade, religious rituals, and the moonlight story (storytelling) therefore, African drama has been in existence before the emergence of the colonialism, African drama existed in form of action, through music and dance that was ritualized to express emotions such as terror, passion, and love. These actions were imitations of what the people wanted to happen so if they wanted to kill an enemy they would act out the process, religious and magical rituals were used and combined with dance and songs, with the emergence of Western drama which was brought through colonization, African drama became modernized to scripting of drama, use of language satirical plays, use of a curtain, theatre of the absurd, during colonialism, African drama such as the religious ritual was seen as a barbaric act by the colonial masters. The influence of this Western drama on African drama gave birth to what we call contemporary African drama. As we read the background and other parts of this paper we will understand the influence of Western drama on contemporary African drama.
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Kumar, Om Prakash, und Amit Soni. „Socio-Cultural Lifestyle of Tri-Natives: Gond, Bhil and Santhal“. Indian Journal of Research in Anthropology 8, Nr. 2 (26.02.2023): 97–105. http://dx.doi.org/10.21088/ijra.2454.9118.8222.5.
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Tribal lifestyle is deeply associated with their culture, art and craft. A larger mass of tribal people live in rural areas. In central India, the area of Vindhya, Satpuda and Aravali Mountain ranges, starching from east to west in the states of West Bengal, Orissa, Jharkhand, Telangana, Chhattisgarh, Madhya Pradesh, Maharashtra, Gujarat and Rajasthan form a big tribal belt. Gond, Bhil and Santhal are the three biggest tribal communities residing in this central tribal region of India. These three dominating groups are comparatively developed then other tribal groups of the area, though their overall economy is still based on agriculture and labor work resulting in economic backwardness. But, new generation is gradually, getting educated and exposed to salaried jobs and modern technology. Due to better communication, exposure, marketization and modernization their culture is changing with time and need. Though, they have strong bond with their indigenous culture, religion and art, which has kept their tradition and lifestyle intact with relevant changes. But, changing lifestyle and economy has affected their art and craft. Themes, raw material and technology are changing their forms, symbols and patterns. Paintings have shifted from walls to canvas and taken professional shape. Festive and regular enjoyment with dance and music had developed as stage performance. But, they have not at all lost touch with their roots and cultural awareness is again revitalizing their bond with traditional dance, music and other art and craft forms. Celebrations are still celebrated with tribal songs and dances within the village's open courtyard. There are also several cultural and culinary habits, languages, social structures inclusive of marriage, and varieties of consciousness.
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Gelažiūtė-Pranevičienė, Eglė. „Shifts in Authenticity: Electronic Dance Music as Environment for Contemporary Folklore Forms“. Tautosakos darbai 61 (01.06.2021): 122–40. http://dx.doi.org/10.51554/td.21.61.05.
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The article discusses the most prominent creators of the Lithuanian post-folklore electronic music and their stylistic uniqueness, mainly focusing on the Electronic Dance Music (EDM) branch. An important fact is that the authors tend to create full-length music albums rather than single songs, thus emphasizing their conscious choice, constant and consistent activity. The two fields – modern and old – expand each other, attracting regular listeners with new expressions, thus continuing the development of folklore and enriching electronic music with cultural values and identity. Authentic folklore and its modernized forms do not overshadow each other and are often practiced in parallel.Electronic post-folklore music could be stylistically divided into EDM, ambient, and experimental subgenres. All of them often intertwine and shall be assigned to a genre depending on what prevails in the sound. Typically, folksongs are used in electronic dance music in two ways: by including an authentic sound recording or a folksong performance by contemporary singers. The second direction prevails, with the folklore content reaching the listener with a slightly altered timbre, depending on whether the singer is practicing authentic folklore or not.The stylistics of electronic music in each case reflects the author’s musical inclinations. The majority of the above-mentioned composers consistently work with at least one or more other musical styles, play more than one live instrument, often have their own recording studios. Due to its stylistic and structural agility, the only obligatory elements being the percussion and bass lines, electronic dance music can be very easily combined with basically any other material, in this case, folksong, without disrupting its integrity.The folksong is usually performed unchanged, maintaining its structure, melody, and text, with a minimum of “stretching” the rhythm, so that the song can be “loaded” into the aligned structure of the contemporary music. Harmony and the rhythm of EDM are essential factors (and thus variables) that point the direction and surprise the listener with new outcomes.Post-folklore dance music is expressed in various genres, combining folklore with dub, techno, house, trance, triphop, big-beat, and other styles, emphasizing the rhythmic and bass part, and improvising with the ethnic material. The works are usually based on consistent internal development, rather than on specific song forms typical of, for example, modern popular dance music, without overloading the pieces with sound layers, allowing each of them to unfold. Folksongs or their motifs appear as the main material, but instrumental folklore music or its recordings are not used – sometimes the whole of electronic music is supplemented with folk instruments while performing contemporary music part.Such music is especially welcome at festivals, intellectual music parties, listened to on digital music platforms, thus bringing the old culture closer to a modern human, creating conditions both for experiencing new expressions of folklore and becoming interested in authentic ethnic culture, returning to the roots, and learning the “pure” folklore.