Journal articles: 'Folk music'

1

Hagstrom, Kristina, and Anna Frisk. "Musica Sveciae--Folk Music in Sweden." Ethnomusicology 41, no. 3 (1997): 579. http://dx.doi.org/10.2307/852773.

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Hauser, Michael. "Folk Music Research and Folk Music Collecting in Greenland." Yearbook for Traditional Music 25 (1993): 136. http://dx.doi.org/10.2307/768690.

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3

Wolffenbüttel, Cristina Rolim. "Music Education and Folk Music." International Journal of Social Science Studies 9, no. 1 (December 28, 2020): 64. http://dx.doi.org/10.11114/ijsss.v9i1.5114.

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This essay deals with aspects related to folk music and its insertion in music education, considering the possibilities that the pedagogical-musical work, in dialogue with the teaching of music can bring. It also presents some suggestions for activities, both in Basic Education and in a more specific work with music teaching, as in schools specialized in this teaching. Focusing on folklore and its importance in people's lives and teaching, the essay proposes the use of various folk music genres, weaving historical and musicological explanations, in order to support the planning of possible pedagogical-musical activities.

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Vennum, Thomas. "Swiss Folk Music." Journal of American Folklore 101, no. 400 (April 1988): 233. http://dx.doi.org/10.2307/540112.

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Krader, Barbara, Tiberiu Alexandru, and Constantin Stihi-Boos. "Romanian Folk Music." Yearbook for Traditional Music 19 (1987): 121. http://dx.doi.org/10.2307/767882.

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Harnish, David, Jacques Brunet, and Hgac Him. "Bali: Folk Music." Ethnomusicology 34, no. 3 (1990): 496. http://dx.doi.org/10.2307/851645.

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7

Ógáin, Ríonach Uí. "Folk Music Journal." Béaloideas 54/55 (1986): 309. http://dx.doi.org/10.2307/20522304.

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Madagáin, Breandán Ó. "Folk Music Journal." Béaloideas 58 (1990): 236. http://dx.doi.org/10.2307/20522368.

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9

Schaub, Jacob. "Folk Music Index." Music Reference Services Quarterly 16, no. 2 (April 2013): 116–17. http://dx.doi.org/10.1080/10588167.2013.783364.

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10

Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (April 14, 2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language. Abstract in Hindi Lanaguage: लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है। Keywords: लोक संगीत, कजरी, लोक वाद्य

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11

Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.

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12

Dodd, David, Larry Sandberg, and Dick Weissman. "The Folk Music Sourcebook." Notes 47, no. 3 (March 1991): 790. http://dx.doi.org/10.2307/941912.

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13

Loutzaki, Irene. "Greek Folk Dance Music." Yearbook for Traditional Music 26 (1994): 168. http://dx.doi.org/10.2307/768264.

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14

Blount, Gilbert L., Leonardo D'Amico, and Francesco Mizzau. "Africa-Folk Music Atlas." Notes 55, no. 2 (December 1998): 441. http://dx.doi.org/10.2307/900207.

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15

Avorgbedor, Daniel K., Leonardo D'Amico, and Francesco Mizzau. "Africa: Folk Music Atlas." International Journal of African Historical Studies 32, no. 2/3 (1999): 569. http://dx.doi.org/10.2307/220440.

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Phillips, Mike, and Craig Harris. "The New Folk Music." Notes 49, no. 2 (December 1992): 634. http://dx.doi.org/10.2307/897954.

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17

Vandermeer, Philip, and Kip Lornell. "Introducing American Folk Music." Notes 50, no. 3 (March 1994): 991. http://dx.doi.org/10.2307/898573.

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18

Borel, François, Leonardo D'Amico, and Francesco Mizzau. "Africa: Folk Music Atlas." Cahiers de musiques traditionnelles 12 (1999): 207. http://dx.doi.org/10.2307/40240352.

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19

LORNELL, KIP. "Folk and Traditional Music." Journal of the Society for American Music 9, no. 4 (November 2015): 485–90. http://dx.doi.org/10.1017/s1752196315000413.

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In May 2014, then book review editor John Koegel asked if I wanted to be part of the team of eight scholars with varied interests and specialties to review the second edition of The Grove Dictionary of American Music (hereafter AmeriGrove II), edited by Charles H. Garrett (what a Herculean task!) and published by Oxford University Press in 2013. Specifically, John wondered if I would be “willing to review the coverage of American traditional music.” As one who has used and appreciated the first edition of this monumentally ambitious work, I was curious to see the updated edition, so the next day I naively wrote back, “This sounds interesting, and I'll take on the assignment.”

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20

Neeley, Paul, Leonardo D'Amico, and Francesco Mizzau. "Africa: Folk Music Atlas." Ethnomusicology 44, no. 1 (2000): 174. http://dx.doi.org/10.2307/852667.

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21

Manard, Krista Delany, and Joseph R. Coelho. "Insects in Folk Music." American Entomologist 65, no. 1 (2019): 61–65. http://dx.doi.org/10.1093/ae/tmz008.

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22

Leary, James P. "Folk Music from Wisconsin." Journal of American Folklore 120, no. 475 (January 1, 2007): 76–77. http://dx.doi.org/10.2307/4137865.

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23

A., Yuldashev, Azizov S., and Boboyev V. "A LOOK AT THE GENRE OF UZBEK FOLK MUSIC." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 10 (October 1, 2021): 226–32. http://dx.doi.org/10.37547/pedagogics-crjp-02-10-41.

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This article tells about the Uzbek folk music culture, the diversity and style of Uzbek songs.Uzbek music culture is developing in an ancient and colorful way, while embodying modern traditions. First of all, it reflects the unique forms and styles of unique folk music, classical musical heritage, national composition, modern composition, as well as folk amateurism and vibrant popular pop art.

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24

Cliff, Janet M. "On Relationships between Folk Music and Folk Games." Western Folklore 51, no. 2 (April 1992): 129. http://dx.doi.org/10.2307/1499361.

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25

Sentevska, Irena. "All that turban-folk: Orientalism and neo-folk music in Serbia." Bulletin de l'Institut etnographique 68, no. 3 (2020): 641–60. http://dx.doi.org/10.2298/gei2003641s.

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In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions and divisions between East and West. The key turning point in this process is the newly-embraced understanding of Juzni vetar (and ?turban-folk? in general) as part of Serbia?s cultural heritage. Using a representative sample of academic and media comments, in this paper I shed some light on the shifts in the reception of Juzni vetar primarily as an indication of the wider changes in the reception of the Ottoman legacy and contemporary influences of the ?Orient? in the contemporary Serbian culture, not excluding the wider context of Southeastern Europe.

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Kõmmus, Helen. "How to Participate in Participatory Music Making at a Contemporary Folk Music Festival: Runosong Nests at the Viljandi Folk Music Festival and Pelimanni Evenings at the Kaustinen Folk Music Festival." Folklore: Electronic Journal of Folklore 91 (December 2023): 141–64. http://dx.doi.org/10.7592/fejf2023.91.kommus.

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The article studies, compares and analyses participatory music making at Estonian and Finnish folk music festivals. By comparing the empirical research materials collected during comprehensive fieldwork in 2004–2019 from the regilaulupesa (Eng. runosong nest) of the Viljandi Folk Music Festival (Est. Viljandi pärimusmuusika festival) in Estonia and from the pelimanni (Eng. folk musician, fiddler) evenings of the Kaustinen Folk Music Festival (Fin. Kaustisen kansanmusiikkijuhlat) in Finland, answers were sought to the following questions: What kind of participatory music making takes place at these folk music festivals? What are the social dynamics between and within the groups and individuals in participatory music making situations? How are the primary and secondary functions of music making formed? As a result of the qualitative comparative phenomenological research, it was found that although in participatory music situations at Estonian and Finnish folk music festivals the musical behaviour of participants and the social dynamics of groups could differ radically, they still strive for direct musical experience at a community and personal level and bring the older musical tradition closer to the contemporary people. During participatory music making the secondary function, that is, musical behaviour directed outside the group, could turn naturally into a primary function – musical activity that unites the community and fulfils its internal needs. Situations of participatory music making at Estonian and Finnish contemporary music festivals revealed the common music making as a cultural, social, creative, and emotional phenomenon which has symbolic and direct connections with traditional Finnic folk music culture.

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Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.

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Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi music. The country or caste of which a sensitive human was oriented to express the feelings of his heart, on the same occasion, the self-proclaimed tone, rhythm, nature emerged from his mouth and the classical development which he developed by binding the same tone, song and rhythm Gaya became the only country music. भारतीय लोक जीवन सदैव संगीत मय रहा है। भारत वर्ष का कोई अंचल कोई जाति ऐसी नहीं जिसके जीवन पर संगीत का प्रभाव न पड़ा हो। भारतीय संगीत के लिए कहा जाता है कि साहित्य से ब्रह्म का ज्ञान और संगीत से ब्रह्न की प्राप्ति होती है। भारत में पुरातन काल से विभिन्न पर्वो एवं अवसरों पर गायन, वादन व नृत्य की परंपरा रही है। लोकगीत प्राचीन संस्कृति एवं सम्पदा के अमिट वरदान है जिसमें अनेकानेक संस्कृतियों की आत्माओं का एकीकरण हुआ है। लोक संगीत जन-जीवन की उल्लासमय अभिव्यक्ति है। पद्म श्री ओंकारनाथ के मतानुसार-‘‘देवी संगीत के विकास की पृष्ठभूमि लोक संगीत है। जिस देष या जाति का सम्वेदनषील मानव जिस समय अपने हृदय के भावों को अभिव्यक्त करने के लिए उन्मुख हुआ उसी अवसर पर स्वयंभू स्वर, लय, प्रकृत्या उनके मुख से उद्भूत हुए और उन्हीं स्वर, गीत और लय को नियम बद्ध कर उनका जो शास्त्रीय विकास किया गया वही देषी संगीत बना।‘‘

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28

Fujie, Linda, and Nick Spitzer. "Folk Masters." Yearbook for Traditional Music 26 (1994): 194. http://dx.doi.org/10.2307/768282.

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29

Marino, Michael. "Folk City: New York and the Folk Music Revival." Popular Music and Society 41, no. 1 (September 25, 2017): 93–94. http://dx.doi.org/10.1080/03007766.2018.1377918.

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30

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

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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.

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Fujie, Linda, Tiago de Oliveira Pinto, and Hamburgisches Museum fur Volkerkunde. "Folk Music from Mongolia/Karakorum." Yearbook for Traditional Music 26 (1994): 193. http://dx.doi.org/10.2307/768275.

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32

Schofield, Derek, Birgit Kjellstrom, Jan Ling, Christina Mattsson, Marta Ramsten, Gunnar Ternhag, and Michael Johns. "Folkmusikvagen: The Folk Music Vogue." Yearbook for Traditional Music 23 (1991): 147. http://dx.doi.org/10.2307/768410.

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Maultsby, Portia K., William Ferris, and Mary L. Hart. "Folk Music and Modern Sound." Yearbook for Traditional Music 17 (1985): 213. http://dx.doi.org/10.2307/768447.

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Winans, Robert B., William Ferris, and Mary L. Hart. "Folk Music and Modern Sound." American Music 3, no. 4 (1985): 490. http://dx.doi.org/10.2307/3051845.

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., Dr Rohit. "Dogri Folk Music of Jammu." Swar Sindhu 8, no. 1 (December 31, 2020): 24–28. http://dx.doi.org/10.33913/ss.v08i01a05.

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Kholmirzayev, Otamurod Eshmirza Ogli. "History of Uzbek folk music." Asian Journal of Multidimensional Research 10, no. 9 (2021): 499–503. http://dx.doi.org/10.5958/2278-4853.2021.00730.8.

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Ledang, Ola Kai, and Birgit Kjellstrom. "Folkmusikvagen/The Folk Music Vogue." Ethnomusicology 31, no. 2 (1987): 361. http://dx.doi.org/10.2307/851906.

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Frigyesi, Judit, Balint Sarosi, Gyorgy Martin, and Janos Manga. "Folk Music. Hungarian Musical Idiom." Ethnomusicology 35, no. 3 (1991): 428. http://dx.doi.org/10.2307/851976.

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Mincheva, Penka Pencheva. "Characteristics of Bulgarian Folk Music." International Journal of Literature and Arts 2, no. 5 (2014): 33. http://dx.doi.org/10.11648/j.ijla.s.2014020501.16.

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40

Leary, James P. "Folk Music from Wisconsin (review)." Journal of American Folklore 120, no. 475 (2007): 76–77. http://dx.doi.org/10.1353/jaf.2007.0018.

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41

Mlotek, Eleanor Gordon, and Mark Slobin. "Slobin's "Old Jewish Folk Music"." Jewish Quarterly Review 78, no. 3/4 (January 1988): 319. http://dx.doi.org/10.2307/1454650.

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42

Cohen, Norm. "Folk Music on Compact Discs." Journal of American Folklore 102, no. 404 (April 1989): 195. http://dx.doi.org/10.2307/540682.

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Klein, Barbro, Birgit Kjellstrom, Jan Ling, Christina Mattsson, Marta Ramsten, Gunnar Ternhag, and Michael Johns. "Folkmusikvagen--The Folk Music Vogue." Journal of American Folklore 100, no. 396 (April 1987): 249. http://dx.doi.org/10.2307/540940.

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Умхольт, П. А., and С. В. Орлов. "ABOUT NORWEGIAN TRADITIONAL FOLK MUSIC." Music Journal of Northern Europe, no. 3(23) (May 8, 2024): 44–62. http://dx.doi.org/10.61908/2413-0486.2020.23.3.44-62.

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В основу статьи легла лекция-презентация, представленная доцентом Университета Юго-Восточной Норвегии Пером Асмундтом Умхольтом 3 мая 2018 года в Петрозаводской государственной консерватории имени А. К. Глазунова. По пожеланию и с согласия господина Умхольта преподаватель Петрозаводской консерватории С. В. Орлов перевёл выступление на русский язык и внёс необходимые изменения при подготовке материала к публикации. Предлагаемая работа имеет ознакомительный характер. В первой части статьи обрисовывается исторический контекст, в котором формировалась норвежская народная музыка, во второй – приводятся примеры фольклорных жанров и народных инструментов. The article is based on a presentation lecture delivered by Per Åsmund Omholt, Associate Professor at the University of South-Eastern Norway, on May 3, 2018, at the Petrozavodsk State Glazunov Conservatoire. Upon Mr. Omholt's request, Senior Instructor at the State Glazunov Conservatoire Serge V. Orlov translated the presentation lecture into Russian and made necessary changes while preparing the material for publishing. This paper is of introductory nature. The first part of it describes the historical context in which Norwegian folk music was formed. The second part presents genres and instruments of Norwegian folk music.

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Garfias, Robert, and T. M. Scruggs. "Nicaraguan Folk Music from Masaya: Musica Folklorica de Masaya." Latin American Music Review / Revista de Música Latinoamericana 12, no. 2 (1991): 220. http://dx.doi.org/10.2307/780093.

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N, Kiritharan Sharma. "Bharathiyar's Passion for Carnatic Music and Folk Music." International Research Journal of Tamil 4, S-11 (September 9, 2022): 104–10. http://dx.doi.org/10.34256/irjt224s1114.

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Mahakavi Subramania Bharathiyar was a great poet of the twentieth century. Mahakavi Bharathiyar's works are considered as great treasures for the Tamil community. Even at an early age, Bharathiyar had a great affection and knowledge of the Tamil language. He started writing poetry at the age of seven while still studying at school. At the age of eleven, he showed his talent for poetry and the King of Ettayapuram, who appreciated his poetry, gave him the title of "Bharathi". From that day he was known as "Subramania Bharathiyar". Bharathiyar is also very passionate about music. Mahakavi Bharathiyar has given many works to this world through his attachment to music, many songs and many social ideas through his songs. In this way, some of Bharathiyar's musical works and musical messages have been examined in this research paper. The sub-topics of the study of this research paper are the sub-topics Bharathiyar and Carnatic Music, Bharathiyar and Folk Music except the introduction and conclusion respectively. Bharathiyar's attachment to music and his musical knowledge are explained under the subheading Bharathiyar's Music. Bharathiyar's attachment to Carnatic music is explained in the subtitle Bharathiyar and Carnatic Music. Finally, under the title Bharathiyar and folk music, the folk music songs created by Bharathiyar in folk music depicting the life and environment of the rural people are highlighted under this title. Therefore, various musical messages found in Bharathiyar's work under these three sub-headings have been examined in this review. These respectively are seen as the theme of this research paper.

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Wong, Cynthia Po-man, and Gu Guanren. "Music of China: Classical, Folk, and Ancient Music." Asian Music 26, no. 1 (1994): 225. http://dx.doi.org/10.2307/834393.

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O'Brien-Rothe, Linda, and T. M. Scruggs. "Nicaraguan Folk Music from Masaya: Musica Folklorica de Masaya." Ethnomusicology 38, no. 2 (1994): 376. http://dx.doi.org/10.2307/851755.

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Bajic-Stojiljkovic, Vesna. "The process of shaping stage folk music through the prism of the development of folk dance choreography." Muzikologija, no. 33 (2022): 209–29. http://dx.doi.org/10.2298/muz2233209b.

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Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.

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BEARMAN, C. J. "WHO WERE THE FOLK? THE DEMOGRAPHY OF CECIL SHARP'S SOMERSET FOLK SINGERS." Historical Journal 43, no. 3 (September 2000): 751–75. http://dx.doi.org/10.1017/s0018246x99001338.

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The folk music movement was among the most important influences on English cultural life in the years immediately before 1914. Its major figure, both in terms of volume of material collected and published, and in terms of organization and publicity, was Cecil Sharp. Historical understanding of the movement and modern appreciation of the material have been hampered by a Marxist orthodoxy which sees folk music as the cultural property of the working class and which attempts to discredit the folk music collectors, particularly Sharp. This article summarizes the trends in scholarship and employs the first biographical survey of a large group of folk singers to challenge the Marxist interpretation.

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Journal articles on the topic 'Folk music'

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