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Journal articles on the topic 'Irish folk and traditional music'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Carrico, Alexandria. "From Craic to Communitas: Furthering disability activism through traditional Irish song." Journal of Interdisciplinary Voice Studies 4, no. 2 (October 1, 2019): 257–63. http://dx.doi.org/10.1386/jivs_00009_1.

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Abstract This piece offers an ethnographic account of work undertaken to bridge neurotypical and neurodivergent communities in Limerick, Ireland, through music-making workshops. By harnessing a common musical heritage in traditional Irish folk music, specifically its participatory dynamics, and its emphasis on story-telling, dialogue and inclusion, participants were able to musicalize their identities in ways that resonated with the integrative spirit of neurodiversity, against the logics of neurotypical, able-bodied assimilation.

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2

Scahill, Adrian. "The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70." Éire-Ireland 54, no. 1-2 (2019): 17–45. http://dx.doi.org/10.1353/eir.2019.0005.

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3

Gibson, R. "The Globalization of Irish Traditional Song Performance. By Susan H. Motherway. Ashgate Popular and Folk Music Series." Music and Letters 95, no. 1 (February 1, 2014): 143–45. http://dx.doi.org/10.1093/ml/gct151.

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4

FitzPatrick Dean, Joan. "Irish Stage Censorship in the 1950s." Theatre Survey 42, no. 2 (November 2001): 137–64. http://dx.doi.org/10.1017/s0040557401000072.

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At the end of the 1940s, individuals and groups, as well as the government in Ireland, recognized the need for and benefits of arts enterprises. The Inter-Party coalition, which came to power in early 1948 (under John Costello), recognized the importance of tourism as an industry and the potential of theatre to attract foreign visitors to Ireland. In 1949, the Cultural Relations Committee of Ireland, operating under the auspices of the Minister for External Affairs, undertook production of a series of pamphlets designed “to give a broad, vivid, and informed survey of Irish life and culture.”1 In 1951, the Republic of Ireland established the Arts Council; the first National Fleadh (Festival) for traditional music was held in Mullingar; Liam Miller founded the Dolmen Press; and Comhaltas Ceoltoiri Eireann (Traditional Irish Music Advisory) was established. Even after the 1951 election returned de Valera and Fianna Fáil to power, organizational infrastructures to support the arts continued to appear: the Irish tourist board (Bord Failte) and Gael-Linn (an organization to promote Irish language, literature, and culture) both debuted in 1952. Cork held its first International Choral and Folk Dance Festival and its first International Film Festival in 1953. Some of these developments may have anticipated the imminent inauguration of regular air passenger service to North America, but all responded to cultural opportunities precluded during what Ireland knows as the Emergency and other nations as World War II. These agencies and events all sought to project a positive, progressive image of Ireland. Most important, they all mark a departure from the isolationism that prevailed in Ireland before and during the Emergency and that characterized de Valera's tenure as Taoiseach in the 1930s and 1940s.

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5

Ramsey, Gordon. "Vaughan Williams Memorial Library Online Indexes. Produced by the English Folk Dance and Song Society. URL: http://library.efdss.org/cgi-bin/home.cgi?access=off - Cecil Sharp's Appalachian Diaries 1915–1918. Produced by the English Folk Dance and Song Society. URL: http://library.efdss.org/exhibitions/sharpdiaries/index.html - Irish Traditional Music Archive. Produced by the Irish Traditional Music Archive, 73 Merrion Square, Dublin. URL: http://www.itma.ie/index.html." Yearbook for Traditional Music 42 (2010): 245–47. http://dx.doi.org/10.1017/s0740155800013084.

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6

Jones, Stephen, and Deborah L. Schaeffer. "Irish Folk Music: A Selected Discography." Canadian Journal of Irish Studies 16, no. 1 (1990): 83. http://dx.doi.org/10.2307/25512815.

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7

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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8

Vallely, Fintan. "Focus: Irish traditional music." Irish Studies Review 19, no. 2 (May 2011): 238–40. http://dx.doi.org/10.1080/09670882.2011.565957.

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9

C., P. M. "Éigse Cheol Tíre/Irish Folk Music Studies 4." Comhar 44, no. 12 (1985): 37. http://dx.doi.org/10.2307/20555868.

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10

Falc’her-Poyroux, Erick. "Traditional Music and Irish Society." Études irlandaises, no. 40-2 (December 15, 2015): 166–67. http://dx.doi.org/10.4000/etudesirlandaises.4764.

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11

Belibou, Alexandra. "Features of Irish Dance Music." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 30, 2021): 89–98. http://dx.doi.org/10.24193/subbmusica.2021.2.07.

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"The focus of this paper is to bring into light the traditional categories of Irish dance music, emphasizing the musical characteristics that differentiate them. Energetic and effervescent, Irish dance music is rarely analyzed, with Irish folklore lacking a school of dedicated musicologists. The topic of this article is important in the context of the tensions related to globalization, commodification, and transformations in Irish Traditional Music, that scholars are examining. The paper includes musical examples of the traditional Irish dance music categories, for a better view of the phenomenon. Keywords: Irish music, dance music, ethnomusicology. "

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12

Henderson, David, Gyanu Radha Gorkhali, Parshuram Bhandari, Achyut Ram Bhandari, Prakash Chandra Pathak, Music Nepal (P ). Ltd., Prem Rana Autari, et al. "Shringara Group: Nepali Traditional Folk Tunes." Asian Music 31, no. 2 (2000): 180. http://dx.doi.org/10.2307/834405.

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13

Milošević, Jovana. "Traditional folk dances in the teaching of music culture for younger school age." Norma 26, no. 1 (2021): 39–51. http://dx.doi.org/10.5937/norma2101039m.

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Traditional folk dances within the subject Music Culture find their application within the teaching area of the subject Performing Music. As teaching content of the subject, they contribute to the preservation of folk tradition and the positive attitude of students towards this area of our people's culture. By choosing teaching methods and approaches, traditional folk dances are also an educational tool for younger students. The paper also gives musical examples of traditional folk dances on the way they are performed. The purpose of this paper is to point out the importance and application of traditional folk dances in teaching Music Culture. The aim of the research is to examine different aspects of teachers' opinions on the application of traditional folk dances within Music Culture. The obtained results indicate positive attitudes of teachers when it comes to the application of traditional folk dances, as well as moderately positive when it comes to importance of traditional folk dances application

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14

Kang, Sangmi, and Hyesoo Yoo. "Effects of a Westernized Korean Folk Music Selection on Students’ Music Familiarity and Preference for Its Traditional Version." Journal of Research in Music Education 63, no. 4 (December 30, 2015): 469–86. http://dx.doi.org/10.1177/0022429415620195.

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The purpose of this study was to reveal the effects of Westernized arrangements of traditional Korean folk music on music familiarity and preference. Two separate labs in one intact class were assigned to one of two treatment groups of either listening to traditional Korean folk songs ( n = 18) or listening to Western arrangements of the same Korean folk songs ( n = 22); a second intact class served as a control group with no listening ( n = 20). Before and after the listening treatment session, pre- and posttests were administered that included 12 music excerpts of current popular, Western classical, and traditional Korean music. Results showed that participants who listened to traditional folk songs demonstrated significant increases in both familiarity and preference ratings; however, those who listened to Westernized folk songs showed increases only in familiarity ratings but not preference ratings for the same Korean songs in traditional versions. An analysis of participants’ open-ended responses showed that affective–positive responses were used most frequently when explaining preference for traditional versions of Korean folk songs (28.1%) among the traditional Korean listening group; structural–negative reasons (47.8%) were the most frequent among the Westernized listening group.

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15

Moran, Angela. "Focus: Irish Traditional Music (Focus on World Music Series)." Ethnomusicology Forum 21, no. 1 (April 2012): 107–9. http://dx.doi.org/10.1080/17411912.2011.641903.

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16

Kajanová, Yvetta. "World music, flamenco, klezmer and traditional folk music in Slovakia." Musicologica Brunensia, no. 2 (2020): 25–40. http://dx.doi.org/10.5817/mb2020-2-2.

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17

Yang, Yang, and Graham Welch. "Pedagogical challenges in folk music teaching in higher education: a case study of Hua’er music in China." British Journal of Music Education 33, no. 1 (January 11, 2016): 61–79. http://dx.doi.org/10.1017/s0265051715000248.

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Recent literature suggests that traditional approaches in folk music education are not necessarily compatible with the pedagogical conventions of formal music education. Whilst several recent studies have tended to define these non-classical-music learning contexts as ‘informal’, the practice of folk music that was recently introduced into Chinese Higher Music Education appears to be much more complex and fluid, at least in its real world setting. This case study presents a detailed example of the teaching and learning of folk singing in contemporary society in Western China. In this particular context, both ‘informal learning’ and ‘formal’ music practices were observed and compared, based on research data collected from four music lessons and subsequent interviews with the participants. Drawing upon the analytical evidence, the research discusses a possible pedagogical model where two apparently contrasting approaches to learning (i.e. a conservatory model vs. traditional folk learning) could coalesce to ensure more effective learning outcomes of traditional folk music in higher education contexts.

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18

Kearney, Daithí, and Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.

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Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.

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19

Fujie, Linda. "Fiddle Sticks: Irish Traditional Music from Donegal." Yearbook for Traditional Music 26 (1994): 192. http://dx.doi.org/10.2307/768273.

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20

Ahn, Eun Gee. "The Present Orientation of Irish Traditional Music." Journal of Society for Music and Reality 62 (October 15, 2021): 179–219. http://dx.doi.org/10.35441/mnk.62.1.6.179.

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21

Smyth, Gerry. "‘Amateurs and Textperts’: Studying Irish traditional music." Irish Studies Review 3, no. 12 (September 1995): 2–10. http://dx.doi.org/10.1080/09670889508455497.

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22

Adrian Scahill. "Riverdance: Representing Irish Traditional Music." New Hibernia Review 13, no. 2 (2009): 70–76. http://dx.doi.org/10.1353/nhr.0.0086.

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23

Sommers Smith, Sally K. "Irish Traditional Music in a Modern World." New Hibernia Review 5, no. 2 (2001): 111–25. http://dx.doi.org/10.1353/nhr.2001.0036.

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24

McCann, Anthony. "Opportunities of Resistance: Irish Traditional Music and the Irish Music Rights Organisation 1995–2000." Popular Music and Society 35, no. 5 (December 2012): 651–81. http://dx.doi.org/10.1080/03007766.2012.709665.

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25

Kovalcsik, Katalin. "Popular dance music elements in the folk music of Gypsies in Hungary." Popular Music 6, no. 1 (January 1987): 45–65. http://dx.doi.org/10.1017/s0261143000006607.

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Gypsy folk music is of a distinctive character compared with that of the other East European ethnic communities. The pecularities differentiating it from these other forms of folk music – improvisation and a readiness to adopt new influences – have continued to be of significance. While in several cases the folk music of peoples who have established themselves in national states is kept alive by artificial means (e.g. by promoting folk singing groups, by teaching folksongs in schools and by various revival movements), the vast majority of Gypsies have preserved their traditional music as an almost exclusive musical language.

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26

Kratochvíl, Matěj. "“Our song!” Nationalism in folk music research and revival in socialist Czechoslovakia." Studia Musicologica 56, no. 4 (December 2015): 397–405. http://dx.doi.org/10.1556/6.2015.56.4.7.

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In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folk-inspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomenon: folk music research and folk music revival. A closer look reveals how the idea of state-promoted nationalism influenced the ways researchers presented their findings, how they filtered out material that was deemed unsuitable for publication, and how traditional music was revived on stage or in media by folk music and dance ensembles. Critical analysis of research materials and audiovisual documents from the 1950s and 1960s will show how censorship accompanied a folk song from its collection in the field, through publication, to a stylized production on stage or in film.

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27

Ćalić, Maja, and Miomira Đurđanović. "Family and Its Role in the Cultivation and Preservation of Traditional Folk Music at Junior Primary School Age." International Journal of Cognitive Research in Science, Engineering and Education 8, no. 3 (December 20, 2020): 103–12. http://dx.doi.org/10.23947/2334-8496-2020-8-3-103-112.

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The cultivation of folk tradition begins in the family, and continues in a systematic and organized way in school as a certainly important task in the education and upbringing of children of junior primary school age. Factors contributing to the realization of this task include: a) school; b) family, and c) other out-of-school factors. Starting from the fact that the cooperation between one’s family and school should be based on partnership, and that learning about traditional folk music requires coordinated action, authors organized a survey aimed at: 1) examining the extent to which the cultivation of musical tradition within the family is reflected on the learning and adoption of related content in music education classes at junior primary school age; 2) determining the extent to which traditional folk music is cultivated in the family by listening to and playing such music; 3) examining the role of family in the process of introducing students to traditional folk music at junior primary school age with regard to other in-school and out-of-school factors. The authors have concluded, teachers believe that cultivating traditional folk music in one’s family is reflected in the form of recognition and improved student motivation for learning content, related to traditional folk music. Students believe that the activity of listening to folk music within family is an insufficiently utilized resource. The survey results confirm the hypothesis that the role of family should be significantly encouraged in relation to other out-of school factors.

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28

Satır, Ömer Can. "Historical and Traditional Basics of Ankara Folk Music." Journal of Ankara Studies 3, no. 1 (2015): 1–12. http://dx.doi.org/10.5505/jas.2015.36844.

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29

Choatchamrat, Sarawut, Akapong Phulaiyaw, Thanyalak Moonsuwan, Awirut Thotham, Sayam Chuangprakhon, and Rukbancha Phimprajun. "A Guideline for Undergraduate Students at the College of Music, Mahasarakham University to Develop Advanced Solo in Folk Music Skills." Journal of Educational Issues 8, no. 2 (September 7, 2022): 291. http://dx.doi.org/10.5296/jei.v8i2.20118.

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The high-class performance style of Isan folk music is to perform as a soloist with techniques, methods, tactics, essence, rhythm, and postures. There are melodious, fun and fully indicate the ability of the performer, composer, and combiner of the music. This research aims to study the pattern of Isan folk as a solo and also creative process. Data collections are documents and field study methods—observation, interview of six gurus or scholars, five of folk music teachers, eight of folk music soloists, eight of folk music performers, and thirty members of the general public. The research results were presented by analytical description. The results are that, the advance of folk music solo happens by learning the principles and concepts of solo performance management. Demonstration of advanced folk instrument practice skills and solo performances in the practice of advanced folk instruments are shown the concepts that create works of skill in performing solo performances of Isan folk music. The style is a solo performance of Isan folk music, with techniques, methods, tactics, and rhythmic styles and the main pattern melodies in Isan folk music convey the melodious and fun character according to the traditional style of the local area. There are guidelines for playing each Isan folk instrument along with the creative process that combines contemporary folk music. There are various styles of melodies, and movement patterns, such as slow rhythms, medium rhythms, fast rhythms, etc. Summarizing the format and creative process of solo music, Isan folk music is an advanced creation of folk music with the idea of creating according to the traditional style of the Isan region and also incorporating contemporary Isan folk music. It conveys the skill of the performers who perform folk music solos to achieve a melodic sound, fun for the audience.

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30

Zhivitsa, A. R. "MODERN TRENDS OF ETHNIC MUSIC." Arts education and science 1, no. 30 (2022): 172–79. http://dx.doi.org/10.36871/hon.202201020.

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Modern ethnic music, represented by a wide palette of styles and trends, is an interesting global musical phenomenon, based on the actualization of national musical traditions and building intercultural dialogue. In this article, we clarify the terminological apparatus and conceptual environment of ethnic music, which in Russian realities is understood as a part of contemporary culture that combines traditional music and folk music, as well as consider the socio-cultural prerequisites for the emergence of this phenomenon and the main tendencies of ethnic music. Born as a youth folklore movement, based on a search for new sources of inspiration for young musicians and composers, today the phenomenon of ethnic music presents a rich palette in contemporary music space. These directions, formed by merging elements of different national musical traditions, synthesizing different musical styles or combining different methods, have at their core the main component — traditional musical folklore, which is embodied in new modern forms, reinterpreted and interpreted by ethnic musicians. Thus, a rich corpus of folk music culture is preserved and actualized. Among the main directions of ethnic music, we distinguish: musical folklore; folk music; ethno-fusion; new age; ethno-jazz; ethno-electronics, including folk-rock, pop-folk, folk-house and other movements based on the synthesis of musical folklore and current musical styles.

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31

Dabczynski, Andrew. "Swinging on a Gate: Teaching Traditional Folk Music as Chamber Music." American String Teacher 42, no. 3 (August 1992): 78–80. http://dx.doi.org/10.1177/000313139204200333.

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Having raised their instruments to playing position, the ensemble members directed their eyes in anticipation toward the lead player. His bow poised above the strings, he dipped and raised his scroll, indicating a predecided tempo, and with his final, magnified preparatory gesture, the group began its well-rehearsed rendition of an often-performed selection from the standard literature. With energized precision, the players executed their individual roles; the harmonic structure became rarefied by way of carefully manicured intonation, contrasting rhythmic motives were meticulously manipulated one against another, and all in support of a shimmering melody which floated above the rest with a sense of ease belying its technical complexity. The performers never failed a moment in their communication with each other; eye contact was ever present, balance was adjusted by facial expressions recognized among the players, and spontaneous musical nuances were met with knowing smiles of approval. The audience became instantly engaged, responding to the familiar strains of the melody. Soon they were reacting physically to the rhythmic buoyancy of the music, becoming increasingly involved in this magnificent presentation. And with the final repeated chords of the coda, the crowd burst into joyous applause and shouts of praise, thrilled to have been able to take part in this encompassing artistic experience.

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32

Prosterman, Leslie. "Folk Festivals Revisited." Practicing Anthropology 7, no. 1-2 (January 1, 1985): 15–16. http://dx.doi.org/10.17730/praa.7.1-2.372671065k418u5m.

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Folk festivals should not be confused with the gatherings of folk revival musicians or the traditional indigenous celebrations of shared values. Folklorists and administrators create folk (or folklife) festivals in order to demonstrate and nuture folkways. These events represent attempts to demonstrate traditional culture to the public in formats other than scholarly articles. They generally include traditional music, crafts and food in a performance and/or workshop format, aiming for a down-home spirit between performers and patrons. We describe these festivals variously as created, contrived, induced, constructed, synthetic, or simulated.

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33

SOMMERS SMITH, SALLY K. "An Eventful Life Remembered: Recent Considerations of the Contributions and Legacy of Francis O'Neill." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 421–35. http://dx.doi.org/10.1017/s1752196310000362.

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AbstractFrancis O'Neill, one of the towering figures of Irish traditional music, was among the first to collect and publish Irish dance music. His compilations form the most complete glimpse into Irish musical practice at the turn of the twentieth century and are still regarded as the definitive source for traditional tunes. Three recent publications on O'Neill and his times throw light on his life, his passion for the music, and his legacy among today's traditional music community.

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34

Commins, Verena. "From Milan to Kilbaha: Bronzing Irish Traditional Music." Éire-Ireland 54, no. 1-2 (2019): 275–96. http://dx.doi.org/10.1353/eir.2019.0011.

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35

Giannouli, V., and N. Syrmos. "Applications of Classical and Traditional Folk Music in Psychiatric Settings." European Psychiatry 33, S1 (March 2016): S519. http://dx.doi.org/10.1016/j.eurpsy.2016.01.1919.

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IntroductionAlthough there is an augmenting interest for the applications of classical music in psychiatry, traditional folk music is not properly highlighted in the literature.ObjectiveIn this paper, we examine the possible benefits that psychiatric patients who attend music therapy in psychiatric settings may have when traditional folk music and/or classical music are used in the process of rehabilitation.MethodA literature search of the electronic databases was performed to identify relevant studies published before June 2015.ResultsA meta-analysis of the existing research revealed the positive influence of passive and active music listening on different groups of neurological and psychiatric patients’ anxiety, pain, tension and stress, and a series of cognitive and emotional changes that occur due to music interventions on patients and doctors alike. A general finding from the 700 diverse retrieved articles is that classical music has a positive influence on psychiatric patients. In contrast to that, there is scarce research for traditional music in psychiatric settings.ConclusionsMusic has a strong influence on psychiatric patients. Future research should focus on different questions such as how the knowledge of the varieties of the different types of (folk) music can enrich the music therapy in psychiatric settings.Disclosure of interestThe authors have not supplied their declaration of competing interest.

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36

Hayakawa, Yohko, Kayoko Takada, Hiromi Miki, and Kiyoji Tanaka. "Effects of Music on Mood during Bench Stepping Exercise." Perceptual and Motor Skills 90, no. 1 (February 2000): 307–14. http://dx.doi.org/10.2466/pms.2000.90.1.307.

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This study evaluated the effect of music on the mood of women during exercise. 16 middle-aged women, aged 49.9±7.53 yr., performed 60-min. bench stepping exercise while listening to Japanese traditional folk song, aerobic dance music, or nonmusic. The subjects reported significantly Jess fatigue with aerobic dance music and Japanese traditional folk song than with nonmusic. Aerobic dance music was associated with significantly more vigor and less confusion than nonmusic.

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37

Neff, Eoghan. "Electric Folk: The Changing Face of English Traditional Music." Ethnomusicology 53, no. 2 (April 1, 2009): 326–29. http://dx.doi.org/10.2307/25653071.

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38

Ilić, Petar, Anđelka Kovač, and Biljana Pavlović. "Serbian Folk Lullabies in Preschools: Significance and Representation." Društvene i humanističke studije (Online) 7, no. 3(20) (October 30, 2022): 295–314. http://dx.doi.org/10.51558/2490-3647.2022.7.3.295.

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This paper discusses the importance of traditional folk lullabies in the education of preschool children and their representation in music education literature and practice. Scientific research indicates the development potential and importance of folk lullabies in early childhood. Serbian folk lullabies are not sufficiently represented in preschool education in central Serbia and Kosovo and Metohija, which is the starting hypothesis of the research presented in this paper. This research aims to determine the extent to which Serbian folk lullabies, as music content, are used in preschool education in central Serbia and Kosovo, and Metohija. The research included a total of 692 participants – preschool teachers and parents. It was found: 1) that Serbian folk lullabies are insufficiently represented in music education literature for preschool age; 2) that preschool teachers and parents are not sufficiently informed about the educational benefit and importance of folk lullabies. The paper contributes to the actualization of Serbian traditional folk lullabies, and their greater representation in music education literature and practice. The descriptive method was used in the research, as well as the analysis and synthesis method.

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39

Thompson, Gordon, and Laxmi G. Tewari. "Traditional Music of the World 2: Folk Music of Uttar Pradesh, India." Yearbook for Traditional Music 25 (1993): 186. http://dx.doi.org/10.2307/768720.

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40

Stockmann, Erich. "The International Folk Music Council/International Council for Traditional Music—Forty Years." Yearbook for Traditional Music 20 (1988): 1–10. http://dx.doi.org/10.1017/s0740155800017033.

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Forty years of International Folk Music Council/International Council for Traditional Music means that we already have a history, a comparatively short one, but a real history with high points and low points. I have witnessed over thirty of these years. Don't worry—I am not going to tell you all of my experiences with the ICTM, but I would like to recall a few stories today. Why? Let me say it in the words of the German poet Heinrich Heine: “Der heutige Tag ist ein Resultat des gestrigen. Was dieser gewollt hat, müssen wir erforschen, wenn wir zu wissen wünschen, was jener will”.

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41

Fursenko, T. F. "Value Orientations Development in Adolescents by Means of Folk Music." Психологическая наука и образование 24, no. 2 (2019): 29–36. http://dx.doi.org/10.17759/pse.2019240203.

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The paper focuses on the pedagogical aspect of developing value orientations in adolescents by means of folk music. It provides an outline of various views on the issue; reveals the meaning of the value orientations concept; analyses the pedagogical settings necessary for the development of value orientations in adolescents and personality-oriented pedagogical technologies. The author describes her method of ‘value actualisation’ which is based on the use of some of the best pieces of folk music in contemporary arrangements that embody the values of the modern society and nourish universal human as well as cultural-historical national values. When working with adolescents, it’s important to take into account their musical interests and needs and to use contemporary arrangements of traditional music, for instance, folk-rock and folk-pop, gradually expanding the focus. The paper gives examples of how traditional music can be used in working with value orientations in adolescents. The outcomes of the study show that developing value orientations by means of folk music can be effective if personality-oriented pedagogical technologies are employed (which promote mastering and incorporating in the adolescent’s activity the entire spectrum of traditional music) and if the process of educating is humane and democratic enough.

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Blake, David K. "University Geographies and Folk Music Landscapes." Journal of Musicology 33, no. 1 (January 1, 2016): 92–116. http://dx.doi.org/10.1525/jm.2016.33.1.92.

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By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.

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McDonagh, Luke. "Exploring “ownership” of Irish traditional dance music: Heritage or property?" International Journal of Cultural Property 29, no. 2 (May 2022): 183–200. http://dx.doi.org/10.1017/s094073912200011x.

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AbstractDance has rarely been accepted as the subject of copyright protection because works of dance and choreography have lacked commodified property-object status in intellectual property law. If dance is “haunted by its own ephemerality” and, thus, rarely embodied as property, then what of dance music? Music composed, performed, and recorded with a dance audience in mind has formed, on many occasions, the subject matter of intellectual property law claims, as the rancorous recent litigation over the nightclub (and online-streaming) hit “Blurred Lines” demonstrates. In this article, I utilize the case study of traditional Irish dance music to explore how traditional music occupies a space somewhat outside the formal legal system, defined by informal social norms such as reciprocity, sharing, and acknowledgment (attribution). I consider how Irish traditional music can be represented as heritage and as property, reflecting on the type of ownership at play in the Irish traditional music community. I observe that Irish traditional dance music provides an example of “heritage as resistance” – a mode of cultural and social practice that continues to thrive as a living tradition, even in the contemporary market-oriented world of the global North.

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Liu, Hui, Kun Jiang, Hugo Gamboa, Tingting Xue, and Tanja Schultz. "Bell Shape Embodying Zhongyong: The Pitch Histogram of Traditional Chinese Anhemitonic Pentatonic Folk Songs." Applied Sciences 12, no. 16 (August 20, 2022): 8343. http://dx.doi.org/10.3390/app12168343.

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As an essential subset of Chinese music, traditional Chinese folk songs frequently apply the anhemitonic pentatonic scale. In music education and demonstration, the Chinese anhemitonic pentatonic mode is usually introduced theoretically, supplemented by music appreciation, and a non-Chinese-speaking audience often lacks a perceptual understanding. We discovered that traditional Chinese anhemitonic pentatonic folk songs could be identified intuitively according to their distinctive bell-shaped pitch distribution in different types of pitch histograms, reflecting the Chinese characteristics of Zhongyong (the doctrine of the mean). Applying pitch distribution to the demonstration of the Chinese anhemitonic pentatonic folk songs, exemplified by a considerable number of instances, allows the audience to understand the culture behind the music from a new perspective by creating an auditory and visual association. We have also made preliminary attempts to feature and model the observations and implemented pilot classifiers to provide references for machine learning in music information retrieval (MIR). To the best of our knowledge, this article is the first MIR study to use various pitch histograms on traditional Chinese anhemitonic pentatonic folk songs, demonstrating that, based on cultural understanding, lightweight statistical approaches can progress cultural diversity in music education, computational musicology, and MIR.

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Kuang, Jia, and Lan He. "From Oblivion to Reappearance: A Multi-Faceted Evaluation of the Sustainability of Folk Music in Yunnan Province of China." SAGE Open 12, no. 3 (July 2022): 215824402211178. http://dx.doi.org/10.1177/21582440221117806.

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The Southwestern Chinese province of Yunnan is the home to a plethora of traditional music, folk songs, and ethnic musical instruments with 24 local folk music items included in the national intangible cultural heritage list and extended list. In this article, the authors intend to delve into the issue of Yunnan folk music protection from the perspective of cultural sustainability theory. With an in-depth qualitative analysis of the data on the protection of 24 folk music items of Yunnan, the achievement, impact, and challenges of the current safeguarding efforts are revealed. The findings suggest that: 1. Government agencies at all levels have a dominant influence on the protection effort. 2. The local community, musicians, culture bearers, troupes, clubs, and social organizations form the “brick and mortar” of the folk music sustainability system. 3. The current reappearance or resurface of certain folk music items is a significant step toward truly reviving the folk music items in the future.

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HITCHNER, EARLE. "No Yankee Doodling: Notable Trends and Traditional Recordings from Irish America." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 509–20. http://dx.doi.org/10.1017/s1752196310000416.

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AbstractThe emergence of the compact disc in 1979 was regarded as the likely sales salvation of recorded music, and for many years the CD reigned supreme, generating steady, often substantial, company profits. More recently, however, the music industry has painfully slipped a disc. The CD has been in sharp decline, propelled mainly by young consumer ire over price and format inflexibility and by Internet technology available to skirt or subvert both. Irish American traditional music has not been impervious to this downward trend in sales and to other challenging trends and paradigm shifts in recording and performing. Amid the tumult, Irish American traditional music has nevertheless shown a new resilience and fresh vitality through a greater do-it-yourself, do-more-with-less spirit of recording, even for established small labels. The five recent albums of Irish American traditional music reviewed here—three of which were released by the artists themselves—exemplify a trend of their own, preserving the best of the past without slavishly replicating it. If the new mantra of music making is adapt or disappear, then Irish American traditional music, in adapting to change free of any impulse to dumb down, is assured of robustly enduring.

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Ning, Qinliang, and Junyan Shi. "Artificial Neural Network for Folk Music Style Classification." Mobile Information Systems 2022 (April 21, 2022): 1–9. http://dx.doi.org/10.1155/2022/9203420.

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Folk music style classification is of great significance. Traditional folk music style classification has difficulties in feature selection, and the existing folk music style methods based on deep learning also have shortcomings. In this paper, we use artificial neural networks to classify folk music styles and transform audio signals into a sound spectrum. In this paper, we use artificial neural networks to classify folk music styles and transform audio signals into a sound spectrum to avoid the problem of manually selecting features. Further, we combine the characteristics of the music signal and a variety of music data enhancement methods to enhance the music data. The proposed model can extract elements of the sound spectrum that are more closely associated with a certain music style category. Experimental results reveal that the proposed method achieves a high accuracy rate, which verifies the effectiveness of our model.

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SLOMINSKI, TES. "Policing Space and Defying the Mainstream: Gender and the Creation of a Traditional Music Public Sphere in Twentieth-Century Ireland." Yearbook for Traditional Music 51 (November 2019): 247–68. http://dx.doi.org/10.1017/ytm.2019.11.

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Whether in Ireland or elsewhere, most people first encounter Irish traditional music in public spaces such as pub sessions or concerts, or through the recorded traces of music-making produced for a listening public.1 For those who become more involved in the scene as players, dancers, or avid listeners, festivals, schools, non-profit organisations, archives, and other instruments of the public sphere of Irish traditional music shape perceptions of the genre’s style, history, and participants. But while public and semi-public music-making has been a vital part of the transnational Irish traditional music scene for at least a century, the genre’s self-understanding still relies on its associations with a domestic, private past. In this article, I locate the roots of this contradiction in the historiographical problems presented by the 1935 Public Dance Halls Act—a piece of legislation that has had profound effects on musical practice and discourse in Ireland.2 I examine the ways this law and the frequent retrospective overemphasis of its effects have contributed to the idealisation of Irish traditional music as rooted in a domestic, rural, and lower-class past. Combined with social and governmental restrictions on the activities of women during most of the twentieth century, this alignment of domesticity with imagined “authenticity” has shaped the reception of women’s public Irish traditional musical performance in the twentieth and twenty-first centuries.

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Hikmatova Muqadas Nurilloevna. "Mythology in folklore and its features." Middle European Scientific Bulletin 6 (November 18, 2020): 63–66. http://dx.doi.org/10.47494/mesb.2020.6.117.

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In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies

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Taton, Jose Jr Rabara. "Rendering the Popular as "Tradition": The Music of Virgilio "Pirot" Petcheller and the Panay Bukidnon Banda Music Practice in Panay Island, Philippines." Malaysian Journal Of Music 9 (October 20, 2020): 65–81. http://dx.doi.org/10.37134/mjm.vol9.6.2020.

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In recent years, the popular music of Virgilio “Pirot” Petcheller had been included in the banda (ensemble) musical repertoire, practice and identity of several indigenous cultural communities in Panay Island located in Western Visayas, Philippines. Pirot’s music, particularly renderings of folk music genres, such as harana (serenade) and komposo (ballad), had been in mainstream broadcast media and were widely produced by the recording industry in the 1970s. Because of the parallels between his music and West Visayan folk practice, folk musicians categorically ascribe and recognise his music as dinuma-an (tradition and traditional) to refer to a standard folk canon with an associated pastoral imagery. Later, Pirot’s music had become emblematic of a regional folk, cultural and/or ethnic identity. This paper investigates the problematic fluidity of boundaries between traditional and popular music categories and its implications in the construction of identity in the Western Visayan context. I examine, on the one hand, how the popular music of Pirot are rendered as “tradition” notably through a discussion on musical aesthetics, lyricism and imagery and the complex socio-cultural and historical context musicians occupy. On the other hand, this paper also proffers a discussion on how this rendering or “traditionalisation” plays a role in the construction of identity among the Panay Bukidnon banda musicians. On this, I recognise the central role of cultural praxis and individual agency in the process and argue that musical categories, particularly the notion of ‘tradition’ and ‘traditional’, are self-conscious devices defined by, and are constitutive of practice.

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