Journal articles on the topic 'Irish language traditional songs'
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Fahey, Hannah. "‘Take it away, sure ’tis your own’: Negotiating authoritative voice in Irish traditional song performance through autoethnography." Journal of Interdisciplinary Voice Studies 7, no. 2 (December 1, 2022): 187–202. http://dx.doi.org/10.1386/jivs_00064_1.
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This article discusses the authoritative voice in traditional Irish singing, examining voice in negotiation with prevailing and conflicting ideologies of practice in this context. Opening with a discussion on vocal identity and vocality in traditional Irish singing, autoethnography is used to present and critically examine an individual process of learning and voicing a macaronic song from the Irish tradition. Findings contribute to further understand the social, participatory and presentational dimensions of Irish traditional song as it is learned, performed and transmitted. Issues of vocal enculturation, identity and construction are negotiated as authoritative voice and stylistic efficacy are conceptualized in voicing Irish traditional song.
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Ní Riain, Nóirín. "The nature and classification of Traditional Religious Songs in Irish." Mot so razo 1 (June 18, 2012): 69. http://dx.doi.org/10.33115/udg_bib/msr.v1i0.1403.
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Millar, Stephen R. "Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act." Popular Music 35, no. 3 (September 14, 2016): 297–319. http://dx.doi.org/10.1017/s0261143016000519.
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AbstractIrish rebel songs afford Scotland's Irish diaspora a means to assert, experience and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland's majority Protestant population. The Scottish Government's Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.
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Akinrinlola, Temidayo. "A Stylistic Analysis of Ṣeun Ògúnfìdítìmí’s Songs." Yoruba Studies Review 4, no. 1 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v4i1.130033.
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Ṣeun Ògúnfìdítìmí is a traditional Yorùbá artiste of Oǹdó extraction. She is a promising and prosperous female artiste, who explores the richness of African values in creating her lyrics. Her songs are rendered in Oǹdó dialect. Oǹdó, a dialect spoken by the Oǹdó people of Southwestern Nigeria, is a dialect of the Yorùbá language. There have been multiple studies on traditional African songs. Such studies have engaged traditional African songs mostly from the non-linguistic perspectives. Such studies have investigated the historical and philosophical values of Yorùbá songs. Studies on songs rendered in dialects of Yorùbá language are very scanty. Dearth of studies in this regard has prevented the propagation and documentation of dialects of Yorùbá language. This study examines the discourse stylistic import of the sociocultural values in Seun Ògúnfìdítìmí’s songs with the view to describing how contextual issues are negotiated in her songs. Recorded songs of Ògúnfìdítìmí constitute the data for the study. The audio compact discs of her songs were collected and played repeatedly. The songs were transcribed and translated into the English language. The translation process took the form of one-to[1]one translation in order to avoid distortion of meaning. The artiste resorts to the use of discourse analytical tools in creating her lyrics. The songs reflect political, social, cultural and religious ideals of the Yorùbá traditional African society. The contextual issues expressed in the songs include the importance attached to the child as success indicator, the significance of marriage, love, conspiracy and the place of detractors, corruption and embezzlement, 184 Temidayo Akinrinlola supremacy of God, social degeneration, gender inequality and the cyclical nature of life. Ṣeun Ògúnfìdítìmí is an advocate of social and cultural revival of traditional African values.
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Love, Timothy M. "Irish Nationalism, Print Culture and the Spirit of the Nation." Nineteenth-Century Music Review 15, no. 2 (February 7, 2017): 189–208. http://dx.doi.org/10.1017/s1479409817000015.
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Recent investigations into the survival and dissemination of traditional songs have elucidated the intertwining relationship between print and oral song traditions. Musical repertories once considered distinct, namely broadside ballads and traditional songs, now appear to have inhabited a shared space. Much scholarly attention has been focused on the print and oral interface that occurred in eighteenth- and nineteenth-century Britain.Less attention has been paid, however, to music in Ireland where similar economic, cultural and musical forces prevailed. Yet, Ireland’s engagement in various nationalist activities throughout the nineteenth century added a distinctly political twist to Ireland’s print–oral relationship. Songbooks, a tool for many nineteenth-century nationalist movements, often embodied the confluence of print and oral song traditions. Lacking musical notation, many songbooks were dependent on oral traditions such as communal singing to transmit their contents; success also depended on the large-scale distribution networks of booksellers and ballad hawkers. This article seeks to explore further the print–oral interface within the context of Irish nationalism. Specifically, I will examine how one particular movement, Young Ireland, manifested this interface within their songbook, Spirit of the Nation. By examining the production, contents, and ideology of this songbook, the complex connections between literature, orality and nationalism emerge.
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Sundari, Wiwiek. "Javanese Language Maintenance Through Javanese Traditional and Modern (Folk) Songs." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 4, no. 1 (July 12, 2020): 11–16. http://dx.doi.org/10.14710/culturalistics.v4i1.8143.
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Javanese Language is learnt and studied by many people throughout the world as it has a complex system of language covering the letters (Javanese Language Orthography), the politeness level, and also the history and the culture behind the language. However, there is a concern on Javanese Language shift by its young speakers because they tend to use Indonesian Language as Indonesia’s Official Language, English as the world’s international language, or another popular language in the world like Korean with its K-Pop phenomenon. Javanese Language maintenance is then needed to keep these young generation as the language users who will pass it to the next generation. One of the ways to do it is embracing their world so that the language is considered good and beneficial for them as the young generation. Since music and song is very close to the young generation as they are very up to date with the latest trend of it, the language maintenance can be done through exposing Javanese kinds of music and songs. Recently, a kind of Javanese music called Campursari along with its songs are gaining popularity with the fame of The Godfather of The Brokenheart, Didi Kempot, who creates thousands of Campursari songs full of love stories in the lyric, particularly the brokenheart storied. Out of nowhere, the young generation, who are Javanese, who are Javanese but do not understand Javanese Language or even who are not Javanese and not understand Javanese Language are joining the crowd and becoming his fans that previously filled with the old generation. This research shows how Junior Highschool Students maintain the Javanese Language usage by liking the music, singing the songs and understanding the Javanese Language in the lyric. This research also observes whether they still know or able to sing traditional Javanese songs they exposed from their family, environment (neighbourhood) or Javanese Language class at school that shows their Javanese Language maintenance. Keywords: language maintenance, Javanese Language, students, Junior Highschool, Campursari, Javanese music and song
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Ivanauskaitė-Šeibutienė, Vita. "The Resonant Table: Drinking-Songs in the Traditional Community Gatherings." Tautosakos darbai 50 (December 28, 2015): 113–34. http://dx.doi.org/10.51554/td.2015.28993.
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The article focuses on the traditional Lithuanian drinking-songs that used to particularly flourish and be amply recorded by the folklore collectors in the 19th century and the first half of the 20th century. The prevailing folkloric motives in these songs include the making of the drinks (most frequently, the beer), inviting of the guests and an insistent encouraging them to help themselves, to drink “to the bottom”, praising of the neighbors and relatives, etc. Direct connections of these songs to the verbal formula of the table etiquette, used to wish others good health and prosperity, as well as to the traditional entertainment customs in general are examined. The traditional Lithuanian feasts did not comprise any sufficiently developed toasting tradition that used to play an outstanding role in some other national cultures. Therefore, it is justified to assume that its place was taken instead by the drinkingsongs. A significant number of the drinking-songs used to make an integral part of the important community festivals, primarily – of the weddings. Inevitable decline of the festive rituals resulted in related songs finding their way into various community gatherings as mere pieces of entertainment. Such shift in context and purpose of these songs may be attributed to the broader changes taking place in the rituals of social solidarity: from the ancient offerings of drink to the contemporary toasting of each other by the members of the festive gathering. The drinking-songs stand out among other traditional Lithuanian songs in terms of their folkloric imagery, characterized by its peculiar ritual connections, unique hyperboles and specific kind of laughter, and rooted deeply in the traditional festive culture and dynamics of the social communication.
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Al-Khalili, Raja. "Resisting cultural colonization: the role of folk songs in modern Irish drama." Journal of Language and Literature 5, no. 3 (August 30, 2014): 33–38. http://dx.doi.org/10.7813/jll.2014/5-3/6.
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Ní Riain, Isobel. "Drama in the Language Lab – Goffman to the Rescue." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (July 1, 2014): 115–23. http://dx.doi.org/10.33178/scenario.8.2.11.
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Between 2011 and summer 2014 I taught Irish in the Modern Irish Department of University College Cork (UCC). I spent one hour a week with each of my two second year groups in the language lab throughout the academic year. Ostensibly, my task was to teach the students to pronounce Irish according to Munster Irish dialects. It was decided to use Relan Teacher software for this purpose. My main objective was to teach traditional Irish pronunciation and thus to struggle against the tide of the overbearing influence of English language pronunciation which is becoming an increasing threat to traditional spoken Irish. Achieving good pronunciation of Irish language sounds, where there is strong interference from English, is not easy. For many students there is no difference between an English /r/ and an Irish /r/. Irish has a broad and slender /r/ depending on the nearest vowel. Many students do not even acknowledge that Irish has to be pronounced differently and this is a tendency that seems to be gathering momentum. The question I asked at the beginning of my research was how could I cultivate a communication context in which students would start to use sounds they had been rehearsing in ...
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Budiawan, Hery, and Nurul Ulfa Aulia. "Violin Teaching in Sanggar Merah Putih: Case Study of Budi Yuntono's Teaching Style." Gondang: Jurnal Seni dan Budaya 6, no. 2 (December 6, 2022): 272. http://dx.doi.org/10.24114/gondang.v6i2.35692.
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The purpose of this study is to find out how the teaching style used by Sanggar Merah Putih. The uniqueness of this sanggar is that it uses traditional teaching on musical instruments originating from the western, namely the violin. The research method used is a qualitative research method with a case study approach. The data search method for this study, researchers made observations, literature studies, documentation, and also interviews to several speakers including sanggar teachers and students at Sanggar Merah Putih which were carried out offline and also online. The results obtained in this study, Sanggar Merah Putih applied several methods, namely oral methods, demonstrations, and imitations in its teaching. sanggar also applies the technique of memorizing the notation of songs instead of reading the notation. Teachers use number notation and also solmization in their teaching, instead of using block note scores as in the teaching of violin instruments in general. With teaching techniques and methods like this, it is able to make children faster to master their musical instruments. Sanggar Merah Putih plays many songs from various genres, ranging from traditional songs, Country, Irish, Pop, and others.
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Nugraha, R. Gita Ardhy, Totok Sumaryanto, and Kamsijo Budi Utomo. "Developing Android Role Playing Game for Elementary Music Learning." Harmonia: Journal of Arts Research and Education 18, no. 2 (January 3, 2019): 181–88. http://dx.doi.org/10.15294/harmonia.v18i2.14018.
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Elementary students prefer to listen to modern songs from the device that they have in their daily life. In the music learning process, the student feels bored because of the monotone learning method, even though the music art learning process is an important process to promote student knowledge about Indonesia’s traditional songs. Innovation is needed because of this condition. This study aims to design and develop an android role-playing game (RPG) for music learning, especially Indonesia’s traditional songs. This study also analyses the worthiness of android RPG game based on expert judgment validation’s score. Based on expert judgment validation’s score, the music art learning media called “Lagu Nusantara” is worthy of supporting the student to learn about the basic of music learning and Indonesia’s traditional songs. The average score is 3.6 for media representation, 4 for the material which presented in this game, and 3.3 for the use of language. The worthiness of this media is above 90% (precisely 90.83%). In conclusion, this RPG game can use by teachers or students to promote music art learning process, especially about Indonesia’s traditional songs.
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PRETORIUS, W. J. "TRADITIONAL SONGS AS PART OF THE NORTHERN SOTHO POETIC HERITAGE." South African Journal of African Languages 8, sup1 (January 1988): 81–90. http://dx.doi.org/10.1080/02572117.1988.10586768.
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Olawale, Hakeem. "Traditional Songs of Ìlọrin: Enacting Identities, History, and Cultural Memories." Yoruba Studies Review 5, no. 1.2 (December 21, 2021): 1–19. http://dx.doi.org/10.32473/ysr.v5i1.2.130120.
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Ìlọrin is a distinct community and a melting pot where people of diverse ethnic and cultural identities came together to form a settlement in the 17th century. These ethnic groups include Yorùbá, Haúsá, Fúlàní, Núpé, Kànnìké, Kéńbérí, Bàrùbá, and Malians¸ Arabs, among others. However, despite these ethnic and cultural diversities of Ìlọrin and the Fúlàní political hold on it, Yorùbá language is the lingua franca of the community. How these ethnic groups fnd their voices and articulate their historical and cultural identities within this unified framework becomes a source of concern. As a response to this concern, traditional songs of Ìlọrin like dàdàkúàdà, bàlúù, agbè, wákà, kèǹgbè, orin ọlọ́mọ-ọba Ìlọrin, among others sung in Yorùbá language become a site of contestation of ethnic and cultural identities. Te focus of this essay is to analyze Ìlọrin traditional songs as they portray and contest ethnic identities, reconstruct history, and revitalize cultural memories of indigenes. The paper argues that given such a diverse ethnic and cultural origins, performance of Ìlọrin traditional songs become a reminder of family histories, origins, political structure, hegemonic influences, myths, legends, Islamization of Ìlọrin, and a way of ensuring harmony and bridging generational gaps among the various groups in a state that is known as the “State of Harmony”.
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O'Rourke, Bernadette, and John Walsh. "New speakers of Irish: shifting boundaries across time and space." International Journal of the Sociology of Language 2015, no. 231 (January 1, 2015): 63–83. http://dx.doi.org/10.1515/ijsl-2014-0032.
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Abstract While traditional Irish-speaking communities continue to decline, the number of second-language speakers outside of the Gaeltacht has increased. Of the more than one and half million speakers of Irish just over 66,000 now live in one of the officially designated Gaeltacht areas. While “new speakers” can be seen to play an important role in the future of the language, this role is sometimes undermined by discourses which idealise the notion of the traditional Gaeltacht speaker. Such discourses can be used to deny them “authenticity” as “real” or “legitimate” speakers, sometimes leading to struggles over language ownership. Concerns about linguistic purity are often voiced in both academic and public discourse, with the more hybridized forms of Irish developed amongst “new speakers” often criticised. This article looks at the extent to which such discourses are being internalised by new speakers of Irish and whether or not they are constructing an identity as a distinct social and linguistic group based on what it means to be an Irish speaker in the twenty first century.
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Orellana-López, Miriam Yolanda, and Martha Magdalena Guamán-Luna. "Songs to encourage English speaking in students." Ingenium et Potentia 4, no. 1 (February 1, 2022): 82. http://dx.doi.org/10.35381/i.p.v4i1.1696.
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This study aims to explore that approach and demonstrate how the use of songs in English influences students' motivation while learning English as a second or foreign language. A sample of thirty students from the Tayuza Educational Unit located in the province of Morona Santiago, Ecuador, was used. The results of the application of a ten-question questionnaire show that students prefer the use of songs in English to participate and get actively involved in classroom activities. The importance of using tools other than traditional ones to motivate and encourage students to learn English as a second or foreign language is confirmed.
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Harris, Mary N. "Beleaguered but Determined: Irish Women Writers in Irish." Feminist Review 51, no. 1 (November 1995): 26–40. http://dx.doi.org/10.1057/fr.1995.31.
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A growing number of Irish women have chosen to write in Irish for reasons varying from a desire to promote and preserve the Irish language to a belief that a marginalized language is an appropriate vehicle of expression for marginalized women. Their work explores aspects of womanhood relating to sexuality, relationships, motherhood and religion. Some feel hampered by the lack of female models. Until recent years there were few attempts on the part of women to explore the reality of women's lives through literature in Irish. The largely subordinate role played by women in literary matters as teachers, translators, and writers of children's literature reflected the position of women in Irish society since the achievement of independence in the 1920s. The work of earlier women poets has, for the most part, lain buried in manuscripts and is only recently being excavated by scholars. The problems of writing for a limited audience have been partially overcome in recent years by increased production of dual-language books. The increase in translation has sparked off an intense controversy among the Irish language community, some of whom are concerned that both the style and content of writing in Irish are adversely influenced by the knowledge that the literature will be read largely in translation. Nevertheless, translation also has positive implications. Interest in women's literature is helping to break down the traditional barriers between Irish literature in Irish and in English. The isolation of Irish literature in Irish is further broken down by the fact that women writers in Irish and their critics operate in a wider international context of women's literature.
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Lewier, Mariana, Merlyn Rutumalessy, and Viona Sapulette. "Directive Speech Act in Moluccan Children Traditional Game Songs in Maluku." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 2 (May 8, 2020): 1013–22. http://dx.doi.org/10.33258/birci.v3i2.931.
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Up to the present time, there are still many children games played with their respective accompanying songs by young children in Maluku. The lyrics of these children songs can be categorized as one form of texts that can be analyzed in terms of language aspects. This paper discusses directive speech acts contained in the children songs-attached games in Maluku. The purpose of this paper is to describe the various acts of directive speech, the social-cultural context that embodies it, and the level of politeness they may carry. The approach used was pragmatic approach, specifically the framework of speech act theory. The data used in this study was children songs in Ambon-Maluku, both oral and written data containing directive statements. Data analysis was done by interpreting, making inferences, and presenting it in the form of descriptive analysis. Descriptive analysis is intended to describe, provide an overview and identify the relationship between the phenomena being studied. The directive act of speech contained in the children game songs in Maluku can be categorized as direct or indirect. The direct way of directive speech acts is used for requesting, ordering, inviting, and forbidding, while the indirect way is preferred than imperative mode by using interrogative sentence, news report, and a particular request statement. Thus, through this analysis, we may come to an understanding of the dynamics of socio-cultural realm that underlies the presence of children game traditions in Maluku.
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Et.al, ZaharulLailiddinSaidon. "The Development and Evaluation of a Song Album as an Instructional Material for the Teaching and Learning of Basic Arabic Language in Malaysian Primary Schools." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 370–80. http://dx.doi.org/10.17762/turcomat.v12i3.741.
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This article reports on a research project aimed at developing and evaluating a song album as an instructional material for the teaching and learning of basic Arabic language in Malaysian primary schools. Generally, the procedure for undertaking the research project could be divided into four different stages, namely (i) the gathering of ideas for the music arrangement for all the nine songs in the album; (ii) development of the song album; (iii) evaluation of the developed song album; and(iv) improvement and refinement of the song album. The results show that characteristics of suitable music arrangementfor the songs in the album are as follows: (i) modern music instruments combined with local and Arabic traditional music instruments so as to make the compositions more unique and interesting, (ii) the use of a variety of rhythmic styles;combining modern and traditional elements including middle east rhythm, (iii) employment of the combination of adult and children singers (iv) varied tempo with vibrant and energetic mood (v) take into account the possibility of combining singing of the songs with dance and movement activities. According to evaluation by the panel of experts, the songs in the albumareof good quality in both the aspects of singing and music arrangement. Meanwhile the results on the aspect of usability found that all of the songs in the album are attractive and suitable to be used as instructional material for the teaching and learning of basic Arabic language to year one pupils in Malaysian primary schools. The song album could facilitate Arabic language teachers to be more confident in carrying outsingingactivities in their classroom as outlined in the Year One Arabic language textbook published by the Ministry of Education. Consequently, by employing singing activities using the songs in the album could help to make their lessons more engaging, attractive and effective.
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Saifutdinova, Olena. "VERBALIZATION OF THE AXIOLOGICAL MODEL OF THE ANDALUSIAN GYPSIES AND UKRAINIANS BASED ON WEDDING SONGS." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 41 (2022): 123–32. http://dx.doi.org/10.17721/2663-6530.2022.41.12.
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This article is devoted to the analysis of the representation of axiological values by means of the popular ritual wedding songs of Andalusian gypsies and Ukrainians. Axiological values shown through the text of the wedding songs of Andalusian gypsies and Ukrainians are considered. The ways of language expression of both national ritual songs are estimated. The research reveals the values expressed via metaphorical images, symbols and periphrasis which codify popular language. Similar frames of Andalusian gypsy and Ukrainian wedding songs are discovered. It is observed that such family values as chastity and welfare are pictured with the use of expressive means of the language in both ritual wedding songs of Andalusian gypsies and of Ukrainians. The cultural nature of appreciation of these axiological values is studied. Tentative mechanism of influence of the wedding songs on the younger generation is explained. A great educational power and an important pedagogical role of the wedding songs are highlighted. It is concluded that ritual wedding songs are a powerful medium (channel) of saving the traditional axiological model, behavior patterns, esthetic and moral values. The directions of further scientific research are considered:1) they may include a study of the psychological mechanism of metaphor, periphrasis and symbols in ritual songs and lullabies of both cultures or 2) they may involve an experimental study between the people of different cultures to know how they understand the metaphor formed in national and foreign cultures.
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Temperley, Nicholas, and David Temperley. "Music-Language Correlations and the “Scotch Snap”." Music Perception 29, no. 1 (September 1, 2011): 51–63. http://dx.doi.org/10.1525/mp.2011.29.1.51.
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in this study we examine a rhythmic pattern known as the Scotch Snap (SS): a sixteenth-note on the beat followed by a dotted eighth-note. A musical corpus analysis shows that the SS is common in both Scottish and English songs, but virtually nonexistent in German and Italian songs. We explore possible linguistic correlates for this phenomenon. Our reasoning is that languages in which stressed syllables are often short might tend to favor the SS pattern. The traditional distinction between long and short vowels correlates partly with the SS pattern across languages, but not completely. (German allows short stressed vowels, but the SS pattern is not common in German music.) We then examine the duration of stressed syllables in four modern speech corpora: one British English, one German, and two Italian. British English shows a much higher proportion of very short stressed syllables (less than 100 ms) than the other two languages. Four vowels account for a large proportion of very short stressed syllables in British English, and also constitute a large proportion of SS tokens in our English musical corpus. This is the first study known to us that establishes a correlation between speech rhythms in languages and musical rhythms in the songs of those languages.
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Kupś, Hanna, and Kamil Burkiewicz. "Tonalność języka w pieśni na podstawie utworów ludu Sui." Investigationes Linguisticae 36 (May 14, 2018): 24–40. http://dx.doi.org/10.14746/il.2017.36.2.
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This article aims at describing the realization of lexical tones in songs of Sui people. The main focus for research are the drinking and mountain songs, a part of Sui’s abundant oral literature, most commonly used during traditional festivities and social gatherings. The paper starts with the presentation of the state of current research and the description of Sui language and music. What follows is analysis of four Sui songs and conclusions. The methodology of the article is mostly based upon previous accomplishments, in eg. Chan 1987 and Wong & Diehl 2002.
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Carnie, Andrew. "Two Types of Non-Verbal Predication in Modern Irish." Canadian Journal of Linguistics/Revue canadienne de linguistique 42, no. 1-2 (June 1997): 57–73. http://dx.doi.org/10.1017/s0008413100016820.
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The number of copular constructions found with non-verbal predicates in Universal Grammar has recently been a matter of some controversy. Traditional theories have claimed that there are two constructions: an equative—with two argument NPs—and predicative—with a single argument and a non-verbal predicate. Recently this bifurcation has been challenged by authors who claim that equative constructions show asymmetries similar to those found in predicatives, and that these asymmetries are due to a simple subject/predicate distinction. They claim that there is a single predicative copular construction in natural language. In this article, syntactic evidence for the traditional semantic division between equatives and predicatives is provided. It is shown that in Modern Irish, there are two word orders corresponding to the equative/predicative split and these two have distinct syntactic and semantic properties. Further, it is also shown that the asymmetries used to argue for a single copular construction are due to simple structural conditions rather than a subject/predicate split.
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Krismanti, Ninuk. "Decoding Social Standards for Children: A Case Study of Banjarese Songs." PAROLE: Journal of Linguistics and Education 10, no. 2 (July 24, 2020): 156–63. http://dx.doi.org/10.14710/parole.v10i2.156-163.
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This study is set to explain social standards decoded through traditional songs for Banjarese children. This study is carried out under a descriptive qualitative design. The data are taken from 36 songs sung for different purposes, from lullabies to traditional games companions. Observation and interviews are the techniques employed to collect the data. The observation and the interview are conducted in regions representing two distinguished dialects of the Banjar language: Banjar Hulu and Banjar Kuala. Cultural Linguistics is an approach for data analysis. The lyrics of investigated songs are registered into five categories reflecting different standards expected by Banjarese society for children. The results of the study show the desired and undesired social values believed by Banjarese society. These values are introduced to children, not through the media of preaching, but common practice of Banjarese families, singing.
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Ernst, Thomas. "Phrase structure and directionality in Irish." Journal of Linguistics 28, no. 2 (September 1992): 415–43. http://dx.doi.org/10.1017/s0022226700015279.
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In recent years the study of phrase structure has largely become a search for principles, parameters and other mechanisms to replace phrase-structure rules of the traditional sort. For capturing word order, one of the most common devices is the directionality parameter, especially the one which specifies a language as head-final or head-initial. It has also been proposed that languages may be specified for the direction of government (Stowell, 1981), or direction of Case- and theta-role assignment (Koopman, 1983; Travis, 1984). Often, such proposals focus only on the lowest (X′) level of phrase structure, that is to say the ordering of complements with relation to a head, but there have also been suggestions for directionality of specifiers or adjuncts (as in Ernst, 1989; Georgopoulos, 1991).
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Kitishat, Amal Riyadh. "Riders to the Sea between Regionalism and Universality: A Cultural Perspective." Theory and Practice in Language Studies 9, no. 3 (March 1, 2019): 255. http://dx.doi.org/10.17507/tpls.0903.01.
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This study aims at discussing Riders to the Sea; it aims to investigate nationalism and cultural identity as two significant ways against the English cultural colonialism. Though many critics regard J.M. Synge as; and thus consider him as an example of regional dramatist because his works are related to the local Irish material. However; this study aims to correct this vision of Synge as only about Irish Celtic culture, but as an innovator of the Irish theatre and as a culturalist who shifted Irish theatre into a universal scope. Thus, though Synge's fame is due to his treatment of the "folk" drama; still, he finds in Ireland’s folk tales, myths, and traditional legends a rich source for universal interests. By tracing the reinforcement of the Irish setting and oral culture for a cultural function which aims at establishing the Irish identity and reviving its national heritage, the study argues that Synge's dramatic presentations were not only of regional or local value; but also of international and cultural significance. That is though J.M. Synge introduces his theme in a local Irish context, with a particular focus on peasants; he was able to transform the Irish theatre from the local context to universality.
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Bhetuwal, Kamali Kanta. "Code Mixing in Folk Songs: A Journey towards Linguistic Creativity." KMC Research Journal 4, no. 4 (December 31, 2020): 91–102. http://dx.doi.org/10.3126/kmcrj.v4i4.46469.
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Folk song is a true gift of culture. It is one of the traditional, intangible and indigenous pieces of the art of performing the melodious expression with the help of soft pipes that are forever invaluable cultural assets and musical property as well. In view of making a brief survey of the use of multiple languages in folk songs, different folk melodies have been selected randomly from seven provinces of Nepal where the folk melodies are more fertile. This paper aims at exploring the use of multiple languages in folk songs I, myself as a researcher in the field, encountered with in written and audio- or video-recorded form. Therefore, the main source of relevant data includes me and other written and audio or video documents of folk songs I found. As a multicultural country, Nepal is rich in terms of its folk songs. In this paper, I analyze how folk song can be a creative space where linguistic boundaries are challenged and new language practices are invented. Taking of folk songs as a social and cultural identity, I examine how folk song embraces local diversity and redefines the use of language a creative tool for public.
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Dawson, Ciarán. "In Spite of Dungeon, Fire, and Sword: Peadar Ó Gealacáin and the survival of the Gaelic Irish Literary Tradition." Oceánide 13 (February 9, 2020): 52–60. http://dx.doi.org/10.37668/oceanide.v13i.40.
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As we advance through the 19th century in Ireland, the Irish Gaelic Literary tradition, one of the oldest in Western Europe, found itself in danger of extinction. The failure of the Irish language to find foothold in the towns and cities, and the subsequent failure of the language’s literary movement to transition itself into the printed mode, left the literature and poetry locked within the oral and manuscript traditions. With the ethnic cleansing of Ireland by Westminster well under way, first through forced emigration and then through famine, a small group of scribes set themselves the mammoth task of preserving this national treasure by travelling the country and writing down the songs, poems, and prose which were the result of centuries of literary effort on the part of the native Irish. By the end of the period the population had fallen from almost 9.000.000 at its height to less than 4.000.000: with no monoglot Irish speakers left. However due to the efforts of this small group of individuals we retain most of our literary wealth. This work tells the story of one of them, Peadar Ó Gealacáin.
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Barra, Caoimhín De. "A gallant little ‘tírín’: the Welsh influence on Irish cultural nationalism." Irish Historical Studies 39, no. 153 (May 2014): 58–75. http://dx.doi.org/10.1017/s002112140000362x.
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Throughout the Irish cultural revival of the later nineteenth and early twentieth centuries, Wales was held up as an example by some Irish nationalists of how a nation could revive its traditional culture and language. These writers told their audience of the heroic deeds of the Welsh in restoring their language to show Irish language revivalists that their task was not impossible. The Welsh example was studied by enthusiasts to see what steps were needed to improve the position of Irish. Organisations such as the Society for the Preservation of the Irish Language (S.P.I.L.) and the Gaelic League noted with envy the levels of literacy among Welsh speakers. Revivalists believed that literacy had prevented Welsh from disappearing, and they hoped to boost literacy rates in Irish to save that language. They noted how successful the eisteddfodau were in instilling pride among the Welsh people in their culture. Accordingly, members of the Gaelic League established the Oireachtas to encourage the people of Ireland to celebrate their own distinctive characteristics. Yet while the example of the Welsh language was regularly discussed, this did not reflect a deep understanding of linguistic developments in Wales.
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Litus, Elena V. "The Project of a Contrastive Dictionary of the Kuban Cossacks’ Folk Songs." Voprosy leksikografii, no. 19 (2021): 75–91. http://dx.doi.org/10.17223/22274200/19/4.
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The aim of the article is to justify the concept of a contrastive dictionary of the language of Kuban Cossacks’ folk song culture. This dictionary should demonstrate the bilingual nature of the Kuban Cossacks’ song folklore in the context of Russian and Ukrainian folk speech traditions, and become the basis for identifying the ethnolinguistic and ethnopsychological features of the Kuban Cossacks – a subethnos that has formed its own special traditional culture for over three centuries. The contrastive analysis of each culturally significant lexeme is organized in two blocks depending on the research base: Russian-language songs (songs of the Kuban Line Cossacks and Russian folk songs), Ukrainian-language songs (songs of the Kuban Black Sea Cossacks and Ukrainian folk songs). The article presents the concept of contrastive dictionary of the Kuban Cossacks’ folk songs; its originality is determined by the peculiar forming conditions of the Kuban folklore language caused by the settlement history of the Kuban territory. The existing experience of compiling contrastive dictionaries cannot be fully applied to the language of Kuban folklore, in which Russian and Ukrainian language folk traditions are mixed in a complex way. The dictionary is based on the ideographic principle. The thematic approach fully reflects a particular fragment of the linguistic world-image and provides great opportunities to study the place of separate language units in this fragment. Due to the significance of the task, attention is focused on one thematic group – “Man’s World”. The structure of the dictionary entry of the developed dictionary reflects linguistic features of lexemes: it gives an idea of the lexical and morphological paradigmatics, family of words (within the analyzed lexicon), their co-occurrence properties (syntagmatic aspect), and the originality of use (functional aspect). Such a structure of the dictionary entry allows not only describing the linguistic features of the analyzed lexeme, noting the presence of qualitative (cultural, conceptual) asymmetry in equivalent lexemes, but also identifying the deep implicit meanings reflected in the co-occurrence properties of the word and understanding the concept verbalized by the analyzed lexeme. The justified concept of the contrastive dictionary of Kuban folk songs should contribute to the solution of many problems of modern lexicography – studies of the possibilities of using contrastive dictionaries in folklore and author’s (writer’s) lexicography, lexicography of a multicultural region.
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Filardo-Llamas, Laura. "From Ireland to the States." Politics of Sound 18, no. 4 (June 28, 2019): 509–25. http://dx.doi.org/10.1075/jlp.18061.fil.
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Abstract In this article I start from an understanding of songs as socio-cultural discourses which may also perform a political function. This political function can be reflected in the promotion of particular world-views about given socio-political events and/or in the attempt by the singer to make the audience perform given political actions. To prove this, I will look at the re-contextualisation process undergone by a well-known song by U2: “Sunday, Bloody Sunday” (1983). This song was originally written to respond to the violence of the Northern Irish conflict, but it has been later used to react to other socio-political events. By relying on a cognitive approach to the study of songs, this paper tries to answer two questions: (i) how can we explain the re-contextualisation process undergone by the song and why is it possible? and (ii) how is politics embedded in musical performances?
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Tita, Michele. "Healing Songs and Music in Southern Italy: the Case of Tarantism." Tautosakos darbai 59 (June 2, 2020): 134–46. http://dx.doi.org/10.51554/td.2020.28371.
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Humans have always expressed themselves through songs and it is possible to witness practices of traditional singing almost everywhere and every time. The case that I am presenting in this article refers to the context of Southern Eastern Italy until the 1960s and the practice of singing and playing instruments as a form of healing towards people affected by tarantism, a peculiar culture-bound syndrome of that geographical area nowadays extinct. Tarantism takes its name from the spider called tarantula, which was said to sting mostly women around the end of June. Music and songs belonging to the traditional and wider genre of pizzica were used to treat them. Indeed, they could get rid of the venom of the spider by dancing with this music and these songs (even though the definitive healing could have been obtained only by the grace of Saint Paul). Pizzica is still sung, played and danced in Salento nowadays, although without its original healing function.The aim of this article is, therefore, to explore some examples of pizzica as witnessed from ethnomusicologists and played nowadays, highlighting their social and cultural role in both healing and recreational contexts.
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Corrius, Montse, and Eva Espasa. "Multilingualism, Music and Gendered Roles in Unorthodox." Między Oryginałem a Przekładem 28, no. 1 (55) (March 30, 2022): 31–53. http://dx.doi.org/10.12797/moap.28.2022.55.02.
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Through a multidisciplinary approach that combines translation studies and gender studies, this paper analyzes multilingualism in the series Unorthodox (Netflix 2020). We examine the presence and functions of identities and gendered roles in the series. Unorthodox tells the story of Esther Saphiro (Esty), a young Jewish woman who flees from her country and leaves her ultra-Orthodox community, with very strict rules and traditional gender roles. We explore the connections between the gendered roles of the main characters, their cultural or social contexts, and, especially, the role of third languages in the series (Yiddish, German, Russian, and Hebrew). As it is a German-American production, we consider English as its main language (L1) because the story is directed to mainstream Western audiences. The role of third languages (L3) is very relevant in depicting the intercultural encounters in the series. Yiddish is the most prominent L3 followed by German and a little Russian and Hebrew. The most recurrent functions of L3-instances are signaling otherness and character portrayal, where Yiddish and German are used. Hebrew is used for ceremonies, prayers and songs, and it portrays Jewish characters in their traditional contexts. We pay special attention to songs, as rich L3 instances, where there is interaction of L3 function, gender significance, translation strategies, and narrative roles. The translation of songs shows the relative importance of conveying the word or the music. Finally, the identification of third languages is not marked in the subtitling of either songs or dialogues; therefore, language diversity can be hindered for audiences not discriminating between the various languages.
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Wati, Ira Pergiwo, Joko Sukoyo, and Widodo Widodo. "Pengembangan Buku Cerita Bergambar Berdasarkan Lagu–Lagu Berbahasa Jawa sebagai Media Penanaman Nilai Karakter Anak Usia Dini di Kabupaten Pemalang." Piwulang : Jurnal Pendidikan Bahasa Jawa 8, no. 1 (July 1, 2020): 46–53. http://dx.doi.org/10.15294/piwulang.v8i1.15959.
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Character education is very important, especially in childhood is an effective time for initiating the introduction and construction of traditional art. Based on observation, researchers found the problem, which is the lack of availability of the media that is able to attract the interest of students in learning Java language songs. Besides, children don’t understand Javanese Songs. The researchers had the idea to try to develop an interesting book, creative and innovative that is picture storybook based on Javanese language songs as a media to offer value character for children. In addition, that book can be used as cultural preservation efforts through appreciation. This is research and development (R&D). The data collection techniques used were documentation, observation, and question form. This book contains two main characters, there are safeguarding the environment and independently. This book contains 22 pages and it developed two stories containing character values.
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Mohr, Susanne. "The visual-gestural modality and beyond." Sign Language and Linguistics 15, no. 2 (December 17, 2012): 185–211. http://dx.doi.org/10.1075/sll.15.2.01moh.
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The article analyses cross-modal language contact between signed and spoken languages with special reference to the Irish Deaf community. This is exemplified by an examination of the phenomenon of mouthings in Irish Sign Language including its origins, dynamics, forms and functions. Initially, the setup of language contact with respect to Deaf communities and the sociolinguistics of the Irish Deaf community are discussed, and in the main part the article analyses elicited data in the form of personal stories by twelve native signers from the Republic of Ireland. The major aim of the investigation is to determine whether mouthings are yet fully integrated into ISL and if so, whether this integration has ultimately caused language change. Finally, it is asked whether traditional sociolinguistic frameworks of language contact can actually tackle issues of cross-modal language contact occurring between signed and spoken languages.
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Buivytė, Giedrė. "Shifting Emotional Expression in Lithuanian Love Songs." Tautosakos darbai 63 (July 20, 2022): 105–22. http://dx.doi.org/10.51554/td.22.63.05.
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The article focuses on social and cultural background of the shifts taking place in the stylistics and contents of Lithuanian love songs. Applying theoretical assumptions from the field of history of emotions, the author analyzes shifting expression of emotions in folksongs on the topic of love. The subject of the article embraces love songs that spread from the 19th to the first half of the 20th century and were shaped not only by the folklore tradition, but also by Lithuanian and foreign poetry of the time, and by popular romances. These compositions differ in terms of poetic quality, displaying both the traditional folksong elements and changing attitudes by the singers and people that are depicted in the songs, as well as a new vocabulary of emotional expression. Applying insights by Peter N. and Carol Z. Stearns (1985) regarding the society’s standards on the expression of emotions, and the concept of emotive, or emotional statement, introduced by W. Reddy (2001), the author regards the shifting expression of emotions in love songs as a reflection of emotionality spreading in written culture (primarily poetry) of the 19th century. Utterances of love-related emotions are essentially perceived as manifestations of the changing poetic vocabulary. The first chapter discusses social and cultural conditions of the changing folksongs, concentrating mostly on the notion of love and its significance in traditional Lithuanian peasant family, and the spread of literacy in the 19th century. The growth of written culture is considered a factor in introducing tropes and prototypes of emotional language that express the notion of romantic love into the sphere of folksong. The second chapter analyzes the relationship between love songs and individual poetry. Various collections of Lithuanian folksongs published in the 19th century, as well as their publications in the press testify to the process of interaction between written and oral culture gaining momentum at that time. This process was further stimulated by the increase of Lithuanian poetry composed by representatives of Lithuanian intelligentsia and literati with roots among the small noblemen and peasants; their compositions were significantly influenced by foreign poetry. Romantic lyrics also grew popular among the peasants. The third chapter explores the distinction between classical folksongs that encode communication of the young people in symbols and draw on the ritual code, and the new love songs that preserve traditional images but lose their symbolic meaning and ritual orientation. The author concludes that these new love songs employ a predominantly poetic vocabulary of emotional expression typical to written culture, their folkloric formulas mixing with new phrases yet unpolished by the tradition and straightforwardly naming certain emotions; a direct relation between “I” and “you” becomes more prominent too. She discusses samples of folksongs that directly name love and openly depict such related emotions as worry, sorrow, or anger, and loveʼs parallel with death.
To sum up, it is stated that expressions of personal emotions increasingly become established in the new love songs. Although such expressions are frequently artistically rough and unpolished, they testify to the necessity of mastering new means of poetic expression, acutely felt by the newly literate people. Moreover, the songs also expand the semantic field of love, associating this feeling with intense emotions, overwhelming anxiety and longing, while the absence of love is conceptualized as a failing health and lost inner peace. Obviously, the stylized and frequently sentimental poetic vocabulary of emotional expression, characteristic to individual poetry affected by foreign literature and romances, presented new possibilities to discuss emotions in folksongs. These practices should be regarded mainly as “legitimization” of a new emotionally expressive rhetoric in the sphere of folkloric communication rather than a direct testimony to the experienced feelings.
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Pchelovodova, Irina Vyacheslavovna, Ekaterina Anatoljevna Sofronova, and Denis Leonidovich Kornilov. "MUSICAL FOLKLORE OF SIBERIAN UDMURTS IN SOUND COLLECTIONS OF THE UDMURT INSTITUTE OF HISTORY, LANGUAGE AND LITERATURE OF THE UDMFRC UB RAS." Yearbook of Finno-Ugric Studies 13, no. 4 (December 25, 2020): 615–22. http://dx.doi.org/10.35634/2224-9443-2019-13-4-615-622.
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The article considers archival sound collections according to the musical and song tradition of the Siberian group of Udmurts living in the Krasnoyarsk region and the Tomsk region. The main stock repository today is the phonogrammarchiv of the Udmurt Institute of History, Language and Literature of the UdmFRC UB RAS. Expeditionary recordings made in 1974 and 2006 make it possible to trace the state of musical folklore in dynamics. Analysis of the field material showed a decrease in the number of songs and the complete disappearance of rites in late recordings, while the layer of non-ritual songs survived quite well. The same phenomenon (partial disappearance of the rite layer of songs and the prevalence of the non-ritual) we see in the Udmurt traditional culture. In our opinion, this is facilitated by the emotional component of non-ritual songs, which is relevant at all times. During the course of the work, new materials stored in other funds were identified and will be considered in subsequent studies. The further planned comparative analysis of musical folklore of the Udmurt resettlement tradition with autochthonous tradition will allow relating the degree of preservation and/or loss of its components.
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Farren, Patrick, and Eugene McKendry. "A Consideration of Language Teacher Education in Ireland, North and South." TEANGA, the Journal of the Irish Association for Applied Linguistics 24 (November 15, 2018): 83–90. http://dx.doi.org/10.35903/teanga.v24i0.38.
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This paper surveys the context of language teacher education in Ireland, north and south, across the sectors (primary and post-primary, Irish, Modern Languages and English as an Additional Language). The discussion and analysis that follows arose through the contributions by language teacher educators to a conference organised by the Queen’s University of Belfast under the auspices of the Standing Conference on Teacher Education, North and South (SCoTENS)1. The authors suggest that a traditional view of diversification in language education, focusing on Irish and the main European languages, must be reconsidered in light of the new demographic and linguistic landscape of Ireland, North and South.
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Doma, Yabes, Iskandar Iskandar, and Apri Juverlis Clara Puri. "Pendekatan Pelayanan Kontekstual Melalui Musik Rohani Daerah Sub Suku Dayak Iban." Jurnal Teologi Kontekstual Indonesia 3, no. 1 (July 21, 2022): 31. http://dx.doi.org/10.46445/jtki.v3i1.503.
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The author discusses the contextual ministry approach through spiritual music in the language of the Iban Dayak tribe. In the Dayak Iban tribe, culture is still very fanatical, but that culture hasalso changed from generation to generation according to the times. Modern songs, local people find it difficult to understand the meaning of the song. That way, the authors are interested in using this opportunity to make an approach through the contextual service of the music of the Iban Dayak sub-tribe. The aim of the author is to approach the spiritual music of the Iban Dayak tribe. In this case, the research conducted by the author is using a descriptive approach with qualitative methods. By describing, explaining, describing what happened or studying what was the essence of the discussion. the author approaches by looking at the local culture. One of the approaches used by the writer to take this approach is to create spiritual songs in accordance with the language in the local area, so that the meaning of the songs created can be easily understood by the community. An example of the song is "Oh Bala Kaban", a traditional song from Dayak Ketungau Tengah.The author discusses the contextual ministry approach through spiritual music in the language of the Iban Dayak tribe. In the Dayak Iban tribe, culture is still very fanatical, but that culture hasalso changed from generation to generation according to the times. Modern songs, local people find it difficult to understand the meaning of the song. That way, the authors are interested in using this opportunity to make an approach through the contextual service of the music of the Iban Dayak sub-tribe. The aim of the author is to approach the spiritual music of the Iban Dayak tribe. In this case, the research conducted by the author is using a descriptive approach with qualitative methods. By describing, explaining, describing what happened or studying what was the essence of the discussion. the author approaches by looking at the local culture. One of the approaches used by the writer to take this approach is to create spiritual songs in accordance with the language in the local area, so that the meaning of the songs created can be easily understood by the community. An example of the song is "Oh Bala Kaban", a traditional song from Dayak Ketungau Tengah.
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Conama, John Bosco. "Sense of Community: The Irish Deaf Community." TEANGA, the Journal of the Irish Association for Applied Linguistics 28 (December 9, 2021): 340–48. http://dx.doi.org/10.35903/teanga.v28i.681.
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There is a strong perception among members of the Irish deaf community that the community is in gradual decline, with dwindling traditional bases for producing Irish Sign Language (ISL) users. For instance, enrolments in residential schools for the deaf have been declining steadily, and the numbers involved in social, sports and cultural activities in the community have been falling. Technological advances, consolidation of educational policies for deaf children in mainstream education, and individualisation and increased social mobility have also had an impact on how this community operates. However, there is paltry research on how such changes have affected deaf community cohesion, especially in the Irish context. Therefore, this ongoing research entitled Sense of Community – the Irish Deaf Community, seeks to explore the notion and strength of community belonging amongst the deaf community in Ireland. This project report presents the results of one element of this research, i.e. an online survey study conducted in June 2020. Initial analysis of the results of this survey indicate that ISL is one of the primary bonds holding the Irish deaf community together and that issues that divide the community include trustworthiness, feelings of exclusion, and the notion of leadership.
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Río Raigadas, David. "Rewriting the Western: Transnational Dimensions and Gender Fluidity in Sebastian Barry’s Days without End." Miscelánea: A Journal of English and American Studies 63 (June 30, 2021): 77–93. http://dx.doi.org/10.26754/ojs_misc/mj.20215873.
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The present essay will explore the Irish writer Sebastian Barry’s transnational rendering of the American West in his novel Days without End (2016), emphasizing his representation of neglected western questions and realities and his revision of traditional western tropes and archetypes. Barry’s approach to the American West in Days without End moves beyond the regional and national imagery of this territory, revealing its international and hybrid properties and its multiple and overlapping cultures. It is argued that Barry’s recreation of a different reality from the traditional western monomyth of masculinity, individualism, and Anglo-American conquest allows him to challenge classical frontier narratives and to address international and transcultural issues, such as gender fluidity. The novel, whose main protagonist and narrator is a poor, homosexual Irish immigrant, embraces a different West, questioning romanticized versions of the westward expansion and drawing interesting connections between the Irish immigrants in this region and the Native Americans. Overall, Days without End may be viewed as an acute depiction of the transnational dimension of the American West, proving the power of the Western to overcome its traditional formulaic and mythic boundaries and to travel across global spaces.
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Snesareva, Marina. "Palatalisation in Dublin Irish, or How to Speak Irish with a Dublin Accent." Studia Celtica Posnaniensia 2, no. 1 (January 27, 2017): 63–80. http://dx.doi.org/10.1515/scp-2017-0004.
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Abstract This paper focuses on palatalisation in Irish spoken by Dublin-based bilinguals with English as their first language. As opposed to previous researches in Irish phonetics and phonology, this study examines new speakers of Irish, whose speech was recorded in November 2014. All informants were born and raised in Dublin, lived either in the city or in the neighbouring counties and demonstrated sufficient fluency in Irish, i.e. had no problems with reading, could actively participate in conversation and give detailed answers without switching to English. Computer analysis of their data has shown that even though in traditional Irish dialects palatalisation is not position-bound, there is a correlation between palatalisation of a consonant and its neighbouring vowel quality in the speech of Dublin bilingualsdue to English influence andother factors.
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Mandzhieva, Bayrta B. "Традиционные темы в эпическом репертуаре джангарчи Телтя Лиджиева." Монголоведение (Монгол судлал) 12, no. 4 (December 17, 2020): 668–78. http://dx.doi.org/10.22162/2500-1523-2020-4-668-678.
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Introduction. The article examines traditional themes in the epic repertoire of jangarchi Teltya Lidzhiev, a most talented and original jangarchi, and a performer of songs of the 20th-century prominent rhapsode Eelyan Ovla. Materials. The recordings of Kalmyk folklore made by associates of the Kalmyk Research Institute of Language, Literature and History (present-day KalmSC RAS) during field expeditions in the 1960s – 1990s contain one by the famous jangarchi Teltya Lidzhiev. The recording was made by N. Ts. Bitkeev during a folklore research trip across districts of Kalmykia in the summer of 1970. Goals. At present, thanks to the preserved records of the epic repertoire of jangarchi Teltya Lidzhiev, there is an opportunity to explore the late tradition of the Jangar which existed in the second half of the 20th century. Results. The epic repertoire of Teltya Lidzhiev who was representing Eelyan Ovla’s school consists of an introductory part, a prologue (Kalm. orshl) and ten songs. Teltya Lidzhiev undoubtedly possessed a formulaic language, traditional compositional techniques that ensured the consistency of his narration. The storyteller had carefully elaborated all the stages of each theme and adopted the technique of drawing up formulaic turns and the formulas themselves, as well as compositional ones, to acquire a certain structured basis to build his narrative on. Teltya Lidzhiev’s songs comprise traditional themes of epic narration, such as selection of a hero, saddling of a horse, munitioning of the hero, departure, adversities of the path, arrival in borderlands, entering of the palace, searches, heroic duel, capture and branding, healing of the hero, return, feast. The examination of Teltya Lidzhiev’s songs shows that the traditional epic themes were firmly preserved in the jangarchi’s memory. But at the same time, it should be noted that each performance is unique: a jangarchi constructs his epic text and chooses one or another way of retransmission, the speed of clustering poems during a performance prompted the use of certain traditional formulas but one would certainly build his narrative according to a definite plan of his own. Thus, jangarchi is both a bearer of the tradition and an individual singer.
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ISART, NÚRIA BUSQUET. "LA LLENGUA CATALANA A LA MÚSICA POPULAR DEL SEGLE xx*." Catalan Review 22, no. 1 (January 1, 2008): 113–26. http://dx.doi.org/10.3828/catr.22.8.
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Each music form reflects the social relationships of this culture. Music and language are the most important channels of the socialization process. Moreover, they are the essential parts of the nation’s creation. The popular song (we characterize popular song as the opposite of cultured music, or, in other words, classical music) is one of the bases of communication and through it every culture can develop and transfer its idea of nation. In this study, we review some Catalan popular songs of the 20th century, particularly their language, noting similarities and differences among them. We focus on these analyses from different perspectives, particularly the linguistic. We study three historical moments and the language of their popular music styles: traditional songs and musical poems from the Orfeó Català (early 20th century), the Nova Cançó (the 60’s) and. Rock Català (the (90’s).
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Wang, Xingrong, and Lei Zhang. "A comparative study of interpersonal meanings of traditional hymns and contemporary Christian songs in China." Text & Talk 39, no. 6 (November 26, 2019): 775–96. http://dx.doi.org/10.1515/text-2019-0240.
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Abstract Contemporary Christian songs (CCSs) are gaining more favor in Chinese churches than traditional hymns (THs) nowadays; however, many scholars have criticized the intimate relationship established with God in CCSs from the perspective of theology. This study aims to explore whether the God-human relationship built in THs and CCSs has experienced a change by carrying out a comparative analysis of their respective constructed interpersonal meanings. Combining Halliday’s framework with judgment in Martin and White’s Appraisal system, this study compares 100 CCSs and THs from the aspects of modality, judgment, mood and projected roles with the help of UAM Corpus Tool 3.0., with some changes of the original categories of judgment system due to the specific nature of the judged subject in the data. The semantic analyses show that the God-human relationship constructed in hymns has changed, with the encompassing view of God narrowed to one focused on love, the sinful nature of humans replaced by their incapability, and the assurance in and reverence to God outweighed by closeness and intimacy with Him. Some cultural realities and the situation of the church are referred to as a way of explaining this change.
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Maoncha, Job Nyamamba. "Exploring the Dirge-case of Abagusii Community in Kenya." Editon Consortium Journal of Literature and Linguistic Studies 1, no. 1 (May 20, 2019): 20–36. http://dx.doi.org/10.51317/ecjlls.v1i1.56.
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The study analysed euphemism in language. This research focused on the use of euphemisms in the Abagusii traditional dirges. The research sought to collect Abagusii dirges, identify, describe, and classify the euphemisms used in them. This paper focuses on documenting and explaining the traditional Abagusii dirges. The study was based on the Face-work and Politeness theories. The study adopted a qualitative research design. The interview method was used as the instrument for data collection from a sample of five (5) adults of Kisii County of Gucha Sub County. The collected songs were subjected to thematic content analysis. From the collected dirges, it appears that the thematic concerns other than mourning also focus on tolerance, love, morality, justice, injustice, adherence to the traditional network of social relations and hard work. The dirge, just like other types of songs and is a vessel for airing the inner feelings of the community's aspirations and expectations, which it recorded and then passed from one generation to another as cultural heritage.
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Khakimyanova, Aigul M. "Cовременное состояние песенного фольклора башкир (по экспедиционным материалам XXI в.)." Oriental Studies 14, no. 2 (July 20, 2021): 409–19. http://dx.doi.org/10.22162/2619-0990-2021-54-2-409-419.
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Introduction. At present, people’s interest in the historical and ethnocultural heritage has increased, and the desire to preserve traditional values for future generations has grown stronger. Song recordings made in the 19th – 20th centuries are evidence of the developed musical and song tradition of the Bashkir people. Due to the collecting efforts of M. A. Burangulov, A. N. Kireev, S. A. Galin, N. D. Shunkarov and others, a whole layer of folk songs has been preserved. During expeditions that have been intensified since the beginning of the 21st century by the Institute of History, Language and Literature of the Ufa Scientific Center of the Russian Academy of Sciences, folklorists are working hard to multifacetedly cataloguize folk knowledge, on the basis of which one can judge the state of traditional modern folklore of the Bashkirs. In our understanding, ‘modern folklore’ is folklore that has existed since the middle of the 20th century to the present, regardless of the environment of existence. Goals. This work aims to consider the genres of traditional musical folklore of the Bashkirs that have survived today, to give a brief description of them, and also to analyze them from the viewpoint of assessing the modern spiritual state of the ethnos. Unlike other genres, musical genres are well preserved in the memory of the population. It is the song and takmaks that are the main genres of modern Bashkir oral and poetic creativity, which makes it possible to reveal the dynamics of the development of folklore. Materials and Methods. The research is based on the author’s expedition materials collected in the 21st century in different regions of the Republic of Bashkortostan and beyond, where the Bashkirs live compactly. They retain collective axiological attitudes and serve as a way of expressing shared emotions. These genres have a high level of demand among the population and therefore quantitatively prevail in expedition records. Folk songs are kept in the memory of people — bearers of folk musical culture, and are not recorded by them in writing. The transmission of musical and folklore works occurs orally. This means that any folk song is perceived and absorbed by each new generation by ear directly at the moment of sounding. Occasionally, songs can be recorded along with their stories and legends. The availability of songwriting histories is a characteristic feature of Bashkir folk songs. Many songs lose their names over time, but they do not completely disappear from the memory of the people, as evidenced by the comments of informants characterizing these works in expressions, such as ‘my mother’s song’, ‘this song was performed by my father’, etc. This phenomenon reflects the strong cultural connection between generations, when performers with special trepidation cherish the memory of their relatives and can reproduce the tune once performed by their father or mother. Along with drawling songs, short four-line songs without a title, drinking songs and takmaks are also common. Takmaks, in turn, are distributed not only orally but also in writing. Modern takmaks are distinguished by great mobility and efficiency, they instantly respond to urgent problems. In the light of recent events, takmaks have appeared on the topic of a pandemic, self-isolation, and online training. Results. A review of folklore materials collected in recent decades shows that the musical genres of Bashkir folklore continue to exist, which means that it is necessary to study not only the current state of the Bashkir song heritage but also its evolution. The folk song, folk singing traditions must be passed on to the younger generation, and only then the folk culture will develop and be preserved for future generations.
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Bruce, James P. "Champion of the Gaeilgeoirí: John Charles McQuaid and the Irish-language mass." Irish Historical Studies 40, no. 157 (May 2016): 110–30. http://dx.doi.org/10.1017/ihs.2016.2.
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AbstractIn 1963 the Second Vatican Council voted overwhelmingly to introduce the vernacular into Roman Catholic worship. The Irish hierarchy decided that both Irish and English speakers should be catered for in the reformed liturgy. Within a few years John Charles McQuaid, archbishop of Dublin, had gained a widespread reputation as having gone further than his fellow bishops in the provision of masses in Irish. At the same time he was criticised for his lack of enthusiasm towards other areas of liturgical reform. This dichotomy stemmed from McQuaid’s deep dismay at the church’s new ecumenical direction and the possibility that it would lead to shared worship between Catholics and Protestants. Yet, as a senior prelate in the Catholic Church, he was obliged to implement each of the Council’s decrees, including those concerning the liturgy. McQuaid’s response was to introduce Vatican-approved changes to the mass, while simultaneously protecting the traditional liturgy he cherished. So he tried to re-establish the Latin rite on the same terms as those he had arranged for the Irish mass. Had he succeeded, the result would have been a reduction in the use of an English vernacular which he found offensive to his Catholic sensibilities.
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Lukina, Nadezhda V., and Svetlana A. Popova. "GAINING NEWFOUND RELEVANCE FOR THE SCIENTIFIC SOURCES ON FOLKLORE IN THE REVIVAL OF MANSI RITUAL PRACTICE." Folklore: structure, typology, semiotics 4, no. 2 (2021): 115–30. http://dx.doi.org/10.28995/2658-5294-2021-4-2-115-130.
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The work is devoted to the most important ritual sphere of the traditional culture of the northern Mansi, associated with the worship of a bear, that lost a number of essential components in the XX century. The ritual folklore of Bear’s Holidays consists almost exclusively of songs, and exactly they were what was forgotten. These are “bear songs”, songs of farewell to a bear at night and its morning awakening, songs of the end of a holiday, and invocation songs for the spirits. The task of the study is to analyse the experience of updating the works of Russian and foreign researchers of Mansi folklore in the process of revival of a Bear’s Holiday. As a result, in this regard the most significant materials of A. Kannisto are identified, which are considered along scientific and practical lines. The first line is implemented in the form of Russian translations of texts with subsequent publication, combined with a version in the modern literary Mansi language. Samples of songs recorded on a phonograph in the form of notes and in a digital version on a disk have also been introduced into academic circulation. The practical line of updating was carried out in 1994–2020 in the form of lectures for the Mansi youth and joint learning of songs and scenes of a Bear’s Holiday according to these sources
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Mwangi, Evan. "Sex, Music, and the City in a Globalized East Africa." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 321–24. http://dx.doi.org/10.1632/pmla.2007.122.1.321.
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One of the first things i noticed on landing in my hometown of nairobi, kenya, for summer vacation this year was the continued proliferation of new-style music that undermines traditional ties with the solid rural identities seen previously as quintessential manifestations of patriotism and African racial pride. Radios in duty-free shops at the Jomo Kenyatta International Airport were tuned to various FM stations, which issued beats that were a cross between Western hip-hop and traditional village music. Notable were the songs' calls for dissolving the boundaries between East African countries—namely, Kenya, Tanzania, and Uganda.
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Afọlabi Ọlabimtan (deceased). "Language and Style in Ọbasa’s Poetry." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–22. http://dx.doi.org/10.32473/ysr.v5i1.130073.
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Denrele Adetimkan Obasa (1878-1948) was a great Yoruba poet in his own ́ right. It was he who provided ‘the link between traditional beliefs and writing in the modern vein.’2 The three volumes of Yorùbá poetry produced by him between 1927 and 1945 had a great impact not only on the adults who were impressed by the wealth of traditional sayings in his poems, but also on the school children who were made to learn some of the poems by heart.3 In this paper I intend to answer the question: In what does Obasa’s greatness as ̣ a poet consist? In the Ìjúbà (prologue) to Iwe ̀ ́ Kinni ́ ́ Awo ̀ n Ake ̣ wi, he writes: ̀
O di odụ ́n mó ̣kànléló ̣gbò ̣n nísisiyi (AD 1896) ti mo ti be ́ ̀ ̣re si ̀ ś aạ ́yan kíko -̣́ jo ̣ àwon o ̣ ̀ ̣rò ̣ ogbo ̣ ́ ̣n àtaiyebáyé ti àwon baba n ̣ ́là wa, tí i máa hán jade nínú orin, ègè, rárà, ìjálà, ìpesạ ̀, àròfò ̣, oríkì, ìlù, fèrè àti àgbékà ò ̣ro ̣̀ won…̣ (Obasa 1927: i)
(For the past thirtyone years (1896-1927) I have been assembling Yorùbá traditional sayings which embody the wisdom of our fore-fathers. Tese sayings are found in songs and in various forms of Yorùbá poetry; egè, ̀ rará , i ̀ ̀jála, i ́ pè sạ , à rò ̀fo, ori ̣̀ ́ki, and in the language of the drum and the ̀ fute.)