Journal articles on the topic 'Music and folk-songs'
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1
Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (April 14, 2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.
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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language.
Abstract in Hindi Lanaguage:
लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है।
Keywords: लोक संगीत, कजरी, लोक वाद्य
2
Gao, Yu. "Study on the Historical Development of Folk Songs in Shanbei." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 166–67. http://dx.doi.org/10.54097/yz7r9e57.
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Northern Shanbei folk songs are famous traditional music in China. This study focuses on the origin and historical development of northern Shanbei folk songs, as well as its characteristics and ways of expression. The origin and development of northern Shanbei folk songs have not only incorporated ancient farming culture and theatre traditions, but also combined them with modern music to form a unique musical style and mode of expression. This has made northern Shanbei folk songs retain their ancient characteristics in their inheritance, while also advancing with the times and adapting to the needs of modern society. As an important part of Chinese folk songs, northern Shanbei folk songs are of great significance to the study of Chinese music culture and social history.
3
Terzioğlu, Ahmet Mutlu. "A Values Education Investigation of Folk Songs in Elementary School Music Textbooks." Shanlax International Journal of Education 10, S1-Aug (August 18, 2022): 110–15. http://dx.doi.org/10.34293/education.v10is1-aug.5187.
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The aim of this descriptive study was to examine the values in Turkish Folk Music songs included in the elementary school music textbooks developed in line with 2018 curriculum in Turkey. In this sense, 44 folk songs included in elementary school music textbooks used in Turkey in the 2019-2020 academic year were investigated in order to reveal the values in these songs. Content analysis was adopted in this study. The findings showed that the textbooks generally consisted of folk songs in which the values of love, patriotism and courage were addressed. In this context, 20 folk songs with the value of love and 4 folk songs with patriotism and courage are included in the textbooks. In addition, it was found that there were four folk songs with the value of local values, two with compassion, one with kinship,one with perseverance, and one with belonging.
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Mihelač, Lorena. "The Role of Songbooks in the Preservation of Children’s Folk Songs in Kindergarten." Revija za elementarno izobraževanje 15, no. 3 (September 2022): 301–15. http://dx.doi.org/10.18690/rei.15.3.301-315.2022.
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The paper presents an analysis of songbooks used in kindergarten. It outlines the need for renewal of the existing kindergarten curriculum from the perspective of preserving the Slovenian music tradition, and within this context, the indispensable role of children’s folk songs in the preservation of Slovenian folk music. Furthermore, it tackles the following three issues: (i) the disproportionate representation of children’s folk songs and author songs in songbooks; (ii) the information provided about children’s folk songs in songbooks, and (iii) the representation of children’s folk songs in kindergarten.
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Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.
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Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi music. The country or caste of which a sensitive human was oriented to express the feelings of his heart, on the same occasion, the self-proclaimed tone, rhythm, nature emerged from his mouth and the classical development which he developed by binding the same tone, song and rhythm Gaya became the only country music.
भारतीय लोक जीवन सदैव संगीत मय रहा है। भारत वर्ष का कोई अंचल कोई जाति ऐसी नहीं जिसके जीवन पर संगीत का प्रभाव न पड़ा हो। भारतीय संगीत के लिए कहा जाता है कि साहित्य से ब्रह्म का ज्ञान और संगीत से ब्रह्न की प्राप्ति होती है। भारत में पुरातन काल से विभिन्न पर्वो एवं अवसरों पर गायन, वादन व नृत्य की परंपरा रही है। लोकगीत प्राचीन संस्कृति एवं सम्पदा के अमिट वरदान है जिसमें अनेकानेक संस्कृतियों की आत्माओं का एकीकरण हुआ है। लोक संगीत जन-जीवन की उल्लासमय अभिव्यक्ति है। पद्म श्री ओंकारनाथ के मतानुसार-‘‘देवी संगीत के विकास की पृष्ठभूमि लोक संगीत है। जिस देष या जाति का सम्वेदनषील मानव जिस समय अपने हृदय के भावों को अभिव्यक्त करने के लिए उन्मुख हुआ उसी अवसर पर स्वयंभू स्वर, लय, प्रकृत्या उनके मुख से उद्भूत हुए और उन्हीं स्वर, गीत और लय को नियम बद्ध कर उनका जो शास्त्रीय विकास किया गया वही देषी संगीत बना।‘‘
6
Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.
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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.
7
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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Bosman, Martjie. "Die FAK-fenomeen: populêre Afrikaanse musiek en volksliedjies." Tydskrif vir Letterkunde 41, no. 2 (April 20, 2018): 21–46. http://dx.doi.org/10.4314/tvl.v41i2.29672.
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Afrikaans popular music of a variety of genres and subgenres is currently flourishing. A very productive phenomenon is the re-interpretation of older songs, in particular folk songs. This article gives a short historical overview of the collection and publication of Afrikaans folk songs, followed by a brief description of various ways in which folk songs have previously been utilised. The collection of Afrikaans folk songs known as the FAK (Federation of Afrikaans Cultural Organisations) songbook earned itself an important position in Afrikaans cultural circles, but it was also stigmatised. Since the end of the 1990s, Afrikaans popular songwriters and singers showed a renewed interest in so-called FAK songs and a number of musical arrangements and re-writings of folk song lyrics have been recorded. A number of lyrics that either contain references to folk songs or are re-writings of folk songs, are discussed. Tension between the old, well-known words of the folk songs and the new songs often develops, while the intertextual references to older songs are used to comment on current situations. The importance of popular music in minor cultures is briefly discussed.
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Chen, Junnan, Jiawei Zhong, Jiajie Xiang, Yingjie Gong, Yilu Li, and Chenghong Wang. "Musical Characteristics of Tibetan Folk Songs in Baima." International Journal of Education and Humanities 6, no. 3 (January 3, 2023): 88–89. http://dx.doi.org/10.54097/ijeh.v6i3.4195.
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Baima Tibetan is a branch of Tibetan in Longnan area. Its historical origin, religious beliefs, customs and folk customs are very different from Tibetan. Baima Tibetan folk songs have rich flavor and various forms, including toasting songs, labor songs, dance songs, sacrificial songs and other types. Baima Tibetan folk songs are a vivid display of their national customs and living customs. This paper introduces the types of Baima Tibetan folk songs, and analyzes their music characteristics, hoping that more researchers can go to Baima Tibetan and learn about the charming Baima Tibetan folk songs.
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Xiang, Jiajie, Jiawei Zhong, Junnan Chen, Jinwen Liu, Shasha He, and Chenghong Wang. "Enriching the Charm of Folk Songs with Multi part Forms: A Practical Exploration of the Creation of Multi part Chorus of Qiang Folk Songs." Journal of Education and Educational Research 5, no. 3 (October 1, 2023): 136–40. http://dx.doi.org/10.54097/jeer.v5i3.13651.
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The Qiang ethnic group is a long-standing ethnic group in China, and its historical changes, religious beliefs, customs, and customs have great research value. Qiang folk songs are a vivid display of their ethnic customs and living customs. Qiang folk songs have a rich flavor and diverse forms, including love songs, labor songs, mountain songs, wine songs, and other types. Folk song choir is an important way to inherit and promote Qiang folk songs. This article introduces the types of Qiang folk songs and creates a multi part choir to enrich the charm of folk songs with multi tone sound, in order to enable more music enthusiasts to understand Qiang folk songs and culture.
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GÖK, Emre, and İsmet DOĞAN. "COMPILATION WORKS OF BELA BARTOK IN ANATOLIA." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 2 (August 15, 2022): 113–30. http://dx.doi.org/10.46291/zfwt/140206.
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Composer and ethnomusicologist Bela Bartok, who came to Turkey in 1936 in order to hold conferences and studies on Turkish folk music, researched.both the relationship between Turkish folk music and Hungarian folk melodies and the roots of the similarities between the music of the two countries, which are thought to come from the same root and got interesting and valuable information. He made field studies in certain regions of Turkey, compiled the folk songs in the areas he worked, notated the songs which he compiled and then classified these folk songs. In addition to her field work, she also worked with important musicians such as Ahmet Adnan Saygun, Necil Kazım Akses, Ulvi Cemal Erkin, whom we know as Turkish fives today. Throughout all his studies in Anatolia, he said that there were both similarities and differences between Turkish and Hungarian folk music, but he argued that the two musical cultures emerged from the same root. One of the most important theses he defended was that he said that Hungarian music culture was a clear Turkish music culture and that the motifs in Turkish melodies were seen in Hungarian music. Keywords: Bela Bartok, Turkish folk music, Hungarian folk music, Cultural transfers and similarities, Pentatonic
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Wu, Jiayu, Cheong Jan Chan, and Julia Chin Yee Chieng. "The Innovation of Mongolian Folk Song Music Cultural Inheritance Path Based on Intelligent Computing Analysis of Communication Big Data." Security and Communication Networks 2022 (April 11, 2022): 1–13. http://dx.doi.org/10.1155/2022/5752751.
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Cultural inheritance and innovation is an important measure to enhance the vitality of traditional culture and realize the sharing of national culture. Mongolian folk music, as an important part of Chinese cultural resources, plays an irreplaceable role in inheriting Mongolian culture. How to better inherit the music culture of ethnic minorities has been a hot topic in the music education circle in recent years. However, when we focus on the campus inheritance of ethnic minority music, we have to pay attention to the original living space of ethnic minority music and its unique local inheritance method. What is the relationship between them? What are the similarities and differences? The investigation of the relationship between the two is an indispensable content for exploring the inheritance of minority music. This paper aims to study the innovation of the inheritance path of Mongolian folk song music culture, endow Mongolian folk song music with a new era connotation in the new era, and let the folk song music culture be inherited and revitalized in the in-depth contact with the masses. This paper proposes a method to study user needs with the help of dissemination big data, identify malicious traffic with the help of the Internet of Things, find the most touching music and cultural elements of users, innovate and integrate the Mongolian nation, avoid malicious traffic from invading Mongolian folk songs, and enhance the attractiveness of Mongolian folk songs. Experiments have shown that Mongolian folk songs have a strong appeal, and the participation rate of young people in Mongolian folk songs has increased by 20%.
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Liu, Keling. "The Soul of Ethnic Music: The Mongolian Ethnic Song "Hongyan" as an Example." Highlights in Art and Design 4, no. 2 (September 25, 2023): 7–8. http://dx.doi.org/10.54097/hiaad.v4i2.12183.
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In the era of new media, Chinese film music presents a diversified development situation, and in Chinese film music, the element of ethnic music is an important part that cannot be ignored, and it has an important influence on the development of Chinese film music. The article mainly starts from the content and role of film music, specifically analyses the application of folk music in Chinese film music, and explores the three major elements of folk music, namely, musical instruments, folk songs and operas, and at the same time, takes the Mongolian song "The Wild Geese" as an example, and focuses on the analysis of the application of the elements of folk songs in Chinese film music.
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Csüllög, Judit. "The Proportion and Importance of Folk Music in Piano Method Volume 1 and 2." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (December 30, 2023): 353–81. http://dx.doi.org/10.24193/subbmusica.2023.2.26.
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"The study focuses on the folk music aspect of Piano Method Volume 1 and 2, which are still widely used in Hungarian piano teaching. It examines the proportion and function of Hungarian folk songs in the volumes. It sheds light on folk songs appearing in different phases of piano teaching and their methodological possibilities of use. Keywords: Hungarian folk music, Piano Method, piano teaching, piano methodology"
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MÜRŞÜDOVA, U. B. "AZƏRBAYCANIN OĞUZ-TÜRK VƏ ŞİMALİ AMERİKANIN HİNDU XALQ NƏĞMƏLƏRİ: MÜQAYİSƏLİ TƏHLİL." Actual Problems of study of humanities 1, no. 2024 (April 15, 2024): 134–40. http://dx.doi.org/10.62021/0026-0028.2024.1.134.
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Azerbaijan Oguz-Turk and North American Hindu Folk Songs: a Comparative Analysis Summary Folk songs of Oguz-Turk and Hindu people have addressed themes that are universal to most of humanity throughout history, including love, loss, treachery, and early death. They serve as a historical account of the circumstances that existed when they were written or oral traditions that were carried down orally. Folk songs are essential to music since they provide a brief overview of the musicians' lives. Important information is also frequently passed down from generation to generation through folk tunes. Folk ballads narrate tales of a life that has been forgotten or is about to vanish. Traditional Oguz-Turk and Indian civilizations use music for a variety of purposes, such as religious rituals, healing rituals, social songs and dances, work songs, game songs, courting, storytelling, and songs to bring luck in hunting, agriculture, and warfare. Key words: Folksong, Comparative features, Main directions of folksongs, In-text conceptions, Characteristics of folksongs
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Lin, Kang. "Folk songs in the content of general music education in China." Science and School, no. 5 (October 29, 2023): 203–10. http://dx.doi.org/10.31862/1819-463x-2023-5-203-210.
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The article is devoted to the problem of increasing the role of folk songs in the content of general musical education. This problem is relevant not only for China, but also for Russia. It is connected with the tasks of the modern state educational and cultural policy of these countries, aimed at educating the younger generations in the context of their own national and cultural traditions and spiritual and moral values. The purpose of the article is to reveal the role of Chinese folk songs in the content of modern general musical education in China. The article reveals certain aspects of the history and artistic originality of Chinese folk songs, considers the state requirements for their development by schoolchildren, presents the results of the analysis of folk songs included in music textbooks for grades 1–6 of China’s comprehensive schools. It was revealed that they include significantly fewer samples of folk music than Western European and modern Chinese. Among the folk songs, songs of ethnic minorities (Tibetan, Mongolian, etc.) prevail, and not of the Chinese ethnic group. From this, a conclusion was made about the need to develop and theoretically and methodologically substantiate the pedagogical conditions for increasing the role of Chinese folk songs in the content of general musical education in China.
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TERIGELE. "Experience and Reflection on Horqin's Narrative Folk Songs in the Study of Bel Canto Singing." Academic Journal of Management and Social Sciences 4, no. 3 (October 11, 2023): 14–15. http://dx.doi.org/10.54097/ajmss.v4i3.12392.
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With the development of China's national strength and economic progress, many of China's art have been gradually carried forward. For example, Horqin narrative folk songs, which were born in Horqin Grassland, are also famous at home and abroad. After historical development and innovation, Horqin folk song culture has also attracted more and more attention. It has developed from the Zhelim Horqin period to Horqin narrative folk songs. There are many works that need to be studied by scholars. In the process of vocal music learning, it is to think and experience in depth. In view of this, this article will discuss from three aspects: the style analysis of Horqin's narrative folk songs, the significance of folk songs in vocal music learning, and practical experience.
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Gao, Yu. "The Integration of Shanbei Folk Songs in Vocal Music Teaching in University of China." International Journal of Social Sciences and Public Administration 3, no. 2 (June 26, 2024): 423–31. http://dx.doi.org/10.62051/ijsspa.v3n2.51.
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Northern Shaanxi folk songs are an important part of China's folk music, with distinctive regional characteristics and deep cultural heritage. With the development of society and the improvement of education level, the teaching of vocal music in colleges and universities is gradually showing a diversified trend. The integration of northern Shaanxi folk songs into college vocal teaching not only helps to inherit and promote the culture of northern Shaanxi folk songs, but also enriches the teaching content and improves the comprehensive quality of students. This paper discusses the characteristics of northern Shaanxi folk songs, the significance and value of integration, teaching methods and strategies, etc., aiming to provide new ideas and practical references for vocal teaching in colleges and universities.
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Widyanti, Yenny Eta. "Perlindungan Hukum Lisensi Hak Cipta Lagu dan Musik Daerah Berdasarkan Undang-Undang Nomor 28 Tahun 2014 Tentang Hak Cipta Dan Konvensi Bern." Warkat 3, no. 1 (December 5, 2023): 38–48. http://dx.doi.org/10.21776/warkat.v3n1.3.
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This paper analyzes legal issues regarding the legal protection for folk song and music licenses in Indonesia. Indonesia which has cultural diversity is expressed through several folk songs whose creators are anonymous, so they are very susceptible to being changed, re-performed in a way that is inconsistent with the values that live in society and even claimed by irresponsible foreigners. This research is a normative legal research, using a statutory approach. Based on primary and secondary legal materials, then the results of the research show that the copyright of folk songs and music is a protected object in article 40 of Law Number 28 of 2014 concerning Copyright (Copyright Law), and folk songs and music whose creators are anonymous is regulated in Article 38 and Article 39 of Copyright Law. In the Berne Convention folk songs and music whose authors are anonymous are protected in Article 15 Paragraph (4.a) which regulates the protection of unpublished works, and anonymous authors from participating countries of the Berne Convention.
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Tang, Jing, and Phiphat Sornyai. "The Cultural Treasures of Baima Tibetan Folk Songs in Gansu Province, China, as a Resource for Literacy Education in Chinese Music History." International Journal of Education and Literacy Studies 11, no. 3 (July 31, 2023): 234–43. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.234.
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Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups - scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.
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Hu, Xuwen. "A Study of the History of Hakka Mountain Song Education Transmission Based on Inheritance Historicity." SHS Web of Conferences 168 (2023): 03008. http://dx.doi.org/10.1051/shsconf/202316803008.
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Among the folk music of China, the Hakka Mountain Folk Songs of Gannan are a unique system with a long history. Understanding the rich humanistic connotation of Hakka and its place in the spiritual life of the people is of far-reaching significance to the study of Hakka culture, Hakka language and the spiritual sentiment of Hakka people in Ganzhou; and to arouse people’s awareness of the inheritance and protection of this precious cultural heritage which is on the verge of extinction. The distinctive local characteristics and folk features are fully expressed in the Hakka Mountain Folk Songs, and the local language and customs, local customs, artistic conditions， and political and cultural life are reflected in the Hakka Mountain Folk Songs in a very realistic way. In recent years, the academic community has paid more attention to the musical characteristics of the Hakka Mountain Folk Songs in Gannan, and the research has gained certain achievements. This paper will focus on the historical origin of Hakka Mountain Folk Songs in Gannan, the spiritual characteristics of Hakka people, the language of Hakka Mountain Folk Songs, the study of the musical characteristics of mountain songs and contemporary vocal works that successfully borrow from Hakka Mountain Folk Songs in Gannan. In the last part of the article, he writes some opinions about the inheritance and innovation of Gannan Hakka Mountain Folk Songs, which will help the creators to create more and better local music works and do their part to promote the inheritance of Gannan Hakka Mountain Folk Songs.
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Domokos, Mária, and Katalin Paksa. "The Hungarian folk song in the 18th century." Studia Musicologica 49, no. 1-2 (March 1, 2008): 105–25. http://dx.doi.org/10.1556/smus.49.2008.1-2.6.
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In Hungary, the concept of “folk song” was clarified at the beginning of the 20th century only, accordingly, there were no “folk songs” noted down in the 18th century. Still, the number of music sources relating to folk music increased significantly in the 18th century. As a result of their scientific analysis the melodic parallels of some five hundred 18th-century tunes were found in the central folk music collection of the Institute for Musicology of the Hungarian Academy of Sciences. These melodic parallels involve 153 folk song types. In a specific era of folk culture there is always a coexistence of elements and styles of different age. The sources also contain examples of the descending pentatonic styles (that either originates or developed from oriental roots), of the lament style and of the medieval and early modern tunes. Of particular interest are the songs that first appeared in the 17th century, then undergone significant changes in form and rich collection of variants developed around them. The most remarkable result of our research is that contrary to former beliefs regarding its insignificance, the 18th century enriched the Hungarian folk music with some sixty new melody types. One of the most interesting groups of this rather mixed collection of songs is that of the songs in a major key with a narrow compass that seems to be the most characteristic music of the time. Plagal songs in a major key with perceptive functional chords behind their melodies also entered Hungarian tradition at this time. Plagal tunes, unfamiliar to Hungarian folk music, were sometimes transformed into descending tunes. The antecedents of the new Hungarian folk song style hardly feature in these sources — this style probably developed in the late 19th century. However, among the popular art songs that flourished from the 1830s onwards we found about a dozen melody types with a partial or full similarity to 18th-century melodies.
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Muminova, D. "Lyrical songs in uzbek folk music." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 4 (2020): 89. http://dx.doi.org/10.5958/2249-7137.2020.00106.8.
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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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Erdely, Stephen, Bela Bartok, Sandor Kovacs, and Ferenc Sebo. "Hungarian Folk Songs. Complete Collection." Yearbook for Traditional Music 26 (1994): 128. http://dx.doi.org/10.2307/768251.
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Myers, Helen, Norman Cazden, Herbert Haufrecht, Norman Studer, Haufrecht Cazden, and Studer. "Folk Songs of the Catskills." Yearbook for Traditional Music 17 (1985): 210. http://dx.doi.org/10.2307/768445.
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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.
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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.
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Nnamdi-Eruchalu, Geraldine Ifesinachi. "Folk Songs and Social Realities: The Nsude Igbo Women Example." Advances in Social Sciences Research Journal 9, no. 2 (March 5, 2022): 366–85. http://dx.doi.org/10.14738/assrj.92.11860.
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This study is aimed at documenting and analyzing the folk songs of Nsude women of South East Nigeria with the aim of understanding and reconstructing the traditional culture of the people which is shrinking in the face of westernization. The researcher observed that Christian songs and popular music have taken over the roles women previously performed by folk songs. The study argues that the decline in the use of folk songs by the womenfolk could be depriving the younger generations of the people certain values, beliefs, norms, and social practice which hitherto controlled behaviour and held the traditional society together, and as such stripping them of their culture and identity. Previous works on Igbo folk songs focused on documentation only, and some on the pedagogical roles of folk music. The present study addresses the folk songs sang by Nsude women so as to highlight the peculiarities of the people’s existence and philosophies.The songs were recorded from the researcher’s interaction with five elderly women from the town, as well as from her introspection. The analysis revealed that the songs in addition to being sources of enjoyment, entertainment and relaxation for all inculcates in the people the values to uphold and the vices to abhor for the harmonious existence of the community.
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Xuan, Pham Thi, and Tran Anh Dung. "Choosing Folk Song for Children 5-6 Years Old Through Teaching Organization Music Activities in Preschool." European Journal of Theoretical and Applied Sciences 2, no. 3 (May 31, 2024): 74–81. http://dx.doi.org/10.59324/ejtas.2024.2(3).08.
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Folk songs have the ability to have a strong impact on people's thoughts and emotions, helping us develop aesthetic abilities, thinking, intellectual, physical qualities, and good moral feelings. More importantly, it forms national consciousness and love for the homeland. Currently, teachers are aware of the importance of using folk songs for 5-6 year old children in organizing musical activities in preschools. However, preschool teachers do not know how to choose folk songs in organizing and teaching music activities, causing the results of the activities to be low. This article focuses on analyzing the current situation of choosing folk songs for 5-6 year old children through organizing and teaching musical activities, in order to form in children the goodness and beauty in folk songs. From there, children will develop a love and appreciation for Vietnamese folk songs.
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Yang, Jing, and Suthasinee Theerapan. "The Contemporary Status of Pingxian Folk Songs and Their Educational Significance in Qinghai Province Through Anthropological Analysis." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 2 (March 1, 2024): 367–78. http://dx.doi.org/10.60027/ijsasr.2024.4013.
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Background and Aims: This anthropological study delves into the contemporary status and educational significance of Pingxian folk songs in Qinghai Province, China. Pingxian folk songs are known for their delicate melodies. This research aims to analyze the contemporary status of Pingxian folk songs in Qinghai Province and their educational significance through anthropological analysis. Materials and Methods: The research is situated primarily in Qinghai Province, specifically focusing on Xining City, a central hub of Pingxian folk songs. Data collection involves in-depth interviews and systematic observation of performances, facilitated by structured interviews and observation forms. Four key informants, including local musicians, community elders, and music educators. Results: These songs have transitioned from local folk art to distinct local folk music, embracing diverse musical elements and the emergence of professional troupes. They continue to thrive through regular performances, preserving local dialects, and enchanting melodies, and serving as living repositories of history and culture. Furthermore, Pingxian folk songs play a pivotal role in fostering cultural identity, nurturing creativity, and enhancing social cohesion among learners, contributing to cultural heritage protection and the rejuvenation of Chinese traditions. Conclusion: Pingxian folk songs in Qinghai Province epitomize a dynamic cultural heritage that resonates with audiences today. Their enduring legacy, enriched by historical evolution and contemporary vitality, underscores their significance in education and cultural preservation. As valuable tools for instilling cultural identity and fostering creativity.
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Wei, Sun, and Krisada Daoruang. "An Analysis of Music Composition Techniques of Bao Yuankai: Case Study of “Little Cabbage”." SHS Web of Conferences 183 (2024): 03005. http://dx.doi.org/10.1051/shsconf/202418303005.
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The composition techniques of the folk song “Little Cabbage” within Chinese composer Bao Yuankai's “Yan Huang Feng Qing” are analyzed as research subjects. The concept of symphonic Chinese folk songs and musical creation techniques are investigated. The manner in which the composer incorporates Chinese and Western music theories in his compositions through the application of musical theory techniques is analyzed. The results of the research findings were: 1) The Chinese pentatonic scale 2) The use of Chinese folk melody in Western orchestra and 3) 3 Music texture: polyphonic technique and Chinese melody fusion. Exploring the composer's concept of symphonic Chinese folk songs is of paramount importance for further inheriting and advocating China's outstanding folk music culture.
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Zeng, Ao, and Kritsakorn Onlamul. "Historical Development in Education and Cultural Literacy of Chinese Tujia Working Songs in Chongqing." International Journal of Education and Literacy Studies 11, no. 4 (October 20, 2023): 218–24. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.218.
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Chinese Tujia folk songs, deeply rooted in the cultural heritage of the Tujia ethnic group, serve as a living repository of history, values, and traditions. The primary objective of this study is to investigate the historical development of education and cultural literacy in Chinese Tujia working songs in Chongqing. The comprehensive literature review provides insights into the history of the Tujia ethnic group, their musical heritage, and contemporary challenges to preserving their cultural traditions. The research site includes Youyang Tujia and Miao Autonomous County, Shizhu Tujia Autonomous County, Pengshui Tujia, and Miao Autonomous County, and Qianjiang District. Key informants, including accomplished artists, academic researchers, and local experts, share their invaluable insights related to the preservation and performance of Tujia folk songs. By using the principles of music aesthetics, music ethnology, and ancient Chinese music history. The result of this study underscores the critical importance of preserving intangible cultural heritage, especially in the context of today’s rapid modernization and globalization. They highlight those traditional folk songs, like Chinese Tujia working songs, hold immense cultural and historical value. The study also provides actionable recommendations for ensuring the continued vitality of these culturally rich songs. These suggestions can guide efforts to integrate Tujia folk songs into educational curricula, support local musicians and artists, and promote cultural events.
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Noh, Yebin, and SungKyoo Hong. "Research on the Characteristics of Colombian Folk Music as Portrayed in Disney's Animation ‘Encanto’: Centered on Vallenato Music." Korean Society of Culture and Convergence 45, no. 11 (November 30, 2023): 397–410. http://dx.doi.org/10.33645/cnc.2023.11.45.11.397.
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This study examined the cultural and folk music characteristics of Colombia as portrayed in Disney's animated film “En-canto”. It focused on the analysis of prominent songs that prominently feature the characteristics of Vallenato, a Colombian folk music genre, such as “The Family Madrigal” and “Colombia Mi En-canto”. Specifically, the study analyzed the utilization of traditional musical instruments in the Vallenato ensemble, musical elements, as well as rhythm and melody. Furthermore, it explored how Colombian folk music elements and contemporary musical elements are integrated within the music of “En-canto”. The research also delved into the unique features of Vallenato as depicted in the lyrics of the songs. Through this research, we aim to provide an understanding of how “En-canto” reflects the diverse cultural influences on Colombian folk music and to present new perspectives and possibilities within the fields of Latin American and Colombian folk music research.
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XIWEN, ZHOU, and TAZUL TAJUDDIN. "THE ISSUES OF SURVIVAL AND INHERITANCE OF YUNNAN ETHNIC MINORITY FOLK SONGS IN CHINA." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, no. 04 (2023): 01–09. http://dx.doi.org/10.37602/ijrehc.2023.4401.
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Yunnan Province is home to many of China's ethnic minorities, with 25 ethnic groups living in an area of 394,100 square kilometers. Chinese ethnic minority music is an art form created by ethnic minority groups in their daily life and widely spread among the folk. As an indispensable part of people's lives, it condenses the daily life, labor, production activities, and folk habits of all ethnic groups, and is a true portrayal of the normal life of ethnic minorities. The diversity of ethnic groups has contributed to the various styles of ethnic folk songs. The diverse ethnic folk songs serve as an important part of traditional Chinese culture. However, the development of the social economy, the acceleration of modernization, and the strong impact of foreign music culture led to the unprecedented survival crisis faced by Yunnan minority folk songs. The author will analyze the reasons that lead to the survival crisis of minority folk songs in Yunnan in terms of its self-development and social factors and put forward relevant thinking on the future development of minority folk songs, hoping to provide some references and theoretical basis for contemporary composers and researchers.
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N, Kiritharan Sharma. "Bharathiyar's Passion for Carnatic Music and Folk Music." International Research Journal of Tamil 4, S-11 (September 9, 2022): 104–10. http://dx.doi.org/10.34256/irjt224s1114.
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Mahakavi Subramania Bharathiyar was a great poet of the twentieth century. Mahakavi Bharathiyar's works are considered as great treasures for the Tamil community. Even at an early age, Bharathiyar had a great affection and knowledge of the Tamil language. He started writing poetry at the age of seven while still studying at school. At the age of eleven, he showed his talent for poetry and the King of Ettayapuram, who appreciated his poetry, gave him the title of "Bharathi". From that day he was known as "Subramania Bharathiyar". Bharathiyar is also very passionate about music. Mahakavi Bharathiyar has given many works to this world through his attachment to music, many songs and many social ideas through his songs. In this way, some of Bharathiyar's musical works and musical messages have been examined in this research paper. The sub-topics of the study of this research paper are the sub-topics Bharathiyar and Carnatic Music, Bharathiyar and Folk Music except the introduction and conclusion respectively. Bharathiyar's attachment to music and his musical knowledge are explained under the subheading Bharathiyar's Music. Bharathiyar's attachment to Carnatic music is explained in the subtitle Bharathiyar and Carnatic Music. Finally, under the title Bharathiyar and folk music, the folk music songs created by Bharathiyar in folk music depicting the life and environment of the rural people are highlighted under this title. Therefore, various musical messages found in Bharathiyar's work under these three sub-headings have been examined in this review. These respectively are seen as the theme of this research paper.
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Chaturvedi, Saraswati. "Culture of Rajasthan and its inherent folk music." International Journal of Research -GRANTHAALAYAH 6, no. 2 (February 28, 2018): 197–201. http://dx.doi.org/10.29121/granthaalayah.v6.i2.2018.1562.
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The state of Rajasthan, as the name suggests, is a state filled with many colors, the food, dress and dress of this state are very much embedded in the folk culture, folklore, folklore, folk dance and folklore.Word meaningThe word 'Lok' is a very ancient word, the meaning of the word 'Lok' can be derived from the mass society which is deeply spread on the earth. The word 'Lok' refers to an important mass community.Folk songs used in Rajasthan's folk cultureIn these folk songs we have the philosophy of folk culture of Rajasthan, they can be categorized as follows -Ritual folk songs: Wadhwa, Chalk, India, Zartzga, turmeric, horse etc. are the main folk songs related to the rites.Folklore related to dance: Different types of folk songs are sung by different castes in dances performed on festivals.Folklore of commercial castes: In Rajasthan, many castes sing these folk songs to make a living.Folklore of Bhil caste: The life of Bhil caste people is full of dance, songs and humor humor.The following institutions are contributing immensely in promoting the folk culture of Rajasthan. Their names are Jawahar Arts Center Jaipur, Western Zone Cultural Center Udaipur etc. In this way we can say in the context of folk music of Rajasthan that their future will be bright.
राजस्थान राज्य जैसा कि नाम से ही प्रतीत होता है कि यह राज्य कई रंगों से भरा हुआ राज्य हैं, इस प्रदेश का खान-पान, पहनावा यहाँ की लोकसंस्कृति, लोकवाद्य, लोकगीत, लोकनृत्य तथा लोकनाट्य जनसमुदाय में अत्यन्त रूप से समाहित दिखाई देते है। लोक शब्द से तात्पर्य’लोक’ शब्द एक बहुत प्राचीन शब्द है ’लोक’ शब्द का अर्थ उस जन समाज से लगाया जा सकता है जो गहराई से पृथ्वी पर फैला रहता है। ’लोक’ शब्द एक महत्वपूर्ण जन समुदाय की ओर संकेत करता है।राजस्थान की लोकसंस्कृति में प्रयुक्त लोकगीतइन लोकगीतों में हमें राजस्थान की लोक संस्कृति के दर्शन होते हैं उनका निम्नलिखित प्रकार से वर्गीकरण किया जा सकता है -संस्कार सम्बन्धी लोकगीतः- वाधावा, चाक, भारत, जरतजगा, हल्दी, घोड़ी आदि संस्कार सम्बन्धी प्रमुख लोकगीत होते हैं।नृत्य सम्बन्धी लोकगीतः- त्यौहार-पर्वों पर किये जाने वाले नृत्यों में विभिन्न जातियों द्वारा विभिन्न प्रकार के लोकगीत गाये जाते हैं। व्यवसायिक जातियों का लोकगीतः- राजस्थान में अनेक जातियाँ अपनी जीविका चलाने के लिये इन लोकगीतों को गाती है। भील जाति के लोकगीतः- भील जाति के लोगों का जीवन नृत्य, गीतों एवं हास्य विनोद से परिपूर्ण होता हैं। राजस्थान की लोक संस्कृति को प्रोत्साहन देने में निम्नलिखित संस्थाऐं अत्यधिक योगदान दे रही हैं। उनके नाम है, जवाहर कला केन्द्र जयपुर, पश्चिम क्षेत्र सांस्कृतिक केन्द्र उदयपुर आदि। इस प्रकार से हम राजस्थान के लोक संगीत के सन्दर्भ में कह सकते हंै कि इनका भविष्य उज्जवल रहेगा।
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Samarasinghe, Kamani, and Rohan Nethsinghe. "Social Processes that Shaped Sinhala Folk Music and its Characteristics Based on the Purposes of Usage." Journal of Research in Music 1, no. 2 (October 25, 2023): 54–70. http://dx.doi.org/10.4038/jrm.v1i2.12.
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Folk music is the music of the people. People have used folk songs to express different emotions. This research paper argues that the social processes that have shaped Sinhala folk music are multifaceted and have significant cultural and historical implications. By exploring the different categories of Sinhala folk music and their purposes of usage, this study aims to fill the research gap in understanding the characteristics and functions of this musical tradition, highlighting its role in preserving the cultural heritage of the Sinhalese people. Brief explanations of why these songs were used, including how lyrical characteristics and meanings are applied for grouping and naming, are included. Literature on Sri Lankan Sinhala Folk Music that has been published over the years in journals, books, research reports, web articles, and other materials was analysed using qualitative content analysis. It was found that people sing these songs mainly to express their feelings and emotions in addition to a range of other purposes such as communication, passing the time, motivating people, and entertainment. The existing classifications are made mainly considering activities or work-related aspects and meanings of lyrics demonstrating that they are influenced by social interactions. The authors suggest several methods to conserve Sri Lankan Sinhalese traditional music elaborating on the importance of ensuring such preservations.
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Greene, Paul D. "Folk Songs of Nepal." Ethnomusicology 52, no. 1 (January 1, 2008): 147–50. http://dx.doi.org/10.2307/20174578.
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Akande, Sunday Olufemi. "FOLK SONGS AS CONTRIVANCE FOR PROMOTING YORUBA CULTURAL VALUES AND SOCIAL INTERACTION AMONG YORUBA CHILDREN." Ethnomusic 19, no. 1 (December 2023): 171–86. http://dx.doi.org/10.33398/2523-4846-2023-19-1-171-186.
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Music is share of culture and therefore establishes an integral part of the life of people. The inherent value of folk music cannot be challenged in promotion of cultural values and social interaction in a Yoruba child and in the making of a child as being resourceful, useful and a good citizen, living according to the societal norms and customs. This study employed the historical research method. The study identifies and provides musical notation of some selected Yoruba folk songs materials that can be interpreted musically and also examines the influence and efficacy of Yoruba folk songs in promoting cultural and moral values and social interaction among children. The lyrics of some selected folk songs were analysed. The findings revealed that folk songs establish a vibrant forum through which members of a society respond and acclimatize to the culture of the society and a veritable tool for social interaction. It therefore recommends that contemporary government and cultural institutions like traditional leaders, Obas (Kings) and chiefs should provide better funding and cultural support in order to ensure preservation of such cultural institutions and heritage. The media will also do so much through an incessant broadcast of folk songs.
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Xu, Huihui. "Problems and Suggestions of Teaching Folk Songs in Middle School Music: The Teaching Materials of Renyin Edition." Journal of Education and Educational Research 6, no. 1 (November 21, 2023): 102–5. http://dx.doi.org/10.54097/jeer.v6i1.14168.
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Folk songs are an important part of Chinese traditional music culture, which contains the deep humanistic connotation and values of the Chinese nation. School music education as an important position for the inheritance of Chinese traditional excellent music culture, teachers should take up the responsibility and obligation to promote and innovate Chinese traditional excellent music culture. The author takes the Renyin edition junior high school music textbook as the research object, and carries out in-depth research and analysis on the music textbook as well as the problems existing in the implementation of the textbook, and finds that there are many problems: in terms of the content, the students have a sense of distance to the folk songs; in terms of the singing, the dialect is obscure, difficult to understand and difficult to learn; and in terms of the implementation, there is a lack of a framework for the teaching of the folk songs and it is not systematic enough. By specifically analyzing the teaching materials, we try to solve the bottlenecks encountered in junior high school folk song classrooms and put forward several suggestions to solve the problems.
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Nikšić, Naka. "Metodička primenljivost narodnih pesama novopazarskog kraja u postavci elementarne muzičke pismenosti." Inovacije u nastavi 35, no. 2 (2022): 102–16. http://dx.doi.org/10.5937/inovacije2202102n.
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Folk songs of the region where the classes are held should be the central content of teaching elementary music literacy in Serbia. However, in Novi Pazar area, as is the case with some other parts of the country, teachers usually do not use this music material because, due to the lack of interest of music pedagogues, it has not been researched from the aspect of elementary music literacy and it cannot be found easily in the methodological and textbook literature. On the other hand, teachers during their studies, despite mastering several subjects in the field of music, are not sufficiently trained to select and adapt songs from ethno-musicological records to the needs of teaching music literacy and children's vocal abilities at this age. The aim of this research is to create basic music material that meets the methodological criteria for developing elementary music literacy in Novi Pazar region, bearing in mind the multiculturalism of the region and the fact that we should start with melodies that children are familiar with, namely, the folk songs of their cultural heritage. The method of theoretical analysis and descriptive method were used in the paper. The results of the research show that only 44 (4.34%) out of 1013 recorded songs of this region are applicable in teaching elementary music literacy. We adapted these songs to children's vocal abilities using transposition, elimination of melismatics, and modeling, in accordance with the methodological and biological framework of vocal maturity during vocal development, and for the needs of developing elementary music literacy. According to the given parameters and indicators, we obtained 5 model songs based on folk heritage and additional 39 songs which could be used for the purpose of introduction to the initial music literacy.
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AVDYLİ, Merxhan, and Veli KRYEZİU. "Folk Songs about Canakkale in Albanian History and Literature." Rast Müzikoloji Dergisi 10, no. 2 (June 30, 2022): 289–309. http://dx.doi.org/10.12975/rastmd.20221028.
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Albanian culture coexisted for a period of over 500 years with Ottoman culture, at the turn of the new century, along with the Balkan troubles that led to the continued embrace of the transition from an old culture to the ideology of the Young Turk movement, and the continuation of joint Albanian-Turkish actions, in order to protect the Albanian Vilayets from the Serbo-Montenegrin occupiers. Early nineteenth-century Turkey emerged from bloody wars on all sides of its borders and from a weak government led by Abdul Hamid II faced a new war in 1915 now in defense of the Dardanelles in the bloodiest battle "The Battle of Canakkale". The First World War found Albanians divided and occupied in some of its territories, however, from 1912 Albania had declared Independence, but Kosovo, Skopje and Bitola, Ulcinj and Bar had remained outside the borders, while Chameria - the South of Albania had been invaded by Greece. During the First World War a large number of Albanians remained in the Turkish military service, many others joined the Turkish army, mainly Albanians who had migrated to Turkey from the violence of the Serbo-Montenegrin invaders, as well as some more from Kosovo, Skopje, Tetovo, Presevo, Shkodra, Ulcinj, etc who volunteered to help the Turkish army. According to history, oral literature and written documents, many Albanians died heroically, it is said that about 25,000 martyrs had died in this battle. In their honor, the Albanian people composed songs, it is worth mentioning the "song dedicated to the Battle of Canakkale" by the most prominent folklorists of the Albanian nation. Our research was done through a semi-structured interview with: 5 teachers of Albanian literature (at the same time master’s students at the University "Kadri Zeka" in Gjilan, Kosovo); 5 history teachers (at the same time master’s students at the University of Prishtina “Hasan Prishtina”, Prishtina, Kosovo); 2 independent researchers from the Institute of History "Ali Hadri" Prishtina, Kosovo.
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Rambing, Rosalina Rolany. "STRENGTHENING OF ORAL TRADITION: LITERATURE AND PERFORMING ARTS IN THE LOCAL LANGUAGE OF TONSEA IN NORTH MINAHASA." International Journal of Social Science and Economic Research 07, no. 12 (2022): 4139–52. http://dx.doi.org/10.46609/ijsser.2022.v07i12.020.
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Research on Oral Traditions: Literature and Performing Arts in the Tonsea Language. in Minahasa Utara aims to (1) identify and classify the oral traditions: literature and performing arts in the form of folk songs and dances, folk music in Tonsea regional language in North Minahasa; (2) Identifying and classifying oral traditions: results of oral literature and performing arts in the form of folk songs and dances, folk music, and which are still strictly performed by community groups using the Tonsea regional language in North Minahasa; and (3) Explaining the cultural meaning contained in oral traditions, literature and performing arts in the form of folk songs and dances, folk music, and folk music, in the regional language of Tonsea in North Minahasa. The method used in this research is descriptive qualitative method. Data collection techniques and tools: observation, interviews, focus discussions, document studies. There are two stages used in data analysis in this study, namely: (1) Anthropological Linguistic Analysis which aims to study and investigate scientifically about the relationship between language and aspects sociocultural based on ethnicity. (2) Data analysis according to Sudikan (2001) can be grouped into the stages of qualitative data analysis, namely: (1) the open coding stage is the researcher trying to vary what is related to the research object. Furthermore, the researcher carried out the process of detailing the data (breaking down), (conceptualizing) and categorizing (categorizing) primary and secondary data; (3) the axial coding stage is re- organizing data based on categories as a continuation of the previous stage. Then analyze the relationship between data / categories or data classification; and (4) the selective coding stage is the classification process of examining data on data categories, comparing, connecting and checking the intended data then draws final conclusions to make a general design. The results showed that in Tonsea region of North Minahasa there are 3 types of dance that are still strictly implemented, namely: Maengket Dance, Kabasaran Dance, and Tumatenden Dance. Furthermore, folk songs that are still strictly implemented are Maengket songs whose lyrics are usually sung together with the Maengket dance. Likewise, folk music that is still strictly performed by the people in the Tonsea region is only Kolintang music.
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Kablova, T. B., and S. O. Pavlova. "Ukrainian folk songs in music education of pupils." Musical art in the educological discourse, no. 2 (2017): 128–32. http://dx.doi.org/10.28925/2518-766x.20172.12832.
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The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic and musical texts, deep emotion, authenticity, profound statement thoughts, poetry, clean image, deep highly and true meaning, reflection the history of the people, their thoughts and feelings. Folk ensembels are the most accessible and authentic embodiment of the Ukrainian folk songs. Ukrainian folk music has a great pedagogical value and helps educate a highly moral individual, who would have aesthetic, philosophical and artistic aesthetic qualities; develops interest in folk music, artistic taste and imagination. On the other hand, there is a remarkable arttherapeutic component of Ukrainian folk song.
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Smailagić, Biljana M. "Correlation of Assessments and Knowledge of Musical Tradition of Fifth-Grade Students of Banjaluka Elementary Schools." Društvene i humanističke studije (Online) 8, no. 2(23) (September 5, 2023): 625–38. http://dx.doi.org/10.51558/2490-3647.2023.8.2.625.
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The subject of this research is the existence of a correlation between two significant variables, namely students' assessments of traditional folk music and knowledge in this area, but also between crossed variables of assessments of different components. The research was conducted on a sample of N=205 fifth-grade students from three elementary schools in Banja Luka. Research has shown that students' assessments and knowledge are related in almost all parameters, except folk instruments and composers, whose correlation is not statistically significant. Also, the hypothesis that there is a connection between all parameters of assessments of folk music tradition (traditional folk songs, folk instruments, musical dances) as well as with popular children's songs was fully confirmed. Actively dealing with traditional musical content as well as new research will shed light on the importance of the presence of folk music tradition in elementary schools.
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Revuluri, Sindhumathi. "French Folk Songs and the Invention of History." 19th-Century Music 39, no. 3 (2016): 248–71. http://dx.doi.org/10.1525/ncm.2016.39.3.248.
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A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and geography: they made the provinces the place of history. Collecting songs from the provinces thus became a way of recovering France's past. Paired with contemporary discussions of musical progress and especially those related to harmony, the addition of piano accompaniments to monophonic songs now reads as a form of history writing. In this article, I argue that French music scholars of the fin de siècle acted out their preferred narratives of music history through folk-song harmonizations. What seemed like a unanimously motivated nationalist project actually reveals the development and contestation of the discipline of music history.
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Gong, Xiujian, Jarernchai Chonpairot, and Weerayut Seekhunlio. "Preservation of Shiping Folk Songs in Weiyuan County, China." International Journal of Education and Literacy Studies 12, no. 1 (January 27, 2024): 238–44. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.238.
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This comprehensive study focuses on the preservation of Shiping Folk Songs in Weiyuan County, China, with an emphasis on education, literacy, and the critical role of diverse stakeholders. The study emphasizes the region’s cultural relevance as well as educational programs, highlighting the critical role of schools in promoting cultural literacy and ensuring the preservation of Shiping Folk Songs. In addition, the research investigates the roles of Hakka folk musicians and singers in the transmission and development of this national folk music tradition. Government policy and assistance have been recognized as critical components for managing budgetary restrictions and executing preservation and development programs. The participation of local higher education institutions and cultural research units in the preservation of Shiping folk music is also carefully investigated, highlighting their critical significance in furthering cultural heritage. This multimodal approach emphasizes the interplay of education, literacy, and preservation in maintaining the vibrancy of Shiping Folk Songs, providing significant insights into the long-term preservation of this cultural asset.
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Rosenberg, Susanne. "Improvising Folk Songs: An Inclusive Indeterminacy." Contemporary Music Review 40, no. 4 (July 4, 2021): 425–39. http://dx.doi.org/10.1080/07494467.2021.2001942.
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Wu, Mengchun, and Thanaporn Bhengsri. "Educational and Literacy Dimensions of Putian Coastal Folk Songs in Fujian Province, China." International Journal of Education and Literacy Studies 11, no. 3 (July 31, 2023): 244–50. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.244.
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This study focuses on the educational and literacy dimensions embedded within Putian coastal folk songs in Fujian Province, China. The study investigates the cultural significance and historical development of these folk songs, employing research methods from musicology and ethnomusicology. With a particular emphasis on the coastal region of Putian, the research aims to uncover the educational value and literacy aspects of these traditional musical compositions. The findings reveal the existence of approximately 196 recorded musical works, with nine songs emerging as the most popular in the region. The article also highlights the list of recognized heirs associated with Putian coastal folk songs. Additionally, the study explores the diverse cultural influences that have shaped Putian’s music, including the ancient Minyue culture, the introduction of Han culture from the Central Plains, and the assimilation of Arab, Persian, and European cultural elements. By analyzing the educational and literacy dimensions of Putian coastal folk songs, this research contributes to understanding how music can serve as a catalyst for education and literacy promotion within cultural contexts.
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Burnsed, Vernon. "Differences in Preference for Subtle Dynamic Nuance between Conductors, Middle School Music Students, and Elementary School Students." Journal of Research in Music Education 49, no. 1 (April 2001): 49–56. http://dx.doi.org/10.2307/3345809.
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This study began as a systematic replication of two previous studies in which a significant proportion of elementary and middle school music students preferred versions of American folk songs with explicit variation in dynamics over versions of the same folk songs where the dynamics were held constant. In the present study, the preference test used in the previous studies was modified to reflect a more realistic representation of dynamic nuance. Dynamic variation was reduced by one-third, and smoother curvatures were applied to the crescendos and decrescendos of the expressive versions of the 10 folk songs. This revised test was administered to 288 Grade 1–5 students, 78 middle school music students, and 22 conductors. The results of the study indicate that age and/or musical experience may affect perception and preference for subtle dynamic nuance in music.