Journal articles: 'Traditional folk song'

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Shcherbakova, O. S. "Folk songs of Ust-Pustinka village of Krasnoshchekovsky district of Altay region: based on 2021 folk studies data." Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 16 (2021): 309–13. http://dx.doi.org/10.37386/2687-0584-2021-16-309-313.

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This article is dedicated to the question of the modern existence of song folklore in ethnical culture of the dwellers of Ust-Pustinka village of Krasnoshchekovsky district of Altay region. Here represented the analysis of the folk song materials, executed by ASUC students together with the article’s author in the july 2021. Texts of historical songs and ballad songs, literature creation songs and chastushkas are given. The conclusion is given about the extinction of traditional peasant creativity, but, so far, the preservation of songs of later origin.

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Setiowati, Shintya Putri. "PEMBENTUKAN KARAKTER ANAK PADA LAGU TOKECANG, JAWA BARAT." JURNAL ILMU BUDAYA 8, no. 1 (May 5, 2020): 172. http://dx.doi.org/10.34050/jib.v8i1.9980.

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Indonesian culture is very diverse with forms ranging from dance, batik cloth, folklore, folk music and songs, traditional clothing, traditional houses, traditional food and drinks, traditional games, performing arts, rituals and so on. At the writing of this library research, the researcher focused on folk songs that are famous in West Java. The title song is Tokecang. The thing related to this song is that a simple song sung by children has a deep meaning. In this literature review, researchers associate Tokecang songs with the formation of children's characters. The formation of children's characters in the Tokecang song teaches that we, as social beings, must have an attitude of affection and social care. Affection is an emotional reaction to a person, animal, or object.

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Pivnitskaya, Olga V. "The Peculiarities of Intonational Approach Realization within the Course of Folk Solfeggio Based on Russian Traditional Culture." Musical Art and Education 7, no. 1 (2019): 120–31. http://dx.doi.org/10.31862/2309-1428-2019-7-1-120-131.

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The given article touches upon reasonability and perspectivity of the development of intonation approach to the mastering of learning material at folk solfeggio lessons. As is known folk-oriented musical education has a long history in Russia. Meanwhile song folklore has always been an integral part of national and world music culture. During the historical revolution two trends in national ethnomusicology have developed. The first one is studied as a consistent logical system while the second one is connected with the detection of unique features of Russian folk music in different regions. The two main trends can be noted in the basic approaches to the mastering of folk singing and they are designated as authentic and scenic. Within the frameworks of the authentic trend there are two independent trends specific for folk singing. The first one implies the mastering of folk singing without in-depth study of one or several regional trends and the second one is aimed at studying of any specific folk-song tradition by students. The conducted analysis gives ground to extract two basic trends that have developed in musical education pedagogy where the first one takes folk-song examples as solfeggio materials and the second one studies folk songs as independent artistic value in folk-song material rendering. Minding the fact that the main goal of folk solfeggio is to develop ethnical hearing and ethnical intonation, learning material should mind different approaches to its mastering. So the learning material aimed at mastering of Russian song material within the scenic trend should include song examples mainly as invariants while for the authentic one there should mainly be the examples with a variative component.

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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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Doesburg, Charlotte. "Of heroes, maidens and squirrels: Reimagining traditional Finnish folk poetry in metal lyrics." Metal Music Studies 7, no. 2 (June 1, 2021): 317–33. http://dx.doi.org/10.1386/mms_00051_1.

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The Kalevala (1849), the Finnish folk epic, has inspired all types of artists throughout the years. It could be argued that it was only a matter of time before Finnish metal musicians started adapting material from the epic in their music and lyrics. This article presents two case studies of two lyrics. The first is ‘Lemminkäisen laulu’ (‘Lemminkäinen’s Song’) by Kotiteollisuus. This song is about one of the epic’s main heroes, Lemminkäinen, and his unfortunate marriage to Kyllikki. It draws on poems 11‐13 from the Kalevala and on the book Seitsemän veljestä (‘The Seven Brothers’) (1870) by novelist Aleksis Kivi. The second song discussed is ‘Rautaa rinnoista’ (‘Iron from the Breasts’) by Mokoma. The lyrics for this song are inspired by the painting Raudan synty (‘The Origins of Iron’) (1917) by Joseph Alanen. This painting is based on the birth of iron poem from the Kalevala. The interpretation of the lyrics of both songs will show that artists in the same genre have a larger general awareness of other cultural products, including those inspired by the Kalevala and that they use the epic for different purposes. The two case studies will show that adaptation of Finnish folk poetry can be used for various reasons, such as to parodize contemporary society or to voice personal ideas and world-views. Furthermore, the analysis of these lyrics will show that the songs are connected to a sense of Finnishness and the topics and themes of metal music internationally.

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Forbes, Anne-Marie. "Notions of the Universal and Spiritual in Percy Grainger’s Early British Folk-Song Settings." Nineteenth-Century Music Review 16, no. 01 (June 8, 2018): 43–62. http://dx.doi.org/10.1017/s1479409817000581.

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Between 1905 and 1908 Percy Grainger made a major contribution to the corpus of British folk-song, collecting melodies and words of ballads, shanties and work songs, and devoting himself not just to the faithful capture of pitch and rhythm, but also the nuances of performance, with his pioneering use of the phonograph. These folk-songs became for Grainger a wellspring of compositional inspiration to which he returned time and time again. Yet while he was still a student in Frankfurt, Grainger had been making settings of British traditional tunes sourced from published collections. This article contends that these early arrangements hold the key to a deeper understanding of his later persistence in folk-song arranging and collecting, and that they prefigure the recurrent textual themes in the songs he later chose to arrange. It is argued that Grainger’s attraction to folk-song was textual and musical, tied to notions of purity, freedom and an unorthodox spirituality inspired by nature and shaped by the writings of Whitman, whereby Grainger perceived folk-song as a universal utterance. For Grainger, British folk-song was not simply a source of profound melody for appropriation; the window into a nation’s soul became a door into the souls of all humanity.

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Larionova, A. S. "Problems of national terminology of styles and genres of Yakut folk songs." Languages and Folklore of Indigenous Peoples of Siberia, no. 40 (2020): 33–44. http://dx.doi.org/10.25205/2312-6337-2020-1-33-44.

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The article analyzes the changes in the meanings of national terms of styles and genres of Sakha traditional songs during the development of the Yakut ethnomusicology. Until the end of the 20th century, dieretii yrya was regarded as the type or manner of the Sakha people singing. Recently, it has been defined as the style of the Yakut traditional singing. Initially treated as the genre of songs and later daily life song genre of the Ya- kuts, nowadays, Degeren yrya is considered a style. Also, some Yakut sing ing styles are presented which are not common in the Yakut ethnomusicology and have not been practiced in the Yakut song culture for a long time. The styles and genres of Yakut folk songs are characterized. The article provides the analysis of tradi- tional tunes of the Sakha people, including those introduced into science for the first time.

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Zhang, Ling. "The genre of folk song arrangement at the present stage: cultural and historical aspect." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 298–312. http://dx.doi.org/10.34064/khnum2-19.17.

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Logical reason for research. Folk song arrangement used to occupy and still occupies a prominent place in musical practice, both in the composing one and the performing one. It combines the best, time-tested features of the folk music tradition and professional musical art. Being a genre, which is synthetic in nature, the arrangement of a folk song carries a complex set of characteristics of different types of musical creativity, which, activating different genre indicators in different historical and cultural conditions, allows this genre to occupy a special place in musical culture. The focus on a wide audience, realized at different levels of the genre, determines its external intonation-figurative, as well as performing simplicity and accessibility. At the same time, in the field of musical theory, the genre of folk song arrangement has not been given sufficient special attention either in the aspect of the peculiarities of this genre as such, or in terms of the peculiarities of its development in certain temporary socio-cultural conditions. According to the author of the present article, it is precisely the combination of these perspectives of research that is a fruitful approach to identify the specifics of the genre of folk song arrangement, in particular, in the historical and cultural aspect. Innovation. The present article is devoted to the genre of folk song arrangement in the aspect of historical development on the example of the musical culture of Ukraine and China. The genre of folk song arrangement as a result of the interaction of traditional and professional musical art has its own intonation-musical, figurativemeaningful and performing specificity. It manifests itself in stable genre indicators, providing the genre of folk song arrangement with vitality and recognition in various historical, temporal and cultural conditions. For the first time, we propose a comparative characteristic of the history of the development of the genre of folk song arrangement in Ukraine and China, on the basis of which it can be argued that differences in the ways of the development of this genre do not affect the genre nature, which has theoretical and practical (namely, the performing one) dimensions. Objectives. The purpose of the presented research is to reveal the specifics of the historical development of the folk song arrangement genre on the basis of comparing the conditions of interaction between the traditional and professional musical culture of Ukraine and China. In this regard, the following scientific tasks arise: a review of scientific sources devoted to the Ukrainian and Chinese folk song in the aspect of the study of the genre of arrangement; the identification of the ratio of the traditional and professional approach in the genre of folk song arrangement; a comparative characteristic of the main directions of the development of the genre of folk song arrangement in Ukraine and China from the early recorded data of the modern musical practice. Methods. The main methods of our research are the genre one and the historical one. The genre method is necessary to identify the main genre constants of folk song arrangement, which preserve the specificity of the present genre in various historical, temporal and cultural conditions. The historical method is associated with regulating information about the evolution of the folk song arrangement genre in the time perspective from the beginning of the interaction of traditional and professional music to the modern existence of the genre. Results of Discussion. A rather voluminous baggage of facts related to the arrangement of folk songs in the existing musicological sources often remains just a sum of facts. Quite a lot of research has been devoted to folk music and folk song as one of its main representatives, both in a historical and theoretical way. These are scientific works of different genres – from articles to dissertations. As a separate genre, the arrangement of folk songs has not received comprehensive coverage in individual scientific works, although the study of specific samples of arrangements of folk songs in the conditions of the composing or performing creativity is represented quite widely. As a rule, in studies devoted to the genre of folk song arrangement, the object is the arrangement of a folk song in the creative work of a particular composer or in the field of performance – for example, in relation to Ukrainian musical culture, one can talk about bandura performance, the activities of certain musical groups of varying degrees and directions of professionalism – from amateur to academic. As for Chinese musical culture, the representative of which the author of the present article is, Chinese musicologists pay more attention to the history of Chinese folk song, its collection, recording and influence on the professional creative work of Chinese composers – from chamber-vocal to instrumental creativity. Thus, the lack of a systematic study of folk song arrangement as a genre makes such a study very perspective. Considering that modern musicology involves genre, stylistic, figurative, national-cultural parameters in the field of scientific research, the study of the genre of folk song arrangement seems to be quite rich both in terms of problems and in terms of predicted results. The cultural and historical aspect of the study, associated with understanding the patterns of the development of any musical genre at different stages of history in different cultural and civilizational conditions, is one of the basic ones in science. In the present article, it is based on a comparative characteristic of the development of the genre of folk song arrangement in Ukrainian and Chinese musical culture. Conclusions. The result of the study is the conclusion that the genre of folk song arrangement, owing to its synthetic nature, has special genre qualities, which in various historical and cultural conditions allowed it to retain its specificity for several centuries up to the present day. The comparative characteristic of the history of the development of the folk song arrangement genre in Ukraine and China allows concluding that the differences in the ways of the development of this genre (the history of the development of professional musical art, the differences in the ways of interaction between traditional and professional musical culture and, accordingly, the peculiarities of the compositional arrangement of folklore primary sources) do not change its specificity, which has both theoretical and practical (in particular, the performing one) dimensions. The prospects for further research in this direction are associated with: the characteristic of the synthetic genre nature of folk song arrangement; with the peculiarities of the historical development of the folk song arrangement genre in different time and national-cultural conditions; with the identification of the role of the genre of folk song arrangement in musical practice (both the composing one and the performing one) at different historical stages of the development of musical art in different countries of the world.

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Osypenko, V. "Ethnoaesthetics of the Ukrainian folk song tradition in the performance of the singer Oksana Mukha." Culture of Ukraine, no. 72 (June 23, 2021): 124–30. http://dx.doi.org/10.31516/2410-5325.072.17.

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The topicality is associated with the need for musicological understanding of the value categories of ethnoaesthetics in the creative activity of singers that represent the Ukrainian folk song tradition in modern variety vocal art. The purpose of the article is to identify ethno-aesthetic value components in the performance of O. Mukha as a personification of the uniqueness of the Ukrainian national expression. The methodology consists of scientific works of prominent Ukrainian scientists devoted to the study of ethno-aesthetic ideas and criteria in the traditional songs of Ukraine (Y. Harasym, T. Orlova, V. Lychkova), as well as genre-style and performance specifics of Ukrainian musical folklore (K. Kvitka, F. Kolessa, A. Ivanytskyi, S. Hryts). The results. The artistic imagery of the iconic folk songs of O. Mukha repertoire, which is a part of the ethno-aesthetic fund of the Ukrainian folk song tradition, is considered. The general features of ethnoaesthetics of the folk song performing tradition of Ukraine, including its vocal and technical component are outlined. The novelty. The article considers the performance of O. Mukha for the first time and reveals ethnoaesthetic value components in it. The practical significance. The study of the essence of folk singing as an art with its own artistic and value component, based on an established system of qualitative components of ethnoaesthetics, as well as the study of performing experience of prominent Ukrainian folk singers are the necessary practical material for creating a scientific basis and general methodology of folk vocal art. The conclusions. Musical ethnoaesthetics as a component of traditional culture covers the semantic field of songs, concentrating on the structure, rhythmics and size of a poem, the richness of national melos, its intonation and tonality basis. Ethnoaesthetics of the folk song tradition of Ukraine is manifested in the uniqueness of the national expression, namely: vocal-timbre color of sound, in the peculiarities of intonation, freedom of metro-rhythmic movement, variability and melismatic richness. In O. Mukha’s works, the creation of the sound matter of the modern performance version of a folk song is based on the perception of song intonation as sound emotion and understanding of the boundless ocean of ancient symbols of the national musical language, which during centuries has crystallized in the folk song tradition. Her works grow out from the reflection on the national song culture and traditions of her family. Work on each ancient relict of tradition is based on discovering the potential of the power of its aesthetic, spiritual and emotional impact on listeners, perception of the stock of expressive possibilities.

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Zhang, Ling. "The genre of folk song settings: the ways of interaction of traditional and professional musical art." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 113–23. http://dx.doi.org/10.34064/khnum2-21.07.

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Logical reason for research. The contemporary music science is becoming an increasingly multifaceted research field. This is connected with the evolution of musical art in general (its language, genre system, stylistic diversity), and its interaction with other manifestations of human creativity, and with new aspects of studying the achievements of world and national culture. One of the topical perspectives of scientific attention over the past decades has been the attention of musicologists to musical practice, in particular, to musical performance in all its multi-vector manifestations – in its genesis, historical retrospective and general cultural, civilizational context, in its syncretic unity with the composing creativity, in its palette of forms and genres of musical practice, in the traditions and perspectives in musical science and the existence in modern cultural conditions. Innovation. The presented article is devoted to the genre of folk song settings in the aspect of the specifics of the ways of interaction between traditional and professional musical art. By traditional we mean folk musical creativity of an oral nature, of “collective” authorship, and by professional – academic musical art of a composing, author’s nature (both types of musical creativity in the European culture). Each of these types of creativity has its own specificity in the primary source – the genre, style, figurative, linguistic, performing one, and the ways of interaction at these basic levels affect both the genre of folk song settings and its stage presentation. In the theoretical aspect, the genre of folk song settings is the result of a synthesis of composing and performing interpretation, and in the performing aspect, in fact, an interpretation of interpretation, which determines new perspectives of its study. Objectives. The purpose of this research is to characterize the ways of interaction between traditional and professional musical art on the example of the genre of setting a folk song in genre-style and performing aspects. Methods. The main methods of the presented research are the genre one and the performing one. The genre method is necessary both for characterizing the basic constants of the folk song settings genre, especially those related to the synthesis of traditional and professional musical art, and for identifying the specifics of this genre in the performing aspect. The performing method makes it possible to identify those features of the genre of folk song settings that are associated with its performing specificity as one of the most important areas of manifestation of the above-mentioned synthesis. Results and Discussion. One of the burning thematic areas of modern musicology is vocal music, its genre, style and performing specifics. It is related to the issues of the interaction of words and music, the methods of expressiveness, the stage presentation and the interpretation of vocal compositions, in particular, taking into account the specifics of style and genre through the prism of modern concert practice. This also applies to the genre of folk song settings, which is representing the traditions of both folk and professional music, with which this research is connected. The synthetic genre nature of folk song settings, which has been preserved in the process of the historical development of the genre and is based on the interpretation of the composing and performing character as the main genre indicator, increases the degree of relevance of the scientific research of this genre phenomenon both in theoretical and practical aspects, with a projection on the needs of the composing and performing art in the modern cultural conditions. The problem of an adequate reflection of the intonation and figurative content of the original folk source in the genre of folk song settings has always been the focus of attention of both folklorists, who collected samples of folk song creativity, and composers – authors of the settings of folk songs, and researchers of musical art. The ways of interaction between traditional and professional musical creativity pass through the main levels of a musical composition, which are always interconnected and represent a complex living organism, where changes in one segment can affect all the others. We are talking about genre-style, figurative, linguistic (intonation) and performing aspects. The latter should be emphasized separately, since in the field of the traditional, folk musical creativity, the performing presentation is a syncretic component, and this applies to any type of folk art. In professional musical art, where authorship (historically, first the composing one, and then the performing one) became a separate component, the performing aspect acquires a special meaning and its own specific tasks, and this way of interaction between traditional and professional musical art is the field where there happens the actualization of one or another quality (from one or another component of the above-mentioned synthesis) of the performed composition in the genre of folk song settings. Conclusions. The genre of folk song settings by its origin is associated with several levels of specificity – the figurative and artistic, linguistic, genre, style, and performing one. All these levels in this genre represent two types of musical art, the interaction of which allowed the genre of folk song settings to appear – the traditional (folk, collective) musical creativity and the professional (author’s) musical art (in particular, that of the European tradition). The peculiarities of the interaction of these two musical worlds in the genre of folk song settings represent different ways, and they are all connected with each other, which gives rise to new perspectives – the composing, performing, and research ones. The possibilities for the further research in the direction which is fixed in the topic of the presented article are associated with the characteristic of the synthetic genre nature of the settings of a folk song. Combining the features of traditional musical art (as the music of the oral tradition) and the patterns of professional musical art (as the author’s musical creativity with a fixed recording), the settings of a folk song offers the composer, the performer, the listener, and the musicologist a number of special tasks that can be solved in the special conditions of accounting the above-mentioned specificity of the genre of folk song settings, which is the composing and performing interpretation of the original folklore source.

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Son, In-ea. "A Study on the traditional local folk song Gilgunak." STUDIES IN KOREAN MUSIC 42 (December 30, 2007): 161–84. http://dx.doi.org/10.35983/sikm.2007.42.161.

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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.

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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.

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Larionova, A. S. "Edward Alekseyev – founder of Yakut ethnomusicology." Languages and Folklore of Indigenous Peoples of Siberia, no. 41 (2021): 163–72. http://dx.doi.org/10.25205/2312-6337-2021-1-163-172.

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The paper studies the life and creative path of the outstanding Russian ethnomusicologist E. E. Alekseev. He was born in 1937 in Yakutsk. He studied at the Moscow State Conservatory, named after P. I. Tchaikovsky. He wrote a large number of scientific papers. To a great extent, he explored the mode-scale and mode-intonation sphere of Yakut folk song and early folklore traditional music. He created models of the mode-intonation basis of archaic singing. He also studied various aspects of the traditional singing of Yakuts: genres and styles, the connections of the word and music of Yakut folk songs, the heterophonic polyphony of the Yakut ritual osuokhai, and the Yakut folk instrument khomus. Together with N. N. Nikolaeva, he published the collection of Yakut folk songs of various styles and genres (“Samples of Yakut song folklore”). He conducted the editorial work on the publication of other researchers’ works. He edited the piano works of G. A. Grigoryan. He participated in the release of the record “Ustin Nokhsorov Sings” and the creation of the documentary “Times of dreams” about shamans of Siberia and the Far East. As a composer, he created romances, choirs, and treatments of folk songs. He composed “Sergelyakhsky sketches” comprising 4 piano pieces. Together with composer G. N. Komrakov, he created the opera “Song of Manchary” on a historical plot. His research work is being developed by Russian and foreign researchers of musical folklore. A lot of statements put forward by E. E. Alekseev have further prospects for study.

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Tawlai, Galina. "The principle of laughter in Byelorussian vocal culture as a form of reflection on images of the world." Muzikologija, no. 17 (2014): 107–27. http://dx.doi.org/10.2298/muz1417107t.

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This paper considers particular ways of organizing musical material in songs connected with the culture of laughter, as well as the coordination and interaction of different artistic spheres in this group of traditional Belarus song forms. Our long standing, complex ethno-musicological research, constant documentations of our own field work, comparison of ritual songs? stylistics with their respective cognitive methods, together with observations and generalizations made by the real exponents of traditional Belarus song have given us the possibility to hear and recognize this strict, logically-adjusted selection of forms of musical expressiveness among folk melodies.

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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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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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Handayani, Sri. "La chanson folklorique enfantine comme media de l’apprentissage interculturel et du transfert des valeurs morales." Digital Press Social Sciences and Humanities 3 (2019): 00040. http://dx.doi.org/10.29037/digitalpress.43313.

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Children's folk song is an example of cultural products that has several goals in its creation. Aside from entertaining, this type of song also aims to transfer moral values or character building to children. Thanks to its moral values, this type of song is a potential medium as a media of character learning and also intercultural learning. This article aims to propose a compilation of Javanese children's folk songs translated into French intended not only for Indonesian learners who learn French, but also for French speakers who learn Indonesian language. The research focused on the process of translating the Javanese folk songs into French. This process is an assimilation of two different cultures by accentuating on the promotion of the culture of origin through the language. The future big goal is to make traditional songs better known around the world. After applying the developmental research approach, seven Javanese children's folk songs have been translated into French: Gundhul pacul, Padhang mbulan, Menthok-menthok, Dhondhong opo salak, Sluku-sluku bathok, Lir ilir, and Siji lor otelu. Each song has its value and also contains cultural elements. A booklet and a CD containing the translation of Javanese children's folk songs into French is the final product of this research that could be used in intercultural learning and at the same time character building

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Keegan-Phipps, Simon. "Traditional Folk Song in Modern Japan; Sources, Sentiment and Society." Ethnomusicology Forum 21, no. 1 (April 2012): 105–7. http://dx.doi.org/10.1080/17411912.2012.651568.

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Khailo, Aliona. "The editions of folklore song in 1917—1918 years in special fund of the Book Chamber of Ukraine: bibliologycal research." Вісник Книжкової палати, no. 6 (June 25, 2020): 22–30. http://dx.doi.org/10.36273/2076-9555.2020.6(287).22-30.

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The article examines the publications of folk songs of 1919—1921, which are stored in the special fund of the Book Chamber of Ukraine — an inseparable part of the State Archive of Printing of 1917—1976, which contains literature banned by censors (the total number of publications of the special fund — 17 236). Both separate collections devoted entirely to the publication of folklore works and the publication of folk texts included in poetry collections with artistic author's texts are analyzed. In addition, taking into account the peculiarities of the period under study, the exploration also considered songs, the lyrics of which can be called "fakelore", or, in other words, pseudo-folklore. 17 editions of song texts from 1919 to 1921 were selected for the study, among which only three titles were devoted to traditional Ukrainian folklore: "Ten Ukrainian Folk Songs: Accompanied by a Piano" (1921), arranged by F. Blumendfeld; collection "Ukrainian folk songs (a capella): for mixed choir" (issue 4, 1920), compiled and arranged by P. Boychenko, and "School collection of Ukrainian folk songs for primary schools" (1919), compiled by S. Dremtsov. The remaining 14 copies are collections of revolutionary and workers' songs: 3 editions of "Battle Songs of the Communists" (all 1919); "Songs of Struggle to the End" (1919); "Workers' Liberation Songs" (1919); "Songs of the Revolution" (1919); "Battle Songs of the Revolution" (probably 1919); "Battle Songs of the Communists" (probably 1919); "Collection of Revolutionary Songs" (1920); "Revolutionary Songs" (1921, 2nd edition); "Under the Red Banner: Workers' Revolutionary Songs" (1920). After examining the part of the special fund of the Book Chamber of Ukraine, which consists of samples of folklore songs, we can conclude that in 1919—1921 the number of publications of traditional Ukrainian song folklore decreased significantly, while the volume of propaganda and ideological Bolshevik literature, on the contrary, increased rapidly.

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Santosa, Djarot Heru, Timbul Haryono, and RM Soedarsono. "Lyrics in The Dolalak Dance Purworejo Central Java as a Form of Islamic Folk Songs." Heritage of Nusantara: International Journal of Religious Literature and Heritage 2, no. 2 (February 1, 2016): 71–92. http://dx.doi.org/10.31291/hn.v2i2.109.

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Dolalak dance is highly dependent on the power of the song lyrics, so it can be called a lyrical dance. The dancers will not be able to do perfect dance moventents only by musical accompaniment; the displacement and combination of dance movements are characterized by lyrics that accompany the songs. Thus, song lyrics have a very dominant role in the arrangement of the dance movements. Dolalak dance has approximately 64 types of movements. A one-night staging, as an illustration, usually begins with 13 types of movements, followed by a trance dance, and ends with 7 types of movements as the closing. Song lyrics in the Dolalak dance are mostly influenced by the nuances of Islamic teachings. This is proven by the presence of a lot of words and/ or terms in the song lyrics which are very close to the. Arabic words in Islamic teachings. More interestingly, as a form of folk songs used in the performance of traditional Javanese arts, the Arabic words are widely adapted to the speech or pronunciation of the local language, especially the Javanese one. As a result, the origin and meaning of certain words or terms in the lyrics are difficult to trace. However, it is understandable since sometimes words in the song lyrics are preferred to adjust particular sounds.

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Warren-Findley, Jannelle. "Passports to Change: The Resettlement Administration's Folk Song Sheet Program, 1936–1937." Prospects 10 (October 1985): 197–241. http://dx.doi.org/10.1017/s0361233300004117.

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In 1975, the folklorist archie green wrote a short, pioneering article about a folk song leaflet produced by Franklin Delano Roosevelt's Resettlement Administration in 1936. Green suggested that the song sheet was “intrinsically interesting: a sharp pen-and-ink sketch, a traditional song both radical and humane in content, a singable musical transcription faithful to the folk idiom.” But, Green added, the fact that the song sheet had developed in a context of art and radical politics in the 1930s gave it additional meaning; “because something of the circumstances of its issue is known,” he said, “we can use the song sheet as a passport into New Deal cultural history.”

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

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

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MERCER-TAYLOR, PETER. "Bill Staines's Bridges and the Art of Meta-Folk." Journal of the Society for American Music 1, no. 4 (November 2007): 423–52. http://dx.doi.org/10.1017/s1752196307070411.

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AbstractFolksinger-songwriter Bill Staines came of age at the height of the mid-twentieth-century American folk music revival and has spent the years since then writing and playing music that seems impelled by the conviction that this vanished era's core stylistic premises and clear-eyed optimism remain as alive and available as they were at the revival's peak. Through this exploration of his 1984 album Bridges, I seek to show that Staines accomplishes this fantasy of the revival's continued vitality not, as his commentators frequently suggest, by clinging fast to decades-old stylistic practices but by introducing a dimension of reflexivity into his craft. What comes to matter is not music's political or social meaning but the self-conscious celebration of the idea of music having such a meaning.The article's first section explores Staines's self-mythologizing enfolding of his own persona into Woody Guthrie's in the Guthrie ballad that opens the album. The second section examines Bridges' poetic weaving of music into narratives of social redemption and personal self-actualization. The third section examines Bridges' many moments of diegetic song, which effectively collapse the worlds of Staines's poetic subjects into that of his immediate audience. The last section explores how melodic choices in the traditional song that closes the album have the effect of bringing many of the songs that precede it directly into the fold of traditional music.

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Boldyrev, Volodymir. "A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 181–92. http://dx.doi.org/10.34064/khnum1-50.13.

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Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.

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Kamitova, Alevtina Vasilevna. "FEATURES OF POEMS-SONGS OF THE UDMURT POET AIVO IVI." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 82–87. http://dx.doi.org/10.35634/2224-9443-2020-14-1-82-87.

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This article discusses the features of the functioning of the song genre in the creative practice of Aivo Ivi. The appeal of the Udmurt poets of the beginning of the XX century to the creation of literary songs, which were alterations, imitations, re-singing and stylization of folk songs, was a common phenomenon and played a positive role in the development of national literature. In this work, on the example of Aivo Ivi's creativity, the characteristic features of the poems-songs created by him are revealed. It is determined that his texts represent improvisation of folk songs with preservation of traditional plots, complicated by signs of time. In some cases, the popular melody of Russian songs was attracted by the Udmurt poet to "service" his compositions. In building the text on the basis of a simple plot line, the calculation for the ease of perception of information by the reader is obvious. It is established that the author's songs of Ivo Ivy went beyond the book existence. It is summarized that the song texts created by him as a whole were formed under the influence of socio-cultural trends and the previous song-poetic tradition. The "folk" form of poems, their adaptation to the tunes understandable to the illiterate population allowed the poet to realize ideological and educational meanings, were a way of creative self-realization, introducing the reader to the artistic word.

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Hariyadi, Slamet, M. Nasir Tamalene, and Aekanu Hariyono. "Ethnopedagogy of the osing tribe folk song: exploration and formation of biology learning character." Biosfer 12, no. 2 (November 21, 2019): 258–76. http://dx.doi.org/10.21009/biosferjpb.v12n2.258-276.

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Exploration of ethnopedagogical values of the Osing tribe is essential to uncover the values of biological characters because the Osing tribe 3closely related to the application of biological science, for example, in utilizing plants for traditional ceremonial activities or as medicinal plants. This study aims to explore the character values contained in the folk song of the Osing Banyuwangi tribe, related to the formation of attitudes or characters needed in studying biology. The study was conducted using a survey method using structured interview techniques, semi-structured interviews, and in-depth interviews of 15 informants selected using Purposive Sampling and snowball sampling techniques. Data analysis consists of 3 stages: data reduction, data presentation, and making conclusions. The results of the study mentioned that the ethno-pedagogical values are found in “Tetak-tetak” and “Nggolek Ilmu” folk song of Fatrah-Abal. These two songs express explicit and implicit values of biological characters. The tetak-tetak and nggolek ilmu folk song became a community media in instilling the attitude or character values needed in studying biology at pre-school age. These values will be further developed in learning biology in schools, which are carried out in an integrated manner in affective aspect.

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Porter, James, Art Rosenbaum, Margo Newmark Rosenbaum, and Bela Foltin. "Folk Visions & Voices. Traditional Music and Song in North Georgia." Jahrbuch für Volksliedforschung 32 (1987): 201. http://dx.doi.org/10.2307/849481.

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Hisama, Ellie M. "The Ruth Crawford Seeger Sessions." Daedalus 142, no. 4 (October 2013): 51–63. http://dx.doi.org/10.1162/daed_a_00236.

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Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often remain unacknowledged. This article underscores the link between her work in American traditional music and Bruce Springsteen's best-selling 2006 album “We Shall Overcome: The Seeger Sessions” in order to give Crawford Seeger due credit for her contributions. By examining her prose writings and song settings, this article illuminates aspects of her thinking about American traditional music and elements of her unusual and striking arrangements, which were deeply informed by her modernist ear.

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Radkevych, Y. "The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 101–18. http://dx.doi.org/10.34064/khnum1-52.07.

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Background. Turning to the original sources of Ukrainian musical culture, we should point out the greatest achievements that appear to be the folk-song tradition. The problem of authorship of musical folklore was not considered for well-known reasons: its decisive features are oral, anonymous, collective way of creation. If the phenomenon of authorship is present in various manifestations of musical creativity (composing, performing, directing, etc.) and works in various forms of musical art of the past and present, today the study of the role of the singer as a co-author in the contemporary representation of Ukrainian folk song has not yet become a subject of a special scientific interest. The stated problem opens the prospect of developing the interpretation science as a science of the phenomenology of the artist’s creative personality in various artistic discourses. The urgency of the topic is to study the peculiarities of the representation of Ukrainian folk songs in the contemporary concert repertoire on the example of the activities of the iconic representatives of the national culture: Kvitka (Kacey) Cisyk, Nina Matvienko, and Taras Kompanichenko. Objectives. The purpose of the research is to substantiate the role of the singer as the co-author in representing the Ukrainian folk song in the contemporary concert and artistic space on examples of multi-genre patterns (folk song, song-romance, spiritual chants). Methods. The methodology of the research is based on the genre, structurally functional and interpretive scientific approaches. Results. In order to highlight the peculiarities of the representation of Ukrainian folk songs in the concert and artistic space of today, within the framework of the scientific article, let us dwell on the consideration of the following genres of folk song: folk song, song-romance, and chant. In the unique performance by Kvitka Cisyk (1953–1998) of the chosen folk song “Verse, my verse” the singer appears as the co-author of the song. As one knows, this folk song has no authorship (being an example of the collective folk-song tradition). The level of co-authorship of the singer can be defined as the one corresponding to the traditional performance (the performer as the author). Another example considered is G. Skovoroda’s “Every City Should Have Its Character and Rights” in two versions (N. Matvienko and T. Kompanichenko) and two genre dimensions. Thus, in the detailed analysis of the sample, it can be argued that in the performance of N. Matvienko it sounds like a song-romance, and T. Kompanichenko’s interpretation makes clearer its genre attribution as a spiritual chant (the ethical basis). The song-romance performed by N. Matvienko appears as a bright theatrical performance. The singer represents the song in an elegant manner, appealing to the style basics of the musical baroque. In the instrumental accompaniment of the Ensemble of Ancient Music of K. Chechenia (Konstantin Chechenia), the baroque sound-ideal of the court secular culture was embodied. N. Matvienko, as the co-author of this composition, refined the baroque sounding (the deep understanding of the verbal text by G. Skovoroda, organic in the embodiment of the aesthetic and musically-immanent principles of the baroque style). “Every City Should Have Its Character and Rights” performed by T. Kompanichenko is characterized by such features as: 1) the introvert nature of the expression as a notable feature of the kobza-lyre tradition; 2) the interpretation by the performer of the “Skovoroda” song as an example of the spiritual chant (the correspondence of the repertoire of the traditional singing); 3) the organic and indissoluble nature of the vocal and instrumental components (singing performance (spivogra) as an attributive quality of the kobza-lyre tradition). Conclusions. The role of K. Cisyk as the co-author of the folk song “Verse, my verse” is evidenced in the fact that the singer managed to reach the level of the standard of interpretation of Lemko folk song, as much as possible tending to perform the song without any change. The subtle feeling of Ukrainian melody with the introduction of the contemporary sound (the high artistic orchestral arrangements by J. Cortner) is stated as a manifestation of the national sound ideal (according to O. Bench). In N. Matvienko’s performing interpretation of the song-romance “Every City Should Have Its Character and Rights” in the framework of the modern concert stage (with the sound of timbres of unique Ukrainian baroque musical instruments), the national baroque style constants (the concept of “the world as a theatre”) became more visible. The performing interpretation by T. Kompanichenko is aimed at the completeness of the disclosure of the concept of the composition as an ideological and aesthetic orientation of the kobza-lyre tradition. Without violating its style basics, the singer, as the co-author of the composition performed, appears to be the driving force behind the enrichment and development of the established stylistic principles of the kobza-lyre tradition. The provided multi-genre samples performed by the iconic representatives of the national culture are based on the established tradition of folk song and express the integrity of the creative personality of the performers as bearers of the spiritual tradition of ethnic culture. The prospects for further research in this direction may be related to the study of the iconic phenomena of the performing music culture of Ukraine, which find an appeal in the socio-cultural and research space of today

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Chiselita, Vasile. "Documentary sources and methodological landmarks in the research of the creation of the singer Veronica Mihai in the „Folclor” Orchestra." Arta 30, no. 2 (December 2021): 32–37. http://dx.doi.org/10.52603/arta.2021.30-2.04.

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The study aims to identify the main theoretical and methodological criteria, important in shaping the scientific vision applied to the approach of the subject. The author delimits two distinct periods in the evolution of the singer’s repertoire: the late Soviet period (1968–1991) and the post-Soviet period (1991–1999). The main focus is on the Soviet epoch. Among the documentary sources are the materials stored in the IPNA archive – “TeleradioMoldova” Company, the personal files of the artists, the minutes of the Artistic Council, the musical scores, the library of the editorial offices within the institution. To substantiate the theoretical framework of the study, the author argues the need to instrumentalize the concepts of „Soviet folk song”, „mass song”, „creator&producer networks”, „modernization”, „revitalization”, „invented traditions”, „folklorization”, „new folk songs”, „neo-traditional music”.

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Rajeev T, Anjana. "Hum Dil De Chuke Sanam to Padmaavat: An Epitome onTraditional Indian Folk Dance in Sanjay LeelaBhansali’s Movies." Journal of Humanities,Music and Dance, no. 11 (August 17, 2021): 9–21. http://dx.doi.org/10.55529/jhmd.11.9.21.

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India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.

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Величковска, Р. "The Value of Modern Media for Collecting and Learning Macedonian Traditional Songs." OPERA MUSICOLOGICA, no. 2022 (February 18, 2022): 134–43. http://dx.doi.org/10.26156/om.2022.14.1.008.

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Изучение явлений музыкального фольклора неизбежно связано с обращением к документам, сохраняющим информацию посредством разнообразных носителей. Специалисты, изучающие народные песни, посвящают много лет своей жизни тому, чтобы зафиксировать эти образцы в ходе экспедиций. Наиболее старым видом работы собирателей является письменная запись песен во время их исполнения народными певцами. Рукописные нотации народной музыки, сделанные на слух, на протяжении долгого времени служили основным носителем информации, полученной устным путем. В тех случаях, когда письменная фиксация сопровождается аудиозаписью, выполненной с помощью фонографа, магнитофона, или видеозаписью (аналоговой или цифровой), музыкально-фольклорное произведение расширяет свою массовую доступность. Аудиовизуальный документ представляет собой наивысшее достижение в процессе передачи данных о народной музыке, поскольку только при условии полноценной фиксации песню можно услышать именно в том виде, как она была спета. Записи, выполненные с использованием современных технических средств, как аудио-, так и аудиовизуальных, сохраняются в неизменном виде и таким образом остаются для последующих поколений ценным документом, отличающимся большой степенью объективности. В статье раскрывается значение современных носителей информации для сбора и изучения македонских традиционных песен на примере их первых фонографических записей, сделанных в 1902–1904 годах. The study of the phenomena of musical folklore is induced by scientific interest, aimed at studying documentation that transmits data through various media. Specialists who study folk songs devote many years of their lives to fixing these samples during expeditions. The oldest type of collectors’ work is recording of songs in writing during their performance by folk singers. Handwritten notations of folk music, made by ear, have long served as the main carrier of information received orally. In the cases where written fixation is accompanied by an audio recording made using a phonograph, a tape recorder, or a video recording (analogue or digital), musical folklore work expands its availability for the mass audience. An audiovisual document represents the highest achievement in the process of transmitting folk music data, since only with full fixation can a song be heard exactly in the form in which it was sung. Recordings made using modern technical means, both audio and audiovisual, are preserved unchanged and thus represent a valuable document for future generations with a high degree of objectivity. The article reveals the importance of modern media for the collecting and studying Macedonian traditional song forms on the example of the first phonographic recordings of Macedonian songs made in 1902–1904.

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Agajan Aliyeva, Rena. "eremonial folk songs are the expression of artistic thinking Turkish people (Turkish-speaking people)." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 82–86. http://dx.doi.org/10.36719/2663-4619/61/82-86.

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The ceremonies, reflecting national moral values of the ancient Turkish peoples are preserved. The one of the oldest ceremonies is the ceremony “Yug”. (Yukh). “Yug” is the archaic song related to the mourning ceremony. This ceremony is held when somebody dies. Songs singigng during the ceremony are called laments (Agi). Died person is praised in this ceremony. This ceremony is executed (held) in Azerbaijan nowdays. Yug ceremonies existed in Azerbaijan long before Islam. Key words: ceremony, the national traditional values, national style, national thinking, religious ceremony

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

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

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Paulusma, Polly. "‘Me and Not-Me’: Folk Songs, Narrative Perspectives, and The Gender Imaginary in Angela Carter’s Shadow Dance." English: Journal of the English Association 69, no. 265 (2020): 145–71. http://dx.doi.org/10.1093/english/efaa011.

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Abstract It is a little-known fact that Angela Carter was a traditional folk singer during the 1960s, that she played the English concertina, and that she co-founded a folk club in Bristol with her first husband, Paul Carter. A newly unearthed private archive of her folk song notes from the decade, which includes her musical notations and a recording of her singing, allows us to develop new understandings of her folk praxis and, when laid alongside her private journal entries, the folk album sleeve notes she penned, her undergraduate dissertation, and other unpublished papers, a whole host of possible new readings of her literary work emerges. This essay explores just one: gender fluidity in folk song performance and its impact upon Carter’s interpretations of gender identity in her debut novel, Shadow Dance. I will suggest that Carter learned gender ambiguity from her folk singing, and that her experience of singing afforded her freedoms to explore versions of sexual performance and gendered selfhood through male characters. More broadly, I will suggest that she buried musical folk song features into the structures of her writing to present her prose as a form of audial performance.

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SZALAY, Zoltan. "From Pure Source Only – Collection of Hungarian Folk Songs Project." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 277–86. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.30.

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The collection contains a selection of folk songs from the Hungarian population living in Romania. Of the four volumes planned, three have been published so far. The entire collection is expected to span 18 regions and 3 micro-regions, as well as a strip of hundreds of kilometers from Transylvania and other areas outside Transylvania. These include some more developed areas which abandoned their traditions in the first half of the last century, and some more traditional regions. The first three volumes comprise folk songs from 174 localities, collected by 126 collectors, including Béla Bartók, Zoltán Kodály, László Lajtha, János Jagamas and Zoltán Kallós. The collections took place between 1899 and 2017. The melodies have been selected from the archives of Transylvanian and Hungarian institutions, as well as from audio materials accompanying various publications. In this selection I have tried to add as many songs as possible which belong to the old strata of folk songs. I have tried to include as many pentatonic melodies as possible because these strata predominantly feature this scale. Also, in the last century the everyday folk-song repertoire shifted toward a fixed-rhythm performance mode. An ancient form, with its speech-like mode of performance, is now in the process of being lost. Therefore, the number in the published volumes is smaller than that of the folk songs performed in a tight rhythm.

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Bao, Yueli. "Not Forgetting the Original, Absorbing Foreign Things, Facing the Future—Comment on Wu Guodong’s “Chinese National Music”." World Journal of Social Science Research 7, no. 3 (August 3, 2020): p61. http://dx.doi.org/10.22158/wjssr.v7n3p61.

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Mr. Wu Guodong has devoted his life to the research of national music and ethnomusicology. His works are various and achieved. Also, he practices the academic concepts himself introduced and takes the research of traditional Chinese music and culture to a more profound level. “Chinese National Music” is a masterpiece of Wu Guodong, which concentrates on teaching and combines the ethnomusicology discipline theory and traditional music research techniques. This book describes Chinese national music from five perspectives: folk songs, folk instrumental music, song and dance music, opera music, and opera music. As a new variety of textbooks, its combination of rational cognition and perceptual experience dramatically improves readers’ interest in reading. Thus, it intends to allow more students to comprehend and understand China’s rich and diverse national music from each perspective.

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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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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.

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

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

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Melnyk, Nataliia. "Ukrainian recruiting song: the concept of death through the prism of I. Ohiienko's ideas." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION SCHOLARLY PAPERS PHILOLOGY, no. 17 (December 1, 2020): 117–83. http://dx.doi.org/10.32626/2309-7086.2020-17-2.177-183.

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The article addresses to ideological and artistic concept of death in artistic fi eld of ukrainian folk recruit songs from the standpoint of I. Ohiienko’s ideas.The spotlight is given to refl ection of tragic disposition of an individual at the recruit songs cycle. The refl ection defi nes the role of death concept as a key meaning making notion. Understanding of death by the subject of lyrical narrative is based on foundation of ukrainian mythology, that emerged in pre-Christian period.According to nowadays classifi cation of semantic levels of death concept (fatal, total and heroic), the components of folk image of fatal death represented in recruit sinning are stressed on.The attention is accentuated on tight bound of death image with traditional myth-ological image of Fate. Their ideological and artistic functions in the text matter of composition are defi ned. Recruit song represents the understanding of tragic events related to draft, duty, war as manifestation of fatal miserable fate often of certain individual from the very birth. Semantic couple death/ funeral, is traditional for recruit (soldier) sinning gets new meanings, recited by grim reality. The motive of recruit (soldier) death at war (foreign land), the lack of traditional syllabic of funerals broadens to the motive of lonely mother’s death, son’s absence at the funeral, that changes spatial coordinates (not foreign land but homeland).Military duty that requires killing of others, is considered by folk consciousness as a sin (although executed against one’s will), which will surely be paid off (death). That’s why the motive of death as a redemption for the awful sin of killing is broad-ened in compositions of mentioned subject. In conclusion the concept of death in social and household sinning of recruit cycle is one of the most important notions that determinate ideological gist of com-positions. Recruitment, military duty are associated in the consciousness of subject of the song with awful end. Tragic disposition of lyric narrative hero reinforces by understanding of impossibility of traditional funeral that is crucial part of general picture of human existence, its image of death and life.

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Power, Martin J., and Aileen Dillane. "Transcending the moment." Politics of Sound 18, no. 4 (May 29, 2019): 491–508. http://dx.doi.org/10.1075/jlp.18060.pow.

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Abstract Our paper argues that British singer Billy Bragg performs protest songs that cleverly draw upon musical forms underpinning his positioning as a voice of, and for, the ordinary person, ultimately disenfranchised by governmental adherence to neoliberal policies. While political songs are a product of their time, many of them can also transcend that historical moment and have a longer shelf-life in terms of their capacity to inform political thinking and action. Our song(s) of choice in this paper do so not just in terms of the relevance of their ‘literal’ message but also in how they draw upon traditional structures of feeling and generic elements of folk song to underpin this sense of ‘grass-roots’ critique via a modified, acoustic ballad form and a performance style. This serves to authenticate and legitimate the singer and his message and, in turn, allows Bragg to accumulate political and cultural capital.

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YOSHIDA, Itsuko, Toshio KOBAYASHI, Sachiko TERAOKA, Etsuo MUSHIAKE, Kongsap AKKHAVONG, Amphoy SIHAVONG, Dalaphone SITTHIDETH, Bang-on NISAYGNANG, and Kazuhiko MOJI. "A trial of using traditional folk song “Lam” for health education in Lao PDR." Japanese Journal of Health and Human Ecology 77, no. 3 (2011): 109–20. http://dx.doi.org/10.3861/jshhe.77.109.

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Kyeong, Yun. "The Religious Conseciousness of Egyptian People seen through the Lyrics of Traditional Folk Song." Bulletin of The Faculty of Languages & Translation 4, no. 2 (January 1, 2013): 5–27. http://dx.doi.org/10.21608/bflt.2013.166519.

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Särg, Taive. "Elava rahvalaulu juurde jõudmine: Herbert Tampere teadlaseisiksuse kujunemine." Mäetagused 82 (April 2022): 81–130. http://dx.doi.org/10.7592/mt2022.82.sarg.

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The article analyses the life and activity of Estonian ethnomusicologist and folklorist Herbert Tampere (1909-1975), as well as the research history of Estonian folk songs until 1945, also paying attention to the influence of the Estonian Folklore Archives and its head Oskar Loorits. The historical background to Tampere’s activity is the establishment of independent statehood in Estonia (1919) after Estonians had existed as an ethic minority group subjected to the ruling classes of other nationalities for hundreds of years. The scientific and cultural background is constituted by the development of European folkloristics and ethnomusicology and the increasing prestige of folk music and non-western music in Europe, which contributed to the rise of the cultural self-awareness of Estonians as a nation with oral lore different from Indo-European culture. The approach is framed with the metaphor of life and death, which in Herderian way of thinking corresponded to the growth and fading of a nation and its creation. In the 1930s, Tampere brought into the discourse of the Estonian folk song, seemingly in opposition with the gradual fading of the living lore and complaining thereabout, a turn in writing about it, unexpectedly confirming that the folk song was alive. The older folk song started to disappear from public use in the 19th century, when people lost interest in its performance and the newer European folk music style spread more widely. At the same time, they tried to overcome the national inferiority complex that had developed due to existence as a lower class, as well as the oral culture considered as a sign of backwardness, creating on the basis of folklore a new national-language and valuable European literary culture. To accomplish this, the old, evolutionally lower traditional culture had to be abandoned. Writings about the dying folk song helped to encourage people to collect folklore and create distance with the past. In the 20th century, with the development of Estonian national self-awareness and literary culture and the rise of the nation’s self-esteem, and on the other hand the recession of Eurocentric and evolutionist way of thinking in the world of science, a new interest appeared in the structure and performance of the folk song, and it started to be increasingly appreciated and considered as living. Such changes in rhetoric indicate how reality is reflected subjectively, according to standpoints and circumstances. Considering the fact that in the 19th-century social evolution theory folklore and literary culture were attributed to different development stages of a nation, the nation with low self-esteem, striving for literary culture in the 19th century, could be satisfied with the dead folk song, yet in the 20th century, in the light of new culture concepts, it could be declared alive again. In summary it can be said that the following factors helped Tampere achieve a novel approach to folk songs in his research. 1. Tampere came from a talented and educated rural home, in which music and literature were appreciated and in whose neighbourhood different music styles were practised. His interests and skills were shaped by good education at schools with remarkable music teachers and an early contact with folklore collection at the Estonian Students’ Society. 2. Good philological education from the University of Tartu and work at the Estonian Folklore Archives, becoming familiar with folklore collections as well as other young folklorists and linguists, especially cooperation with Oskar Loorits, Karl Leichter, and Paul Ariste, added knowledge of newer research trends, such as ethnology and experimental phonetics. Maybe, paradoxically, the absence of higher music education, which would have directed the young man towards other music ideals, was positive in this respect. 3. The knowledge acquired of the methods and way of thinking in comparative music science provided a theoretical basis for understanding, valuing, and studying non-western music. Professional work was also supported by the development of sound recording and -analysis. 4. The immediate contact with living folk music already in his childhood and later on, when collecting folklore, elaboration of folk songs in the archives and compiling voluminous publications made this manner of expression more familiar. Tampere must have enjoyed the performance of at least some of the regilaul songs as he mentioned nice impressions and the need to delve deeper; also he recorded, studied, and introduced these songs to the public. 5. The heyday of national sciences and national ideals in the Republic of Estonia valued engagement in folklore as the basis of cultural identity. The first folk music reproductions appeared, such as folk dance movement and runic verse recitals at schools, which was why the issues of performance started to be noticed and studied. Oskar Loorits supervised the study and publication of the most Estonian-like (in his own opinion) folklore – folk songs – and it was probably also his influence that made Tampere study the problem of scansion, to systematize and study folk songs, and compile publications.

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Pangereev, A. Sh, and M. R. Baltymova. "Children's folklore as a special kind of traditional culture." Bulletin of the Karaganda University. Philology series 99, no. 3 (September 30, 2020): 91–95. http://dx.doi.org/10.31489/2020ph3/91-95.

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The article deals with the formation of folklore, its influence on the development of traditional culture, song art of the Kazakh people and their features, the role of the Kazakh people in preserving spiritual wealth and values. A review of scientific research on oral literature, analyzed the collection of folk motifs, their distribution among the people, and mythical stories in ancient Turkic monuments. Based on the research, the ways of forming the spiritual values of the Kazakh people through national literature and culture, the importance of folk heritage as a means of preserving traditional culture are identified. The special role of children's folklore in the education of the younger generation and the formation of spiritual values is shown. It is revealed that the folklore genre forms the traditional culture and closely develops together with the people for many centuries.

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Ambrazevičius, Rytis. "Migration of Song Genres: Two Typical Lithuanian Cases." European Journal of Musicology 20, no. 1 (April 10, 2022): 105–32. http://dx.doi.org/10.5450/ejm.20.1.2021.105.

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Song genres are reconsidered and migrate similarly, in general terms of adaptation to new contexts, and differently depending on the certain actor milieus. In the present paper, these processes are illustrated applied to two examples of changing Lithuanian tradition. First, the song repertoire of Mištūnai village (southeastern Lithuania) is analysed and the vernacular emic attribution of the songs to genres is collated with their attribution to the scientifically defined “actual” genres. Thus, genres that change their assignment or lose their strict application and dissipate, in contrast with the relatively “stubborn” genres, are indicated. Musical and extramusical causes for such migrations/stability are discussed. Second, the song repertoires of the modern reconstructed Rasos (Midsummer) celebration, popular, first of all, amongst contemporary urban folk groups are discussed. These repertoires collect very different genres that were not used for this occasion in the past. They show significantly more courageous migrations, compared to the case of unbroken tradition in Mištūnai. Characteristic phenomena in the migrations that have resulted in the composing of a sort of “Rasos metagenre” are discussed. In order to offer an insight into the basics of Lithuanian songlore relevant for the subsequent discussion, the paper begins with a broad introduction of the general characteristics of Lithuanian traditional songs and their genres.

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Bach, Thi Ngoc Trang, and Young-soon Kim. "Reservation and Development of Vietnamese Dong Ho Folk Painting." International Journal of Social Sciences and Management 2, no. 2 (April 25, 2015): 157–64. http://dx.doi.org/10.3126/ijssm.v2i2.12333.

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Dong Ho folk painting is a line of Vietnamese folk painting originating in Dong Ho village (Song H? commune, Thu?n Thành District, B?c Ninh Province). It is a culture heritage of Vietnam; so the preservation and development have been requisite. In this study, we endeavored to discover the meanings and values of Dong Ho folk painting; to find out the reasons why Dong Ho folk painting fell into oblivion and recent status of of Dong Ho folk painting village; then to propose some solutions to restore and develop it. Furthermore, in the trend of globalization, preservation and development of Dong Ho folk painting is the best methods to partly diffuse Vietnam’s traditional culture with its diversification.DOI: http://dx.doi.org/10.3126/ijssm.v2i2.12333 Int. J. Soc. Sci. Manage. Vol-2, issue-2: 157-164

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Rukmana, Evi Nursanti, Samson CMS, and Kusnandar Kusnandar. "Penelitian Permainan Rakyat: Konten Analisis (Content Analysis) Pada Website Garuda RISTEK-BRIN." Pustakaloka 13, no. 2 (December 6, 2021): 315. http://dx.doi.org/10.21154/pustakaloka.v13i2.2880.

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The folk games are the one development of object culture to must to the preserve. The researcher has researched traditional games from science various. The purpose this research to know folk games research through content analysis in Garuda RISTEK-BRIN website. The research method use analysis content with qualitative approach. The data collection through literature study from 13 folk games research. Based on result analysis found 5 sub themes consist of architecture desain, the type of traditional games analysis, school teaching materials, song traditional games analysis, and traditional games transformation. The research based on publication year has various year publication. The experience of publication year ups and down after sorted using journal names from the initial letters of journal names a to s. The language used in this study uses Indonesian with differences in the writing of the title, the use of Indonesian English titles, Indonesian titles, and Indonesian English titles. The research 13 studies has 63 types of traditional games with the number of games reaching 77. Folk games from an area become a cultural representation of the area itself. Hopefully this research will provide benefits for the reference and development of the next folk game research.

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Wang, Duangui. "The fret-harmonic content of the Chinese melos (on the example of samples for the voice and piano in the modern arrangement)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 100–114. http://dx.doi.org/10.34064/khnum2-49.07.

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Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.

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Journal articles on the topic 'Traditional folk song'

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