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Journal articles on the topic 'Traditional singers'
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Hongtao, Wang, and Gong Li. "A Method for Evaluating the Accuracy of Vocal Art Performance of Singers’ Voices Based on Sensor Space Localization Algorithm." Mobile Information Systems 2022 (July 9, 2022): 1–12. http://dx.doi.org/10.1155/2022/5248639.
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Recently, research on singing assessment has focused on analyzing singer characteristics rather than building an automated evaluating approach. Hence, there are many methods for evaluating the accuracy of singer’s singing performance. Traditional methods mostly use quantitative analysis approach for the accuracy analysis of vocal artistic performance, and the results have obvious ambiguity and correlation. Therefore, this paper proposes a method for evaluating the accuracy of vocal art expression of singers’ voices based on a sensor spatial localization algorithm. The adaptive cascade retrieval control approach is used to find and mine the singers’ performance based on their voice characteristics. The sensor spatial location algorithm and huge vocal music resources with high precision are utilized to locate the vocal music sources in the mining results. The vocal music of the singers is received through the vocal music preprocessing platform, which sends and controls musical compositions. The adaptive frequency’s shift filter and the wavelet transform method are used to filter out any noise in the music. Finally, the accurate evaluation of singer vocal artistic performance is realized from the aspects of music beat detection, note boundary accuracy analysis, and voiced segment accuracy detection. The experimental results show that our proposed method can reduce the error of the sound source’s localization and can effectively filter out the noise in the music signal.
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Cha, Junseo, Seong Hee Choi, and Chul-Hee Choi. "Can a natural singing voice be enhanced through digital processing? Implications of voice training and vocology in singers." Revista de Investigación e Innovación en Ciencias de la Salud 3, no. 2 (December 18, 2021): 72–86. http://dx.doi.org/10.46634/riics.119.
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Introduction. The traditional way of facilitating a good singing voice has been achieved through rigorous voice training. In modern days, however, there are some aspects of the singing voice that can be enhanced through digital processing. Although in the past, the frequency or intensity manipulations had to be achieved through the various singing techniques of the singer, technology today allows the singing voice to be enhanced from the instruments within recording studios. In essence, the traditional voice pedagogy and the evolution of digital audio processing both strive to achieve a better quality of the singing voice, but with different methods. Nevertheless, the major aspects of how the singing voice can be manipulated are not communicated among the professionals in each field. Objective. This paper offers insights as to how the quality of the singing voice can be changed physiologically through the traditional ways of voice training, and also digitally through various instruments that are now available in recording studios. Reflection. The ways in which singers train their voice must be mediated with the audio technology that is available today. Although there are aspects in which digital technology can aid the singer’s voice, there remain areas in which the singers must train their singing system at a physiological level to produce a better singing voice.
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Oras, Janika. "Individual Rhythmic Variation in Oral Poetry: The Runosong Performances of Seto Singers." Open Linguistics 5, no. 1 (December 31, 2019): 570–82. http://dx.doi.org/10.1515/opli-2019-0031.
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AbstractThe article explores the individual differences of rhythmic variation in traditional sung oral poetry. The analysed group of ritual songs is part of the Seto singing culture – a subtradition of Finnic oral trochaic tetrameter. The rhythmic variation, created by different positioning of stressed syllables in the song line, reveals itself on two levels, in linguistic verse structure and in musical performance. In the singers’ performances the verse and musical structures complement each other, having a cumulative rhythmic effect. By designing the rhythm at both levels, the singers systematically take into consideration the linguistic features of the used words. A statistical analysis shows a remarkable divergence in the rhythmic variation of different lead singers. The results are more homogeneous at the level of linguistic verse structure and more diverse at the level of musical performance. Also, the rhythmic choices of the lead singer and his or her choir in the course of the performance may differ. We may speculate that this divergence in individual rhythmic strategies could have been caused by the singers’ type of creativity and skills, their different perceptions of genre features and intergeneric relations, and the musical influences between more closely related singers.
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McKean, Thomas. "Equating traditional singers' terms with melodic adaptation." Acta Ethnographica Hungarica 47, no. 1-2 (July 2002): 91–98. http://dx.doi.org/10.1556/aethn.47.2002.1-2.11.
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Hassan, Scheherazade. "Female traditional singers in Iraq: A survey." International Journal of Contemporary Iraqi Studies 4, no. 1&2 (July 2010): 25–39. http://dx.doi.org/10.1386/ijcis.4.1-2.25_1.
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Syafniati, Syafniati. "PANDANGAN MASYARAKAT TERHADAP WANITA SEBAGAI PENDENDANG DALAM ACARA BAGURAU LAPIAK DI PAYAKUMBUH." Humanus 13, no. 2 (December 29, 2014): 146. http://dx.doi.org/10.24036/jh.v13i2.4724.
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Bagurau Lapiak is one of the types of saluang dendang (sing along with saluang—a type of recorder—play) performance conducted in the corridors of Payakumbuh stores, using lapiak (mat) for seat. Bagurau Lapiak is organized by a group ‘pagurauan’ (jokers) held on evenings starting at 21.00 until dawn. The singer (‘pendendang’) in the show is a woman who will fulfill the request of the audience to sing and play certain tunes by giving some amount of money to a committee called janang. Previously all singers in Minangkabau are men; women singers are considered to violate traitional and religious norms and it is not appropriate for women to sing along with the men in public let alone at night. However, in the case of saluang pendendang, women sungers play an important role in attracting the ‘joke addict’ in saluang bagurau (joking) activity. This paper aims to reveal the form of presentation of bagurau lapiak in Payakumbuh and the society's view of women as singer. This stuy used qualitative descriptive analysis method with cultural anthropology approach to music which can be seen through the behavior of musical physic and verbal as cultural facts of individuals and community groups. The music and the communities’ behavior have a very close relation. This study also uses feminimisme theory to explain women’s role in the saluang dendang show. The result shows that the tunes, the rhymed text that are sung by women are a kind of communication between the singers and the audience. In the other hand, people support as well as criticize the woman singer based on traditional, religious, and performing art values. Keywords: pendendang women, Bagurau Lapiak, community views
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Burman-Hall, Linda C., Thomas G. Burton, and Charles K. Wolfe. "Tom Ashley, Sam McGee, Bukka White: Tennessee Traditional Singers." Ethnomusicology 29, no. 3 (1985): 507. http://dx.doi.org/10.2307/851803.
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Porter, Gerald. "The English ballad singer and hidden history." Studia Musicologica 49, no. 1-2 (March 1, 2008): 127–42. http://dx.doi.org/10.1556/smus.49.2008.1-2.7.
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Drawing on Pierre Macherey’s location of ‘real history’ in the silences and gaps of the historical record, this paper studies the changing role of the paid singer in England. Although singers and musicians in England have been rewarded for their performances at all periods, more attention has been given in recent years to traditional singing as a recreational, even domestic activity than as a means of livelihood. Because of their constantly changing social status, the position of the paid singer has been ambiguous and frequently oppositional. A recent book sees their status as one of continuous decline. However, the process was not a continuous and inevitable one: the singer adapted to changes in society and found new sources of support.
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Frankel, A. S., C. W. Clark, L. M. Herman, and C. M. Gabriele. "Spatial distribution, habitat utilization, and social interactions of humpback whales, Megaptera novaeangliae, off Hawai'i, determined using acoustic and visual techniques." Canadian Journal of Zoology 73, no. 6 (June 1, 1995): 1134–46. http://dx.doi.org/10.1139/z95-135.
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Acoustic and visual methods were used to track and observe humpback whales off the island of Hawai'i. Sixty-two singing whales were located acoustically in water depths from 10 to 305 fathoms (mean 126 fathoms; 1 fathom = 1.828 m). This indicates that singers are not confined within the 100-fathom contour, although nearshore waters had a higher density of singers. The separation distance between singers (mean 5.1 km) was found to be significantly greater than that between nonsinging singletons (mean 2.1 km), supporting the hypothesis that song functions to maintain spacing between singers. The mean speed of singers determined from visual data was 1.79 km/h and from acoustic data 1.6 km/h. Some singers actively swam while singing. Other singers continued singing while affiliating with or being joined by other whales. The correlation between breaching and the cessation of singing suggests that the sounds of aerial behavior can convey information to other whales. These observations suggest the need to expand the traditional interpretations of the behavior of singing humpback whales obtained from visual observations alone.
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Baibek, Aigul Kydyrgalikyzy. "The Role of Ethnosolfeggio in the Preservation and Development of Kazakhs’ Song Heritage in the Conditions of Globalization." Ethnic Culture, no. 1 (1) (December 26, 2019): 19–23. http://dx.doi.org/10.31483/r-64072.
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The article is devoted to the problem of preserving the spirit and creative potential of the traditional music in the modern Europeanized education of folk musicians in Kazakhstan. In the modern ethnosolfeggio course, adapted for folk singers, the necessary basis is formed for understanding the historical development of traditional music and its role in modern cultural contexts, as well as the need for its preservation and further development. The purpose of the article is to offer the measures to preserve the valuable qualities of traditional music and ensure its further development. Based on the methods of generalizing pedagogical experience (observation, studying normative documentation, questionnaires), many years of experience in teaching a course of ethnosolfeggio adapted for folk singers are presented. As a result of the work, the necessary theoretical and practical basis was obtained for understanding the historical development of traditional music, understanding its role in modern cultural contexts and the need for its preservation and further development. The article concludes that ethnosolfeggio course include saturation with creative forms of work that rely on «verbalness» inherent to traditional singers, and emphasis on mastering improvisation that unfolds the composing potential.
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Dawosing, Jayganesh. "A Sociological Analysis of Bhojpuri Jhoomar in Mauritius." Advances in Social Sciences Research Journal 7, no. 5 (May 23, 2020): 230–39. http://dx.doi.org/10.14738/assrj.75.8220.
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To ensure a significant place among both the local and international Bhojpuri singers, the singers keep reproducing the cultural content of this type of Bhojpuri songs, called the ‘Jhoomar’ which literally means dancing in a circular motion. However, in this process of cultural evolution, the fear of either preserving the traditional or digressing from the latter will always be there. This paper deals with the sociological analysis of jhoomar songs of the present generation who create new lyrics in the Mauritian Bhojpuri songs. For entertainment purposes, some singers, at times, interpret the traditional forms in an expression of personal or group identity. The recent albums of certain of the artistes deal with contemporary issues, true to an articulation of social hierarchies, most notably race, gender and class. In correspondence to contemporary issues, a research question arises with the preservation of traditional form, how do the contemporary songs relate to broader social distinctions, especially class, race and gender? Fieldwork with local Bhojpuri singers has helped in understanding the significance of the study. This paper argues from a conceptual analysis of popular cultural significance of the study. The content of these jhoomar songs are relevant in culture and music of the 21st century, entailing fascinating issues of discussion.
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Kuzminskyi, Ivan, and Vladyslav Bezpalko. "Singers of Pereyaslav bishops in the 18th century." Text and Image: Essential Problems in Art History, no. 1 (2022): 99–122. http://dx.doi.org/10.17721/2519-4801.2022.1.08.
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The proposed article is based on the corpus of historical sources of the 18th century and is devoted to the study of the singers of bishops of Pereyaslav. We found documentary evidence of the singers in 9 of the 14 bishops of Pereyaslav. According to the traditional order at the episcopal cathedrals of the Hetmanate, during the services, only the monks (kryloshany) sang. This tradition can be eloquently traced in the Pereyaslav Ascension Cathedral and other monasteries of the Pereyaslav eparchy during the 1720-1740s. The total number of singers in the cathedral monastery ranged from 5 to 9 people. At the head of the monks were two ustavnyky, who ruled the right and left choirs. And only in 1722, by a special decree, the Most Holy Governing Synod unified the rules, which primarily concerned the Ukrainian eparches. Since then, the order for the service of 10 singers has been established in the bishop's houses. Despite this, even before the decree was issued, vicar bishop Cyryl Szumlański was served by his own singers, led by the regent. The presence of the regent can be traced in the service of the next vicar bishop Joachim Strukov. Both the church monody and the polyphony sounded in the cathedral. We draw this conclusion from the available music books. Bishop Joakim Strukov in Pereyaslav owned the Heirmologia with musical notation, and in the time of Bishop Arseniy Berlo in the cathedral the musical-theoretical treatise of Mikołaj Dilecki "Musical Grammar" was rewritten. On the cover of this manuscript it was stated that one day a solemn partesnyi concert was performed. In connection with the last musical manuscript, the bishop's intention to introduce and consolidate innovations in the field of music education can be traced, when the aim of the students was to master the art of partes singing at a qualitatively better level. In addition to the above, this thesis is confirmed by information from the life of the singer of one of the previous bishops, when the teaching of partes singing took place outside Pereyaslav. The bishops' singers were called "pivchi" in authentic terminology, which we see both in documents from the archives of the Most Holy Governing Synod in St. Petersburg and in local documents from Pereyaslav. Beginning with the act sources of 1760 and at least until 1782, the group of bishop's singers was called "vocal music". During the same period, there is another name for this vocal group, which was used for internal use - "pivcha", which probably meant primarily a separate room where the singers lived. The choir was financed, first of all, from the bishop's treasury. And the singers received additional income by collecting money from the parishioners in a "singing mug", a special container for donations. According to expenditure sources, the funds received went to sewing, repairs, as well as the purchase of clothing and footwear. Among the information found in the sources about the singers, the total number of which reaches 29 names, not counting the mentioned singers without names and monks, we find representatives of various social stratum - children of clergy, Cossacks, burghers, commoners. For many of them, singing in the cathedral choir was not only an opportunity to earn a steady income, but also served as a springboard for career growth, for the rank of priest, or a place as a singer in one of the imperial capital choirs. In the second half of the 18th century there is a certain pattern, when most singers were disadvantaged, mostly orphans. In the life of the Pereyaslav bishops there were contacts with secular musicians-instrumentalists. In the 1720s, a bandura player served to vicar bishop Joachim Strukov. In the early 1780s, Hilarion Kondratkovskyi used the services of military musicians for solemn greetings during church holidays.
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Štroblová, Kateřina. "Using Traditional / ICT Tools While Teaching Translation to Opera Singers." American Journal of Educational Research 2, no. 12 (November 23, 2014): 1277–83. http://dx.doi.org/10.12691/education-2-12-23.
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Elduque, Albert. "Documentary shooting and samba." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 48–66. http://dx.doi.org/10.33178/alpha.19.05.
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This article addresses the film Partido alto (Leon Hirszman, 1976–1982), a Brazilian music documentary that showcases two sessions of partido-alto, a traditional, improvisation-based genre. The film highlights a separation between the diegetic music world, which is based on improvisation, and the technical approach to register it. First, it foregrounds the process of recording popular music through the noticeable presence of a microphone that strives to follow each singer’s unpredictable interventions. Then, the young professional singer Paulinho da Viola joins in on the performance with nonprofessional singers, working as a mediator between the official music scene and popular traditions. I suggest that, by using cameras and microphones to approximate a popular, nonrecorded form of art, the film raises some crucial issues in the history of samba. In particular, the ways in which cinematic techniques such as the sequence shot and voiceover are employed in the film allows us to reflect on the dichotomy between improvisation and recording, as well as the role of cultural mediators. Paulinho da Viola lies at the centre of these strategies, for he assumes an expert commentator and interviewer role, while also being a participant in the popular community.
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Maršík, Ladislav, Petr Martišek, Jaroslav Pokorný, Martin Rusek, Kateřina Slaninová, Jan Martinovič, Matthias Robine, Pierre Hanna, and Yann Bayle. "KaraMIR: A Project for Cover Song Identification and Singing Voice Analysis Using a Karaoke Songs Dataset." International Journal of Semantic Computing 12, no. 04 (December 2018): 501–22. http://dx.doi.org/10.1142/s1793351x18400202.
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We introduce KaraMIR, a musical project dedicated to karaoke song analysis. Within KaraMIR, we define Kara1k, a dataset composed of 1000 cover songs provided by Recisio Karafun application, and the corresponding 1000 songs by the original artists. Kara1k is mainly dedicated toward cover song identification and singing voice analysis. For both tasks, Kara1k offers novel approaches, as each cover song is a studio-recorded song with the same arrangement as the original recording, but with different singers and musicians. Essentia, harmony-analyser, Marsyas, Vamp plugins and YAAFE have been used to extract audio features for each track in Kara1k. We provide metadata such as the title, genre, original artist, year, International Standard Recording Code and the ground truths for the singer’s gender, backing vocals, duets, and lyrics’ language. KaraMIR project focuses on defining new problems and describing features and tools to solve them. We thus provide a comparison of traditional and new features for a cover song identification task using statistical methods, as well as the dynamic time warping method on chroma, MFCC, chords, keys, and chord distance features. A supporting experiment on the singer gender classification task is also proposed. The KaraMIR project website facilitates the continuous research.
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Schulz, Dorothea E. "Music Videos and the Effeminate Vices of Urban Culture in Mali." Africa 71, no. 3 (August 2001): 345–72. http://dx.doi.org/10.3366/afr.2001.71.3.345.
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AbstractThis article focuses on a number of highly successful female pop singers in Mali whose video music clips and music shows make up a major share of urban people's daily broadcast consumption. The article explores the reasons for the astonishing success of the singers by locating the consumption and interpretation of their songs in Malian popular and scholarly discourses on cultural authenticity and moral decline. Some Malian scholars emphasise that women's pop songs reflect the corruption and mixing of traditional oral genres characterised by historical knowledge, textual complexity and regional specificity. Their criticism is echoed by a number of older people in town and countryside. It is reminiscent of a tendency among urban consumers to express their fascination with and fears of life in town in the icon of the seductive, dangerous and immoral town woman. To many women of the urban middle classes, in contrast, the pop singers embody a desirable solution of women's daily dilemma: a Malian morality dressed up in the fashionable outfit of a ‘modern’ urban woman. Middle-class women respond enthusiastically to this art form because it praises them for upholding ‘traditional’ values in the face of adversity while absolving them of complicity in undermining such values.
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Nguyen, Khang Tan, and Thach Hue Man. "Communication about Traditional Culture through Music Videos of Young Singers in Vietnam." Jurnal Komunikasi Ikatan Sarjana Komunikasi Indonesia 7, no. 2 (December 1, 2022): 232–42. http://dx.doi.org/10.25008/jkiski.v7i2.714.
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The Vietnamese music market has recently welcomed the phenomenon of young artists using traditional Vietnamese cultural materials to create modern entertainment MV products. In this research, we use qualitative research to identify cultural factors appearing in MVs of two singers Bich Phuong and Hoang Thuy Linh. At the same time, the research team evaluates the effectiveness of integrating Vietnamese cultural elements in the music products of the two singers mentioned above by surveying students of University of Social Sciences and Humanities and Vietnam National University-HCM via a questionnaire. The survey results show that Vietnamese traditional culture is still a topic of interest to many young people. However, instead of learning through traditional channels such as schools and books, the public now has more choices and videos have become one of the most popular approaches thanks to the vivid combination of images and sound. Concurrently, the majority of students said that they regularly follow and watch newly released MVs from artists. The MVs carefully invested in terms of images and skillfully combined folk with modern materials will impress the public and inspire young people to get to know more about conventional values. Traditional culture is expressed through MV. Thereby, it can be seen that the integration of Vietnamese cultural elements into the MV is not only entertaining and educating, improving efficiency in preserving, preserving and spreading diverse and rich cultures, but also imbued with Vietnamese identity.
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Ren, Jinyan. "Pop Music Trend and Image Analysis Based on Big Data Technology." Computational Intelligence and Neuroscience 2021 (December 9, 2021): 1–12. http://dx.doi.org/10.1155/2021/4700630.
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With people’s pursuit of music art, a large number of singers began to analyze the trend of music in the future and create music works. Firstly, this study introduces the theory of music pop trend analysis, big data mining technology, and related algorithms. Then, the autoregressive integrated moving (ARIM), random forest, and long-term and short-term memory (LSTM) algorithms are used to establish the image analysis and prediction model, analyze the music data, and predict the music trend. The test results of the three models show that when the singer’s songs are analyzed from three aspects: collection, download, and playback times, the LSTM model can predict well the playback times. However, the LSTM model also has some defects. For example, the model cannot accurately predict some songs with large data fluctuations. At the same time, there is no big data gap between the playback times predicted by the ARIM model image analysis and the actual playback times, showing the allowable error fluctuation range. A comprehensive analysis shows that compared with the ARIM algorithm and random forest algorithm, the LSTM algorithm can predict the music trend more accurately. The research results will help many singers create songs according to the current and future music trends and will also make traditional music creation more information-based and modern.
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Nagy-Sándor, Zsuzsa, and Pauwke Berkers. "Culture, Heritage, Art: Navigating Authenticities in Contemporary Hungarian Folk Singing." Cultural Sociology 12, no. 3 (July 13, 2018): 400–417. http://dx.doi.org/10.1177/1749975518780770.
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In Hungary, the decline of traditional peasant culture and its heritage has prompted urban revivals, leading to the acceptance of traditional Hungarian folk singing as a performing arts genre. Drawing from a series of in-depth interviews, this study shows how contemporary Hungarian folk singers navigate (define, learn, police) different forms of authenticity within the field of folk music. While we find that objectified authenticity – heritagized classification systems – is the dominant form of symbolic capital, the broader symbolic economy of authenticity is complicated by competing definitions of folk singing as, variously, culture, heritage, and art. Third-person authenticity is more highly regarded, but it is more difficult for contemporary urban folk singers to achieve because they were not socialized in peasant communities. Therefore, they use objectified authenticity such as ‘original recordings’ as a proxy for learning about living folk culture. Although objectified authenticity constrains the agency of artistic expression, it affords discriminatory creativity (choosing one’s own repertoire) and rationalized creativity (adapting traditional material to external values and contexts).
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Yeh, Catherine Vance. "A Public Love Affair or a Nasty Game? The Chinese Tabloid Newspaper and the Rise of the Opera Singer as Star." European Journal of East Asian Studies 2, no. 1 (March 24, 2003): 13–51. http://dx.doi.org/10.1163/15700615-00201003.
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At the end of the nineteenth and beginning of the twentieth century an unlikely new figure emerged on the Chinese national stage to take its place as the new star: the Peking Opera singer and in particular the dan or female impersonator, hitherto a member of the lowest social caste and generally discriminated against by law and social custom. These singers’ newly gained national reputation had everything to do with Shanghai and its media industry, more precisely with the appearance of the tabloids, the xiaobao, in the 1890s. Within a decade, the opera singer had become the selling point of the entertainment newspapers, and very soon newspapers and magazines specialising only in the Peking opera and its stars made their appearance. Propelled by Shanghai’s technologically advanced print entertainment products with their lithograph illustrations and photographs, the image of the star became a national icon and a central figure in the mass media. This paper focuses on three cases in which dan actor(s) were the focus of discussion and at times the object of fierce debate or attacked in the xiaobao. Although different in nature, these events highlighted the changing social position of the actors and of the forms of patronage. The paper analyses the contradictory moral standards applied by the editors and writers of these xiaobao in dealing with the change in the social status of actors; the intersection between traditional private literati patronage of local opera singers and the very public process in which the newspaper made them national stars; and the star actors’ tenuous relationship to the xiaobao with their potential for mass appeal and defamation.
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Rapetti, Valentina. "Singing back to the Bard: A conversation on Desdemona with Rokia Traoré." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 337–44. http://dx.doi.org/10.1386/jafp_00035_7.
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Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.
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Sitsui, Zhang. "Intonation Attributes of Traditional Singing And Recitations of Suzhou Musical Drama." Culture of Ukraine, no. 71 (April 2, 2021): 125–28. http://dx.doi.org/10.31516/2410-5325.071.16.
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The aim of this paper is to identify the intonation attributes of traditional singing and recitation in Suzhou musical drama, which is embodied in the melodic organization of melody, rhythmic pattern, signs of syncretism with speech and gestures of singers-actors, which add semantic certainty and artistic expression to images.
Research methodology. The study investigates this issue by examining the basic methods and principles of musicology.
Results. Suzhou drama is based on traditional folk songs of the northern regions of Jiangsu province, “labor cries”, such as urging bulls when ploughing, woman crying, jumping on horses etc. The melody of the Lahongqiang is characterized by the transitions of the female falsetto into high octaves, which are balanced by the inclusion of a recitative that affects the feelings of the listener.
The realization of works of Suzhou musical drama, in particular vocal-declamatory methods of performance, requires singers-actors to master the skills of improvisation in the process of creating a stage action. The intonation attributes of melody and declamatory speech, which are based on dialects of oral language, folk songs of the northern regions of Jiangsu province, due to the traditions of the population of this area. The fricative basis of singing is pentatonic, the structure of the “jumping” rhythm with frequent “turns” evokes in the listener a sense of novelty, energetic free movement. The properties of the declamatory pattern of “da-shetou” is one of the outstanding features of Suzhou musical drama.
Novelty: the concept of “Lahongqiang” can be used in a number of meanings: in a broad sense — if we talk about the traditional nature of one of the types of songwriting; in the narrow sense — to use as the name of the music genre and performing arts.
Practical significance. The properties of the declamatory pattern of “da-shetou” is one of the outstanding features of Suzhou musical drama. Importantly, it enriches the area of cognitive ability to understand the communicative “axis” of the East-West artistic relationship.
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CHANG, HYUN KYONG HANNAH. "Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora." Twentieth-Century Music 18, no. 3 (October 2021): 447–67. http://dx.doi.org/10.1017/s1478572221000207.
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AbstractProtestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.
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Jurić, Dorian. "Heralds at the Bells: Messages of Hope from West Balkan Bards During the Coronavirus Pandemic." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 24 (July 16, 2021): 85–117. http://dx.doi.org/10.17161/folklorica.v24i.15691.
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Between March and May of 2020, a number of guslars (bards) and other traditional singers from Bosnia-Herzegovina, Croatia, Montenegro, and Serbia flooded YouTube with songs about the COVID-19 pandemic. Though the musicians chose divergent vantage points from which to approach the topic of the pandemic, all settled on a similar goal. They sought to deliver a message of solidarity and hope to those struggling with the realities of life under lockdown measures and to allay the fears and uncertainties that spread with the virus. This article provides a critical overview of the guslars’ songs to explore their shared and divergent tropes, themes, and tones, and to highlight the goals of their singers in disseminating their messages in traditional form. Here I comment on what the high degree of convergence in the songs’ final messages reveals about vernacular responses to the pandemic and folk views on the measures taken to halt the virus’s spread. Finally, the article places these songs into a wider historical context of contemporary singing to the gusle, remarking on the vagaries of navigating authority when one sings subjective opinion in the name of a collective.
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Choi, Hye Jin. "The History of Traditional Pansori and The Prospects for The Development of Performance." Liberal Arts Innovation Center 9 (November 30, 2022): 225–48. http://dx.doi.org/10.54698/kl.2022.10.225.
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In modern pansori, various experiments are being made on the existing traditional pansori, and many new creations of pansori are being made. However, traditional pansori also has historically undergone continuous changes and experiments. In this regard, this study was intended to suggest the point where the traditional pansori has changed and the tasks to be positively improved by the pansori of our time.
First, the performance aspects of traditional pansori were analyzed in a visual dimension. This study examines how pansori performances have changed from the mid-19th century to modern pansori. In the 19th century, in the yard, a singer performed wearing a hat on an applicator, and held a white or red fan. The drummer used a relatively large drum, and the tip of the drumstick was round. At the end of the 19th century, in Kim Jun-geun's paintings, it can be seen that the performance space for pansori has changed into a room or an indoor space. The singer performed with the master, but did not organize a separate space, and the drum and drummer of the master was changed to a shape similar to that of modern times. In the early 20th century, the stage of pansori during the Japanese colonial period was transformed into a theater. The traditional attire of the singer and the master was sometimes simplified with a bob and a duruma. In particular, female singers changed from wearing a white hanbok with their indigo hair to gradually wearing a splendid hanbok. As the intangible cultural heritage system began after the 20th century, pansori centered on human cultural assets was mainly performed on stage under the technical influence of microphones and lighting. It can be said that the musicality of pansori has gradually become highly sophisticated amid these changes in performance space and media.
While traditional pansori could be changed over time without losing its typicality, there were also parts that lost the essence of 'pan'. This is the weakening of storytelling or polarity, and in this regard, the development direction of traditional pansori was suggested in three areas. First of all, I heard that aniri(아니리) and wit should be strengthened to restore the storytelling of pansori. Next, it was argued that the spirit of the times should be contained through the creation and reconstruction of a new lyric(더늠). Finally, it was suggested that the dramatic aspect of pansori should be established through the expansion of neoreumsae(너름새) and reinforcement of acting.
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Krisna, Eva. "BATOMBE: WARISAN BUDAYA BANGSA DARI NAGARI ABAI PROVINSI SUMATERA BARAT." Madah: Jurnal Bahasa dan Sastra 7, no. 2 (May 12, 2017): 159. http://dx.doi.org/10.26499/madah.v7i2.425.
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“Batombe” is an oral tradition of the Nagari Abai society at Sangir Batanghari Subdistrict, South Solok District, West Sumatra Province. Batombe is exchanging rhymes (berbalas pantun) which is performed as an entertainment on the wedding party (baralek). Batombe is identical with Great House (Rumah Gadang) Nagari Abai which is a unique house because it is a long traditional custom house that has many rooms. It reaches 21 rooms. The rhymes in batombe tends to deliver a feeling of lilting so the singers often drift into the atmosphere of the show. Therefore, as part of community life, batombe often cause a negative effects for the singers soul. This paper describes various things, such as: who batombe singer is; the time to perform this activity; the relationship between batombe and Great House (Rumah Gadang) at Nagari Abai; and the negative effects caused by batombe for the singers. This paper based on the fact that in oral tradition there is a close relationship between text and the speakers and text with context (place, time and atmosphere), a multidisciplinary approach is used in this paper, such as historical, sociological, anthropological, and psychological approach. The method used is descriptive analysis method. Abstrak Batombe adalah tradisi lisan masyarakat Nagari Abai, Kecamatan Sangir Batanghari, Kabupaten Solok Selatan, Provinsi Sumatra Barat. Batombe adalah tradisi berbalas pantun yang dilakukan sebagai hiburan pada pesta pernikahan (baralek). Batombe identik dengan rumah gadang Nagari Abai yang unik, yakni rumah adat dengan ruangan yang sangat panjang hingga 21 ruangan. Pantun-pantun batombe cenderung menyampaikan perasaan yang mendayu-dayu sehingga para pedendangnya sering hanyut ke dalam suasana pertunjukan. Oleh sebab itu, sebagai bagian dari kehidupan masyarakat, seringkali batombe menyebabkan efek negatif bagi (kejiwaan) para pedendangnya. Tulisan ini mendeskripsikan berbagai hal, seperti penutur batombe, waktu untuk melakukan batombe, hubungan batombe dengan rumah gadang di Nagari Abai, dan efek negatif yang ditimbulkan batombe bagi pedendangnya. Tulisan ini bertolak dari kenyataan bahwa pada tradisi lisan terdapat hubungan erat, antara lain seperti teks dengan penutur dan teks dengan konteks (tempat, waktu, dan suasana). Pendekatan multidisipliner digunakan pada tulisan ini, yakni pendekatan historis, sosiologis, antropologis, dan psikologis. Metode yang digunakan adalah metode analisis deskriptif.
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Krisna, Eva. "BATOMBE: WARISAN BUDAYA BANGSA DARI NAGARI ABAI PROVINSI SUMATERA BARAT." Madah: Jurnal Bahasa dan Sastra 7, no. 2 (May 12, 2017): 159. http://dx.doi.org/10.31503/madah.v7i2.425.
Full textAbstract:
“Batombe” is an oral tradition of the Nagari Abai society at Sangir Batanghari Subdistrict, South Solok District, West Sumatra Province. Batombe is exchanging rhymes (berbalas pantun) which is performed as an entertainment on the wedding party (baralek). Batombe is identical with Great House (Rumah Gadang) Nagari Abai which is a unique house because it is a long traditional custom house that has many rooms. It reaches 21 rooms. The rhymes in batombe tends to deliver a feeling of lilting so the singers often drift into the atmosphere of the show. Therefore, as part of community life, batombe often cause a negative effects for the singers soul. This paper describes various things, such as: who batombe singer is; the time to perform this activity; the relationship between batombe and Great House (Rumah Gadang) at Nagari Abai; and the negative effects caused by batombe for the singers. This paper based on the fact that in oral tradition there is a close relationship between text and the speakers and text with context (place, time and atmosphere), a multidisciplinary approach is used in this paper, such as historical, sociological, anthropological, and psychological approach. The method used is descriptive analysis method.AbstrakBatombe adalah tradisi lisan masyarakat Nagari Abai, Kecamatan Sangir Batanghari, Kabupaten Solok Selatan, Provinsi Sumatra Barat. Batombe adalah tradisi berbalas pantun yang dilakukan sebagai hiburan pada pesta pernikahan (baralek). Batombe identik dengan rumah gadang Nagari Abai yang unik, yakni rumah adat dengan ruangan yang sangat panjang hingga 21 ruangan. Pantun-pantun batombe cenderung menyampaikan perasaan yang mendayu-dayu sehingga para pedendangnya sering hanyut ke dalam suasana pertunjukan. Oleh sebab itu, sebagai bagian dari kehidupan masyarakat, seringkali batombe menyebabkan efek negatif bagi (kejiwaan) para pedendangnya. Tulisan ini mendeskripsikan berbagai hal, seperti penutur batombe, waktu untuk melakukan batombe, hubungan batombe dengan rumah gadang di Nagari Abai, dan efek negatif yang ditimbulkan batombe bagi pedendangnya. Tulisan ini bertolak dari kenyataan bahwa pada tradisi lisan terdapat hubungan erat, antara lain seperti teks dengan penutur dan teks dengan konteks (tempat, waktu, dan suasana). Pendekatan multidisipliner digunakan pada tulisan ini, yakni pendekatan historis, sosiologis, antropologis, dan psikologis. Metode yang digunakan adalah metode analisis deskriptif.
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Portillo, María Priscilla, Sandra Rojas, Marco Guzman, and Camilo Quezada. "Comparison of Effects Produced by Physiological Versus Traditional Vocal Warm-up in Contemporary Commercial Music Singers." Journal of Voice 32, no. 2 (March 2018): 200–208. http://dx.doi.org/10.1016/j.jvoice.2017.03.022.
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Jude, Gretchen. "Japan's Nightingale Geisha Singers: Listening to Women Through Audio Media." Malaysian Journal Of Music 9 (November 27, 2020): 101–14. http://dx.doi.org/10.37134/mjm.vol9.8.2020.
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This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.
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Dong, Li, and Jiangping Kong. "Electroglottographic Analysis of the Voice in Young Male Role of Kunqu Opera." Applied Sciences 11, no. 9 (April 26, 2021): 3930. http://dx.doi.org/10.3390/app11093930.
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The phonation types used in the young male role in Kunqu Opera were investigated. Two national young male role singers volunteered as the subjects. Each singer performed three voice conditions: singing, stage speech, and reading lyrics. Three electroglottogram parameters, the fundamental frequency, contact quotient, and speed quotient, were analyzed. Electroglottogram parameters were different between voice conditions. Five phonation types were found by clustering analysis in singing and stage speech: (1) breathy voice, (2) high adduction modal voice, (3) modal voice, (4) untrained falsetto, and (5) high adduction falsetto. The proportion of each phonation type was not identical in singing and stage speech. The relationship between phonation type and pitch was multiple to one in the low pitch range, and one to one in the high pitch range. The sound pressure levels were related to the phonation types. Five phonation types, instead of only the two phonation types (modal voice and falsetto) that are identified in traditional Kunqu Opera singing theory, were concomitantly used in the young male role’s artistic voices. These phonation types were more similar to those of the young female roles than to those of the other male roles in the Kunqu Opera.
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Čolaković, Zlatan. "Avdo Međedović’s Post-Traditional Epics and Their Relevance to Homeric Studies." Journal of Hellenic Studies 139 (October 4, 2019): 1–48. http://dx.doi.org/10.1017/s0075426919000016.
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Abstract[Milman Parry established first that Homeric poetry was traditional, based on his studies of its formulae and language, and then that it was oral, based on his experience of recording south Slavic epic; he likened the unusually long epics of Avdo Međedović to those of Homer. Albert Lord put the two concepts together, holding that both south Slavic epic and Homeric poetry were oral-traditional and that all oral epic poetry, including that of Međedović, is traditional. However, the author’s investigations into the Milman Parry Collection of Oral Literature and his personal experience of collecting epics in Montenegro in 1989 prove that this is incorrect. The poems of Avdo Međedović do not conform to traditional uses of language, theme and story-patterns, but offer something new, of which other traditional singers disapproved, as their recorded conversations demonstrate. Similarly, by analogy, the epics of Homer differed from the traditional poems of the Epic Cycle, exactly as Aristotle indicates in the Poetics. Hence neither Međedović nor, by analogy, Homer were fully traditional poets, although they were oral poets; instead, they deliberately adapted the tradition so that the old stories were mixed and matched into much lengthier and more complex epics, which should be called post-traditional.]
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ESSE, MELINA. "‘Chi piange, qual forza m'arretra?’: Verdi's interior voices." Cambridge Opera Journal 14, no. 1-2 (March 2002): 59–78. http://dx.doi.org/10.1017/s0954586702000058.
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It all started with voices – voices not meant to be heard. Verdi's demand that at crucial moments in Macbeth the performers stifle vocal expression is by now famous. Again and again he urged that the duet and sleepwalking scene be sung ‘sotto voce’, ‘with mutes’, that the singers should speak more than sing, that their voices should sound ‘harsh’, ‘stifled’, ‘hollow’, ‘veiled’. Verdi's wilful insistence that his singers not sing has been understood as part of the composer's struggle to curb the excesses of primo ottocento opera and invest it with a new psychological depth. Gilles de Van, for example, argues that the suppression of the voice in Macbeth creates a shadowy subjective interiority, and claims further that the decision represents a shift in Verdi's aesthetic orientation from ‘melodrama to music drama’. De Van understands Verdi's inward turn as a renunciation of the kind of extroverted display upon which melodrama relies, as a ‘turning point, the beginnings of a dramaturgy of interiority that does away with the superb transparency of traditional melodrama and marks Verdi’s new awareness of the aura of confusion and ambiguity that can inhabit the human soul'.
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Lušić, Ivana. "Ladarice." Etnološka istraživanja, no. 27 (December 31, 2022): 377–92. http://dx.doi.org/10.32458/ei.27.21.
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Ladarice are a female vocal nonet founded with the aim of nurturing Croatian musical heritage. Thanks to their extensive activities on the Croatian music scene, a series of performances at traditional folk music and popular music festivals, frequent appearances on radio and television, participation in theatre plays, performances featured in popular Croatian films (for example, the performance of the song Podravina ravna in the TV series Gruntovčani, created by Dubravko Ivančan and Živan Cvitković), Ladarice have evolved into a cultural brand. However, the general public is mostly unaware that the group Ladarice was founded independently of the Lado Ensemble, and that it operated as such until 2008. The aim of this paper is to provide an overview of the activities of Ladarice from their forming in 1966 to the present day. From the analysed material, it is possible to deduce that, thanks to their of music, they managed to remain active for many years and evolve into a cultural brand. Today, the singers of Ladarice operate within the framework of the Lado Ensemble, while their work differs significantly in terms of primary motivation, the number of singers, the mode of work, and artistic programme.
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Mecorio, Francesco, Francesco Santangelo, Sowon Jang, Tae Hee Kweon, and Alfonso Gianluca Gucciardo. "Pansori today: aesthetic demands vs. vocal health." Revista de Investigación e Innovación en Ciencias de la Salud 3, no. 2 (December 18, 2021): 3–23. http://dx.doi.org/10.46634/riics.57.
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Introduction: Pansori is a traditional Korean dramatic art form, which likely appeared in the mid-eighteenth century in the southern region of Korea. In pansori, there is a strong inclination toward preserving tradition, especially in regard to training, which is generally considered particularly demanding in terms of risks to vocal health. Nevertheless —as highlighted by recent studies— some innovations took place in pansori characteristics and performances in the last few decades. Objective: We hypothesize that these innovations have impacted the attitudes of singers and teachers towards pansori training and vocal health issues, and that a new approach to voice training in pansori might be recommended. Method: Starting with recent evolutions of pansori and considering previous studies, we discuss how these changes might produce innovations —or at least a demand for innovation— in pansori’s training. We also try to capture the viewpoint of pansori students and performers, through an anonymous survey. Results: Although further investigation is required, the results suggest that a new approach in teaching pansori is emerging and it is increasingly requested by the trainee performers, despite some criticisms from traditionalists. Conclusion: Unlike previously thought, perhaps a more scientific and health-conscious approach to pansori voice training will be something from which many pansori singers can benefit.
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Margono S, Yosep Bambang. "CONTEMPORARY WAYANG KULIT PERFORMANCE: A CRISIS IN JAVANESE CULTURE?" Celt: A Journal of Culture, English Language Teaching & Literature 3, no. 2 (August 21, 2017): 144. http://dx.doi.org/10.24167/celt.v3i2.1092.
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Wayang kulit or shadow puppet theater performance has
been greatly changing. Changes occur in many aspects such as in
terms of the duration or length of the peliormance, its structure, the
number of dalang who performs it,as well as the number of female
singers (sindhen or waranggana) who accompany the dalang.
Consequently, now wayang kulit performance is seen more as
tontonan (entertainment) than as tuntunan (moral teachings). One
of the main factors of this big change is the intrusion of western
culture into Indonesia in general and Java in particular. This results
in the reluctance of the young, especially, in watching this form of
traditional art. Therefore, the changers) in the performance of
wayang kulit or shadow theater is one of the efforts to make thisform
of traditional art survive.
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Baibek, A. "Oral forms of work in the course of Ethnosolfegio as a traditional principle of educating the national singers." BULLETIN of the L.N. Gumilyov Eurasian National University. PEDAGOGY. PSYCHOLOGY. SOCIOLOGY Series 123, no. 2 (2018): 55–62. http://dx.doi.org/10.32523/2616-6895-2018-123-2-55-62.
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Bar-Yosef, Amatzia. "Traditional Rural Style under a Process of Change: The Singing Style of the "Hadday", Palestinian Folk Poet-Singers." Asian Music 29, no. 2 (1998): 57. http://dx.doi.org/10.2307/834364.
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Bai, Gegentuul Hongye. "Fighting COVID-19 with Mongolian fiddle stories." Multilingua 39, no. 5 (September 25, 2020): 577–86. http://dx.doi.org/10.1515/multi-2020-0087.
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AbstractThis article examines the recontextualization of traditional Mongolian verbal art khuuriin ülger (‘fiddle story’) by Mongolian folk singers in the context of the spread of COVID-19 in Inner Mongolia, China. Drawing on the concept of intertextuality, I analyze the verbal and visual signs in 94 videos of Mongolian fiddle stories. The article argues that the minority Mongols participate in the dominant global and national discourses while at the same time creating a sense of Mongolian-ness by marrying Mongolian verbal art with public health messages related to COVID-19. The article also finds that the multivocal COVID-19 Mongolian fiddle stories are a medium to articulate the very heteroglot sense of the world in which minority Mongols dwell and to construct and reaffirm their multi-layered identities. The study contributes to our understanding of how traditional genres and symbols evolve in response to the pandemic.
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Sani, Liaquat Ali. "براہوئی ادب ٹی مشی آ دارو تا جاچ او کدکاٹ." Al-Burz 5, no. 1 (December 10, 2013): 1–9. http://dx.doi.org/10.54781/abz.v5i1.161.
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This article describes the indigenous knowledge of folk medicine which is known as Mashi a daaro in Brahui folk literature. The folk remedies of Brahui have used as indigenous treatment. The exploitation of indigenous drug resources had increased the importance of the nomadic life of Brahui. The study of indigenous knowledge in Brahui folk lore shows the literary importance about folk medicine and other useful plants. Custom knowledge is generally accepted on / conveyed from herbalist (Hakims) and "Poopoo" (Traditional herbalists). At present time transmission of such knowledge from herbalists to folks had been enormously decreased. As we learn from the history of traditional herbalist or poopoo do not tell the specific prescription to the local people. So far credit goes to Brahui folk singers especially Murad Parkoi he saved the history of several herbs in his melodious voice.It further concludes that research should be carried out in the field of phyto-chemistry, pharmacology and biotechnology of these resources in order to save Brahui indigenous remedies
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Sarip, Hasmina Domato. "“The Meranaw Rina-rinaw and its Emerging Semiotic Resources”." International Journal of Linguistics, Literature and Translation 4, no. 4 (April 27, 2021): 185–92. http://dx.doi.org/10.32996/ijllt.2021.4.4.20.
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This study aims to discover the emerging semiotic resources found in the Meranaw rina-rinaw. Through semiotic analysis, this ethnographic research determines how faithful the rina-rinaw has remained to the prototype, the traditional bayok, or how far it has drifted from the latter. Specifically, this study seeks to identify and discuss how the semiotic resources contribute to the meaning-making function of the rina-rinaw. The findings revealed the emerging semiotic resources such as the use of guitar as a musical accompaniment, the wearing of modern evening gowns instead of the Meranaw traditional malong or landap, transfer of the setting from the torogan to a private residence or more public place, and less formality and exclusiveness of the contemporary rina-rinaw event which, unlike the traditional bayok, is performed for the delectation of the general public. These semiotic resources have evolved in its own time. There are also evidence of departures or breaks where singers no longer exhibit the typical Meranaw arts of “kakini-kini” and “kakurum.” Instead, the onor walks naturally toward the stage. Moreover, the rina-rinaw event is open for everyone. The audience is no longer as exclusive as that of the traditional bayok; it is more heterogeneous. The participants could become rowdy or boisterous.
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Mureşan, Patricia Smaranda. "The Traditional Romanian Folk Dance in Şieuţ, Bistriţa-Năsăud County, as Part of the Winter Traditions and Customs. Carol Singers and the “Beer”." Studia Universitatis Babeș-Bolyai Historia 66, Special Issue (November 9, 2021): 151–70. http://dx.doi.org/10.24193/subbhist.2021.spiss.10.
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"The present study focuses on the custom of “Beer”, a remarkable event that shaped the evolution of the communities that were part of the Second Romanian Border Regiment at Năsăud, a military unit of the Austrian army in Transylvania between the eighteenth and nineteenth centuries. It focuses specifically on the Şieuţ village and the detailed manner in which this social event was organized by the village’s young men between Christmas and the New Year, when young villagers could attend the “Beer”, an important occasion for social interaction. This research is based on a series of interviews with active community members from then and now and aims to offer an overview of the custom’s meaning and structure. According to tradition, during the Nativity Fast, young men would follow the call of the “bucin” and meet at the house of a host to plan the event. They were assigned the roles of “vătafi” and “colceri” who hired musicians for the event, while the “căprari” were responsible for collecting the traditional pastry received by carol singers. On Christmas Eve, they grouped and went caroling throughout the village. After the Christmas church service, the traditional folk dance (“Beer”) started at the host’s house. The traditional festive garments, the young men going caroling or the traditional men’s folk dance from Şieuţ, included in the UNESCO World Heritage, represent elements of this custom that have survived the passage of time, integrating the traditional into modern life. Keywords: Şieuţ, ”Beer”, Romanian folk dance, tradition, carol "
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Slouková, Radka. "Musik I Migrationslitteratur Analyse Af Eksplicitte Referencer Til Musik I Alen Meškovićs Romaner." Folia Scandinavica Posnaniensia 24, no. 1 (June 1, 2018): 107–21. http://dx.doi.org/10.2478/fsp-2018-0008.
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Abstract This article analyses explicit references to music in the novels of the Danish-Bosnian writer Alen Mešković Ukulele-jam (2011) and Enmandstelt (2016). Mešković is a traditional representative of migration literature because he experienced migration himself and reflects his experiences in his work. Music plays a crucial role in both his novels and appears primarily in the form of explicit references to various Yugoslavian and English singers and songs on the text level. These references work in various ways: they emphasize the difference between East and West, characterize the protagonist, illustrate the atmosphere of the situation, enable the reader to identify with the characters and, last but not least, support the authentic tone of the text, which is a typical feature of migration literature.
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Stein, Robert. "James MacMillan St Luke Passion, Barbican Centre, London." Tempo 69, no. 274 (September 7, 2015): 65–66. http://dx.doi.org/10.1017/s004029821500039x.
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James MacMillan's new St Luke Passion is unusual. No longer does the Passion story end in the death of its principal character; there's a postlude that sees Christ resurrected. Neither is it peopled with singers acting out the traditional confrontations between Christ, Pilate and the High Priest; it starts instead with a brief setting of the Annunciation text found at the opening of St Luke's gospel. Unusual too is the small size of the orchestra – no trombones or tubas, one set of timpani as the sole percussion and an organ. Perhaps most surprising, however, is that the roles of Christus and Pilate, and indeed everyone else, are given to the choruses: a children's chorus for Christ, the other choirs acting as narrator.
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PLANCHART, ALEJANDRO ENRIQUE. "What the Beneventans heard and how they sang." Plainsong and Medieval Music 22, no. 2 (September 12, 2013): 117–52. http://dx.doi.org/10.1017/s0961137113000028.
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ABSTRACTSingers from the area south of Rome kept the Gregorian repertory received in the ninth century, including a few early tropes and proses, and their traditional Old Beneventan repertory alive side by side with remarkable consistency in oral tradition for nearly two hundred years. This might explain why the received Gregorian repertory retained its archaic traits in Benevento rather than in northern Europe. For the ‘new music’ of the tenth and eleventh centuries, mostly locally composed tropes, proses, and Latin Kyrieleison, south Italian singers adopted the musical surface of Gregorian chant, albeit Italianised (that is, moving largely in stepwise motion), but for the large-scale formal structures they harked back to the nearly obsessive repetition of extended passages that are the hallmark of Old Beneventan.
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Kang, Jing, Chao Xue, Adriana Chou, Austin Scholp, Ting Gong, Yi Zhang, Zhen Chen, and Jack J. Jiang. "Comparing the Exposure-Response Relationships of Physiological and Traditional Vocal Warm-ups on Aerodynamic and Acoustic Parameters in Untrained Singers." Journal of Voice 33, no. 4 (July 2019): 420–28. http://dx.doi.org/10.1016/j.jvoice.2017.12.019.
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Salehi, Abolfazl, and Julie Barkmeier-Kraemer. "Laryngeal Manual Therapy as a Treatment for Impaired Production of tahrir Vibrato in Traditional Iranian Singers." Folia Phoniatrica et Logopaedica 66, no. 6 (2014): 265–72. http://dx.doi.org/10.1159/000369063.
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Kadirova, Halima. "The Place Of Karakalpak Ethnoculture In The Integration Of Society." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 676–88. http://dx.doi.org/10.37547/tajssei/volume03issue04-110.
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This scientific article highlights the place and role of the Karakalpak ethnic culture in the development and preservation of the identity of the people. The authors analyze the culture and life of the modern Karakalpak family, which inherits to the next generation the traditional way of life associated with national holidays and traditions, dastans performed by Karakalpak bakhshi (singers), legends and legends of the past, told by the older generation. The article argues that social changes in the global space contribute to the emergence of certain changes in the content of cultural identity, language, art, spiritual categories, which are elements of the basis of the national identity of each nation and various ethno-regional units, which further strengthens the study of this issue under the influence of the process of globalization.
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Hardwick, Patricia A. "The Body Becoming: Transformative Performance in Malaysian Mak Yong." Music and Medicine 6, no. 1 (June 22, 2014): 40. http://dx.doi.org/10.47513/mmd.v6i1.151.
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Mak yong is a Malay dance drama found in southern Thailand, northern Malaysia, and the Riau Islands of Indonesia. The form of mak yong currently performed in the northern Malaysian state of Kelantan requires its practitioners to be storytellers, actors, singers, dancers, musicians, and in the context of ritual performances, healers. Drawing upon interviews with performers, this article will explore first-hand accounts of the embodied experiences of individual Kelantanese mak yong practitioners during their performances of the Menghadap Rebab, the opening song and dance of a mak yong performance. This article will examine how prayer is understood by many Kelantanese mak yong performers to be an important aspect of their internal performances and will investigate how individual mak yong performers engage traditional Kelantanese understandings of the body during their performances.
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Goudreau, Ghislaine, Cora Weber-Pillwax, Sheila Cote-Meek, Helen Madill, and Stan Wilson. "Hand Drumming: Health-Promoting Experiences of Aboriginal Women from a Northern Ontario Urban Community." International Journal of Indigenous Health 4, no. 1 (June 3, 2013): 72. http://dx.doi.org/10.18357/ijih41200812317.
Full textAbstract:
Over the past 10 years, Aboriginal women from a northern Ontario urban community have been gathering to hand drum as a way to revive their culture and support one another. As a member of an Aboriginal women’s hand-drumming circle called the Waabishki Mkwaa (White Bear) Singers, I had a vision of exploring the connection between hand-drumming practices and health promotion, and was the primary researcher for the study described in this article. Adhering to Aboriginal protocols as part of an Indigenous research methodology, I offered traditional tobacco to members of the Waabishki Mkwaa Singers, as an invitation for them to be both co-researchers and participants in the study. In accepting the tobacco, the members agreed to help facilitate the research process, as well as to journal their experiences of the process and of their own hand-drumming practices. Using an Aboriginal Women’s Hand Drumming (AWHD) Circle of Life framework—a framework developed by the co-researchers of the study—we explored the physical, mental, spiritual, and emotional benefits of Aboriginal women’s hand-drumming practices, and examined how culture and social support networks are key determinants of Aboriginal women’s health. Results of the qualitative analysis show that the Aboriginal women’s involvement in hand-drumming circles has many health promoting benefits and builds on strengths already existent within their community. Through their experiences with hand drumming, the women reported gaining a voice and a sense of holistic healing, empowerment, renewal, strength and Mino-Bimaadiziwin (“good life”). These findings are consistent with evolving Aboriginal perspectives on health promotion.
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Pati, R. N., Shaik B. Yousuf, and Abebaw Kiros. "Cultural Rights of Traditional Musicians in Ethiopia: Threats and Challenges of Globalisation of Music Culture." International Journal of Social Sciences and Management 2, no. 4 (October 25, 2015): 315–26. http://dx.doi.org/10.3126/ijssm.v2i4.13620.
Full textAbstract:
Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains social cohesion through cultural expression at different social occasions and resists cultural changes infused through globalization. The globalization has brought a series of transformation and changes in the world of Ethiopian music through commercialization, commodification and digitalization of cultural expressions apart from hijacking the cultural rights of traditional musicians. The younger generations have been attracted towards western music undermining the aesthetic and cultural value of music tradition of the country. The international enactments relating to protection and safeguarding of cultural rights of people are yet to be appropriately translated into reality. The emergence of culture industries and entertainment houses has posed serious threats to local culture and led to disappearance of local traditions, musical heritage and their replacement by popular global music. The cultural homogeneity and commodification has replaced the multiplicity of cultures in this globalized era. This paper based on review of published articles and content analysis critically unfolds sensitive areas of cultural shock and violation of cultural rights exposed to traditional musicians and traditional singers of Ethiopia during last couple of decades.Int. J. Soc. Sci. Manage. Vol-2, issue-4: 315-326