Bibliographies thématiques / Hakka folk-songs

Littérature scientifique sur le sujet « Hakka folk-songs »

Auteur : Grafiati
Publié le 26 juillet 2024

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Articles de revues sur le sujet "Hakka folk-songs"

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Hu, Xuwen. « A Study of the History of Hakka Mountain Song Education Transmission Based on Inheritance Historicity ». SHS Web of Conferences 168 (2023) : 03008. http://dx.doi.org/10.1051/shsconf/202316803008.

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Among the folk music of China, the Hakka Mountain Folk Songs of Gannan are a unique system with a long history. Understanding the rich humanistic connotation of Hakka and its place in the spiritual life of the people is of far-reaching significance to the study of Hakka culture, Hakka language and the spiritual sentiment of Hakka people in Ganzhou; and to arouse people’s awareness of the inheritance and protection of this precious cultural heritage which is on the verge of extinction. The distinctive local characteristics and folk features are fully expressed in the Hakka Mountain Folk Songs, and the local language and customs, local customs, artistic conditions， and political and cultural life are reflected in the Hakka Mountain Folk Songs in a very realistic way. In recent years, the academic community has paid more attention to the musical characteristics of the Hakka Mountain Folk Songs in Gannan, and the research has gained certain achievements. This paper will focus on the historical origin of Hakka Mountain Folk Songs in Gannan, the spiritual characteristics of Hakka people, the language of Hakka Mountain Folk Songs, the study of the musical characteristics of mountain songs and contemporary vocal works that successfully borrow from Hakka Mountain Folk Songs in Gannan. In the last part of the article, he writes some opinions about the inheritance and innovation of Gannan Hakka Mountain Folk Songs, which will help the creators to create more and better local music works and do their part to promote the inheritance of Gannan Hakka Mountain Folk Songs.
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Gong, Xiujian, Jarernchai Chonpairot et Weerayut Seekhunlio. « Preservation of Shiping Folk Songs in Weiyuan County, China ». International Journal of Education and Literacy Studies 12, no 1 (27 janvier 2024) : 238–44. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.238.

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This comprehensive study focuses on the preservation of Shiping Folk Songs in Weiyuan County, China, with an emphasis on education, literacy, and the critical role of diverse stakeholders. The study emphasizes the region’s cultural relevance as well as educational programs, highlighting the critical role of schools in promoting cultural literacy and ensuring the preservation of Shiping Folk Songs. In addition, the research investigates the roles of Hakka folk musicians and singers in the transmission and development of this national folk music tradition. Government policy and assistance have been recognized as critical components for managing budgetary restrictions and executing preservation and development programs. The participation of local higher education institutions and cultural research units in the preservation of Shiping folk music is also carefully investigated, highlighting their critical significance in furthering cultural heritage. This multimodal approach emphasizes the interplay of education, literacy, and preservation in maintaining the vibrancy of Shiping Folk Songs, providing significant insights into the long-term preservation of this cultural asset.
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Li, Qiuyu. « Research on Inheritance and Development of Guangdong Hakka Folk Songs Based on Computer Audio Technology ». Journal of Physics : Conference Series 1648 (octobre 2020) : 032015. http://dx.doi.org/10.1088/1742-6596/1648/3/032015.

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Yerzhykivska, Nataliia. « UKRAINIAN THEMES IN THE EARLY WORSK OF JULIUSZ SŁOWACKI ». Polish Studies of Kyiv, no 39 (2023) : 161–92. http://dx.doi.org/10.17721/psk.2023.39.161-192.

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The article pays attention to the fullest possible identification of the content background of the early work of Juliusz Słowacki “Ukrainian Duma”, dated [Vilno, August 26, 1826], which literary experts consider to be part of the Vilnius-Kremenets creative period. Emphasized attention is paid to the fact that the poet begins his work at a time when the Ukrainian trend, later defined as the “Ukrainian school” in Polish romantic writing, has already clearly manifested itself in the work of its leading representatives. It is emphasized that the poem contains elements of folk songs that were sung throughout Ukraine in the 16th – 18th centuries. Consistency with the persuasive arguments of Ukrainian folklorist R. Kyrchiv is asserted, namely: the novice author does not imitate, adapt or rephrase Ukrainian folk songs, but only interprets them as material for a poetic synthesis; he also does not use those song texts on which B. Zaleski’s poetry is based. It is emphasized that the author of “Ukrainian Duma” testified to his early interest in Polish and Ukrainian folk song primary sources. It is speculated that J. Słowacki looked closely at Polish translations of Ukrainian song texts, their reprints and various kinds of adaptations, and also showed interest in Stavropol literature and the works of contemporary poets, in particular A. Malczewski. Typological parallels with shades of poetry by A. Czahrowski and B. Zimorowicz are given. Attention is drawn to the artistic features of “Ukrainian Duma” – interestingly composed, as for a novice poet, and sufficiently original integral work written in a rhythmic language (choreated eight-syllable). In the sylabotic system, the two-syllable foot, in which the rhythmic accent falls on the first syllable, is usually odd. The poem has 195 lines and has all the appropriate plot elements. The textual canvas of the “Ukrainian Duma” by J. Słowacki was analyzed and interpreted according to its conventional division into two parts: “I. Farewell” and “II. Despair”, the unfolding of which is accompanied by a narrator who forms the structure of the story and ensures the integrity of the composition; he performs the roles of narrator, observer and witness. In order to pay more attention to the plot-compositional organization of the poem, a division into separate fragments with conventional names corresponding to each aspect is also applied. Three fragments are included in the first part: “Runko and Hanka – narrator’s presentation of the characters”, “Farewell of lovers”, “Attack of the Tatars”. The following six fragments are included in the second part: “Runka’s Path to Hanka”, “Despair”, “Reflections on the Fate of a Cossack”, “Despair”, “Sad News...” and “Afterword”. The specified type of narration, used by the writer, that is, he belongs to the omniscient objective auctorial narrator who conducts the story and intervenes in it: dialogue with the characters in the form of questions-answers, reasoning, reflections, evaluations, comments and summaries. It is about the clothes and musical instrument (bardon) of the main character Runka. The research cites reviews of Polish and Ukrainian scientists, as well as individual fragments of translations of the “Ukrainian Duma” from Polish to Ukrainian by M. Zisman and R. Lubkivskyi. The author of the article is inclined to see in the poem “Ukrainian Duma” by J. Słowacki, which has overcome a difficult path to the reader (first published in 1866), as inspired student sketches of poetry for later mature lyrical and dramatic texts, which are full of glorious and tragic pages of past events and visions of the future of Poland and Ukraine.
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« Brief Discussion on the Function of Padding Syllables in Chinese Hakka Folk Songs : A Case Study of "Fame of Hakka Folk Songs" ». Art and Performance Letters 4, no 7 (2023). http://dx.doi.org/10.23977/artpl.2023.040712.

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Wu, Xiang. « On the Artistic Features of Jiangxi Regional Folk Dance “Gannan Tea-picking” ». Arts Studies and Criticism 1, no 2 (17 octobre 2020). http://dx.doi.org/10.32629/asc.v1i2.190.

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Hakka tea-picking dance is the representative of the folk dance in Jiangxi province. In 2006, Gannan tea-picking opera is listed as “non-material cultural heritage” in China. From the date of its birth, it has been influenced by the local songs and opera, producing a unique form of art performance. After a few hundred years of spread and development, Gannan tea-picking dance has remained alive. Compared with other Han nationality folk dances, Gannan tea-picking dance is the most interesting and humorous one, and it’s the best one simulating all kinds of animal images. There are “three unique performing skills”, namely squatting step, fan flowers, single sleeve. There are two kinds of simulation: animal simulation and modal simulation. Regardless of its form, action, props or expression, it is very close to the life of Hakka ethnic group. It is a kind of dance art form full of regional vernacular style and unique characteristics of Hakka ethnic folk.
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« Localization Process and Cultural Inheritance of Hakka Folk Songs in Malaysia ». Art and Performance Letters 5, no 3 (2024). http://dx.doi.org/10.23977/artpl.2024.050303.

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« Retraction : Research on Inheritance and Development of Guangdong Hakka Folk Songs Based on Computer Audio Technology (J. Phys. : Conf. Ser. 1648 032015) ». Journal of Physics : Conference Series 1648, no 3 (1 octobre 2020) : 032204. http://dx.doi.org/10.1088/1742-6596/1648/3/032204.

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This article has been retracted by IOP Publishing following an allegation that raises concerns this article may have been created, manipulated, and/or sold by a commercial entity. In addition, IOP Publishing has seen no evidence that reliable peer review was conducted on this article, despite the clear standards expected of and communicated to conference organisers. The authors of the article have been given opportunity to present evidence that they were the original and genuine creators of the work, however at the time of publication of this notice, IOP Publishing has not received any response. IOP Publishing has analysed the article and agrees there are enough indicators to cause serious doubts over the legitimacy of the work and agree this article should be retracted. The authors are encouraged to contact IOP Publishing Limited if they have any comments on this retraction. Retraction published: 16 September 2022
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Thèses sur le sujet "Hakka folk-songs"

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Cheung, Kwok-hung Stephen. « Traditional folksongs in an urban setting a study of Hakka Shange in Tai Po, Hong Kong / ». Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364846.

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Cheung, Kwok-hung Stephen, et 張國雄. « Traditional folksongs in an urban setting : a study of Hakka Shange in Tai Po, Hong Kong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.

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HSU, HAI-LUN, et 徐海倫. « Ethnic Consciousness in Hakka folk songs–A case study of "Taiwan Hakka Folk Songs Heritage" ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/05916699800161845519.

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Wu, Chuan-ling, et 吳川鈴. « The analysis of Taiwan’s Hakka Folk Songs ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/27358413006397348859.

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碩士
國立屏東教育大學
文化創意產業學系
99
Since the ancient times in Taiwanese history, the migration of the Hakka ancestors was usually along the natural environment that had a close relationship with the mountain, which also provided lots of chances for them to study the climate changes. Therefore, since that time they understand the climate and cultivation of tea and crops, etc. and thus developed a thrift-working spirit. As the Hakka ancestors live in the mountain, they often sing Hakka folk songs in order to reduce the tediousness and fatigue which come from works, and the Hakka folk songs become an important spiritual food for them. Watching the “Hakka tea-picking opera” and “Group performance of trick” are the best entertainment for the ordinary people in Hakka country life. Moving house is very ordinary after the marriage of Hakka couple. Whenever there is a party, people will celebrate with each other by eating millet cake and singing folk songs, this is the best way to recall their life scene of their hometown in the past. A folk song contains 7 words, 4 sentences and 8 sections that there are 28 words in each section. Moreover, each sentence in the section is formatted with phrases by four and three words separately. Each sentence should be symmetric, meaningful to link up and rhythmic, otherwise, it cannot become a Hakka folk song. Words inserted outside melodic form prescribed in a poem, lots of ingenious skills on sound, including linking, turning, pulling and dragging of sound, can produce a sweet and agreeable Hakka folk song. Especially the words inserted outside melodic form prescribed in a poem can help in forming a genuine folk song with Hakka’s accent. These kinds of tremendous and highly artistic elements in the folk songs are admired by lots of people, and thus Hakka folk songs can be survival until now. This article introduces “The analysis of Taiwan’s Hakka Folk Songs” as the research topic, and divided into six chapters: The first chapter, “Introduction” – introduces the research by lots of categories that includes the motivation, purpose, expectations, content and methods adopted, research scope and limitations. The second chapter, “Literature review” – describes the origins of Hakka, migration of Hakka through Taiwan, usage of Hakka language of Taiwan Hakka, Hakka folk songs and other literature’s studying. The third chapter, “The formation and development of Taiwan Hakka folk songs” – investigates and discusses mainly on the formation, features and development of Taiwan Hakka folk songs. The fourth chapter, “The application of Taiwan Hakka folk songs” – contains a comparative analysis, collocation and application of lyrics like commodities. The comprehensive content of Taiwan Hakka folk song, ordinary life’s topic, rich variations and features of vocabularies are also the focuses of this chapter. The fifth chapter, “The presentation of Taiwan Hakka folk songs” – introduces a lot of traditional performers of Taiwan Hakka folk songs which the following people are the examples. 1. Taiwan Hakka folk song that is introduced by Xu A Cai who is a Taiwan’s Hakka tradition folk song. 2. The process of how Lai Bi Xia takes a fancy on Hakka folk song. 3. Tradition and impromptu of Hakka folk song’s performance of Xu Mu Zhen, just like the singing queen of Hakka folk song, Liu San Mei. 4. Hakka folk songs are not only limited to solo and duet, Lin Pei Jun and Hu Quan Xiong compiled a Hakka folk choir which presents a different way of Hakka folk songs. 5. There are lots of variations of Hakka folk songs. Chen Shuang Xiong tunes the melody on the Hakka folk song’s book and produces lots of beautiful creations. 6. Experience shared by Hakka artists Ye Xiang Lan and Ceng De Yin who have performed the “Hakka tea-picking opera” and “Group performance of trick” extremely well and exciting. 7. Hakka folk songs can be performed with simple traditional musical instruments which are memorable, Xie Qi Guo’s pay lots of effort on teaching of musical instruments. 8. Xu Yun Fang, who produced film and television podcasting on Hakka cultural programs for more than forty years, has a very deep expectation on Hakka culture. The sixth chapter, “Conclusion” – summarizes the content and focus of the research. As a member of Hakka, we should have an obligation and responsibility to spread the Hakka culture, including the language and folk songs, etc.
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Tseng, Jui Yuan, et 曾瑞媛. « Research on Rhythms of Hakka Folk Songs ». Thesis, 2012. http://ndltd.ncl.edu.tw/handle/51508843476177470639.

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博士
國立臺中教育大學
語文教育學系碩博士班
100
Research on Rhythms of Hakka Folk Songs Rhythms of Hakka folk songs contain two fields: literature and music. We can explore the beauty of literature as well as music of Hakka folk songs via the combination of literature and music. The current research trend is interdisciplinary explorations. Although music and literature are different fields, they can mutually annotate through the perspective of “rhymes” owing to the base of the variation of rhythms, showing their common essence of art. The dissertation contains nine chapters. The first chapter is introduction, describing the motivation and the purpose of the study, the scope and the methodology of the study, as well as previous research. The second chapter is the origin and the development of Hakka folk songs, containing the definition of Hakka folk songs, the origin of Hakka folk songs, the legend of the origin of legend and the research profiles of Hakka folk songs. The third chapter is the definition of rhyme, including the overview of rhyme, the performance of rhythm in language and the performance of rhythm in music. The forth chapter is the phonological rhythm of Hakka folk songs, discussing four aspects: rhythmic arrangement, the difference of level and oblique tones, the forms of syllables, and the analysis of rhyme of the elements of syllables. The fifth chapter is the rhythm of rhetorical figures of Hakka folk songs, describing rhyme forming via adding characters, rhyme forming via reducing characters, rhyme forming via repeating characters, and rhyme forming via the variation of character order. The sixth chapter is the structure of rhyme of Hakka folk songs, including structure overview, the performance of the rhythm of structure of Hakka folk songs, and the meaning of the rhythm of structure of Hakka folk songs. The seventh chapter is the music rhythm of Hakka folk songs, including tune classification and analysis explanation of Hakka folk songs, tune analysis of Hakka folk songs and conclusion. The eighth chapter is the research on language and music rhythm of Hakka folk songs, containing two researches: same lyrics but different name of tune and same name of tune but different lyrics. The ninth chapter is conclusions. The conclusions of the dissertation are as follows: Rhythms in all fields share some characteristics in common: a certain period of time, periodicity and repetitions. The rhythmic arrangement of Hakka folk songs is mainly end rhymes. Among them, the first, second and forth sentences rhyme most. Rhyming every sentence contains the most intensive rhythm. Rhyming the first and forth sentence seems to be weak and contains less obvious rhythm. The effects on the rhythm of rhetorical figures are mainly “adding characters, reducing characters, repeating characters and changing character order” which cause the effects of rhythm variation of rapidity and relaxation of language. “Structural unit” of easy rhythm does the most displacement on structure. Finding out phrase structure and music section contain regular and repeated rhythm, same with the rhythm of rhetorical figures and structure rhythm from musical form. Key words: Hakka folk songs, rhythm, rhetorical figures, structure, tune
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范姜淑雲. « Folk Culture and Metaphor : Plant’s Image of Taiwan’s Hakka Folk Songs ». Thesis, 2012. http://ndltd.ncl.edu.tw/handle/38745926610929700691.

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碩士
國立臺灣師範大學
台灣語文學系
100
Plant’s image is an major material of Taiwan’s Hakka folk songs, not only representing the content of Hakka folk culture, but also creating the metaphorical language for Taiwan’s Hakka folk songs. The purpose of such language is to reflect all levels from individual life to the dreams, feelings, and wishes of the whole Taiwan’s Hakka population. From the viewpoint of language performance, the plant’s image of Taiwan’s Hakka folk songs is to explain abstract ideas by metaphorical and structural language, and the function of metaphorical language is based on daily life, so to state partial understandings of abstract ideas. When Taiwan’s Hakka people use plant’s image as metaphorical source materials, they usually focus on the life cycle of plants, especially on blossom and fruit. Because such images are very clear and closely connected to life experiences, so they can generate tight links to the metaphor of lyrics. After analyzing the metaphorical language formed by plant’s image at language cognition level, we found the lyrics of Taiwan’s Hakka folk songs actually reflect all views of traditional Hakka culture, including the emphasized part and the omitted parts. That is, when we look into the two characteristics in plant’s image of Taiwan’s Hakka folk songs: metaphorical language and partial mapping, both of them reflect the thinking logics of Taiwan’s Hakka population, they also reflec the daily activities and decisions of Hakka population. Finally, the plant’s image in Taiwan’s Hakka folk songs reflects the material, spiritual, and social contents of Taiwan’s Hakka folk culture and represents the actual process of Taiwan’s Hakka people in environment adoption and utilization. When Taiwan’s Hakka people choose specific plant’s image to explain abstract ideas, the basis of cognition is strongly affected by the material, spiritual, and social contents of Hakka folk culture.
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Guo, Kun-Hsiu, et 郭坤秀. « A Study of the Taiwanese Hakka Folk Songs ». Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3d5893.

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博士
中國文化大學
中國文學系
104
Abstract The paper is mainly based on the topic of the Taiwanese Hakka Folk Songs discussing the creations of folk songs among the Hakka people from 1950-2010. The study is focused on the firm pattern of the five-words-four lines songs. The lyrics of these folk songs revealed Hakka people’s life experiences in common and reflected Hakka’s culture in Taiwan. This is a nine-chapter article. In chapter one, the research motive and purpose, researching field, data and limits, research method and structure, data analyses are included. The relations of Hakka folk songs of Taiwan and China are discussed in chapter two. In chapters three and four, the development of Hakka folk songs in Taiwan and their tunes and how they were distributed introduced. In chapter five, the inserted words, empty words and lining words are studied. In chapter six, the composition and singing skills are discussed. And from the point of literary views, the equivoques in these songs are also researched. In chapters seven and eight, the different types of songs and oral expressions in lyrics, musicality and the Hakka ethnic group spirits are studied. And chapter nine is conclusion of the dissertation.
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Wu, Si-Yao, et 吳思瑤. « The affection of” Zhudong traditional Hakka folk song competition”to the development of traditional Hakka folk songs in Taiwan ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/q4ak63.

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Ho, Ling-Tsai, et 何翎綵. « A Study of Hakka Folk Songs Compiled by Chung Li-ho ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/93310819828463685590.

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Wu, Chia-Chien, et 吳佳倩. « Research on Chuan-Hsiung Hu's Promotion on Taiwan Hakka Folk Songs ». Thesis, 2018. http://ndltd.ncl.edu.tw/handle/uh4r7r.

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碩士
國立清華大學
音樂學系所
106
This thesis takes Hu, Chuan-Hsiung’s promotion of Taiwan Hakka folk songs as the research object. The range of the research field is from the experience of Hu, Chuan-Hsiung’s promotion of Taiwan Hakka folk songs since 1976 to 2017 and his folk songs which had been composed since 2003. The purpose of this thesis is to understand not only the experience of the promotion of Hakka folk songs but also the characteristic of Hu's songs. Furthermore, the thesis explores his dedication and intention in promoting Hakka songs and the motivation of creating his songs. The first chapter discusses the research motivation, research purpose, pending questions, research scope and the interpretation of nouns and meanings. Chapter 2 discusses the migration of Hakka's ethnic group, Hakka folk songs and the rising of Hakka songs and research methods. Chapter 3 introduces the life of Hu, Chuan-Hsiung, the promotion of Hakka folk songs and the innovation and development of Hakka folk songs. In Chapter 4, the thesis introduces the concept of Hu’s creative work, his teaching thoughts, award-winning records, the artistic conception of Hakka folk songs, lectures and his exhibitions. In his innovative songs, we select ten award-winning representative works and further analyze the structure of his songs including music form, vocal tract, rhythm, mode, intervals and music style. Chapter 5 summarizes the previous five chapters, and we generalize the achievement of Hu’s promoting Taiwan Hakka songs and the characteristic of his songs. The advice of the development of Hakka songs is also provided. This thesis is completed in the methods of field research, collection of materials, and in-depth interviews with Hu. We hope that through the analysis of the materials, the public will have a deeper understanding of Hu’s promoting of Taiwan Hakka folk songs, so that we can make an effort in preserving Hakka culture.
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Livres sur le sujet "Hakka folk-songs"

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Chen, Zeping. Changting Kejia fang yan shu yu ge yao. 8e éd. Fuzhou Shi : Fujian ren min chu ban she, 2001.

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Zeng, Xianzhi, et Rongxing Zheng. Ke jia san jiao cai cha xi xuan du. 8e éd. Tai bei shi : Guo li tai wan xi qu zhuan ke xue xiao, 2000.

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Xie, Yuling. Tu di yu sheng huo de jiao xiang shi : Taiwan diqu ke yu lian zhang ti ge yao yan jiu. 8e éd. Taibei Shi : Xiu wei zi xun ke ji gu fen you xian gong si, 2010.

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He, Yingchun. Shan ge, ban hua. 8e éd. Miaoli Shi : Zhong yuan zhou kan she, 1992.

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Peng, Suzhi. Taiwan Liudui Kejia shan ge yan jiu. 8e éd. Taibei Shi : Wen jin chu ban she, 2003.

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Wen, Ping. Kejia yin yue wen hua gai lun. 8e éd. Shanghai Shi : Shanghai yin yue xue yuan chu ban she, 2007.

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Wang, Minfa. Wuping Kejia shan ge xuan ji. Beijing Shi : She hui ke xue wen xian chu ban she, 2015.

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Huang, Rongluo. Taiwan ke jia chuan tong shan ge ci. 8e éd. Xinzhu Xian Xinzhu Shi : Xinzhu xian li wen hua zhong xin, 1997.

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Huang, Yuying. Jiangxi ke jia yin yue wen hua : Jiangxi kejia yinyue wenhua. Beijing Shi : Ren min yin yue chu ban she, 2014.

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Chen, Xiaomin. Kejia gu yi yi yun. Guangzhou : Hua nan li gong da xue chu ban she, 2010.

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Chapitres de livres sur le sujet "Hakka folk-songs"

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Yip, Lai Chi Rita. « Transmission and Education of Hakka Folk Songs in Hong Kong : Distinctiveness and Commonality in Local, National, and Global Contexts ». Dans Landscapes : the Arts, Aesthetics, and Education, 171–88. Dordrecht : Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7729-3_13.

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Actes de conférences sur le sujet "Hakka folk-songs"

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Huang, Miao, et Yuying Huang. « Research on the Communication Characteristics of Contemporary Hakka Folk Songs in Southern Jiangxi ». Dans Proceedings of the 2nd International Conference on Art Studies : Science, Experience, Education (ICASSEE 2018). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.57.

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Huang, Miao. « Study on the Dissemination of Gannan Hakka Folk Songs from the Perspective of Inter-subjectivity ». Dans 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.143.

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