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Статті в журналах з теми "Folk songs, arrangement"
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TÜRKMENOĞLU, Ömer. "TURKISH FOLK SONGS ACCOMPANIED BY SYMPHONY." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 277–86. http://dx.doi.org/10.46291/zfwt/130214.
Повний текст джерелаАнотація:
In this study, by investigating the subject of Turkish folk songs accompanied by symphony; In the literature review, it was revealed that there is no previous academic study on this subject. It is clear that there should be a written source in addition to the performance regarding this subject, so this article is important in terms of contributing to the literature. Before we talk about symphonic arrangements, we need to have information about the first compilation and recording of Turkish folk songs. Symphonic arrangement of folk songs in Turkey started with the music revolution movement initiated by Atatürk after the foundation of the Republic. For the first time, the arrangements of our folk songs written by Turkish Fives were performed by symphony orchestras. Unfortunately, the symphonic arrangement works, which started to be made thanks to the Turkish Fives, had a long pause. Since the beginning of the 1990s, symphonic Turkish folk song arrangements; It has been reworked and continued by composers such as Turgay Erdener, Oğuzhan Balcı, Yusuf Yalçın, Murat Çelebi and Musa Göçmen. Since the arrangements in the Republican period had a complex harmonic structure, they did not attract much attention from the public. In addition, since the copyrights of many symphonically arranged Turkish folk songs belong to Western countries, the folk songs included in the concert programs remained very limited. Symphonic arrangements of our folk songs; It is of great importance in terms of being performed, announced and promoted both in national and international arenas. Keywords: Turkish Folk Song Collections, Symphonic Folk Songs, Polyphonic Turkish Folk Songs
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Pavlova-Borisova, Tat'yana Vladimirovna. "On first volume of the compilation “100 Songs of Yakutia” (songs for voice with piano arranged by M. N. Zhirkov and G. G. Lobachev, song fragments from the operas by M. N. Zhirkov And G. I. Litinsky)." Философия и культура, no. 11 (November 2020): 15–26. http://dx.doi.org/10.7256/2454-0757.2020.11.32939.
Повний текст джерелаАнотація:
The object of this research is the arrangement of Yakut folk songs preserved in the fund of the first Yakut composer M. N. Zhirkov (1892-1951) in the National Library of Sakha Republic (Yakutia). The subject of this research is the manuscript “100 Songs of Yakutia”. Part of them were published in the compilations “Sakha Yryalara” (1948) and “Yakut Folk Songs” (1958). Special attention in the comparative aspect is given to the published examples, namely in the music collections of A. V. Scryabin and F. G. Kornilov. The article discusses the inner content of songs arrangement that were included into the manuscript “100 Songs of Yakutia”, commentaries of the experts, and testimonies of the contemporaries. The author raises the question of co-authorship of the melodies and arrangements, some of which are the folk melodies. The examples characterized with the developed melodious structure are viewed as the result of melodic creativity of the amateur authors, as well as the impact of musical professionalism of the European type. Analysis of the manuscript heritgage of M. N. Zhirkov demonstrated that multiple arrangements of the Yakut folk songs were conducted in collaboration with Moscow composers G. I. Litinsky and G. G. Lobachev. The article is first to carry out a comparative analysis of the corpus of song arrangements from the manuscript of M. N. Zhirkov “100 Songs of Yakutia” preserved in the funds of the National Library of Sakha Republic (Yakutia).
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Zhang, Ling. "The genre of folk song arrangements: the synthesis of composing and performing interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 92–104. http://dx.doi.org/10.34064/khnum1-53.06.
Повний текст джерелаАнотація:
Logical reason for research. The current state of music science indicates that for the vocal and instrumental performing there are both, a number of general questions and problems, and many specific ones. The theme of performing in musicology has both, practical and theoretical projections, the interaction of which in a single research process gives the most valuable scientific result. A serious issue in terms of the musical interpretation for a musician-vocalist is the specificity of vocal genres. One of the most common and popular vocal genres is the folk song genre, which in all world musical cultures is a source of the development of the national component – the intonation, genre, and figurative. In turn, a folk song now exists and sounds both, in an authentic form, and in the form of the composer’s arrangement. Innovation. The article is devoted to the genre of the folk song arrangement in the aspect of the synthesis of composers’ and performing interpretation. The genre of the folk song arrangement is the result of the processing of the folklore source by a composer; hence, it is the composing interpretation that understood as a genre indicator. The performance of any musical composition as a process and as a result also is an interpretation; therefore, the mentioned genre acquires yet another interpretative level – the performing one. Thus, the genre of the arrangement of a folk song in the aspect of musical interpretation is the product of the synthesis of the composers’ and performing interpretation, and in the process of the performance is a kind of interpretation of the interpretation, which dictates new aspects of its study. Objectives. The purpose of this study is to identify the specifics of the genre nature of the folk song arrangement in the aspect of the synthesis of composers’ and performing interpretations. Methods. The main methods of the presented research are the genre and interpretological ones. The genre method is necessary to characterize the main indicators of the genre of the folk song arrangement. The interpretological method allows to identify those features of the folk song arrangement genre that are associated with its interpretative nature, and to give an idea of its multilevel structure. Results and Discussion. As for today, a lot of attention is paid to the issues of musical interpretation in both theoretical and practical terms. On the chamber-vocal stage, the arrangements of folk songs sound quite often, they are loved and in demand by the public. Folk music is a concentrated embodiment of folk images and intonations, the features of worldview, and more broadly – the national picture of the world. The external form and content of folk songs, as a rule, are accessible to the widest public. Folk songs in terms of their vocal complexity are designed for the average performer, which allows extending the life of such songs in the folk everyday life. The bright and explicit genre affiliation of folk songs also contributes to their easy perception. However, the folk song in its authentic form on the concert stage sounds extremely rare, as it is tightly connected with special conditions and manner of the performance. A modern listener is most often familiar with a folk song in the genre of its arrangement. The question of preserving the intonational and figurative content of the original source in the genre of the folk song arrangement has been raised by scientists more than once. The analytical and composing work with the genre of the arrangement of a folk song, also related to referring to an authentic source, in practice encounters several serious questions, the answers to which must be identified for any further study of this genre in both theoretical and practical areas. The arrangement of a folk song is, in its essence, a kind of interpretation. The genre of the folk song arrangement combines the both subspecies of the composing interpretation (according to the classification by Moskalenko, V., 2013), being an interesting and promising material for any analyst both, in the field of theoretical and the practical performing musicology. The synthesis of musical and non-musical factors in a folk song is also one of the types of interpretation. This is another level of interpretation in the genre of the folk song arrangement, which relates to the original source. The oral tradition of the existence of a folk song gives rise to a huge number of its variants – the performing interpretations. The genre of a folk song is characterized by qualities that give it its original interpretative freedom. This is a collective authorship of both, music and verbal text; the oral and “variation” tradition of a folk song existence is, essentially, a tradition of interpretation. The genre of the arrangement of a folk song by a composer with the appropriate musical notation is another level of interpretation. The next level of interpretation is the performing one, where the vocalist is faced with additional tasks, since he/she deals with a musical object having the special multi-level interpretative nature. Conclusions. The genre of the arrangement of a folk song is associated with several levels of interpretation, coming both, from the nature of the original source and from the existence conditions of the composer arrangement of a folk song in the conditions of the vocal performance. This plurality creates new goals and opportunities for both the researcher and the composer and the performer. The special genre nature of the arrangement of a folk song, which was established in the process of the historical development and incorporates the interpretation nature of its composers’ and performing levels as a genre indicator, allows us to talk about the need to scientifically identify its genre characteristics in a projection on the needs of the composing and performing creative art in the modern cultural conditions. Prospects for any further research in this direction are associated with the consideration of the special genre nature of the folk song arrangement. It poses a number of special tasks for the composer, the performer and the listener, which should be solved in specific conditions, while taking into account the peculiarities of the composers’ and performing interpretation of the folklore original source.
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Untung, Rachel Mediana. "Investigating the Indonesia Folk Song Arrangement in Six Choir Competition, 2019." Resital: Jurnal Seni Pertunjukan 21, no. 2 (June 1, 2021): 85–98. http://dx.doi.org/10.24821/resital.v21i2.4357.
Повний текст джерелаАнотація:
This study is aimed at investigating the trend of folk song arrangement in six Choir Competitions Folklore Category, 2019. It is specifically focused on investigating three things: the trend of arrangers’ names, title of, origin of folk songs performed in the competitions, the characteristic of the arrangement and relationship between the arrangers and the national choir competitions committee. The reason of choosing the topic is because such a folk song arrangement is seen to be one of the key factors in conducting a choir competition, folklore category. As for the research method, it is more on music behaviour in a relational teritory. Therefore, it used a document study and qualitative research design. In this case, the researcher observed in six choir competitions and interviewed the arrangers, choir leaders, and musicians taking apart in the competitions. The findings revealed that the most frequently used arrangement was Ken Steven’s “Cikala Le Pong Pong”, the most popular arranger was Budi Susanto Yohanes, and Java and Madura were the two origins from which most of the folk songs were performed in choir competitions. The characteristic of the most popular one due to its unique arrangement in the form of vibrant music rhythm and body percussion. It revealed that an arranger is the first key agent in a systemic social-organization mechanism like in a choir competition.
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Zhang, Ling. "The genre of folk song arrangement at the present stage: cultural and historical aspect." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 298–312. http://dx.doi.org/10.34064/khnum2-19.17.
Повний текст джерелаАнотація:
Logical reason for research. Folk song arrangement used to occupy and still occupies a prominent place in musical practice, both in the composing one and the performing one. It combines the best, time-tested features of the folk music tradition and professional musical art. Being a genre, which is synthetic in nature, the arrangement of a folk song carries a complex set of characteristics of different types of musical creativity, which, activating different genre indicators in different historical and cultural conditions, allows this genre to occupy a special place in musical culture. The focus on a wide audience, realized at different levels of the genre, determines its external intonation-figurative, as well as performing simplicity and accessibility. At the same time, in the field of musical theory, the genre of folk song arrangement has not been given sufficient special attention either in the aspect of the peculiarities of this genre as such, or in terms of the peculiarities of its development in certain temporary socio-cultural conditions. According to the author of the present article, it is precisely the combination of these perspectives of research that is a fruitful approach to identify the specifics of the genre of folk song arrangement, in particular, in the historical and cultural aspect. Innovation. The present article is devoted to the genre of folk song arrangement in the aspect of historical development on the example of the musical culture of Ukraine and China. The genre of folk song arrangement as a result of the interaction of traditional and professional musical art has its own intonation-musical, figurativemeaningful and performing specificity. It manifests itself in stable genre indicators, providing the genre of folk song arrangement with vitality and recognition in various historical, temporal and cultural conditions. For the first time, we propose a comparative characteristic of the history of the development of the genre of folk song arrangement in Ukraine and China, on the basis of which it can be argued that differences in the ways of the development of this genre do not affect the genre nature, which has theoretical and practical (namely, the performing one) dimensions. Objectives. The purpose of the presented research is to reveal the specifics of the historical development of the folk song arrangement genre on the basis of comparing the conditions of interaction between the traditional and professional musical culture of Ukraine and China. In this regard, the following scientific tasks arise: a review of scientific sources devoted to the Ukrainian and Chinese folk song in the aspect of the study of the genre of arrangement; the identification of the ratio of the traditional and professional approach in the genre of folk song arrangement; a comparative characteristic of the main directions of the development of the genre of folk song arrangement in Ukraine and China from the early recorded data of the modern musical practice. Methods. The main methods of our research are the genre one and the historical one. The genre method is necessary to identify the main genre constants of folk song arrangement, which preserve the specificity of the present genre in various historical, temporal and cultural conditions. The historical method is associated with regulating information about the evolution of the folk song arrangement genre in the time perspective from the beginning of the interaction of traditional and professional music to the modern existence of the genre. Results of Discussion. A rather voluminous baggage of facts related to the arrangement of folk songs in the existing musicological sources often remains just a sum of facts. Quite a lot of research has been devoted to folk music and folk song as one of its main representatives, both in a historical and theoretical way. These are scientific works of different genres – from articles to dissertations. As a separate genre, the arrangement of folk songs has not received comprehensive coverage in individual scientific works, although the study of specific samples of arrangements of folk songs in the conditions of the composing or performing creativity is represented quite widely. As a rule, in studies devoted to the genre of folk song arrangement, the object is the arrangement of a folk song in the creative work of a particular composer or in the field of performance – for example, in relation to Ukrainian musical culture, one can talk about bandura performance, the activities of certain musical groups of varying degrees and directions of professionalism – from amateur to academic. As for Chinese musical culture, the representative of which the author of the present article is, Chinese musicologists pay more attention to the history of Chinese folk song, its collection, recording and influence on the professional creative work of Chinese composers – from chamber-vocal to instrumental creativity. Thus, the lack of a systematic study of folk song arrangement as a genre makes such a study very perspective. Considering that modern musicology involves genre, stylistic, figurative, national-cultural parameters in the field of scientific research, the study of the genre of folk song arrangement seems to be quite rich both in terms of problems and in terms of predicted results. The cultural and historical aspect of the study, associated with understanding the patterns of the development of any musical genre at different stages of history in different cultural and civilizational conditions, is one of the basic ones in science. In the present article, it is based on a comparative characteristic of the development of the genre of folk song arrangement in Ukrainian and Chinese musical culture. Conclusions. The result of the study is the conclusion that the genre of folk song arrangement, owing to its synthetic nature, has special genre qualities, which in various historical and cultural conditions allowed it to retain its specificity for several centuries up to the present day. The comparative characteristic of the history of the development of the folk song arrangement genre in Ukraine and China allows concluding that the differences in the ways of the development of this genre (the history of the development of professional musical art, the differences in the ways of interaction between traditional and professional musical culture and, accordingly, the peculiarities of the compositional arrangement of folklore primary sources) do not change its specificity, which has both theoretical and practical (in particular, the performing one) dimensions. The prospects for further research in this direction are associated with: the characteristic of the synthetic genre nature of folk song arrangement; with the peculiarities of the historical development of the folk song arrangement genre in different time and national-cultural conditions; with the identification of the role of the genre of folk song arrangement in musical practice (both the composing one and the performing one) at different historical stages of the development of musical art in different countries of the world.
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Enyi, Dan. "HARMONIZING TRADITIONS: CULTURAL SYNTHESIS THROUGH PIANO ADAPTATIONS OF CHINESE FOLK SONGS." Baltic Journal of Legal and Social Sciences, no. 1 (April 18, 2024): 149–55. http://dx.doi.org/10.30525/2592-8813-2024-1-17.
Повний текст джерелаАнотація:
Abstract. The field of processing and arrangement of folk songs has been notably captivating for composers, as it unveils unexplored possibilities through piano, introducing new tonal expressions for well-known folk tunes. This research synthesizes methods from philosophy, cultural studies, history, and musicology. The dominant creative trend among Chinese composers is the adaptation and arrangement of their national art, diversifying the portrayal of musical content and promoting the global popularity of beloved national melodies. The works in arrangements, orchestrations, and transcriptions serve adaptive, enlightening, didactic, and concert functions in Chinese culture. The classification of these genres follows the European musicological tradition, as there is no precise definition in Chinese musicology. The analysis of piano arrangements reveals an inseparable connection to national musical traditions in terms of genre, form, tonality, timbre, and rhythm. The growing interest of European composers and performers in incorporating Chinese professional music genres opens avenues for studying new relationships and assimilating expressive elements of Chinese musical language within the European music context.
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Suryati, Suryati. "Planning arrangement of medley regional songs on choir for the preservation of local culture." Linguistics and Culture Review 5, S3 (November 5, 2021): 977–91. http://dx.doi.org/10.21744/lingcure.v5ns3.1696.
Повний текст джерелаАнотація:
This study aims to motivate students' creativity in making musical compositions in Cultural Arts and Fine Arts learning. Student creativity is needed to preserve cultural arts. This study focuses on making folk song medley arrangements and their implementation for high school choirs. This study uses a qualitative descriptive method. Data was obtained through literature study, observation, and field studies. The sample of this research is the student choir group at SMA Muhammadiyah 2 Yogyakarta. Data were analyzed using the Miles and Huberman models, namely by data reduction, tabulation, presentation, and conclusion. The results showed that the arrangement of a medley of folk songs could make students more enthusiastic and creative in learning Arts, Culture, and Arts, especially music. In addition, it was also shown that students were more creative in expressing their musical performances through the choir. The songs that were successfully arranged were “Gundul-Gundul Pacul”, “Cublak-Cublak Suweng” and “Padang Bulan”.
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Aikina, Liubov', Aleksandr Afanasev та Iulia Nikishina. "ОБРАБОТКИ НАРОДНЫХ ПЕСЕН В ТВОРЧЕСТВЕ РОССИЙСКИХ КОМПОЗИТОРОВ". Proceedings of Altai State Academy of Culture and Arts, № 2 (2021): 62–68. http://dx.doi.org/10.32340/2414-9101-2021-2-62-68.
Повний текст джерелаАнотація:
Briefly describes some issues of preservation of ethnic song heritage of Russians through adaptations of people's songs for various academic choirs. Several versions of interpretation of terms “adaptation”, “setting”, “arrangement”, and “transcription” outlined in classic musicological works are considered. Key design techniques of authorial adaptations of people's songs for academic choirs are analyzed. On the authors' opinion, adaptation of a Russian folk song for academic choir opens brand new performing opportunities, let to substantially enrich list of productions of any amateur or professional vocal ensemble. Arrangement lets not only to actualize primary source but also to create original source-based musical composition using various expressive means.
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Yue, Zhang. "RUSSIAN FOLK SONG "OVER THE SILVER RIVER" AND ITS FATE IN CHINA." Arts education and science 1, no. 2 (2021): 160–67. http://dx.doi.org/10.36871/hon.202102020.
Повний текст джерелаАнотація:
The article deals with the history of the Russian poet F. N. Glinka's poem "Veiled Traces", which was the basis for the famous folk song "Over the Silver River". The article reveals the content of the text and shows different variants of its "plot". This refers to several Russian collections containing the song "Over the Silver River", including "Ural Folk Songs" by L. Christiansen and "Folk Songs of Krasnoyarsk Region" by K. Skobtsov. Folklore collectors considered this song as an example of Russian lyrical song genre. The author analyzes the arrangement of this song included in A. Chernyavsky's piano book and notes the expressive features of the performance of the song by the famous singer I. M. Skobtsov. The original and adapted versions are compared in terms of style and expressive techniques in the context of Chinese traditions, in order to identify specific and common properties within two different cultures. The roles of the folklore collector Wang Lobin, who recorded the song "Over the Silver River" using elements of Chinese music, and the composer Li Yinghar, who arranged Russian melody adopted in Chinese culture, are highlighted. Musical samples are also presented. Russian music in China is a special "cross-border" phenomenon, and the interest in Russian culture and Russian musical folklore in China is very high. Russian folk songs are loved in China and are very popular.
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Ahmed, Mohd Shakil. "Understanding Muslim Social Arrangement." American Journal of Islam and Society 27, no. 4 (October 1, 2010): 126–33. http://dx.doi.org/10.35632/ajis.v27i4.1300.
Повний текст джерелаАнотація:
This article analyzes the Muslim Pangal community of Manipurin northeastern India. Although its members have been fairlyintegrated with other groups, their liberal cultural sense, infusedwith a deep religious grounding, has allowed them to borrow variouscultural traits, including language. Apart from Islam, theircultural whole is based on, among other elements, language,dressing patterns, social arrangements, folk songs, and courtshiprituals.
Дисертації з теми "Folk songs, arrangement"
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Messoloras, Irene Rose. "East meets West arranging traditional Greek folk songs for modern chorus /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Повний текст джерелаАнотація:
Thesis (D.M.A.)--UCLA, 2008.Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).
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Camargo, Cristina Moura Emboaba da Costa Julião de. "Criação e arranjo: modelos para o repertório de canto coral no Brasil." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-04112010-144243/.
Повний текст джерелаАнотація:
Esta dissertação procurou investigar a criação de obra original e de arranjo de canção como modelos de repertório utilizados pelos corais amadores brasileiros, com ênfase especial no meio universitário paulista, a partir de 1960. Um panorama histórico do século XX na música coral produzida no Brasil tornou-se necessário para localizar alguns dos fatores que determinaram a inserção de arranjos da canção popular urbana, ocorrida entre as décadas de 60 e 90, em especial como decorrência da atuação de alguns compositores do grupo Música Nova. Os dados recolhidos apontam os prováveis fatores que determinaram a inserção do arranjo da canção popular urbana (num momento já posterior aos arranjos de folclore) e revelam seus desdobramentos, como por exemplo, o surgimento de uma nova poética de escrita coral, o novo fazer coral, a inclusão da performance cênica, o predomínio do arranjo sobre as obras originais criadas para coro no repertório coral deste mesmo período e as alterações na interpretação e na vocalidade, que se transformaram para se adequar à nova escrita coral proposta pelos arranjadores deste período. Em alguns casos, tornou-se a grande busca artística de importantes grupos vocais brasileiros. Os resultados obtidos destacam a atuação de três arranjadores que iniciaram este processo: Levy Damiano Cozzella, Samuel Kerr e Marcos Leite. Nesta pesquisa serão também apontadas algumas das principais diferenças entre as linhas desenvolvidas por esses arranjadores e as influências que elas tiveram na atividade coral paulista e carioca no período, com desdobramentos que alcançam os dias de hoje. Procuraremos também verificar os fatores que levaram os corais a se afastarem das obras originais criadas para o coro no Brasil neste mesmo período, uma vez que o arranjo da canção popular urbana aos poucos foi se tornando uma busca artística, pedagógica e em alguns casos política, tanto dos regentes como dos coralistas.This thesis sought to investigate the creation of original works and arrangements as models for the repertoire used by Brazilian amateur choirs, with special emphasis on the Choir of the University of São Paulo, since 1960. A historical overview of twentieth-century choral music produced in Brazil was necessary to identify some of the factors that determined the inclusion of arrangements of popular urban song, in the repertoire occurred throughout the 60s and 90s, particularly as a result of the actions of some composers of the Grupo Música Nova (New Music Group). The collected data show the likely factors that led to the prevalence of arrangements of urban folk songs (at a period that follows the trend of arrangements of folklore materials). They also, show its consequences, such as the emergence of a new poetic of choral writing, the inclusion of theatrical performances, the little interest arose by the original works for choir composed at that same period and finally, the changes in the interpretation and vocal techniques which turned to fit the new choral writing of the period. In some cases, it became the great artistic search of important Brazilian vocal groups. The results of the research show also the fundamental contribution of three arrangers who started this process: Damiano Cozzella Levy, Samuel Kerr and Marcos Leite. This research also points out some key differences between the styles developed by these arrangers and the influence they had on the choral activity in Sao Paulo and Rio de Janeiro at that period. The effects of the models that they propose reach this day. We also examined factors that led most of the choral groups, to ignore the original works created for choir in Brazil at the same period, since the arrangement of popular urban songs gradually became the prevailing artistic research, teaching method and sometimes political, tool by both conductors and singers.
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Hájek, Benjamín. "Úpravy lidových písní z Uherskohradišťska a jejich využití na ZŠ, SŠ a ZUŠ." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-411853.
Повний текст джерелаАнотація:
The diploma thesis deals with regional songs from the surroundings of Uherské Hradiště and their modifications created by dulcimer music groups from Uherské Hradiště region. In the selection of the chosen materials the thesis analyzes especially the characteristic structure, peculiarities and typical features of individual songs from this area, and finds characteristic elements in the arangements of the performers of the set of these songs. It deals in detail with the analysis of song series (from recording media and listening to authentic productions), their basic tendencies in the formation of instrumental and vocal-instrumental modifications and the deduction of rules and characterizing structures in harmony, melody, bow movement, volume changes, and others. It points out the difference between amateur and artistic performances, the difference between their processing and creative making. It determines the conditions under which purely folklore production of a given region is created and when it incorporates elements that cannot be perceived in the given area as authentic folklore and thus are already taken as artistic inventions of artists and only folklore-inspired stylization. It creates a conception of the level of stylization of folk songs from the region of Uherské Hradiště, recommend...
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Busselberg, Paul. "A justification for the study of folk song settings, or the arrangement as a valid composition." Thesis, 2007. http://hdl.handle.net/1911/20580.
Повний текст джерелаАнотація:
This thesis explores arrangements of British Isles folk song melodies as set by major composers: Franz Joseph Haydn (1732-1809), Ludwig van Beethoven (1770-1827), Ralph Vaughan Williams (1872-1958), and Benjamin Britten (1913-1976). These composers found vivid inspiration and a certain amount of success by setting folk songs as art music, but a survey of available scholarship centering on their works in most instances reveals only a superficial discussion of their folk song arrangements. Moreover, folk song studies, which tend to focus on the existence of melodies, their origins, and modern efforts in collection, also avoid the arrangements by serious composers. A few important studies exist which deal specifically with folk song arrangements, but by and large this area suffers from neglect. This is no doubt due to a misunderstanding of the term arrangement as it applies to the examples from the works of these composers, and its connotation as a composition of lesser value than wholly original works.
This paper explores the folk song arrangements by these four composers through a study of similar melodies from their collections, which altogether number more than eight hundred songs. A review of the historical context of these collections reveals the degree of importance they occupied in each composer's overall output of works. Then an analysis of one melody set three different ways by Vaughan Williams, as well as analytical comparisons of arrangements of seven other melodies set by pairs of these four composers demonstrates the various devises each used to bring originality, creativity, and musical artistry to a work despite the limitations proscribed by a preexisting melody.
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Nováková, Monika. "Metodika práce s lidovou písní na 1. a 2. stupni ZŠ v duchu Orff-Schulwerku." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-349397.
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Diploma thesis Orff-Schulwerk Approach to Folk Songs for Elementary School Education consists of two parts: theory and practice. The first theoretical describes the basic Orff-Schulwerk thesis for education at the elementary schools in the lessons of Music or in the preparatory units of children choirs. Author introduces Carl Orff biography, circumstances of Orff-Schulwerk creation and its characteristics which is compared to the psychological theories, mainly with the flow phenomenon. The thesis covers the implementation of the Orff-Schulwerk approach to the Czech Framework Education Programme. Author compares studies describing the results of Orff-Schulwerk method in comparison to other methods. The research has not confirmed the thesis, that Orff-Schulwerk has better results in the music education field. The abroad studies confirmed, that Orff-Shulwerk approach is suitable for working with children with special educational needs. On the basis of the sources and literature, the author assumes that Orff-Schulwerk can lead to more intense interest in music and culture itself. Furthermore, the author enriches Orff's approach by ideas and approaches of two known pedagogues and composers: Zontán Kodály and Émile Jaques-Dalcroze. The diploma thesis covers their curriculum and those pedagogical...
Книги з теми "Folk songs, arrangement"
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Režný, Pavel. Od folklorních kořenů po soudobou hudbu: Sborová tvorba Jiřího Pavlici. Olomouc: Univerzita Palackého v Olomouci, 2006.
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1919-, Bray Kenneth, Barron John P, Telfer Nancy, and Wuensch Gerhard 1925-, eds. Pine tree gently sigh: 45 two-part arrangements of Canadian folk songs. Oakville, Ont: F. Harris Music Co., 1985.
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1919-1999, Bray Kenneth I., Telfer Nancy, and Wuensch Gerhard 1925-, eds. The Raftsmen: 35 three-part arrangements of Canadian folk songs. Oakville, Ont: F. Harris Music, 1986.
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Brahms, Johannes. Brahms' complete song texts: In one volume containing solo songs, duets, Liebeslieder waltzes (both sets), the Alto rhapsody, folk song arrangements. Geneseo, N.Y: Leyerle, 1999.
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1818, Prach Ivan d., and Booze Elmer, eds. A Collection of Russian folk songs with vocal arrangements set to music: In two parts. [Washington, D.C: E. Booze, 1985.
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Benjamin, Britten. Eight Folk Song Arrangements. Faber & Faber, 2001.
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Benjamin, Britten. Eight Folk Song Arrangements. Faber & Faber, 2001.
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Snyder, Jean E. Bringing Spirituals to the Concert Stage. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0016.
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This chapter focuses on the popularity of Harry T. Burleigh's spirituals in recitals and other concerts. Burleigh published his first solo arrangement of spirituals from 1911 to 1916, at a time when the tide of interest in African American folk music, especially spirituals, was gathering momentum. At least nineteen white American composers joined the stream. Black composers also produced compositions reflecting their folk heritage during these years. From the 1916–1917 concert season, when his solo arrangement of “Deep River” became the hit of the recital season, Burleigh's role as pioneer arranger and interpreter of spirituals began to eclipse his role as recital singer and art song composer. This chapter explores how the recurring controversy over the origins of African American music made Burleigh a spokesman for the uniquely expressive gifts of African Americans who, he argued, had created America's first genuine folk music. In particular, it considers Burleigh's view that the spirituals were the primary artistic contribution of African Americans. It also discusses the influence of Edward MacDowell on Burleigh's movement toward arranging spirituals as art songs.
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Lott, Marie Sumner. “Domesticating” the Foreign in Arrangements of Operas, Folk Songs, and Other Works for Chamber Ensembles. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0002.
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This chapter looks at string quartet transcriptions and arrangements. These arrangements differ from their piano-oriented counterparts in significant ways, and they reflect the changing role of chamber music—and that of opera and folk song—in musical life over the course of the nineteenth century. In translating an opera or other work for string quartet, arrangers combined seemingly opposed genres and social settings, bringing the opera house into the parlor in some cases and the countryside into the city in others. The chapter then focuses on Berlin-based publisher Adolph Martin Schlesinger. His firm produced dozens of opera transcriptions, collections of folk songs, and arrangements of Classical works for amateur chamber musicians between 1800 and 1900.
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Benjamin, Britten. Benjamin Britten - Complete Folksong Arrangements: 61 Songs. Boosey and Hawkes, 2006.
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Malone, Mark Hugh. "Dawson the Composer." In William Levi Dawson, 74–115. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496844798.003.0004.
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As a composer, Dawson strove to be the voice of his people, using the culturally rich tones and drawing on his own history of musical experiences as a child in Anniston, Alabama. While a student at Tuskegee Institute, Dawson learned of Antonin Dvořák’s selection of African American folk songs as the “true” essence of an American musical sound and embarked on a mission to set the Folk Song of the American Negro (which many refer to as “spirituals”) for choirs and instruments. During his constant effort to study the history of music first created in America by his enslaved ancestors, Dawson composed from his historical expertise, his advanced study of music theory/composition, and from his heart. Dawson’s arrangement of African American spirituals began in earnest while he taught music at Lincoln High School (LHS) in Kansas City, Missouri and continued throughout his lifetime. It was at LHS that Dawson would meet visual artist Aaron Douglas and form a lasting friendship. In addition to the arrangement of folk songs such as “Swing Low, Sweet Chariot,” “Ezekiel Saw de Wheel,” “Ain-a That Good News,” and others, Dawson became only the second African American to compose a symphony. Entitled, Negro Folk Symphony, the work was premiered by Leopold Stokowski and the Philadelphia Orchestra in 1934.
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Brown, Gwynne Kuhner. "“The Consideration and Study That They Require”." In The Oxford Handbook of Arrangement Studies. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190061869.013.5.
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Abstract Although William L. Dawson’s (1899–1990) choral arrangements of spirituals are widely respected and uniquely influential, music scholars have dedicated little attention to their cultural significance or artistic value. This chapter considers the causes of this neglect, offers an overview of the early history of spiritual arrangements for Black collegiate choirs, and analyzes three representative works by Dawson. The analyses illuminate Dawson’s artistry and creativity, his sensitivity to the songs’ texts, his deliberate referencing of European choral tradition, and his ability to craft arrangements that are effective in concert performance while respecting the folk songs’ original form and their enslaved Black creators’ intentions. Among the most significant of these intentions was that the songs should give life to those who sang them; Dawson’s compositional and pedagogical choices demonstrate that he created his extraordinary arrangements with the wellbeing of his Black students at Tuskegee Institute very much at the forefront.
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Duda, Larysa. "THEORETICAL AND PRACTICAL FUNDAMENTALS OF MUSICAL FOLKLORE PROCESSING IN THE WORKS OF DIASPORA ARTISTS." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-8.
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The article analyzes the theoretical and practical principles of processing samples of folk music. Musical folklore is transformed in composition and performance, including for bandura, by arrangement and its varieties (harmonization, transposition, arrangement, improvisation, etc.). Musical folklore is an integral part of the bandura’s repertoire, presented in the form of vocal-instrumental and instrumental arrangements, as well as instrumental works for solo and ensemble performance. Authentic, classical and modern methods of music processing, as well as creative (author ‘s) and complex approaches are distinguished. The authentic method is inherent mainly in the art of kobzars-bandurists, who were the authors of dumas, historical and other songs and created them simultaneously with the bandura accompaniment. The classical method has been dominant since the second half of the XXth century up until now. The modern approach occurs mainly from the end of the XXth century. The transformation of folklore samples often consists in changing the genre of the original source, the environment of performance, the functional purpose of the work, the appearance of instrumental bandura accompaniment, the change of group singing into solo performance or vice versa. Genres of Ukrainian musical folklore are widely represented in the art of bandura players in Ukraine and abroad. As a result of the analysis of creativity for a bandura of the second hakf of the XX – beg. XXI centuries, in particular artists of the Ukrainian diaspora, it was found that musical folklore to a greater or lesser extent became the subject of works by L. Haidamaka, O. Herasymenko-Oliinyk, Н. Kytasty, R. Levytsky, V. Mishalow, Y. Oliinyk, P. Potapenko , M. Teliga, Z. Shtokalko and others. It is determined that vocal-instrumental arrangements of folk songs, instrumental arrangements of dance music, as well as instrumental works based on Ukrainian musical folklore, occupy an important place in the work of bandura performers and composers in Ukraine and abroad.
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Houlahan, Micheál, and Philip Tacka. "Laying the Foundation of Choral Singing Through Folk Songs and Folk Song Arrangements." In Choral Artistry, 64–81. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197550489.003.0003.
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Abstract The chapter aims to demonstrate how singing folk songs and folk song arrangements can strengthen the multiple dimensions of choral singers’ musicianship. Students entering a choral program often already know a selection of folk songs. The choral director can use this repertoire to develop vocal production, part-work, music literacy, improvisation, composition, and arranging and listening skills. The chapter ends with an overview of Kodaly’s choral legacy: The Kodály Choral Library, two- and three-part repertoire composed by Kodály based on folk stylistic elements, his classical art music, and his unaccompanied choral compositions. This repertoire can be used to develop sight-reading, part-hearing and part-singing skills and as an introduction to choral repertoire in general.
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Tick, Judith. ""Keep the Song Going": Folk-Song Arrangements." In Ruth Crawford Seeger, 330–40. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195065091.003.0021.
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Abstract Throughout the 1940s Ruth Crawford Seeger channeled much of her com positional gift into her anthologies, publishing about 200 arrangements of folk tunes for solo voice and piano. Despite the disclaimers in her books that folk songs do not need any instrumental support, she took pride in her craftsmanship. She had a definite sense of their value, as her family and colleagues knew. Her daughter Peggy would later state that “her accompaniments of folk music, to me anyway, mean more to me than her work as a composer.’’
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Issiyeva, Adalyat. "Ethnographic Concerts in the Service of Empire." In Representing Russia's Orient, 209–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051365.003.0007.
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This chapter discusses how the composers affiliated with the Music-Ethnographic Committee used several strategies to circumscribe the peoples of the empire under the umbrella of Russian culture. Most of the so-called Ethnographic Concerts organized in Moscow by this committee (1893–1911) featured Russian or Slavic music followed by arrangements of folk songs of Russia’s inorodtsy, helping to reinforce the idea of Russia as a multiethnic state. Detailed analysis of folk song arrangements representing Russia’s ethnic minorities suggests that Russia was determined to appropriate and recontextualize the cultures of its newly acquired southern and eastern subjects. By introducing into inorodtsy music some elements associated with Russianness—the Dorian mode, avoidance of the leading tone, modal harmony, and what was called the “Glinka variation”—Russian composers reduced both the cultural and musical distances between Russia and its “others.” The arrangements performed in the Ethnographic Concerts, however, completely transformed inorodtsy musical language and stripped it of its historical and traditional meanings.
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Malone, Mark Hugh. "The Rise of the Tuskegee Choir to National Prominence." In William Levi Dawson, 52–73. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496844798.003.0003.
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Chapter Three relates the rise of the Tuskegee Choir to national prominence under the direction of William Dawson. In December of 1932, the Tuskegee Choir sang nightly during the month-long opening of Radio City Music Hall in New York City. From 1937-1951 the Tuskegee Choir sang frequent concerts broadcast over the NBC, CBS, and ABC radio networks. In 1952, the singers from Tuskegee made their debut on Ed Sullivan’s “Talk of the Town” television show and also appeared on Kate Smith’s show on television that same year. The Tuskegee Choir was featured on Eddie Fisher’s “Coke Time” shown over the NBC television network in the late fall of 1953. Dawson closed out his 25 years at Tuskegee in 1955 by conducting the Tuskegee Choir singing many of his arrangements of Negro Folk Songs in a session recorded by Westminster Records.
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Kildea, Paul. "John Bird: Percy Grainger (1976)." In Britten on Music, 350. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0107.
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Abstract To have met Percy Grainger even as an old man is a cherished memory. His warmth, his originality, his charm were unforgettable, and his genial energy had already become a myth. The masterly folk-song arrangements with their acutely beautiful feeling for sound were our first musical introduction, and later the preparation of a record of his music was an exciting and revealing experience. Repeated performances strengthened our respect for his work, and our few meetings confirmed our affection and admiration for the man.It was hardly to be expected that the depth beneath the dazzling surface could be without some turbulence. In John Bird’s sympathetic and tactful biography he has beautifully balanced the brilliance and turbulence of this unbalanced genius-we are grateful to him.
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Houlahan, Micheál, and Philip Tacka. "Sequencing Part-Work Skills in the Choral Rehearsal for Beginner (Level 1), Intermediate (Level 2), and Advanced (Level 3) Choirs." In Choral Artistry, 82–116. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197550489.003.0004.
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Abstract This chapter provides ideas for building better listening skills by means of the progressive development of part-hearing and part-singing. Part-singing is the ability to sing multipart music; part-hearing is the ability to hear other voice parts while singing one’s own. These are acquired skills. The chapter includes discussion of helping students build their part-hearing and part-singing in homophonic and polyphonic music. It applies the Performance Through Sound Analysis and Performance Through Sound Analysis and Notation models to learning two-part folk song arrangements. The ultimate goal is to provide ideas that build students’ voices and ears simultaneously by concentrating on intonation and inner hearing. The chapter ends with a summary of the most important stylistic characteristics for the major compositional periods.
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Graham, Sandra Jean. "Innovators, Imitators, and a Jubilee Industry." In Spirituals and the Birth of a Black Entertainment Industry. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041631.003.0004.
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The ever-growing success of the Fisk Jubilee Singers attracted widespread notice, and by 1873–1874 the troupe was facing a field of competitors, some of whom made innovations to the concert presentation of spirituals and others of whom were content to imitate the Fisk Jubilee Singers in style and repertory. Among the innovators were the Hampton Institute Singers, directed by Thomas P. Fenner. Their repertory was largely distinct from that of the Fisk singers, and they sang in a more folk-oriented performance style, as evidenced by the fact that they had a “shout leader” and sang in dialect. Another group of innovators was the Tennesseans (1874), directed by John Wesley Donavin, who sang in support of Central Tennessee College in Nashville. Their popularity rested on the supposed authenticity of what they billed as their “slave cabin concerts”—not a Fisk service of song but meant to be a naturalistic representation of slave life. The Tennesseans’ bass singer Leroy Pickett made many of their arrangements, becoming one of the earliest black arrangers of concert spirituals; later he became acting musical director. Imitators, on the other hand, reproduced the repertory and aesthetic of the Fisk Jubilee Singers. They included the Hyers sisters, who reoriented their programming of art songs to include spirituals so that they could complete with other black singers at the time, as well as the Shaw Jubilee Singers, New Orleans Jubilee Singers, Jackson Jubilee Singers, Old Original North Carolinians (managed by T. H. Brand), and Sheppard’s Colored Jubilee Singers. With all of these groups, a jubilee entertainment industry began to take shape in 1872 to 1874, as performance norms were established and as organizations like lyceum bureaus began to add jubilee troupes to their roster.
Тези доповідей конференцій з теми "Folk songs, arrangement"
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Petkova, Tatyana V., and Daniel Galily. "Hava Nagila." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.06073p.
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This article is about the story of a favorite Jewish song of many people around the world. Hava Nagila is one of the first modern Israeli folk songs in the Hebrew language. It went on to become a staple of band performers at Jewish weddings and bar/bat (b'nei) mitzvah celebrations. The melody is based on a Hassidic Nigun. According to sources, the melody is taken from a Ukrainian folk song from Bukovina. The text was probably the work of musicologist Abraham Zvi Idelsohn, written in 1918. The text was composed in 1918, to celebrate the Balfour Declaration and the British victory over the Turks in 1917. During World War I, Idelsohn served in the Turkish Army as a bandmaster in Gaza, returning to his research in Jerusalem at the end of the war in 1919. In 1922, he published the Hebrew song book, “Sefer Hashirim”, which includes the first publication of his arrangement of the song Hava Nagila.
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Petkova, Tatyana V., and Daniel Galily. "Hava Nagila." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.06073p.
Повний текст джерелаАнотація:
This article is about the story of a favorite Jewish song of many people around the world. Hava Nagila is one of the first modern Israeli folk songs in the Hebrew language. It went on to become a staple of band performers at Jewish weddings and bar/bat (b'nei) mitzvah celebrations. The melody is based on a Hassidic Nigun. According to sources, the melody is taken from a Ukrainian folk song from Bukovina. The text was probably the work of musicologist Abraham Zvi Idelsohn, written in 1918. The text was composed in 1918, to celebrate the Balfour Declaration and the British victory over the Turks in 1917. During World War I, Idelsohn served in the Turkish Army as a bandmaster in Gaza, returning to his research in Jerusalem at the end of the war in 1919. In 1922, he published the Hebrew song book, “Sefer Hashirim”, which includes the first publication of his arrangement of the song Hava Nagila.
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Chamakhud, D. V. "THE SPECIFICS OF YAKIV YATSYNEVYCH’S COMPOSER’S THINKING IN CHORAL ARRANGEMENTS OF UKRAINIAN FOLK SONGS." In FOCUS AREAS OF CULTURE AND ART IN UKRAINE AND THE REPUBLIC OF POLAND. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-374-3-7.
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Batyrshina, Gulnara. "�SINGING ON THE PIANO�: THE BASIC OF PERFORMING AND POSSIBILITIES OF TEACHING WITH THE USAGE OF THE TATAR FOLK SONGS� ARRANGEMENTS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/34/s13.097.
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