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Статті в журналах з теми "Staged music folklore"
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Nikolov, Kaloyan. "Structuring of Databases when Building a Network Active Matrix and Visualization of a Rating Assessment System through a Mathematical Model." Innovative STEM Education 2, no. 1 (August 10, 2020): 98–105. http://dx.doi.org/10.55630/stem.2020.0213.
Повний текст джерелаАнотація:
This article discusses ideas and concepts for preserving cultural folklore traditions and customs accumulated in the past by many generations. Many new challenges and new knowledge have emerged in the modern technological society, but they must not lead to the loss and neglect of old national traditions and living cultural heritage. Definitions, classifications, overview of types of folklore events are presented. Some innovative approaches for preservation, study and sharing of knowledge about living heritage through national and international folklore championships and folklore festivals, digital transformation of folk music and dance are considered. Knowledge is exchanged between participants of different ages, cultures and professions. In this way, continuous education in the field of living heritage, internationalization, lifelong learning is realized. An online information system has been created for organizing and storing knowledge about living heritage through competitive folklore events and festivals. The information structure of a software system is built on 7 levels. With the help of the created software environment, national championships and other events around the world are staged.
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Hanna V., Marynchak. "Adaptation genre of Ukrainian folk songs in the interpretation of K. Gorski: aspects of texture stylistics." International Journal of Scientific Research and Management 9, no. 10 (October 6, 2021): 9–11. http://dx.doi.org/10.18535/ijsrm/v9i10.mt02.
Повний текст джерелаАнотація:
The article examines the adaptation principles of Ukrainian folklore material used by an outstanding representative of the Polish-Ukrainian branch of the musical culture of Kharkov at the turn of the XIX – XX centuries.
For the analysis, a collection-cycle was selected, compiled by the author himself on the basis of adaptations of the songs used in the operetta “Oi Bozhe shcho ta liubov zmozhe!” for the libretto by A. Zbukireva, staged by M. Kropyvnytsky, one of the founders of the Ukrainian national theater.
Several groups of adaptations are outlined and classified, representing the portraits of the characters of the operetta, as well as the stage situations. Generalizing characteristics of the texture-stylistic approaches used by K. Gorski in the piano parts, prefixed to each of the 20 songs, are given.
It is noted that K. Gorski not only demonstrates professional mastery of adaptation techniques approved in classical music, but also translates features of Ukrainian folk polyphony into texture and harmony, which gives his adaptation an individualized charm.
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Овчинникова, Юлия Сергеевна. "The Life of Telengit Musical Folklore in Yazula Village in Conditions of Transitivity." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 1 (April 24, 2021): 39–52. http://dx.doi.org/10.26158/tk.2021.22.1.003.
Повний текст джерелаАнотація:
В статье рассматривается специфика бытования музыкального фольклора теленгитов селения Язула Улаганского района Республики Алтай в условиях транзитивности (по материалам полевых исследований 2003 и 2019 гг.). Музыкальный фольклор теленгитов обособленного селения характеризуется полистадиальностью, «вероятностной» (поливекторной, нелинейно меняющейся) природой развития, увеличением культурного разнообразия и трансформацией моноязычной культурной среды в многоязычную в лингвистическом, музыкальном и бытовом планах. Каналами инокультурного влияния на интонационное поле теленгитской музыкальной традиции сегодня выступают радио, Интернет и телевидение, сельский клуб, доступная транспортная связь с городом, международные курултаи сказителей . При расширении сферы бытования различных форм фольклоризма (советского, российского, алтайского) песенная фольклорная традиция теленгитов продолжает существовать исключительно в обрядовом контексте (закрыто от глаз приезжих). Владение каем - особым типом интонирования, характерным для тюрков Горного Алтая, маркирующим их этнокультурную идентичность, - востребовано сегодня со стороны туристов, региональной администрации и общественности, что ведет к миграции носителей этой традиции из обособленных селений в центральные. Трансформация искусства кая обусловлена единым процессом глобализации/глокализации, переходом от традиционного контекста бытования к сценическому фольклоризму, проникновением инокультурных интонационных форм в звуковой ландшафт теленгитских селений. This article focuses on the current state of Telengit music culture in Yazula Village (Ulagan Region, Republic of Altai) in conditions of transitivity. The material presented is based on field studies in 2003 and 2019. The Telengit musical folklore of this territorially isolated village is characterized by polystadiality; the “probabilistic,” non-linear nature of its development; by an increase of cultural diversity; and by the transformation of a monolingual environment into a multi-lingual one in linguistic, musical and ontological terms. Channels for outside cultural influence on the intonational field of the Telengit musical tradition include: radio, television, the Internet, the local club, transportation to the city; and International Kurultai of storytellers. In the presence of different forms of folklore (Soviet, Russian, Altaian) performed in the village club, the village folksong tradition continues to live on exclusively in a ritual context (inaccessible to outsiders). The mastery of kai as a specific type of intonation, typical for the Turks of Gorny Altai, that marks their ethnocultural identity, is in demand today by tourists, regional administrations and the public. This leads to the migration of carriers of this tradition out of isolated settlements into more central ones. The transformation of the art of kai in modern Telengit culture is conditioned by the process of globalization/glocalization; by the change of kai’s function in a traditional context to that of staged folklorism; and by the penetration of other cultural intonational forms into the soundscape of Telengit villages.
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Arefieva, Anna. "Dialogue of cultures as a synthesis of arts: experience of formation of integrative poetics in Diaghilev's seasons." Filosofiya osvity. Philosophy of Education 26, no. 2 (June 25, 2021): 100–108. http://dx.doi.org/10.31874/2309-1606-2020-26-2-7.
Повний текст джерелаАнотація:
The article is devoted to the definition of the synthesis of arts in Serge Diaghilev's seasons as a dialogue of cultures. In contrast to the interpretation of the dialogue of cultures as a sociological phenomenon, which has become a truism, when the dialogue of cultures in the Diaghilev's seasons is seen as a dialogue of French and Russian cultures, it is provided the interpretation of the dialogue of cultures in a work of art. In particular, in Ihor Stravinsky's "Sacred Spring" staged by Waclaw Nizynski, scenography by Nikolay Rerich, there is a dialogue between pagan and Christian cultures as a synthetic choreographic and musical image. Rerich's scenery introduces another cultural allusion - images of the East. The philosophical meaning of interpretation is the ideological definition of synthetic artistic image as a cultural dialogue. Theoretical works and memoirs of I. Stravinsky and S. Lifar testify that there was a certain school of growth in the stage space of the Seasons. Young people quickly became leading dancers, and then created their own choreographic school – "cubist" in Bronislawa and Waclaw Nizynski, "media" – in Lifar. I. Stravinsky became the founder of a new type of synthetic-type scenicism, where the musicality and picturesqueness of plastic exercises turned into large canvases of various genres – folklore, impressionist, expressionist counterpoint. The philosophy of modern art education in the field of music, choreography and vocal creativity encourages the cultural and historical reconstruction of the experience of leading artists who created unsurpassed masterpieces of European culture in the early twentieth century.
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Polianska, Ir M. "The image of Solveig in the ballet “Peer Gynt” on H. Ibsen’s dramatic poem (staged by the Kharkiv National Academic Opera and Ballet Theatre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 197–211. http://dx.doi.org/10.34064/khnum1-57.12.
Повний текст джерелаАнотація:
Introduction. The given article is devoted to study of the Ukrainian ballet continuing to produce new ways of implementation of the ideas and artistic images in the beginning of the XXI century. The production of the ballet “Peer Gynt” on the music by E. Grieg, done by People’s artist of Ukraine V. Pisarev for the troupe of Donetsk ‘A. Solovianenko’ Academic State Theatre of Opera and Ballet is a remarkable example of this process. The production’s premiere was on, 1997, May 17, in the framework of the international theatre project “Ukraine – Norway”. Twenty years later, in 2017, the new variant of the ballet has been created for Kharkiv National Opera and Ballet Theatre named after M. V. Lysenko. This “Kharkiv variant” was staged regarding specifics of Kharkiv theatre’s troupe, while retaining the choreographic text of the original; it is marked by scenography and decorations being more spectacular and modern. The work by H. Ibsen received harsh critique from literary scholars who gave plenty of negative reviews of it, and it was E.Grieg’s music that led this poetic drama to wide recognition and popularity it has today. H. Ibsen’s piece became a base for more than the ten of films, directed from 1915 until 2006. As well as E Grieg’s music, which mostly accompanies the theatrical and cinematic interpretations of the drama poem, there are homonymous opera by Werner Egk (1938) and the ballet by John Neumeier, created in a collaboration with A. Schnittke (1987). As a ballet, the “Peer Gynt” is being staged since 1922 up to present day. The object of this research is musically-plastique image of Solveig. The aim of the study is to reveal specifics of musically-plastique, choreographic means, which are used to portray Solveig’s image in V. Pisarev’s production of ballet “Peer Gynt” regarding literary source. The article uses such methods as: 1) historical, allowing to place selected work into the perspective of development of ballet theatre in XXI century; 2) genre approach conditioned by specifics of means of expression used in choreographic art; 3) stylistic, used to regard given ballet in the context of choreographic art. The research results. H. Ibsen elevated the story to the level of philosophical parable about man’s freedom to choose his own path and about the price this freedom comes with. A psychological portrait of the protagonist, wanderer Peer Gynt, combines traits of both humanist and insane. The playwright creates opposition between him and Solveig, majestic in her spiritual martyrdom. According to H. Ibsen’s conception, it is Solveig, being an incarnation of the very best feminine traits, such as chastity, fidelity and kindness, who saves the prodigal soul of the protagonist. In the end of his earthly path, Peer Gynt finally finds what he has been looking for his entire life – self-sacrificial Love, saving him from the eternal suffering near his death. The libretto is written by Yu. Stanishevsky, historian of ballet. The author significantly abridges the text of the dramatic poem, reducing the number of acts from five to two. The First act consists of 4 tableaus, the Second has only two; Yu. Stanishevsky omits several situations in order to make the spectacle more dynamic. The libretto features the image of Solveig only six times: thrice in the First act and thrice in the Second. But despite sporadicity and brevity of Solveig’s presence on the stage, this image plays a leading role in the dramaturgy of the ballet, no less significant than Peer Gynt. Today the poem “Peer Gynt” by H. Ibsen is hardly imaginable without E. Grieg’s music. Its score (op. 23) consisted of 28 numbers , and it included dance intermedia and introduction to every Act; dance fragments, genre scenes, portraits, fantastic episodes and landscape sceneries. Later, the composer compiled the most interesting and self-sufficient numbers into two Suites. Conspicuous Romantic style of the score might be compared to the image of blonde-haired maiden Solveig, who betokens pure femininity. The ballet of V. Pisarev consists of 8 tableaus and 3 numbers. In order to create this ballet spectacle, its author used several types of choreographic art to reveal its idea more profoundly. V. Pisarev embodied the plot of H. Ibsen’s poem using a fusion of classical and neo-classical dance as well as a reconstruction of the folklore-scenic Norwegian dance. Ballet master draws attention to the inner world of a protagonist, who is facing a dilemma: either to remain for fix the situation, or to run away once again. Significance of Solveig’s image is emphasized by the choreographic text of the ballet, as her role becomes a plastique leit-motiv of the whole work. Choreographic lexicon of Solveig is founded upon traditional Classical dance and occasional movements of contemporary dance. Conclusions. The image of Solveig is a demanding one, both technically and psychologically as the ballerina must demonstrate advanced technique and high artistry. Solveig’s dance is plastique, sculpture-like, filled with profound psychologism and elaborated expressiveness. Solveig is one of the most powerful and iconic examples of femininity and self-sacrificial love in romantic art keeping its actuality until today.
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Добжанская, О. Э. "From Heroic Epic Olonkho — to Opera and Film Music (the Stages of Development of the Music of Yakut Composers)." Журнал Общества теории музыки, no. 2(30) (June 25, 2020): 13–21. http://dx.doi.org/10.26176/otmroo.2020.30.2.002.
Повний текст джерелаАнотація:
В статье рассматривается роль национальной музыкальной культуры саха в формировании и развитии академической музыки Якутии в XX – XXI веках, предлагается периодизация якутской композиторской музыки, прослеживается связь между народной и композиторской музыкой на всех этапах развития последней. Особо акцентирован подготовительный этап (1930-е – середина 1940-х годов), когда благодаря деятельности профессионалов устной традиции происходит передача ценностей фольклорного музыкального творчества саха письменной композиторской культуре.Процесс развития композиторской музыки разделяется на 4 этапа, каждый из которых обобщенно охарактеризован с точки зрения взаимодействия академической музыки с фольклорными традициями. В каждом этапе называются композиторы, основные жанры, произведения, выявляются связанные с фольклором стилевые черты академической музыки. The article considers the role of the national musical culture of Sakha in the formation and development of classical music of Yakutia in the 20th – 21st centuries. The author offers the periodization of the Yakut composers' music, traces the connections between folk music and classical music at all stages of development. A special attention is paid to the preparatory phase (1930s — mid 1940s), within which the values of Sakha musical folklore were transmitted to the classical musical culture.The development process of Yakut classical music is divided into 4 stages, each of which is generally characterized from the point of view of the interaction of classical music with folk traditions. The author designates composers, major genres and works of each stage, identifies the main stylistic features of classical music, associated with the folklore.
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MAMMADOVA, Günay. "In the context of the diversity of wedding ceremonies in Azerbaijan Wedding traditions of Nakhchivan region." Rast Müzikoloji Dergisi 10, no. 3 (September 30, 2022): 329–44. http://dx.doi.org/10.12975/rastmd.20221031.
Повний текст джерелаАнотація:
The aim of this article is to examine the cultural and musical aspects of the wedding ceremonies of the Nakhchivan region, which is one of the important elements of Azerbaijani folklore. The research model was designed in accordance with the case study and document analysis techniques from qualitative research methods. The reason for choosing the Nakhchivan region in the research is that the region has a rich content in terms of folkloric features and is protected folklorically. Relevant documents and interview method were used as data collection tools in the research. In the research, the elements of the Nakhchivan wedding ritual are presented in the light of relevant sources and interviews. The works performed in the elements of the wedding ritual were examined musically. The problem of the research is stated below. What are the musical features of the wedding rituals of Nakhchivan Region, which is one of the folkloric elements of Azerbaijan, and the works performed at weddings? The research model was designed in accordance with case study and document analysis techniques from qualitative research methods. The reason for choosing the Nakhchivan region in the research is that the region has rich content in terms of folkloric features and is protected. Relevant documents and interview method were used as data collection tools in the research. In the research, the elements of the Nakhchivan wedding ritual are presented in the light of relevant sources and interviews. The works performed in the elements of the wedding ritual were analyzed musically. Sibelius notation program was used in the notation of the works. The researcher conducted interviews with the elderly living in the Nakhchivan region. Transcriptions of the interviews were made and the findings were presented. In Nakhchivan region weddings; There are stages of liking a girl, interrupting, embassy, engagement, holiday, girl’s wedding, henna night, men’s wedding, veil ceremony, hand kissing. Yallı Dance is an important musical symbol of the region. This dance is performed collectively, its variety and dance melodies are unique. Other games played at weddings; Kocheri, Tanzara, Tello, Gala-to-galaya, Urfanı have survived to the present day with cultural transfer. In the research, the musical notes of the folk songs Hakışta, Gülüm Hey, Henna Night and Bride’s Farewell were presented. mong the wedding ceremonies in the Nakhchivan region, the most important stages are the Engagement ceremony and the Hınayahdi ceremony. These are the most important parts of wedding preparation.Depending on the stages of the wedding ceremonies, the content and melody of the songs are different. Although the music sung at the initial stage is distinguished by its simplicity, the melodies gradually become complex. The richest examples of music can be found in the “Hınayahdı” ceremony.
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Aslanova, Leyla. "Historical Background for the Creation of the Research Room of Music." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (December 3, 2021): 230–39. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245802.
Повний текст джерелаАнотація:
The article discusses the research issues conducted in the field of music education in Azerbaijan in the early twentieth century. The article also looks at the process of collecting and transmitting the oral folk heritage of Azerbaijan to future generations and examines the purposeful work carried out in this area. In addition, the article provides information about prominent Azerbaijani educators in the field of writing and studying samples of national folklore, based on archival materials, highlights several relevant sources in this regard. The article emphasizes the peculiarities of the folklore environment of Baku and Sheki, where oriental concerts are held. The purpose of the research is to determine the features of the collection and recording of Azerbaijani folklore samples. The article emphasizes the work of the Research Music Room, which is important in the field of education. The study of national and cultural values of the Azerbaijani people in modern times and the solution of the problems of spiritual heritage protection are the basis of the research as a working principle of the research music room. The research methodology is based on music-analytical and historical analysis. It was noted that the research music room has established its activities in the field of collection and study of folklore within the requirements of modern times. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research practices of Azerbaijani and foreign musicologists in the study of musical folklore, comparison of oral folk-art examples, recording of folk music samples. The scientific novelty of the research is that for the first time, the activity features of the scientific room within the framework of Azerbaijani music were examined, and the working principles were studied in detail. At the same time, based on the research, the article presents a scientifically substantiated study of the features of the process of collecting and studying musical folklore in the early twentieth century, the oral folklore recording. Conclusions. The presented article allows us to cover the activity of the Research Room of Music established at the Azerbaijan State Conservatory in 1932, in particular, to get important results in the study of Azerbaijani folklore. The article analyzes the continuation of the educational movement in Azerbaijan, in particular, the popularization and use of oral folklore, using articles, transcripts and speeches of meetings periodically published in the press. It is noted that the processes of globalization taking place in the world today emphasize the value system of traditional heritage. This is especially important in the field of humanities in terms of studying the history and folklore of Azerbaijani music culture up to modern times. The problems of writing and studying Azerbaijani music folklore were raised by national educators. From this point of view, it is especially important to systematically publish materials on the study of oral folk art in periodicals. It was noted that the educators paid special attention to the educational significance of oral folk art. In this sense, the research draws attention to Hasan bey Zardabi’s research on folk art, especially its educational function. From this point of view, it is very important to emphasize that the first researches on oral folklore carried out by Azerbaijani enlighteners allowed national folklore to enter the world folk art system. Such issues as identifying the uniqueness of the collection of oral folk art, studying music folklore as a whole, comparing examples of oral music, determining the regularities and harmonization of folk music from the activities of the Research Room of Music, and assessing the protection of spiritual heritage were noted. At present, the research music room continues to play an important role in the study of music folklore and generalizes the study of music science at a certain stage in the history of Azerbaijan.
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Chemenyan, Gayane. "Methodology of mastering Ukrainian song folklore in the process of training future teachers of Music." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 4 (129) (December 26, 2019): 109–15. http://dx.doi.org/10.24195/2617-6688-2019-4-14.
Повний текст джерелаАнотація:
The article raises the social problem of Ukrainian society – the reducing of the level of spiritual and aesthetic culture of youth. Its solution is addressed to the educational sphere and involves the improvement of teacher training at the level of professional excellence. The training of Musical Arts teachers who exercise a direct influence on the formation of the spiritual world the aesthetic culture of students is of particular interest. High professionalism, thorough mastery of the vocal voice allows you to captivate students, introduce them to the world of musical arts, achieve artistic impact on the personality of the student, and instill love of performing activities. The development of folk song folklore in the process of vocal training aimed at Musical Arts teachers is considered as the path to the most convenient and natural acquisition of vocal and performing skills. Various aspects of the study related to the systematization, storage and popularization of the Ukrainian folklore have been examined by numerous researchers. The article presents the technique, the development of the Ukrainian song folklore, the main principle of which is the phasing and consistency based on a concentric presentation of the material. The content of each stage has been grounded, the corresponding effective methods and principles have been indicated. The advantages of using the Ukrainian folk songs as a means of educating national identity the formation of the spiritual and aesthetic culture have been indicated. It is shown that the inclusion of song-folklore works in the repertoire allows us to solve the problems of forming vocal skills and performing skills. The genre features that create natural amenities in the process of developing the vocal voice of future teachers of Musical Arts have been highlighted. Keywords: spiritual and aesthetic culture, morality, folk-song folklore, vocal skills, performing skills, educational and methodical advantages of Ukrainian folk song, stages, methods, principles.
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Власова, Н. О. "“Our chief joint work”. Notes on Richard Strauss’ and Hugo von Hofmannsthal’s “Die Frau ohne Schatten”." Научный вестник Московской консерватории, no. 2(41) (June 19, 2020): 92–113. http://dx.doi.org/10.26176/mosconsv.2020.41.2.004.
Повний текст джерелаАнотація:
В статье на основе переписки Рихарда Штрауса и Гуго фон Гофмансталя, а также других документальных источников подробно освещается сложный и длительный процесс создания оперы «Женщина без тени», от первых набросков либретто (1910) до премьеры в 1919 году. Эта опера, которой оба соавтора придавали огромное значение, может рассматриваться как их совместный opus magnum, которому присущи итоговые черты. Гофмансталь очень долго и тщательно работал над либретто, объединив в нем множество источников, сюжетных мотивов, цитат, отсылок к различным текстам европейской культуры. Созданная им волшебная сказка, изобилующая символами, аллегориями и театральными «чудесами» и вместе с тем заключающая в себе высокую этическую идею, наследует традициям барочного и классицистского театра. Сочиненной на этой основе опере Штрауса также свойствен обобщающий, суммирующий характер. По разнообразию и богатству выразительных средств эта масштабная партитура беспрецедентна для всего предшествующего творчества композитора. Она объединяет в себе как композиционные новации его экспрессионистских опер («Саломея», «Электра»), так и детализированность, камерность письма и новую трактовку голоса, найденные в «Ариадне на Наксосе». Одновременно «Женщина без тени» подводит итог развитию оперного театра начиная с Вагнера. С одной стороны, воздействие Вагнера (и, конкретно, его последней музыкальной драмы «Парсифаль») в штраусовской партитуре несомненно. С другой— «Женщина без тени» венчает развитие жанра «сказочной оперы», который переживал расцвет в немецкоязычных странах после Вагнера и считался плодотворной альтернативой оперной продукции многочисленных вагнеровских подражателей. Штраус и Гофмансталь поднимают «сказочную оперу», расцветшую на непритязательном фольклорном материале, до уровня высоких философско-этических обобщений и тем самым словно возвращают ее к метафизическим вагнеровским первоистокам. Таким образом «Женщина без тени», поставленная уже после Первой мировой войны, становится последней вершиной немецкой романтической оперы, объединяющей ее разнонаправленные тенденции. Building upon the correspondence between Richard Strauss and Hugo von Hofmannsthal, as well as other documentary sources, this paper discusses in detail the complicated and prolonged process of the creation of the opera “Die Frau ohne Schatten”, from the first drafts of the libretto in 1910 to the opera’s first staging in 1919. This opera, considered paramount by both authors, can be regarded as their collective “opus magnum”. Hofmannsthal devoted a lot of time and effort to the libretto, amalgamating numerous sources, literary motifs, quotations, references to various texts of the European culture. As a result, he created a fairy tale abounding with symbols, allegories and theatrical “miracles” and at the same time conveying a profound ethical message, which carries on the tradition of the Baroque and Classicism theatre. The opera composed by Strauss also has a universal, generalizing character. The diversity and exuberance of this grand work is unprecedented for the composer. It combines compositional novelties of his expressionist operas (“Salome”, “Elektra”) with the nuanced, intimate character of music and the innovative treatment of voice discovered in “Ariadne auf Naxos”. At the same time, “Die Frau ohne Schatten” summarizes the development of the opera theatre since Wagner. On the one hand, the influence of Wagner (and, in particular, of his last music drama “Parsifal”) is apparent in Strauss’s composition. On the other hand, “Die Frau ohne Schatten” culminates the development of the genre of Märchenoper, which flourished in German-speaking countries after Wagner and was considered a viable alternative to the opera works of Wagner's numerous imitators. Strauss and Hofmannsthal raise the Märchenoper, which evolved from unpretentious folklore tradition, to the level of philosophical and ethical generalization, as if restoring it to Wagner’s metaphysical origins. Thus, “Die Frau ohne Schatten”, staged in the aftermath of the World War I, becomes the last pinnacle of German Romantic opera, encapsulating the diverse patterns of this genre.
Дисертації з теми "Staged music folklore"
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Roy, Diane Carole. "Performing abroad: ‘Lucnica Slovak National Folklore Ballet’ in Melbourne, 2007." Phd thesis, 2011. http://hdl.handle.net/1885/8868.
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This thesis explores the significance of a Slovak traditional music and dance performance in Melbourne in October 2007 by Lucnica: Slovak National Folklore Ballet’. While the troupe represents a genre of traditional music performance that is revered by many Slovaks, it is also criticized in the community and scholarly narratives as being ‘artificial’. This thesis shows that Lucnica’s performances are deeply significant, however, and that they constitute a legitimate form of music folklore practice for performers and Slovak audiences, embodying the Slovak landscape and history, despite artistic modifications. However, by taking an interactional viewpoint, this thesis shows that on foreign soil, complex meanings were thrown into relief. While Lucnica’s stated mission is to spread Slovak traditional music culture abroad, it was found that in multicultural Melbourne, Lucnica’s performance generated a variety of discursive strands.
The same performance confirmed and celebrated Slovak ethnicity for Slovak Australians, and at the same time, contributed to the discourse of British hegemony and marginalization of the same.
A second, but equally important focus of the thesis, is that it addresses the dialectic between theory and data. Ethnographic notes were analyzed according to Goffman’s model for non-verbal interaction, an ethnographic interview was analyzed according to the methods of Conversation Analysis, and an audience survey was conducted. These varied data and methodologies were unified by adopting an over-arching Foucauldian theoretical framework, thus aligning theory, data, and methodologies, and giving findings added cogency.
Книги з теми "Staged music folklore"
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Hinson, Glenn. Folklife. Chapel Hill: University of North Carolina Press, 2009.
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Hinson, Glenn. Folklife. Chapel Hill: University of North Carolina Press, 2009.
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Glenn, Hinson, Ferris William R, and University of Mississippi. Center for the Study of Southern Culture., eds. Folklife. Chapel Hill: University of North Carolina Press, 2009.
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Grayden, Paul, and Beaufort Historical Association, eds. Carteret County, North Carolina: History & folklore. Charleston, SC: History Press, 2008.
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Milnes, Gerald. Play of a fiddle: Traditional music, dance, and folklore in West Virginia. Lexington, Ky: University Press of Kentucky, 1999.
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Vance, Randolph. Unprintable Ozark folksongs and folklore. Fayetteville: University of Arkansas Press, 1992.
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If Beale Street could talk: Music, community, culture. Urbana: University of Illinois Press, 2008.
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Gonzalves, Theodore S. The day the dancers stayed: Performing in the Filipino-American diaspora. Philadelphia: Temple University Press, 2009.
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Sanders, Lynn Moss. Howard W. Odum's folklore odyssey: Transformation to tolerance through African American folk studies. Athens, GA: University of Georgia Press, 2004.
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Howard W. Odum's folklore odyssey: Transformation to tolerance through African American folk studies. Athens: University of Georgia Press, 2003.
Знайти повний текст джерелаЧастини книг з теми "Staged music folklore"
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Cornelius, Steven, and Habib Iddrisu. "From Village to International Stage." In Hot Feet and Social Change, 228–48. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.003.0014.
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Steven Cornelius and Habib Iddrisu explore the role of traditional music and dance, specifically the Baamaaya dance/music genre of the Dagamba people during and after Ghana’s independence movement. They focus on how art forms were transformed into folkloric patrimony as policy makers staged performances and established national performance troupes to mitigate regional and ethnic tensions in a newly independent, post-colonial nation. Through their insights into the changing social contexts and the national significance of Baamaaya, the authors address questions of identity, cultural values, nationalism, and the politicization of traditional arts.
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Palomino, Pablo. "The Transnational Formation of Latin American Musicology." In The Invention of Latin American Music, 139–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.003.0005.
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This chapter tells the history of the German-born Uruguayan musicologist Francisco Curt Lange and the Latin-American Music Bulletin he created, a musicological project intended as a forum for musicians and music-related figures from all over Latin America, and the United States, interested in creating a regional field of musicological studies and musical promotion. It examines policies about disc collection, score printing and distribution, musical ethnographies, folklore, musical analysis, conferences, concerts, and regional institutions promoted by the Bulletin, and traces relevant aspects of Lange’s professional journey between Germany, Uruguay, Argentina, Brazil, and the United States, among other places. The chapter also highlights the changing place of the United States, both as a subject of musicological study and as a site of music-related hemispheric initiatives, in the history of this Latin Americanist project.
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Aikawa-Faure, Noriko. "Modalities for Community Participation in Implementing the UNESCO ICH Convention." In Music, Communities, Sustainability, 52—C3.P89. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197609101.003.0003.
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Abstract The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (ICHC) is the first example of an international cultural heritage treaty that acknowledges the need for community involvement to such a high degree. This principle emerged from the landmark 1999 UNESCO/Smithsonian Institution Conference, A Global Assessment of the 1989 Recommendation on the Safeguarding of Traditional Culture and Folklore: Local Empowerment and International Cooperation. It was further endorsed by the Turin Round Table, where experts discussed the definition of the term “intangible cultural heritage” and by the Rio Expert Meeting that identified the priority domain to be included in the future instrument, which was fed finally into the ICHC. This chapter examines how this concept of community involvement in the safeguarding of the ICH was enshrined by the experts at their meetings and how it was subsequently watered down by the representatives of UNESCO member states at the intergovernmental meetings that drafted the ICHC and its operational directives.
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Feldman, Walter Zev. "Klezmer Music in Eastern Europe and in America." In The Oxford Handbook of Slavic and East European Folklore, C28.P1—C28.N3. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.28.
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Abstract From the sixteenth until the earlier twentieth century, the Yiddish term “klezmer” referred to a largely hereditary Ashkenazic Jewish musicians’ guild that played for Jewish weddings through most of northeastern Europe. The klezmer musicians created a largely unified series of musical genres for listening and for dancing. By the later nineteenth century klezmer families transplanted this repertoire to North America. The first scholarship on this music was created by scholars in the tsarist empire and then in the Soviet Union. After the Holocaust, most of what survived from the klezmer repertoire and performance style was located in the United States. It was in New York that a serious revitalization movement began in the later 1970s, largely through apprenticeships with the remaining master klezmorim. By the early decades of the twenty-first century klezmer music had become a worldwide phenomenon, also taking in new generations of Russian and Ukrainian-Jewish performers, along with many non-Jewish musicians, from Berlin to Tokyo.
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Greene, Kevin D. "I Come for to Sing." In The Invention and Reinvention of Big Bill Broonzy, 96–114. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646497.003.0006.
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From 1930 to 1970, a second folk music revival took hold in the United States and Europe, determined to capture and preserve for posterity US and European vernacular music. Critical to this collection of folklorists, academics, political activists, and entrepreneurs was the history and impact of African American music on folklore and culture. Big Bill, quite familiar with the types of country and Delta blues the folk music revival craved stood happy to oblige. Soon, one of the most sophisticated and urbane performers of the age began performing alone accompanied by his guitar for folk audiences from New York to Chicago. Within this community, Broonzy found a culture and environment willing and able to support his transitioning career from black pop star to folk music darling. Along the way, he would meet more individuals who could aid in his career reinvention and he both accepted and rejected their expectations of him and his music.
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Bendrups, Dan. "Commercial Connections." In Singing and Survival, 133–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190297039.003.0006.
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This chapter considers Rapanui music in relation to global commercial influences, especially those emanating from the United States from the 1960s onward. It reveals how Rapanui performers over two generations have made sense of global cultural influences, and how these have in turn been represented in Rapanui music. It considers the capacity for Rapanui performers to extend beyond the confines of Chilean folklore performance contexts and into mainstream global popular culture, providing key examples of groups and individuals who have achieved some level of national or international popularity. It also considers the impact of the development of a local recording industry on Rapa Nui and how Rapanui musicians have responded to sound recording opportunities.
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MacMillen, Ian. "Tambura Bands and Sonic Flag Rituals in Croatian Weddings." In The Oxford Handbook of Slavic and East European Folklore, C4.P1—C4.N10. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.4.
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Abstract Based upon fieldwork with tambura chordophone bands at Croatian weddings, this chapter examines the musical procession of flags in wedding convoys. Scholars typically see flags’ symbolic roles as more semiotically limited than those of national music, but this assumes both forms’ stability (as symbols for interpretation) and discreteness from other sensory phenomena; these conditions do not hold as banners are lifted from static positions (where onlookers view them in two dimensions) into chaotic scenes obscured by automobiles, flares, and smoke. Tambura songs blasted by car speakers and live musicians similarly merge with horns and screeching tires, contributing to the ritual’s affective power while relinquishing some of their sonic and semiotic primacy. The flag’s procession facilitates an affective non-memorial: a revisiting of past perceptual intensities that, in invoking sounds and visuals from past patriotic moments using traditional music and ceremonial magic, is more about transformation from liminal states than about remembering.
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Greene, Kevin D. "Escaping the Folk." In The Invention and Reinvention of Big Bill Broonzy, 148–72. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646497.003.0009.
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Since 1955, when a Belgian jazz writer helped scribe the first book investigating Big Bill’s life and music, dozens of artists, scholars, journalists, and enthusiasts have left a long trail of written work dedicated to Broonzy and his past. Well into the twenty-first century, this trend continues. These brokers of Broonzy’s life, music, and public memory have shaped and reshaped his story reflecting each respective generation’s own understandings of race, celebrity, blues music, and the black experience in the United States, among other themes. In a sense, Broonzy has become a cipher for unlocking important questions about authenticity, folklore, black identity, music history, and more to a large field of predominately white authors. For nearly sixty-five years, Big Bill and his history pop up along a long trajectory of studies that have viewed him as an object of intrigue and mystery rather than how he wanted to be remembered. Big Bill was an African American, pre-war, pop music celebrity who built and reached the height of that celebrity recording and performing for black audiences. Unearthing his vague, working class past has prevented history from accepting Big Bill for what he was—an agent of black modernity.
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"Fiddle-icious." In Cultural Sustainabilities, edited by Timothy J. Cooley, 273–82. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0022.
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Don Roy is a champion fiddler from Maine, promoted and celebrated on national folkloric stages as “the finest Franco fiddler in New England, whose playing exactly exemplifies what Franco-American fiddling is all about.” Nonetheless, Mr. Roy has been reluctant to adopt or centralize institutional constructs of his identity. Since 2003 he and Cindy Roy have developed and nurtured a community around a core of music repertoire and practice. This chapter explores the relationship between Mr. Roy's role as a bearer of inherited cultural and musical traditions, and his cultivation of a sustainable music community in southern Maine, as a participatory alternative to heritage industry narratives.
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Hess, Carol A. "Walt Disney’s Saludos Amigos." In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0005.
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This chapter explores the music of Walt Disney's animated feature Saludos Amigos (1942). It first surveys the principal trends in music and Pan Americanism during the Good Neighbor period. It then analyzes the music, folkloric and otherwise, and relates it to the film's visual and narrative elements, connecting it to broader themes in Pan Americanist discourse. In addition, it reflects on authenticity in terms of Pan Americanism, that is, a yearning for a “genuine culture of the Americas.” It is argued that, whatever authenticity Saludos Amigos proffered through its music, the film as a whole served mainly as a tool of strictly one-sided propaganda in favor of the United States and the war effort. Authenticity, always an elastic term, becomes even more so when paired with the tools of propaganda, especially as fashioned by Hollywood.