Готові списки джерел за темами / Traditional folk song

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Добірка наукової літератури з теми "Traditional folk song"

Автор: Grafiati

Опубліковано: 9 вересня 2022

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Статті в журналах з теми "Traditional folk song"

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

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

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

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

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

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

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Bhetuwal, Kamali Kanta. "Code Mixing in Folk Songs: A Journey towards Linguistic Creativity." KMC Research Journal 4, no. 4 (December 31, 2020): 91–102. http://dx.doi.org/10.3126/kmcrj.v4i4.46469.

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Folk song is a true gift of culture. It is one of the traditional, intangible and indigenous pieces of the art of performing the melodious expression with the help of soft pipes that are forever invaluable cultural assets and musical property as well. In view of making a brief survey of the use of multiple languages in folk songs, different folk melodies have been selected randomly from seven provinces of Nepal where the folk melodies are more fertile. This paper aims at exploring the use of multiple languages in folk songs I, myself as a researcher in the field, encountered with in written and audio- or video-recorded form. Therefore, the main source of relevant data includes me and other written and audio or video documents of folk songs I found. As a multicultural country, Nepal is rich in terms of its folk songs. In this paper, I analyze how folk song can be a creative space where linguistic boundaries are challenged and new language practices are invented. Taking of folk songs as a social and cultural identity, I examine how folk song embraces local diversity and redefines the use of language a creative tool for public.

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

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

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

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

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

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

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

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Анотація:

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

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

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

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

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

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Більше джерел

Дисертації з теми "Traditional folk song"

Yang, Yang. "The challenges inherent in promoting traditional folk song performance and pedagogy in Chinese higher education : a case study of Hua'er." Thesis, Institute of Education (University of London), 2011. http://eprints.ioe.ac.uk/7504/.

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The focus of this doctoral research is on understanding the challenges inherent in bringing authentic' folk singing into mainstream higher education music curricula in China. The research fieldwork adopted a multi-methods approach in three stages, with experienced folk musicians, music tutors and undergraduate students in local higher education colleges in Gansu, China. The initial observation was on identifying and quantifying distinctive musical features of videoed, case study folk song performances within the oral culture and to note their social context within this particular region of China. The chosen music was Hua'er, which is a musical art form that was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2009 by the Educational, Scientific and Cultural Organization, United Nations (UNESCO). Quantitative data from eighteen, field-based authentic folk song recordings from five contemporary folk practitioners were subjected to psychoacoustic analyses in order to search for common performance features. Subsequent qualitative analyses embraced interview and observational data from two follow-up interviews of the recorded case study performers. In the final fieldwork phase, teaching and learning approaches were observed in higher education based lessons by a folk song master and a music tutor with one music student in a college. Implications are drawn for the enrichment of music education in Chinese universities, which is dominated by non-indigenous musics at present, by providing research-based insights into indigenous folk song and performance as well as suggestions for related successful pedagogical strategies.

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Hwang, Mirae. "The Blue Bird." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522319891865069.

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Nemapate, Mmbulaheni Alfred. "The structure and meaning in Tshivenda traditional songs." Thesis, University of the North, 1999. http://hdl.handle.net/10386/2152.

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Kim, Young-Youn. "Traditional Korean children's songs : collection, analysis, and application /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11288.

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Schimmelpenninck, Antoinette Marie. "Chinese folk songs and folk singers : Shan'ge traditions in Southern Jiangsu /." Leiden : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967334t.

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

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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.

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Анотація:

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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Maliangkay, Roald Heber. "Handling the intangible : the protection of folk song traditions in Korea." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392108.

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This thesis is a study of how the South Korean government has tried to protect folksong traditions by designating them as Chungyo mUhyong munhwajae (Important Intangible Cultural Properties), a category of national treasures, and by regulating the transmission of these through the appointment of poyuja ("holders"). In 1962, the South Korean government promulgated the Munhwajae pohopop (Law for the Protection of Cultural Properties) on the basis of which a system was set up to protect and promote both so-called "tangible" (yuhyong) and "intangible" (muhyong) cultural properties. The law stipulated that in order to regulate the decision-making process, a committee was to be formed out of specialists of different fields of study, the Munhwajae wiwonhoe (Cultural Properties Committee; hereafter CPC). The CPC subsequently sent its members all over the country to survey and write reports on cultural items, and on the basis of these reports, it could decide to appoint cultural items as national treasures. In this thesis, I show how the system was set up, how the protection of these Intangible Cultural Properties is managed, and what factors have affected the decision-making process. Chapter 1 examines the state of folk arts in Korea after the Pacific War, and the social conditions at the time of the enactment of the Law. It also briefly looks into what its impact has been to date. I define the system's theoretical scope and highlight its limiting factors. Chapter 2 discusses the terminology for Korean folksongs and describes the songs' general characteristics. In chapter 3, I give a historical account of the protection of Korean cultural properties by law. I also examine the current law's main stipulations and explain how the system is institutionalised. Chapter 4 studies the government reports on which the appointments of intangible cultural properties are based and discusses their flaws. Besides the legal criteria, and those generally agreed upon by the CPC members, it looks into what other criteria may affect the appointment of folksong genres. Chapter 5 focuses on the appointed folksong genres, and their "holders," from the province surrounding the capital Seoul, the Kyonggi minyo (Folksongs from Kyonggi Province) and Sonsori sant'aryong (Standing Mountain Songs) respectively. Chapter 6 studies the appointed folksong genre from the now North Korean Hwanghae and P'yongan provinces, the Sodo sori (Folksongs from the Northwestern Provinces), as well as the "one-man opera" Paebaengi kut (Ritual for Paebaengi). Chapter 7 briefly considers the remaining four appointed folksong genres from other provinces in South Korea and highlights the main issues regarding their transmission. In the final chapter, I conclude that although the system has been successful in promoting many traditions, it has so far failed to fully preserve the appointed folksong traditions.

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Davey, Mervyn Rex. ""As is the manner and the custom" : folk tradition amd identity in Cornwall." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3377.

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The distinctiveness of folk music and dance traditions in Cornwall is at best ignored and at worst denied by the wider British folk movement. Within Cornwall itself, traditional music and dance is not widely recognised as a serious art form. This study challenges this position by arguing that failure to recognise Cornwall’s folk tradition as a distinctive and creative art form is due to hegemonic power relations not the intrinsic nature of Cornish material. It contributes to the debate about the distinctiveness of Cornwall’s historical and cultural identity and shows that folk tradition has an important place in contemporary Cornish studies. This study examines the evolution of folk tradition in Cornwall from the early nineteenth century through to the present day, the meanings ascribed to it and the relationship with Cornish identity. The subject matter is at once arcane and commonplace, for some it is full of mystery and symbolism for others it is just “party time”. It is about what people do and what they think about what they do in relation to the wide spectrum of activities associated with traditional music and dance. These activities range from informal singing sessions and barn dances to ritual customs that mark the turning of the year. In order to establish a research methodology this study draws upon the paradigms of memory, oral history and discursivity. These paradigms provide a range of insights into, and alternative views of, both folk tradition and identity. Action research provides a useful enquiry tool as it binds these elements together and offers a working ethos for this study. Using this model a complex and dynamic process is unveiled within folk tradition that offers a quite different perspective on its relationship with identity and brings into question popular stereotypes.

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Favero, Ebel Armelle. "Bernard Lallement, diplomate et musicien : les chorales franco-allemandes et le traité de l'Élysée." Thesis, Littoral, 2022. https://documents.univ-littoral.fr/access/content/group/50b76a52-4e4b-4ade-a198-f84bc4e1bc3c/BULCO/Th%C3%A8ses/HLLI/119725_FAVERO_2022_archivage.pdf.

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Bernard Lallement, chef de choeur et diplomate français, passe toute sa carrière professionnelle au service du ministère des Affaires étrangères. Nommé en 1965 à Berlin dans le climat de la guerre froide et la dynamique du traité de l'Élysée signée deux années plus tôt, par Charles de Gaulle et Konrad Adenauer, il use de sa qualité de diplomate pour développer la coopération entre Allemands et Français autour du chant choral. En l'espace de quinze ans, il crée les quatre premières chorales franco-allemandes (CFAs) dans les villes où il exerce ses fonctions : Berlin, Munich, Paris et Bonn. En 1982, il fonde la Fédération des CFAs qui compte aujourd'hui dix chorales en Allemagne et sept en France. Sa ténacité fait de lui un des maillons incontournables de la société civile engagée dans les relations amicales et humaines. Convaincu, tout comme les signataires du traité, que la réconciliation et la coopération passent par la jeunesse, il occupe de 1979 à 1983 le poste de secrétaire général adjoint de l'Office Franco-Allemand pour la Jeunesse (OFAJ). La musique jalonne le parcours professionnel de Bernard Lallement, que compositions et direction accompagnent. Musique et Politique se croisent lors des concerts franco-allemands commémoratifs. Et depuis la signature du traité en 1963 jusqu'à sa plus récente actualisation à Aix-la Chapelle en 2019, le diplomate musicien oeuvre à la coopération, à l'approfondissement des relations et à l'intégration des peuples français, allemands et européens. Si l'OFAJ est une référence pour la jeunesse d'autres pays, le chant choral est devenu quant à lui, et grâce à Bernard Lallement, le vecteur d'une amitié franco-allemande durable dont les CFAs sont les ambassadrices
Bernard Lallement, French choir director and diplomat, spent his entire professional career in the service of the Ministry of Foreign Affairs. He was the first posted to Berlin in 1965 at the time of the Cold War. In the framework of the Élysée Treaty signed two years earlier by Charles de Gaulle and Konrad Adenauer, he used his diplomatic skills to develop cooperation between the Germans and the French around choral singing. In fifteen years, he created the first four Franco-German choirs (CFAs) in the cities where he was in office : Berlin, Munich, Paris and Bonn. In 1982, he founded the Federation of CFAs, which includes today ten choirs in Germany and seven choirs in France. His tenacity has made him a key player in civil society engaged in cultural and human relations. Bernard Lallement has always been convinced, together with the signatories of the treaty that young people have a major to play in reconciliation and cooperation. He worked as Deputy Secretary General of the Franco-German Youth Office (OFAJ) from 1979 to 1983. Alongside his professional career, music has been an integral part of his life, both with his composing and direction of choirs. Music and Politics come together on the occasion of the Franco-German commemorative concerts. From the singing of the Treaty in 1963 until its most recent update in Aachen in 2019, the musician diplomat has promoted the cooperation and the deepening of integration between French, German and wider European citizens. OFAJ has become the reference for the youth of other countries. Thanks to Bernard Lallement, the choirshave become the best ambassadors from promoting lasting franco-german relationships

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Книги з теми "Traditional folk song"

S, Kustovskii Evgenii, ed. Russian traditional folk song. [Hull]: Hull University Press, 1990.

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ill, Kadair Deborah Ousley, ed. Chef Creole: Traditional song. Gretna, La: Pelican Pub. Co., 2009.

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Archambault, John. I love the mountains: A traditional song. Parsippany, N.J: Silver Press, 1998.

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Where songs do thunder: Travels in traditional song. Belfast: Appletree Press, 1991.

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The cat came back: A traditional song. Glenview, Illinois: Celebration Press, 1996.

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The globalization of Irish traditional song performance. Burlington, VT: Ashgate, 2013.

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Seeger, Pete. I had a rooster: A traditional folk song. New York: Viking, 2001.

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ill, Seeger Laura Vaccaro, ed. I had a rooster: A traditional folk song. New York: Viking, 2001.

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The cat came back: A traditional song. Morton Grove, Ill: A. Whitman & Co., 1992.

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My aunt came back from Louisiane: Traditional song. Gretna, LA: Pelican Pub. Co., 2008.

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Частини книг з теми "Traditional folk song"

Williams, Joseph. "From Chaos to Song." In England's Folk Revival and the Problem of Identity in Traditional Music, 187–206. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367648145-17.

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Na, Lin, Shiliang Lyu, and Fan Bai. "Acoustic Analysis of the Singing Voice of the Ewenki Traditional Folk Song—Song of the Mother Deer." In Advances in Decision Science and Management, 211–20. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-2502-2_22.

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Williams, Joseph. "Songs of the West." In England's Folk Revival and the Problem of Identity in Traditional Music, 91–103. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367648145-9.

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Williams, Joseph. "Songs of the Open Road." In England's Folk Revival and the Problem of Identity in Traditional Music, 104–15. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367648145-10.

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DuBois, Thomas A. "Laulut suuret lapsillensa (“Great songs for his children”): The Dual Heirs to the Folk Poetry Tradition." In Finnish Folk Poetry and the Kalevala, 1–38. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315861531-1.

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"Traditional Folk Songs." In Song Book, 5–27. Routledge, 2017. http://dx.doi.org/10.4324/9781315173375-1.

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"3. Folk Song In Transition." In Traditional Folk Song in Modern Japan, 104–52. Global Oriental, 2008. http://dx.doi.org/10.1163/ej.9781905246656.i-408.26.

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Constantine, Mary-Ann, and Gerald Porter. "Introduction." In Fragments and Meaning in Traditional Song. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262887.003.0001.

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This introductory chapter discusses fragments of song, which is the main topic of the book. It defines fragments of song, and examines folk-song scholarship and the full narrative. The concept of the dislocated text is covered in one section of the chapter. The chapter concludes with a discussion of the folk-song scholarship and the minimal narrative.

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"1. Folk Song In Japan: The Background." In Traditional Folk Song in Modern Japan, 1–48. Global Oriental, 2008. http://dx.doi.org/10.1163/ej.9781905246656.i-408.10.

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"4. The Modern Urban Folk Song World." In Traditional Folk Song in Modern Japan, 153–206. Global Oriental, 2008. http://dx.doi.org/10.1163/ej.9781905246656.i-408.33.

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Тези доповідей конференцій з теми "Traditional folk song"

Jin, Yasheng, and Wenmin Liu. "Research on Prosody Features of Mongolian Traditional Folk Long Song." In 2013 International Conference on Asian Language Processing (IALP). IEEE, 2013. http://dx.doi.org/10.1109/ialp.2013.15.

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Jin, Yasheng, and Wenmin Liu. "Acoustic Characteristics of Male and Female Voice in Mongolian Traditional Folk Long Song." In 2013 6th International Symposium on Computational Intelligence and Design (ISCID). IEEE, 2013. http://dx.doi.org/10.1109/iscid.2013.139.

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Kawase, Akihiro. "Quantitative Analysis of Traditional Folk Songs from Shikoku District." In 2017 International Conference on Culture and Computing (Culture and Computing). IEEE, 2017. http://dx.doi.org/10.1109/culture.and.computing.2017.48.

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Lyu, Shiliang, Lin Na, and Fan Bai. "The Application of Phonetic Acoustic Analysis in Ewenki Traditional Folk Songs." In CIPAE 2021: 2021 2nd International Conference on Computers, Information Processing and Advanced Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3456887.3457006.

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Kravtsova, Marina. "“A LOST TREASURE”: ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI)." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.

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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th centuries A. D. the chuci poetry was stable considered within the Chinese book knowledge to be created by exclusively the literary genius of Qu Yuan (4th–3rd centuries B. C.), the great poet of the Chu Kingdom (11th–3rd centuries B. C.). Secondly, the views on chuci as an autochthonous (“southern”) poetic tradition dating back to the local folk art emerged in the 12th–13th centuries and finally established itself in the Chinese literature studies of the first third of the 20th century, all these under the influence of the ideological processes, caused by synchronic historical and political events. Thirdly, although the existence of developed song-poetic folklore in Chu Kingdom seems quite permissible, it for some reason remained out of fixation by that day written sources, including transmitted texts and archaeological materials (epigraphic inscription and excavated manuscripts). Therefore, almost nothing is known as a matter of fact of the hypothetic Chu song folklore what makes it impossible to recognize its true influence on origins and further on evolution of the chuci tradition.

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Yang, Ling. "Analysis on the Typical Genre of Traditional Folk Songs in the Northeast Sichuan." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.153.

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Shiliang, Lyu, and Zhou Luxin. "The Application of Acoustic Analysis in the Study of Yugur Traditional Folk Songs." In 2017 7th International Conference on Social Network, Communication and Education (SNCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/snce-17.2017.13.

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Shiliang, Lyu. "The Research on the Singing Voice Timbre of the Eastern Yugur Traditional Folk Songs." In 7th International Conference on Education, Management, Information and Computer Science (ICEMC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icemc-17.2017.77.

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Galuscenco, Oleg. "Folklorist Paul Chior: biography pages." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.14.

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The article presents the biography of the folklorist Pavel Chior, the chief architect of the new Soviet Moldovan culture in the interwar years. He was one of the party and state leaders in of the Moldovan Autonomous Soviet Socialist Republic: secretary of the Komsomol of the Autonomous Republic, editor of the republican newspaper “Plugarul Rosu” (“The red ploughman”), People’s Commissar of Education of the MASSR, head of the Moldovan Scientific Committee, precursor of the Moldovan Academy of Sciences, one of the founders of the Writers’ Union of the Moldovan ASSR. Pavel Chior devoted great attention to folk art. He published a number of scientific works that have maintained their significance to this day: Zicători moldoveneşti, (Moldovan proverbs), Cîntece moldoveneşti norodnice (Moldovan folk songs), etc. This article is written on the basis of previously published scientific papers. New archival materials are also used.

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Lyu, Shiliang. "A Study on the Classification and Protection of Yugur Traditional Folk Songs Based on Experimental Phonetics." In 2016 International Conference on Advances in Management, Arts and Humanities Science (AMAHS 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/amahs-16.2016.43.

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