Metaphorical Expressions of Karakalpak Culture in Traditional Folk Songs

This section of the book Traditional Folk Song in Modern Japan Sources, Sentiment and Society presents appendix 2 which contains six subdivisions; Main min'yō sakaba (folk song bars) in Tokyo, Main min'yō sakaba (folk song bars) in the Osaka area, Umbrella organizations of min'yō groups, Record shops, Further events information and Okinawan min'yō sakaba and information in Tokyo and Osaka. The Japanese say that 'folk song is the heart's home town'. Traditional folk songs (min'yō) from the countryside are strongly linked to their places of origin and continue to play a role there. Today, however, they are also taught as a quasi-art music, arranged for stage and television, quoted in Westernized popular songs and so forth.Keywords: modern Japan; Okinawan min'yo sakaba; Osaka area; quasi-art music; traditional folk song; Umbrella organizations

The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present

This section presents an appendix of the book Traditional Folk Song in Modern Japan Sources, Sentiment and Society which is divided into three divisions. The three divisions are translations of the texts of Shin-Min'yō from the 1920s to 1970, Shin-Min'yō from 1977 to 1981, and popular songs with a significant relation to folk song, respectively. The last entry of each heading shows the poetic metre of the text and the scale structure. The Japanese say that 'folk song is the heart's home town'. Traditional folk songs (Min'yō) from the countryside are strongly linked to their places of origin and continue to play a role there. Today, however, they are also taught as a quasi-art music, arranged for stage and television, quoted in Westernized popular songs and so forth.Keywords: Modern Japan; quasi-art music; Shin-Min'yō; Traditional Folk Song; Westernized popular songs

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.

This appendix section of the book Traditional Folk Song in Modern Japan Sources, Sentiment and Society contains about seven LPs of 'genre poems' arranged regionally, with narration linking recorded examples and also briefs about why min'yō became the property of the older generations. The Japanese say that 'folk song is the heart's home town'. Traditional folk songs (min'yō) from the countryside are strongly linked to their places of origin and continue to play a role there. Today, they are also taught as a quasi-art music, arranged for stage and television, quoted in Westernized popular songs and so forth.Keywords: 'genre poems'; min'yō; Modern Japan; quasi-art music; traditional folk song

This section of the book Traditional Folk Song in Modern Japan Sources, Sentiment and Society contains a list of musical works, both Japanese and Western, that are referred to in the text and Appendices. The entries are listed in alphabetical order. The Japanese say that 'folk song is the heart's home town'. Traditional folk songs (min'yō) from the countryside are strongly linked to their places of origin and continue to play a role there. Today, they are also taught as a quasi-art music, arranged for stage and television, quoted in Westernized popular songs and so forth.Keywords: min'yō; modern Japan; quasi-art music; traditional folk song

This glossary section contains a list of terms, names and brief definitions that occur in the book Traditional Folk Song in Modern Japan Sources, Sentiment and Society. The entries are arranged in alphabetical order. The Japanese say that 'folk song is the heart's home town'. Traditional folk songs (min'yō) from the countryside are strongly linked to their places of origin and continue to play a role there. Today, however, they are also taught as a quasi-art music, arranged for stage and television, quoted in Westernized popular songs and so forth.Keywords: min'yō; Modern Japan; quasi-art music; Traditional Folk Song

This section of the book Traditional Folk Song in Modern Japan Sources, Sentiment and Society contains tracks taken from commercial recordings. The entries are arranged from CD1 to CD38. The Japanese say that 'folk song is the heart's home town'. Traditional folk songs (min'yō) from the countryside are strongly linked to their places of origin and continue to play a role there. Today, they are also taught as a quasi-art music, arranged for stage and television, quoted in Westernized popular songs and so forth.Keywords: commercial recordings; min'yō; Modern Japan; traditional folk song

Traditional folk music is built on traditional folk songs. The five types of emotions of patriotism, homesickness, affection, friendship, and love are all depicted in modern Chinese folk songs, which show the rich and colorful emotions of people of all ethnic groups in China. Modern Chinese folk songs that express these emotions have a variety of artistic features in terms of melody, rhythm, mode, and mood and provide the audience with unique aesthetic experiences. This paper focuses on JTFA- (Joint Time-Frequency Analysis-) based emotional classification of traditional folk songs, as well as PCA (principal component analysis) and KPCA (Kernel-Based Principle Component Analysis) methods for nonstationary signal feature dimension reduction. The simulation results show that the number of features in KPCA is less than in PCA for the same accuracy. When the number of features is equal to the number of principal components, the accuracy is higher than PCA, indicating that KPCA has a better effect in dimension reduction and feature extraction. Furthermore, in all categories, the double-layer classification model maintains a relatively high recall rate and accuracy rate, demonstrating the effectiveness of the double-layer multimusic emotion classification model.

NORTH AMERICAN FOLK AND BLUEGRASS MUSICFolk Songs of Another America: Field Recordings from the Upper Midwest, 1937-1946. By James P. Leary. (Languages and Folklore of the Upper Midwest.) Madison: University of Press; Atlanta, GA: Dust to Digital, 2015. [xxi, 430 p. ISBN 9780299301507 (hardcover), $60.] Bibliography, indexes, illustrations, 5 compact discs, 1 digital video disc.Polka Heartland: Why the Midwest Loves to Polka. Photos by Dick Blau, text by Rick March. Madison: Historical Society Press, 2015. [200 p. ISBN 9780870207228 (hardcover), $29.95; ISBN 9780870207235 (e-book), varies.] Bibliography, notes, index, illustrations.The Upper Midwest is a region rich in musical traditions, but it is not as well studied as other areas of the country. So it is very fortunate that we have these two new books that enlighten us about the music of the region. At first glance, Folk Songs of Another America resembles a book, but it is primarily a collection of five compact discs and a DVD, all bound in a book-like container with extensive liner notes. The recordings were made in the Upper Midwest in the first half of the twentieth century by the well-known folk collectors Sidney Robertson [Cowell] (1903-1995) and Alan Lomax (1915-2002), as well as the lesser-known student apprentice Helene Stratman-Thomas (1896-1973). These researchers, equipped with federal support from the Archive of American Folk Song at the Library of Congress, recorded nearly two thousand traditional performances in more than twenty-five languages from representative musicians and singers in Michigan, Minnesota, and Wisconsin (p. 2). The present work contains 174 audio samples as well as a twenty-four-minute documentary film with twelve additional selections. These recordings document the multi-ethnic and multi-lingual music of the region.Making a similar argument as in his earlier book, Polkabilly (Oxford: Oxford University Press, 2006), Leary states, America's Upper Midwest emerges from these field recordings as a distinctive American region wherein, from the nineteenth century through the 1940s, a remarkable array of American Indian, Anglo-American, African American, and especially non-Anglo-European peoples maintained, modified, borrowed, merged, and composed songs and tunes from their respective and frequently shared folksong traditions . . . the depth and breadth of the Upper Midwest's folksong traditions, so complex and 'so mixed,' have remained elusive and almost forgotten (p. 3). He explains that previous publications emphasized English-language performances exclusively, ignoring the majority of the recorded material. The title of Leary's latest book is explained by his description of it as a redemptive counter-cultural project that effectively challenges and considerably broadens our understanding of folk music in American culture (p. 4).Each of the six chapters corresponds to one of the discs in the collection. The first chapter, called Pigtown Fling, documents twenty-eight pieces collected by Robertson in 1937. This collection includes performances by French Canadians, lumberjacks, Gaelic Scots, Serbians, and Finns. The second chapter, River in the Pines, contains descriptions of twenty-two pieces collected at the National Folk Festivals in Chicago in 1937 by Robertson and in 1938 in Washington, D.C. by Lomax. Robertson captured live performances on stage, while Lomax made his recordings under studio conditions at the Library of Congress. They both recorded mostly the same performers from Wisconsin, who were organized by Otto Rindlisbacher (1895-1975) from Rice Lake. Rindlisbacher, of Swiss-German descent, was a master of many of the ethnic styles from the region. The recordings include performances on accordion and Hardanger fiddle, as well as on instruments mostly hand made by Rindlisbacher: the cigar-box fiddle, Paul Bunyan harp, Viking cello made from a pitchfork (psalmodikon), and birch bark horn. …

<p>This study aimed to assess and identify the teachers’ knowledge in the preservation of traditional leyteño – samareno folk songs towards culturally responsive pedagogy. The study employed a descriptive qualitative approach wherein researchers interviewed five teachers based on rank and ethnicity. When a straightforward explanation of phenomena is sought, a qualitative descriptive method must be the design of choice. It is a method that is highly helpful when researchers want to know who were engaged in an event, what was involved, and where it occurred. The study found out that participants’ ways of acquiring knowledge of traditional Waray-waray folk songs represent different sources, 75% comprise answers in school, from seminars/workshops held at Tacloban and Samar places. Generally, the ability of the teachers to teach traditional folk songs is significantly impacted by their lack of substance and pedagogical understanding. The proficiency of the instructors in teaching traditional folk songs will be passed down through the generations based on how accurately the songs are sung. Every music instructor struggles to localize and contextualize traditional folk songs because of their very limited learning material and pedagogical experience, particularly those who are not native residents of the area.</p>

The traditional folk songs of the Ewenki nationality have a long history and have been passing down through oral inheritance to the present. The folk songs record the life experience and traditional culture of the Ewenki, they have a significant research value. Since the traditional folk songs of the Ewenki nationality are sung in the Ewenki language, besides the Ewenki language is an endangered language and there is no writing used to record the language, which is not conducive to the protection of the folk songs. This paper will mainly introduce the research methods of phonetic acoustics, and then apply it to the research of the Ewenki traditional folk songs, analyzing and studying the folk songs from the aspect of the acoustic characteristics of folk songs. In order to provide a new method for the research of Ewenki traditional folk songs, which plays a role in recording and protecting folk songs?

Almost 130 years after the publication of Adolf Hauffen's ethnographic study and collection of Gottscheer songs, the book Pesemsko izročilo Kočevske ('The Folk Song Tradition of Kočevje area') has made the treasure trove that is the folk song tradition of the wider Kočevska region, mostly written in the Gottscheer dialect, available in Slovenian. In addition to the translation of the book Die deutsche Sprachinsel Gottschee. Geschichte und Mundart, Lebensverhältnisse, Sitten und Gebräuche, Sagen, Märchen und Lieder ('The German Language Island in Kočevska Region. History and Dialect, Living Conditions, Customs and Habits, Folktales, Fairy Tales and Folk Songs', 1895), the work also contains an article by the aforementioned author (from 1896), in which he published additional folk songs and information he received after the publication of his book. This is followed by nine scholarly-critical studies by seven authors, Peter Lozoviuk, Anja Moric, Marija Klobčar, Marjetka Golež Kaučič, Zmaga Kumer, Saša Babič and Helena Ložar-Podlogar, who examine the Gottscheer folk song tradition from ethnological, folkloristic and historical perspectives. They focus on the collection of Gottscheer folk songs that formed the core of Hauffen's monograph, but also offer broader critical reflections. The book is also the first translation of the entire folk song collection from any foreign language into Slovene.

Literature is created by the well-known poets and preserved by the learned people. Aru. Alagappan says folk songs are created by lay people and saved by them. They have created folk songs in the form of oral literature in various categories such as lullaby songs, ghummi songs, themmangu songs, sports songs. These songs are about the joys and sorrows of the common people but, they may not be documented. The songs do not have formal grammatical forms or word structure. But it has all the flavors and concepts of the people like pleasure, suffering, waiting, achievement, trial, heroism, love and loss. These songs are the time pieces that show the history of the people of that period. No one knows who composed these songs. Yet, it continues to be preserved by lay people and passed down to the next generation. These songs are still sung in villages. Just like a banana tree grows its offspring, these folk songs also continue to grow along the way. It may vary slightly from time to time in some places, but that does not detract from its authenticity. It is the duty of the learner to document this properly. There is a lot of difference between the world seen by educated people and laymen. The lay people sang the world as they had seen, the world they had to see, in the words they knew, in the ragas they knew, and solved their grief and pain. Even though all the songs are not recorded or written, they are preserved by word of mouth. We should not forget that all these are songs of an uneducated people. However, this article examines the folk songs sung by the lay people and how they gave importance to education and through these songs one can get a clear idea about their social status.

Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.