Collection Of Songs Research Articles

On the problem of studying the texts of Kalmyk songs-shastras (based on archival materials of the Russian Geographical Society)

This article continues the study and introduction into scientific circulation of Kalmyk songs-shastras praising Buddhism. The purpose of the article: to study the early recordings of songs-shastras recorded in the Oirat script “todo-bichig”. The novelty of the work lies in the introduction into scientific discourse of unknown and little-known texts of Kalmyk songs-shastras. The material for the study includes the texts of songs-shastras stored in manuscripts for more than one hundred and fifty years in the Scientific Archives of the Russian Geographical Society. The songs were recorded by graduates of the Astrakhan School for Children of Kalmyks Elistad Dzhabdykov and Shamba Sadzhirkhaev and handed over in 1854 to I. P. Kornilov, one of the leaders of the expedition of the Imperial Russian Geographical Society to the Astrakhan province (“Expedition of the IRGO for the study of the area of the Chernoyarsk district occupied by the Bogdo Mountains”). As additional sources for studying early Kalmyk shastra songs, a manuscript collection of Kalmyk songs of the 19th century, stored in the Eastern Department of the M. Gorky Scientific Library of St. Petersburg State University, was used. The article uses descriptive, comparative-typological and comparative-contrastive methods, which allow us to identify general and specific features of the content of the songs. Having analyzed the song texts from the RGS manuscripts, the authors come to the conclusion that they are valuable sources in the study of the folk song art of the Kalmyks. The information gleaned from the texts of the shastra songs testifies, supplements and expands the knowledge of the “folk Buddhism” of the Kalmyks. The lyrics of the songs contain praise of the deities, listing their exploits; taking refuge; prayer addressed to the Buddhas; wish to achieve the state of Buddha for the benefit of living beings. Performance of shastra songs by the people helped the Buddhist clergy to educate society in the mainstream of the Buddha's doctrine. Research prospects are the results of this article will be further used by the authors in the study of Kalmyk songs in their diachronic juncture.

Socio-musical convergence and interaction in Direklerarası: commercialization of music in late Ottoman Istanbul

Direklerarası, located in the centre of intramural Istanbul, was the unrivalled hub of Ramadan entertainment from the 1880s to the 1920s with its teahouses, literary cafés, spectacles, theatres, and music concerts. Following the 1900s, this area also saw a concentration of music shops, publishers of sheet music and song collections, private music societies and schools. It became a melting pot where traditional and modern, ‘Eastern’ and ‘Western’, elite and popular music cultures converged, and intensely interacted, laying the foundations of Turkish popular music. This article aims to reveal the pivotal role Direklerarası played in the commercialization and transformation of music in late Ottoman Istanbul, with particular emphasis on the socio-musical convergence and interactions among various actors, venues and genres. For this purpose, Direklerarası is analysed as a local music scene that hosted various taste cultures, drawing from a diverse array of sources, including the contemporary Ottoman periodicals, memoirs, biographical accounts, advertisements, and theatre posters.

Antwerp, Zutphen, Venlo and Geldern

Abstract In the first half of the 16th century, extensive collections of songs were compiled in various cities in the Netherlands. The Antwerp Songbook of 1544, which was published in print, is the best known and most comprehensive. This suggests that the focus of song culture was to be found in Antwerp. However, the Zutphen Songbook (Weimar, HAAB, Cod. Oct. 146) and the Venlo-Geldrische Hausbuch (Brussels, KBR, II 144) show that there was also a rich song culture in the eastern regions. This raises questions about the centers of Netherlandish song culture at the beginning of the 16th century, about the interaction between the different territories and about the motives of the various collectors.

Millise lauliku lapsepõli? Laulu „Kui ma olin väiksekene” allikatest ja autoritest

The childhood of which songster? On the origins and authors of a beloved song Keywords: folklore, ethnomusicology, choral music, runosong, orality and literacy One of the most iconic and seminal musical works of Estonian culture, the song Lauliku lapsepõli (“Childhood of the Songster”), often referred to by its opening words, “Kui ma olin väiksekene” (“When I Was Little”), was composed on the basis of Estonian folk songs in collaboration between Aino Tamm (1864–1945), one of the first professionally trained Estonian singers, and Miina Härma (1864–1941), the first Estonian female composer. The song has been performed in various formats – including choir, solo, and social singing – published in numerous songbooks, and even reintroduced into oral tradition. Drawing on the collections of the Estonian Folklore Archives, earlier publications, and prior research, this article identifies the origins of the folk song lyrics and melodies used in Härma and Tamm’s composition more precisely than previous studies, revealing a blend of folk melodies – specifically, shepherds’ calling tunes – from Tarvastu parish and the lyrics of a folk song from Põlva parish. The choir and solo arrangements (the latter with piano accompaniment) reflect the influence of European modern art music. The study also considers the broader role of imitation and recreation in the intersection of Estonian oral and written traditions within the song’s development. The lyrics and structure of Tamm and Härma’s Lauliku lapsepõli are based on Ado Grenzstein’s song cycle of the same name, written in the traditional regilaul (runosong) style. Grenzstein’s work was first published in his Kooli laulmise raamat (“School Singing Book”, 1878) and subsequently included in several songbooks and reprints. Grenzstein’s version featured a melody adapted from a traditional regilaul tune from Tõstamaa parish and four original melodies in regilaul style, paired with translated and adapted regilaul lyrics. The same text can be found in the Võro language in the first volume of Vana kannel (“Old Harp” or “Old Psaltery”), a collection of songs from Põlva parish, published and edited by Jakob Hurt. In this publication, the lyrics are a part of a longer regilaul titled Mille mull palʹlʹo sõnno suuh? (“Why Do I Have So Many Words in My Mouth?”), compiled by Hurt from two different manuscripts (1854–1875). For Lauliku lapsepõli, Tamm and Härma composed a melody based on shepherds’ calling tunes (karjasehelletused) featuring the refrain “alle-a, alle-la”, which Tamm remembered from her childhood in Tarvastu. Härma arranged these melodies into a solo song with piano accompaniment, likely in 1891, which was first performed in 1892 and published in 1923. She later created a multi-voice choir arrangement, printed in 1895 and first performed in 1896. The melody with the original lyrics and refrain was published in 1934, though the original manuscript has not been found. Two overlapping transcriptions of the melody (without the lyrics) and the lyrics (with Grenzstein’s melody) of Lauliku lapsepõli are preserved in a manuscript of folk melodies by Miina Härma in the Estonian Folklore Archives. This manuscript was compiled in 1895–1896 when Härma was collecting folk melodies for the Finnish Literature Society. However, the arrangement of Lauliku lapsepõli predates Härma’s folk melody manuscript, suggesting that the song was composed before the fieldwork, based on personal communication with Tamm. A textual and melodic analysis demonstrates how, within the sphere of written culture, Lauliku lapsepõli has undergone gradual transformations comparable to those usually seen in oral tradition. The article argues that imitation, recreation, and reimagining were common creative practices during the formative period of Estonian written culture, suggesting that the human urge for recreation is perhaps universal, transcending cultural systems.

Udmurdi hällilaul: veel kord esmaallika probleemist

Udmurt lullabies are divided into two different musical and stylistic groups. The first one, similar to many Finno-Ugric peoples, includes improvised songs - the most archaic layer of song folklore. Improvised Udmurt lullabies are various rhythmic and melodic intonations that are meant to soothe or put the child to sleep. However, the singers I met during fieldwork often sang another lullaby based on the verse of G.E. Vereshchagin, “Chagyr, chagyr dydyke...” (Blue, blue pigeon…). All the variants of this lullaby form the second group. That lullaby has been recorded throughout Udmurtia, almost supplanting local improvised lullabies. Musical analysis of the lullaby “Chagyr, chagyr dydyke...” has shown that, unlike improvised lullabies, this tune belongs to a late music style. The lyrics of the lullaby attracted the attention of philologists and literary critics, who tried to clarify the authorship of the verse. The verse “Chagyr, chagyr dydyke...” was published by the Udmurt writer and ethnographer Vereshchagin in 1889. The heated discussion around the problem of Vereshchagin’s authorship, which unfolded later on, lasted for several decades. Udmurt folklorist T. G. Vladykina put an end to the dispute, concluding that the author of the lullaby was Vereshchagin. As proof of his authorship, the researcher presented several convincing arguments, including the peculiarities of the functioning of this tune in the tradition (“memorized song”) and the strophic form with cross-rhyme, not typical of Udmurt ritual song folklore. Vereshchagin’s verses spread among people thanks to the Udmurt scholar, poet, and musician Kusebai Gerd. Gerd published this verse several times under the authorship of Vereshchagin, adding the refrain “Iz, iz, nunye, zarni bugore!” (Sleep, sleep, my child, golden ball!) after each stanza and replacing some words. In this version, the lullaby spread throughout Udmurtia. While in philological disputes the points of view of different parties are known, in ethnomusicology the problem of music authorship has not even been raised yet. The music was considered folk or attributed to Vereshchagin. The first musical notation of the lullaby with Vereshchagin’s lyrics was published in 1925, in a collection of Udmurt songs by Mikhail Romanov, who was a teacher at the Glazov Pedagogical Technical School. Apparently, he recorded it from his students, then reworked it for a four-voice choir. The lullaby was sung all over Udmurtia at that time. It was also sung by Gerd, who had a good voice and musical education. It can be assumed that Kusebai Gerd composed the melody to the verse of Vereshchagin. The fate of the verse “Chagyr, chagyr dydyke...” turned out to be fortunate. Vereshchagin nominated it as a lullaby song heard from an Udmurt woman “laying her child down”. And it really turned into a folk song, acquired its own melody, becoming known in every Udmurt village. Thus, in the Udmurt folklore genre system the author’s work acquired the legal status as an autonomous folklore unit, practically supplanting lullaby improvisations.

Ascending the Hill to Praise: The Function of the Psalter’s Structure and Poetry in Forming Hearts of Praise

Abstract The Psalms constitute more than a randomized collection of discrete songs. God has given the psalms to form believers through regular performance. The Psalms are not merely an anatomy of the soul: the Psalms are medicine for the soul. A proper understanding of the dominant metaphors within the psalms, through their use and practice, renders the Book of Psalms a pathway toward refuge and the refuge itself. The worshipper must sing his or her way through the Psalms from songs of lament and repentance, through songs of thanksgiving and trust, eventually ascending the hill to praise.

Предчувствие любви и смерти в традиционных личных песнях западных эвенков

Evenki musical folklore has long attracted the attention of researchers. The earliest publication of traditional Evenki song texts was produced by G. Hut at the beginning of the 20th century. The first audio recording of Evenki songs was made using a phonograph by L. Y. Sternberg in 1910. The Phonogramme Archive of the Pushkin House in St. Petersburg includes extensive collections of traditional Evenki personal and shamanic songs, which were recorded in the first quar­‑ ter of the 20th century and still need to be transcribed and analyzed. Since then, a number of articles and monographs dedicated to Evenki songs, both traditional and modern, have been published. However, these publications have not included many actual texts of traditional Evenki songs. Collections of Evenki songs, published regularly since the 1930s, primarily reflect the “new wave” of songs written under the influence of the Russian/Soviet and global pop music traditions. This is the type of songs that we have had the opportunity to record since the turn of the 21st century among not only the Wes­­­­‑ tern, but also Eastern Evenkis. Therefore, the two traditional songs presented in this article are rare exceptions among our Evenki field data. They were recorded in 1999 in Turukhansk, the district centre, performed by Maria Fedorovna Bezrukikh (Kurmatova), an 80-year-old Evenki woman from the Arctic village of Sovetskaya Rechka. These are traditional personal songs, not of the performer herself, but of her elder relatives. The first one is the song of a young girl who dreams of meeting a yet unknown man with whom she could spend the rest of her life. The second song is that of an old woman anticipating her approaching death.

Mihhail Kurotškini panus udmurdi folkloristikasse

The work presents little-known and new facts from the life and work of the educator and teacher Mikhail Alekseevich Kurochkin. He made a valuable contribution to the preservation and popularization of the folklore heritage of the Udmurt people and the development of musical culture. Hardly accessible and interesting factual stories about his creative and life biography have been introduced into scientific circulation; these were identified during work with newspaper materials, documents from the archives of the Administration of Sarapul and the archives of the Mozhginsky Pedagogical College by Trofim Kuzmich Borisov. Some features of the song collection Kubyz (1925) with notes by Mikhail Kurochkin are described. The book was compiled by him on the basis of folkloric field materials collected together with students of the Mozhginsky Technical School. His pedagogical and cultural activities contributed to the development of children’s interest in their native culture, the formation of a musical direction in Udmurt science, and the education of new national personnel. The study of the life and creative biography, educational and folklore activities of Mikhail Kurochkin made it possible to determine his significant contribution to the cultural life of the Udmurt people at the beginning of the 20th century.

«ЖИВІ МЕЛОДІЇ СЕЛА» У ВОКАЛЬНО-ПЕДАГОГІЧНОМУ РЕПЕРТУАРІ ЗДОБУВАЧІВ ОСВІТИ ФАКУЛЬТЕТІВ МИСТЕЦТВ

The article analyzes the peculiarities of applying the results of the innovative project of the author of the study – «Living Melodies of the Village» in the vocal training of students of art faculties. The features of the implementation of the «Village Melodies Live» project are described, information about the participants and winners is provided. The article substantiates the importance and effectiveness of the innovative project «Living Melodies of the Village» in the vocal training of students of higher art education, describes recommendations for the use of video materials and sheet music in the process of learning Ukrainian singing and mastering a new vocal-pedagogical repertoire. The content of the song collection, which includes various folk songs of Cherkasy region and photographs of artistic works, is analyzed. Emphasis is placed on the importance of using video materials of the project, which allow you to hear and see authentic performers of Ukrainian songs and learn from them specific techniques and means of Ukrainian folk singing. The proposed materials – expedition videos and song’s book of the project - are aimed at the musical, all-round spiritual development of students, their patriotic upbringing and enrichment of worldview, the formation of vocal and pedagogical repertoire and stimulation of scientific research and artistic and educational activities. The article determines that the project «Living Melodies of the Village» affects national self-awareness, identity, helps students to master the culture of Ukrainian singing, to form a worldview and artistic and aesthetic tastes, spiritual values, to develop musical abilities and talents, to enrich knowledge about the traditions of their people. Links to Internet resources with the materials of the «Village Melodies of the Village» project are provided for their practical use in art pedagogy.

THE FUNCTIONING OF COMONYMS IN MODERN SONG TEXTS OF THE TATAR AND MARI PEOPLES

The article is devoted to the analysis of the modern musical and song tradition of the contacting ethnic groups of the Middle Volga region. The main attention is focused on the study of song texts in the Tatar and Mari languages contained in the names of rural settlements of the Republic of Tatarstan and the Republic of Mari El. The preservation of a common trend for all ethnic groups, expressed in the unification of thematic groups, the preservation of common features of national and cultural specificity in the performance of musical works, has been established. An archaic pentatonic characteristic of the Tatar song model, borrowed into the Mari folk song, has been recorded. It is confirmed that the basis of the modern Tatar and Mari musical and song culture of the village is the genre of village chant, marking the place of existence of the song and informing about the attribution of the song to a certain locality. There is a direct connection between the village and the rustic motif (chant). The implementation of the village tune is carried out mainly in everyday languages through lyrical songs and “takmak”. “Takmak” (analogous to Russian chastushka), as a legacy of the musical influence of the Turkic-Tatar population of the Middle Volga region, retained its influence on the musical tradition of the Cheremis (Mari) people, which allowed to establish a certain kinship of modern folkish songs of these peoples in rural society. The marking of the geographical affiliation of the song works is provided by toponyms describing the location of a particular locality. Song collections of a consolidated type in the Tatar and Mari languages are presented in printed and electronic versions. A comparative analysis of modern songs, including comonyms, revealed the manifestation of similar features when they are implemented in a natural cultural environment. Most modern folkish songs, both Tatar and Mari, are based on traditional motifs of the small homeland, nostalgia for the rural nativity, love of nature, autobiographical history, memories of past youth and childhood, indicating the characteristic features of the geo-landscape for this territory, as well as linguistic and cultural images based on the motives of sociocommunication – the presentation of the settlement, its residents, outstanding natives, self-presentation, promotion of village traditions, relationships of the multiethnic composition of the village, etc.

Usability Testing of the Metadata Management of Audio Archive

The aim of this research is to test the usability of the audio archive metadata management application. This application is used to record all song collection data in the form of cassettes and vinyl and is also used to search for collection data easily and quickly. This research used System Usage Scale (SUS) method to test the application usability. The SUS Testing was carried out by distributing a questionnaire which consists of 10 statements to 30 respondents to determine the assessment scale based on percentile rank, grade, adjective rating, acceptability, and net promoter score. The result of the system usage scale testing showed an average total score of 83. By detail, this result explained that the percentile range assessment scale is between 90-95%, grade is A, adjective rating is in the Excellent category, acceptability is in the acceptable category, and net promoter is in the promoter category. Thus, it can be concluded that the audio archive metadata management application is suitable for use as a search and retrieval tool for song collections in the form of cassettes and vinyl. However, in order to increase the application’s usefulness, the application can be more developed in the future by adding additional features to meet the criteria as a better metadata management tool.

Ancient Chinese Poem “The Song of Bride”: Features of Translation by A.A. Shtukin

The translation of A.A. Shtukin’s poem “The Song of the Bride”, which is part of the collection of ancient Chinese hymns and songs “Shijing”, is being considered. The relevance of the study is determined by the interest of Chinese researchers in the quality of translations of Chinese poetry into European languages, particularly Russian. There is noted interest from both Chinese and Russian researchers in the translation of the book “Shijing”, as it varies depending on the perception of foreign cultures. The features of A.A. Shtukin’s translation of the poem “The Song of the Bride” are highlighted in terms of the images he created and the linguistic specifics. It is pointed out that Shtukin’s translation of the poems from “Shijing” is recognized as one of the best. The analysis of the translation revealed the following characteristics: the preservation of the original work’s color through botanical metaphors, sound, and structural organization of the text. Some shortcomings in conveying the atmosphere of ancient Chinese lyricism from the perspective of native Chinese speakers who also speak Russian were also identified; the translation differs from the original in that it insufficiently conveys the atmosphere of ancient Chinese lyricism, which can be easily explained by the differences in worldviews among speakers of different languages.

An Analysis of Traditional and Contemporary Children’s Songs With Considerations for Music Therapy Practice

Abstract Children’s songs include a diverse collection of traditional and contemporary songs. (Yinger and Springer [2016]. Analyzing recommended songs for older adult populations through linguistic and musical inquiry. Music Therapy Perspectives 34, 116–125. https://doi.org/10.1093/mtp/miu048) analyzed musical and textual features of songs used by music therapists with older adults; however, studies on children’s songs in music therapy have not included musical and textual features analysis. Our purpose with this study was to analyze the musical and textual features of a sample of 20 traditional and 20 contemporary predominantly U.S. children’s songs and consider applications for music therapy. Text information was collected, including total and unique words, the song topic, and potential applications. Musical information was collected, including form, melodic range, and harmonic/chordal structure. Findings included that the traditional songs were strophic, had fewer overall words, were harmonized with three chords or fewer, and had melodic ranges of five to seven notes. By contrast, contemporary children’s songs used complex song forms, had more words, were harmonized with more than three chords, and had melodic ranges of eight or more notes. Song topics and applications had similar codes across the song types. A music therapist may apply traditional songs in clinical work, where a simpler musical structure and fewer words support the client’s needs. Likewise, a music therapist may apply contemporary songs for greater musical complexity and more vocabulary. Future studies of children’s songs in music therapy could include an analysis of music therapists’ composed songs and songs used by music therapists who work with young children.

Traditional Inuit songs from the Thule area. Recordings

CD with collection of songs described in this publication in cda-format.

Unraveling the Local Hymnal: Artistic Creativity and Agency in Four Indonesian Christian Communities

Local hymnals are cultural artifacts that express a community’s values, history, and identity and serve as vehicles for communal agency. This study investigates the role of local hymnals in shaping cultural identity and theological expression within four Indonesian Christian communities. Through interviews with church leaders, songwriters, and musicians, and an analysis of four hymnals from different communities in Indonesia, this study explores how these communities exercise agency in creating, perceiving, experiencing, and utilizing locally created songbooks. The research reveals that local hymnals are not only tools for shaping communal identity and transmitting theological understanding but also instruments through which communities assert their agency, fostering cultural dynamism. The study also considers the impact of colonialism and globalization on the development of local hymnody, highlighting how these communities have actively adapted and reinterpreted external influences to create unique and meaningful expressions of faith. The research concludes that local hymnals are not merely collections of songs but living artifacts embodying the agency of communities: the ongoing dialogue between tradition and innovation, faith and culture, and the individual and the community. By fostering autogenic cultural reflection and asserting communal agency, local hymnals fuel momentum and sustainability within a culture.

THE ROLE OF PROFESSOR MAMATQUL JO'RAEV IN COLLECTION AND STUDY OF WEDDING SONGS

Folk art is a priceless, inexhaustible spiritual treasure! Various genres, including proverbs and riddles, praise and cursing, great epics, children's folklore, ritual folklore, etc., which are included in this treasure, are of great value to the representatives of the field of the field. In particular, the effective work of the folklorist scientist Mamatqul Joraev, who dedicated his life to the study of the masterpieces of artistic thinking, immortal traditions, rich heritage of our ancestors, further development of the science of Uzbek folklore, and the work of educating a mature generation on this basis, is worthy of recognition. In this article, the scientist's research on the collection and study of wedding songs, their relevance, novelty, theoretical and practical importance are expressed.

पुस्तक समीक्षा : प्रा. डा. ध्रुबेशचन्द्र रेग्मीद्वारा लिखित 'नेपाली सङ्गीत दरबार : आदिकालदेखि आधुनिक कालसम्म

History of the Nepali music is very hoary. Nonetheless, apart from a few of the collections of old and new songs, books written on the Nepali music are very rare. In this context, the books written by native and foreign authors are obviously highly valued. In addition, books authored by the one who has been long associated with the field of Nepali music would be essentially substantial. The book reviewed here falls in the same category. Prof. Dr. Dhrubesh Chandra Regmi, a renowned music scholar and performer is an exponent of sitar belonging to the illustrious Regmi gharana (the musical family) of Nepal. He has been involved in the field of higher education of music since quite a long time as well as. In this sense, the book authored by him is very important from different perspectives.

Making Song Travel: Crosscurrents of Language and Landscape in Welsh and Scottish Song Collections, 1804–1818

Making Song Travel: Crosscurrents of Language and Landscape in Welsh and Scottish Song Collections, 1804–1818

Preservation and Literacy Transmission of Xinyang Folk Songs by Fu Dakun in Henan, China

The study focuses on the preservation and literacy transmission of Xinyang Folk Songs by Fu Dakun in Henan, China. Fu Dakun, a well-known figure in the field of Xinyang Folk Songs, has played an important role in preserving this cultural heritage. His father and grandfather guided his education, performance, and training from when he was born in 1949 until 1965. His commitment to preserving Xinyang Folk Songs persisted even as he worked as a farmer from 1980 to 1990. In 1990, he formed a folk song-singing ensemble to ensure these songs were passed down to future generations. Fu Dakun’s intense training enabled him to master conventional voice techniques while establishing his unique style. With over 50 years of practical experience, he broadened the repertoire of Xinyang Folk Songs while retaining their traditional spirit. He received distinguished titles and honors for his significant contribution to the organization of folk song collections. Fu Dakun’s dedication to training new generations of folk singers strengthens his contribution to preserving Xinyang Folk Songs. The paper also addresses the broader context of cultural preservation, highlighting the significance of government policies in promoting such projects.

METAFORA KONSEPTUAL DAN SKEMA CITRA DALAM LIRIK KUMPULAN LAGU SAL PRIADI: KAJIAN SEMANTIK KOGNITIF

<p><em>One of the song genres in Indonesia creates poetic lyrics so that it needs a deep understanding, diving deeper than just the literal meaning. Therefore, it is necessary to understand the metaphorical expression to further examine using human cognition so as to produce conceptual meaning. Through it, the conceptualization of one element in another will be obtained. Conceptual metaphors then generate a structure of meaning derived from life experience. Thus making conceptual metaphors, image schema, and human cognition connected to one another. This research is descriptive qualitative. The data in this study was taken from the lyrics on the 10 songs with the most listeners Sal Priadi according to the Spotify platform. Data analysis and classification using Lakoff and Johnson's theory of Conceptual Metaphors and Cruse and Croft's Image Schema. This study produced 13 conceptual metaphor data, including 3 structural metaphors; 6 orientational metaphors; and 4 ontological metaphorical data. Then the image scheme in Sal Priadi's collection of songs is dominated by the identity schema.</em></p>