Folk Genres Research Articles

Intellectual Reception of G. Lozanov’s Theory on Suggestopedia in the Pedagogical Discourse of Ukraine

The paper is aimed at studying the results of Ukrainian scientists who developed the theory and practice of suggestopedia.The ideas of the outstanding Bulgarian scholar G. Lozanov serve as the foundation of modern linguistics, including the directions of suggestive language didactics, linguistics of influence, psychological and neurological and marketing linguistics. Thanks to Lozanovʼs contribution, researchers have learned to find suggestive components in political messages, analyze strategic narratives, find hidden aspects in religious texts, better understand the applied nature of some folk genres and more. The special anthropological value of Lozanovʼs approaches is objectified by the development of neuroscience, where a person is often positioned as a functionary with electronic chips. Instead, Lozanovʼs man is a free, conscious and loving man. Although research on suggestion is growing in the scientific literature, there is still a significant gap in this topic, in particular on theoretical and empirical developments on the impact of suggestion on various aspects of communication. A review of recent publications on suggestopedic topics shows that the interest in G. Lozanov’s approaches does not fade and is nourished by the pedagogical search for educational paradigms which are adequate to the real needs of life and capable of combining tradition with innovation. The article presents different approaches to Lozanovʼs discoveries and aims to encourage new discourses into the area of the linguistic programming of personality.

Folk Illusions: Children, Folklore, and Sciences of Perception

Folk Illusions: Children, Folklore, and Sciences of Perception

ДО ДИСКУРСУ УКЛАДАННЯ ЗБІРНИКА КАЗОК: ТРАДИЦІЯ ТА ПОШУК ОРИГІНАЛЬНОСТІ

The issue of compiling a collection of fairy tales has not lost relevance since the publication of "Notes on Southern Russia" by P. Kulish. For a long time, the method of fixing and options for ways to present to readers a folk tale as a folk genre were formed. The article provides a structural analysis of some of these publications in order to clarify the mandatory and variable components of collections of folk tales, as well as the possibility of their further use. One of the important indicators of certification of fairy tales is the establishment of their codes, in accordance with the international indicators of motives (SUS and ATU). This issue is being resolved. The vast majority of modern storytellers try to study the so-called "white spots" of science, to promote the publication of academic or private archives. The article highlights the works of scholars of the early and late 20th century, as well as contemporaries in order to trace the genesis of the issue of perfection of folk prose. In particular, the publication of M. Levchenko's fairy tales "Fairy tales and stories from Podillya: in the records of 18501860" (1928), L. Dunaevskaya "From a living source. Ukrainian Folk Tales in Records, Traditions and Publications of Ukrainian Writers" (1990), I. Khlanta "Fairy Tales and Legends from Khust Castle" (2016), I. Gryshchenko "Interethnic Relations in Ukrainian Folk Tales" (2009), "Kalinova flute: an anthology of Ukrainian folk prose" (1998) O. Britsina, G. Dovzhenok, S. Myshanych. Emphasis is placed on the use of not only archival funds, but also modern folklore records, which testifies to the life of the fairy-tale tradition of our people. Aspects of the use of methods of historical and comparative schools in order to arrange collections of folk tales, their universal use are traced.

Историческое пространство в песнях XVIII века о Северной войне

The article analyzes the historical songs that deal with the Northern War of 1700-21. It emphasizes that, even though the songs seem to rely on historical data, they tend to merge with the previous tradition. Historical songs as a folk genre give a clear understanding of how old and new toponyms denoting the same locus (Russia and Rus; the Baltic Sea and the Varangian (Verey) Sea; Kolyvan and Revel; Yuryev and Dorpat) manage to coexist within the same creative space.

Music Genre Classification Using Deep Learning with KNN

Music genre is a conventional category that predicts the genre of music belonging to tradition or set of conventions. A music platform, with total assets of $26 billion, is ruling the music streaming stage today. At present, it has a huge number of tunes and it is information base and claims to have the right music score for everybody. Like, Spotify, Amazon music, Wynk has put a great deal in examination to further develop the manner in which clients find and pay attention to music. AI is at the centre of their examination. From NLP to Collaborative sifting to Deep Learning, All music platforms utilizes them all. Tunes are examined dependent on their advanced marks for certain elements, including rhythm, acoustics, energy, danceability, and so forth, to answer that incomprehensible old first-date inquiry. Organizations these days use music arrangement, either to have the option to put suggestions to their clients (like Spotify, Soundcloud) or just as an item (for instance, Shazam). Deciding music sorts is the initial phase toward that path. AI procedures have ended up being very fruitful in removing patterns and examples from a huge information pool. Similar standards are applied in Music Analysis moreover. Machine learning techniques are achieved in some recent years and rarely in deep learning. Most of the current music genre classification uses Machine learning techniques. In this, we present a music dataset which includes many genres like Rock, Pop, folk, Classical and many genres. A Deep learning approach is used in order to train and classify the system using KNN.

ЖАНРОВО-ІДЕОГРАФІЧНІ ТЕНДЕНЦІЇ У ПОЕТИЦІ СУЧАСНОЇ ДИТЯЧОЇ ЛІТЕРАТУРИ

The article attempts to explore the features of early 21st century Ukrainian poetry for children. The purpose of exploration is to identify the genre and ideographic features of poetry: innovation and traditionalism. Tracing the genre modifications of poetry and their common and distinctive features, the author addresses the key features of poetry for children in general: artistic and literary discourse, the functions of poetry, thematic direction, strophic structure of the poem, the existence of images, characters and others. The article proves that the basis for the renewal of poetic genres is traditional genres of folklore and poetry. There are organically updated folk genres in modern poetry for children (praise, scarecrows, fables, nonsense, counters, patter, games) and newly created genres (poetry-pictures, tricks, coloring books, checks, stumbling blocks, therapeutic poems). The search for new forms of expression of idiosyncrasies of artists leads to the emergence of original genres. These have appeared as an original phenomenon in the Ukrainian literature of the early 21st century and offer a wide scope for further research.

Exploration of Music Preferences among the Socioeconomic Stereotypes: A Cross-Sectional Study

Music preference is being influenced by various sociological factors. This study was undertaken to investigate music preferences across five different socio-economic classes in selected urban and suburban areas of Sri Lanka. Ten music tracks representing the correspondent musical genres were selected. The single most preferred and the weighted hedonic mean score for the genres in each class were obtained as upper class: jazz, upper middle class: nature music, middle class: popular instrumental, working class: popular instrumental and poor class: rock. The interaction between socio-economic classes and genres was significant (p<0.05). Compelling associations for folk, jazz, and popular instrumental genres were found with the upper-middle class while the upper class has shown a significant association for popular instrumental music. Despite the socio-economic status, the highest preference and the highest weighted hedonic mean score were recorded with popular instrumental. Thus, understanding music preference behaviour is vital for music education and research.

Symbolism in the English and Russian fairy tale folklore: comparative analysis

The subject of this research is the symbolism in the English and Russian fairytale tradition. The object is the texts of the Russian and English fairy tales. Analysis of the texts reveals the typical functions performed by symbols in both folklore traditions. The author provides the examples of symbols and offers the interpretation of objects-symbols, symbols-zoonyms, color and number symbols, time and space symbols. Comparative study of folklore heritage of non-cognate languages reveals the fundamental commonness of a particular folk genre of different peoples in their perspective upon reality, methods of depiction, and ideological interpretations. The scientific novelty consists in conclusions obtained in the comparative study of the symbolism of fairy tale texts in the Russian and British folklore, which is important for determination of linguistic, semiological and cultural universals. The comparative study of folklore material of two traditions in the sphere of the poetics of folklore reveals the traditional universals and unique features on the level of symbolism of the fairy tale genre. Within the framework of the article, the author analyzes the functionality of thematic, animalistic, color, spatial-temporal, and numerical symbols. The acquired results are underpinned by a large number of text examples.

Ukrainian carillon arrangements as an instance of the cultural transmission and adaptation

The development of carillon art in Ukraine is studied. The distribution of carillons in Ukraine is considered. The issue of creating a national carillon repertoire is investigated. The interactions between the Western European instrument and the Ukrainian national music are analysed. Possibilities in reflecting the peculiarities of Ukrainian folk song by means of carillon texture are shown. Analogies are made between the texture of the carillon and the ways of playing typical instruments of Ukrainian folklore. Methods of combining Ukrainian and Western musical vocabulary, laid down by M. V. Lysenko, are used: a list of Ukrainian folk genres that can be compared with European genres included in the European musical lexicon is given. The structure of the Ukrainian national repertoire for the carillon is outlined and a plan of the corresponding manual is given. The significance of the development of Ukrainian carillon art for the world musical practice is analysed.

On the Protection of Intangible Heritage of Russian Folk Oral Music in the Context of Intercultural Communication (Hulunbuir, Inner Mongolia)

The article discusses the issues of preserving the genre of Russian folk oral musical creativity in the village of the Argun and the city of Hulunbuir, Inner Mongolia, located in the northern part of China. The issue is viewed in the context of intercultural communication between descendants of Russian immigrants and Chinese locals. The article considers the factors in the formation of the ethnic group of Chinese Russians in Hulunbuir, an area of Russian immigrants’ compact settlement, and the markers of their distinct ethnic identity. Chinese Russians are a specific ethnic group since over several generations they fused with the local ethnicities yet preserved their unique cultural background. One of the peculiar aspects of Russian culture observed within the community of Chinese Russians is chastushka, or ditty, a short witty song expressing an individual’s attitude to any happening. The authors give records of the texts of ditties on various subjects, such as love, daily life, politics, etc. The folk genre of chastushka indicates intercultural communication between China and Russia and the integration of ethnic Russians into Chinese society. The article reveals the problems of protection of the Russian chastushka in the region and possible measures of state provision of its protection as intangible cultural heritage. Both national and local authorities take steps to ensure the continuity of various identities within the national identity of China. Several proposals have been put forward for the protection of the local heritage of this genre of the city of Hulunbuir. Such measures may include further research of cultural materials, enhancing tourism in the region, and incorporating ditties into local festivities Based on the historical and cultural significance, the research points to the real impact of Russian folk oral musical creativity in the processes of Russian-Chinese intercultural communication. The authors underline the significance of the ditty as intangible cultural heritage and the need to include the ditty in the list of the cultural heritage of Chinese Russians. The need to create conditions and state-organizational support for various forms of popularization of this genre, especially for those studying the Russian language, to preserve the oral folk musical creativity of Chinese ethnic Russians is substantiated.

Exhibition Review: Every Day. Art. Solidarity. Resistance

Exhibition Review: <i>Every Day. Art. Solidarity. Resistance</i>

City Branding Ambon City Of Music Sebagai Folk Identity Music Di Maluku

The article of city branding on Ambon City of Music discusses the legalisation of folk music identity in Maluku. By using the qualitative research method with a case study approach. Data obtained were primary data in the field, and the secondary data were obtained from various media. Data was collected by doing direct interviews and essential documents. Ambon City of Music is an iconic branding that becomes the identity for the people of Maluku. The people of Maluku have music DNA so that it is worth mentioning as a City of Music. It can be seen through the selection of Ambon city as a City of Music by UNESCO in October 2019. Ambon City has become a new identity to introduce the musical culture of the Maluku people. Music is used as social capital in creating peace, while the acculturation of the folk music genre is a symbol of community identity in Maluku. The author argues that the branding of Ambon City of Music itself elevates the dignity of folk music identity. The people of Maluku are known as having the highly musical skills, singing, and experts in playing traditional instruments, such as tifa, totobuang, bamboo flute, tahuri, etc. The recognition by UNESCO strengthens the musical identity of the people of Maluku in the world. Ambon city branding is a legitimation of Maluku folk identity in music and singing and a city of peace because of the music, with the result of the people of Maluku collectively having an awareness of primordial relations.

Relevant questions in studying dance ditty

The object of this research is a Russian dance ditty (folk song consisting of four-lined couplet). The subject of this research is the emergence and proliferation of dance ditty across the Russian regions, its nature and entwinement with the dance song, as well as active popularization in the late XIX &amp;ndash; early XX centuries. Special attention is given to the existing scientific versions of the emergence of this genre. The author underlines the importance of in-depth study of dance ditty as a folk genre the choreographers and folklorists rely on in their work. The question is raised on the need for comprehensive examination of the Russian regional dance ditty, since it is encompasses a vast layer of types, subtypes, performing, musical and dance peculiarities of all Russian regions. The novelty of this work lies in the attempt to determine the factors of emergence and popularization of dance ditties. The analysis of folklore material (song collections, etc.) for the purpose of establishing correlation between dance ditties and dance songs, quadrilles, its particular types and forms suggests achieving the goal set in this article. The goal of this research is to reveal the reasons for the existence and popularity of dance ditties in different Russian regions. The author develops a new version of the emergence of ditty from dance songs during the quadrille performance. The acquired results reveal close interrelation between ditty and dance songs alongside the development of folk choreography and song repertoire, and draws the interest of experts to dance ditties.

МАКАЛДАРДАГЫ ИНВАРИАНТТУУЛУКТУН КЫРГЫЗ ЛИНГВОПАРЕМИОЛОГИЯСЫНДА ИЗИЛДЕНИШИ

This scientific article is devoted to describe the theory of inversion. The mutual attitude of version and inversion has particular meaning in proverbs and sayings. The reason is in national pithy sayings constant meaning dominated and, in its area, has small and limited meanings connected. Kyrgyz scientist recently started interested in inversion and version meanings in wise sayings in Kyrgyz lyngvoparemology. Professor A.N. Lisstin’s role is huge on this topic. Professor did great contribution on opening of inversion content in pithy sayings, he worked on proverbs, sayings and comparative theory of phraseology in English, Russian and Kyrgyz languages. He also described how to learn and teach second foreign languages. Professor Listin he carefully worked out bibliography of Kyrgyz paremyology, he also published textbook on this topic for linguists who are interested in. In antropocenter in Kyrgyz Republic worked out the plan of lyngvoparemology. Lyngvoparemology is the linguistic branch which studies language characteristic of national proverbs and sayings, pithy and wise sayings, puzzles and other small folk genres. In this article we will talk about constant and not stable meanings of paremy.

‘My Gunners will burn your houses, my soldiers will pillage them’: what French people were singing about when they sang about Napoleon

Abstract Fifty years after his death, almost the only song that French people still sung about Napoleon retold his conquest of the city of Mantua in 1797. ‘Le bombardement de Mantoue’ is an example of a popular European folk genre, the siege song. Siege songs use the metaphor of a violent wooer and a reluctant maiden to narrate the capture of cities. They circulated, in print and orally, from the mid seventeenth to the mid nineteenth centuries, updated for all conflicts by the substitution of the name of the besieger and the city. While often factually inaccurate, such songs are evidence of historical consciousness, and they could be used to express an identification with a national or political cause. They also anchored an early modern concept of war in popular culture, in which victory was measured in territory acquired, and in which a rampaging soldiery was pitted against a civilian and female population. Sieges envisaged as a violent courtship relocated military events into the language of interpersonal relationships, and thus they became relevant in many day-to-day contexts. Siege songs are akin to pastourelles, the most popular of all song genres, but whereas in the pastourelle a knight or lord pursues a shepherdess, in ‘Le bombardement de Mantoue’ socially superior women are violated by lower class men. This fantasy of social, as well as sexual, conquest helps explain the continuing popularity of this song.

Cultivating emotion and the rise of the vernacular: the role of affect in ‘early Hindi-Urdu’ song

ABSTRACT This paper explores the role of emotion in relation to the medium of expression. Starting with an investigation as to what feelings are named and foregrounded, the paper looks for shifts in affect as the medium changes from cosmopolitan to vernacular. It studies scenarios of evoking and cultivating emotions to determine to what end they are mobilized and how this stimulates the formation of new emotional communities through songs of ecstasy. This broader frame is approached through case studies of songs in ‘Early Hindi-Urdu’ with earliest evidence datable from the 15th and 16th century. The first section provides analysis of ‘yogi songs’ that feature the affect of satire and spiritual awakening (śānti), exemplified by the fifteenth-century Kabīr. The second section revisits the question of why the vernacular is used for Sufi songs, foregrounding the rhetorical device of familiarization. The example here is Abdul Quddus Gangohī, whose Early Hindi-Urdu poems are sometimes interpreted as translations from Persian. Next follows an analysis of transcreations of Sanskrit scripture in the Braj devotional milieus of the first half of the sixteenth century, foregrounding synaesthetics. Examples here are the songs of intimacy of Harirām Vyās. Songs by that same author also provide evidence for the next section on devotional community formation, complemented with the hagiographical literature of the eighteenth-century Nāgarīdās. The final section analyzes sentiments that run the range from embarrassment and complaint to shameless surrender in adaptations of folk genres (focusing on the theme of ‘the woman at the well’) in diverse Hindu and Sufi contexts.

GENUS / FAMILY AS THE BASIS OF THE LIFE OF UKRAINIAN ETHNOSIS (BY FOLKLORE RESOURCES OF THE END OF THE 19TH TO THE BEGINNING OF THE 20TH CENTURY)

The purpose and objectives of our study are to consider the axiological values of the family in the traditional Ukrainian society of the late nineteenth - early twentieth century, based on the material of oral creativity. This is relevant in terms of studying and promoting the ethos values of Ukrainian society, its best ethnic traditions, and mental qualities. The values of the genus and the family were highly valued in the Ukrainian traditional society. They were the basis of the material and spiritual life of human. This homo-centricity was widely reflected in oral poetry, both prose and song. The image of the kindred (family) in Ukrainian folklore rises to the level of higher existential values of human. The importance of the genus and the family in folk culture, in particular folklore, was written by M. Kostomarov, P. Zhitetsky, M. Sumtsov, I. Franko, V. Hnatyuk, M. Gaidai, M. Pasyak, A. Dey, N. Shumada, V. Skrypnyk and others. In the verbal creativity, there were echoes of the generic structure of society, when the survival of primitive people was possible only in the collective ¬- tribal community. Joint work and residence required regulation of behavior, observance of the rules of coexistence. At this time, simple norms of morality were developed in the clan communities, which included patriarchal families: respect for the father (heads of the family) and elders, the burning of the younger and weak, the patriotism, the respect of the deceased, the family, collectivism. The concept of "genus", "family", "relatives", "native land", "homeland" in folklore are verbalized in the concept of "own"/"stranger". The greatest punishment in ancient times was expulsion from the family, abandonment, deprivation of relatives. In folk songs and other folklore genres depicted the subordinate position of a woman (young woman) in a new family, marginal status of an orphan, widow. In the sense of the homeland, country or family, there may be a hut, which in this meaning gathers the cabaret measurements both externally and internally (archetypes: house-field-temple). Through the genus, the family comes to realize the affiliation of the individual to a larger formation as the state, formed a sense of patriotism, love for their homeland. The high aspiration to the "proper", its merger with the existing, is found in the carol-loving world of an ideal peasant family, where peace, harmony and love prevail, each has its own purpose and scope of duties, behaves in accordance with established ages and sexual norms

MUSICAL SHEVCHENKIANA IN THE WORKS OF COMPOSERS OF THE LATE 19TH – EARLY 20TH CENTURIES

The article analyzes the vocal and choral works of composers of the late 19th–early 20th, written on the poetic texts of Taras Shevchenko. It is noted that Shevchenko's poems are difficult for musical embodiment and require composers to freely possess the means of compositional technique, as well as aesthetic taste. It is said that Galician amateur composers made a great contribution to the musical Shevchenkiana, who made a lot of efforts to popularize the poet's work and honor his memory in Galicia. In this context, O. Nyzhankivsky's solo song "Gone are the years of youth", which is one of the most valuable works in the composer's musical heritage is analysed. O. Nyzhankivsky reveals his "national face" in the song "Gone are the years of youth" through the prism of romance. At the same time, it is emphasized that the Galician composer does not seek to imitate Lysenko, as he was brought up on the achievements of Austro-German musical culture, in the field of vocal music he tends to F. Schubert and R. Schumann. It is noted that O. Nyzhankivsky refers to Shevchenko's text with "neutral" lexical material. A musical example for the composer could be Schubert's song "Warrior's foreboding" (words by L. Relshtab) from his latest cycle "Swan Song". It is stated that from a different point of view considers Shevchenko F. Kolessa, whose work is marked by the tangible influence of M. Lysenko. It is possible that his interest in folklore inspired F. Kolessa's appeal not only as a composer to Shevchenko's work, but also as a literary critic. In his works, F. Kolessa, in contrast to O. Nyzhankivsky and D. Sichynsky, refers to Shevchenko's texts, marked by a tangible folklore influence. This is evidence of the changes that took place in the musical worldview of Galician composers in the late 1880s under the influence of certain political changes and cultural contacts with representatives of sub-Russian Ukraine. However, in their musical tastes, Galician composers do not always follow the direct path of Lysenko, an example of which is the work of Henryk Topolnytsky. A special place in the work of the composer is occupied by the cantata "Khustyna" ("I did not walk on Sunday"), which is marked by the expressiveness of musical language and is one of the best examples of "finely stylized folk genre." A number of great vocal-instrumental works based on T. Shevchenko's poetic texts were created by J. Kyshakevych, in whose works one can also observe signs of a new intonation, which no longer relies on Old Galician elegy, but tends to Ukrainian lyrical, historical, Cossack marching songs and Duma recitation – a different type of musical speech, which Galicians were insuf-ficiently assimilated due to certain historical and cultural differences.

Probleme des Studiums des Kalmückischen Heldenhaften Epos «Dzhangar» am Anfang des 21. Jahrhunderts

The Kalmyk people are the creators and protectors of the richest oral and poetic creativity. It is presented with diverse folk genres: with fairy tales, songs, proverbs, riddles, congratulations, magtal praises. The most valuable pearl of Kalmyk folklore is the heroic epic «Dzhangar», which is one of the outstanding monuments of world folklore: with Russian sagas, Caucasian «Narty», Finnish «Kalewala», and Kyrgyz «Manass». The paper discusses the accumulation of a phenomenon of epos in the modern conditions and sums up the history of studying the heroic epos of the Kalmyk people. Attention is paid to development of methods of the complex studying the epos in all national versions.

НЕРИМОВАНІ ВІРШІ ЛЕСІ УКРАЇНКИ: ОСОБЛИВОСТІ ВЕРСИФІКАЦІЇ

The researches of Ukrainian vers libre mostly associate its origination with Lesya Ukrainka’s poetical heritage. Not denying the statement about the poetess’s attempts to move away from the rigid rhythmic-metric canons of classical syllabic tonic and explore new ways of modern versification, the author of the article, however, proceeds from the conviction of this artistic speech type’s deep rootedness in rhythmic folk genres (magical formulas, wishes, lamentations, curses, benevolence), as well as in a variety of ritual pre-Christian, double faith and Christian prayer-centric texts (prayers, confessions, supplications, orders etc.). Lesya Ukrainka at the end of the XIX century brought back these old traditions into written secular literature, but her unrhymed poems were still largely inspired by ancient metrics imitation, and remained captive to syllabic-tonic and partly tonic rhythms, varying due to diverse anacrusis, multi-metric verses and slight pausing. Based on the principles of metric plurivalence (I. Kachurovsky’s term), i.e. the ability to measure the same text with different meters (measures). So, the poetess’s rhythmic constructions can be qualified as unrhymed unregulated multi-metric threesyllables with sporadic caesura, complete and truncated pre-caesary and clause feet; as metrically modelled on ancient hexameter imitation, where long metric lines are “cut” by a caesura and arranged in pairs of text lines (“ladder-like”); as poems of the tonic versification system. Both caesura and leimic verse, as well as the standard feet number (in the lines) increase or decrease, have in ancient poetry the certain generalized names of lipometry and hypermetry. Thus, moving away from classical syllabic tonic requirements and using the example of ancient metrics imitation, diversifying it with the casual unregulated combination of multi-metrical three-syllable verses, Lesya Ukrainka brought the modernization of Ukrainian literary poetry closer not only to European and world vers libre creation sources, but also to its origin. Apparently, this was facilitated by her folkloristic activities, which did not allow to forget the “old”, revived in the “new”. Key words: vers libre, inconsistent (casual) syllabic tonic, metric plurivalence, variable anacrusis, lipometry, hypermetry, ancient metrics imitation.