Folk Melodies Research Articles

Motywy ukraińskie w polskiej muzyce gitarowej XIX wieku

The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music for English guitar tuned in G major (sources for this instrument appeared chronologically first) and for 6-string Spanish guitar. Composers have used stylized dances, mainly kozachok, for composing simple technical arrangements intended for domestic parlour music. Apart from four anonymous manuscripts for English guitar there are two anonymous kozachoks in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok by Eduard Salle neuve. Also another form – duma / dumka – is popular among the19th century Polish guitarists; it has appeared both in the solo and in the original version, intended for vocal with accompaniment. The authors of dumki are, among others Jan Rywacki, and anonymous dumas are preserved in the Jasna Góra Monastery (Library of the Pauline Fathers in Częstochowa), the Jagiellonian Library in Krakow and in mentioned Princes Czartoryski Library. Solo improvised dumkas have been performed by the greatest Polish 19th century virtuosos – Stanisław Szczepanowski and Marek Konrad Sokołowski, as evidenced by extensive press coverage. Three composers – Jan Nepomucen Bobrowicz, Felix Horetzky and the less known Cyprian Leonowicz – also used the Ukrainian folk melodies, mainly as a basis for virtuoso sets of variations. Leonowicz’s piece, which is a kind of written improvisation, is based on the famous song Ikhav Kozak za Dunaj. The melody used by Bobrowicz is more difficult to identify, although the title of the piece indicates the Ukrainian element – Air d’Ukraine varié. Horecki arranged two melodies, including the song Ikhav Kozak za Dunaj, in technically simple arrangements. The Ukrainian thread also appears in the biographies of some 19th century Polish guitarists, including Sokołowski,Numa Łepkowski and Karol de Wyhowski. This article shows that Ukrainian folklore was the strongest foreign element in Polish guitar music of the 19th century. Areas requiring further research are also indicated – related to little-known sources(such as guitar manuscripts from Jasna Góra, the Jagiellonian Library or from the collection of Oskar Kolberg), as well as those concerning Ukrainian guitar music from the 19th century, practically unknown outside Ukraine.

Theological, Literary, and Musical Knowledge, All in the Service of Sacred Music. The Psalm Arrangements Of Kálmán Csomasz Tóth

"The present study aims to present the work of Kálmán Csomasz Tóth in the field of sacred music. Having had a theological education, and literary and musical studies, following an in-depth and extensive research process, he edited the Reformed hymnal published in Hungary in 1948. In addition to this important work, he has published numerous books, articles, studies in the field of musicology, literary translations, and a few poems in various ecclesiastical and professional journals in Hungary and abroad. The example of Kodály as a composer and the choral singing movement of the 1930s also captivated him and encouraged him to adapt the melodies of the church hymnal. I will hereby present his work and a musical analysis of the choral arrangements pertaining to the melodies of the Genevan Psalter. Keywords: hymnological research, church singing, Genevan Psalter, praise, Hungarian folk melodies, male/female choir and mixed choir compositions, homophonic and polyphonic modes of composition. "

A Probable Source for “The Silver Plough-Boy”

A Probable Source for “The Silver Plough-Boy” Sidney Feshbach WHEN THE SECOND EDITION of Harmonium appeared in 1931, Wallace Stevens not only added fourteen poems, he also decided to delete three: “The Silver Plough-Boy,” “Exposition of the Contents of a Cab,” and “Architecture” (Cook 29).1 Thus, “The Silver Plough-Boy” disappeared from view for the rest of Stevens’s lifetime; it was not included in The Collected Poems . We still need to turn to J. M. Edelstein’s descriptive bibliography to trace its publication history to Alfred Kreymborg’s magazine Others, where it first appeared, together with “Peter Quince at the Clavier,” in August of 1915 (Edelstein 195). The poem was subsequently republished in the annual anthology of Others that Kreymborg collected in 1916, as part of a set of nine poems, four of which Stevens chose never to include in any of his later books (Edelstein 148).2 Here is the text: The Silver Plough-Boy A black figure dances in a black field.It seizes a sheet, from the ground, from a bush, as if spread there by some wash-woman for the night.It wraps the sheet around its body, until the black figure is silver.It dances down a furrow, in the early light, back of a crazy plough, the green blades following.How soon the silver fades in the dust! How soon the black figure slips from the wrinkled sheet! How softly the sheet falls to the ground! (CPP 42) In February and March of 1914, Harley Granville-Barker, a famous London playwright, actor, and director and producer of plays, staged a version of A Midsummer Night’s Dream that was radically different from conventional Victorian performances in its handling of text, scenery, costume, and music. Details of this unique production appear to be reflected in “The Silver Plough-Boy.” Stevens probably attended a performance, possibly accompanied by his Harvard friend Walter Arensberg, who was strongly committed to the Baconian theory of Shakespeare’s authorship. These are some of the facts that we may assemble about the production: [End Page 97] Harley Granville-Barker created in February 1914, his famous, startling A Midsummer Night’s Dream at the Savoy Theatre. A year later [c. February to March 1915] it was brought to New York. Among its innovations, which included simplified, suggestive scenery and stylized costumes . . . Granville-Barker did away with [the music of Felix] Mendelssohn. . . . Old English folk songs and dances were used, provided by Cecil Sharp. . . . Titania’s call for “a roundel and a fairy song” was answered by a round; it then led into two folk melodies which Sharp selected to fit the lullaby itself. . . . An arrangement of several folk dance tunes was used for the final dance of the fairies—Granville-Barker’s famous golden fairies, gilded from head to foot in bizarre costumes with hair of metal shavings, rope beards, scimitars, and wire head-pieces. In the last scene, they weaved in and out among seven silver pillars set against a black and silver sky. (Williams 65–66) The woodland setting, like most of the other scenes, was created entirely through draperies. . . . [T]he dances were based on English folk dances. Somewhat contrarily, the fairies . . . were painted gold and moved slowly and artificially. (Chaudhuri 16) Click for larger view View full resolution Oberon (Dennis Neilson-Terry) and Titania (Christine Silver) in Granville-Barker’s production, Savoy Theatre, 1914. Reproduced in Shakespeare 17. [End Page 98] The moment captured shows Oberon standing to the left and Titania prone to the right. She seems to be wrapped in a silver sheet. “The Silver Plough-Boy” begins with a description that could be taken to describe, in part, the scene on stage: “A black figure dances in a black field.” Stevens has changed Oberon into another performer, costumed in black, who “dances” before the black and silver drapery woodland; he performs with folk music. The replacement of Oberon with a single figure in black has drawn the scene in the poem into an expression of the single figure. Thus, both “The Silver Plough-Boy” and, at the least, the name of the title figure in “Peter Quince at the Clavier...

Этноджаз в контексте фольклорной культуры: проблемные аспекты гибридизации

The article presents an analysis of ethnojazz as a hybrid phenomenon that combines folk melodies and the jazz style. The appeal of jazz towards the culture of folk music has significantly enriched its expressive language and themes. At the same time, ethnojazz has performed the function of preserving and popularizing folklore materials. It has been demonstrated that the hybridization of folklore and jazz is an organic process because of their cultural-genetic and procedural-effective relationship, among other things, in the aspects of live, real action. At the same time, in the context of jazz arrangement of folklore materials, there arises the problem of adequate perception of the true ethno-cultural meanings of such hybrid texts. Due to a certain reduction in the geographic area of existence of authentic folk music, such a problem exists even for the bearers of their ethnic tradition. For an audience that perceives a musical text which makes use of melodies pertaining to foreign cultures, adequate understanding becomes even more problematic. The solution to the problem is perceived in the formation of an attitude of a purposeful perception of ethno-jazz music as a cultural musical entity which contains sensually rich figurative-musical presentations of values, meanings and significations inherent in certain ethnic cultures. It is proved that the acquisition of such competence makes the cultural identity of a contemporary human being more multifaceted, meaningful and dynamic.

ВИКОНАВСЬКІ ОСОБЛИВОСТІ ФЕСТИВАЛЮ “ЧЕРВОНА РУТА”: ДО ПИТАННЯ СПАДКОВОСТІ ТРАДИЦІЙ

The national character of Ukrainian pop music today is determined by the appeal of folklore at various levels. This way of creating compositions leads to such types of interrelationship of folklore with jazz, pop and rock music, arrangements of folk songs, folk music and citation of materials, creation of original compositions based on folklore, fusion of the national manner of performing non-folklore. Today, songs that are synthesized in ethnic motifs and folklore in a modern setting are popular. But back in the 70s, B. Ivasiuk and the Chervona Ruta vocal and instrumental band were the founders of this approach. So far, the arrangements of folk melodies by the band "Chervona Ruta" have been used by popular rock bands - "Haydamaki", "Mandry", "Perkalaba", "Hutsul calypso", "Kobza original", "Crying", "Down" and others. The modern Ukrainian pop band continues the tradition and modernizes its songs in various interpretations. The paper studies the features of the "Chervon Ruta" festival from 1988 to 2016. The focus is on continuing the traditions of the participants of the ensemble festival of the same name. The practical significance is to highlight the directions of musical creativity of the bands that continue (transform) the traditions of the Chervona Ruta ensemble. Keywords: "Chervona Ruta", festival, Ukrainian music, pop standard.

Berio’s Duetti per due violini: An introduction

Abstract This article is the summary of a workshop on the violin duets of Béla Bartók and Luciano Berio, and the pedagogical implications of the works. Bartók’s Forty-Four Duos are based on folk melodies, and in this workshop, we explored how the text of certain melodies are recreated using tone-painting in the music. Luciano Berio’s 34 Duetti were inspired by the Duos of Bartók, and each duet focuses on a specific technique or concept in twentieth-century music. Like Bartók did with his Duos, Berio also intended his pieces to be performed by children as well as professionals. In addition, Berio’s duets are each inspired by a person, story, or event. All duets refer to a person with their surname, including Béla [Bartók] (no. 1), Pierre [Boulez] (no. 14), Edoardo [Sanguinetti] (no. 20), Vinko [Globokar] (no. 22), Igor [Stravinky] (no. 28) or Lorin [Maazel] (no. 33). In this workshop we explored how Berio recreates these inspirations in his music.

Kobzar Songs and Dumy of the 1930s – 1950s: Between Amateurism and Folk Tradition

The analysis of the authors’ songs and dumy, created by kobzars and lirnyky in the 1930s – 1950s is submitted in the article. The materials for the analysis include the sound records preserving in the IASFE record library. The recordings have been made in expeditionary and studio conditions. This study is aimed at the ascertaining the affinity of these works with folklore and the reason why they have not become an organic part of the oral epic and song tradition. The events of the 20th century are glorified in most of these works: the so-called October Revolution, Civil and Patriotic War, a happy collective farm life and the outstanding socialism projects. The performers have glorified the leaders Lenin and Stalin, the Soviet army, the «great» achievements of the Soviet government, the reunification of Ukrainian lands in 1939, etc. The Bolsheviks have tried by all means to place kobzars at the service of Soviet power and made them create «new heroic Soviet epos». This is the beginning of the tragedy of Ukrainian kobzarstvo and the destruction of the kobzar tradition. The kobzars Yehor Movchan and Volodymyr Perepeliuk have been endowed with a special musical talent. The events of the Second World War are covered in many works by Yehor Movchan. The duma On the Events in the Village of Protopopiv refers to the shooting of the villagers and the forcible deportation of young people to Germany. The author has used successfully folk melody and the structure of dumy. It includes the beginning, the ending, multiple repetitions, free meter. However, the text of the duma itself has nothing common with the oral epic tradition. This is indicated by the absence of folklore formulas in it, their replacement by newspaper stamps of the Soviet period. Therefore, despite its musical affinity with the Ukrainian folk epos, duma is still of artificial and literary nature, resembling an agitation leaflet in style. Though Yehor Movchan other songs are close to the folklore tradition, they have not become its property because of a completely opposite content to folk works. They have glorified and exalted what the people satirize and curse. The events poetized in them have contradicted the historical truth. The heritage of Hryhorii Ilchenko is a typical example of an «artificial fabrication of a new epos» in order to create the so-called «Soviet people’s dumy». His repertoire is marked by a large number of created for the stage specially original songs that have nothing common with folk epics. In particular, such forgery of folklore is A Duma on a Widowed Mother. The mechanisms of duma creation are described in the article. All this is only a superficial pastiche of folklore, primitive and artificial. The same applies to the ballads by Volodymyr Perepeliuk. Thus, most of the authors songs have quite an indirect relation to the oral folk tradition. That’s why they haven’t become and can’t become its property.

Stanyslav Lyudkevych’s Contribution to the History of Ukrainian Folk Music Research at the Beginning of the Twentieth Century

The article explores and analyzes the activities of the famous Ukrainian composer, musical folklore collector and researcher Stanyslav Lyudkevych in the early twentieth century. The article presents an analysis of the ethnographic collection Halytsko-ruski narodni melodii (Galician-Rus Folk Melodies), which contributed to the emergence of a new direction in Ukrainian folk music ethnographic research – comparative musicology. In particular, this analysis explores structural and typological characteristics of Ukranian folk music.

THE INFLUENCE OF UNIQUE MELODIES OF PRASHASTHI AND KAMATH SONGS IN SRI LANKAN FOLK MUSIC ON HEART RATE

Music plays an important role in our day to day life as a source of entertainment. More importantly music can also affect the other aspects of physical, mental, social and spiritual wellbeing of a person. According to Western and Eastern literature, heart rate correlates with certain musical aspects including tempo, melody, and music genre. The present research studied the variation of heart rate while listening to sedative and excitative Sri Lankan folk melodies. Prashasthi and Kamath folk musical creations have been selected for this experiment. Forty-five men between the ages of 25-30 who had never studied music were used as samples in this research. The mean heart rates of the subjects have increased significantly while listening to the prashasthi song. The mean heart of the subjects three minutes after stopping the prashasthi song remained significantly increased compared to their baseline (p < 0.01). Listening to Kamath songs did not significantly change the mean heart rates of the subjects.

«synge yndelig i vore Hierter for Herren»: Sangens betydning for Hans Nielsen Hauge og i haugebevegelsen

Hans Nielsen Hauge started a religious revival which became the largest and most important one people in Norway had seen until then. This article considers the important role singing played in the Haugian movement and for Hauge himself. Hauge’s hymn book is of special interest given that roughly half of it is composed of hymns written by the pietistic poet Hans Adolph Brorson. This article also emphasizes Hauge’s role in introducing and spreading Brorson hymns in Norway, Hauge’s personal thoughts about singing, and the use and function of the singing by Hauge and those within the Haugian movement. The article concludes that Hauge and the Haugian movement was of great importance in dispersion of Brorson’s hymns and singing practice. Accompanied by folk melodies, the hymns were sung in tradition way of singing. Through Brorson and the forerunner of the pietist movement Johann Arndt, the tradition of Christian mysticism was carried on by Hauge to the people of his movement. The Hauge movement also influenced the way of singing and the function of the singing. The increased singing activity was of great importance not only for Hauge and the Haugian movement, but also for the following times up until this day.

The effect of varying encoding conditions on jazz, instrumental, and choral musicians’ memorization accuracy: Implications for music literacy

The primary purposes of this study were (1) to determine the effect of three encoding conditions (singing, playing, studying silently) on participants’ music memorization accuracy; (2) to examine potential differences between choral, jazz, and concert band musicians’ accuracy in completing the music memorization task; and (3) to determine whether ensemble affiliation yielded any performance advantages among the three presentation conditions. Three folk melodies were selected for memorization under the three encoding conditions. Participants ( N = 81) had 75 s to commit each melody to memory while studying silently, singing, or playing on a keyboard. Participants then notated the three melodies using conventional staff notation. A two-way analysis of variance (ANOVA) with repeated measures on one factor revealed significant differences based on participants’ ensemble affiliation. A Tukey’s honest significant difference (HSD) post hoc test revealed the jazz group had higher accuracy scores than the band group. No significant differences were found based on encoding conditions, and no significant interactions were found between the encoding conditions and ensemble groups. The experiment is framed by questions related to memory, reading, and differing notions of literacy.

DISPLAYING THE POLYTEMBRALITY OF THE ORCHESTRA OF UKRAINIAN FOLK INSTRUMENTS WHEN ARRANGED FOR ACCORDION "UKRAINIAN FANTASY" YAROSLAV OLEKSIV

Over the past decade, the arsenal of original compositions for the accordion has considerably expanded, but a significant place among the performing repertoire is the genre of translation of works from the repertoire of other instruments, ensembles or orchestras for the accordion. Since the translation of the orchestral repertoire with account of the timbre features of the accordion, has not yet become the subject of musicology research, the task is to elucidation of the main principles of this genre. The combined analysis of translations and executive-methodical recommendations become the basis for a deep understanding of the ideological conception, stylistic features and rethinking of the timbre transformations, and therefore the quality of the performance of the work itself.Translation works for the accordion from the repertoire of the Ukrainian folk instruments orchestra has favorable conditions for many parameters, as demonstrated by Y. Oleksiv "Ukrainian fantasy". The timbre specificity - the existence of a large number of different instrumental groups and voices in the orchestra is successfully transmitted in the accordion translation due to a number of timbre registers of the instrument, the diversity of which allows the most complete transfer of orchestral coloration. The author takes into account the slight difference in the sound of the right and left keyboards of the accordion and demonstrates it in an advantageous applying for translation, creating the effect of a multi-timbre "dialogue". The techniques of playing on the accordion fully reproduce the dynamic gradations of the orchestral sound, as the characteristic feature of such orchestra is a chamber. The author simulates the techniques of sound formation and the specifics of various orchestral instruments. The bandura pinch, the overtones dulcimer "echo", the reed pipe glissando, the violin detache and the articulation variety of instrumental composition of the orchestra composer transmits using a detail palette. Perfect constructive features of the accordion allow you to successfully adapt the multi-layer orchestra texture. In the accordion translations of orchestral compositions, the epic and poetics of folk melodies are transmitted as clearly as possible. This work is aimed at deeper understanding of the content and expressiveness of translated works by the performers. The research can be an impetus for transmissions and their research on the repertoire of the chamber ensemble for the accordion, as well as the translation of pieces for the accordion.

Enhanced Memory for Vocal Melodies in Autism Spectrum Disorder and Williams Syndrome.

Adults and children with typical development (TD) remember vocal melodies (without lyrics) better than instrumental melodies, which is attributed to the biological and social significance of human vocalizations. Here we asked whether children with autism spectrum disorder (ASD), who have persistent difficulties with communication and social interaction, and adolescents and adults with Williams syndrome (WS), who are highly sociable, even indiscriminately friendly, exhibit a memory advantage for vocal melodies like that observed in individuals with TD. We tested 26 children with ASD, 26 adolescents and adults with WS of similar mental age, and 26 children with TD on their memory for vocal and instrumental (piano, marimba) melodies. After exposing them to 12 unfamiliar folk melodies with different timbres, we required them to indicate whether each of 24 melodies (half heard previously) was old (heard before) or new (not heard before) during an unexpected recognition test. Although the groups successfully distinguished the old from the new melodies, they differed in overall memory. Nevertheless, they exhibited a comparable advantage for vocal melodies. In short, individuals with ASD and WS show enhanced processing of socially significant auditory signals in the context of music. LAY SUMMARY: Typically developing children and adults remember vocal melodies better than instrumental melodies. In this study, we found that children with Autistic Spectrum Disorder, who have severe social processing deficits, and children and adults with Williams syndrome, who are highly sociable, exhibit comparable memory advantages for vocal melodies. The results have implications for musical interventions with these populations.

Povezanost programskog sadržaja sa kompoziciono-tehničkim rešenjima u klavirskim komadima Modesta Musorgskog

Povezanost programskog sadržaja sa kompoziciono-tehničkim rešenjima u klavirskim komadima Modesta Musorgskog

Code Mixing in Folk Songs: A Journey towards Linguistic Creativity

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.

Postgraduate Theses On The Transfer Of Folk Melodies To Cello In Turkey

In this research, it was made about the transfer of folk melodies to violoncello and Postgraduate theses contributing to violoncello education were examined and classified in terms of content. This research was carried out in order to examine and classify the content of graduate theses on the transfer of folk tunes to the cello in the light of sub-problems. The research aimed to collect the postgraduate theses on the transfer of folk melodies to cello under a single research umbrella after examining them as content. For this reason, it is of great importance in terms of being a helpful resource for other researchers and shedding light on other studies to be conducted on this subject. This research is descriptive research using qualitative data collection methods. The pattern of the research is the case study. When searching for cello or cello keywords in the YÖK Thesis, 204 theses were found. While these 204 theses constituted the universe of the research, as a result of the examination of these theses, 5 theses transferring works from the Turkish folk music repertoire to the cello formed the sample group.Data from these 5 theses were collected by Document Analysis. As a result of the research, all of the studies on transferring folk melodies to cello were carried out in educational sciences institutes and music education departments. Accordingly, it was understood that the primary purpose of theses was cello education. It has been observed that the coma sounds in the songs transferred except for one thesis were simplified and arranged in accordance with the tampere sound system. It was concluded that the decision sounds of the works were generally changed for a brighter sensation.

СТИЛЬОВІ ТА ЖАНРОВІ ЕЛЕМЕНТИ ГУЦУЛЬСЬКОГО Й ГУРАЛЬСЬКОГО ФОЛЬКЛОРУ В ТВОРЧОСТІ УКРАЇНСЬКИХ І ПОЛЬСЬКИХ КОМПОЗИТОРІВ

The purpose of the article is to find out the key features for authentic music of the mountain areas in Ukraine and Poland and to characterise the influence of Hutsul and Gural folklore on the work of outstanding Ukrainian and Polish composers in the latter half of the 20th century. The research methodology is based on the theoretical, historical, comparative and analytical methods. The article applies methods of generalisation and concretisation of the scientific material. They are to understand the influence of genre and stylistic elements of Hutsul and Gural folklore on the work of significant Ukrainian and Polish composers. The scientific novelty of the study is in deciding the stylistic and genre elements of Hutsul and Gural folklore in the works of composers of Ukraine and Poland of the research period. The main features of Hutsul folklore, namely free improvisation of the melody line, original rhythm system and unique colouristic, have masterfully transformed into the creative principles and stylistic and genre structure of prominent Ukrainian composers’ musical works. They are V. Barvinsky, N. Nyzhankivsky, M. Kolessa, and A. Kos-Anatolsky. The features of Gural folk melodies can be traced in the genre and style within the works of Polish artists as K. Szymanowski and W. Kilar. The article has learnt that Hutsul and Gural’s folklores are tied by the dance music, lively rhythm and a wide range of variations in melodies. Conclusions. Reinterpretation of the genre and stylistic elements of Hutsul and Gural folk melodies is a force to recreate vivid images of archaic Carpathian folklore in the works of Ukrainian and Polish composers. The works of V. Barvinsky, N. Nizhankovsky, M. Kolessa, K. Shimanovsky and others are patterns of the national musical style, demonstrating the highly artistic transformation of Hutsul and Gural folklore. Kolomyjka in F-sharp minor by N. Nyzhankovsky, Three Kolomyjky by M. Kolessa, Harnasie Ballet by K. Szymanowski introduce new structural and compositional trends based on national traditions.

The singing voice is special: Persistence of superior memory for vocal melodies despite vocal-motor distractions

Vocal melodies sung without lyrics (la la) are remembered better than instrumental melodies. What causes the advantage? One possibility is that vocal music elicits subvocal imitation, which could promote enhanced motor representations of a melody. If this motor interpretation is correct, distracting the motor system during encoding should reduce the memory advantage for vocal over piano melodies. In Experiment 1, participants carried out movements of the mouth (i.e., chew gum) or hand (i.e., squeeze a beanbag) while listening to 24 unfamiliar folk melodies (half vocal, half piano). In a subsequent memory test, they rated the same melodies and 24 timbre-matched foils from ‘1–Definitely New’ to ‘7–Definitely Old’. There was a memory advantage for vocal over piano melodies with no effect of group and no interaction. In Experiment 2, participants carried out motor activities during encoding more closely related to singing, either silently articulating (la la) or vocalizing without articulating (humming continuously). Once again, there was a significant advantage for vocal melodies with no effect or interaction of group. In Experiment 3, participants audibly whispered (la la) repeatedly during encoding. Again, the voice advantage was present and did not differ appreciably from prior research with no motor task during encoding. However, we observed that the spontaneous phase-locking of whisper rate and musical beat tended to predict enhanced memory for vocal melodies. Altogether the results challenge the notion that subvocal rehearsal of the melody drives enhanced memory for vocal melodies. Instead, the voice may enhance engagement.

Calendar-almanac «Lviv Pilgrim» and the beginnings of interest in Ukrainian musical folklore in Galicia

One of the important events in the scientific and artistic life of Galicia in the early nineteenth century was the publication in Lviv of a new yearbook – the calendar-almanac «Lviv Pilgrim». There was published the work «Folk Songs» in its first issue, in which for the first time in Galicia the question of the need to study folk music was raised and folk melodies were published. The author of the publication, the founder and editor of the yearbook was Karl Josef von Guttner (1793–1822).However, despite the importance of the event in the history of the emergence of ethno musical interests in Galicia, about the publication of KJ von Guttner's «Folk Songs», the history of its emergence and its impact on contemporaries today little is known. Therefore, the main purpose of the publication is to be acquainted in more detail with the figure of KJ von Guttner (a graduate of the University of Vienna, head and professor of statistics department at the Austrian Empire of Lviv University) and his ethnographic work. Also to analyze and evaluate its exploration, to outline the significance of this important event in the history of music folklore.The calendar-almanac «Lviv Pilgrim» combined the best achievements of the periodicals of that time. There was published two versions: in German and Polish. Two issues of the almanac calendar for 1822 (edited by K. J. von Guttner) and 1823 (edited by Josef Mauss) were published. The publication had a foreword and two parts: the first – calendar and the second – literary-scientific and reference. The second part contained articles on history, economics, statistics and science, literary works, notes on economic topics, background information.In the first issue of the Lviv Pilgrim was published KJ von Guttner's work entitled «Folk Songs». The publication consisted of an article-review, four folk songs with melodies (two Polish and two Ukrainian) and comments-notes to them. In the article-review, which served as a kind of introduction to the published melodies, KJ von Guttner convinced readers of the need to study and record the folklore of their own people. He drew attention to the need to record and study not only the verbal lyrics of songs, but also their melodies for the first time in Galician ethnographic literature. As an example of theoretical reflection, the researcher for the first time in Galicia published texts and melodies of Ukrainian folk songs in the study of Moronskyi. These songs were presented in the form of arrangements for voice accompanied by piano.KJ von Guttner's work became a milestone in the history of musical folklore. His post initiated and encouraged research on folk music in Galicia and beyond. In the second issue of the Lviv Pilgrim, Denis Zubrytsky supported the call to study own folklore by publishing an article «About the singing of ordinary people». The initiative of KJ von Guttner also influenced the appearance of folk music publications by Vaclav Zaleski – Karol Lipinski, Mikhail Maksimovich – Alexander Alyabiev, studies on folk song culture by Ludwik Piontkevich, Yuri Venelin (Georgy Gutsa). The initiative of the Austrian scientist drew the attention of the educated community to musical folklore and aroused interest in own folk melodies. Composers gradually began to turn to folklore sources, as evidenced by the artistic heritage of Mikhail Verbytsky, Ivan Lavrovsky, Karol Lipinsky, and later subsequent generations of Galician artists.

Vocal-motor interference eliminates the memory advantage for vocal melodies

Spontaneous motor cortical activity during passive perception of action has been interpreted as a sensorimotor simulation of the observed action. There is currently interest in how sensorimotor simulation can support higher-up cognitive functions, such as memory, but this is relatively unexplored in the auditory domain. In the present study, we examined whether the established memory advantage for vocal melodies over non-vocal melodies is attributable to stronger sensorimotor simulation during perception of vocal relative to non-vocal action. Participants listened to 24 unfamiliar folk melodies presented in vocal or piano timbres. These were encoded during three interference conditions: whispering (vocal-motor interference), tapping (non-vocal motor interference), and no-interference. Afterwards, participants heard the original 24 melodies presented among 24 foils and judged whether melodies were old or new. A vocal-memory advantage was found in the no-interference and tapping conditions; however, the advantage was eliminated in the whispering condition. This suggests that sensorimotor simulationduring the perception of vocal melodies is responsible for the observed vocal-memory advantage.