Folk Singing Research Articles

«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.

Medžiugorjės bažnytinis giedojimas. Atspindžiai katalikų laikraštyje „Katolički list“

Međimurje is a region in the northwest of the Republic of Croatia. Among its many peculiarities, it is characterised by specific folk lyrical solo vocal female singing, the so-called Međimurska popevka (Folk song from Međimurje). In 2013, that traditional Međimurje song was declared an intangible cultural good of the Republic of Croatia. In 2018, it was put on the list of elements on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. This article presents the results of the authors’ research into the writings of the weekly Katolički list (Catholic Newspaper) (Zagreb, 1849–1945) about Međimurje singing. It can be seen from the weekly that the people of Međimurje attracted attention with their singing at all church ceremonies and on other occasions. However, with the Caecilian reform of church singing (1870–1920), which was more intense in Croatia from 1907 onwards, Međimurje singing began to be valued differently by some individuals (mainly priests). Echoes of these musical turmoils are also found in the weekly Katolički list. Although the entries of this weekly must be thoroughly supplemented with a description of the socio-political circumstances of the time, including Međimurje singing, and especially with the description of the nature of the Caecilian movement, the patriotic importance and traditional value of that folk singing in northwest Croatia can be strongly glimpsed in all the recorded texts.

Ukraine on Fire Cinema Novel by Oleksandr Dovzhenko: Saving Gesture of the Artist

The years of German-Soviet war (1941–1945) have become a period of special trials for the outstanding film director Oleksandr Dovzhenko. All hopes for the revival of the Ukrainian nation and its culture have turned out to be an illusion. The victory of the Soviet Union in the war has led to the collapse of the remnants of political and cultural autonomy in Ukraine, complete control of the imperial center over the processes of social and cultural life. Dovzhenko writes the film story Ukraine on Fire, which demonstrates the considerable resources of resistance of Ukrainians to totalitarian systems – both Soviet and German. In addition, Dovzhenko as an author reveals the intention of a national prophet who believes in his magical ability to save his people. The author has special sympathy for Ukrainian girls and women. They are killed, raped, humiliated. However, they remain special bearers of the nation mentality, its cultural and artistic memory. Its beauty! Therefore, the images of women are permeated with folklore and literary motifs, those voice out and materialize the world of Ukrainians who oppose the war. The story has drawn a lot of criticism from the dictator Stalin, criticism made public during a special meeting in the Kremlin. The accusations have been reduced to alleged manifestations of nationalism, revision of the very foundations of the Bolshevik empire. The work has been banned from publication and production in the cinema. Today, in the context of the new stage of war of the Russian Empire against Ukraine, the work in which the artist at the time of the disaster, is on the edge of the abyss and the non-existence of the people, comes to its defense, acquires special relevance and worldview expressiveness. Ukraine on Fire is distinguished by the special lyrical nature of the text, it is permeated with folk singing, folklore images and even rhythm. An amazing consonance with the folk melos, a powerful lyric-epic coverage of folk life. The completion of work on the film story has coincided with the beginning of the stay of Dovzhenko’s mother, Odarka Yermolaivna, in Moscow, in Dovzhenko’s apartment (after the end of the German occupation of Kyiv). The artist has recorded a number of folk songs from her, those have a significant impact on the work on the following scenarios – Chronicle of Flaming Years, Enchanted Desna, Poem of the Sea.

Yu Shuxi’s Biography and Transmission of Pingdiao Sanxianshu Chinese Folk Singing in the Context of Literacy

This study investigates the role of Yu Shuxi in the transmission and preservation of Pingdiao Sanxianshu, an intangible cultural heritage, within the context of literacy and education. By analyzing the cultural significance and pedagogical practices of Yu Shuxi’s artistry, the research explores the impact of traditional folk arts on literacy development and cultural identity formation. Utilizing qualitative methods, including interviews with key informants and field observations in Baofeng County, Henan Province, the study captures the intricate relationship between individual biographies and broader educational practices. Data analysis reveals how Yu Shuxi’s life story and teachings in Pingdiao Sanxianshu contribute to cultural preservation and literacy skills among learners, emphasizing the need for integration of traditional arts in modern education. The results indicate the potential of such arts to enhance critical thinking, linguistic abilities, and cultural literacy. Consequently, the research suggests collaborative measures across educational institutions, governmental policies, and community efforts to ensure the viability and relevance of traditional folk arts like Pingdiao Sanxianshu in contemporary society, maintaining their legacy for future generations.

НАРОДНЫЙ ПЕВЕЦ Н. И. СТЕПАНОВ – НООРОЙ: ВЗАИМОДЕЙСТВИЕ ФОЛЬКЛОРНЫХ И ЛИТЕРАТУРНЫХ ТРАДИЦИЙ

This article touches on the problem of studying the interaction of folklore and literary traditions in the works of authors who came from the people, bearers of oral folk art. In Soviet times, in the literature of the peoples of the USSR, especially in newly written literature, folk singers played a significant role in poetic life. Their works successfully intertwined folklore and literary traditions: a certain synthesis of form and content occurred. In our work, we drew attention to the work of one author, Nikolai Stepanov – Nooroy, a member of the Union of Writers of the USSR, folk singer, olonkhosut, participant in the Great Patriotic War. The relevance of the article lies in the fact that until now the period of active creativity of folk singers of Yakutia, as authors, as creators of Soviet folklore, has been little studied. The subject of our research is the works of N. I. Stepanov – Nooroy, his songs and poems on Soviet themes. The work uses comparative, analytical, and analytical methods to reveal the interaction of folklore and literary traditions and the transformation of folk songs into original songs. The novelty of the research lies in the fact that this work studies the fusion of folklore and literary traditions, their interaction in the works of one author, a bearer of the traditional oral culture of the Sakha people. As a result of the study of the author’s poetic works on the Soviet theme, we concluded that in the poems, songs, and toyuks of N. I. Stepanov, the interaction of folklore and literary traditions is clearly observed. From the works of N. I. Stepanov it is clear that the folk singer, firstly, worked to preserve and transmit the traditions of folk art mainly in olonkho and toyuks, and secondly, he became one of the founders of a new type of folklore, a song genre called Soviet folklore. Stepanov’s songs about labor and workers can be considered historical, because they reflect reality and glorify real people. The writer’s poetic works on Soviet themes reflect historical facts and events of the Soviet period. His works have cultural value, and as works reflecting reality, they are a historical and cultural monument.

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.

Problems of alcohol consumption in the oral and written literary tradition of the Yakuts (late 19th – early 20th centuries)

The research subject of this article is the texts of folklore and literary works of the late 19th to the early 20th centuries, dedicated to the issue of alcohol consumption. The research was conducted using historical-cultural and comparative-historical methods. The scientific novelty of the work lies in the authors’ attempt to comprehensively study the problem of alcohol in folklore and written literary works of the pre-revolutionary period. The study examines the initial instances of critical understanding of alcohol consumption in Yakut society, as expressed in oral and written literary traditions of the people. In their analysis of the texts, the authors explored previously undiscovered archival documents. They conclude that, starting from the late 19th century, “songs about vodka” emerged in Yakut folklore, addressing the issues of alcohol consumption and explaining the harmful effects of alcoholic beverages to the population. The article acknowledges the contribution of folk singers who, alongside intelligentsia, initiated efforts the combat excessive drinking in Yakutia. In the 1910s, A.E. Kulakovsky, the founder of Yakut literature, authored two works addressing the problem of alcoholism. These were the first works in Yakut literature presented in the form of literary genres: a short poem and a narrative poem with a clearly expressed and developing plot, and a well-balanced composition. While folk singers raised awareness of the issue of drinking in their songs and portrayed its harmful effects on individuals, Kulakovsky, recognizing alcoholism as a potential national threat, vividely illustrated the potential consequences of alcohol addiction and its destructive impact on people's lives. A.E. Kulakovsky, as an educator, public figure, and spiritual leader of the nation, endeavored through his creative work to caution his people against excessive alcohol consumption.

Folk Songs of Montenegro – from the First Field Recordings of Miodrag A. Vasiljević to Published Collections

The goal of this work is to introduce the general public to the enthusiasm, dedication and engagement of Miodrag A. Vasiljević (1903-1963), Serbia’s most renowned ethnomusicologist and music pedagogue, to melographical work. His melographic journey through the lands of Montenegro has been reconstructed from, among relevant sources, documents from the Miodrag A. Vasiljević Archive. A survey of the numerous collections of recorded folk songs has led to an in-depth look at the ethnomusicological collection Folk Songs of Montenegro in the Published Melographic Records of Miodrag A. Vasiljević, published by the Montenegro Academy of Science and Art and the Montenegro Music Centre in 2019. Vasiljević had, through melographic records, notes on folk singers, and studies, worked creatively by offering not only a written record, but also active communication across a great distance, thanks to the layered nature and levels of meaning in his approach to ethnomusicological material. His familiarisation with the formula of folk songs and with the creative functioning of folk singers is transmitted through written material and studies, and he searched for and found ways to rework a layered musical whole and operationalise it for a practical music-pedagogical application. The work also contains a look at this intriguing link between ethnomusicology and pedagogy which, through the creative work of one man, blazed a trail for both sciences in Serbia. At the same time, this connection is what makes Vasiljević unique as an ethnomusicologist and a music pedagogue, and that dialectic makes his legacy priceless. Keywords: Folk Song, Montenegro, M.A. Vasiljević, Ethnomusicology, Music Pedagogy.

Creating Atmosphere and Meaning through Singing on the Religious Pilgrimage from Sali to Piškera

The Catholic pilgrimage from Sali (island of Dugi Otok, Croatia) to the island of Piškera is embedded in the historical connections between these two locations, as Piškera was inhabited by fishermen from Sali for nearly three centuries. While sailing through the archipelago that no longer belongs to them, the pilgrims from Sali sing. During Mass, they perform a sung liturgy rooted in polyphonic folk singing; after Mass, the singing usually continues up until they depart. In this article, I argue that this community embodies its presence in the archipelago and creates a certain atmosphere through singing, while simultaneously inscribing meaning into the pilgrimage itself.

Ethnomusicological Perspectives on Gaomi Miaoqiang: Unveiling the Cultural Tapestry

This ethnomusicological study delves into the vibrant tapestry of Gaomi Miaoqiang, a traditional Chinese folk opera hailing from the Shandong province, exploring its historical evolution, linguistic intricacies, musical characteristics, and cultural implications. With a foundation rooted in the "肘鼓子" (Zhou Guzi) series of Shandong local operas, Gaomi Miaoqiang has evolved over centuries, blending folk singing styles and incorporating influences from Huagu yangge and Lüqin opera. Acknowledged as China's 67th National Intangible Cultural Heritage, Gaomi Miaoqiang represents a profound cultural legacy.The study scrutinizes the language features of Gaomi Miaoqiang, emphasizing simplicity, clarity, and the integration of local dialects, reflecting the rural life of the Gaomi community. Musical analysis unveils the operatic singing styles, instrumental accompaniment, and the evolution of musical composition. From the authentic tones of the "Original Board" to the intricate patterns of the "Dayoutou Board," Gaomi Miaoqiang's musical journey embodies emotional depth and narrative complexity. The study also explores the roles, makeup, costumes, and stage art, highlighting the art form's transition from grassroots performances to professional troupes. Furthermore, Gaomi Miaoqiang's cultural significance is illuminated, portraying its role as a conduit for spiritual solace and emotional release within local communities. Recognizing its enduring influence, the study advocates for the preservation of Gaomi Miaoqiang's distinctiveness amid urban influences. As Gaomi Miaoqiang navigates the intersection of tradition and modernity, it emerges as a cultural beacon, casting light on the rich legacy of Chinese folk opera and emphasizing the critical role of ethnomusicology in unraveling the intricate threads of cultural heritage.

Terapiniai tradicinio muzikavimo aspektai nėštumo, gimdymo ir pogimdyminiu laikotarpiu

The purpose of this study is to reveal the benefits of traditional music for women’s psychosocial wellbeing and its applicability in music therapy during the birth-transition, i. e. during pregnancy, childbirth and the postpartum period. Some Lithuanian women use traditional music for self-help during their own birth-transition or working with pregnant women and mothers. On the other hand, we still lack interdisciplinary research on the therapeutic value of traditional music. This article analyzes a previously unexplored phenomenon of employing traditional music to improve the psychosocial wellbeing of pregnant women and mothers. The study presents experiences, insights and testimonies of the young mothers and doulas who assisted them regarding the value of traditional music while expecting the baby, giving birth, and raising the child. For this study, we deliberately selected educated women who are members of the folk singing groups and practice folklore in their everyday life.
 In the article, pregnancy, childbirth and the first weeks after it are regarded as a transition period between different stages of a woman’s life. It is characterized by the sense of liminality, identity transformation, and the related emotional peak. The research has shown that the interviewed women practiced folk singing, listened to the traditional music or music performed on the traditional instrument kanklės, danced to traditional dance music during pregnancy in order to creatively release tension, improve emotional state, reduce anxiety, prepare for the childbirth, or simply make everything easier. Meanwhile, singing folksongs and lullabies to the baby during pregnancy and the postpartum period was a natural way to establish a relationship, to express motherly love, to convey values and a certain worldview.

Over the cold and barren sands: folk singing and folk memories in a northern Icelandic valley

ABSTRACT This paper continues from the two previously published in Folk Life, that concern daily and seasonal life, women’s work and food production and preservation in the northern Icelandic valley of Vatnsdalur, in the later 1970s and after. It addresses the tunes and words of ‘folk-style singing’ in spontaneous contexts, in the home, farm work environment and at social events, noting that the practice later diminished, though it ceased only in about 2015, with the deaths of the leading singers. The relationship to the production of music in church is then considered. The paper then goes on to consider aspects of the general narrative folk tradition recounted at the period in question.

КЫРГЫЗ ОБОНДУУ ЫРЛАРЫНДАГЫ КӨРКӨМДҮҮЛҮКТҮН ЖАҢЫ ЧЕКТЕРИ

Over the course of many centuries, stable traditions of Kyrgyz folk singing and performing arts have developed. The concept of “folk singing tralitions” covers musical and poetic works of various content and artistic form, created and performed among the people. Folr songwriting is distinguished by a wealth of genres, different in origin, character and function in folk life. Folk singing traditions are characterized, on the hand, by stability, and on the other hand, by constant renewal: thus, modern song folklore is undoubtedly connected with the old, but at the same time is deeply different from it, since it has experienced the influence of the most important socio-historical and cultural factors. At the beginning of the last century, quite a large number of various genres were written. Their authors were singer- improvisers Toktogul, Kalyk Akiev, Osmonkul Bolobalaev, Alymkul Usonbaev, Kalmurat, Syrtpay, Atay Ogonbaev, Musa Baetov, Myskal Omurcanova, Shekerbek Sherkulov and others. The article examines the activities of melodist singers, continuing the activities of the older generation, who developed singing creative activity in a new direction.

WEDDING SONGS OF PAMIR KYRGYZ: ÖLÖNG and DÜRÖ (From the experience of ethnofolkloristic analysis)

This article will analyze, in accordance with the methods and techniques of the branches of social and humanitarian sciences, the songs of ölöng (өлөң) and dürö (дүрө), almost forgotten in the oral folk art of Kyrgyzstanis, but performed at modern weddings of Kyrgyz ethnic groups living in other countries (in particular, among the Pamir Kyrgyz), preserving their liveliness in their traditional culture. The performance of ölöng is a traditional, multifunctional ethnopoetic act performed before the performance of the nike kyiuu (Muslim wedding ceremony), which is the final stage of the weddings of the Pamir Kyrgyz. The ritual cannot be performed without the accompaniment of the ölöng, the performance of which can be undertaken only by the folk singers of the ölöngchü, trained and experienced in the performance of these songs. Information about dürö has been poorly preserved. Respondents recall that the architectonics and content of the dürö are close to some types of akyn competitions – aitysh where elements of erotic themes take place. The issues of the organization of the oral text, the use of linguistic means, artistic form, deep content, traditions of performance, place in the public life of the speakers of ölöng and dürö, need careful study at the intersection of social and humanitarian sciences such as ethnofolkloristics, ethnoculturology, ethnolinguistics and ethnophilosophy.

Вятские церковно-певческие курсы А. Н.Карасева 1903-1904 гг. как пример региональной музыкально-педагогической инициативы

This article is devoted to the church singing courses held in the city of Vyatka in 1903 and 1904. Short–term singing courses are one of the forms of musical and pedagogical education, which was widespread in Russia in late XIX - early XX century. The organizers of the courses and teachers at them were famous musical figures. The purpose of this article is to expand information about church singing courses in Russia and the musical and pedagogical activities of A.N.Karasev. Karasev, an outstanding music teacher, regent and author of numerous manuals on church singing, was invited to Vyatka to organize folk singing activities. During 1903 and 1904, he organized three streams of singing courses in the city. The main objectives of the courses were to train the leaders of folk choirs for the Vyatka province and to train teachers to teach church singing in schools. Teachers and regents from different counties of the Vyatka province came to the courses. There were no professional musicians among them. During the courses, students studied music theory, learned to sing by notes, trained to manage a choir, studied spiritual and secular chants, and learned to play the violin. Theoretical classes were closely connected with practice. In total, about 300 people were trained at the courses. Students of the courses have achieved great success in a relatively short time. Their achievements are confirmed by the results of final exams, surveys about their subsequent activities, testimonies of clergy and people who checked schools. The article discusses in detail the circumstances of the emergence of courses, as well as some organizational and pedagogical features. Vyatka singing courses are an example of a regional musical and pedagogical initiative, the successful implementation of which became possible thanks to the support of representatives of state, church and educational institutions, the pedagogical system and the work of the course leader, the motivation of the listeners.

Toxic Rhythms: Protest Masculinities of “Brown Indo-Canadians” versus “Surrey Jacks”

Bhangra music has generically functioned as the site for the articulation of a particular form of Jat masculinity that may be described as hypermasculine. In its glorification of Jat machismo and reification of the female as an object of the Jat’s adoration, it has perpetuated gendered stereotypes originating in feudal Punjabi cultures of honour. Several Punjabi folksongs or those attributed to legendary Punjabi folk singers map strength, courage, and virility on the Jat body in which the objectification of the female body is traditionally sanctioned as a desirable Jat attribute. In hybrid Bhangra genres, Punjabi hypermasculinity is remodelled in relation to the hypermasculinist aesthetic of black genres like rap to produce an explosive toxic masculinity. This article focuses on the hypermasculine ethic underpinning popular bhangra music, particularly the songs of two popular singers, Jazzy B and Yo Yo Honey Singh, to examine the Canadian Punjabi youth masculinities that converge on Punjabi music to reproduce traditional Punjabi patriarchies. It shows that while the appropriation of these bhangra genres enables brown Indo-Canadians and “Surrey Jacks” to constitute alternative protest masculinities in opposition to hegemonic white masculinities, they engender different forms of misogyny and violence.

Подготовка народных певцов в вузе: подходы к определению содержания профессиональных компетенций

The purpose of the article is to analyze the existing approaches to the professional training of folk singers, to identify the necessary approaches for concretizing professional competencies, taking into account the specifics of professional activity and the national and regional specifics of the folklore material of the Volga region, in particular the Chuvash cultural tradition. The material for the study includes normative documents, theoretical works of leading scientists, methodological works of practicing teachers and personal experience of performing and teaching. Based on the method of theoretical analysis, the definition of professional competencies is given as the ability and willingness of students to apply knowledge, skills, experience and personal qualities in accordance with the professional and creative activity in the folk performing arts. It was revealed that the main goal of the implemented approaches in the professional training process is aimed at developing competencies for working with folk song material, vocal and stage work, pedagogical and scientific work. The use of the ethno-cultural approach in the training of folk singers is one of the main ones, the implementation of which allows supplementing the educational standard by determining the content of professional training, taking into account the regional specifics of folklore material, the local folk song tradition, and the characteristic features of the national manner of performance.

IMPLEMENTATION OF THE TIMBRE IMITATION METHOD IN “THE CALL OF SPRING” BY THE COMPOSER I. V. ASTAKHOVA

The article is devoted to the timbre-imitation method used in composing neofolklorism to convey the specifi cs of folk singing, whose tradition is based on the timbreintonation onomatopoeia of the surrounding world. Using the work of I. V. Astakhova as an example, the author of the paper carries out a musicological analysis, revealing this method of interaction with a folklore source.

Interpretative Formulas in Caroling in the Southern Area of the Apuseni Mountains

"Many folklorists have analyzed traditional carols and caroling over time, but most of them focused on the development of the custom or on the morphology of carols. In this article, we will present the various interpretative formulas that we encountered during a folklore gathering session in the southern area of the Apuseni Mountains: men’s group, mixed group, individual performers, and children’s group. Each formula has interpretative particularities, with some formulas being constituted only for the purpose of communicating carols, despite not being encountered in the practice of caroling. The importance of each formula is presented with arguments, together with an exemplary sample of carols performed. Keywords: caroling, interpretative formula, traditional music, folk singing"

Seeking an ‘Ideal Place’ in a Nuosu Origin Epic

Abstract The Book of Origins (hnewo tepyy) is a major ritual text of the Nuosu, a subgroup of the official Yi (Yizu) ethnic group of southwest China. The narrative, existing in both written and oral variants, is part of a living tradition, especially among priests (bimo) and folk singers, in the Liangshan Yi autonomous region in Sichuan province and nearby Yunnan province. The epic narrates the creation of the sky, earth, and living creatures through the frame of genealogies. After an age of scorching heat, life is re-seeded on earth and a descendant of the snow tribes of flora and fauna finds a bride. Many generations later this union results in the marriage between an earthling and the Sky God’s daughter. The tropes of genealogy and migration intertwine in the storyworld as clans descended from the couple seek out an “ideal place” to settle and prosper in the local environment in a pattern that resonates with other epics from the southwest and the Southeast Asian Massif.