Folk Song Culture Research Articles

Literacy Transmission of Chinese Folk Songs in Southern Shaanxi

Southern Shaanxi, rich in folk song culture, faces significant challenges in preserving its musical heritage due to rapid modernization, technological advancements, and social changes. The primary objective is to investigate the educational literacy development and transmission processes of Chinese folk songs in Southern Shaanxi under contemporary status. The research site encompasses cities like Hanzhong and Ankang, with seven key informants, including folk song practitioners, educators, cultural experts, students, and community members, provided insights through interviews, observations, and document analysis. Thematic analysis was employed to identify patterns and themes related to educational literacy development, transmission processes, and cultural influences. The results indicate that integrating folk songs into educational curricula enhances language acquisition, critical thinking, emotional expression, and cognitive skills while revealing challenges such as the loss of traditional environments, the complexity of singing techniques, and economic constraints. The study suggests embracing technological innovations, fostering community involvement, and implementing supportive policies to sustain the transmission of Chinese folk songs and promote cultural literacy among younger generations.

КЫРГЫЗ ОБОНДУУ ЫРЛАРЫНЫН САЛТТУУЛУГУН САКТОО БҮГҮНКҮ КҮНДҮН ШАРТЫНДА

The functioning of Kyrgyz folk song folklore in modern conditions is considered as a factor in the preservation of musical culture. The article discusses the problems of the existence and preservation of song performing tradition of the Kyrgyz people. The place and role of the Kyrgyz folk song in musical culture is noted, as a work of oral and professional creativity, which is undoubtedly distinguished by its exceptional richness and wide variety. The purpose of the article is to preserve the song performing traditions that occur in folk song culture at the present time, to determine their causes and predict their results and identify characteristic trends. The article also identifies positive and negative aspects associated with preservation processes in folk musical culture. The historical perspective of folk song performing traditions is revealed. A set of measures is proposed to preserve and develop the traditions of folk song performing art. The idea is that the Kyrgyz song is an important component of the musical, cultural and historical heritage of the Kyrgyz people.

СТЕПНАЯ ЗОНА УКРАИНЫ: ЖАНРОВАЯ ПАЛИТРА СЕЛЬСКОЙ МУЗЫКАЛЬНОЙ ТРАДИЦИИ В РАЙОНЕ ДНЕПРОВСКИХ ПОРОГОВ

The folk song culture of southern Ukraine has only fragmentarily been studied. One of the most annoying blank spots is the traditions in areas where Ukrainian Cossack culture formed, the area of the Dnieper rapids and the adjacent territories (the lands of the modern Dnipropetrovsk region). Several expeditions were conducted there by ethnomusicologists from the 1990s to the 2020s. The article provides an overview of the main song genres obtained during these expeditions, and a general look at local song styles at the beginning of the 21st century.

ПРОЕКТ КОНТРАСТИВНОГО СЛОВАРЯ НАРОДНЫХ ПЕСЕН КАЗАКОВ КУБАНИ

The aim of the article is to justify the concept of a contrastive dictionary of the language of Kuban Cossacks’ folk song culture. This dictionary should demonstrate the bilingual nature of the Kuban Cossacks’ song folklore in the context of Russian and Ukrainian folk speech traditions, and become the basis for identifying the ethnolinguistic and ethnopsychological features of the Kuban Cossacks – a subethnos that has formed its own special traditional culture for over three centuries. The contrastive analysis of each culturally significant lexeme is organized in two blocks depending on the research base: Russian-language songs (songs of the Kuban Line Cossacks and Russian folk songs), Ukrainian-language songs (songs of the Kuban Black Sea Cossacks and Ukrainian folk songs). The article presents the concept of contrastive dictionary of the Kuban Cossacks’ folk songs; its originality is determined by the peculiar forming conditions of the Kuban folklore language caused by the settlement history of the Kuban territory. The existing experience of compiling contrastive dictionaries cannot be fully applied to the language of Kuban folklore, in which Russian and Ukrainian language folk traditions are mixed in a complex way. The dictionary is based on the ideographic principle. The thematic approach fully reflects a particular fragment of the linguistic world-image and provides great opportunities to study the place of separate language units in this fragment. Due to the significance of the task, attention is focused on one thematic group – “Man’s World”. The structure of the dictionary entry of the developed dictionary reflects linguistic features of lexemes: it gives an idea of the lexical and morphological paradigmatics, family of words (within the analyzed lexicon), their co-occurrence properties (syntagmatic aspect), and the originality of use (functional aspect). Such a structure of the dictionary entry allows not only describing the linguistic features of the analyzed lexeme, noting the presence of qualitative (cultural, conceptual) asymmetry in equivalent lexemes, but also identifying the deep implicit meanings reflected in the co-occurrence properties of the word and understanding the concept verbalized by the analyzed lexeme. The justified concept of the contrastive dictionary of Kuban folk songs should contribute to the solution of many problems of modern lexicography – studies of the possibilities of using contrastive dictionaries in folklore and author’s (writer’s) lexicography, lexicography of a multicultural region.

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.

Verbal aspects of China’s vocal art system

Verbal aspects of China’s vocal art system

The Functioning of Slovakian-Ukrainian Song Folklore (On the Example of The “Makovytska Struna” (“Makovytska String”) Festival)

The goal of the work. The research is related to the issue of the specificity of the existence of Slovak-Ukrainian song folklore on the territory of Eastern Slovakia, the disclosure of the issue of the functioning of the «Makovytska Struna» song festival. The methodology of the research is to combine the methods of cognition due to the requirements of the objective analysis of historical sources, which reflect the main tendencies of the development and functioning of the cultural and artistic life of the Ukrainians of the Region of the second half of the ХХth – the beginning of the ХХІst century. Scientific novelty of the work consists in the comprehensive coverage of the Slovak-Ukrainian song ties. The interconnection between Ukrainian song and Slovak folk songs is one of the priorities of folklorists and musicologists in our time. Conclusions. It is proved that the study of ethnic history, features of the song folklore of the Ukrainian population in various fields is one of the main issues of the present. The joint ethnographic boundary between the Ukrainian and Slovak populations in the Transcarpathian region and the Presov (Eastern Slovakia) region contributed to the cultural, economic and folkloric ties between them. In the process of transformation of the forms of the existence of folk song culture and ritualism, as well as the interaction of song tradition and new creation, in particular, associated with the influence of the ingratiation of modern culture of Rusyn-Ukrainians, it was discovered that whole figurative and poetic cliches are taken from the Slovak folklore in local Rusyn production; all that is special in the content and form of Lemko and Rusyn folklore does not separate them from the general array of traditional musical-song and verbal literature of the Ukrainian people does not isolate them, but rather complements enriches this array with unique elements and features. Folk festivals of Rusyn-Ukrainians, despite the processes of assimilation, are extremely popular in the modern period among the Ukrainian population of Slovakia.

ТВОРЧІСТЬ ГАННИ ГАВРИЛЕЦЬ У ПЛОЩИНІ ПЕРЕТВОРЕННЯ УКРАЇНСЬКОГО МУЗИЧНОГО ФОЛЬКЛОРУ

Мета статті полягає у визначенні специфіки, розкритті найбільш своєрідних характерологічних ознак хорової творчості відомої української композиторки Ганни Гаврилець у площині перетворення українського музичного фольклору. Методологія дослідження зумовлюється застосуванням емпіричних методів наукового дослідження, а саме спостереження та узагальнення. Означені методи формують яскраво виражену практичну складову пропонованої наукової розвідки. Застосування методів аналізу та синтезу обумовлюється фрагментарним та цілісним підходами до вивчення окресленої тематики. Структурно-функціональний метод розробки досліджуваного матеріалу вибудовує ціннісні показники художнього мовлення відомої української майстрині. Наукова новизна статті полягає у виявленні особливостей використання обрядового фольклору в хоровій творчості Г. Гаврилець. Виявляється глибинна сутність обрядової народної традиції українців у її яскраво6вираженому представлені в безпосередньому, природному художньо-авторському баченні композиторки, що, у свою чергу, дає вихід на відповідні стильові характеристики, художньо впізнавані ознаки індивідуально-мистецького почерку Г. Гаврилець. У висновках зазначено, що хорова творчість композиторки охоплює майже всі жанри хорової музики. Художній світ авторки, втілений у хоровій творчості фольклорного напрямку, є надзвичайно різноманітним, всебічним та яскравим. Цей найчисельніший за кількістю творів напрямок у композиторському доробку Г. Гаврилець, пов’язаний з традиціями народнопісенної культури України та її відродженням на сучасному етапі розвитку національного музичного мистецтва. Перспективи подальшого дослідження означеної теми полягають у комплексному аналізі хорових творів фольклорного напрямку Г. Гаврилець в аспекті перетворення джерел національного пісенного фольклору.

Горизонты интерпретации литературного текста в фольклорных вариантах: Умирающий В. И. Немировича-Данченко

This article defines the originality of the poem by Nemirovich-Danchenko Dying (1882) in the context of literary traditions of Russian gaol songs and poems about imprisonment. The directions of the reception and variation have been analyzed. The focus is also on the aesthetic principles and techniques of reproduction of a literary source in folk song culture in the Kemerovo region and its folklore.

Academic Ignorance or Political Taboo? Some Issues in China's Study of Its Folk Song Culture

L'etude des chansons populaires chinoises par les intellectuels chinois se heurte peut-etre a l'ignorance academique mais surtout au gouvernement. Ainsi les publications ecrites ou audiovisuelles sont retravaillees afin de mettre en avant les « geming minge », les chants revolutionnaires venerant la politique chinoise. L'authenticite des anthologies des chants populaires chinois et des chants populaires du peuple gaoshan sont plus qu'incertaines.