Folk Songs Research Articles

Composer Eduard Brylin: Universal Nature of Creative Activity

The purpose of the research is to examine the creative path of Eduard Brylin, focusing on the factors that became the foundation for forming his professionalism and ensuring the universal nature of his creative activity. The research methodology is based on the biographical method and the model of a universal creative personality in the aspect of activity universalism (according to O. Komenda). The scientific novelty of the research lies in studying the life chronology of the composer Eduard Brylin as a universal type of musician, namely a universal composer. Conclusions. The basis on which the universal creative figure of E. Brylyn was formed was laid at the initial stage of his life. The musical environment of the family, rooted in national traditions, shaped Eduard’s musical and aesthetic preferences. Hard work, support and assistance from his parents, the professionalism of his teachers and mentors, and his dreams ensured his rapid growth in the piano field. Performing skills enabled the musician to present his work and be a concert performer. His thorough piano training allowed him to create methodical and highly artistic examples of piano pedagogical repertoire for children and youth and to try himself in the piano concerto genre. In the composition E. Brylin continued the traditions of his mentors, choosing to rely on folk song sources, appealing through A. Shtogarenko to the works of M. Lysenko. His intelligence and natural introversion led him to gravitate towards chamber genres, in which the lyrical facets of the composer’s personality were fully revealed. We define the 2000s as an acmeological period of the musician’s creative work because this time was fruitful in the implementation of various types of musical activities, which emphasises the universal nature of the artist’s creative activity. Loyalty to his musical and aesthetic ideals became the starting point for the realisation of Eduard Brylin’s creative potential as a universal composer.

RUSSIAN FOLK SONG ABOUT THE SOUTH AFRICAN WAR AS AN EXPRESSION OF PUBLIC DISCONTENT OF THE EARLY 20TH CENTURY

The folk song “Transvaal, Transvaal, My Country” emerged in the Russian Empire about 120 years ago. It happened in the wake of the extraordinary public interest in the first major armed conflict of the 20th century, the Anglo-Boer War of 1899-1902. The lyrics are based on a poem by a Saint-Petersburg poet, G. Galina. The song about the freedom struggle, which was waged by the people of a distant, but, like Russia, predominantly agrarian country, resonated with the early 20th-century Russian society. Its growing politicisation manifested itself in the keen interest that Russians took in the confrontation between two “peasant republics”, as Russian publicists termed them, and an empire, which had a strong army and a desire for expansion in the interests of its capital. The Russian song about a foreign war in Southern Africa became entrenched in Russian folklore and in Russian popular culture in general. A reason for the popularity of “Transvaal” in the Russian Empire was that the song enabled expressions of hope for social and political change in a form that was safe for the singer and his listeners under a repressive regime. The emergence and growing popularity of “Transvaal” coincided with the prevalence of protest sentiments in Russian society, among urban and rural residents, in the 1900s- 1910s. The song changed its meaning over the years. Sympathy for the Boers who fought against the British Empire was gradually replaced by sympathy for one’s compatriots. The Russian folk song, inspired by the events in South Africa, prompted people in the Russian Empire to reflect on their own living conditions and the future of their homeland.

Домбра в калмыцком фольклоре и лирике ХХ – начала XXI в.: поэтика музыкального инструмента

The relevance and novelty of the article is determined by the fact that the poetics of a musical instrument was not the object and subject of research in Kalmyk folklore and poetry. Among the national musical instruments, the dombra retains its functionality at the present stage. The study of dombra as a thing and as a musical instrument in the translation of folk culture and art is of interest in a historical-functional, comparative-comparative sense when referring to both folklore and poetry, since it demonstrates the tradition, the continuity of the works of poets on this topic. In Kalmyk oral folk art, the dombra as a musical instrument is often found. It is mentioned in epics, fairy tales, legends, riddles, and songs. The material for the article were selected folklore works and representative poems of Kalmyk poets of the 20th – early 21st centuries. The purpose of the article is to consider the poetics of dombra as a thing and a musical instrument in Kalmyk folklore and lyrics to identify the continuity of traditions in the modern period. Results. The Kalmyks, unlike other Turkic-Mongolian peoples, apparently have not preserved folklore works about the appearance of the dombra as such, since it is considered a borrowed instrument. There are no such poems in Kalmyk lyrics. In Kalmyk folklore, the dombra is shown in its musical function; usually it does not have a plot-forming role. Among Kalmyk poets, poems about dombra are usually associated with the Dzhangarchi’s performance of folk epic songs, with folk rituals and holidays, singing and dancing. Depending on the time and space reflected in such texts, dombra is shown against the backdrop of historical and personal events, demonstrating a thematic range. A number of texts are dedicated to famous performing musicians and masters of dombra art. The analysis involved poems created in the Kalmyk and Russian languages, and also compared the original texts and their Russian translations.

Study on the Historical Development of Folk Songs in Shanbei

Northern Shanbei folk songs are famous traditional music in China. This study focuses on the origin and historical development of northern Shanbei folk songs, as well as its characteristics and ways of expression. The origin and development of northern Shanbei folk songs have not only incorporated ancient farming culture and theatre traditions, but also combined them with modern music to form a unique musical style and mode of expression. This has made northern Shanbei folk songs retain their ancient characteristics in their inheritance, while also advancing with the times and adapting to the needs of modern society. As an important part of Chinese folk songs, northern Shanbei folk songs are of great significance to the study of Chinese music culture and social history.

A Research on the Five State Songs of the Khorchin Zasagt Banner

The five State songs,inherited from the old time are in the Zasagt banner. (They are also called as the religious and State songs). Five songs/hymns of religion and state: 1: Bayanun Tsagaan Altan Delkhii. 2: Yalguusan Erkhet Dalai Lama. 3: Namyan Dalai. 4: Praise of Mount Bayanzurkh. 5: Ungu Saitai.The five State songs, inherited from the old time in the Zasagt banner have been sung untill now.Three of them are long-songs and two of them short songs. The folk songs, passed on for many years are value of the unforgettable cultural heritage. The song”A Praise of mountain Bayanzurkh”has been sung over hundred years and we have analysed its three versions. The reason that the song is not changed for the full hundred years may be connected to the preservation of the specific “soul”, carried out by the worshipped mountain in comparison with the praise song/folk song changed by singers who enriched in their improvisation.

A Literary and Interpretive analysis of Bihu Songs' Identity

The research paper titled “A literary and interpretive analysis of Bihu Songs' identity” attempts to conduct an artistic analysis of the symbols used in the text of the Bihu song. Symbols are objects, people, situations, or words that signify something else. In literature, symbols represent thoughts or emotions, which is one of the attractions of poetry. The idea of symbol has evolved in human culture over time. Parallelly, the symbols have been reflected in folk tunes. Bihu songs are the most characteristic genre of folk song in Assam, northeast India, both in terms of literary substance and musical mode. Symbols have played a significant role in Bihu Songs. This research gives an analysis of how different sorts of symbols are used in the text of Bihu songs. This paper's major research method is analytical. Data are gathered from library and field surveys.

Problems and Countermeasures in the Development of Shanbei Folk Songs

The purpose of this paper is to study the problems of Shanbei Folk Songs and put forward corresponding countermeasures and suggestions according to the problems. It is found that there are certain dilemmas in its creation, singing and inheritance. In order to solve these problems, this paper puts forward suggestions to strengthen the education and popularisation of Shanbei Folk Songs, innovation and development, and the construction of dissemination platforms, with a view to providing references for the prosperous development of Shanbei Folk Songs.

The Place Reconstruction, Government Practice, and Ethnic Identity of Chinese Folk Song Zhangjiachuan Hua'er

The Place Reconstruction, Government Practice, and Ethnic Identity of Chinese Folk Song Zhangjiachuan Hua'er

Comparative Analysis of Folk Song Styles in The Huizhou Region

The folk songs of the Huizhou region in Guangdong Province, China, are richly diverse and embody the area's profound cultural heritage. This study examines three distinct regional folk songs: the Huiyang Jiege, Ruhu Fishing Song, and Huidong Fishermen's Song, aiming to delineate their musical styles and cultural expressions and how they mirror the local culture. Utilizing both questionnaire surveys and in-depth interviews, this research engages with 326 residents and 16 cultural experts from various counties within Huizhou City. The study methodically evaluates the artistic features of these folk songs—including melody, theme, and lyrics—and investigates their transmission in contemporary times. The findings reveal that while these songs stem from a common cultural background, they exhibit distinct regional traits in their expression and social roles. For instance, the Huiyang Jiege is noted for its simple structure, whereas the Ruhu Fishing Song and Huidong Fishermen's Songs focus more on emotional expression and social interaction. The study advocates for enhanced local government support and collaborative research initiatives with universities. Additionally, it suggests leveraging modern media technologies to promote and preserve these folk songs as vital cultural assets. By thoroughly analyzing these locally distinctive folk songs, this research contributes to the academic field of ethnomusicology and offers valuable insights into the preservation and perpetuation of regional culture.

The Bildungsroman of an Artist for New China: Fu Lei's Family Letters, 1954–1966

Abstract This essay explores Fu Lei's Family Letters, 1954–1966 (1981) as an accidental then aborted künstlerroman for the newly established People's Republic of China. It suggests that Fu's private epistolary transformation of the bildungsroman is an important undercurrent of Chinese socialist literature and a telling participation in the utopian historical-aesthetic project of socialist subject formation. Reading the Family Letters as a coincidental socialist bildungsroman allows us to see Fu's “heart and mind's journey” in the early decades of the People's Republic, challenging the dichotomous framework with which the relationship between the Chinese state and its intellectuals is often understood. More importantly, it allows insights into Fu's vision of the artistic bildung and its implication for a New China. Through Fu's narrative preoccupation with Jean-Christophe, and in contrast to the officially orchestrated New Folk Songs movement (1958), this understanding of the correspondence as a Romantic bildungsroman with two protagonists probes the question of the possibilities of a socialist developmental narrative, of agency and participation in the emergence of new subjectivity, and of the role of the artist in New China.

Musical Characteristics of She Folk Songs in Zhejiang

Musical Characteristics of She Folk Songs in Zhejiang

The Soviet Union, China, and Hungarian Cases Referenced in the Beginning of the Folk Song Research in North Korea

The Soviet Union, China, and Hungarian Cases Referenced in the Beginning of the Folk Song Research in North Korea

The Pulse of the Same Frequency Era of Intangible Cultural Heritage —— Reflection on the Protection and Inheritance of Wooden Cave Folk Songs

The Pulse of the Same Frequency Era of Intangible Cultural Heritage —— Reflection on the Protection and Inheritance of Wooden Cave Folk Songs

Literacy Preservation and Transmission of Youyang Chinese Folk Songs

Youyang folk songs represent a significant component of China’s intangible cultural heritage from Youyang County in Chongqing Municipality, China. The study objective is to analyze the education literacy in preserving and transmitting Youyang Chinese folk songs within the cultural context of Chongqing Municipality, China. The research content encompasses various aspects, including integrating folk songs into educational curricula, artistic engagement in rural communities, government initiatives for transmission enhancement, and preservation through publication and book distribution. The research site primarily focuses on Youyang County, renowned for its cultural heritage and ethnic traditions. Three key informants include governmental bodies, educational institutions, private organizations, and individual custodians involved in preservation efforts. Data analysis involves qualitative methods such as document analysis and interviews with stakeholders. The research results highlight a concerted effort from stakeholders to preserve and transmit Youyang folk songs, emphasizing the importance of legislative support, increased funding, and community involvement in safeguarding intangible cultural heritage. Suggestions for further improvement include strengthening legislative support, increasing funding for preservation efforts, and enhancing community involvement in protecting intangible cultural heritage.

Guidelines for Literacy Transmission and Preservation of Bayu Folk Songs

Bayu folk songs, integral to the cultural heritage of Southwest China, face challenges in transmission and preservation amidst rapid social and technological changes. This study aims to investigate and propose guidelines for literacy transmission and preservation of Bayu folk songs. Drawing upon ethnomusicological research and the intersection of education and cultural preservation, the study explores the cultural significance, diversity, integration, and challenges in transmitting Bayu folk songs. Methodologically, 14 key informants were selected from the Chongqing, Guizhou, and Hunan regions, including inheritors of folk songs, local villagers, leaders of cultural centers, and relevant experts. Data were gathered through interviews and observation forms and analyzed using thematic analysis. Results highlight the profound cultural significance of Bayu folk songs, the rich diversity and integration within Bayu culture, and the challenges in transmission within educational settings. The study suggests developing standardized guidelines, curriculum frameworks, and capacity-building initiatives to ensure the successful transmission and preservation of Bayu folk songs within educational contexts, enriching students’ learning experiences and promoting cultural heritage preservation.

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.

Musical Literacy and Education: A Historical Analysis of Huaibang Opera Development in Henan Province, China

This research employs a multidisciplinary approach, incorporating musicology and ethnomusicology, to explore the cultural significance of Huaibang Opera—a traditional Chinese Han ethnic local opera genre in Henan province, China. The investigation encompasses the historical evolution, cultural contexts, and musical attributes of Huaibang Opera, aiming to contribute to education, literacy, and a deeper comprehension of this traditional art form. The methodology involves interviews with key informants possessing profesional experience in Huaibang Opera, coupled with live performance observations. Through the analysis of collected data and its alignment with existing literature and theoretical frameworks, the study delineates the evolution of Huaibang Opera from a folk song art form to a prototype opera and its subsequent establishment as a local opera. This comprehensive examination sheds light on the cultural and artistic dimensions of education and literacy within Huaibang Opera, providing valuable insights into the historical significance, artistic expressions, and cultural heritage of this distinctive Chinese opera.

National and Western Characteristics of Composition in the Concerto for the Bamboo Flute “Four Songs of Northern Shaanxi” (“陕北四章”) by Cheng Dazhao

Shaanxi, as one of the birthplaces of Chinese civilisation, has an ancient history and culture, and the music of the province is imbued with a distinct local fl avour. The bamboo fl ute concerto “Four Songs of Northern Shaanxi” was created by Cheng Dazhao based on the intonations of the folk songs of Shanbei, and therefore the work has pronounced local characteristics. Within the framework of the article, the artistic characteristics and technique of performing the concert are analysed and considered. In the process of analysis, it was established that the composition technique of the “Four Songs of Northern Shaanxi” and the methods of performing the work differ from those accepted in traditional music. The characteristic features of the concert are fully refl ected in the innovation and breakthrough in performance technology, as well as the integration of Western techniques and national musical material. The composition of the work incorporates Western compositional techniques without destroying the traditional cultural characteristics and beauty of the national music contained in the work. Thanks to stylisation and the national musical language, the work conveys the characteristics of the music culture of Northern Shaanxi.

Features of the Genre and Style of the Historical and Heroic Opera “Jiang Jie”

Being internationally recognised and having received many state awards, the historical and heroic opera “Jiang Jie”, or “Sister Jiang”, is considered as one of the peaks of national Chinese music. The work is little studied in the Russian scientifi c literature. The music of the opera is based on Sichuan folk songs and their characteristic pentatonic mode, elements of Sichuan and other types of opera, including Beijing, Yu, Yue, Hang Tang, Yang Qin and others. The score includes spoken dialogue, mass and domestic scenes, as in folk Chinese drama, as well as vocal forms, choral and symphonic pieces, as in Western European opera, which gave “Sister Jiang” the features of the genre and style of modern Chinese opera in the Western European style. All this speaks of the development of the national musical theatre traditions in the conditions of a new musical language of the 20th century. The study of this process seems relevant in the context of the problem of preserving national identity in the musical art of China. The article presents the results of an analysis of the features of the genre and style of “Sister Jiang” as a historical and heroic opera in Chinese in the Western European style, which crowns one of the most fruitful periods in the development of modern Chinese musical drama.

Tembang Batanghari Sembilan: Implicitness, Functions and Poor Inherent Culture

This study aims to describe the meanings contained in each lyrical verse in the Batanghari Sembilan folk song and to explain clearly the function that arises from each meaning based on the theory of Rolland Barthes (1972). In this study, the researcher selected and analyzed only one folk song that contained 13 rhymes with semiotic perspective and explored the socio-cultural context related with the song lyrics. This study uses a qualitative descriptive approach. Data collection was carried out by listening to and writing all the song lyrics, then translating them into Indonesian. Afterwards, the data are analyzed based on Rolland Barthes' semiotic theory connected with socio-cultural context. The results of the study show that there are many kinds of meaning such as sadness, lamentation, pity, denial, criticism, pessimism, and gratitude which describe the overall flow of the song. In terms of cultural functions, the Batanghari Sembilan song shows several functions such as the function of expressing feelings, communication, social criticism, cultural preservation, and entertainment. Therefore, folk songs are not only talk about the art and wealth of a region, but also can reflect an implicit meaning, various functions, and identity habits.