Folk Songs Research Articles

Biography and Works of Zhang Xiaoqin: The Transmitter of Ganzhou Folk Songs in Societal and Anthropological Context

Background and Aims: Zhang Xiaoqin is a transmitter and custodian of Ganzhou folk songs and her contributions to the preservation of this intangible cultural heritage within the Han ethnic group in China. The aim is to explore Zhang Xiaoqin's biography and works as the transmitter of Ganzhou folk songs within societal and anthropological contexts. Materials and Methods: This research employs a qualitative approach utilizing ethnographic fieldwork, archival research, and thematic analysis. Data collection included immersive fieldwork in Ganzhou, interviews with Zhang Xiaoqin, alongside a comprehensive review of the literature concerning the cultural transmission and the sociocultural significance of folk music. Results: The findings demonstrate that Zhang Xiaoqin's work not only sustains the musical traditions of Ganzhou but also adapts them for contemporary audiences, ensuring their relevance and continuity. Her initiatives in educational settings and public performances are pivotal in maintaining community engagement with Ganzhou folk songs, highlighting the dynamic interaction between cultural preservation and societal change. Conclusion: Zhang Xiaoqin's research highlights the importance of individual agency in cultural preservation and the adaptability of intangible cultural heritage in the face of globalization. It highlights the potential of traditional arts to thrive in modern societies and emphasizes the need for strategic educational programs and public-private partnerships to support cultural custodians.

A Study of the Regional Characteristics of Liu Xiaogeng's Choral Music Works

Background and Aim: This article takes the regional characteristics of Liu Xiaogeng's choral music works as the main research subject, aiming to sort out the regional music characteristics and regional performance characteristics of Liu Xiaogeng's choral music works, to better guide the creation of contemporary Chinese choral music works. Materials and Methods: The research method of this thesis is mainly the literature analysis method and qualitative analysis method. The literature analysis method is mainly used to collect and sort out the information about Liu Xiaogeng's choral music works, which mainly comes from China Knowledge Network, Yunnan Provincial Library, Yunnan Provincial Museum of Literature and Art, the Internet, publishers, and purchased books. The qualitative analysis method is mainly used to screen the regional dialect characteristics, regional music style characteristics, regional music theme characteristics, and regional music cultural characteristics used in the relevant literature to classify the categories. Results: The main purpose of the study is to refine and summarise the regional characteristics of Liu Xiaogeng's choral music works, which include four aspects, namely, regional dialect characteristics, regional music style characteristics, regional music theme characteristics, and regional music cultural characteristics. Conclusion: Liu Xiaoqeng composes his works with the regional dialect liner notes, folk songs, or ditties of Yunnan Province as his main materials. These dialect liner notes, folk songs, or ditties have very different regional language characteristics and distinctive modal music styles. It is these characteristics that make Liu Xiaogeng's choral music works have distinctive regional characteristics.

제주 돌문화 고찰

Jeju stone culture is a representative culture of the Jeju people, reflecting their perception of stones symbolized through their life experiences. In religious legends or geomantic tales, stones possess sacredness or function as objects of taboo and exorcism. In natural legends, stones as megaliths symbolize the tragedies of Jeju people's lives. In human legends, stones emphasize women's chastity and virtue. In folk songs, stones are borrowed or used as metaphors to express thoughts and emotions. As inanimate objects, stones represent solidity and dullness, and the metaphorical emotions are firmly pessimistic. Stone tools take advantage of strong friction, water resistance, and fire safety. In agriculture, the batdam (farmland stone walls) signifies the recognition of ownership and a boundary. As historical relics, stone structures like jatseong for raising livestock highlight the entire island as a national ranch. In folk beliefs, stones are worshiped and prayed to, with examples like dolmireuk (stone Maitreya) or bultap (stone pagoda) being objects of devotion for the desire to bear and raise children and for healing illness.

An Analysis of the Artistic Characteristics of Northeast Folk Songs

An Analysis of the Artistic Characteristics of Northeast Folk Songs

MITRUSH KUTELI SI RRËFIMTAR DHE TRANSFORMIMET ZHANRORE

The influence of folklore in literature is not a new or unknown phenomenon, nor has it been so for Albanian writers between the two World Wars. Mitrush Kuteli is known as one of the first founders of Albanian prose of modernism, but at the same time, he is also known as a master storyteller who transcends genre structures and reintroduces popular motifs in the form of literary invariants. We say in the form of literary invariants because despite the literary processing he undertakes, the essence of folk ballads, songs, and tales remains unchanged, preserving even the unmotivated compositional ruptures and filling them with authorial artistic interventions such as descriptions, phraseologies, parodies, etc. However, we do not see attempts at alienating subjects and hypertextual transformations, which implies that Kuteli’s aim was the actualization of folk literature with fidelity to compositional construction, character functions, narrative balances, and the fundamental ideas of the processed material.

الفنون الأدائية الموسيقية الشعبية ودورها في تكوين التراث غير المادي في المملكة العربية السعودية

This study addresses the challenges facing the proper protection of heritage and the proper employment of intangible heritage. One of the most prominent of these challenges is the nature of intangible heritage, as it is a living and changing heritage and there are fears of its distortion, deformation and isolation from the context of the known, so that it appears in the form of vulgar products that lack authenticity. In these lines, we will explain how performing arts of various types, especially folk heritage, folk songs and dances, have contributed to the formation of intangible heritage and its proper employment and how they have worked to preserve it. Study methodology: This study followed the descriptive analytical approach based on presenting and analyzing information in order to reach realistic scientific results.

Український інтермедіальний резистанс у мілітарному світі

This article explores the historical persistence and motivation behind the intermedial practice of transforming verbal texts into musical ones, particularly focusing on Ukrainian embaterias and songs inspired by the russia-ukraine war, rich in motives from the heroics of the rank to the lyrical and tragic experiences of the resistance personality. It examines the dynamic synthesis of poetic and musical texts, tracing back to the practices of poets, composers, and singers from the Legion of the Ukrainian Sich Riflemen (Ukrainski Sichovi striltsi, USS). Drawing on the experience of Cossack and Opryshky songs, folklore, and early modernism, these artists created a unique repertoire that documents the artistic and freedom-loving nature of Ukrainians, tested by the harsh realities of war. Their works, reflecting the soul of the people, have become an integral part of Ukrainian folk songs. Similarly, poets’ works of Ukrainian Insurgent Army (Ukrainska Povstanska Armiia, UPA) during and after World War II, set to music, provided an adequate response to the brutal realities of their time. This tradition has been preserved and gained new significance during the Russia-Ukraine war, declared by the Moscow State Duma of Ukraine on March 1, 2014, full-scale after February 24, 2022. Among the poets whose words have been set to music are graduates of the Taras Shevchenko National University of Kyiv, participants in military operations within the Ukrainian Armed Forces (such as Dmytro Luniaka) and the territorial defense (Ihor Astapenko). Academician Rostyslav Radyshevskyi has also actively contributed to these embaterias. Many songs are performed by serviceman Taras Kompanichenko. These texts, resembling pieces of a puzzle, will eventually form a coherent picture of intermedial creativity during the war, viewed through the historical dynamics of the genre.

Hospital blues: reflections on writing and hearing healthcare histories through blues and folk music performance

ABSTRACT In recent years, scholars have investigated the sonic dimensions of healthcare environments. Less well explored, however, is the musical history of the hospital: how musicians sang about hospitals as social commentary or to narrativize their own experiences of hospitals and/or hospitalization. This short creative reflection looks back on my performance of blues and folk songs about hospitals at the Senses in Modern Health/Care Environments conference in Bristol in 2022. It asks how blues and folk songs about hospitals recorded in the twentieth century might recover how musician, patients, and musician–patients – particularly those from marginalized communities in the US South and Britain – experienced and perceived healthcare environments. As well as a short overview of the histories of some of these songs, this piece considers the value and ethics of musical performance as a means to researching, teaching, and understanding the histories of healthcare.

A Study on the Inheritance and Development Path of Excellent Traditional Culture from the Perspective of Rural Revitalization: Taking the Gansu Folk Song "Hua'er" as An Example

As the essence of our national culture, excellent traditional culture plays a very important role in the development of our society. In the context of rural revitalization, it is not only necessary to promote the development of rural economy, that is, "shaping", but also "casting the soul", that is, to promote the inheritance and development of China's excellent traditional culture, and achieve cultural revitalization. However, in the process of promoting cultural inheritance and development, there are still many problems that need to be solved one by one, and the path of development needs to be explored in order to achieve cultural inheritance and development. This article analyzes the connection between excellent traditional culture and rural revitalization, taking the Gansu folk song "Hua'er" as an example, and attempts to propose the path for the inheritance and development of excellent traditional culture.

The Study of Ecological Consciousness in the Folk Songs of the Chahar Mongols

The folk songs of the Chahar Mongols not only embody a rich historical heritage and ethnic characteristics but also reflect the close interaction between humans and the natural environment. The lyrics of Chahar folk songs are meticulously structured and vividly expressive, often employing metaphor and allegory with a strong lyrical quality. They frequently use imagery of the sun and moon, wind and rain, clouds and mountains, flowers and plants, domestic animals, and wild animals, demonstrating profound ecological awareness and humanistic concern. This paper studies representative works of Chahar Mongolian folk songs such as "Cool Hangai Mountain," "Little Yellow Horse," and "Four Seasons" from an ecological consciousness perspective. It delves into their diverse ecological discourse construction and their significant role in the cultural construction of northern China.

Study on the Ecological Emotions in Mongolian Desert Folk Songs

Inner Mongolia is the largest and most diverse ecological functional area in northern China. Mongolian folk songs often express gratitude for nature, praise nature, reflect on life, promote ecological balance, and highlight the harmonious coexistence of humans and nature. This paper analyzes 553 folk songs from the collection Five Hundred Mongolian Folk Songs, focusing on the "ecological emotions" embodied in the desert folk songs that hold a significant position in Mongolian folk music. The study explores the mechanisms of these ecological emotions, their practical significance, and the role of Mongolian folk songs in ecological protection, emphasizing the contemporary relevance of the ecological culture reflected in these songs.

Learning Slovenian folk song in preschool music education

Learning Slovenian folk song in preschool music education

Strengthening the Profile of Pancasila Students with Global Diversity at Learning Studio Sentul Malaysia

Sentul Learning Studio is a form of tutoring for undocumented migrant children to obtain an education. The ethnic and linguistic diversity enhances the profile of Pancasila students with global diversity, as teachers incorporate this into their teaching. This research aims to understand how teachers contribute to strengthening the Pancasila Global Diversity student profile in Malaysian learning centers. The study utilizes a qualitative research method. Research findings show that raising the profile of Pancasila students with global diversity involves understanding and valuing various cultures, engaging in intercultural communication during interactions, and reflecting on and taking responsibility for diverse experiences. Conclusion This research explores the implementation of the Merdeka Curriculum, which allows Pancasila education teachers at the Sentul Malaysia learning center to design student-tailored learning experiences. The center originally had 7 students, increasing to 13, 24, 37, and now 41 students, with 6 students currently inactive. The curriculum emphasizes global diversity competencies. Teachers integrate Indonesia's cultural heritage through activities such as traditional dances and games, including the Jathilan dance and the Ampar-Ampar Pisang folk song. Two students are fluent in Javanese and Indonesian. Activities such as celebrating Mother's Day and making crafts from recycled materials foster curiosity about Indonesian culture. Gymnastics and games with Indonesian roots such as Senam 123, Gemo Famire, and penguin gymnastics are also included. Learning the Jathilan dance, jumping rope, and making soybean tempeh exposes students to authentic Indonesian culture, fostering acceptance, appreciation, and a desire to learn.

Constitution of the "Kolo" Ensemble and Choreography of Traditional Dance – Anthropological Interpretation and Socio-Political Context

The Ensemble of Folk Dances and Songs of Serbia "Kolo" was founded in 1948 in Belgrade, on the initiative of the Committee for Culture and Art of the Federal People's Republic of Yugoslavia. The task of the Ensemble was to artistically interpret and present the so-called folk artistic creativity, which predominantly encompassed various folklore creations of the rural population, on stage, in the country and abroad. Although seemingly simple and folk-oriented, the art of traditional dance choreography has clear ideological and politically important messages of the then state leadership embedded in it foundations, intended to be spread among the Yugoslavs, but also beyond the state borders. The ensemble was supposed to present a desirable and appropriate image of Yugoslavia in its performances. The aim of this paper is to reconstruct the formation of the “Kolo” Ensemble and the process of constituting the art of traditional dance choreography, taking into account the socio-political and historical context of the Second Yugoslavia. In addition, the paper approaches the deconstruction of the intention of choreographers and artistic directors, in order to reveal the ideological messages embedded in the artistic expression. The basic assumption in this paper is that dance troupes and traditional dance choreographies are strongly connected to the ideology and cultural policy of the nation-state. In this regard, even when choreographers and artistic directors create programs without direct political-ideological objectives, their decisions always rely on the socio-political context and the dominant ideologies within the state. The theoretical framework of the work is based on contemporary anthropological discussions about the concepts crucial for the interpretation of the material, primarily referring to the concept of ideology, understood in the Althusserian sense, but also to the ideas of the combination of state ideology, cultural policy, and dance with the aim of presenting the dance troupe with a desirable image of the nation-state. The methodology of the work consists of a combination of two approaches: classical anthropological, qualitative and archival research. Qualitative research includes conducted in-depth semi-structured interviews with 15 dancers who worked in "Kolo" in different time contexts, while archival research included reviewing the documentation of the "Kolo" Ensemble, the Archives of Yugoslavia and the personal and family archives of the dancers.

The Value and Influence of the Local Folk Song “Jasmine Flower” in College Students' Music Education

Folk song is one of the oldest art forms of mankind and occupies an important position in Chinese traditional music. Jiangsu Yangzhou's “Jasmine Flower” is known as the “first song” of folk songs in the south of the Yangtze River, which has been widely circulated and loved by the people. College students can understand the long history of Chinese traditional music through studying the generation and evolution of the local folk song “Jasmine Flower”; they can understand the aesthetic value of Chinese traditional music and culture through the analysis of Jasmine Flower’s music and exploration of its artistic characteristics; the aesthetic ideas and profound humanistic connotations contained in folk songs are of great value in college students’ education. Through the analysis of the music and exploration of the artistic characteristics of “Jasmine”, we can understand the aesthetic value of traditional Chinese music and culture; the traditional Chinese aesthetic thought and profound humanistic connotation contained in the folk song have an important value and influence on the education of college students.

Educational resources and instructional approaches for Chinese Hua'er Folk Songs in Gansu and Ningxia

This study delves into the cultural significance and educational potential of Hua'er folk songs within the Hui ethnic communities of Gansu and Ningxia in northwest China. By positioning Hua'er as an indispensable educational tool in folk song history, the research seeks to safeguard and elevate this revered musical tradition. Employing literature reviews, immersive fieldwork, questionnaire surveys, interviews with four significant contributors, and direct observations, the study sheds light on the importance of Hua'er music as a cultural legacy. These insights offer valuable guidance for educators, cultural institutions, and future research initiatives. Through a detailed exposition of the research methodology, this study enriches our understanding of the diverse landscape of Chinese folk song history, presenting avenues for further exploration and practical application in educational contexts.

THE ROLE OF KASHMIRI FOLK MUSIC IN PRESERVING CULTURAL IDENTITY AND FOSTERING SOCIAL COHESION

Kashmiri folk music, with its rich tapestry of melodic traditions and lyrical storytelling, plays a pivotal role in preserving the cultural heritage and identity of the Kashmir Valley. This research article explores the historical evolution, distinctive features, and socio-cultural significance of Kashmiri folk music. By examining traditional instruments, musical genres, and the narratives encapsulated in folk songs, the study underscores how this musical heritage reflects the region's diverse cultural influences and historical experiences. The research delves into the role of folk music in community gatherings, religious ceremonies, and seasonal festivals, highlighting its function in fostering social cohesion and communal harmony. Through qualitative analysis the article sheds light on the transmission of musical knowledge across generations and the adaptive strategies employed to sustain these traditions in the face of modern challenges. Furthermore, the study addresses the impact of political unrest and socio-economic changes on the folk music landscape, considering how musicians and communities navigate these dynamics to maintain their musical practices. The research concludes by advocating for the preservation and promotion of Kashmiri folk music as an integral part of the region's intangible cultural heritage, emphasizing the need for collaborative efforts between local communities, cultural organizations, and policymakers.

THE IMAGE OF JAZZ IN UKRAINIAN POPULAR MUSIC AND THE SIGNIFICANCE OF SUBCULTURES IN IT

The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about the leading masters of Ukrainian jazz who managed to do this - Leonid Goldshtein and Igor Zhuromskyi, for whom the processing of folklore materials - household and African) with a predominance of appeals to the traditional folkloric Ukrainian musical stratum is characteristic. The aim. To reveal the image of jazz in Ukrainian pop music and its significance in the subculture. The tasks of the research are the analysis of the constituent subcultures in the modern representation of the art of Ukraine and their significance for the world artistic treasury. Research methodology. The methodology of the author’s research is based on the paradigmatic method, which allows determining the priority of artistic paradigms, the ratio of traditionally established and non-traditional vision of Ukrainian jazz culture. Reconstruction was also used - to reproduce the main milestones of the development of art of the 20th century within the scope of the research. Also, the methodology is based on a transdisciplinary approach, thanks to which we can study jazz not only in an art-historical aspect, but as a structure of European life of the given period. Research results: The results are as follows - it is 1) a feature of rock music style, such as heavy metal, punk rock, rock and roll, instrumental composition, the use of distinctive fans and unique sounding productions and vocals Intonation technology. 2) Saxophone melodies are built according to the Hutsul system with a characteristic degree of saxophone. 3) Official use of colomous rhythm in the voice. 4) Application of antique blues harmonic sequence. 5) Use of bluesy principles of questions and answers when alternating statements and instrumental episodes. 6) For vocal improvisation. Conclusion.So, we analyzed the interaction of Ukrainian modern pop and real folklore and jazz. Jazz, rock and pop styles were found, which are ideal for interpenetration with various Ukrainian subcultures, jazz-rock, free jazz, alternative music, rock and roll, blues-rock, trip-hop, pop ballad, disco music . The characteristics of the processing of folklore materials (domestic and African) are, first of all, an appeal to the traditional folklore layer, the method of performance (expressed by a real saxophone), the use of folk instruments or their tones. Depending on the genre that created jazz, rock and pop groups, the composition can be divided into folk songs and original compositions based on folklore. Popular music quotes folk and jazz material from pop music.

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.

Literacy Preservation of the Zhuang Ethnic Group’s Folk Song “Fwen Sam Ngued” in Pingguo, Guangxi, China

This study focuses on the literacy preservation of the Zhuang ethnic group’s folk song “Fwen Sam Ngued” in Pingguo, Guangxi, China, which is critical for maintaining cultural identity and legacy. This preservation endeavor is centered on understanding and conserving the Haleu song, which is an important component of Zhuang folk music culture. The Haleu song, with its distinctive melody and duet style, serves as the principal expression in the performance of “Fwen Sam Ngued.” Singers’ varied interpretations of the melodies in “Fwen Sam Ngued” demonstrate the dynamic nature of oral tradition and knowledge transfer. Zhuang folk music knowledge preservation strategies emphasize the importance of lyrics, oral transmission, and singing in various aspects of life. Furthermore, the modern-day growth of Zhuang song fairs highlights the importance of proactive preservation efforts in the face of societal change. By supporting literacy and cultural preservation projects, the Zhuang people’s unique musical history can be preserved for future generations.