Historical Songs Research Articles

Improvement of students' cognitive activities through teaching the concept “time” at the university

The article highlights ways to improve the cognitive activity of students by revealing the national character of the language, the conceptual analysis of the literary text. It is proposed to study the language in a cognitive direction on the basis of the continuity of language and nation, artistic text, including folklore texts. The article explores historical songs in a cognitive aspect for the first time. At the same time, through various methods and teaching methods have been determined the ways to improve cognitive thinking, the ability to broaden one's horizons, and the ability to reasonably express one's opinion. Based on the texts of historical songs, theoretical and practical tasks are developed and introduced. Practical tasks determine how the concept of “time” is reflected in historical songs. It is supposed to reveal the nature of the concept “time” in the Kazakh worldview. Various tasks have been prepared to develop students' ability for cognitive analysis of the language of a work of art. The article uses interactive teaching methods and techniques in the educational process. The article uses interactive teaching methods in the educational process: pair work, group work, decision tree, filling in the Fila table (fact, idea, logic, argument), etc. The methods used are aimed at developing students' cognitive activity. The article provides for the development of students' thinking through writing works for students, improving the ability to express their thoughts in a reasoned manner, mastering language communication through the integrity of thought, consciousness, language, and increasing the ability to comprehensively implement the cognitive process. As a result of the study, active, creative, and cognitive activities of students will be developed.

Media Lagu dalam Pembelajaran IPS untuk Meningkatkan Motivasi Belajar Siswa Kelas V SDN Kertajaya IV/210 Surabaya

Learning media is often used in the implementation of effective learning so that students can be more involved in the classroom. However, many teachers continue to use traditional teaching methods, causing students to be less engaged in learning. Teachers can use song media as one of the learning media. The purpose of this study was to (1) analyze the research planning stages of using song media in social studies learning in class V SDN Kertajaya IV/210 Surabaya. (2) Describe the results of the use of music media in social studies learning on the learning motivation of fifth grade students at SDN Kertajaya IV/210 Surabaya. This study used qualitative research methods. The subjects of this study were 20 fifth grade students. This study uses primary data sources. Data collection techniques include observation, interviews, tests, questionnaires, and documentation. Test the validity of the data using technical triangulation. Data reduction, data presentation, and drawing conclusions are the data analysis techniques used. The results of the study revealed that social studies learning with the media of European arrival historical songs included three stages, namely planning, implementation, and evaluation. Learning planning consists of 2 stages: observation and study of literature. The stages of learning implementation are divided into three parts, namely preparatory activities, core activities, and closing activities. Learning is carried out at the assessment stage by examining achievements and deficiencies that occur during the learning process. The use of music media in social studies learning shows that the learning process runs smoothly and has the potential to increase student learning motivation.

Звукосимволический образный параллелизм в фольклорном тексте

The aim of the research is to determine the typological features of the morphogenesis of the sound-symbolic figurative parallelism of the macrocosm and microcosm, whose structural-semantic modifications reflect the evolution of the conceptual and linguistic foundations of one of the leading artistic forms of Russian folklore and the dynamics of the national perception of the world. The paper tests the author’s innovative methodology for the comprehensive study and description of dynamic processes in the language of Russian folklore and the artistic thinking of the people taking into account the heterogeneity and multilayering of the folklore-linguistic substance. The research is novel in that it is the first to use the material of various folklore genres (ritual and non-ritual songs, historical songs, lamentations, ballads, spells and charms, proverbs and sayings, epics, ditties, riddles, omens, bailichkas and byvalschinas, fairy tales, etc.) to carry out a systematic comparative analysis of the main stages of morphogenesis of sound-symbolic figurative parallelism in line with the idea of language anthropocentricity which is fundamental in modern linguistics. Thus, the regularities of form creation, identification markers, classification criteria for structural-semantic modifications were identified, the genre specificity of the device was determined. As a result, it was proved that the typology of sound-symbolic figurative parallelism developed using the material of different folklore genres reflects the morphogenesis of the device at three main stages of its development, each of which has clear identification indicators. At the first stage, symbolic sound complexes are implemented with form and content parallelism; at the second stage, symbolic sound complexes are presented with form parallelism and without content parallelism; at the third stage, symbolic sound complexes function with varying form parallelism and without content parallelism as a result of evolutionary processes occurring within the boundaries of the device.

Ukrainian-turkish literature relations between the 16th - 20th Centuries Nadiia Senchylo-T

The article highlights Ukrainian-Turkish relationships in literature, originating from oral folklore, ballads, and historical songs since the 16th century to the present day. It emphasizes that literary communications between Ukraine and Turkey are primarily due to their close geographical proximity, intertwined geopolitics, and historical, economic, and cultural interrelations between both nations. Based on literary works, the article distinguishes key stages in Ukrainian-Turkish relationships in Ukrainian literature from the 16th to the 20th centuries and examines how individual and group-based Ukrainian identities in Ukrainian folklore of the 16th-17th centuries were formed in interaction with Turkish identities. Starting from the 19th century, changes in the context of social and political processes cause communicative vectors in literary works to change as well. Important aspects of Ukrainian-Turkish literary communication are discussed.

THE OLD RUSSIAN LITERARY AND FOLK-POETIC GENESIS OF THE NOTE “RUSSIA HAS NO PAST…” IN THE CONTEXT OF MIKHAIL LERMONTOV’S HISTORIOSOPHY

The subject of the study is Lermontov’s historiosophy, expressed by the poet in the note “Russia has no past…” from the “Notebook presented by V. F. Odoevsky.” The article’s purpose is to identify the ancient Russian and folk-poetic genesis of Lermontov’s note, contributing to the clarification of its semantic content. The figurative system, style and the very substantive essence of the note “Russia has no past…” was formed under the direct influence of ancient Russian texts, adaptations of literary folklore, and the experience of the poet’s personal meeting with representatives of folk culture. The authors propose to consider Lermontov’s sketch an allegorical figure, where the Russian Empire is likened to a mighty hero. In a brief summary of the plot, the poet reflects his understanding of the entire essence of the country’s historical path. As possible sources of the note, the article names the heroic tales in V. Levshin’s literary adaptation, which were popular at the turn of the 19th century, as well as the Caucasian version of the tale about Yeruslan Lazarevich, which existed among the Terek Cossacks. Analogies are drawn between Lermontov’s sketch and the cycle of historical songs about the capture of Kazan, using similar allegories to reveal the theme, as well as the “Kazan History” short novel, the appeals to which are linked to the geopolitical significance of the historical event for the development of the entire old Russian state and, in particular, for the strengthening of its eastern borders. Lermontov’s concept of history is based on his personal perception of historical time, and on the literary, specifically, old Russian, tradition, which is reflected both in the ancient literary monuments and in folklore, which has historical sources. In the note Lermontov looks at the world through the eyes of the people, and is the exponent of the national idea about the spiritual choice of the Russian state.

PAMIĘĆ O KOZAKU UKRAIŃSKIM W UJĘCIU LITERACKIM ROMANTYKÓW UKRAIŃSKICH I POLSKICH

PAMIĘĆ O KOZAKU UKRAIŃSKIM W UJĘCIU LITERACKIM ROMANTYKÓW UKRAIŃSKICH I POLSKICH

Из неизданного: духовные стихи в записи А. П. Верещагина

Since Russian spiritual poems have their origin in medieval Russian literature, it is not surprising that at first glance they display fewer territorial variations than epic poems (byliny) or historical songs. The study of this genre from a regional perspective requires a comparative analysis of the greatest possible number of records of spiritual verses and epic spiritual verses that have largely vanished in the modern world. From this perspective, the identification and publication of archival records is becoming essential for scholarly research. This article presents a publication of spiritual poems that Aleksandr Petrovich Vereshagin, a teacher in the Onega district school, recorded from a peasant of the village of Nimenga, located on the Pomorskii coast of the White Sea. The recording occurred in the city of Onega in the middle of the 19th century. The texts present plots about Anika the Warrior, Egorii the Brave, and Piatnitsa and Worker-Pilgrim (Trudnik). Brief comments, which accompany the publication, compare these texts with records taken in other regions of the Russian North and point out some of their distinct features.

“Shchyogol” and “Shchap” in Russian Folklore

The article describes denominations denoting dandies in Russian folklore. The research is based on texts of Onega epics, historical songs and non-ritual lyrics recorded in different regions of Russia in the 19th century. We complied and analyzed lists of words denominating dandies and fashionistas in different folklore genres based on the lexicographic materials. The article demonstrates that the corpus of the lyrical songs in comparison with the other sources contains the greatest variety of lexemes under analysis, in which the noun shchyogol takes the central place. This word is the head of the expanded word-formation socket, comprising dialectal and specific folklore words. It is illustrated that in the Onega epics a fashionably dressed person is often called Shchap, and dandyism is characteristic of two epic heroes – Churila and Dyuk, who compete with each other. A similar plot connection is typical of historical songs, where lexemes denominating a fashionable person are found exclusively in the 17th century texts about Stenka Razin’s son. The article notes the usage features of the analyzed type of words and identifies the most frequent constructions. The author concludes about the existence of the general genre, intergenre and specific genre features in the usage of vocabulary that names and characterizes dandies in oral folklore art, and outlines prospects for further research.

The veneration of the Ostrobram icon of the Mother of God in the context of Lithuanian identity

The history of the creation and veneration of the image of Our Lady of Ostrobram is studied as a reflection of the processes of the forming Lithuanian national identity in its dynamics over several centuries. The author analyzes how the icon reflects the main ethnic markers, which include: territory, confessional affiliation, language, historical memory, ideas about the past and the future. Theories of the origin of the image and disputes about its confessional affiliation led to the idea of the formation of interconfessional dialogue and unity in diversity as a marker of the border and frontier zone. Within the framework of the Polish-Lithuanian Commonwealth, which united the Grand Duchy of Lithuania and the Kingdom of Poland, the Ostra Brama was perceived as «Strażniczką Kresów», or the guardian of the eastern borders. The preserved historical songs, psalms and hymns dedicated to the Virgin Mary in Vilna emphasize the regional identity. However, at the same time, powerful integration processes in the Polish-Lithuanian Commonwealth led to the assertion of Polishness, which was reflected in fiction, where until the 1920s and 1930s the Ostrobram image was perceived as an integral symbol not only of Polish culture, but also of Polish history and statehood. As the conducted research has shown, the intensified aspirations of the local population for the rooting, the use of the national language and the political processes of the Lithuanian national revival led to the transformation of ideas about the image, which in the 20th century gradually becomes a symbol of Lithuanian rather than Polish. Nevertheless, it is still uncertain whether the Ostrobram Mother of God has become the state symbol of Lithuania as a nation or it remains the guardian of the local original culture and traditions.

ABOUT SOME GENERIC NAMES IN THE SONG «KORKYT»

The article is devoted to the linguistic historical and cognitive study of onomastic names common to the Turkological science found in the Korkyt work, the common heritage of the Kipchak-Oguz epoch. The author claims that recently, when considering the names of names in historical songs and legends relating to each Kazakh epoch, there are still unresolved problems.Of great scientific importance is the identification of patterns of language development, language layers, deep knowledge of the history of the native land through a comprehensive historical and linguistic study of the materials of the poem based on the opinions of domestic and foreign researchers. Therefore, within the framework of one article, it is impossible to conduct a comprehensive linguistic analysis of onomastic names in the Korkyt legend, which is a common heritage for the Oguz-Kipchak tribes.The study of onomastic names in historical tales and legends characteristic of the Oguz- Kipchak epoch as a whole, combined with the achievements of modern science, is one of the main problems of Turkology, including Kazakh onomastics. In the article, an attempt is made to study the names of tribes and tribes found in the song "Korkyt" in a linguistic context.

Mode of Understanding the Terms "Concept" and "Folklore Concept" in Modern Humanities

The urgency of the study is explained by the importance of a thorough study of typology and classification of concepts in terms of modern cognitive linguistics, linguoculturology, history, ethnolinguistics, philosophy and psychology, including folklore concept as a set of signs that form a semiotic model of national and cultural experience and allow in-depth study of cultural processes in the light of historical and national factors. The aim of the article is to try to comprehend the concept and folklore concept from the standpoint of modern researchers working in various fields of humanities, to analyse, compare the main aspects of studying the problem, considering industry specific features. The main research method is a theoretical method that involves analysis, synthesis, generalisation of the theoretical basis on this topic, and the subject of study – the term concept as a tool of scientific analysis, mental construct and unit of consciousness. The article identifies the main structural and classification features of concepts, diversity of views on the problem of folklore concept from the standpoint of scholars from different fields of humanities and representatives of different cultural strata, the specific features of Ukrainian folklore are considered in detail on the example of texts of thoughts, historical songs, songs-chronicles, wedding songs, carols, Christmas carols, ballads. The materials presented in this paper will help to clarify the specific features and breadth of the mode of understanding certain cultural, folklore and historical phenomena at the intersection of various humanities and social sciences.

Ferenc Hunyadi, an almost completely forgotten Transylvanian humanist

AbstractAlthough the name of Ferenc Hunyadi is known in Hungarian literary history mainly for his Hungarian-language historical song about the peril of Troy, there also exist more than five thousand lines of Latin poetry by him which have not been collected or published since the 16th century. Another eleven of his poems are known from a manuscript written by a Unitarian pastor in the early 17th century. A further, one-distich poem was recorded by István Szamosközy. The date of composition of his poems in manuscript can be placed roughly between the end of 1586 and 1599. In addition to these, there is also a manuscript kept in Oxford in which Hunyadi gives prescriptions for febrile diseases. As a starting point for further research, this paper summarises what is currently known about Hunyadi and his works.

Traditional Historical Songs of Russian Old-Timers of Yakutia: Versions of the Song about Count Chernyshev

The article deals with the characteristics of the song versions devoted to the capture of the count Zakhar Chernyshev in the repertoire of the old-timers living in northeastern Yakutia. The data include the texts of the songs recorded on the Indigirka and the Kolyma. The relevance of the study is due to the following: nowadays the local folklore texts are being studied to define the degree of traditionalism of the plot. The implemented methods such as a descriptive method, a comparative method and some methods of lexicosemantic analysis help to reveal the features of the folklore text. It has been established that the version accepted in Russkoye Ustye and the Kolyma version of the song are similar in images, approaches to the theme and the development of the plot. It is noted that the influence of the Yakut language on these songs is hardly noticeable, in comparison with other historical songs that existed on the Indigirka and the Kolyma. It is shown that continuity and the exact execution of the learned text were important in Russkoye Ustye, whereas changes in the text might have been allowed on the Kolyma. The author comes to the conclusion that there is no accident in the transformation of the leitmotif of the song from the first records, where the character is captured by the Prussians and the theme of will is the main one, to the last recorded versions, in which count Chernyshev is ready to serve the “White Tsar” and the theme of will is hidden.

Językowy obraz Kozaka na podstawie polskich pieśni historycznych i folkloru (na tle wybranych tekstów ukraińskich i rosyjskich)

The article analyzes the linguistic view of the Cossack in Polish, Ukrainian and Russian folklore and historical songs. The methodology applied is based on Jerzy Bartmiński’s linguistic worldview conception. The aim of this article is to explore the main tendencies in cognitive portrayal of the Cossack. The article compares the data from Polish, Ukrainian and Russian texts. Given the nature of the sources used, the analysis is not strictly chronological.

The Cyclical Nature of the Concept of «Time» (Based on the Texts of Historical Epics)

Language learning in the cognitive direction has become one of the most actual problems today. In particular, the consideration of folklore texts, in which a large linguistic stock of information has been accumulated, in the cognitive aspect will become the basis for obtaining information about the cognition, being, life of this nation. After all, historical songs are one of the most unique genres, in which the rich heritage of our people is collected, the richness of our language is revealed. The concept of «time» is a concept that requires study in linguistics. The fact is that the concept of «time» is one of the main concepts that can give a linguistic picture of the world. In science, this concept is recognized as common to many ethnic groups, creating a linguistic picture of the universe, depending on the national characteristics and experience, background knowledge of each people. In this article, the linguistic units denoting the concept of «time» are extracted from the texts of historical songs, it’s cyclical nature is determined. In linguistic studies, a sufficient number of characters of the concept of «time» are given. Time has cyclic, linear properties. However, the cyclicity of time that we analyze is considered one of the main models proven by science. Our study proves that the cyclical nature of the concept of «time» is connected with the worldview, way of life, religion of the nation. Cyclic time in historical songs is explained by the repetition of processes and it is determined with the lexical units: four seasons, 24 hours, day, night, morning, evening. In addition, examples are given and proved that the lexical units denoting «time» in our language had a symbolic meaning.

Sociological background and emotional experiences in selected Yoruba traditional musical forms

This study explores the distinguished characters and emotional experiences of selected traditional Yoruba musical forms and focuses on the sociological background and events which have contributed to the emotional experience of traditional Yoruba musical forms. Therefore, the paper clarified the relativity of evoking associations which determines the musical forms in the traditional music-making of the Yoruba people. Music is omnipresent and it is appreciated and respected within the traditional Yoruba society. The goal of this micro-sociological and ethnographical research in Yoruba music was to produce as detailed distinguished character description and emotional experience of the potential social impacts in the Yoruba music structures. The application of context analysis to investigate Yoruba traditional music is intended for a complete and an in-depth understanding of the music. The theoretical framework for this study is the Aristotle’s theory of art as an imitation of life. The study brought to fore the various circumstances, religious, ritual beliefs, environmental factors and cultures of Yoruba people as determinants of musical forms. In consequence, the following are the Yoruba musical forms; responsorial and recitative forms, General chorus form, incantation call and response form, round form, proverbial free form, free song form, nonsense syllable form and historical song form.

An ethnomusical analysis: Albanian highland songs

Albanian folklore is very rich in genres and different types of folklore. Among them a special place is occupied by the creations of the Albanian oral epic. In this paper we will treat the songs of songs of mountaineers or, as they are popularly known as highland songs. They are folk creations with a spread not in all Albanian territories. They are mostly practiced in the northern folklore areas and have their own independence, conditioned or determined by the specifics of the way of practice. During our work we can summarize the main features and characteristics of mountainers or highland songs. In addition to the treatments and arguments of the theoretical plan, a number of concrete analyzes will be realized and argumented on our conclusion. We believe that in this way, not as an aim in itself, the spaces of this special type of Albanian folklore will become clearer, more complete and in a more general plan. To reach such a definition, we start from the fact that the poetics of these songs is quite distinct and special, in relation to all other types of Albanian historical songs in general. Among other things, for this type of song we would distinguish the way of singing, which is completely different and unrepeatable in general in all other types of historical songs, poetic structure, shortness of poetry or with so many reduced verses, but also with the lack of pronunciation, and therefore of understanding in many cases of the poetic text.

POETICS OF GEOGRAPHICAL NAMES IN EPIC SONG GENRES OF RUSSIAN FOLKLORE

The article examines the ideas about space that have developed in Russian historical and song folklore. In the poetics of the epic song genres of Russian folklore, namely, in epics and historical songs, space plays an important role, defining “one’s own” and “alien” (“other”) worlds within one of the main mythologemes. Natural space (forests, rivers, seas, mountains, caves, etc.) mark the “other” world; cities — “one’s own” (“human”) at the mythological level. Historical ideas about space arise in heroic ballads, which, according to the concept of V. Ya. Propp, are an example of the state epic. Accordingly, the “own”/“foreign” mythologeme is already determined by the content “Russian world”/“enemy world” and is filled with real toponyms. In historical songs, there is a fundamental replacement of the former generalized type of historicism (epic) by concrete historicism, which affects the toponymic system. A number of examples raise the question of the correspondence or non-correspondence of the toponym in epics and historical songs to geographical reality. With regard to the Caspian Sea toponym, the almost complete absence of connections between the geographical name and the real geographical object is emphasized. The notions of the Baltic Sea, as well as of the towns of the Neva-Baltic space (Shlisselburg, Derpt, Revel), turn out to be more firmly connected with real geography. Shifts in the naming of geographical objects are specially considered: Khvalynsk/Caspian Sea; Varangian/Virian/Baltic Sea; Oreshek/Shlisselburg; Yuryev/Dorpat; Kolyvan/Revel.

ШЛЯХИ ФОРМУВАННЯ НАЦІОНАЛЬНОЇ САМОСВІДОМОСТІ ПІДРОСТАЮЧОГО ПОКОЛІННЯ ЗАСОБАМИ УКРАЇНСЬКОГО МУЗИЧНОГО МИСТЕЦТВА

The article considers the historical aspect of educating the national identity of the Ukrainian people. The views of scholars on the concept of «national identity», its features, significance in the socio-cultural and pedagogical context. The importance of Ukrainian folk art, its huge potential for educating the national identity of the younger generation is substantiated. The role of national song folklore in patriotic education of students, features of musical language (coded codes), which formed the «national musical genotype» as a set of hereditary musical structures and means passed down through the generations, forming its unique mentality and national character. It is determined that the song, influencing the emotional – sensory sphere of man, causes empathic experience of his artistic image. At the same time, there is a process of «inner intonation», ie reflexive, unconscious singing of the listener with the sounding work. Therefore, during individual classes of students in classes on «choral conducting», «voice» «future music teachers got acquainted with the peculiarities of Ukrainian folk culture», folk vocal music, educational influence of song folklore on the spiritual development of students, namely the education of patriots of our state. During the «Folk Singing Workshop» students had to record 5-10 songs of their region, learn about the peculiarities of the singing style of different regions of Ukraine, decipher their melodic coded codes and analyze the figurative content of the musical work. While studying the normative discipline «Theory and Methods of Music Education» students got acquainted with the features of musical folklore – the treasury of age-old traditions of the Ukrainian people, with types of folklore activities: folk epics (proverbs and sayings, fairy tales, legends, historical songs, etc.). At the same time, it is necessary to study folk songs, to continue the search for coded codes in the musical language of song folklore, which reported on the mentality, the characteristics of the national idea of the Ukrainian people. At the same time, it is necessary to study the peculiarities of the phenomenon of «national consciousness» and the ways of its development.

Доля як архетип і як вибір

We analyse lyrical texts by Lina Kostenko with historiosophical character and these containing the ontological and, at the same time, autobiographical elements. The author of this study assumes that each of these lines has its own sources, image system, and content dominants. The poetess constructs the life model of the lyrical hero using the topos of bazar as seen in historical songs and dumas, where the fate is decided by the internal conscious choice. The choice of the fate, paid by the life, is interpreted as a modification of the situation such as the “Cossack Freedom.” This interpretation of the mythologem of the freedom in lyrical texts by Lina Kostenko is based on the works by Mykola Kostomarov, Oleksandr Potebnia, Mylhailo Hrushevskyi, as well as on Taras Shevchenko’s poetry. At the same time, we see the image of the fate as containing a sociological aspect — as a type of protest against suppressing the freedom of the will and action in a totalitarian system. The historiosophical line in the lyrics is analysed when considering the verse “The Heraclitus’ River,” which embodies the ideas of fluidity of water and constancy of a shore. These are later formulated into the aphorism: “Everything flows but not everything disappears upon the river shores.” We also pay separate attention to the fact that the poetess sees herself as the heir and the follower of the philosophy of Hryhoriy Skovoroda with his concept of self-knowledge and his creation of “The Garden of Divine Songs.” Lina Kostenko inscribed an individual human fate, that of the family/tribe, people, mankind — into a world flow.