History Of Song Research Articles

The significance of the word «journey» in the Greek song

The purpose of this paper is to study the theme of "journey" in Greek lyrics during the history of Greek song, focusing on some of the musical genres that were created and developed. The identification of these musical genres will be approximate and based on the composer-creator, rather than on any strict adherence to dates, as many of them overlap in time. The search for the theme of "journey" in lyric writing includes both the narrow - literal sense of the term, and the broader - metaphorical sense. It covers the concept of moving from one place to another, escaping from everyday life, getting to know other cultures and cultural environments, the realm of imagination, broadening the spiritual horizon, changing the way of looking at life, and so on. The study deals with the meaning of the word "journey" in folk song.

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.

Poet-Composer Collaborations in Modern Egyptian Song: A Social Network Analysis Approach to Music History

In this paper I formulate and apply a social network analysis methodology for understanding the history of song on Egyptian radio. Music is a massively relational cultural form, involving interactions among composers, poets, arrangers, conductors, and performers, among others. The reality of music history thus emerges as a complex network of relationships, unfolding and changing over time. Song production, in particular, centers on poet-composer-singer collaborations. Many Arab music histories highlight narratives of the stars, presented in historical and cultural context, but neglect the broader network of productive relationships. However many important musical figures are not celebrities, and the full complexity of the non-linear network can only be grasped holistically, including big data empirical analysis, not pointillistically through case studies of celebrities. Such holistic analysis can reveal surprising emergent, structural patterns that are not apparent in any single narrative. Social network analysis (SNA) offers a powerful suite of tools enabling such an approach, including metrics for centrality and the detection of cohesive subgroups. Starting with a large dataset of songs broadcast on Egyptian radio, I extract a network of poet-composer collaborations, and apply SNA algorithms to reveal its social structure. I then interpret that structure in light of wider socio-cultural and historical factors. In this way, my paper both sheds light on Egypt’s musical history, and supplies a model and method that may be applied, mutatis mutandis, to other musical domains.

Anatomy of a Song

Anatomy of a Song

The Quanzhou Qianfo xinzhu zhuzushi song (Or.8210/S.1635): Manuscript, Textual History, and Genealogy

Abstract This article explores the textual history and genealogical claims in the Quanzhou Qianfo xinzhu zhuzushi song 泉州千佛新著諸祖師頌 (Or.8210/S.1635), a collection of encomia composed by Wendeng 文僜 (d. 972) that documents the formation of the so-called “southern” Chan lineage and provides a crucial link between the Baolin zhuan 寶林傳 and the Zutang ji 祖堂集. The focus of this paper is on reexamining the potentially layered nature of Wendeng’s work based on the preface by Huiguan 慧觀 (d.u.), internal evidence from the Dunhuang manuscript, and related accounts in Chan records and local gazetteers. In addition, this study investigates the genealogical glosses in S.1635 and suggests that these were probably not authored by Wendeng and therefore cannot be taken as evidence of his understanding of the pedigree of the presumed successors to Huineng 慧能 (638–713).

한국 대중가요가 노래해온 죽음에 관한 탐색적 연구 - 1920년대부터 1950년대까지를 중심으로

This study analyzes how the meaning of death has changed in early Korean popular songs. As a representation of social change and popular sentiment, such songs have constantly changed the meaning of death throughout history. The view of death and the way it is sung has also changed at different points in the 100-year history of Korean popular songs, which began as a praise of death. The nihilism of the loss of sovereignty during the emergence of popular song was expressed in songs of personal mourning, martyrdom for the emperor during the period of increased militarism, and mourning for those who died for their country during the period from liberation to the Korean War.
 As we learn about the future from the past, a retrospective of the history of popular songs about death at a time when the coronavirus pandemic is forcing us to reflect on death more seriously will be an opportunity to observe not only the changes in public interest in death, but also the cross-section of death as perceived by society.

Discuss: Several Problems in the Chinese Ancient History Textbook of Zhu Shaohou Version

The textbook Ancient History of China edited by Zhu Shaohou and others is the most widely used textbook for the course "Chinese ancient history" of history majors in Chinese universities. This textbook has been revised multiple times in the past 40 years, but there are still many problems, such as contradictory expressions of the same problem, lack of pronunciation and meaning labeling of rare characters in ancient literature, omission of legal and diplomatic aspects in the history of Song and Yuan , inaccurate use of historical materials, and obvious untrue statements; Part of the content is outdated, neglecting the important role of maps, schematics, datasheets, and physical photos in students' construction of specific historical time and space and understanding of relevant content. These issues reveal that there is room for improvement at all stages of the compilation process of undergraduate history textbooks in Chinese universities, and it is urgent to attract the attention of the historical community and management departments.

The language of Chaozhou songbooks

Abstract In the pre-modern era, women in the Chaoshan region of southeastern China had a tradition of learning and performing long narrative songs. From the mid-1800s into the mid-1900s these songs were widely produced by local publishing houses in inexpensive woodblock print books called Teochew songbooks (Chaozhou gece 潮州歌册). These song texts made considerable use of the Teochew language. This paper discusses the history of Teochew songs and songbook publishing, and then examines the language used in one typical songbook, The Case of Haimen (Haimen An 海门案). The paper suggests that the use of different language varieties in the songbook texts is best viewed as a translanguaging phenomenon, as the songbook authors fluidly drew on different linguistic resources and integrated them into a creative genre with its own style, rather than keeping varieties separate for different functions (unlike some other pre-modern texts that use regional Chinese languages). The paper also argues that while the variety of Teochew used in the text has a poetic style which differs in some ways from spoken Teochew, when compared to other pre-modern texts that used regional Chinese languages, the language of the songbooks is relatively close to the norms of spoken Teochew. Finally, the paper argues that in many ways Teochew songbooks are quite typical of pre-modern Chinese texts that use regional languages; in fact, Teochew songbooks exhibit almost all of the distinguishing characteristics commonly found in such texts. In the pre-modern era, women in the Chaoshan region of southeastern China had a tradition of learning and performing long narrative songs. From the mid-1800s into the mid-1900s these songs were widely produced by local publishing houses in inexpensive woodblock print books called Teochew songbooks (Chaozhou gece) that made considerable use of the Teochew language.

The birth of a lullaby and these COVID years

This article describes the birth of a lullaby. It follows a long history of songs used to lull babies into a quiet or sleepy state. This particular lullaby grew from a community-based maternity care intervention on the south coast of England. The project, funded by the Burdett Fund for Nurses and supported by the Foundation of Nursing Studies was co-created by local women and care providers from maternity; health visiting and the Children’s Centre. The format was a weekly information and support meeting called ‘Bump, baby and beyond’ held in a local Children’s Centre. Each week women shared their questions, worries and dreams with the group over lunch and during the activities that followed. The aims – agreed at an early stakeholder planning event – were to help build confidence for labour and parenthood and to make connections with a supportive local network. An initial list of activities was drawn up via focus groups and refined after piloting a ‘rolling programme’. The author, a community midwife, facilitated the majority of group sessions and wrote a poem as a reflection after the eighteen-month project had come to an end. This eventually became the lullaby which can be viewed on YouTube. The article describes what grew from an alliance between women, health and social care workers and the active support of the funding body project facilitator. References are made to maternity services; academic literature about singing and neuroscience and the therapeutic effects of singing. During the global COVID-19 pandemic, singing for relaxation and soothing has an even stronger resonance.

초등학교 음악 교과서에 수록된 창작동요제 수상곡의 양상 분석 연구

Objectives Looking back at the 100-year history of creative children's songs, the ‘Children's Song Festival’ proves to have had a great influence on the development of children songs. The first purpose of this study is to investigate all Children's Song Festival winning songs included in elementary school music textbooks according to the educational curriculum change. The second purpose is to analyze the aspects of those winning songs published in music textbooks. Methods To do so, this study conducted a combination of literature reviews and research study methods, and analyzed Children's Song Festival winning songs in music textbooks. These songs were those that were included in 3~6 grade elementary school music textbooks from the fifth curriculum period (1987~1991) until the current 2015 revised curriculum; meaning all winning songs in elementary school music textbooks since the first Children's Song Festival of 1983 were analyzed. Results First, an analysis on ‘Children's Creative Song Festival Winning Songs and Number of Songs’ shows that out of the total 96 winning songs, the majority of winning songs were from the MBC Children's Song Festival - a total of 69 songs (71.9%). Second, upon analyzing the ‘Number of Times Festival Winning Songs were Published’, it was found that the number increased as the curriculum changed and as textbooks went up to an older grade level. The textbook publisher ‘Genius Education’ had the most winning songs within their textbooks - a total of 43 times (15.8%) were winning songs published. Third, after analyzing the ‘Name and Number of Overlapping Winning Songs’, it was revealed that there were 51 overlapping songs, the song that was published multiple times in music textbooks was <On a Train Ride> from the 1st KBS Children's Song Festival - a total of 13 times. The songs <Island Village> and <Walking in the Woods> were published 11 & 10 times respectively - both songs were from the 4th MBC Children's Song Festival. Songs that are continuously included in music textbooks are <On a Train Ride> and <Walking in the Woods>. Conclusions The act of singing creative children songs gives children hope, courage, the chance to dream, and holds an educational meaning that allows them to experience the beauty of music. Thus, continuing discovery and supply of creative children's songs are of great significance. Since Children's Song Festivals, which has played a huge role in the development of creative children's songs, are no longer as common as before, a new developing method that fits current society criteria must be sought out.

중국 근세 Ⅰ]송요금원사 회고와 전망: 2020~2021년 연구성과를 중심으로

The bibliographical essay deals with the books and articles on Song, Liao, Jin and Yuan studies, published in Korea from 2020 to 2021. In addition, it includes information on current researches in South Korea. During those period research fields have been diversified as they did since early 2000s. Achievements are not limited to the history of social economics, but have also been extended to the history of politics, institutions, international relations, the legal system, society and others. These can be evaluated as important contributions of Korean scholars to the history of Song, Liao, Jin and Yuan dynasties.

고구려인가 기자조선인가: 몽골제국에서 고려 역사상의 경합

Just as the intellectuals of the Chinese Song(宋) dynasty did, Mongol Imperial officials in the early days of contacting Goryeo believed that Goryeo was the same dynasty with Goguryeo(高句麗) from the Korean peninsula’s ancient past. This misconception also let them to suspect that Goryeo could become a threat at any point, with an image of Goryeo being a ‘country with a strong military force’ embedded in their minds.BR Feeling uneasy and not to mention pressure from such misled preconception, the Goryeo government and intellectuals continuously denied the existence of any sort of relationship between Goryeo and the late Goguryeo. They also tried to promote the ancient sage Gija(箕子) as the Goryeo dynasty’s symbolic originator of its civilization, in an attempt to replace Goryeo’s overall image as a ‘belligerent, aggressive race since the old Goguryeo days’ with the image of “Gija” which in fact signified the Korean peninsula’s long, amicable relationship with China while also symbolizing the peninsula’s advanced civil culture.BR The Goryeo officials’ efforts, including the authoring and spreading of several history books, and exchanging conversations with the Mongol intellectuals, eventually generated a desired effect and resulted in the Mongol Empire’s new official historical perception (mainly prevailing in the Daidu/大都 region), which no longer considered Goryeo as an entity whose origin was rooted in the Goguryeo legacy. Whenever they were to describe the history of Goryeo, they would not only mention Goguryeo but always Gija as well, as can be seen in the “Goryeo” chapter(高麗傳) inside the Songshi(Official Song History, 宋史) -compiled by the intellectuals in the Huáběi(華北) region in 1345-, which serves as a definite example of this sort of change in historical perception.BR But the literary figures in the Jiangnan(江南) region, who had no affiliation with the Mongol Imperial government and did not have the opportunity to actually meet their Goryeo counterparts, still believed that Goryeo was ‘of the late Goguryeo.’ Such belief can be seen from Wénxiàn Tōngkǎo(文獻通考), one of the most renowned encyclopedic texts of the time. And quite ironically, after the Ming(明) dynasty, a newborn one based on factions from the Jiangnan region, was able to drive the Mongol Empire out of China (which had its own basis in the Huáběi region), the “Goryeo” chapter(高麗傳) in Yuanshi(Official Yuan History, 元史) compiled by the Jiangnan region scholars in 1370 displayed the official historical perception reverted back to how it had earlier been, which was to identify Goryeo with the legacy of Goguryeo.

The Transmission of Decorative Motifs in the History of Chinese Song and Yuan Ceramics Technology--On the Origin of Decorative Motifs on Yuan Blue and White Porcelain

Blue-and-white porcelain suddenly appeared at the Jingdezhen kilns during the Yuan Dynasty. Regarding the subject matter and layout of porcelain decoration, the underglaze brown porcelain of the Jizhou kiln is closely related to the decoration of the blue-and-white porcelain of the Yuan dynasty. It is a reference and inheritance from the latter to the former.

The Making of Song Dynasty History: Sources and Narratives, 960–1279 CE by Charles Hartman

Every once in a long while, a book comes along that challenges the basic assumptions of an entire field. Hartman shows convincingly that much of what historians think happened during the Song dynasty (960–1279) did not occur as recorded, whether in surviving primary sources or in the English- and Chinese-language secondary sources based on them.His key insight? The sources reflect the time in which they were composed—not the times that they purport to describe. Why has it taken so long for Song historians to realize it? We have long known that the written record is heavily edited, as the standard descriptions of how the History Office, first established in the Tang dynasty (618–907), reveal. Every day, two court historians drew up records of the emperor’s actions (“The Diary of Activity and Repose,” qijuzhu), which they then revised into monthly summaries. Combining these summaries with records from other offices and biographical records of high officials, the History Office produced a daily calendar of events, which they then edited into a single Veritable Record, a chronological record of all the events that occurred in a given emperor’s reign (5–6).Hartman devotes a chapter to each of four major sources—The Recovered Draft of the Song State Compendium (Song huiyao jigao), The Long Draft Continuation of the Comprehensive Mirror That Aids Administration (Xu zizhi tongjian changbian), The Chronological Record of Important Events since 1127 (Jianyan yilai xinian yaolu), and The Song History (Songshi). Carefully combining what is known about each book with a rigorous examination of the text, he reconstructs the stratigraphy, or different layers, of each book. This “archaeology” of texts is the book’s primary use of interdisciplinary method. An oft-cited anecdote tells how Song Taizu (reigned 960–976), the founder of the Song dynasty, persuaded his generals to cede their military power to the emperor and his civil administrators. Eight pages of textual archaeology demonstrate that the anecdote had no basis in contemporaneous sources and explain how historians reworded the anecdote to reflect the concerns of each generation (303–311). Throughout the book, Hartman’s reasoning is complex and detailed and his exposition clear and convincing.His findings are most surprising for The Song State Compendium, the source that has the appearance of being the closest to archival materials because it retains the precise formatting and feel of original entries—the very reason why Song historians have relied so heavily on this source. Hartman’s investigations show that the Compendium does not contain an equal number of entries for each year that it covers between 960 and 1224 (43, Figure 1.2). In this extraordinary discovery, Hartman identifies periods of more extensive and less extensive coverage, concluding that all diachronic comparisons are risky. Song historians are well aware that the Compendium was edited at regular intervals, but Hartman identifies some of the historians—including Li Tao (1115–1184), the author of The Long Draft Continuation of the Comprehensive Mirror—who performed the editing. He also explains the nature of their interventions. This chapter alone makes Hartman’s book indispensable reading for anyone working with Song-dynasty sources.Three periods mattered to thirteenth-century historians because they subscribed to a moral narrative of Song dynasty history in which Song Taizu played an important role in creating the dynasty’s institutions (although little information about his reign survives). The second period, the rule of Emperor Renzong between 1041 and 1063, marked the high point of Song governance. In the third period, the machinations of various nefarious ministers (jianchen), starting with Wang Anshi (1021–1086) in the 1060s, led to the dynasty’s ultimate decline (244).By identifying these three tropes, Hartman alerts readers to the topics on which extant sources are least reliable. The question arises, What will the new version of Song history—the one that reads surviving sources against the moral narrative that Hartman has identified—be like? We are very fortunate that Hartman’s next book, entitled Structures of Governance in Song Dynasty China, 960–1279 CE, is already completed and should appear soon.

Knowledge, Power, and Technology

This article examines the epistemological nature, material forms, and social functions of zhentu (diagrams of troop formation) in the context of early Northern Song history. The first two sections contextualize the concept of zhentu in the new political and military institutions during this period. In the early Northern Song, the diagrams and geographic knowledge came to be incorporated into the imperial knowledge system in a more systematic manner. The third section divides the diagrams into two categories according to their forms and purposes: diagrams involving relative positions that were used for military training purposes, and diagrams combining topographical components that were used for military campaigns. The last section of the article discusses how the use of diagrams was intertwined in court debates. Their making and circulation demonstrate the changing power dynamics between the emperor and the court officials.

Time to Turn the Page in Tang and Song History Studies: Exploring the Tang-Song Transformation Theory from Multiple Perspectives

Abstract In China, Naitō Konan’s “theory on modernity since the Song” (Tang-Song transformation theory) did not elicit widespread academic interest until the twenty-first century. The following article provides a comprehensive analysis of the reception to Naitō’s theory by Chinese historians and the implications for Chinese Song studies. The author discusses the Naitō hypothesis from six different perspectives: the theoretical basis and political background of Naitō’s work, historical development patterns in China and the West, Chinese history as the history of a multiethnic country, international scholarship on the periodization of Chinese history, and the contributions by Chinese scholars. The author concludes that Chinese Tang and Song historians should turn the page and move on from Naitō Konan’s modernity theory (transformation theory).

〈書籍紹介〉西沢爽著『日本近代歌謡史』

〈書籍紹介〉西沢爽著『日本近代歌謡史』

Musica di contrabbando: il dadaismo proto-punk degli Squallor

Between the ‘60s and ‘80s Italian music was strongly conditioned by two contrasting events: on the one hand, there was a censorship that often forced artists to modify the lyrics of their songs, from the attenuation to the distortion of the meaning, in order to avoid the risk of being banned from the diffusion channels. On the other hand, a parallel, underground and irreverent phenomenon, which was embodied in the name of a band: Gli Squallor. They are the only band in the history of Italian song who have managed to become a cult phenomenon without any advertising and outside the official sales circuit, but only through word of mouth and thanks to the effectiveness of a desecrating parody that went beyond the limits of respectability and the claim of modesty in that period.

The "Ancestors' Family Instructions": Authority and Sovereignty in Song China

The "Ancestors' Family Instructions":Authority and Sovereignty in Song China Deng Xiaonan, Christian Lamouroux, and Luo Yinan New Appreciation Deng Xiaonan and Christian Lamouroux, "The 'Ancestors' Family Instructions': Authority and Sovereignty in Song China." JSYS 35 (2005): 79–97. This article presents a new interpretation of the Song literati's culture of practice, which was constituted by their conviction that they preserved the memory of the imperial "Ancestors' Family Instructions," their self-identity as the guardians of these "Instructions" in court politics, and their performative interactions in various historical contexts guided by these imaginative roles. Professors Deng and Lamouroux therefore challenge commonly-held views that take the competition amongst various political actors such as emperors, factions, and bureaucrats as the major theme of Song political life. Instead, the authors successfully revealed the constitutive power of political culture that shaped the content of elites' competition; it also points to the role of culture in directing the changing trajectory of Song elite politics. Deng and Lamouroux's new picture of Song political life portrays literati not as self-centered players of politics who were devoted to pursuing personal goals that were shaped by material interests and beliefs regarding ideal order. Rather, the conflicts and compromises of literati reflect their common recognition of the same cultural framework, known as the "Ancestors' Family Instructions," through which they understood themselves and others. The authors' research therefore reveals these "Instructions" as the hinge on which political life became practical. Even though political life appeared to revolve around personal interests and beliefs, it nevertheless hinged on processes of intersubjective imagination, in which political participants integrated their discrete personal experiences and perceptions with the cultural framework that bestowed meanings upon both the self and other interacting human subjects. Within this new picture, the recurring tensions and conflicts amongst Song literati did not foretell the disintegration of the literati community. On the contrary, it reflected a collective literati imaginary that was shaped by the same cultural framework that coordinated the meanings, norms, and justifications for their actions. This article inherits the academic tradition of Chinese historiography, a tradition that gained prominence in the first half of twentieth century, thanks to such great Chinese historians as Chen Yinke 陳寅恪, Qian Mu 錢穆 and [End Page 133] Deng Guangming 鄧廣銘, who believed that historical research should be an endless intellectual odyssey in which scholars strive to understand different worlds of meaning: not only those of the research objects, but also their own. Moreover, it also establishes a common ground between Chinese historiography and the ontological tradition of European social theory, which views the area of politics not simply as the aggregation of the behavior of individuals who are conceived as bounded and purposive actors, but the processes through which interrelated agents unfolded their understandings of the existential world. After its publication, this work has paved way for a great number of succeeding studies in both Chinese and Anglophone scholarship that have been continuously reshaping the landscape of Song political history. A new way of "understanding" Song history has emerged among Song scholars, who can imagine historical agents' life-streams as flowing side by side with their own, enabling them to search for a Song history that is meaningful to their own age. [End Page 134] luo yinan 羅禕楠 peking university What constraints existed on the power of the emperor in premodern China? This is a question of interest to historians of China as well as our colleagues in other fields, and we offer this research report, a partial translation of an article published in the French journal Annales—Histoire, Sciences sociales in 2004,1 as a preliminary answer. We focus on the development of the concept of the "Ancestors' Family Instructions" (zuzong jiafa 祖宗家法 or zuzong zhi fa 祖宗之法) during the Song dynasty—widely acknowledged to be both the beginning of autocratic rule and the birth of the bureaucratic state. First, we would like to present some definitions of the concept, and then we will locate it within three different historical contexts: the political, the ideological, and the administrative. We conclude with some observations on the role played by the "Ancestors' Instructions" in the making of the bureaucratic state. Many Song texts mention "Ancestors' Family Instructions." The...

Materials of the Chinese official chronicles of the imperial dynasties Song and Yuan on the time of the massacre of the Alan warriors during the Mongol conquest of Southern China

Based on the information presented in the official chronicles of the Chinese imperial dynasties Song and Yuan, the author discusses the issue of the time of the massacre of the Alan warriors in Mongol service, that occurred during their occupation of the southern Chinese city of Zhenchao. The study of this issue seems relevant, since the information of the mentioned Chinese official chronicles, in the same way conveying the general plot of this event, diverges in the designation of its time, attributing it to different reign years of the first emperor of the Yuan dynasty Kublai (Shi-zu) and to one of the years of the sixteenth emperor of the Song Dynasty Zhao Xian (Gong of Song). The materials for the study were the original texts of the official “History of Song [Dynasty]” and the “History of Yuan [Dynasty]” as well as some other Chinese written sources. The study introduces new information from sources about this event, which have not previously been translated into Russian. A brief historiographic review of this issue is given. The purpose of the study is to definite the time of the massacre of Alan warriors in Southern China. In the course of the study the inductive method, the method of comparative historical analysis, systemic chronological and retrospective analytical methods were applied. It was found that the information about the time of the event in question contained in various sections of the “History of the Yuan [Dynasty]” is erroneous, while the similar information about the time of the event in question contained in the “History of Song [Dynasty]” is correct, as it was indicated by P. Pelliot. The translation of the latter information into the modern chronology system allows to determine the time of this historical episode on April 28, 1275.