Patriotic Songs Research Articles

Choral Art of China: Determination of Composing Creativity, Performance and Education

Compared to other types of musical art, the unity of three components – composer creativity, performance and education – in choral practice is the most deterministic. A vivid example of this is the choral art of China, each direction of which has its own characteristic features, peculiar ways of development, vectors of application determined by certain historical and socio-cultural factors, but in general they appear as an inseparable organic alloy. The purpose of the article is to highlight the trinity of composer creativity, performance and education as determinants of the development of choral art in China. The research methodology is based on a comprehensive approach based on historical-cultural, comparative, music-theoretical analysis of the material and theoretical modelling of the structural-logical and substantive characteristics of choral activity. The scientific novelty of the article lies in the fact that the trinity of composer creativity, performance and choral art education in China is considered for the first time as an immanent quality determined by historical development. Conclusions. Since the beginning of the 20th century, Chinese choral culture has been actively assimilating compositional, performing, and educational traditions of a foreign, mostly European, model. In the first half of the century, this was especially evident in the work of composers. Choirs by Chinese composers created in this period are based on the melody of patriotic songs in an organic synthesis with European writing techniques (including polyphonic). In the second half of the 20th century, the emphasis shifted towards performance, which was determined by the socio-political involvement of art, when choral work was a tool of political propaganda. At the end of the 20th and the beginning of the 21st century, choral art in China becomes independent, specialised educational institutions are opened in the country, where the training of conducting and choral personnel is carried out. At each stage, each branch of choral art in China had its own characteristics, development trajectory, vectors of application. In general, separate components – composer creativity, performing and educational activities become an inseparable whole during the entire development. This determinism of Chinese choral culture ensured its successful development in the 20th and early 21st centuries.

The model of Islamic character education at SMP-SMA Al-Irsyad Al-Islamiyyah boarding school Purwokerto

The purpose of this study is to examine the practice of instilling the Islamic character at the SMP-SMA Boarding School Al-Irsyad Al-Islamiyyah Purwokerto and to understand what kind of Islamic model Al-Irsyad aims to cultivate in its students. This study takes the form of qualitative research, involving data collection through observation, interviews, and document analysis. The data which is then analyzed to gain insights into the implementation of character education at Al-Irsyad. The research findings indicate that the formation of Islamic character at the SMP-SMA Boarding School Al-Irsyad Al-Islamiyyah Purwokerto is accomplished through the Islamic Religious Education (PAI), which includes subjects related to ethics (Akhlak), faith (Aqidah), jurisprudence (Fiqih), and Islamic history (Tarikh Islam). The ethics subject aims to cultivate honesty, integrity, and noble character in students, while discouraging qualities like jealousy. Islamic history delves into the life of Prophet Muhammad (peace be upon him) to provide students with a role model. On the other hand, specific objectives are intended to be cultivated through the instruction of Aqidah (Belief) material. The Aqidah content guides students to abstain from practices within the religion of Islam perceived as deviating from and undermining monotheism, such as acts of polytheism, tawassul, and tabarruk. Given this understanding, it is reasonable for Al-Irsyad to consider it inappropriate to "respect the flag" and observe "moments of silence" during flag-raising ceremonies. Similarly, singing the patriotic song "Padamu Negeri" is prohibited, as all of these actions are seen as deviating from Islamic beliefs.

To Calm and to Commend: Veterans' Musical Preferences Anticipating End of Life.

Since World War 1, physicians have noted the calming effects of music for military personnel experiencing "shell shock," Post Traumatic Stress Disorder (PTSD), or stress. Researchers have documented that stress or PTSD-like symptoms re-emerge for veterans at the end of life, triggered by hospital-like settings, co-occurring conditions, and debilitation. Dying veterans also face integration of their service and combat experiences into summations of their lives. In response, there has been a national movement for bedside ceremonies, often with music, to honor veterans. The project elicited veterans' musical preferences for calming and for music for honor services, using non-hospitalized veterans as surrogates for veterans in hospice. Respondent-driven sampling protected confidentiality and likely resulted in participants being representative of US veterans in terms of ethnicity, gender, and military branch. Recruitment materials contained all elements of informed consent, with consent collected in the introduction to the online survey. The survey had embedded links to musical performances, as well as write-in musical choices, and allowed US veterans from the Army, Air Force, Marines, and Navy to note their preferences both for music that was calming and music to be used in honor ceremonies. Online queries also asked about stress during service, usual coping strategies for stress, and current or past symptoms of PTSD. Links to hot lines were provided. The study was approved by the University of Arizona Institutional Review Board. Listening to music was the most prevalent of the 20 coping mechanisms for stress in this sample of 30 veterans. Musical preferences were stable across age groups. For calming, music at resting heartbeat rhythms was chosen. Music from early adulthood or from the timelessness of the classics was selected most often. Modern music with lyrics has themes of duty, affirmation, gratitude, and relief. The nearly universal soothing effects of lullabies were recognized. For music for honor ceremonies, desires were often independent of the military branch. Patriotic songs, or songs recognizing multiple service branches, or with themes of peace and affirmation were more often chosen than music from a particular service branch. Listening to music is a frequent coping strategy for veterans. While themes representing classical music choices are readily available in anthologies, other music chosen by this sample is not; the veterans' preferred music is rarely found in compilations of popular, movie, and TV music. Hospice and hospital intakes that document and communicate veterans' musical preferences to music therapists and therapeutic musicians may better support service men and women. Further research may examine veterans' preference for live or recorded music at end of life given the importance of meaning-making and the presence of others documented in the literature.

Behind–the–scenes: Aspects of a film reception. The case of The Independence of Romania (Aristide Demetriade, Grigore Brezeanu, 1912) and The Rest is Silence (Nae Caranfil, 2007)

The foreign reader and viewer can find nothing better -or faster, given the exigencies of modern life- than the film as an introduction to the character, history, identity of a nation. With the awards garnered by directors like Cristian Mungiu and Nae Caranfil, new interest has been focused on Romania’s film, community, and history. That is why, an investigation regarding the Romanian early cinema would be necessary in the field of improving education from abroad. The purpose of this paper is to analyze a number of aspects, such as the importance of incorporating a course on cinema in foreign language teaching, one of the major goals being the opportunity to educate the students in the field of movies and thus offering them distinct cultural perspectives. However, this article does not plea for the need of a pedagogy of media studies in higher education, given the complexity of the topic. It rather aims to focus on the history of two Romanian movies: The Independence of Romania (1912) and The Rest is Silence (2007) and highlight the reasons why an urban icon of the city of Tampere is called “Plevna”. This paper sets out to analyze the two mentioned Romanian films who proved to be interesting for Finnish students since they depict an episode of our common history, the 1877 War of Independence (The Russo-Turkish War). At the same time, the paper aims to familiarize them with the allure of the event when Romanian and Finnish soldiers fought shoulder to shoulder on the same front, at Plevna. The Romanian film, The Independence of Romania shot in 1911-1912, was the first feature film to be kept almost entirely in the Romanian National Film Archive; the other one, The Rest Is Silence directed by Nae Caranfil (and representing Romania’s first entry into the 2009 Oscars) and inspired by The Independence of Romania wanted to show the real story of our first full-length filmmaking. Therefore, this latter film contains like a palimpsest an older mute movie, discovered in Romanian Movie Archive. The current article draws upon the insights provided by the Finnish students after watching the two films and summarizes their conclusions. In other words, these lines provide a behind-the-scenes glimpse of what they learned and discovered. The films were met with positive reviews, and we tried to follow the students’ spontaneous reactions and emotions. An important part of our work was to put in perspective the two inspiring patriotic marches which are commemorating the departure of the Romanian and Finnish soldiers at Plevna in the Balkan’s theater of War: Drum bun! (farewell song composed by Ştefan Nosievich to the lyrics of Romanian patriot Vasile Alecsandri) and Kauan on Kärsitty / Long have suffered, a well-known patriotic song of the Finnish Guard (Suomen kaarti). This article tangentially discusses the role of perception in educational activity, which is presented under two correlated aspects, namely: the activity carried out in this sense by the teacher and by the students and the role of cinema in creating cultural memory from a general perspective, in a way that transforms the manner we think of film and its social importance. This article starts from a very particular point of view, as we discovered by pure chance the name of Plevna building in Tampere, and goes to a more general aspect, which is the battle of Plevna, one of the most important episodes from Romania’s modern history.

The role of popular music in Montenegro’s national propaganda: from referendum to the “Litije” movement (2006–20)

ABSTRACT This article explores the uses of popular music as a propaganda tool during political events in Montenegro’s recent past. The ruling Democratic Party of Socialists (DPS) employed music as part of their propaganda campaign during the 2006 referendum to gain support for Montenegro’s independence. Patriotic songs, disseminated through state-controlled media and paid advertisements, celebrated a modern, multicultural, independent Montenegrin state. However, after the referendum, important political issues remained unresolved (especially the role of the Serbian Orthodox Church and Serbian–Montenegrin relations in general). Tensions over these culminated after the adoption of the Law on Freedom of Religion at the very end of 2019, which triggered protests throughout Montenegro known as the “Litije.” In 2020, with the ample assistance of the Serbian Orthodox Church, the opposition won the parliamentary elections that ended the rule of the DPS. The propaganda that surrounded the Litije movement relied on music as an essential medium. This time, it conveyed messages calling for a stronger role of the Serbian Orthodox Church in Montenegro and closer political ties with Serbia. By analyzing both periods’ most influential popular songs, the author highlights the intricate interplay between music, popular culture, national narratives, and the ever-evolving political climate in Montenegro.

Towards Fostering Patriotism and Instilling Moral Values in Ghana Through Faith: The Role of The Church of Pentecost in National Development

The Church’s place in modern life has gone a lot beyond its original purpose of giving spiritual advice through religious groups. Through participant observation and a review of the literature, this paper examined how the Church, especially The Church of Pentecost (CoP), has changed over time in modern Ghana to promote patriotism and instil moral values in modern Ghana through its two flagship programmes—“National Development Conference 2023” and the “All Ministers Conference 2023”. The findings of the research revealed that morals, unity, and national growth were emphasised at these conferences. There were teachings, prayers, workshops, and the raising of the Ghanaian flag as a symbol of how important it is to work together across party lines for national growth. The study highlighted key recommendations, including employing a holistic approach, promoting patriotic songs, fostering collaboration, upholding moral values, emphasizing the national flag, and transcending partisanship. The study concluded that media influence, equality, punctuality, and unity are essential in fostering patriotism and moral values for Ghana’s growth and development. The paper contributes to the proactive role of the church in nurturing patriotism and moral values, providing valuable insights into nation-building and societal cohesion. Keywords: The Church of Pentecost, Religion, Patriotism, Moral Values, National Development

Socio -Cultural Elements in the Songs of Bishnu Prasad Rabha: A Retrospective

Bishnu Prasad Rabha has been an accomplished musician, creative writer, acclaimed master of fine arts, social activist and politician. His contribution to Assamese social and cultural life is great. When we talk about modern Assamese music, we need to mention the name of the musician par excellence Bishnu Prasad Rabha. His contribution to modern Assamese lyrical literature is great. Bishnu Prasad Rabha was a profound composer and musician of his times. He has numerous songs to his credit which speak of the aspirations of the Assamese community at large. Whether be it a romantic song or a patriotic song yet unique quality of the composer Bishnu Prasad Rabha was always there. He was born to Sardar Bahadur Gopal Chandra Rabha, an efficient officer under the Governor of Bengal. He was honoured with Order of Merit of the British empire. Bishnu Prasad’s mother was Gethi Rabha. He was born as the eighth child on 31st January, 1909 at Dhaka. Gopal Chandra Rabha was a great lover of music. Music sessions were held at his residence where the little Bishnu Prasad got acquainted with all the stalwarts of music in Bengal. Unfortunately, his father Gopal Chandra met an untimely death and the family fell into adversity. His widow Gethi along with her children took shelter at their own house in Tezpur. Bishnu Prasad resumed his studies in Tezpur He continued with his other co-curricular activities as well. It is no easy task to assess the worth of the multi -talented personality of Bishnu Prasad Rabha. In his lifetime he was a live legend. Music, fine arts, theatre performance, creative writing, politics, creating social awareness- he explored in all these diverse fields and won accolades for his exceptional contribution. His physical contribution towards the greater Assamese society came to a stop on 20th June, 1969 due to throat cancer. But the grand legacy of his craftsmanship lives on. In this Paper an attempt has been made to assess the socio-cultural elements present in his songs.

A peacetime battleground: national symbols, patriotism and prestige in the French-occupied Rhineland, 1920–23

Abstract Tensions and violence were central to the French interwar occupation of the Rhineland. This article examines symbolic opposition and violence carried out by locals, as perceived by the French authorities, mainly involving attacks on flags, singing banned patriotic songs, or displaying German patriotic colours. Although rarer than physical violence, the ways in which French officials documented and responded to such incidents allow for an insight into the mindset of the French occupiers. The victorious but sensitive French were especially concerned with notions of prestige, dignity and authority, drawing on colonial ideas, and quick to punish attacks on symbols of French power. Even during the beginning of the organized ‘passive resistance’ campaign in 1923, French authorities were as concerned with songs and flags as with demonstrations and physical violence. French sensitivity around national symbols betrayed deeper insecurities and uncertainties regarding their role both in the occupied territory and the wider world.

«ТРИ ЧЕТВЕРТИТОНОВЫЕ ПЬЕСЫ» ЧАРЛЗА АЙВЗА: ЧЕРТЫ НОВАТОРСТВА В ТРАКТОВКЕ ФОРТЕПИАНО

The article is devoted to studying the music of one of the founders of American national music, Charles Ives (1874–1954). Charles Ives was an outstanding American composer, organist and Pulitzer Prize winner. In the context of traditional music, Ives’s piano style gains freshness and innovation through the use of modern writing techniques. On the example of Three Quarter-Tone Pieces for piano (1925), the article traces exactly how traditional and innovative compositional features are reflected in Ives’s work. In these pieces, the composer imposes a new technique of quarter-tone writing based on microtonal and microchromatic intervals. In addition to innovative compositional techniques, Ives employs traditional techniques such as symmetrical episodes, palindromes, whole-tone scales, quotations from American and French national anthems and patriotic songs. The theoretical material used for the publication is the composer’s article “Some Quarter-Tone Impressions”, an important document in which Ives gives a theoretical justification for his innovative quarter-tone system. The article was first published in March 1925 in the Franco-American Musical Society Bulletin. Ives’s article has never before been published in Russian.

MUSIC EDUCATION
 IN MEN'S THEOLOGICAL EDUCATIONAL INSTITUTIONS OF VITEBSK
 (XIX – BEGINNING OF XX CENTURY)

The article provides a historical and pedagogical analysis of the practice of music education in male religious
 educational institutions of Vitebsk in the 19th – early 20th centuries using the example of a theological school and
 seminary. It was revealed that the leading form of music education was compulsory church singing lessons, which were
 conducted throughout the entire period of study. Currently, some elements of the identified historical experience may be
 relevant for use in theological seminaries and schools: the creation of a choir and training in playing musical instruments,
 holding musical evenings, collective performance of patriotic songs at ceremonial meetings.

Entendre ces silences : traduire, transmettre et refléter Entendez-vous dans les montagnes… de Maïssa Bey, en italien et en anglais

Listen to those silences: translating, communicating and reflecting Entendez-vous dans les montagnes…by Maïssa Bey, in Italian and English
 Maïssa Bey is a French-speaking Algerian writer whose first works were published in the 1990s, during the "black decade" of the civil war that ravaged Algeria. Algerian people, especially women, of whom the author is an integral part, are the protagonists of her stories and novels that aim to break the silences and censorship, to explore the small stories hidden behind the big story. This article aims to analyse the Italian and English translations of Entendez-vous dans les montagnes..., a novel published in France in 2002 and in Algeria in 2007. The Italian translation, published by Astarte in 2020, is by Barbara Sommovigo, who had already translated Bey’s Puisque mon coeur est mort in 2013, initiating an almost paradigmatic author-translator relationship that allows for an effective approach to a short but complex text like Entendez- vous dans les montagnes... The English translation is by the American Erin Lamm, and is the result of her doctoral thesis, with a clearly more academic intention than the Italian text, whose publishing house Astarte aims to communicate voices from the shores of the Mediterranean. In fact, Bey's work travels between two languages and therefore between two cultures, the French and the Algerian, which intersect in the pages of the story like the lives of the three protagonists. An Algerian woman, an elderly Frenchman and Marie, a young blond woman, meet in the same compartment of a train to evoke memories and thoughts, which lead them to the past and recent history of Algeria, through painful pages among which is evoked the loss of the author's father, killed in 1957 by French soldiers. It is a difficult task for the translators to render this multiplicity of themes and languages from the title: for a French-speaking reader, there is a strong reference to both a line from the Marseillaise and an Algerian patriotic song (Min Djibalina). The Italian title is therefore changed to Dietro quei silenzi…, while the English title is purely literal, Do You Hear in the Mountains... This is just one of the translation choices that will be analysed in this paper, in which the comparison between the strategies and techniques used in the two translation works will be constant, creating a perpetual dialogue with the original text, in the image of the friendship that now exists between the author Maïssa Bey and the two translators.

Theatermachine: Tadeusz Kantor in Context

Theatermachine: Tadeusz Kantor in Context

The Legitimizing Toolkit of the Romanian Communist Anthems. Ideology and Linguistic Imaginary

"The Legitimizing Toolkit of the Romanian Communist Anthems. Ideology and Linguistic Imaginary. Anthems are associated with nationhood and are part of its legitimizing toolkit. Their complete interpretation usually goes through the analysis of the linguistic imaginary, namely of the mythemes of the age, of the unconscious representations of the community, identifiable in rhythmical patriotic verses. National myths, recycled in patriotic songs Romanians have created since the 19th century, have been coloured differently, according to the ideology of the era. However, during 1948-1989 a double orientation could be “read” in the three national anthems: the natural insinuation of the community’s unconscious projections on the one hand, and the evidence of ideological charge meant to change Romanians’ representations of national reality on the other. Thus, the anthems Broken Shackles (Zdrobite cătușe), We Glorify Thee, Romania (Te slăvim, Românie), and Three colours (Trei culori) mark different stages in the communist discourse, even if they seemingly reuse the same motifs specific to the imaginary of the time: the country, the flag, the proletariat, the victorious past, the bright future and the “crushed” enemies. Keywords: national imaginary, identity legitimation, mythemes, anthems, homeland, ritual, communism, wooden language "

“It’s up to the women”: Women’s Peace Songs for Eleanor Roosevelt

Eleanor Roosevelt’s papers in the FDR Presidential Library contain approximately seventy musical works calling for world peace, the lyrics and/or music of which were created by women. Women’s peace songs from the 1930s were often a response to the First Lady’s press and radio statements about peace. They were also influenced by calls for cultural change by activists in the women’s peace movement, represented by the National Committee on the Cause and Cure of War and the Women’s International League for Peace and Freedom, groups with which Roosevelt was involved. Compositions about peace typically either featured march-like music and nationalistic imagery or were religious choral works and hymn-like expressions of women’s collective action. Writers sometimes parodied well-known hymns or patriotic songs, providing them with less militaristic texts. Musical offerings for the First Lady reflected women’s desire to assist Roosevelt in her peace efforts, their growing concern about the onset of World War II, and a strong belief in the power of music to help achieve a better world.

The Heart of Arabs. Emirati Songs for Egypt

Creating patriotic songs in the Arab countries is very common. They can represent different types of music, can be connected to special occasions or be created without them, just from the ‘need a heart’. The author of the article has been doing research on contemporary Egyptian patriotic songs for years. On the basis of her results, she has decided to divide all the analysed songs into the those created by Egyptians for Egyptians and in addition created by other artists for Egypt and its citizens. The job of the latter she calls ‘patriotic songs’ as well and divided them into two main groups which are connected with the way they identify themselves. The article presents the results of the analysis of selected songs released by United Arab Emirates’ artists for Egypt. The article’s author’s goal was to check the songs’ topics and which one of the previously mentioned groups they represent. She also mentions the figure of Hussain Al Jassmi, the most popular, in recent years, Emirati singer creating patriotic songs for Egypt. She analysed the songs on the basis of the songs’ topics and combined it with the contemporary relations between United Arab Emirates and Egypt while mentioning their origins historically. All of this allowed her to reach the conclusions presented in the article.

Texts of Patriotic Songs as an Object of Analysis in Russian Language Lessons in High School

The article discusses the possibility of using the texts of the Russian military patriotic song in the Russian language (native) lessons in order to form the civic identity of the student, to understand the connection between the language and the history of the people, the peculiarities of the Russian mentality, to enrich students’ ideas about the ways of expressing thoughts and feelings in words. Assuming that the genre, language and content-semantic aspects of the texts of Russian patriotic songs have a rich educational potential, the author emphasizes that their use reduces the shortage of patriotic texts in Russian language textbooks for high school. The author analyzes the possibilities of comparative linguistic and cognitive and axiological analysis of these texts and offers methodological recommendations regarding its implementation. The article emphasizes that the attention of students is drawn to the content core of Russian patriotic songs from different eras, the images of a warrior-soldier, native land, home, symbols that speak of the state and the Orthodox faith, adherence to the traditions of the fathers. An interesting aspect of the analysis of such texts can be the observation of the dynamics and continuity of language changes, which are reflected in the grammar and lexical structure of texts. Among the methods and devices of working on the texts of Russian patriotic songs, the author names close reading with marks, lexical analysis using dictionaries, observation of unusual syntactic constructions (figures of speech), creating associative chains, verbal drawing, highlighting national linguistic concepts, analyzing the figurative side of the text, creating their texts based on the author’s song text. As an example, the author proposes the texts of such military patriotic songs as “Soldier’s Song” by Fedor N. Glinka (1812), “The Holy War” by Vasily I. Lebedev-Kumach (1941), “Sky of the Slavs” by Konstantin E. Kinchev (2000) and others, and the methodology for working on them.

Nacionalno vaspitanje u funkciji razvijanja nacionalnog identiteta - doprinos muzičke pedagogije

The work starts from the question of national interests and values, as well as from the importance of developing national identity for the individual and the society. Considering that national identity, the sense of belonging to the community and togetherness develops from an early age, the importance of national education in that process and its contribution to the affirmation of national values is pointed out, with special reference to the fact that a stronger sense of national identity also contributes to a higher degree of respect for other nations and developing multicultural values and interests. Besides emphasizing the importance of national education expressed in the ideas and conclusions of pedagogues and sociologists, the place of national education in the legal legislation is considered, through which educational policy is implemented, respectively, the focus of education in Serbia on the development of national identity. In that sense, areas that contain fundamental knowledge for the development of national identity are highlighted, with special reference to the contribution of content from the field of musical culture and education. Although a significant resource for developing national identity is recognized in the theoretical framework of national education, the question of strategy and methodology for developing teachers' competence for linking and balancing theoretically based knowledge into reflective practice arises. Through the analysis of works from music pedagogy, traditional folk and spiritual music were recognized as contents that contribute to the achievement of the tasks of national education, while a very small number of works included consideration of the representation and importance of patriotic songs, Serbian artistic music, as well as traditional music of other nations, in the teaching of music culture. It is therefore necessary to encourage music pedagogues as well as teachers of other subject areas to further pedagogical-methodological research and more studious design and realisation of teaching musical culture in order to achieve the tasks of national education more successfully. As a conclusion, it is emphasized that national interests are not fixed through tradition, and that they are determined by interests, needs and the current constellation in society, which is dependent on the principles of general humanist values, while respecting the specifics of ethical communities and identities.

The Contemporary Russian Patriotic Song as a Phenomenon of a Post-Traumatic Society’s Condition

The author has addressed both Soviet and post-Soviet song discourse a number of times already, as it is in the song discourse that one can discern the reflection of the ideological attitudes on the one hand and a certain indicator of how the spirit of the times changes on the other. The 2000s increased the impact channels of the song genre by adding the visual channel to the ones already existing; that is, a truly popular song is disseminated in clips. There appeared a new kind of a “civil” song in the Russian song space. It explicitly coincides with the propagandist trends, either the ones being created or the ones that have already been set. This song discourse is full of ressentiment motives that have rallied the present-day Russian authorities and a certain part of the population. Their aggressively advancing potential is related to the traumatic condition of the society experiencing a particular shock caused by the feeling of the loss of the erstwhile grandeur of the country. The author deals with the functions of such a propagandistic song that can be characterized as an additional propagandistic narrative on the examples of Gazmanov’s and Bichevskaya’s songs.

Estlandssvenskar på Sverigeturné med körsång och ett bondbröllop på Skansen

This article discusses the formation of Estonia-Swedish musical self-images during the interwar period. The question that is raised is what influence the relation between a cultural minority, Estonia-Swedes, and its historical land of origin, Sweden, had on the minority’s image-creation. The case-study analyses the first Sweden tour ever with an Estonia-Swedish music group. The tour consisted of performances both in churches and in the open-air-museum Skansen in Stockholm among a couple of other places. At Skansen, the choir performed the play Ett bondbröllop från Wormsö (A Farmers’ Wedding from Ormsö) that was written specially for the tour. The research material consists of archive material with the musical expressions used on stage, articles in newspapers about the performances and other texts related to the persons and organisations behind the arranging of the tour. Seen as a whole, the tour expresses two cultural belongings: the pan-Swedish and the Estonia-Swedish. Pan-Swedishness focuses on bounds with an imagined pan-Swedish community expressed by spritual and patriotic songs in standard Swedish. Estonia-Swedishness, on the other hand, is based on a revived repertoire of wedding songs and dances from the mid-19th century that expresses uniqueness using a well-known cultural mould – the farmers’ wedding.

The Essence of the Game in the National Holidays of Uzbekistan is the Embodiment of Pedagogical and Aesthetic Components

This article reveals the essence of the game from several angles, namely from the pedagogical and aesthetic components that form one whole concept. Since ancient times, games have been used for various purposes: educational, training, entertaining, managerial, educational. The game model, simple and clear, always becomes entertaining and interesting. With the help of the game, the basics of upbringing and education are comprehended, traditions accumulated over the centuries are transmitted. Games act as stimulants, developing creative thinking, initiative, the ability to act together, subordinate their interests to collective ones, and perform tasks to achieve common goals. In Uzbekistan, great importance is attached to the competent implementation of game elements during mass celebrations. This is the embodiment of a competent policy of the state, in the transfer of knowledge to the younger generation, through game elements. Spectacular mass performances are particularly charming due to the combination of folklore elements with modern musical means, which allow creating a truly deep, national flavor and filling them with relevant modern sound. The musical and artistic traditions of creating a patriotic song are rooted in folk art. In the history of mankind, they will remain one of the enduring, eternal components of being. Folk holidays cannot be created artificially: they have been formed over thousands of years, incorporating rich traditions, cultural values, and humanistic principles.