Traditional Songs Research Articles

An Analysis of Traditional and Contemporary Children’s Songs With Considerations for Music Therapy Practice

Abstract Children’s songs include a diverse collection of traditional and contemporary songs. (Yinger and Springer [2016]. Analyzing recommended songs for older adult populations through linguistic and musical inquiry. Music Therapy Perspectives 34, 116–125. https://doi.org/10.1093/mtp/miu048) analyzed musical and textual features of songs used by music therapists with older adults; however, studies on children’s songs in music therapy have not included musical and textual features analysis. Our purpose with this study was to analyze the musical and textual features of a sample of 20 traditional and 20 contemporary predominantly U.S. children’s songs and consider applications for music therapy. Text information was collected, including total and unique words, the song topic, and potential applications. Musical information was collected, including form, melodic range, and harmonic/chordal structure. Findings included that the traditional songs were strophic, had fewer overall words, were harmonized with three chords or fewer, and had melodic ranges of five to seven notes. By contrast, contemporary children’s songs used complex song forms, had more words, were harmonized with more than three chords, and had melodic ranges of eight or more notes. Song topics and applications had similar codes across the song types. A music therapist may apply traditional songs in clinical work, where a simpler musical structure and fewer words support the client’s needs. Likewise, a music therapist may apply contemporary songs for greater musical complexity and more vocabulary. Future studies of children’s songs in music therapy could include an analysis of music therapists’ composed songs and songs used by music therapists who work with young children.

A Cycle of Poems about Armenia by R. Gamzatov

The subject of the article is the cycle of poems by R. Gamzatov about Armenia. This work represents the first detailed scientific study of the poetics of R. Gamzatov’s cycle of poems about Armenia. Using the example of the most striking works, the methods, techniques and means of expression used by the author to create the image of Armenia are identified. The poet describes the nature of this country, its song traditions, socio-political events, recreates the images of Armenian friends, sacred and iconic symbols for Armenia, its cultural objects and geographical topoi. The purpose of the article is to identify works from R. Gamzatov’s cycle of poems about Armenia, to conduct a philological analysis of the texts, to identify their genre specificity, and to determine the main motifs and images. The objectives of the work are to identify the themes and problems of poems about Armenia; their figurative and emotional-style similarities and differences from each other: determination of techniques and methods, as well as means of expression in realizing the image of Armenia. The study, carried out on the basis of the comparative method and the method of philological analysis of the text, led to the following conclusions: 1) in the cycle of poems by R. Gamzatov about Armenia, typical attributes are used, found in similar poems about Armenia by other authors (Ararat, Sevan, Matenadaran, Saryan); 2) a distinctive feature of the author’s feelings is admiration for nature, national cultural monuments and the creativity of literary and artistic figures of the Armenian people; 3) depending on the object and subject of the author’s attention, the mood and emotional tone of the works changes from lively, respectful, in love with the songs, music, and nature of Armenia to sad, sympathetic for the fate of this country and its long-suffering people. The results of the study can be used in further studying the work of R. Gamzatov. In addition, the article may arouse interest in wide circles, in particular in Dagestan-Armenian literary relations. This work can be used in teaching courses on the history of Avarian, Dagestan and Armenian literature.

Ukrainian Song Folklore in Oleksandr Dovzhenko’s Records: History of Publication, Analysis of Motifs and Plots

The subject of this study analysis concerns the history of publication of notes those Oleksandr Dovzhenko has recorded from his mother in December 1943 in Moscow. These are 32 song texts of Ukrainian folk Christmas carols, shchedrivky, spring rite carols and lyrical songs. The records are contained in a separate notebook, which has 30 sheets. The name of the collection is The Mother’s Songs. It is kept in the Russian State Archives of Literature and Art in Moscow (RSALA, fund 2081, inventory 1, unit of issue 330). The published work is aimed at the description of the editorial approaches to these song texts in various periods to these song texts, indicating the list of publications of each of them. Records of Christmas carols and shchedrivky from the collection of O. Dovzhenko contain motifs and plots typical for Volhynia, Podillia and Slobozhanshchyna. Most often, these are songs for the owners and their children, for a young man, a girl, less often these are the motifs with biblical characters, formed under the influence of folk tradition. Almost all ritual songs of the winter cycle have variants in Zorian Dolenha-Khodakovskyi’s collection of recordings [11]. The motifs of the lyrical songs from O. Dovzhenko’s recordings are typical for the song tradition of Podillia, Volhynia, the Over Dnipro Lands and Slobozhanshchyna. These are plots about watering horses near a well, embroidering a shirt for a Cossack, a widow and her unloved children for a potential husband, waking up / not waking up a Cossack, a request to a mother to show her daughter. They are circulated throughout Ukraine.

Social Role of the Tradition of Protest Song Tradition of Popular Music mid-20th century in the United States

Introduction. The article considers the integrating social role of the tradition of protest songs in the period 1950–1970 on the example of the United States of America. This period was characterized by a series of military conflicts against the background of geopolitical confrontation between the USSR and the USA, which was reflected in creative and sociocultural movements for peace and contributed to social and political changes in the USA. Protest music not only contributed to a positive influence on political decision-making, but also became a powerful means of expressing public opinion and feelings.Methodology and sources. The methodology and theory is based on comparative historical analysis of socio-cultural, political and historical events and facts related to the period covered. The material for the study was also made up of biographies, descriptions of events by eyewitnesses and documents of secondary analysis, telling about the social and musical impact of the phenomenon of protest songs of folk music and rock'n'roll counterculture on American society, as a reaction to the political decisions of the U.S. government to create hotbeds of military conflicts in the world.Results and discussion. The period from the late 1940s to the 1950s in the United States was marked by an acute confrontation between communism and capitalism, which was reflected in the culture and music of the time. The emergence and proliferation of protest songs, as well as other forms in the arts, occurs because of important crisis events on a global scale, or when people begin to see these events as such. Because of the impact the conflict between the two superpowers and their allies had on the world, people began to react to it in their own way. Music reacted to the events instantly and vividly. Although most protest songs were not a national success and their message was mostly appreciated by radicals, the songs united people and helped them express their discontent with what was happening.Conclusion. Folk and rock music became an integral part of life during the Cold War within the United States. Musicians and poets protested against the administration's policies, against unnecessary military conflicts, and warned against the possible destruction of the world. As a result, these genres became a powerful means of expressing public feelings, opinions, and influenced the formation of public consciousness right up to our time.

Research on Khorchin Zasagt Wedding Songs

The nomadic Mongolians have a rich tradition of songs and music, which has retained its distinct characteristics and forms over a long historical period. The traditional culture and art of the Inner Mongolia Autonomous Region of the People's Republic of China are undoubtedly a core component of nomadic culture. Therefore, in this study, we have focused on the traditional songs of the nomadic descendants of the Khorchin Right Wing Front Banner in the present-day Hinggan League. Specifically, we have examined the inheritance and transmission of these songs, their classification, and the social impact and trends associated with them.

Language and cultural values exploration of traditional songs in Malakan Ethnic, Eastern Indonesia

The present research undertakes a cultural analysis of ethnic verses and songs from Malakan to uncover their underlying philosophical thought. Understanding these works' fundamental principles and concepts is essential to convey their valuable knowledge, which ultimately shapes and reinforces values in future generations. Cultural-linguistic theory by Sharifin (2021) was utilized to find out if Malakan ethnic song verses include cultural features. This descriptive-qualitative study method used observation, in-depth interviews, documentation, and Focus Group Discussions with 40 participants from eight communities from July to September 2023. The findings indicate that the auditory elements of lyrics, words, phrases, and clauses serve as a means of conveying the cultural values of the Malakan people when singing four traditional songs as a component of their daily lives. In addition, several values were derived from the meaning of the four-song lyrics, including patience, responsibility, commitment, resilience, harmony, togetherness, sacrifice, empathy, and sympathy, which ultimately serve as a reference for human behavior in the Malakan community. The findings suggest that storing traditional artworks linked to poetry and musical works is advisable. Through the utilization of poetry and musical compositions, people could find cultural components that can be reused as indigenous content for the study of cultural arts and local languages.

Transmission of indigenous knowledge systems under changing landscapes within the vhavenda community, South Africa

Indigenous Knowledge (IK) and techniques benefit not only humankind but also benefit the environment. Nevertheless, the transmissions of indigenous knowledge are threatened and replaced by Western knowledge and ideologies. The focus of the study was to demonstrate the various Indigenous knowledge transmission methods, the driving forces behind their disappearance, and how they added value to the resilience of such knowledge forms in sustaining Indigenous and local communities throughout the centuries. To achieve this, the study used questionnaires consisting of open-ended and closed-ended questions (n = 136). Participants were selected and identified through purposeful sampling from five remote indigenous villages in South Africa. The data were collected only from principal elderly participants above 50 due to their profound knowledge and experiences with their local environment. The most prevalent indigenous knowledge within the Vhavenda people is folklore, which is orally transmitted from one generation to the next through traditional songs, stories, dances, myths, customs, and rituals. Drivers such as invasion of technology, reluctance on the part of custodians to pass on the knowledge, knowledge being forgotten, and knowledge being less effective were ranked to be highest in the hindrance of IK transmission in the study area. Solutions such as revitalising knowledge systems through proper documentation, such as building online libraries, integrating Western and indigenous knowledge, and introducing indigenous knowledge into mainstream education systems and media could assist in preserving such knowledge.

Editorial Vol.16(1)

It is with great pleasure that we present to you Volume 16, Number 1, 2024, of "Voice: Biannual and Bilingual Journal” published by Autar Dei Chaudharain Research Centre (ADCRC) at Mahendra Multiple Campus, Nepalgunj, Banke, Nepal. Our journal continues to uphold its primary aim of facilitating the exchange of expertise among scholars on a global scale, fostering a dynamic platform for intellectual discourse across various disciplines. In this edition, we proudly present a multidisciplinary collection of 13 articles, with eight contributions in English and five in Nepali. This diversity reflects our commitment to linguistic inclusivity and our effort to bridge scholarly communities across different languages.The range of topics covered in this issue underscores the breadth and depth of academic inquiry being pursued by our contributors. Highlights include an in-depth analysis of the socio-economic impacts of policy changes in Nepal during the crucial decade of the 1990s, examining realism and societal dynamics in selected novels of Shashi Deshpande, and a stability evaluation of the Lanedada Twin Tunnel in KTFT, focusing on the structural stability and safety measures of a significant infrastructural project. Additionally, we have an exploration of alcohol use and its socio-economic and health effects in the Tharu community of Raptisonari Rural Municipality. There is also an analysis of historical and literary perspectives on trauma and displacement in Khushwant Singh's "Train to Pakistan." An exploratory study on how economic changes affect consumer behavior in the jewelry market of Nepalgunj adds a practical economic perspective. A comparative study on the reading comprehension abilities of Tharu and non-Tharu students’ sheds light on educational performance influenced by cultural and linguistic factors. Finally, a contemporary assessment of Nepal’s food sovereignty status and related policies offers valuable insights into current agricultural and food security challenges.For our Nepali readers, we offer a detailed exploration of classical Sanskrit poetics and theories of rasa, along with an analysis of the purpose and cultural significance of traditional songs in the Ribdikot area. There is a historical overview and critical examination of trends in Nepali short stories, a comprehensive look at the fifth part of the Vedapurana's gems, and an analysis of the ideologies presented in the novel "Basai."

MAPPILAPPAATTU AND OPPANA: AN ANTHROPOLOGICAL NOTE ON MAPPILA SONGS AND PERFORMING ART

The Muslim population of Kerala state is known as the Mappilas. The community is formed due to commerce between the Arabians and the Malabarians. Indigenous culture had a significant effect on Mappila's arts and ceremonies. The Mappilas created a distinctive cultural pattern that encompassed a variety of artistic aspects, including their traditional song, Mappilappaattus, and one of the most exquisite performing arts, Oppana. Most scholarly research on Mappilas is historical and ignores anthropological elements like arts and rituals. Thus, this essay aims to offer an anthropological perspective on Mappila songs, known as Mappilappaattu and the performing art of Mappila women, known as Oppana. While examining the nature of Mappilappaattus and its many genres, this research highlights that the secularised Mappilappaattus, which was primarily romantic in substance, drew people from beyond the Mappila community. Oppana also had a secular and romantic tone, which appealed to the public. The popularity of Mappilappaattus and Oppana can be explained, for example, by looking at the history of Malayalam films. Mappilappaattu and Oppana were staples of Malayalam film from the beginning of the 1950s.

교방문화의 형성과 문화적 의미

In Korea’s traditional culture, art culture related to Gyobang remains rich and diverse and has been handed down. Jeongjae (呈才), a comprehensive art that combines music and dance, was performed by Gisaengs belonging to Jangakwon or Gyobang, and many traditional songs, including Gagokchang (Sijo) in classical 典 poetry 歌, were also performed mainly by Gisaeng’s singing (歌唱). We have the results of the creation of female Gisaengs and musicians, who were in charge of art from the Gyobang of the Goryeo Dynasty to the modern Kwonbeon. In this way, it is ‘Gyobang culture’ that preserves its value and historicity by accumulating such knowledge and information through Gyobang. Until now, the sijo and lyrics in the Gyobang space have been approached by dividing them into Korean literature, dance and Jeongjae (呈才) into dance studies, vulgar music into music studies, and other folklore. Therefore, a more comprehensive and three-dimensional approach to Gyobang culture is now needed. In this respect, it is necessary to avoid the simple interpretation of the past and think about the Gyobang culture from a more three-dimensional and comprehensive aspect. The strong vitality and continuity of Gyobang culture is difficult to explain simply by the succession discourse of the conscious and intentional cultural delivery system. The possibility that certain cultural elements are inherent in it cannot be excluded. The reason Gyobang culture can maintain its name for a long time is that it has its own unique discriminatory specificity. Gyobang culture has the basis and convergence aspects of realization and modernity of aesthetic consciousness, self-realization and modernity through artistic achievement, discovery of original stories. In addition, cultures tend to be enjoyed differently depending on the subject in charge of culture. The core cultural codes of the time were hidden in Gyobang culture, and by flexibly reading the trends of the times, they transformed, imitated, changed, and developed within them. This provides a clue to further materialize the diversity of Gyobang culture. Gyobang culture must now be reborn as familiar content that the times can sympathize with and communicate with.

Creation of Isaan Local Melodies from the Rituals and Beliefs of the Heet Sip Song Tradition

Creation of Isaan Local Melodies from the Rituals and Beliefs of the Heet Sip Song Tradition

Mukha Shilpa (Mask Making) is the Artefact form of Assam

The north-eastern state of Assam is very rich in terms of diverse arts. Revolutionary great men in Assamese literature, culture, society and spiritual life The contribution of Shrimant Shankardev is unforgettable. His great works made this Strengthened the feeling of social and cultural unity in the area. He wrote Ramayana and translated Shrimad Bhagwat into Brajavali language.Vaishnavism in the North-East for propagation, Shankardev started Bargeet, Kirtan, Ankiya Naat (Bhaona) etc. Composed. There are two main forms of dance here – Bihu dance and Satriya dance. bihu dance The identity of Assam has become. All children and elders participate in this. Bihu dance is performed on the occasion of the festival. Bihu song also on this occasion are sung. The central theme of Bihu songs is love. Apart from this, in Assam many folk dances are prevalent. There are many art forms here in the form of songs, dance, drama etc. are present. Shankardev gave birth to many art forms, including dramatic art and mask art was prominent. Folk plays played an important role in the background of the Neovaishnav movement and its propagation. Folk theaters performed by women are also popular in Assam. Women express their feelings through these folk dramas. Assam also has a rich tradition of folk songs. Bihu is the representative folklore in this region. Through which the common people's passion, hope, Aspirations, joys and troubles take shape. The folk song 'Haidang' of Sonowal Kachari tribe is sung only by men. Various body movements and dance along with songs are the specialty of Haidang. Rabha community of Assam is very rich in terms of folk songs. The folk songs of Miri or Mising tribe are called 'Oi Neetom'.The life and culture of the people of this community has developed in the valley of Brahmaputra and Subansiri rivers. The communities here have a rich heritage of folklore. The folk tales here are full of supernatural incidents. Assam has been considered the center of Tantra-Mantra, witchcraft and spirituality. Therefore, Tantra-Mantras are included in folk tales. Apart from this, idioms and proverbs are also available in abundance.

En muntlig sångkultur kopplad till skrift

An oral song culture connected to printed worksThe aim of this article is to investigate the process of diachronic transmission with reference to oral material. Departing from field recordings from the very north of Sweden this article intends to account for the transmitting of oral song traditions connected with two pious song books, Sions sånger/Sion’s Songs and Sions nya sånger/Sion’s New Songs from the 18th century. The song books were published in numerous editions up until 1975 and foremost used by religious dissenters. Only song texts were provided in the books – as for melodies the congregation had to deal with directions to contemporary melodies, mostly hymns. The recordings indicate that several both sacred and profane melodies used during the 18th century may have followed the songs for more than 200 years in oral tradition. The restricted life within the congregations is a prerequisite for this process which goes on within the collective. In the present investigation the contradictory words acceptance and avoidance/repudiation are used to make clear what elements are active as both controlling and cooperative in the dynamic transmitting process.

Globally, songs and instrumental melodies are slower and higher and use more stable pitches than speech: A Registered Report.

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech.

A Discourse Analysis of Women Sexuality in the Lyrics of an Anonymous Turkish Folk Song

This qualitative study examines the gender dynamics and societal expectations embedded within a traditional song and its associated story. Focusing on the themes of virginity and women purity, the research investigates the power structures, control, and cultural implications reflected in the narrative. Through a comprehensive literature review, we explore existing scholarship on gender studies and societal norms surrounding virginity. The song and story are analyzed, highlighting the depiction of the character Nazife, a fifteen-year-old girl whose worth is tied to her virginity. Drawing upon gender theories, feminist theory and intersectionality, the study critically deconstructs the societal norms and power dynamics present in the narrative. The research uncovers a patriarchal notion that women sexuality is controlled by men, who act as gatekeepers of a woman's virtue. Moreover, the study examines the social stigma and shaming faced by women who do not conform to traditional expectations of purity. By analyzing the cultural and historical context, the study provides insights into the gendered dynamics prevalent during the song's origin. This research contributes to the understanding of how societal constructs impact women's agency and the importance of challenging gender norms to achieve gender equality.

Performing aspects of V. Gavrilin’s “Russian Notebook”: dramaturgy, theatricalization, peasant song, folklore genres

The article is devoted to one of the most important Russian chamber vocal cycles of the second half of the twentieth century – “Russian Notebook” by V. Gavrilin. Its appearance in 1965 made a strong impression on both the musical community and listeners. Everything about her was unusual, fresh, sincere. The stylistic unity of the “Russian Notebook” is due to its reliance on folk sources – literary texts and musical material. Gavrilin interpreted folk music in a deeply personal way, refracted it through the prism of a powerful spiritual and moral concept, outlined new directions for its research and comprehension, and proposed multi-valued interpretations and unexpected syntheses. “Russian Notebook” became the most important component of the significant artistic movement “new folk wave” that appeared in Russian music at the turn of the 1960s. Its brightest representatives were the “sixties” composers R. Shchedrin, E. Denisov, B. Tishchenko, S. Slonimsky. The main conclusion of the study is the idea that V. Gavrilin’s “Russian Notebook” is a genuine encyclopedia of folk genres. The composer penetrates deeply into the folk song tradition, organically refracts folklore, passes it through his amazing artistic world, thereby making the folklore language accessible to the general public. The author of the article focuses on the performing aspects of V. Gavrilin’s cycle, on the variety of interpretive possibilities coming from the diversity of folk (primarily peasant) song. The vocalist and accompanist-pianist need to seriously study the folk traditions before taking on the “Russian Notebook”. The intense dramaturgy of the cycle and the theatricalization of vocal music should also be the focus of the performers’ attention. V. Gavrilin’s composition opens up new interpretive paths and possibilities, new vocal techniques, and creates a multi-tasking performing world.

Dziesmu virknes kāzu apdziedāšanās tradīcijas kontekstā: īpatnības un problemātika

Singing of mutual mocking songs in Latvian traditional culture is an ancient and highly cultivated custom. It can be found at clean-up days, traditional annual celebrations and family-related festivities. Of all the festivities, this tradition is most vividly manifested in weddings and has been preserved in some places until today. Singing usually takes place between two groups – boys and girls, unmarried girls and married women, guests and housemates, etc. During the wedding, the singing takes place mainly between the relatives of the groom and the bride. This custom, which permeates the entire wedding ritual, symbolically features a clash between the groom’s family and the bride’s family, which allows psychological tension to be discharged by reaching the catharsis. In particular, singing mocking songs effectively discharges the accumulated negative feelings in a socially permitted manner. The 12th volume of the academic edition “Latvian Folk Songs” (Latviešu tautasdziesmas) was published in the summer of this year. This volume continues, which was started in the previous volume by publishing wedding songs. This edition covers the wedding theme more completely than all the ones published so far, so the texts included in the 12th volume and those not included were selected as the sources for this study. A folk song is usually understood as a content-autonomous and structurally closed quatrain, but when working with song manuscripts, it turns out that they are not always complete texts in content and form or aesthetically perfect texts. Additionally, a fairly large number of songs consist of much more than four lines. If we look at the tradition of Latvian folk songs as a whole, it can be seen that, for various reasons, long songs and strings of songs have been significantly less studied; therefore, the article focuses on one of these phenomena – strings of songs. The article also focuses on the importance and development of the wedding mutual mocking song singing tradition over time and the variability and improvisational nature of the mocking songs. At the end of the article, attention is paid to the following problems of publishing strings of songs: lack of classification principles, volume limitations, including whether and how the mentioned reasons have influenced the inclusion of a string of songs in the 12th volume of “Latviešu tautasdziesmas”.

MEANING OF BOLAANG MONGONDOW TRADITIONAL SONGS AND STUDENTS’ PERCEPTION ON THEM

The purpose of this research is to describe the meaning of the traditional songs of Bolaang Mongondow and the perceptions of students at SMP Negeri 2 Lolayan. This study employs a qualitative descriptive method, focusing on current issues. The gathered data is first organized, explained, and then analyzed. The data sources for this research are the students of SMP Negeri 2 Lolayan and a collection of three traditional songs from Bolaang Mongondow, namely Tano-tanobon, Moraoi and Tobatu Lipu. The data were collected by three steps; observation, interview and documentation. The result of the research showed that the majority of the students have good understanding of the meaning of Bolaang Mongondow traditional songs which they considered as the identity and reflection of Mongondow heritage. However, some students have a limited understanding due to various reasons such as insufficient learning time dedicated to Bolaang Mongondow traditional songs or a lack of proficiency in the Mongondow language. Furthermore, it is found that the songs have meanings. Tano-tanobon means to heed parental advice, love and cherish parents, and not hurt their feelings to lead a happy life. Moraoi means that Indonesia is known for its natural beauty from Sabang to Merauke, and similarly, Bolaang Mongondow possesses beautiful landscapes, rich flora and fauna, and hospitable communities. Lastly, Tobatu Lipu means someone who has ventured far still holds their birth land dear in their heart.

The continuity of the vocal and performing heritage of the multi-genre song culture of the Kuban Cossacks

The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today.

Building a Parallel Corpus for Chinese Folk Songs Translation Studies: A Case Study of Northern Shaanxi and Hua’er Folk Songs

Folk songs, collaboratively created by the public and transmitted orally, have gained widespread popularity. The translation of folk songs primarily centers on lyrics translation, a subset of literary translation. Recent advancements in corpus technology have highlighted the significance of corpus-based research approaches for the analysis of literary translation. The corpus method, now employed as a hybrid research approach, enables the generation of quantitative data for descriptive translation studies. Scholars are increasingly using parallel corpora containing both the source text (ST) and the target text (TT) to explore translation universals across diverse texts. Despite the growing body of literature on the translation of Chinese folk songs, most studies have involved straightforward analyses of a limited number of translated texts without the utilization of quantitative approaches. This article aims to bridge this gap by presenting a prospective study on the creation of the Chinese-English Parallel Corpus of Northern Shaanxi and Hua’er Folk Songs (CEPCNSHFS). The study covers essential aspects such as sampling, corpus structure, corpora selection, and corpora processing. Moreover, to assess the practical utility of the CEPCNSHFS, a pilot study was conducted. The primary contributions of this article reside in the potential of the CEPCNSHFS to support diverse research topics, including the exploration of translation language characteristics, styles, and methods employed in translating Northern Shaanxi and Hua’er folk songs, both of which hold significant positions within Chinese folk song traditions.