Traditional Folk Songs Research Articles

Broken Voices: Postcolonial Entanglements and the Preservation of Korea’s Central Folksong Traditions by Roald Maliangkay

Broken Voices: Postcolonial Entanglements and the Preservation of Korea’s Central Folksong Traditions by Roald Maliangkay

Reception of Folksongs in the Lithuanian Press of the National Revival

The article discusses the folksong reception against the background of the Lithuanian press from the second half of the 19th – beginning of the 20th centuries. The analyzed material includes periodical publications of that time elaborating on various issues of the folksong tradition, and miscellaneous published sources of the folksongs. The author seeks to establish what kind of folksong notion was shaped and promoted in the public discourse represented by the Lithuanian intelligentsia that was actively involved in the movement of the national revival. Besides, the analyzed material is examined in order to find evidence from the society at large – whether it accepted the cultural notions presented by its enlightened part.The first part of the article contains a survey of the folksong publication tendencies. The author also attempts to grasp the impact that various folksong publications had on the oral tradition. The Lithuanian folksongs have been established in the written culture since the end of the 18th – beginning of the 19th century. Their first publications were meant exclusively for the educated readership and became relevant in esthetical or historical aspects in various scholarly works or fiction. However, prerequisites for the folksong publications to reach the third social estate (the Lithuanian peasants) formed only in the second half of the 19th century. During this time, distinct attempts from various social groups at reflecting on folklore became increasingly visible, thus marking a significant shift in the social self-consciousness, which was brought about by two important factors. One of them was the movement of the national revival that accommodated all the social groups of the Lithuanian population and emphasized the significance of the ethnic culture in the process of creating the modern nation. Active participants of this movement, the majority of which comprised the Lithuanian intelligentsia of peasant descent, recognized the folk poetry as the sign of Lithuanian national distinction. Another factor was the growing Lithuanian secular press, which actively shaped the public attitude towards folklore, at the same time effecting distinct changes in the folksong tradition as well.The folksong publications from the period in question (scholarly and popular collections, sparse or occasional publications in the periodicals, or instances of usage in the literary fiction and journalism) enhanced the relevance of the oral tradition in various ways: the folksongs enabled emphasizing the uniqueness of the Lithuanian culture, while their spread was aimed at popularization and revival of the folksong tradition itself.Another part of the article focuses on the different ways of reflecting on the folksong tradition. The public cultural discourse regarded folksongs as a particularly important heritage, emphasizing their significance as a historical, ethnographic, or linguistic source. Besides, adhering to the folklore interpretation pattern established from the end of the 18th century resulted in evaluation of folksongs according to the ethical and aesthetical criteria. The folksongs were used in order to define the Lithuanian national character, while their comparison with folksongs of other peoples served for the attempts at establishing the exceptional or superior nature of the Lithuanian culture. Similar arguments that had been used to prove the folksong significance served to foreground the importance of their collection: folksongs merited preservation as an important scholarly, historical and cultural source that ensured continuity of the Lithuanian culture.The intelligentsia was the first to favorably respond to the attempts at enhancing the importance of the folksong tradition. While the reaction of the broadest social masses towards the narrative of the high value of folksongs promoted in the public discourse manifested itself simply as their active involvement in the folksong collection – whether in response to the public claims voiced by the intelligentsia or in result of their inner cultural aspirations.

Virtual Epistle: Text and Image of the Film 7 Letters in Celebration of Singapore’s Golden Jubilee

싱가포르영화 ‘7통의 편지’(7 Letters)는 제목만으로 보면 일종의 ‘서신영화’(Epistolary film)처럼 보이지만, 사실은 7명의 감독이 각자 촬영한 7편의 단편으로서 국가의 50주년 수립을 기념하는 ‘연서’(戀書)이다. 천쯔젠(陳子謙)의 총괄 하에 제작된 7편의 단편은 순서대로 추진하이(邱金海)의 <극장>(&#25138;院), 량즈치앙(梁智&#24375;)의 <그 여자아이>(那個女孩), 라자고팔(K. Rajagopal)의 <화염>(火焰), 천쯔젠의 <꽃의 사랑>(花戀), 천빈빈(陳彬彬)의 <베이간나나>(北干那那), 우쥔펑(巫俊鋒)의 <분리>(分離), 탕융젠(唐永健)의 <엄마의 자리 시스템>(阿&#23282;的定位系統)이다. 마찬가지로 국가 수립을 축하하기 위해 만든 진시(金禧: ‘SG50’ jubilee)가 제작한 영화 <1965>와 비교하면 ‘7통의 편지’에는 애국이라는 주제가 선명하지 않고, 거대 역사서사가 없다. 오히려 7명의 감독이 약속이나 한 듯, 분리와 추궁, 좌절의 정서를 보여주고 있어 감상의 가치가 있다. 이 글은 ‘7통의 편지’의 단편 7편을 분석하고 또한 그 중 말레이시아의 공포영화, 말레이시아 가요, 식민의 역사성과의 상호텍스트성(intertextuality)과 상호매체성(intermediality)을 살펴봄으로써 편지의 은유와 시각적 서정의 미감을 논의한다.The title of the Singapore film, 7 Letters, may give the impression that it is an epistolary film. As a matter of fact, it is an anthology of seven short films, or “love letters”, each directed by a prominent local writer-director, in tribute to the nation’s fiftieth birthday. Produced by Royston Tan, the seven short films, in chronological order in which they are shown, are: Cinema by Eric Khoo, The Girl by Jack Neo, The Flame by K. Rajagopal, Bunga Sayang by Royston Tan, Pineapple Town by Tan Pin Pin, Parting by Boo Junfeng, and Grandma Positioning System (GPS) by Kelvin Tong. Unlike the movie 1965, also released to commemorate the Singapore’s Golden Jubilee, 7 Letters does not carry a distinct genre of patriotism and neither does it have a rich portrayal of Singapore’s history. On the contrary, the seven filmmakers depicted recurring motifs of separation, hope and loss, allowing the audience to retreat into reminiscence and revisit cherished memories. By taking an analytical approach to the seven short films of 7 Letters, this article examines the web of intertextual and intermedial associations of the film anthology with Malay horror film genre, traditional Malay folk songs, colonial history etc., and explores the visual metaphors and appreciation of aesthetics through the letters.

Stylistic features of the choral concerto “Witchery songs” by M. Shukh.

Stylistic features of the choral concerto “Witchery songs” by M. Shukh.

The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present

The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present

Pedagogical development in older adult education: A critical community-based approach

This paper informs pedagogical development in older adult education. It draws on qualitative data of a longitudinal community-based educational action research study. Informed by critical theory, Freirean and postcolonial literature, the educational initiative comprised a critical and praxis-oriented engagement with generative themes co-identified with participants – such as capitalism, consumerism, education and the Internet. Participants’ artistic talents, subcultural affiliations and chaperoning and mentoring rituals that characterised their community context were used as educational tools. Workshop-based sessions elicited critical problematization of the generative themes and co-production of related artistic yields, such as poetry and prose in the community’s dialects and also traditional folk song. Together with interviews, focus groups and participant observations, the artistic yields provided primary qualitative data. Thematic analysis of this varied data informed the development of pedagogy for community-based adult education grounded in participatory democracy and enhanced historicity. However, gaps, contradictions and ambivalences in the data testified to participants’ nuanced engagement. The study showed the educational value of such nuances because they provided spaces for learners to come into presence in an unscripted manner. Recommendations include pedagogical development rooted in the profiling of learners’ community and life stories, and investment in small-scale community-based initiatives.

МОРДОВСКИЙ ФОЛЬКЛОР СИБИРИ В КОНТЕКСТЕ СОВРЕМЕННОЙ КУЛЬТУРЫ (АДАПТАЦИЯ МЕДИАИСТОЧНИКОВ К УСТНОЙ ПЕСЕННОЙ ТРАДИЦИИ)

Within the framework of studying the modern state of the Siberian Mordovians’ folk traditions, the article examines the processses of interaction of folk tradition and media culture. One of the ways to adapt media sources to folk song tradition is the translation of author’s songs and folk songs from Russian into the national language. Relying on field materials of 2007-2019, the paper analyses song texts borrowed from media sources including those translated into the native language and used in local folkloric traditions of the Siberian Mordovians.

Application of Health Promotion Model Utilizing Lao Traditional Folk Songs to Liver Fluke Control

Application of Health Promotion Model Utilizing Lao Traditional Folk Songs to Liver Fluke Control

Changeability in Musical Folklore Performing Process: Evolution or Just Variability?

The musical folklore items use to have continuity of general changes in large scale historically. We can see it in the instrumental folk music, singing folklore, traditional choreography developments. It is not easy to make clear analysis of this process and we need a great number of special studies based on it. We can show only the main points or directions of this object in some different levels here. Each tune of particular traditional folk song has a great number of its variations. Each folklore performer does not want to make clear copy while singing the particular song the same way, as he has heard it from the other performer. So, we are able to find hundreds of the same folk tune variants, performed by particular singers in different times and various localities at the folklore archives in Lithuania. We have a nice possibility to make a comparative analysis of definite part (it is impossible to record all the performing variations) of this melody existing in real folklore life this way. And all variants are both in melodic lines and in poetic texts there, as a rule. On the other hand, we also can see the very clear stability of some the most important intonations, motives or phrases in almost all the different recordings of the melody (and text, of course). It shows us a sort of very clear non-written rules, known intuitively for all the traditional folklore performers as the basic forms of all the oral tradition. All sorts of music performance on the stage have their own specific standards. We have to make a folklore program in clear time and sequence. We have to show the interesting things for all the audience only. Therefore, traditional folklore performers have to make themselves as the artists. They have to turn their faces right way, to speak, to sing and to play music enough loudly, to smile and cry according to the stage program. What more terrible things we can ask them to do? Is it the right perspective of the folklore evolution? Thus, in this article we set the main goal – to define, theoretically and practically comprehend the forms of modifications performed by musical folklore, meaning the definitions of its evolution and variability. Methods – scientific analysis, historical, deductive and comparative methods, generalization and hypothesis. The novelty of the research is primarily determined by applying the experience of Lithuanian ethnomusicology in solving the general problems of the musical features development in traditional singing folklore. Conclusions. All the situations presented in this article we would like to define as the changeability, variability or at least developments of folklore (or in folklore). And some of them we can find as development and evolution of all the art and culture history using the folklore (musical, verbal etc.) essence or its elements. Traditional folklore has its own basic laws. We are not allowed to force and to influence them. We can use the traditional folklore elements as the copies of primary folklore items for all the other purposes we need in the history of worldwide culture, but we will never be able to make clear primary items from such copies. This is the essence of everlasting process of folklore changeability in one hand and evolution in another one.

Choirmaster activity of Anatolii Avdiievsky: the combination of the folk and the academic singing styles

The aim of the study is to consider the process of the establishment specificity of the choirmaster work of Anatolii Avdievski with the H. H. Veryovka National Academic Ukrainian Folk Choir in the context of combining folk and academic singing styles.The object of the research is the choirmaster work of Anatolii Avdievski. The subject is to reveal the formation stage within conjunction two different styles of choral singing that which were characteristic for choral style in the choirmaster activity of Anatolii Avdievski for many years.Methodology of the study applies the historical review of the key stages of the choirmaster work of famous conductor and prominent musical figure in Ukrainian choral performance. The functioning of the H. H. Veryovka National Academic Ukrainian Folk Choir under the leadership of Anatolii Avdievski has been considered from the point of view of performance enhance of this collective and its ability to combine folk and academic repertoire.Relevance of the study. Folk singing has long traditions in Ukraine. This genre has always been the basic component of the spirituality and mentality of the Ukrainian people. There are many choirs and ensembles of songs and dance that perform and popularize folklore during their concert practice. One of the leading and the most popular choirs in Ukraine is the H. H. Veryovka National Academic Ukrainian Choir. This collective has performed its repertoire of more than one thousand traditional folk songs all over the world. But, at the same time, the choir could also perform various adaptations of folk music written by contemporary professional composers and even academic choral repertoire. These features entailed an interesting discussion that took place in the music environment in the last decades of the twentieth century. In that case, the author considers important works published by M. Krechko, which raised the issues of the possibilities and expediency of the new repertoire policy of Anatolii Avdievski that was put into performing practice of the H. H. Veryovka National Academic Ukrainian Choir.Findings and conclusions. Being at the head of the H. H. Veryovka National Academic Ukrainian Choir, Anatolii Avdievski relied on the experience of its outstanding predecessors, especially ‒ H. Veryovka and E. Skrypchynska. Anotolii Avdievski, as successor of these prominent artists, focused on the diversity of collective repertoire and replenished choir members with academic female voices. As a result, those creative innovations, formed under the influence of Anatolii Avdievski, were significant and contributed to achieve unique originality and versatile performing capability of the H. H. Veryovka National Academic Ukrainian Choir named.

International Meeting of the Ballad Researchers in Vilnius

Having accepted the suggestion from the International Ballad Commission / Commission internationale pour l’étude de la chanson populaire / Kommission für Volksdichtung, the Institute of Lithuanian Literature and Folklore organized the research conference “Human Relationships in and through Songs: Meanings and Contexts”, which took place in Vilnius on May 20–24, 2019. This scholarly event was the 49th conference of this organization by the folksong tradition researchers from all over the world and the first of its kind in Lithuania. Forty-four researchers representing over 20 countries in Europe, America and Asia made presentations on various historical and modern forms of folksong, followed by inspiring discussions. The collection of the conference abstracts can be obtained in the libraries or online: http://www.llti.lt/failai/Human%20Relationships+%20(1).pdf. Articles based on the conference presentations will be included into the special issue of the journal Tautosakos darbai / Folklore Studies published in the first half of the 2020.

СЕМАНТИКА ЗВУКА И ВОКАЛЬНАЯ АРТИКУЛЯЦИЯ В НАРОДНО-ПЕСЕННЫХ ТРАДИЦИЯХ: ПРОБЛЕМА ВЗАИМОСВЯЗИ (НА ПРИМЕРЕ МОРДОВСКОГО ПЕСЕННОГО ФОЛЬКЛОРА)

The article deals with the interrelation of the semantics of sound and articulation in folk-song traditions. The sound of human voice, which is of particular importance in ethnic cultures, is analysed in detail. The main points and conclusions of the Russian scientists concerning the semantics of sound in folk musical culture are illustrated by the results of the studies of the Mordovian folk-song tradition. The song culture of the Moksha and the Erzya, along with the features common for the majority of folk traditions, has its own specificity and originality manifested, in particular, in articulation. By the example of certain song genres of the Moksha-Erzya folklore, the connection of articulation and genre affiliation of a song sample, as well as the direct connection of articulation and semantic fullness, which is embedded in a folklore work by the folk tradition, is shown.

Broken Voices: Postcolonial Entanglements and the Preservation of Korea’s Central Folksong Traditions

Book Review Broken Voices: Postcolonial Entanglements and the Preservation of Korea’s Central Folksong Traditions, by Roald Maliangkay. Honolulu: University of Hawai‘i Press, 2017. 264 pages. ISBN: 9780824866655. $64.00. This book, the first English-language monograph on Korean folksong, is a wonderfully rich and detailed analysis of the effects of Japanese colonialism on three folksong genres: Sŏnsori santaryŏng, Kyŏnggi minyo, and Sŏdo sori. By tracing the way these three genres have developed during and after the Japanese colonial period, Maliangkay draws a clear picture of South Korea’s policies for the preservation of intangible cultural heritage, and the opportunities and tensions arising as a result. The basic premise for Maliangkay’s argument is outlined in the Introduction and in Chapter 1, in which he highlights Japanese influence on the development of Korean cultural policy, in particular on the Intangible Cultural Property (ICP) system, and makes his case for the importance of a sustainable approach in preservation efforts by adapting to the changing makeup of society. He also emphasizes the importance of intangible heritage for national image, which provides the background for much of his following discussion. Chapter 2 lays the foundation for the reader’s understanding of Korean folksong, comprising an introduction to the student make-up, Korean Studies © 2019 by University of Hawai‘i Press. All rights reserved. 1 rhythms, lyrical content, and modernization of folksongs in modern times. This last point is particularly interesting for scholars of Korean popular culture as it highlights the overlap between traditional and popular music performers during and shortly after the colonial period. While the first half of the book demonstrates Maliangkay’s credentials as a scholar intimately acquainted with current academic debates in Korean traditional music research, it is in Chapters 3 and 4 that his work truly shines, in the richness of ethnographic detail provided, as well as the finelytuned balance between the personal, political, and institutional views of developments in Korean folksong. Both chapters share the same basic format of introducing the three genres’ historical background, core repertoire, and musical and performance characteristics, followed by personal accounts of core individuals in each genre. Chapter 3 focuses on Sŏnsori santaryŏng and Kyŏnggi minyo, highlighting the change in demographics from once male-dominated genres to having a high proportion of female students in the former case and having only female holders of the tradition in the latter. In the case of Sŏnsori santaryŏng, Maliangkay highlights how performance conventions have changed, from wild and raw performance to an increased focus on elegance, as it becomes more female-dominated. Maliangkay’s comment here that “Younger generations will grow up with the new version of this tradition and become accustomed to the new standard” (p. 95) is particularly poignant. In his discussion of Kyŏnggi minyo, a genre which became femaledominated much earlier than the other genres in this book, Maliangkay addresses the institution of kisaeng, female performers often (and, according to Maliangkay, purposefully) likened to Japanese geisha. The personal stories of An Pich’wi, Muk Kyewŏl, and Yi Ŭnju in this section are especially striking as they describe the performer’s personal motivations to sing, as well as the cost this often had for their interpersonal relationships. This section also has great impact in its highlighting of those overlooked in selection as holders in the preservation system, in both the potential impact this may have had on the death of one singer, Kim Okshim, as well as how the passing over of male singers due to overlap with Sŏnsori santaryŏng helped further underline a gender split in perceptions of the genre. Chapter 4 focuses on the importance of nostalgia in the preservation of Sŏdo sori, comprising songs from the North Korean provinces of P’yŏngan and Hwanghae. Maliangkay argues that the “genre will not be broken by the impending loss of native representatives and place, but sustained instead by its ability to invoke nostalgia” (p. 117), as its plaintive melodies become a symbol of the country’s division. This chapter revolves 2 Korean Studies 2019 predominantly around the charismatic singer Yi Ŭn’gwan, whose creative interpretations particularly...

Особенности реализации интонационного подхода в курсе фольклорного сольфеджио на примере русской традиционной культуры

The given article touches upon reasonability and perspectivity of the development of intonation approach to the mastering of learning material at folk solfeggio lessons. As is known folk-oriented musical education has a long history in Russia. Meanwhile song folklore has always been an integral part of national and world music culture. During the historical revolution two trends in national ethnomusicology have developed. The first one is studied as a consistent logical system while the second one is connected with the detection of unique features of Russian folk music in different regions. The two main trends can be noted in the basic approaches to the mastering of folk singing and they are designated as authentic and scenic. Within the frameworks of the authentic trend there are two independent trends specific for folk singing. The first one implies the mastering of folk singing without in-depth study of one or several regional trends and the second one is aimed at studying of any specific folk-song tradition by students. The conducted analysis gives ground to extract two basic trends that have developed in musical education pedagogy where the first one takes folk-song examples as solfeggio materials and the second one studies folk songs as independent artistic value in folk-song material rendering. Minding the fact that the main goal of folk solfeggio is to develop ethnical hearing and ethnical intonation, learning material should mind different approaches to its mastering. So the learning material aimed at mastering of Russian song material within the scenic trend should include song examples mainly as invariants while for the authentic one there should mainly be the examples with a variative component.

Turning to the Beginning of the Lithuanian Folksong Publication

Turning to the Beginning of the Lithuanian Folksong Publication

Peculiarities of quotation perception in the world music (evidence from Deep Forest and DakhaBrakha creativity)

The problem of developing the musicology toolkit today is a methodological task on the way of studying the world music itself. The need in its development determines the relevance of this study . The main objective of the study is to find out the features of perceiving the quotation on the example of the world music. Methodology . The analysis of creativity of the world music bands with different time and geographical setting (Deep Forest from France and DakhaBrakha from Ukraine) showed that the bands use similar methods of creating the compositions, which imply the use of the “someone else’s” musical text. To analyze their creativity, the concept of academic musicology called the “quotation principle” is adapted. The issues of quotation perception are considered, which are relevant for the analysis of the music not recorded in the printed music. The features of the perception of the quotation margins are analyzed in the works by Deep Forest and DakhaBrakha on the basis of the audience reviews about their music. The factors influencing the perception of the quotation margins in the music of the said bands are defined. Results and conclusions of the study . The peculiarities of quotation perception in the world music are that the emphasis is completely shifted to its auditory perception. This fact activates those parameters of the quotation, which allow recognizing it “by ear”. They include not only the identification of its original source, which depends on the peculiarities of its operation in a particular society (for example, identification of Ukrainian folk songs in DakhaBrakha creativity by a Ukrainian listener). Another parameter is the presence of a bright quote margin, because the listener will determine the very presence of the quote depending on how it perceives the stylistic difference between the quote and its context (for example, the identification of traditional folk songs of Transylvania in the reviews on Deep Forest creativity). The significance of the study findings is expressed in an attempt to overcome the methodological problems in the analysis of music, which does not provide for being recorded in the printed music.

МУЗИЧНІСТЬ ПОЕТИЧНОГО СЛОВА М. ВОРОНОГО

The publication considers musicality as a notable feature of M. Voronyi's poetic work, primarily due to the attraction of modernism to the renewal of the form. The fa ctors that influenced the formation of M. Voronyi as a virtuoso of melodic poetry were determined. Among the most important factors was the folk-song tradition, the euphony of the Ukrainian language. Also noted is a special author's synesthetic perception. Creating an unsurpassed melodic lyric poet M. Voroyi is helped by awareness of the creativity of European modernists. The imaginative system of poetry is analyzed and a number of thematically musical images (songs, singers, prayers, musical instruments) are singled out. The evolution of M. Voronyi's technique in poetry is considered. The sources of musicality of the poet's phrase are revealed through the study of stylistic means of euphony.

The Critique of Appropriation of Popular Song in of Oshima Nagisa’s Sing a Song of Sex(日本春歌考): Army Songs, Folksongs, Protest Songs and the Songs of the Involved

이 논문에서는 오시마 나기사의 영화 ≪일본춘가고≫에 등장하는 노래들을 장르별로 살펴보면서 그것들이 서로 다른 등장 인물군에 의해 어떻게 전유되고 있는가를 살펴볼 것이다. 1960년대 일본에서 불리던 군가와 포크송, 운동 가요의 관계와 그를 향유하는 집단의 대립과 갈등이 노래의 전유와 어떤 관계가 있는가를 분석해 볼 것이다. 오시마 나기사의 영화에 나오는 일본군가, <만철소곡>과 <토비가>의 가사 전유와 운동가요, 미국 포크송의 수용에서 드러나는 모순과 갈등의 지점을 포착하고, 이를 바탕으로 1960년대 일본과 한국 사회 대중가요 지형을 비교해 보려고 한다. 이를 통해 군가-운동가-외국 가요-당사자의 노래가 1960년대 일본과 한국에서 어떤 사회문화적 변용을 겪The purpose of this paper is to find how the transformation of meaning of a song happen according to the different adaptation group. To do this I will analysis the songs in Nagisa Oshima s film, Sing a Song of Sex. There appear many songs from military songs which were sung in second world war period to the traditional Japanese folk songs, American popular songs. I will trace the transformation of the song s meaning while the different singing subjects change. I will disclose the process of the transformation of the involved subjects of the songs would change the meaning of the songs. Based upon such a analysis we could compare the adaptation process of western songs between Japan and Korea in 1960s .

A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions

Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.

Lalo Alcaraz: Political Cartooning in the Latino Community

Lalo Alcaraz: Political Cartooning in the Latino Community