Musical Traditions Research Articles

THE FUNCTIONING OF COMONYMS IN MODERN SONG TEXTS OF THE TATAR AND MARI PEOPLES

The article is devoted to the analysis of the modern musical and song tradition of the contacting ethnic groups of the Middle Volga region. The main attention is focused on the study of song texts in the Tatar and Mari languages contained in the names of rural settlements of the Republic of Tatarstan and the Republic of Mari El. The preservation of a common trend for all ethnic groups, expressed in the unification of thematic groups, the preservation of common features of national and cultural specificity in the performance of musical works, has been established. An archaic pentatonic characteristic of the Tatar song model, borrowed into the Mari folk song, has been recorded. It is confirmed that the basis of the modern Tatar and Mari musical and song culture of the village is the genre of village chant, marking the place of existence of the song and informing about the attribution of the song to a certain locality. There is a direct connection between the village and the rustic motif (chant). The implementation of the village tune is carried out mainly in everyday languages through lyrical songs and “takmak”. “Takmak” (analogous to Russian chastushka), as a legacy of the musical influence of the Turkic-Tatar population of the Middle Volga region, retained its influence on the musical tradition of the Cheremis (Mari) people, which allowed to establish a certain kinship of modern folkish songs of these peoples in rural society. The marking of the geographical affiliation of the song works is provided by toponyms describing the location of a particular locality. Song collections of a consolidated type in the Tatar and Mari languages are presented in printed and electronic versions. A comparative analysis of modern songs, including comonyms, revealed the manifestation of similar features when they are implemented in a natural cultural environment. Most modern folkish songs, both Tatar and Mari, are based on traditional motifs of the small homeland, nostalgia for the rural nativity, love of nature, autobiographical history, memories of past youth and childhood, indicating the characteristic features of the geo-landscape for this territory, as well as linguistic and cultural images based on the motives of sociocommunication – the presentation of the settlement, its residents, outstanding natives, self-presentation, promotion of village traditions, relationships of the multiethnic composition of the village, etc.

MUSICAL CHARACTERISTICS OF THE WESTERN FLUTE INTEGRATION INTO CHINESE MUSIC: A FOCUS ON LITTLE FISH PINK CHEEKS SONG

This study explores the integration of the Western flute into Chinese folk music, focusing on the composition Little Fish Pink Cheeks by Dinghe Zhang. The objective is to analyze how Western flute techniques are adapted to fit Chinese music's modal, rhythmic, and melodic structures, particularly in the context of cross-cultural musical fusion. The research was conducted at music institutions in China, including the Northwest University for Nationalities, the Shanghai Conservatory of Music, and the Sichuan Conservatory of Music. Two Key informants included prominent flutists and composers. A qualitative approach, combining musicological analysis, interviews, and performance observation, was used to assess this integration's musical characteristics and cultural implications. The results show that the Western flute can enhance the expressiveness of Chinese folk music while preserving its cultural identity, though challenges remain in replicating microtonal subtleties. Suggestions include expanding research to other Western instruments, enhancing microtonal adaptability, incorporating cross-cultural music into education, and conducting longitudinal studies on evolving integrations. This study contributes to the broader understanding of cross-cultural musicology and the blending of Eastern and Western musical traditions.

THE NEAPOLITAN PIANO SCHOOL: FROM ITS ORIGINS TO VINCENZO VITALE

This article is a journey through the Neapolitan keyboard tradition, from its origins to the school of Vincenzo Vitale, whose students still spread his music and pedagogical legacy all over the world, in music academies and on concert podiums. Nearly five hundred years of music: from the pre-classic harpsichord masters and composers, through the development of the music tradition in Neaples over the centuries, specifically the evolution of its music conservatories and their first piano teachers, to the fundamental pedagogues and their methods the XIX and XX centuries.

Homogenization of Pop Music: How Social Media’s Algorithms Prevents Creativity and Innovation

This paper examines the impact of social media on the homogenization of pop music, arguing that platforms like Spotify, YouTube, and TikTok contribute to narrowing creative possibilities within the genre. By analyzing the role of algorithms, audience behavior, and industry practices, the study highlights how social media’s emphasis on viral content and mass appeal stifles artistic diversity and innovation. Algorithms prioritize music with broad, mainstream appeal, creating a feedback loop that reinforces popular trends while marginalizing experimental or niche genres. Audience engagement further drives this homogenization, as artists increasingly tailor their work to fit algorithmic preferences and audience expectations. Industry practices, particularly the focus on producing “TikTok-friendly” hits, exacerbate this trend by favoring formulaic production over creative risk-taking. The research underscores the implications of these dynamics for global music culture, where the pressure to conform to a globalized pop standard threatens to erode local musical traditions. The paper concludes by advocating for strategies to preserve artistic diversity, including alternative distribution models, support for independent artists, and developing algorithms that promote a broader range of musical expressions.

Unveiling the Cultural and Entrepreneurial Potential of Música Popular Brasileira

Música popular Brasileira (MPB) is a genre of Brazilian music that emerged in the mid-1960s. It is characterized by its eclectic mix of samba, bossa nova, tropicalia, rock, pop, electronic, and samba-pop incorporating elements from African, European, and indigenous Brazilian music traditions. MPB is known for its rich lyrical content, which often addresses social, political, and cultural themes, and its innovative fusion of traditional and contemporary musical styles. This paper explores the allure and entrepreneurial prospects of MPB in the global music sphere. Through qualitative analysis of insights from industry experts Beatriz Malnic, Bruno Miranda, and Derris Lee, it delves into MPB's distinctive elements, its global influence, and strategies for enhancing its commercial success. Despite barriers, MPB's diversity, rhythmic appeal, and genre fusion captivate audiences globally. The paper advocates for collaborative partnerships with educational institutions, language-inclusive promotion, and digital engagement to expand MPB's reach. Embracing MPB's cultural legacy and entrepreneurial ethos can deepen connections with audiences and enrich the global music landscape with Brazil's musical treasures.

Fostering inclusivity: Transforming South African school music programmes through the dalcroze approach

This article explores the transformative potential of the Dalcroze Approach in South African school music programs, with a focus on fostering cultural inclusivity. Employing a qualitative research methodology grounded in content analysis, the study systematically examines diverse sources, including archival materials, books, and peer-reviewed journal articles. The triangulation method enhances the robustness of data by cross-referencing information from platforms like Google Scholar, JSTOR, ResearchGate, and university repositories. The Dalcroze Approach, rooted in holistic and embodied learning experiences, emerges as a transformative pedagogy with the capacity to address historical disparities and celebrate South Africa's diverse musical traditions. Findings indicate a compelling alignment between the approach and inclusivity goals, emphasising the adaptability of the Dalcroze principles to the nation's cultural tapestry. The findings of this article reveal that educators, administrators, and students play pivotal roles in shaping the success of implementing the Dalcroze Approach. Educators witness positive impacts on student engagement and creativity, administrators recognise its strategic value, and students experience a transformative shift in their music learning journey. In conclusion, this article advocates for comprehensive professional development programs, collaboration with curriculum developers, and ongoing research initiatives to ensure the sustained integration of the Dalcroze Approach. By embracing this transformative pedagogy, South African music education can evolve into a more inclusive and culturally responsive domain, reflecting the nation's rich musical heritage.

Influence of European Genre Model on Chinese Chamber Instrumental Ensemble with Piano

In today's world, the rapid development of Chinese culture and its influence on the music scene underscore the necessity for systematic research into the Chinese piano chamber ensemble. The growing interest in this musical genre challenges many widely accepted notions about musical tradition and prompts a deeper understanding of its characteristics and impact on contemporary music art. The purpose of the research is to study and analyse the musical and cultural interrelationships within the Chinese piano chamber ensemble to better understand its essence and role in the modern music world. The research methodology is based on a comprehensive approach, incorporating analysis of musical material, historical and cultural methods, as well as comparative analysis. Modern theoretical concepts are applied to reveal the significance of the piano chamber ensemble in the context of cultural transformation and to examine the interaction and influence of national and non-national musical traditions on the formation of the musical genre, as well as its role in cultural exchange and interaction between different cultural traditions. The scientific novelty of the research lies in the first attempt to systematise and analyse the musical-cultural interrelationships within the Chinese piano chamber ensemble, which opens up new horizons for further understanding of musical culture and processes of cultural exchange in the contemporary world. The conclusions of the research testify to the importance of the Chinese piano chamber ensemble in contemporary music culture and its potential as a phenomenon of musical art. It not only reflects the interrelationship between national and non-national musical traditions but also serves as a significant factor in cultural exchange and interaction between different cultural traditions.

Genre and Style Metamorphoses of German Choral Cantata of 18th-19th Centuries

The purpose of the work is to reveal the genre-stylistic and spiritual-content instructions of the German choral cantata and the peculiarities of its existence in the musical-historical tradition of the 18th-19th centuries. The methodology of the work has a complex nature and is based on a combination of the principles of interdisciplinary, historical-typological, hermeneutic, art history and genre-stylistic research methods. The scientific novelty of the work lies in the fact that, for the first time, it offers a generalisation of the poetic-intonational specificity of the German spiritual cantata of the 18th-19th centuries and its genre-stylistic metamorphoses in the specified period. Conclusions. The genre specificity of the German spiritual cantata is determined by its contact with the liturgical practice of the German Protestant church. This genre is directly related to the church sermon and therefore was called "sermon music", "motet", "concert", "dialogue", summarised by the concept of Hauptmusik ("Main music of the day"). The contact of the German spiritual cantata with its Italian analogues and opera did not exclude the presence of original features in it, among which the Protestant chorale, based on traditional for the 18th-19th centuries, dominates. polyphonic forms, on the significant role of the instrumental beginning. An essential feature of the genre can be considered its figurative and semantic focus on the reproduction of the sacred aspects of a person's life path, their spiritual ascent-transformation, interpreted in the context of the instructions of the Lutheran faith. The German romantic cantata, represented in the works of R. Schumann, F. Mendelssohn, R. Wagner, and J. Brahms, on the one hand, reflected a wide genre and style spectrum of the creative searches of the named authors, within the framework of which the cantata was synthesised with the typology of various genres – from chamber a vocal cycle, a leader's play up to an oratorio, a dramatic scene (in the works of R. Schuman). On the other hand, the romantics' appeal to the poetics of the choral cantata symbolised the revival of the German spiritual and musical tradition, summarised by the name of J. S. Bach, which was directly reproduced in the cantata compositions of F. Mendelssohn, R. Wagner ("The Brotherly Meal of the Apostles") and works of Y. Brahms. Despite all the differences in the textual basis of the works of the named authors and their aesthetic guidelines (Y. V. Goethe, M. Horn, T. Moore, paraphrases of biblical texts), their unifying quality is the "memory of the genre", focused on the reproduction of the individual's spiritual path and the high didactic and ethical meaning of their inner transformation.

Song Creativity as Communicative Insight into the Era: An Example of the Evolution and Influence of Wolfgang Amadeus Mozart’s Vocal Legacy in European Musical Tradition

The purpose of this study is a comprehensive examination of Wolfgang Amadeus Mozart’s song creativity as a key communicative component of the era, focusing on its innovative essence and style genesis. This research explores Mozart's song compositions to provide a deeper understanding of the cultural and musical contexts of the time, as well as to uncover the influences and innovations he introduced into the genre. The significance of this work lies in studying song compositions as reflections of the social and cultural processes of the period. Research methodology. The research employs a multidisciplinary approach, combining historical musicological analysis, textual methodology, and comparative analysis. The examination of literary sources, including works by Angermüller, Giegling, Knepler, Lebrecht, Rattalino, Vill, and Wysocki, provides insights into various aspects of Mozart’s song creativity, its impact on the musical tradition of the era, and allows for comparisons with the works of other less-known composers. Scientific novelty. The article delves into the analysis of the communicative component of song creativity as a basis for creating a continuous link in the development of the era, both in Mozart’s work and in comparison with other lesser-known composers of the time. It reveals that the genesis of song serves as a foundation for the evolutionary process of genre formation and its integration into the characteristic features of the period. The study highlights the influences Mozart incorporated into his work and his contribution to the evolution of the song genre, demonstrating his exceptional ability to adapt and innovate. Conclusions. Wolfgang Amadeus Mozart significantly influenced the development of European musical tradition through his song creativity, elevating the quality of chamber vocal music and introducing innovations that became the foundation for the further development of the genre in the 19th century. His works reflect a profound understanding of contemporary trends and influences, creating a rich and emotionally nuanced musical dialogue that impacted subsequent generations of composers.

Michael Tippett: Specification of the Work for Orchestra and Soprano "Byzantia"

The purpose of the research is to reveal the deep image-sound layers and features of the Irish bardic tradition in the work of M. Tippett through the prism of the work for orchestra and soprano "Byzantium". The methodological basis of the research is historical-conceptual, hermeneutic method and comparative analysis of factual data based on the works of Thomas Weiskel, David Clark, Edward Venn, and Meirion Bowen. Scientific novelty. For the first time in the Ukrainian art history segment, M. Tippett's work for orchestra and soprano "Byzantium" was analysed with an emphasis on the dramaturgy of the composition, cyclical elements, metaphorical sound images, symbolism and characteristic features of the musical and poetic tradition of Irish bards. Conclusions. Biographical collisions of M. Tippett influenced his creative aspirations and attitude to the surrounding world. M. Tippett's aesthetic views are a dialogue between romantic aspirations and sceptical realism of the modern era. Michael Tippett's musical language absorbed both tradition and the entire palette of accumulated world musical experience, as well as duality of meanings, symbolism, imagery and conflict. The work analyses the composition for orchestra and soprano "Byzantium" by M. Tippet, which is based on the mosaic of images, the logical sequence of musical motifs, and cyclicity. It is necessary to highlight the fragmentary nature of musical sections, variable motifs, the presence of contrasting material, the symbolism of magical, changing life force as secular ephemerality, the destruction of the musical text using the technique of expansion and fragmentation. Thus, the composition "Byzantium" is a reincarnation of Irish cultural nationalism in the aspect of traditional forms of bardic poetry. The musical language of M. Tippett in the work "Byzantium" is based on the forms crystallised by the work of L. Beethoven and updated by the musical context of modern and postmodern.

Rebranding of Ukrainian Folk Choral Art in the 21st Century

Purpose of the work. The study analyses the rebranding policy of folk choral art in the 21st century and identifies new approaches to its preservation and popularisation in the context of globalisation and the rapid development of information technologies. Research methodology involves the combination of empirical methods (observation, data collection, interviewing), systematic and analytical methods, which allowed for identifying the leading trends in updating approaches to promoting Ukrainian folk choral art in the 21st century. Scientific novelty. For the first time in Ukrainian musicology, rebranding is being explored as a new approach to the preservation and popularisation of folk choral art in the conditions of globalisation and the development of information technologies. Rebranding policy acts as a key tool for revitalising the folk music tradition, increasing interest in traditional culture, and integrating folk choral art into the modern cultural space. Conclusions. Rebranding of folk choral art is essential for its functioning in modern conditions and for attracting new audiences, especially young people. The creation of multimedia projects and the use of social networks make folk choral art more accessible and appealing. The integration of elements from other cultures into folk choral performances contributes to updating its format and cultural integration while preserving the authenticity of Ukrainian art. The theatricalisation of performances, the use of traditional Ukrainian costumes, scenography, and choreography enhance the emotional impact on the audience, shaping a modern image of the Ukrainian folk song. Rebranding helps folk choral groups not only make folklore one of the leading musical trends in Ukraine but also reach an international level, fostering intercultural communication and promoting Ukrainian art abroad.

Organ Symphony "Noёl" by Paul de Maleingreau and the Christian Mystery of Christmas

The purpose of the work is to reveal the poetic-intonational spiritual-symbolic aspects of the organ symphony "Noël" by P. de Malengro in the direction of stylistic and spiritual-philosophical searches of the Franco-Belgian culture of the second half of the 19th and early 20th centuries. Research methodology. An interdisciplinary, genre-stylistic, historical-cultural approach was essential for this work, allowing to explore the factors contributing to the discovery of the spiritual-semantic specificity of the concept of "symphony" in all its variety of meanings. The scientific novelty of the work is determined by the introduction into musicological use of materials from the organ symphony "Noël" by P. de Malengro, the poetics of which was formed at the intersection of the artistic, spiritual and musical traditions of the Northern Renaissance and French modernism. Conclusions. An overview of the use of the term "symphony" in the cultural-historical and spiritual practice of different eras testifies not only to the breadth of its semantic and applied meanings, but also to the presence of general semantic indicators, in accordance with which a symphony ultimately implies a certain integrity in which merge, different numerous components are combined. A symphony as a musical work is an equally complex and comprehensive concept that represents the most diverse "models" of this genre. The organ symphony "Noël" by P. de Malengro represents the typology of the "spiritual symphony". Its expressiveness, related to the biblical mystery of Christmas, is strengthened by the composer's appeal also to the masterpieces of the Northern Renaissance (Rogir van der Weyden and the van Eyck brothers). Symphony "Noël" is a free composition (4 parts) of the suite-variation type, a "symphony-mystery", the thematic basis of which is Gregorian chants, as well as the corresponding principles of their texture and mode-intonation development (monody, heterophony, various forms of polyphonic development, reproduction of the spiritual and vocal practice of discanting of the Notre Dame School). The poetics of such a "symphony-mystery" is significantly supplemented by an appeal to the timbre qualities of the so-called "symphonic organ", the universalism of performance, dynamic and timbre-intonation capabilities of which turned out to be literally correlated with the universalism of the symphony genre as such.

Exploring the Integration of Chinese Music in Western Musicological Literature: Trends, Gaps, and Multicultural Perspectives

The purpose of the article is to analyse Western musicological literature to identify key trends and gaps in existing research on Chinese music as an integral part of the contemporary multicultural educational space. The research methodology is based on content analysis, comparative analysis, and bibliographic review. The primary method is content analysis, involving a systematic review of academic articles, monographs, reviews, and other publications on Chinese music in Western musicological literature. Comparative analysis is used to compare Western research on Chinese music with scholarly work from China and other countries. Bibliographic review helps to identify scientific gaps and trends in Chinese music research. The scientific novelty of the study lies in the comprehensive analysis of Western musicological literature on Chinese music to reveal key trends and gaps in existing research. The use of content analysis, comparative analysis, and bibliographic review allows for the first systematic organisation and comparison of approaches to studying Chinese music in different cultural contexts. The study also provides new insights into the role of Chinese music in the contemporary multicultural educational space, contributing to its integration and popularisation. Conclusions. Over the past three decades, publications on Chinese music within the context of multicultural music education have been irregular. Although the number of studies is not large, it shows moderate activity in the 1990s and early 2000s, with a noticeable increase after 2007 and periods of decline between 2010 and 2014. This indicates the need for further analysis of the reasons behind this dynamic and a deeper exploration of the integration of Chinese music into the Western educational context. The literature review shows that research covers a broad range of educational contexts, from early childhood to higher education and teacher professional development, indicating the potential for integrating Chinese music at various levels of formal education. The review also reveals that research on Chinese music often has a Eurocentric approach, evaluating it through the lens of Western music theory. This limits the full understanding and integration of Chinese musical traditions, highlighting the need for a deeper and more comprehensive approach that would foster an understanding of Chinese music in its own context.

Evolution of Flute Art: From Archaic Musical Traditions to the Present

The purpose of the work is to substantiate the evolution of pipe art as a special phenomenon from archaic musical traditions to the present. The methodology. Significant for this work were historical, analytical, musicological, and cultural methods, which were used to reveal various aspects of flute art, including its evolution, use in different cultural and social contexts, and its impact on the music culture of Ukraine. The scientific novelty of the work is determined by its analytical perspective, which represents a comprehensive view of the history and evolutionary development of pipe art from archaic musical traditions to the present. Conclusions. The presented materials reveal the evolution of pipe art and its role in the modern world of musical performance and musical genres. Attention is focused on changes in materials and construction when making a musical instrument. The advantages of the chromatic flute as a unique instrument with a wide range of performance and musical-tonal possibilities are argued. The study demonstrates the significance and relevance of flute art for contemporary cultural and musical environments, opening up new prospects for future research in musicology.

THEORETICAL FUNDAMENTALS OF UZBEK FOLK MUSIC PERFORMANCE

This article examines the history of traditional methods of Uzbek folk music performance, performance culture and musical works. Uzbek folk music is rich in its own methods and national musical instruments, and these art forms have been passed down from generation to generation. In this article, the preservation and development of folk music through teacher-disciple schools, which were brought up mainly on the basis of oral tradition, as well as the role of these traditions in modern performance are widely discussed. Genres of Uzbek folk music performance, their uniqueness and the role of musical traditions in society are analyzed.

Forms of inheritance of musical instruments in the culture of the peoples of the North Caucasus and Kazakhstan

The relevance of the research is determined by the need to identify the common and special in the cultures of peoples living on different continents and not having common borders. The goal is to identify ethnographic communities in matters of sacralization and forms of inheritance of musical instruments in the culture of the peoples of the North Caucasus and Kazakhstan. The work uses a systematic typological method and a method of ethnographic description of material and spiritual values, partly preserved to this day and partly transformed due to changed sociocultural realities. Based on modern field research in the villages of Adygea and Kazakhstan, archival sources and scientific literature, the authors were able to establish that the transfer of musical instruments from the older generation to the younger was carried out under certain conditions. One of the most important conditions was the requirement to keep the tool in working condition, i.e. do not let the instrument be silent. Another important condition is to transfer the instrument into the hands of a chosen one (a worthy musician), who takes upon himself «amanat» – undertakes to cherish the music (preserve musical traditions). The specific fulfillment of ethnographic conditions for observing the tradition of inheritance of musical instruments shows their similarities and differences in the synchrony of the past and diachrony the last one and a half centuries. Changes in the nomenclature of musical instruments in modern times have also led to changes in their forms of inheritance. Instruments began to be preserved by relatives as a memory of a famous ancestor or transferred to a museum for the same purpose. It is not the musical instruments that become more valuable, but the musical or sound documents that record the cultural heritage of the past.The novelty of the research is associated with the presentation of previously unpublished ethnographic facts collected in the field and their original interpretation.

Multilingual Complexities in the Origins and Development of the Harrist Movement and Its Worship Patterns in Ivory Coast

The Harrist Church in Ivory Coast, West Africa, emerged from the ministry of Liberian William Wadé Harris who baptized between 10,000 and 200,000 people during his eighteen-month evangelistic tour, 1913–1915. This story is full of linguistic complexities and anomalies. Harris himself spoke only English and his own local Liberian Glebo language. He was therefore compelled to work through expatriate English-speaking merchants, knowledgeable of and conversant in local languages, as interpreters and translators in addressing the twelve ethnic groups who heard and accepted his message. Harris encouraged new converts to compose hymns in their own indigenous languages by transforming musical genres embedded in their local musical traditions. Additionally fascinating is that during this early colonial period, the twelve ethnic groups impacted by Harris’s ministry lived in almost total isolation from each other and developed their own hymn traditions for thirty-five years (1914–1949), unaware of the existence of churches and worship patterns in neighboring ethnic districts. Only in 1949 did they suddenly become acquainted with the broader, multi-musical, multilingual reality of the Harrist movement. Since then, individual musicians and choirs from local congregations have gradually begun to sing a few of each other’s songs, though the challenge of becoming a truly multicultural, multiethnic church remains a work in progress. Documentation of these developments include written colonial and early Protestant and Catholic missionary sources and a large number of eye-witness interviews. Primary research methods employed here come from four intersecting disciplines and theoretical frameworks: orality studies, with particular focus on oral sources in constructing historical narrative; religious phenomenology; mission history; and ethnodoxological research.

Integrating Critical Thinking into Advanced Musical Analysis in Ghanaian Music Education

This study examines the incorporation of critical thinking into the "Advanced Musical Analysis" course in the context of music education in Ghana. The research used a qualitative method, especially a case study design, to investigate the effective integration of interdisciplinary frameworks and critical thinking abilities into advanced musical analysis. The data were gathered using a combination of document analysis, semi-structured interviews, and classroom observations. This allowed for obtaining perspectives from instructors, students, and external examiners who were participating in the course. The findings demonstrate the potential advantages and difficulties of combining standard academic rigour with inventive, context-specific techniques that incorporate aspects such as phenomenology, semiotics, and cultural theory. Also, the study emphasises the possibility of a curriculum that is flexible and inclusive, incorporating African musical traditions. This would improve students' ability to analyse music and promote a more active and lively involvement with it. The findings underscore the importance for music instructors in Ghana to give high priority to fostering critical thinking skills and incorporating cultural relevance. This would ultimately enhance the academic and cultural aspects of music education in the country.

Rāgadhāri Musical Influence of Radio Operas in Sri Lanka; With Special Reference to ‘Ulpata Gīta Nātakaya’

Ulpata Gīta Nātakaya is a Radio opera in Sri Lanka. It was broadcast in 1958. Radio Opera is an independent musical genre in Sri Lanka. Sri Chandrarathna Manawasinghe is the playwright of this Opera. The music composers of this opera are W.D. Amaradeva and P. Dunston de Silva. The objectives of this study are to identify how the Rāga concept has been used in composing songs; to investigate the contemporary situations, which affected to create the musical content of the Ulpatha Radio opera on the Indian music tradition. Accordingly, the research problem of this study was how to identify the utilization of Indian Rāgadhāri music of the Ulpatha Gīta Nātakaya. This study was done under the qualitative approach. Listening to the original audio recordings and semi- structured interviews were used under primary data sources. Journals, scholarly articles and secondary books were used under the secondary sources. Data analysis was done using qualitative methods. This study revealed that melodies associated with North Indian Rāgadhāri music were used for the content of the Ulpatha Radio Opera. Some melodies are inspired by one raga and others have a mix of several ragas. These melodies can be identified as creative independent melodies, which are associated with ragas. There are several reasons for the use of Rāgadhāri melodies in the background of the play 'Ulpatha' as a creation, which has a local identity. It seems that the socio-cultural factors such as the background of the Indian music education of the composers and the consideration of Indian music as a great tradition have influenced it. Accordingly, the Ulpatha Radio Opera can be identified as a creation with a unique musical usage.

Socio-Anthropological Analysis of Musical Characteristics and Contemporary Status of Naxi Chinese Folk Songs

Background and Aims: The musical heritage of the Naxi people, an ethnic minority in Yunnan Province, China, embodies a unique blend of traditional and contemporary influences, serving as a vivid example of cultural resilience. The aim is to analyze the socio-anthropological aspects of the musical characteristics and contemporary status of Naxi Chinese folk songs. Materials and Methods: A qualitative research approach was employed, integrating ethnographic fieldwork in Tacheng Township, Yulong Naxi Autonomous County, Lijiang City, Yunnan Province, China, semi-structured interviews with three key informants, and participant observation. The data were collected in Tacheng, a region known for its rich Naxi musical culture. This approach allowed for an in-depth exploration of the interactions between the Naxi community and their musical traditions, focusing on how cultural practices are transmitted, adapted, and sustained in contemporary settings. Results: The study revealed that Naxi folk songs, particularly the genre "Guqi," are not only artistic expressions but also crucial carriers of community memory and identity. Adaptation strategies such as incorporation into cultural festivals and modern media were observed. Challenges include a generational gap in the transmission of knowledge and the impact of economic development on traditional practices. Conclusion: Naxi folk songs demonstrate significant resilience through adaptation and continuity, reflecting broader themes of cultural sustainability and identity negotiation. Recommendations for enhancing youth engagement and leveraging digital media for cultural preservation are proposed to ensure the longevity of these musical traditions.