Musical Traditions Research Articles

Multimedia tools integration in the musical education teaching process

Relevance. Given the rapid development of technology, the educational system of Kosovo in the 21st century requires finding ways to modernise, as well as highlighting the role and significance of information and communication technologies used in this area.Purpose. The study aims to reveal the process of application of multimedia resources in educational practice, as a complex integrated phenomenon and the study of its leading components.Methodology. Systematisation, analysis, comparison, generalisation and synthesis methods were used to achieve it.Results. As a result of studying this problem, the key spheres of using information and communication technologies and modern software in educational music institutions of Kosovo were established. These are directions in comprehension of national folklore of one of the indigenous ethnic groups of Albania (fixation, practice of performance and dissemination of folk traditions); aspects of mastering musical disciplines related to the folk art of Kosovo and world music art (expansion of the base of theoretical and practical information, stable source of communication between teachers and students, favourable and motivating to achievements learning environment); the results of the application of Internet resources, in terms of modernization and increasing the effectiveness of learning mechanisms in one of the regions of the Balkan Peninsula (establishment of intercultural dialogue, enrichment of musical traditions of the ethnos, modernization of educational and creative spheres). All of them meet the needs of one of the ethnic groups in Albania for spiritual, cultural, and social identification on the platform of the global world community of the 21st century.Conclusions. The practical significance of the study lies in the fact that its results can be used as mechanisms of educational activities of educational institutions not only in Kosovo but also in neighbouring regions, where different Albanian ethnic communities reside.

Development In Setu Babakan Tourism Village As A Betawi Icon In Modern Times

This study aims to explore the potential possessed by Setu Babakan Tourism Village in maintaining and developing Betawi Cultural identity in the modern era. Setu Babakan Village is known as one of the leading cultural tourism destinations in Jakarta, which promotes art, music, dance, culinary, and typical Betawi traditions. In the context of globalization and technological development, this study aims to analyze how Setu Babakan Village utilizes its cultural potential to maintain its status as an icon of Betawi Culture. We discussed the efforts of local communities and government support, as well as the challenges faced in safeguarding cultural heritage and promoting it to present and future generations. This research provides insight into the importance of preserving local culture amid the ongoing flow of modernization and globalization. The foundation of this research concept uses the A5 concept (Attractions, Accessibility, Accommodation, Activities, Amenities). The method used in this study is qualitative descriptive. Techniques for determining informants use purposive techniques in data collection using interviews, observation, and documentation techniques. The results of the study show that the development of tourism in Setu Babakan Tourism Village is optimal. However, there are still things that can be improved from each of these components.

Glocalization: The Development and Localization of Chinese Christian Hymns between 1807 and 1949

The global dissemination of Christianity has resulted in diverse singing styles and historical narratives that incorporate different languages and musical traditions. Chinese Christian hymns, in particular, possess distinctive features that reflect the Chinese thinking mode and cultural values, showcasing the interplay between Western hymns and Chinese singing and poetic and cultural traditions within the Chinese historical context. This paper takes Chinese Christian hymnals published between 1807 and 1949 as its object of study. It conducts research on representative hymnals from three historical stages: the emergence, flourishing, and prosperity of hymns, and examines their compilation and publication. Using methods such as historical research, textual criticism, translation studies, and cross-cultural communication, the paper explores the evolution of Chinese Christian hymns. The paper analyzes such aspects of the hymnals as translating and writing strategies, thematic content, linguistic features, editing and formatting, as well as the selection and composition of melodies. It is concluded that the indigenization of Chinese hymns does not involve outright rejection of foreign elements or unquestioning adherence to local traditions, but rather represents a common ground between Chinese and Western languages and vocal traditions, reflecting the characteristic of glocalization.

Literacy Transmission of Guqin Culture at the Wangji School in Henan Province, China

This research investigates the literacy transmission of Guqin culture at the Wangji School in Henan Province, China, through the lenses of ethnomusicology and transmission theory. The goal is to gain an understanding of the educational opportunities provided by this institution and its function in preserving and advancing this ancient Chinese musical tradition. Located in Henan, a province known as the “Cradle of Chinese Civilization,” the Wangji School serves as a vital hub for Guqin education, performance, and transmission. Key informants provide perspectives on the diverse backgrounds and pedagogical approaches of Guqin instructors at the school. Using thematic analysis to look at observations and interviews as data shows that there is a focus on copying, expressing oneself, and combining lifestyle elements. The research highlights the school’s commitment to cultural preservation, fostering an inclusive learning environment, and employing online outreach. In conclusion, the Wangji School emerges as a beacon of Guqin culture, bridging tradition and innovation to ensure the continuity and vitality of this cherished musical tradition, offering valuable lessons for the preservation of cultural heritage in contemporary educational settings.

Preservation of Shiping Folk Songs in Weiyuan County, China

This comprehensive study focuses on the preservation of Shiping Folk Songs in Weiyuan County, China, with an emphasis on education, literacy, and the critical role of diverse stakeholders. The study emphasizes the region’s cultural relevance as well as educational programs, highlighting the critical role of schools in promoting cultural literacy and ensuring the preservation of Shiping Folk Songs. In addition, the research investigates the roles of Hakka folk musicians and singers in the transmission and development of this national folk music tradition. Government policy and assistance have been recognized as critical components for managing budgetary restrictions and executing preservation and development programs. The participation of local higher education institutions and cultural research units in the preservation of Shiping folk music is also carefully investigated, highlighting their critical significance in furthering cultural heritage. This multimodal approach emphasizes the interplay of education, literacy, and preservation in maintaining the vibrancy of Shiping Folk Songs, providing significant insights into the long-term preservation of this cultural asset.

Preserving and Promoting Cultural Literacy through Education of Chinese Sani Folk Songs in Kunming City, Yunnan Province

Chinese Sani folk songs, originating from the vibrant culture of the Sani people in Kunming City, Yunnan Province, represent a precious tapestry of musical heritage. This research aims to examine the preservation and promotion of cultural literacy through the education of Chinese Sani folk songs in Kunming City, Yunnan Province. Esteemed Sani scholars, composers, and song transmitters serve as key informants, providing valuable insights into the multifaceted process of preserving and promoting this cultural treasure. A mixed-methods approach is employed. Combining qualitative interviews and quantitative questionnaires, this research offers a comprehensive perspective on Sani folk song preservation. The results highlight the importance of education, legislative support, cultural promotion, and collaboration with universities in preserving Sani folk songs. Suggestions include the establishment of folk song learning workshops, youth education programs, the preservation of traditional living environments, and the creation of a Sani folk song database. Overall, this research underscores the urgency of safeguarding this unique cultural heritage and contributes to the global discourse on preserving endangered folk music traditions.

Teaching Resource of Chengdu Popular Music for Fostering Literacy and Cultural Education in China

Chengdu’s popular music, with its profound historical and cultural significance, serves as an educational resource at the intersection of music, literacy, and cultural education. This research aims to propose guidelines for the teaching resource of Chengdu popular music for fostering literacy and cultural education. Located in the culturally diverse Sichuan Province, Chengdu boasts a rich tapestry of musical traditions, from folk to hip-hop, making it an ideal research site. Two key informants, experts in folk and hip-hop music, provide valuable insights into Chengdu’s musical evolution. Data analysis involves thematic analysis of questionnaires and interviews, offering a comprehensive understanding of the city’s music culture. The study reveals Chengdu’s historical role as a cultural crossroads and the evolution of its pop music into a distinctive force within China’s music landscape. Advocating for the integration of Chengdu popular music into educational curricula, this research emphasizes the need for well-structured teaching resources to capture its cultural authenticity. The benefits of cultural education include fostering diversity appreciation, enhancing cultural understanding, promoting literacy skills, cultivating emotional intelligence, strengthening cultural identity, and inspiring creativity and expression. Chengdu popular music offers a transformative approach to fostering cultural literacy, empowering students to thrive in a globalized world.

Revival and Transformation of Traditional Kashmiri Music in Modern Times: A Socio-cultural Analysis

The revival and transformation of traditional Kashmiri music in contemporary times represent a dynamic socio-cultural phenomenon that reflects the intersection of tradition and modernity. This abstract delves into the socio-cultural analysis of this remarkable journey. Kashmiri music, deeply rooted in the region's history and heritage, has undergone significant changes due to historical, political, and technological advancements. This transformation has been shaped by various factors, including the conflict in the region, migration, globalization, and the advent of digital platforms. In this analysis, we explore how traditional Kashmiri music has adapted to modernity while preserving its core essence. We examine the role of musicians, scholars, and cultural institutions in safeguarding and promoting this rich musical tradition. Furthermore, we investigate the impact of globalization and digital media on the dissemination and evolution of Kashmiri music, both locally and on a global scale. The socio-cultural lens provides a comprehensive understanding of the challenges and opportunities faced by traditional Kashmiri music in the 21st century. This analysis underscores the resilience and adaptability of a unique musical heritage and its continued relevance in contemporary society. The study ultimately sheds light on the intricate relationship between culture, music, and societal change, offering valuable insights into the broader

"Encumbered with useless graces": Ornamentation and Aesthetics in Eighteenth-century Scottish Music

Throughout the eighteenth century, a steady stream of Italian musicians travelled to Scotland, in search of artistic and commercial success. Inspired by the enterprise of their Scottish counterparts, many published collections of “Scots Tunes,” such that by the end of the century a rich body of repertoire had emerged. Italians and Scots alike valued this repertoire for various reasons: for some, these tunes represented an idealised vision of pastoral simplicity; for others, a fossilised record of the music of past generations; for others still, these tunes were a vehicle for the expression of nationalistic sentiment. This repertoire presents a challenge to Early Music practitioners today, who must contend with the fact that this music has been transmitted through textual sources and oral tradition. To this end, many musicians engage with elements of Scottish Traditional performance practice – a practice that often diverges from, and is at times incompatible with, dominant understandings of eighteenth-century performance practice. In this thesis, I summarise some of the ornamentation techniques employed by Scottish Traditional musicians, investigating their possible influence on Italian Scots Tunes sources. I contend that comparative analysis of these sources can inform performances of this repertoire, by revealing implicit relationships between notation, performance practice and aesthetic judgements. Further, I survey current trends in the historical performance practice of Scots Tunes, interrogating the ways in which this repertoire is framed by modern conceptions of “folk” music. I observe that this repertoire continues to be valued within a variety of aesthetic frameworks, which are themselves revealed, upheld, and reproduced through performance practice.

“E Pāpā” (“Oh Uncle”): The Remarkable Cultural Legacy of Herbs in Aotearoa New Zealand

ABSTRACT The band Herbs have been celebrated in Aotearoa New Zealand for their seminal fusion of Pacific musical traditions, the influences of Bob Marley, and of roots reggae to produce the distinctive sound and messages of Pacific reggae. This article explores the cultural, political, and material legacy of Herbs’ musicians over the past 45 years. In doing so, it seeks to advance understandings of Herbs’ music as a significant repository of cultural memories and of the band’s continuing presence and legacy as part of the soundtrack of people’s lives in Aotearoa New Zealand.

From DIY Avant-gardism to Icons of German New Wave: Einstürzende Neubauten and the Legacy of “Ingenious Dilletants”

ABSTRACT Originating from the avant-gardist part of Berlin’s “ingenious dilletants” of the late 1970s and early 1980s, Einstürzende Neubauten have been playing a significant role in Western popular culture for more than 40 years. This article investigates Einstürzende Neubauten’s reception and legacy-building process by using ethnographic field research and documentary analysis. The analysis focuses the dimensions of musical traditions and innovations within the Neue Deutsche Welle (German New Wave) movement, the artistic and philosophic approach of the “dilletants” as well as the social and local context of Berlin during the times of Cold War.

Original ecology folksongs, myth, and showbiz: a case study of musical sustainability among the Bulang ethnic group in Yunnan, China

ABSTRACT This study explores a community-based cultural protection project among the Bulang ethnic group in several villages located in Xishuangbanna, Yunnan province, southwest China. In 2008, ‘Bulang’s traditional singing and instrument playing’ (Bulangzu tanchang) was listed for protection under China’s intangible cultural heritage regulatory measures. This study documents Bulang musical heritage, explores the link between mythology and music, and analyses whether modern social changes endanger musical traditions or give rise to new aesthetics. It adopts an ethnomusicological perspective, focusing on sustainability amid the commodification of ethnicity for showbiz through staged performances for tourists. The fieldwork ranges from virtual digital spaces to the established ethnographic technique of participant observation. Fieldwork in Menghai village examines how the Bulang people represent themselves in media, stage performances, and popular music, negotiating and reshaping their musical identity. This study emphasises the relationship between the stage performances of ‘original ecology folksongs’ in media and the sustainability of Bulang music, with insights for the politics of intangible cultural heritage.

Music and Dance Traditions of Africa: Search for Indigenous Theories and Methods in Research

This study investigates the theory and methodology of researching, understanding, and appreciating the music and dance traditions of Africa, emphasizing the need for indigenous perspectives. The discourse examined extensive scholarly works and theories related to African music and dance, focusing on contributions from both African and non-African researchers. It addresses misconceptions held by non-African researchers and highlights the contributions of African scholars in rectifying these views. The study underscores the distinction between “geo-Africa,” which focuses on the distribution and material culture of African ethnicities, and “eco-Africa,” which examines the relationship between human activities and the environment. African scholars argue for the importance of their voices in African cultural studies, as they are better positioned to understand and explain their traditions. The study concludes that African voices have significantly advanced the theory and method in this field, promoting a comprehensive and culturally relevant approach to researching, understanding, and appreciating African music and dance.

MALAYSIA’S PRIMARY SCHOOL MUSIC TEACHERS' READINESS ON MULTICULTURAL MUSIC EDUCATION

This study explores the readiness of Malaysia’s primary school music teachers to implement multicultural music education in their classrooms. With Malaysia’s diverse cultural landscape, integrating various musical traditions into the education system is essential for fostering cultural understanding and national unity. The purpose of this study is to determine the level of readiness among primary school music teachers by analysing data from a survey conducted with 232 respondents. The survey included constructs measuring teachers’ perspectives on the multicultural curriculum and their knowledge and skills related to implementing such a curriculum. The first construct, which focuses on teachers' attitudes toward the multicultural curriculum, showed a high mean score (3.93), indicating positive attitudes toward multicultural education. The second construct, which assesses teachers' knowledge and skills, also scored high (3.93), suggesting that teachers feel reasonably prepared, but there are areas for improvement. These results indicate that while there is a solid foundation for implementing multicultural music education in Malaysia, there is a need for continuous professional development and resource allocation to ensure that all teachers can effectively deliver a diverse and inclusive music curriculum. The study concludes with recommendations for enhancing teacher readiness and fostering a more inclusive educational environment that reflects Malaysia’s rich cultural diversity.

Гармонізація ринку освітніх послуг закладів позашкільної музичної освіти країн ЄС та України

In the current conditions of globalization and integration processes between Ukraine and the European Union (EU), the topic of harmonization of the educational services market, in particular in the field of extracurricular music education, becomes especially relevant. Harmonization of educational standards and approaches between the EU countries and Ukraine allows creating a single educational space that provides a high level of specialists’ training competitive both at the national and international labor markets.The article is devoted to the analysis of har monization key aspects of the educational services’ market in the field of music education, which includes consideration of the legal framework, analysis of methods and tools used for harmonization, as well as assessment of the these processes’ impact on the development of extracurricular music education in Ukraine. Considerable attention is paid to the study of the experience of the EU countries in the uniform standards’ implementation of education, in particular in the field of music education, and its possible application in the Ukrainian context. The article also analyzes the existing problems and challenges that stand in the way of harmonization, among which are the need to adapt national legislation, improve the level of teachers’ professional training, as well as provide financial and institutional support for this process from the state and international organizations. In addition, the prospects for the educational services market development in Ukraine in terms of integration into the European educational space are discussed. As the result of the study, it was found that the harmonization of the educational services’ market in the field of extracurricular music education is a necessary step to ensure the competitiveness of the Ukrainian educational system, its integration into the European space and improving the music education quality. It also creates preconditions for the cultural exchange development and national musical traditions preservation, which contributes to the formation of a unique cultural landscape in Europe. In general, the educational services harmonization in the field of music education should become the basis for the development of a sustainable and high-quality educational system that will meet the needs of modern society and the challenges of the global labor market.

OLDUKÇA BASİT MALZEMELERLE KURULMUŞ SON DERECE KARMAŞIK BIR DÜZENDEN DÜZENSIZLİĞE: LIGETI'NİN “FÉM” ETÜDÜNDE RİTMİK, BİÇİMSEL VE TEMATİK TASARIM

This article investigates the musical form, rhythm, and pitch set relations in György Ligeti’s Etude for Piano No.8 “Fém”. It is argued that the piece incorporates sonic clues and semantic allusions to the West African bell music. Moreover, Ligeti’s piece showcases direct parallels with the strategies associated with African musical traditions, such as superimposing different rhythmic cycles. The formal units of the composition are organized around what Arom (1991) defines as macroperiods that are obtained by the combination of multiple rhythmic cycles. The composition makes abundant use of melodic cells derived from set classes (025) and (035), which are related to pentatonic scales commonly found in African music. It is argued that Ligeti’s composition showcases the Bartókian techniques of inversional symmetry and transpositional combination in a rhythmical framework derived from African musical traditions.

Variations on the theme of "ballet" in the works of Eric Satie

The work of Erik Satie, his value assessment, as well as the peculiarities of the author's non-normative artistic thinking have repeatedly become the subject of musicological discussions, but still a number of his artistic discoveries in different genre areas remain out of the researchers' field of vision. The proposed article analyzes the French composer's ballet work, which became a space of experimentation in the process of searching for a new image of a musical-choreographic performance. The material of the study includes not only the odious "Parade", which became a manifesto of the "new art", but also four other works by Erik Satie in the genre of ballet, without the study of which it is impossible to draw a complete picture of this sphere ("Uspud", "The Adventures of Mercury", "Eccentric Beauty", "The Spectacle is Canceled"). Their consideration from the point of view of the evolution of the author's approach to the creation of music for a ballet performance, as well as in the aspect of revealing content-semantic, compositional-dramaturgical and stylistic innovations, is the subject of research in this article. In the process of studying the problem, a comprehensive approach is applied, combining comparative and cultural-historical methods with theoretical and analytical tools of musicology. In the course of the analysis, the author comes to the conclusion that all components of the artistic whole of a ballet performance undergo transformation. At the narrative and semantic level, there is a gradual rejection of the traditional libretto, procedurally revealing the fabula of what is happening on stage, in favor of a small script plan, often without development and cause-and-effect relationships between episodes. The compositional and dramaturgical solution of the ballets is based on the suite, which is the root of the genre, but interpreted in a modified form, with the active involvement of combinatorics and montage. The musical and stylistic appearance of the performances is also often determined by an "anti-academic" concept characteristic not only of this genre, but also of Erik Satie's work in general. The sound space of the composer's ballets is highly heterogeneous and represents a mix of academic musical traditions with the culture of everyday life, both musical (music hall, cabaret, jazz) and extra-musical (the use of everyday objects reproducing the noise of the urban environment in the score of Parade).

ОСНОВНЫЕ ЭТАПЫ СТАНОВЛЕНИЯ ВОКАЛЬНОГО ИСКУССТВА В ЕВРОПЕЙСКОЙ КУЛЬТУРЕ: ОТ АНТИЧНОСТИ ДО НОВОГО ВРЕМЕНИ

This article is devoted to the development of vocal art from Antiquity to Modern times. The author analyses ancient sources from Greece and Rome, which for the first time in the history of European culture provide information about vocal skills. Particular attention is paid to the Middle Ages, when vocal and instrumental culture develops in parallel with sacred music. The Renaissance marks the emergence of new genres and forms of vocal music, such as opera and ballet. The author also draws attention to the formation of national vocal schools from the XVIIth century onwards, highlighting their unique technical and artistic features: Italian technical skill and expressiveness, French sophistication and clear pronunciation, German high technique and musical thinking, English appeal to madrigal traditions and development of the vocal ensemble. Thus, the article examines the evolution of musical traditions and performance schools in various countries, identifying cultural, religious and social factors that influenced the formation of local characteristics. This overview allows us to better understand the historical context and evolution of vocal art, as well as its impact on the cultural diversity of humanity.

Exploring the Sociocultural Influence of Music Traditions Across Different Cultures

Music, often heralded as the universal language, wields an unparalleled power to bridge gaps, transcend borders, and knit together the mosaic of global cultures. It manifests in a kaleidoscope of forms, each echoing the unique cultural heartbeat of its origin, painting a rich tapestry of human society with its melodious strokes. This paper sets out to explore the enthralling diversity of musical traditions that span the globe, delving into the complex relationship between music, culture, and the fabric of society. From the ethe-real strains of classical Indian ragas, steeped in centuries of spiritual tradition and philosophical depth, to the pulsating beats of African drumming, acting as the vibrant pulse of community life and social gatherings, we uncover the deep-seated influence of music. Music serves not only as a reflection of cultural identity and societal values but also as a pivotal force in shaping them. It mirrors the historical, social, and spiritual narratives of its people, while also acting as a catalyst for social cohesion and identity formation. Through communal singing, dancing, and the shared experience of music-making, it forges strong bonds among individuals, knitting them into a cohesive social fabric. The exploration of music’s varied traditions across the world reveals its role as a cultural lodestar, guiding societies through the currents of time and change. By tracing the intricate interplay of music with cultural and societal dynamics, we gain profound insights into its role as a potent force in shaping the essence of our collective human experience. Music, in its myriad forms, not only entertains but also educates, inspires, and unites, highlighting its indispensable place in the mosaic of human culture. Through this journey across the musical landscapes of the world, we appreciate the universal language of music in all its diversity, understanding its capacity to embody the shared emotions, experiences, and aspirations of humanity.

PLACE-MAKING THROUGH HERITAGE TOURISM: A TRADITION OF MUSIC AND CULTURE OF COMMODITY IN APPALACHIA

Appalachian regional identity is often reduced in mainstream media representations and the popular American imagination to the political conservatism of “red state” America, the vestigiality of “coal country,” or the prejudiced whiteness of “Trump country.” A closer look at heritage tourism representations in South Central Appalachia offers more nuanced connections among culture, capital, and senses of place than such portrayals afford. Foregrounding indexical relationships between culture and place through themes of birth, home, death, faith, and community, the representations in heritage tourism venues along The Crooked Road: Virginia's Heritage Music Trail derive meaning and value from literal grounding in the rural landscapes of Appalachia, establishing musical tradition as an inalienable possession of that place. This paper elucidates the role of commerce and the commodity form in these heritage-authenticating semiotic relations, taking as object of analysis the discursive, visual, and artifactual offerings of three of the heritage trail's major venues and situating them among critical political-economic perspectives on place, space, the local, and the global. The value of place as an inalienable commodity in a global space of proliferating and alienable commodities, required for heritage tourism to work as a revenue generator, finds reflection in representations of the successful transformation of an originally folk music into a commercial form. Additionally, nostalgic displays of older commodities assert the traditional value of the music while simultaneously imbricating it in a larger historical and contemporary valorization of commodity consumption.