Traditional Songs Research Articles

К вопросу эволюции этномузыкальной системы (на материале песенных традиций верхнеокских сёл Тульского региона)

The object of research in the article is formed by the contemporary mechanisms of modification of the ethno-musical system on the example of a regional song tradition localized on the territory of the Tula Region in the upper flow of the Oka River. Analysis is made of folklore-ethnographic expeditions carried out during the period from the mid-1970s until the early 2020s. The methodology of research is based on the positions of scholarly works by Evgeny Gippius, Borislava Efimenkova, and Margarita Engovatova in the vein of structural-typological research works. The article examines the parameters of the ethno-musical system from the perspective of the existence of song genres and the structure of the genre system, including the mechanisms of replacement of ancient melodies with newer ones. Analysis is made of the tendencies of development of the modal structure of a number of melodies, and indication is made of the mechanisms of “modernization” of the musical language and the peculiarities of correlation of the melodies of a later style with early anhemitonic melodies, the mutual influence of trichordal anhemitonicism with the diatonicism of the instrumental tunes. The article also traces out the paths of transformation of rhythmic structures, the reasons for the “departure” of such genres as Christmas riddles, as well as the principles of inclusion into the system of phenomena of the later urban style (“chastooshka” ditties in the role of spring folk songs, wedding songs in the role of shrove-tide songs). The characteristic feature of the present ethno-musical system from the positions of the present-day tendencies of its transformation has not been reflected previously in scholarly works, wherein the novelty of the present article is stipulated.

Философские константы в творческом самоопределении песенных поэтов

The article compares the views of foreign philosophers on the nature of creativity, their reception in the Russian literary criticism and the creative implementation of some points in the Russian songwriting. The works of W. Benjamin (1892–1940) The Task of the Translator (1923), M. Blanchot (1907–2003) The Space of Literature (1955), P. Valery (1871–1945) Poetry and Abstract Thought (19390, S. Mallarme (1842–1898) The Crisis of Verse (1896), M. Heidegger (1889–1976) Hölderlin and the Essence of Poetry (1936), K. G. Jung (1875–1961) Archetype and Symbol (1934–1961) are used as a theoretical basis. Song texts of the representatives of the author’s song tradition A. Galich, A. Bashlachev, whose work is usually attributed to bard rock, and E. Letov, one of the main representatives of Russian punk rock, are used as research material. The choice of the authors is determined by the concept of the work, which seeks to show the universality of the constants identified in the process of research for various song and poetic traditions and philosophical systems. As such constants, the utopian concepts of “a single discourse”, a single “conversation” of poetry, and “pure art”, which is a “goal-in-itself”, stand out. Other constants relate to the inner state of the poet, techniques aimed at achieving inspiration – we are talking about the concepts of “removal”, or, according to Shklovsky, “estrangement”, as well as “silence”. The central constant is the concept of the “inexpressible”, “elusive”, which is the essential goal of every poet, clearly seen, but always unattainable. In thinking about each of the constants of philosophical thoughts about creativity, we find confirmation or discrepancies in the creative practice of song poets. It leads us to the conclusion that song poetry, following traditional poetry, accepts and transmits the experience of the Russian and Western philosophical and poetic thoughts about the essence of creativity. Typological overlaps are of a supranational, cosmopolitan nature, which indicates the universality of the constants we have identified. The work contributes to the study of song poetry, which confirms its status as the next stage in the existence of poetic discourse, which proves the legitimacy and necessity of studying song texts from a philological standpoint.

‘Wayfarers: Confronting the past through traditional music in schools’

This paper discusses an inquiry-based school-university partnership project conducted by history and music education specialists in Scotland. The project was music-led with history underpinning it, namely the musical migration of Scots and Irish to the Eastern United States. From the 18th century onwards thousands of Scots and Irish moved to Appalachia – ‘the wayfarers’ in our title. Their heritage now features in the Scottish school curriculum. However, the wayfarers encountered a range of challenging factors, including forced migration and segregation, which are not yet fully considered in schools. To address this need we co-developed resources with a specialist school to enhance secondary school practices surrounding music education and pupil engagement with challenging histories. This paper critically considers the project stages, supported by secondary and primary sources, including group interviews. In the conclusions we make suggestions for future policy, research and practice, such as to frame traditional songs in schools in their historical context.

The Yoruba Muslims and the Credence in Reincarnation: An Orthodox Intrusion

Everybody knows that death is the unescapable end of man. What waves the mind of many, consciously or otherwise, is the question of what happens to man when he breaths his last breath. While some are of the opinion that after death comes judgment; a determent of whether one goes to eternal blissful domains, or into everlasting tenant; depending on whether he had lived piously or otherwise, while on earth. Another school of thought opines that the soul of the dead will reincarnate by taking abode in a new physical body, born as a new baby and live another normal life, whereby he/she has the opportunity to correct his/her wrong actions in the previous incarnation. While some are of the opinion that when the soul has gathered wisdom, knowledge and understanding through several incarnations, it becomes one with the creator; others believe that reincarnation is a continuous process without neither beginning nor an ending. The Yoruba of South-Western Nigeria, like most other Africans, believes that humans reincarnate in order to re-choose their destiny and fulfill their life ambitions which they had no chance to achieve in a previous incarnation. An examination of some Yoruba traditional songs about death and what follows, show that they believe in 'a day of reckoning' and the continuum of the life cycle. Reincarnation, generally speaking, is always thought of, and discussed as a religious phenomenon, most probably because it borders on the super-natural; an issue to which only God; the creative force, has the totally correct answer

Guidelines for Promoting Literacy Transmission and Education of Rongshui Han Folk Songs in Guangxi Zhuang Autonomous Region, China

Rongshui Han folk songs, symbolic of Liuzhou’s ethnic culture, hold significant cultural value in transmitting history and traditions. However, contemporary scholars have limited attention, requiring further exploration and research. The objective of this study was to propose guidelines for promoting literacy transmission and education through Rongshui Han folk songs in Guangxi Zhuang Autonomous Region, China. This is a qualitative study that includes relevant literature research, surveys, interviews, and transcriptions. This information is drawn from the research of two scholar informants and four informal informants. Analyze data from Rongshui Han, Miao, and Zhuang folk songs, focusing on their cultural significance and historical context. The result of this study shows that the government plays a crucial role in promoting and safeguarding Rongshui Han folk songs for literacy transmission education. Emphasizing their unique attributes and leveraging their inherent advantages is essential. Nurturing younger generations and investing in training initiatives are crucial. Online media platforms can further broaden the dissemination of Rongshui Han folk songs for the preservation and propagation of this intangible cultural heritage. Increase awareness and understanding of local ethnic culture while engaging youth in cultural preservation and transmitting folk song traditions.

The Traditional Winter Repertoire of Rivne Polissia in Viktor Kovalchuk’s Recordings: Genre and Typological Characteristics

The aim of the article is to provide an ethnomusicological characteristic of the mostly unpublished part of Viktor Kovalchuk's collecting work, namely, the winter ritual repertoire of songs recorded on the territory of Rivne Polissia. The aim of the study is a genre and typological analysis of V. Kovalchuk's winter collection, which is based on structural and typological, as well as statistical, analytical, and comparative methods. Results. The article provides a brief general description of the collection, paying special attention to the geography and frequency, recording circumstances, and so on. A detailed genre and typological characterisation of the most represented melotypes is carried out, in particular, songs are systematised by origin and formal features, the main compositional, rhythmic, and tonal-melodic features within the selected typological groups are analysed, the main functional and plot-thematic components of the most common melodic forms are indicated, and the performance textural, variational and improvisational aspects of the collection are reviewed. Scientific novelty. The article systematises and analyses 223 recordings of winter ritual compositions of Rivne Polissia (mostly unpublished), which is a significant scientific contribution to the study of Ukrainian traditional ritual music in general and the winter ritual repertoire of Rivne Polissia in particular. Conclusions. Through the analysis of the recordings by Victor Kovalchuk, the most common melodic forms of Rivne Polissia are identified, and their main local stylistic characteristics are determined. Based on the analysis, the cultural and scientific value of the collection is substantiated, which preserves and represents the music of the Christmas and New Year celebrations of Rivne Polissia, contributes to the revival of ancient songs in their contemporary sound, and continues the oral folk song tradition.

Historical Types of Folklore Thinking in the Lyrical Songs of Sloboda Ukraine

The aim of the article is to identify historical types of folklore thinking: the modal-tune and integration-melodic types in song lyrics based on the folk song tradition of Sloboda Ukraine. Results. The figurative content of archetypes of folklore thinking is expressed by rhythmic and melodic codes as a sound embodiment of symbolic and logical figures of thinking. In the process of development, they were assigned to certain song forms and acquired features of functional differentiation into ritual, epic, and lyrical with a predominance of a certain modality: exclamatory, persuasive, and later narrative. On the basis of the narrative modality, which prevails in the genre of lyrical songs and ballads, the lyrical mode of thinking emerges within the local folklore environment. Song examples representing the drawling type of chanting of lyrical songs can be attributed to the modal-tune type of folklore thinking. The integration-melodic type of folklore thinking is characterised by fundamental changes in the process of musical development based on logical figures of grouping and classification. The transfer of the main function to the highest solo voice, the concentration of the intonation content in it, affected the creation of melody. The scientific novelty consists in substantiating the modal-tune and integration-melodic types of folklore thinking on the material of the song lyrics of Sloboda Ukraine. Conclusions. Lyrical songs of modal-tune type create the song stanza by alternating autonomous song segments caesurated according to the logic of musical development. In the chants of integration-melodic types, the highest voice of sub-chant polyphonic structure acquires the properties of a melody thanks to the concentration of the intonation content and the character of the caesura. The structure of the chant becomes more symmetrical, with the features of a responsive stanza.

Spracharbeit und interkonfessionelle Liedtradition

Abstract This article deals with the numerous psalm songs that Martin Opitz composed between 1626 and 1638 to melodies from the Geneva Psalter. It discusses them in the context of the great tradition of Protestant psalm songs which had flourished since the Reformation and considers their role for Opitz’s poetics and linguistic reflection (‘Spracharbeit’). In the first part, the essay presents Opitz’s translation work on the Psalter showing that the poet wanted to create a normative example of German-language sacred poetry. We then reconstruct Opitz’s poetics on the basis of his songs on Psalm 6, linking it to the European tradition of the psalm song as well as to theological and dogmatic issues.

MODIFICATION OF POCUNG SONG IN ETHNOMATHEMATICS-BASED LEARNING FOR THE TOPICS OF LENGTH MEASUREMENTS

Learning in measuring units of length is basically inseparable from familiar objects in the society, one of which is traditional songs. This study was aimed at finding whether using the tune of a traditional song in Yogyakarta, namely Pocung song, and modifying the lyrics with mathematical contents can facilitate students to think mathematically. This study used the pre-experimental design method with the one-group pre-test-posttest design model. The research subjects were 10 3rd grade students of a cultural elementary school in Gunungkidul. The results showed that the modification of the Pocung song in ethnomathematics-based mathematics learning in the length-unit competencies was developed in an audio-visual form which could be accessed via the YouTube and the implementation ofthe Pocung song modification in ethnomatematics-based learning in the length-unit competencies had a positive influence on students’ learning achievements.

Ավանդական երաժշտության քաղաքային կենսընթացը

In the 1960s, the Yerevan Polytechnic Institute held ethnographic song and dance festivals, which influenced the reappraisal of traditional culture in the public mind, pass-ing it on to the younger generation. During the post-Soviet years, owing to the regular occurrence of traditional folk dance evenings in the Yerevan Cascade territory, the Armenian song and dance festival Gutan (Plough), and the inclusion of a national song and dance course in school curricula, the newly-interpreted versions of traditional songs, dances, costumes, and rituals that became symbols of national identity gradually spread throughout urban areas, and life, and subsequently, returned to rural settlements, and communities of the Armenian Diaspora.

Подготовка народных певцов в вузе: подходы к определению содержания профессиональных компетенций

The purpose of the article is to analyze the existing approaches to the professional training of folk singers, to identify the necessary approaches for concretizing professional competencies, taking into account the specifics of professional activity and the national and regional specifics of the folklore material of the Volga region, in particular the Chuvash cultural tradition. The material for the study includes normative documents, theoretical works of leading scientists, methodological works of practicing teachers and personal experience of performing and teaching. Based on the method of theoretical analysis, the definition of professional competencies is given as the ability and willingness of students to apply knowledge, skills, experience and personal qualities in accordance with the professional and creative activity in the folk performing arts. It was revealed that the main goal of the implemented approaches in the professional training process is aimed at developing competencies for working with folk song material, vocal and stage work, pedagogical and scientific work. The use of the ethno-cultural approach in the training of folk singers is one of the main ones, the implementation of which allows supplementing the educational standard by determining the content of professional training, taking into account the regional specifics of folklore material, the local folk song tradition, and the characteristic features of the national manner of performance.

Creating English Songs with Familiar Music for EFL Classrooms in Japanese Elementary Schools

This paper introduces a compilation of simple and easy English songs designed for children learning English as a Foreign Language (EFL). While belonging to various language schools, the author encountered numerous songs that captured children’s interest in English vocabulary and phrases. While some of these songs had original melodies, many were adaptations of traditional songs in Japan, USA, and UK. Consequently, the author undertook the task of developing English songs using familiar tunes and shared them with a group of Japanese and Filipino English teachers who taught Japanese children. The article presents the feedback received from these teachers regarding the preference for utilizing traditional tunes and the focus of these songs. Additionally, the list of the tunes used for Wee Sing CD series that have been very popular among children throughout Japan and North America will be presented for further discussion.

A Study of Figurative Language on Traditional Sikka Songs in 2010-2022

The purpose of this research is to present the figurative language used in traditional Sikka songs in 2010-2022, there are 20 songs. There are two research problem related of this research that are what are the figurative languages found on traditional Sikka songs in 2010-2022?, And what are the meanings of figurative language found on traditional Sikka songs in 2010 - 2022?. This research also has two objectives of research that are to identify and analyze figurative language on traditional Sikka songs. The researchers used a qualitative descriptive research design to analyze data because the object is in the form of song lyrics. The theory used was from Keraf (2008), about figurative language. The method used in collecting data related to the subject of this research is documentation and interview. The method used in collecting data related to the subject of this research is documentation and interview, because the researchers collected the data from song lyric and interview the meaning of figurative language in Sikka traditional song. The result shows that there were five figurative languages found on traditional Sikka songs. From the data there were simile, personification, metaphor, eponym, and allusion. It can be indicated that the dominant type of figurative language in the song lyric is simile. As a whole, meaning behind this song tells about the life of the Sikka people, who have always maintained peace and harmony since ancient times. And had a message and hope, in which all Sikka people are able to emulate life as it existed in ancient times. It can be concluded that figurative language has important roles in this song lyric. That is why the song writer used so many figurative languages in the lyric.

Recurrence (in two parts)

This essay explores the author’s process of trying to understand how to responsibly forge a relationship with traditional song heritage given conditions of ethnocultural rupture. Weaving together Slovácko folk songs transcribed by the author’s great-grandfather, an archival recording of the author’s grandfather, audio/video documents of her own embodied performance, dreams, folk tales, and analysis, the piece meditates on the many facets of “living song” (živá píseň). The author explores her process of learning how to approach the life of song, and how songs might be cared for. The performance of practice-based research is posited as a means to confront and dismantle patriarchal white supremacy within one’s body and spirit, thereby making possible the recovery of exiled strands of self and the forging of ancestral connections.

Tembang Dolanan Sebagai Media Pembelajaran PAI dalam Membangkitkan Nilai Religius Peserta Didik

Education must integrate spiritual and cultural excellence, one of which is by using the media tembang dolanan. Cultural products such as traditional songs can be used as learning media that are infused with religious character values and virtues. One of these songs is Sluku-Sluku Bathok. Sluku-sluku bathok has a rich meaning that the creator wants to convey to the people who hear it. After an in-depth analysis of the song Sluku-Sluku Bathok has religious values that include the dimensions of faith, worship, and morals contained in each lyric. To instil Islamic values based on local wisdom in education, strong support is needed from institutions that care about the importance of these religious values. The school curriculum that has been prepared and implemented well shows that the institution has provided strong support in realising this hope. The approach used to instil local wisdom-based Islamic values to students is to cultivate religious values based on local wisdom, one of which is using this dolanan song. The role playing model is one of the models to implement the Sluku-Sluku Bathok song in PAI learning methodology so that it can internalise religious values.

Songs to Revitalise Community Solidarity among the Indigenous Mah Meri of Malaysia

AbstractMah Meri musicians in Malaysia are calling for a revitalisation of community solidarity by adding fragments of new song text to their traditional songs. Intrinsic to the new song texts are narratives of working together, sharing and unity in the community. Through a reexamination of my personal interviews and fieldnotes with these musicians over the past two decades, I posit that their new song texts address social issues that emerged as the village adopted values of modernisation introduced by policies to integrate these people into mainstream society. Rather than outwardly protesting these policies, I argue that Mah Meri musicians challenge top-down hegemonies through a subtle approach of metaphor, rhetoric, and sympathetic appeal in their songs. They direct their efforts inward to their community to rejuvenate and sustain their indigenous values of egalitarianism.

Developing Elementary School Teacher’s Professional Competence in Composing Traditional Songs: An Action Research in Indonesia

The prevalence of international music engineering is undermining the significance of traditional songs in character building for elementary school students in Indonesia. Consequently, it is necessary to restore the role and function of traditional songs in elementary school learning. One approach to achieving this is by creating new songs that resonate with today's context. However, not all elementary school teachers have the competence to compose songs, hence the need for training in this aspect of teacher professional competence so that they can develop and use music learning materials. The objective of this study is to enhance the creativity and innovation of elementary school teachers in composing traditional songs. Action research as the research design involved quantitative and qualitative approaches. The participants consisted of 15 elementary school teachers who were honorary teachers and civil servants. Quantitative data were collected through surveys, and qualitative data were collected through interviews and observations. The findings indicate that teachers can develop their ability to compose traditional songs and can use technology in the process. Therefore, it can be concluded that elementary school teachers can develop and innovate themselves in creating traditional songs and teaching materials that are tailored to their needs with structured and controlled training. This research needs to be followed up by evaluating teachers in conveying their songs to students and suggesting that teachers be given regular training by the government to increase competence in the field of music, because only a small number participated.

The Limbu Song Palam: A Powerful Means of Inculcating Pragmatic Values

This article, as the statement of the problem, raises the question of whether the Limburaditional song Palam cultivates and instils useful knowledge and skills in practical life. In order to acquire the answer, this article has set the objective to find out the pragmatic values that the Palam song has in the Limbu ethnic community. The article, being descriptive in design, has readily made use of description as its pattern of development. It has used the qualitative research technique which is based on unstructured, non-numerical data drawn from related books, journals, research theses, or Online resources. The song Palam is concerned with ethnic as well as cultural issues, and for this reason, the article has chosen the ethnocultural theory which deals with ethnic identity-based cultural practices, traditional customs, and social behaviour. The theory also refers to a group of people who have a belief that they are ethnically and culturally divergent from other groups or communities. The analysis has revealed that the folk-song Palam has long been tacitly inculcating very significant as well as useful knowledge and skills to the community even though certain native individuals find it of no use at all. From this article, it is fairly expected that interested individuals and anthropologists can acquire specific insights from the Limbu culture and traditional song Palam.

Udmurt musical and song tradition: specificity of genre-formation formation and functioning

The results of many years of research by the author are summarized in the field of Udmurt musical folklore. Based on a wide range of uses sources, modern research methods, an attempt is made to recreate the chain a clear picture of the Udmurt musical and song tradition as a historical and cultural phenomenon. For the first time, the influence of historical and geographical cultural, landscape, religious and confessional factors on the formation traditional sound ideal, genre system, features of the functioning nia and status of tunes. The ethno-integrating Udmurt song- musical type and shows its place in multi-ethnic musical culture Volga-Kama and the northern region of Eurasia.

ВЕРБАЛІЗАЦІЯ ПОГЛЯДІВ В. СОСЮРИ В ОНІМІКОНІ ПОЕТИЧНИХ ТВОРІВ

The article identifies the problem of verbalization of V. Sosiura’s views in the onymic of poetic works. It is emphasized that it’s expedient to study the idiostyles of writers whose work is symbolic both for a certain people and for the aesthetic context in general. It is noted that the processes consisting in the semantic transformation of a word, the formation of its artistic meaning, and the transformation of a word into an aesthetic sign deserve special attention in the analysis of individual features of poetic texts. The question of studying the individual stylistic features of V. Sosiura’s poetry in the semantic-functional aspect, the need to rethink and analyze his creative output from a new point, taking into account the mechanisms of word transformation in poetic texts, becomes relevant. It is determined that V. Sosiura played a significant role in the depiction of the era through the onymicon, although today we state ambiguous views on his personality, and sometimes on his creative output. In the minds of the Ukrainian people, V. Sosiura is a vivid representative of the new generation of lyric poets, who were doomed to adapt to the conditions of the ideological leadership of literature, trying to preserve the best folk song traditions. The analysis of the texts of the poems showed that among the categories of the toponymicon of V. Sosiura’s poetic picture of the world, the most numerous are the groups of choronyms, hydronyms, and oikonyms, in particular, astonyms (names of cities), hodonyms (names of streets), and urbanonyms (names of inner-city objects), to a lesser extent oronyms and dryonyms are presented, and the most diverse are oikonyms and urbanonyms, which presents the open poetic space of the author’s picture of the world.