Traditional Songs Research Articles

Inheriting and Developing of Tai Lue Singing Participation in Chiang Kham, Phayao Province

Inheriting and developing of Tai Lue singing participation in Chiang Kham, Phayao province Thailand was a research article from the Model of Cultural Innovation of a Tai Lue Singing Cultural Identity at Chiangkham District Phayao Province Project of the University of Phayao. The purposes of this study were 1) to create inheritance and development process of Tai Lue singing participation 2) to create Tai Lue singing innovation. Moreover, the engagement focuses in building innovation and innovators of Tai Lue singing by the singers that can utilize knowledge to create Tai Lue singing by driving in producing more community innovators to use these processes to develop the further performance. The study was found that 1) the process in creating innovation of Tai Lue singing was that all singers could conduct the participation cooperatively, 2) the innovation of two songs of Tai Lue were including Pleng Aew Muang Phayao Muan Jai (Travelling in Phayao Happily Song) and Pleng Tam Nan Sueb San Tai Lue (Inheriting Tai Lue Legend Song). However, the traditional songs of Tai Lue singing were recorded namely Khab Pa, Khab Bao Tor Sao which are about flirting between men and women. Lastly, the community innovators under the participation could create the same purposes and promote unity, love, happiness, pride and also the values of Tai Lue singing by using Tai Lue Songs as the main materials to build Tai Lue ethic which influences to create creative process to increase more values in the culture of Tai Lue singing for ethics.

Teknik Vokal Tembang Sasak Jati Sware

The purpose of this study was to describe the vocal technique of Tembang Jati Sware in the Bebadosan Terune Art Studio, Lenek Village, East Lombok Regency. This research uses descriptive qualitative method. Primary data is the sound of Tembang Jati Sware Pupuh Dang-Dang, while secondary data comes from informants and texts in the form of oral and written. The results showed that when reciting Tembang Jati Sware using chest breathing. Articulation changes occur when the song is read. In Tembang Jati Sware, there are ten sentence breaks, namely on each comma. The body position when the tone is high is upright, the chest is outstretched, and the shoulders are opened, while when the tone is low the body position is normal. The intonation of the song is free, the vibration occurs every last sentence more than 4 beats to 8 beats. The conclusion of this paper is the vocal technique of the Jati Sware Dang-Dang song in Pepaosan which consists of: breathing, articulation, sentence fragments, singing position, intonation, vibration, and improvisation.
 Keyword: Tembang, Traditional Songs, Vocal Techniques
 

Ornamentasi Vokal pada Tarsul Kutai Kartanegara


 
 
 One form of singing or chanting spread through cultural needs is a traditional song originating from Kutai Kartanegara called tarsul. This study aimed to obtain data about what vocal ornaments are contained in the Kutai tarsul. The theory used in this research is the theory of music presentation forms, ornamentation, and western music vocal techniques. A qualitative descriptive study was chosen by prioritizing the musicology approach. The data was collected by (1) literature study, (2) observation, (3) interviews, (4) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, (3) historiography writing, and (4) conclusions. Data clarification was again carried out using data triangulation techniques. The results showed two kinds of tarsul rhythms commonly used by petarsul, namely tarsul with one rhythm (low) and tarsul with a rhythm of two (high). In Kutai Kartanegara's tarsul, there are several ornaments. Many melismatic ornaments are found at the end of the melody of each part of the tarsul sentence. There are three forms of melismatic ornamentation named for easy classification: melismatic ornament A, melismatic ornament B, and melismatic ornament C. Apart from melismatic ornamentation, there is symbolic ornamentation on tarsul, namely trill ornamentation. Next is the morden ornamentation. More specifically, lower mordent ornamentation was found. Lastly is the use of grupetto ornamentation. From the transcription and tarsul analysis of rhythm patterns 1 and 2, it was found groupetto reverse turn ornamentation.
 
 

신학적 미학으로서의 키치(Kitsch) 선용(善用): 한국 찬송가를 중심으로

Typically, the attributes of Kitsch have been represented negatively with the association of being inauthentic, rough, vulgar, deceptive, and sentimental. Theological Aesthetics that encompass both theology and aesthetics express the beauty of God in a more diverse and distinct way through sensory knowledge, beauty, and art.<BR> Kitsch used in a good way within the context of the theological aesthetics’ threefold system have many similarities to the Contrafacta, a method to indigenize Korean hymns.<BR> In particular, between the characteristics of our own folk songs and kitsch used in a good way in theological aesthetics are interlocked and have overlapping similarities.<BR> Most of all, the most distinctive feature of all is the common emotion which is attributable to universality. Namely, “ordinary people”, “popular appeal”, “universal sentiments”, “familiar themes” and “counterwork to the art of elite consciousness” are interlocked with Characteristic of Korean folk song like ‘heung’, ‘han’ and ‘musim’.<BR> Therefore, just as kitsch is used in a good way, the Contrafacta of Korean hymns also ought to be used in a good way again with the consciousness of God’s presence.<BR> In this regard, The aim of this study is a search for finding the direction of Korean hymns through the example of the Contrafacta of folk songs. In simplest terms, Contrafacta in regards to folk songs is to change the lyrics of existing folk songs into a hymn. Arirang is a great example of Contrafacta to a folk song that is similar to Kitsch used in theological aesthetics. Like Kitsch, Arirang is possibly known as the most national, ethnical, popular and universal folk song among the Korean traditional songs; consequently, it was best suited as a Contrafacta hymns.<BR> Moreover, The Arirang hymns are so beautiful like the beauty of God’s glory: Soli Deo Gloria.

Poothan Kali Songs : an analysis of their types, themes and functions

'Panappoothan' is an art form performed by the Pana community at festivals at the Bhagvati temples in old Valluvanad district of Kerala.Unlike the Poothan performance of other castes, Panans also sing songs in their Poothan and Andi kali. They perform 'anchati pattukal', hymns and 'kummi pattukal' along with the performance. These songs have not yet been recorded in our folk song tradition or literary history. This essay analyzes these songs descriptively and determines the folk identity expressed in it.

The role of traditional songs in preserving languages of minority: The Beja case in Sudan

The objective of the study was to identify the problems of languages of minority in general, and more specifically, the Beja language in Sudan. In order to achieve this goal, a question of how to preserve the languages of minority was raised. This study responds to (Morin, 1997), recommendation about preserving Bedawiet language; therefore, this research looked up for literature to answer the question. Surprisingly, very limited resources were found and collecting oral data was the only option that (Morin, 1997), referred to. Luckily, some active Beja poets have already uploaded songs and poems in order to preserve the culture and Beja heritage. Therefore, the research contacted with them and translated the songs into English and an IPA is used to script the Bedawiet sounds. As the collected data was categorized into two periods; the descriptive analytical approach was implemented to address the question of languages dying out. The data summary concludes that traditional songs had average of lower than 2 borrowed words, whereas in modern songs have exceeded 45% in one poem (Poem, 16). A volunteering panel that judged the songs had resulted in reducing the borrowed words in the modern period as well. Based on these findings, the study recommends reactivating the panel’s tasks and teaching these songs to children at schools. Teaching Bedawiet syllable is available at the Beja Cultural Studies Centre at Red Sea University, so the study recommends training the teachers in the centre and involving parents in the processes of language maintaining.

ДИРИГЕНТСЬКА ПЕДАГОГІКА ПРОФЕСОРА А. МІРОШНІКОВОЇ У ДИНАМІЦІ РОЗВИТКУ ХАРКІВСЬКОЇ ХОРОВОЇ ШКОЛИ

У статті розглянута диригентська педагогіка відомого педагога, творчого діяча Харківського державного університету мистецтв імені І. Котляревського А.Мірошникової, яка посприяла розвитку харківської хорової школи. Наукове вивчення музично-педагогічного досвіду професора А. Мірошникової стали підґрунтям національної диригентсько-хорової освіти, формування високоморальної особистості.

Look Upstream: Measurement for Innovation on the Upper Rio Negro of the Amazon Basin.

The growth of the randomized controlled trial (RCT) as the “gold standard” for evaluation has justly been praised as an advance in the professionalization of social programs and projects, an “adoption of science” - in the words of the Lancet. None the less, the emphasis on the RCT biases funding for projects that distribute private goods and which focus on “low hanging fruit” in health, nutrition, and sanitation, simply because those areas lend themselves to the sort of measurement that works with RCTs. As a result, many project developers in the government and NGO sectors lament that a hegemonic focus on RCTs impedes creativity or new models that challenge traditional paradigms. This case study of CanalCanoa, a community video coaching project for indigenous parents of young children in the Rio Negro region of the Amazon Basin, offers techniques to measure for innovation. Instead of developing a new RCT for an extremely diverse population (27 ethnic groups) where traditional childcare methods are in historical flux because of urbanization, CanalCanoa measured variables shown by previous RCTs to be causally connected with positive development results. By researching the impact of the intervention on nutrition, language (multilingualism, use of traditional songs and stories), and social network expansion, CanalCanoa measured upstream indicators, thus mixing scientific rigor with an opportunity for innovation and providing important insight and reform of a theory of change.

PRESERVATION THE TRADITIONS OF UKRAINIAN SPIRITUAL CHOIR CULTURE IN MUSIC SCIENTIFIC RESEARCH BY MYRON FEDORIV

The article is devoted to the evaluation of scientific works of the well - known in the Ukrainian diaspora musicologist and publicist Myron Fedoriv in the context of the preservation of national song traditions outside the ethnic territory. The information on the most important theoretical achievements of the scientist is given, the place and value of activity of the cultural public figure in the history of musical and choral culture of Ukraine and the western diaspora is defined. The author notes that Myron Fedoriv lived most of his life in the United States. He left a large amount of musical material and theoretical works in the history of Ukrainian choral culture, so he stopped the destruction of song traditions and examples of canonical liturgical singing in Ukrainian churches of the diaspora. In his works, Myron Fedoriv wrote that the singing tradition is the basis of the Ukrainian national spiritual culture, and therefore it should be preserved in the Ukrainian Catholic Church in America. As a result, the musicological heritage of Myron Fedoriv is very valuable for the Ukrainian musical culture of the twentieth century. Thus, its activities deserve more detailed study.

Effects of traditional Cantonese opera songs on Cantonese-speaking, community-dwelling older adults’ cognitive and psychological function, well-being, and health

Objectives: Experiencing multi-sensory cognitive stimulation through the enjoyment of Cantonese opera songs, with their lively rhythms, familiar folk tales, meaningful lyrics and pleasant scenarios, has the potential to increase neuroplasticity and prevent cognitive decline. Methods: This prospective pre- and post-test quasi-experimental randomised controlled trial design study aimed to explore the social benefits of older adults’ active participation in practising Cantonese opera songs as compared with passive participation (as an audience) and a non-interventional control group on cognitive function psychological function, functional independence, well-being and health. Results: By recruiting a group of older adults who were receiving day activities social service in Hong Kong. Thirty participants were randomly allocated to active participation in Cantonese opera (ACO). They participated in practising Cantonese opera songs. Thirty-four participants were assigned to passive participation in Cantonese opera (PCO). They received passive intervention by listening to and appreciating the opera songs as a social event. Thirty-one participants were used as a control group and received no similar training. (Results) ACO caused a positive change in cognitive function as compared to PCO and to no intervention, which implies that active learning and practise of opera songs benefits global cognitive function. The psychological function of the participants in the PCO group showed an elevated positive affect and a reduced negative affect. A statistically significant difference was noted in the time effect among the physical domains of health status, functional independence and well-being of participants who underwent Cantonese opera intervention.

PEMBUATAN GAME RHYTHM “BEAT SPACE” DENGAN MENGGUNAKAN ALAT MIDI CONTROLLER PADA PLATFORM PC

Beat Space is a PC platform based Rhythm game that uses MIDI Controller. The game is developed with Unity Game Engine and C# programming language for writing scripts in the game. It consists of 12 songs including the Indonesian traditional songs. The concept of the game is to gain points by pressing the buttons on the MIDI Controller device to hit the falling Notes that sync with the song rhythm. The score will be calculated from the number of notes that have been successfully pressed accurately. Testing in this game is carried out by the Blackbox testing method, Alpha testing by the supervisor, and Beta testing by distributing surveys to 31 respondents. The test results show that musical instruments in the form of a MIDI Controller can be used to play a game. This shows that the game "Beat Space" has unique controls and is quite entertaining.

The role of traditional folk songs and dances in the development of intercultural communication among elementary school children (El papel de las canciones y danzas folclóricas tradicionales en el desarrollo de la comunicación intercultural entre los alumnos de la educación primaria)

ABSTRACT This paper discusses the role of traditional folk songs and dances in the development of intercultural communication among elementary school children. Since we live in a multicultural society, it is necessary to develop the awareness of young people regarding the need to nurture harmonious relations among nations. The paper outlines the results of the empirical research aimed at determining whether the eighth-grade students from Central Serbia and Kosovo and Metohija know which nations live in their region and what their traditional songs and dances are. The results of the survey show that most students know the nations living in their vicinity but do not know their traditional songs and dances. This indicates that this kind of information and teaching content were not recognized and used as a means of interethnic connection, getting familiar with and understanding other nations. Traditional songs and dances can be a significant factor of successful intercultural communication in elementary schools if teachers recognize and use their potential. Descriptive method as well as the analysis and synthesis were used in this paper.

Rice and Rhyme: Seeing Zhuang Rice-related Folklore through Their Folk Songs

Rice is one of the world’s the most important staple food crops. The ancestors of the Zhuang, the largest ethnic minority in China, are among the earliest rice cultivators in the world. This study examines Zhuang rice-related folklore through their folk songs. Using a quantitative linguistic approach, we created and analysed the Corpus of Zhuang Folk Songs to obtain a profile of the rice-related folklore contained within. The results show that, as an important part of Zhuang folk life and folklore, rice is consumed, shared, exchanged, offered, and symbolized in their traditional songs. From the theoretical perspective of cultural materialism, we argue that rice cultivation laid the foundations for the Zhuang sociocultural system. Zhuang folk songs are set in a context of rice agriculture and are particularly involved in rice symbolism and identity-construction within a rice-farming community.

From Sufism to communism: incarnations of the Uyghur song ‘Imam Hüsäynim’

ABSTRACT ‘Imam Hüsäynim’, a traditional song about the martyrdom of the Shi’a Imam Husayn ibn Ali, has been popular among the Uyghur Sufis in Khotan, an oasis town in Xinjiang, or Chinese Central Asia. People perform it in the dastan epic, mäshräp gathering, and localized samāʿ ritual. The categorization of these repertoires is based not only on musical styles but also on religious meanings, which makes ‘Imam Hüsäynim’ a song that can be used across repertoires. Although the song is about a Shi’a Imam, the Uyghur people, who are dominantly Sunni Muslims, do not associate it with Shi’a Islam but receive it as a song about the history of Islam in general. Outside the Sufi community, the song’s melody has been adapted as the theme song of a comedy film and a propaganda song to promote a county’s image. These incarnations of the song have lost the meaning of ‘Imam Hüsäynim’ because of radical changes of its text and context. Why has this particular melody been appropriated in these various ways, and what are the dynamics among its different versions and incarnations? Based on ethnographic research in Khotan and relevant ethnomusicological literature, this article will discuss the factors that determine the meanings of ‘Imam Hüsäynim’ and its incarnations, and the broader issue of repertoire crossover.

Музыкально-песенный фольклор переселенческой традиции удмуртов Красноярского края

This paper analyzes the musical and song resettlement tradition of the Krasnoyarsk Udmurts and compares it with the indigenous tradition of the Udmurts living in the Igrinsky and Alnashsky districts of the Udmurt Republic. The resettlement of the Udmurts to Siberia pro-ceeded in two ways: voluntarily – during the Stolypin agrarian reform (1910–1912) and forci-bly – during dekulakization (the 1930s). Krasnoyarsk Krai thus became a second homeland to most settlers. Three expeditions were conducted to the Krasnoyarsk Udmurts: in 1974, 1991, and 2020. This study compared sound recordings of the first and last expeditions. It has been revealed that the musical and song tradition of the Krasnoyarsk Udmurts still preserves a dis-tinction between southern and northern Udmurt traditions. However, the data of the last expe-dition demonstrates the predominance of the Northern Udmurt tradition. A detailed analysis of ritual and non-ritual songs has shown that settlers remain committed to their indigenous tradition in regard to poetic and musical-stylistic features of genre groups. A characteristic feature of the Siberian Udmurt song tradition is found to be the motif of longing for the for-mer homeland, which is most clearly expressed in the poetic texts recorded during the first expedition. In contrast to the indigenous tradition, the Siberian Udmurt song tradition has an entirely different repertoire. The characteristic feature of the resettlement tradition is that it comprises songs borrowed from neighboring ethnic groups, such as Russians, Ukrainians, and Belarusians. To conclude, remoteness from the original tradition and neighborhood with other ethnic groups contributed to the loss of Udmurt language and culture, although the Krasno-yarsk Udmurts still recognize themselves as Udmurts.

Harmonization Among Religion, Culture, and Nature in Selametan Khitanan Tradition in Demak

Selametan khitanan tradition in Demak is accomplished when a son is going to puberty marked by the act of circumcision, which is called sunatan. The objective of this paper is to examine what are the communication patterns in selametan khitanan tradition in Demak. The data is restricted to khitan prayer and traditional songs accompanying barongan performance so that the discussion of the study can be specific. This descriptive qualitative study employs the ethnographic concept of communication with unit analysis theory by Saville-Troike and the communication pattern concept by Dell Hymes. There are three sub communication events, namely tahlilan and khataman, arak-arakan, and barongan performance. As seen from a series of processions in which religiosity are seen in the khitan prayers, cultural elements are seen in the barongan performance, and natural elements that appear during the barongan performance are accompanied by traditional songs that contain meanings related to nature in the lyrics. In the selametan khitanan, there is a harmonious relationship between religion, culture, and nature found by exploring the meaning of khitan prayer and traditional songs lyrics.

Жанровая специфика вариантности в азербайджанских песенно-танцевальных формах

The author researches the issue of the variation technique and the principle of intonational development and form-generation in Azerbaijani music of the oral tradition – songs, dances, tesnifats, rengats and diringats. The variation technique demonstrates itself in these genres as the characteristic features of construction of folk texts, their modal-intonational, rhythmic, textural and structural expression. On the one hand, the conducted integrated research of Azerbaijani music of the oral tradition made it possible to indicated typical variation forms which can be found in their song and dance forms. On the other hand, a new perspective of the issue has been formed in the context of comparative analysis which helped juxtapose various genre systems and reveal the particular traits of variation in them. Analysis has shown that the variation technique interacts in Azerbaijani folk music with refrains, sequences, intergrowth, ornamentation and combinatoriality. The specificity of the variation technique in the genre system of Azerbaijani music has stipulated the emergence of refrain connections: in songs and dances – in the classical guise with the preservation of the relevant proportions in the tesnifats and rengats – in a free artistic interpretation. The songs and dances contain the principle of variation identity, make use of techniques of micro-variation, and show a prevalence of periodical structures; the traditional song and dance forms connected with the mugam show an importance of tendencies of variational renewal of thematicism, juxtaposition of registral or modal means, and emergence of through monothematic structures. Keywords: Azerbaijani music, oral tradition, song, dance, comparative analysis, genre-related specificity, variant features, development, form-generation.

"The variabilities of a specific Gorj county song. Comparative analysis of two versions"

Traditional music is characterized by: oral transmission, collective specificity, syncretic substrate, anonymous source, etc. These elements generate another phenomenon specific to this music, namely: the transformations that a traditional song can undergo when it leaves an area, a region even a performer and is “replanted” in another area / region or it is reinterpreted by another person. This scientific study monitors this transformation through the comparative analysis of a song from the Oltenia region, Gorj County, sung by two of the most famous voices of traditional music and folklore in Romania: Maria Lătărețu and Maria Tănase. Following the analysis, conclusions are specified, regarding the differences in the underlying structure, melodic structure, rhythmic structure, etc

КЛЮЧЕВЫЕ АСПЕКТЫ ИЗУЧЕНИЯ ПРОШЛОГО РЕГИОНАЛЬНОЙ КАЗАЧЬЕЙ ГРУППЫ

This study is devoted to the study of relevant works on the history of the Stavropol Cossacks, works in the field of education of the Stavropol Cossacks as an independent Cossack group, trade, cultural and economic ties in the Stavropol Territory, spiritual life, language, culture, traditions and customs of the Stavropol Cossacks. Among modern studies in the history of the Stavropol Cossacks, the following topics stand out: military life and everyday life, folklore and song traditions, the movement for the revival of the Cossacks, as well as the current state and prospects for the development of Cossack organizations. The prospect of the development of pedagogical technologies based on the Cossack traditions of educating young people in Stavropol is highlighted as a separate topical topic. The relevance of the study lies in the need for a private study of the historiography of the regional Cossack group of Stavropol Cossacks in order to expand the scientific and pedagogical tools in the field of «Cossack studies». The practical significance of the study is expressed in the possibility of using the data of the article in the search for supporting material for teaching the "History of the Cossacks" in a higher educational institution (taking into account the regional specifics). The scientific novelty of the research is expressed in a new view of the Stavropol Cossacks as an independent Cossack group formed at the end of the XVIII century. The source base is represented mainly by archival data from the State Archives of the Stavropol Territory, data banks on archaeological, cultural and linguistic expeditions, sources of personal origin, the works of contemporary historians and directly the works of historians, whose studies formed the basis of the historiography of the history of the Stavropol Cossacks. The research methodology is based on the principles of historiographic comparative studies and comparative analysis of sources. Within the framework of the sociocultural approach, we rely on the following methods. Special-historical: the narrative method, the historical-comparative method, the historical-systemic method, the retrospective method. Sociological: document analysis, method of generalizing characteristics, method of ideal types. Culturological: comparative method, cultural-systemic method. Pedagogical: pedagogical interviewing, a method of studying and generalizing pedagogical experience.

Environmental competitiveness of Hai Duong tourism destination

Located in the northern economic focal region, Hai Duong is one of the cultural and spiritual centers of Vietnam. Hai Duong is not only favored with beautiful natural sceneries such as Con Son, Kiep Bac, Kinh Chu, An Phu, ... but it also owns priceless cultural and historical assets such as traditional festivals, historical relics, and folk songs, etc… This diversity allows Hai Duong to develop different types of eco-tourism. However, there are many hinderances to Hai Duong in making tourism the key economic sector. The province has failed to determine its own direction of tourism development, leading to ineffective investment in tourist attraction sites. Insufficient promotion of local tourist attractions also make the tourism products offered non-unique. These problems reduce destination competitiveness of the province. Based on theories of destination competitiveness, this article evaluated the current status of tourism destination competitiveness in Hai Duong province on a number of criteria, then suggesting recommendations, solutions to improve the competitiveness of the province in the new development period.