Traditional Songs Research Articles

Ладовые архетипы в традиционной музыке бурят

The article examines for the first time the modal archetypes in the traditional music of the Buryats – narrow-ranged three- and four-pitch modal structures which have a crucial significance in the pitch organization of the song tradition. Applying the intonational-modal and structuraltypological methods of analysis, the author represents modal archetypes for the first in the context of the profound early folk music stratum of the ritual song tradition of the Western Buryats. The typical modal archetypes are examined in the examples of the drinking songs arhiin duunuud and the yokhoroy duunuud songs which accompany the Buryat yokhor round dance. The published information helps specify the monodical nature of the Buryats’ modal thinking and, in all possibility, the cognition of the specific features of traditional music thinking of the mythological variety. In the subsequent research of modal archetypes, it is necessary to continue studying the question of correlation of the universally combined and the specifically distinctive characteristic for the Buryat monodical culture. Keywords: mode, modal archetypes, monody, the song tradition of the Buryats.

Music therapy interventions based on sound properties enhancing communication with infants and toddlers

Infants are curious about sounds and can perceive them as a means of communication with others. This article describes the ways sound properties were used in music therapy encounters to facilitate communication with a group of infants and toddlers. The music therapy interactions were based on Brazilian traditional songs, musical instruments and body movements. We explored loudness, timbre and pitch used to enhance non-verbal communication. Participative performance and community music therapy principles were deemed appropriate to our interactions as we observed improvement in the quality of the infants’ and toddlers’ social and affective expressions throughout the process.

The development of musical and singing culture and sociopolitical situation on the Korean Peninsula from the liberation to the Korean War

The subject of this research is the impact of sociopolitical situation on the Korean Peninsula upon the establishment and development of musical culture of the Koreans since 1945 to the beginning of the Korean War. The goal is to demonstrate the effect of political and social situation upon music and songs of the Koreans, as well as outline the vectors of their development during the period under review. In the course of research, the author analyzes the historical, political and social background, within the framework of which was formed the musical and song tradition of the Koreans of that time. The article also traces the evolution of Korean music and song genre and the factors that exerted influence on it. The Russian Korean studies do not feature comprehensive research dedicated to musical and song culture of the Koreans of the period after liberation from the Japanese Rule, which defines novelty of this work. The conclusion is made that the political and social situation on the Korean Peninsula significantly influences the development of music and song genre. The two categories of music performers were determined: politicized and non-politicized. Politicized performers were represented by the supporters of left-wing views or right-wing views. The adherers of left-wing views sought for a new path of development of the Korean music, while the right-wing supporters used the motifs already familiar to the Korean public. Non-politicizes music performers and singers followed the popular trends among the audience, which was influenced by the presence of US military on the Korean Peninsula.

Жанрово-стилевая экспликация песенной традиции Белгородской области: локальный аспект

The content of the article discloses the genre and style attributes of the song tradition of Foshchevatovo village in the Volokonovka District of the Belgorod Region, in many ways insufficiently studied and mastered up till now. The folk chorus of this village is one of the most well-known ethnographical ensembles of the south of Russia (its artistic director was Maria Stefanovna Skuridinova, 1920–2002), which has left its contemporaries, folk music scholars, directors of the folk ensembles of singers and lovers of folk music a unique folk song heritage, which contrasts with its contiguous traditions by its genre and melodic intonation content, performance forms and means of artistic expression. The distinctive vocal school of Foshchatovo singers comprises a prospective sphere of scholarly and artistic activities of scholars, specialist practitioners and lovers of the art of folk music. Keywords: the song tradition of Foshchevatovo village, calendar songs, wedding songs, two-chorus songs, lullabies, “skomorokh” songs, lyrical songs, seasonally timed to coincide with the work activities of the song, untimed (plangent) songs, sacred poems, psalms, choral chastushkas depicting suffering, instrumental tunes.

When the dial goes Dylan: ‘premium’ radio, hybrid authenticity and Theme Time Radio Hour

AbstractThis article explores the construction of hybrid authenticity by Bob Dylan's Theme Time Radio Hour, an XM Radio programme that aired between 2006 and 2009. Dylan's foray into radio presents compelling questions about the role of his star image in advancing a corporate strategy of premium radio that requires subscription access. Through narration and curation, a performed freeform radio format and fragments of radio history, Dylan's celebrity, voice and status as a vehicle for understanding the ‘American song tradition’ are solidified within the context of subscription satellite radio. In advance of the dominance of subscription streaming listening that companies like Spotify are now known for, Dylan's radio programme and recorded music of this period contribute to XM Radio's efforts to distinguish the satellite service from ‘traditional’ commercial format radio and to entice music listeners to become subscribers.

Movement and Song Idiom Traditional to Enhance Early Mathematical Skills: Gelantram Audio-visual Learning Media

Movement and Song Idiom Traditional to Enhance Early Mathematical Skills: Gelantram Audio-visual Learning Media

Computer-based synaesthesia and the design of complex methods to approach multimodal realities of dance and music through technology. An interview with Alexander R. Jensenius, Deputy-Director of the RITMO Centre of Excellence of the University of Oslo

After producing ground-breaking computer-based tools to advance the study of human movement, such as the video-visualization techniques contained in the Musical-Gestures Toolbox, Alexander Refsum Jensenius has con-tinued to find more creative and analytical possibilities to intersect our understandings of music and dance. In the current context of technology-assisted misappropriation of tradi-tional songs and dances, I interviewed the Deputy Director of the RITMO Centre on how we might revert the link between new technol-ogies and intangible cultural heritage for the benefit of legitimate bearers.Furthermore, in this interview, Alexander out-lines the embodied and interdisciplinary ap-proach towards music that has grounded the course of his career but even more interesting-ly, he offers insights about the future of expe-riencing dance through technology and the possibility of dancing robots.

Современное состояние песенной традиции мордвы (на основе материалов музыкально-этнографических экспедиций)

The paper analyses materials of musical-ethnographic expeditions conducted by the Folk Music Department of the National Research Ogarev Mordovia State University in the Republic of Mordovia in 2016-2020. Scientific originality of the study is conditioned by the fact that the author reveals new aspects of the problem and introduces new practical materials of musical-ethnographic expeditions into scientific circulation. The conducted research allows concluding on prevalence of folklore secondary forms and secondary vocal ensembles that maintain local song traditions and singing styles. The expeditions discovered villages where countrymen preserve bourdon heterophonic singing, which determines specificity of the Mordva song tradition.

When Ghanaian Traditional Songs become Modern: Cultural Replication of the Traditional Responsible Woman in the Modern Gold Digger Woman

The fluidity of the text allows a mode of textual constitution by the user. Through an ethnographic research and a performance/literary analysis, this paper, interrogates the Akan patriarchal power construction which takes advantage of the fluidity of text. The paper investigates this cultural phenomenon by examining the replication of the traditional “bragorͻ” song texts in modern popular highlife and hiplife song texts. The Akan patriarchal community constructs power by manipulating the codes in the original “bragorͻ” song text and that this manipulation is possible because the copy of the original “bragorͻ” text develops ideological shift through a process of meaning change, a change that is closely related to Akan gender power relations. The Akan patriarchal community therefore uses the fluidity of the text as a resource to maintain power over the woman. A very interesting aspect pertaining to this development is that this power manipulation disguises itself in modern popular songs which are normally not taken serious by the Ghanaian intelligentsia. And so, though very compelling this power construction may be, it manages to stay away from both academic and public discourses and thus grows bigger and bigger with time without being noticed. The paper recommends that educational planners should seriously add the study of contemporary culture and what it holds for the development of Ghana to both the senior high and tertiary curricula. Keywords: Fluidity of Text, Ethnographic Research, Akan Patriarchal Community, Power Construction and Modern Gold Digger.

Wschodniosłowiańskie i polskie pieśni tradycyjne jako uniwersalny nośnik kultury

In the presented article, the author considers a rarely discussed subject of traditional song lyrics perceived as culture transmitters. Even though they are very universal and comprehensive sources in terms of cultural transmission, academics use them in scientific discourse incommensurately less frequently than other textual forms or art works from the epoch. The author analyzes traditional folk songs as texts which unfold before the reader. Their crucial value and broad possibility to understand different and interfusing realms of human activity associated with Polish and East Slavic culture are presented.

We Drew a Swastika of Grain: Vernacular Religion in the Tibetan Songs of Nubri, Nepal

The academic study of Tibetan Buddhism has long emphasized the textual, philological, and monastic, and sometimes tended to ignore, dismiss, or undervalue the everyday practices and beliefs of ordinary people. In this article, I show that traditional folk songs, especially changlü, are windows into the vernacular religion of ethnically Tibetan Himalayans from the Nubri valley of Gorkha District, Nepal. While changlü literally means “beer song”, and they are often sung while celebrating, they usually have deeply religious subject matter, and function to transmit Buddhist values, reinforce social or religious hierarchies, and to emplace the community in relation to the landscape and to greater Tibet and Nepal. They do this mainly through three different tropes: (1) exhortations to practice and to remember such things as impermanence and death; (2) explications of hierarchy; and (3) employment of spatialized language that evokes the maṇḍala. They also sometimes carry opaque references to vernacular rituals, such as “drawing a swastika of grain” after storing the harvest. In the song texts translated here, I will point out elements that reproduce a Buddhist worldview, such as references to deities, sacred landscape, and Buddhist values, and argue that they impart vernacular religious knowledge intergenerationally in an implicit, natural, and sonic way, ensuring that younger generations internalize community values organically.

Literary interpretation of ceremonial folklore in the works of Togay Murod

The article discusses the examples of ceremonial folklore, effectively used in the story "Oydinda yurgan odamlar" ("People walking in the light") by Togay Murad, a prominent Uzbek writer. The role of these songs as a reflection of the nation's outlook, dreams and hopes. In the framework of the article, series of traditional songs for milking called "Turey-turey" that specially addressed as an artistic expression of the inner worlds of the heroes; lullabies, a shining example of children's folklore; mourning songs that are sung over the tracking of people on their last journey; the importance of legends, myths and riddles in the upbringing of the younger generation, which is the expression of the artistic thinking of the nation have been addressed. It also discusses the issue of developing students' research skills and competencies through the analysis of the meaning embedded in the essence of folklore in the process of literary education.

Melogeography of the Zhnivo and Dozhinki (harvest) period tunes of the Western Polesie and Poneman’ie borderland

The subject of the research are tunes of the Zhnivo and Dozhinki (harvest) period of the Western Polesie and Ponemanie borderland. The material for the study are musical notations from song collections, archival expeditionary musical notations, phonographic materials mainly from the archives of the Cabinet of traditional musical cultures of the Belarusian State Academy of Music, as well as field recordings from private archives.The purpose of the research is to reveal the song tradition of the Zhnivo and Dozhinki (harvest) period of the Western Polesie and Ponemanie borderland in its modern functional-genre, structural-typological and melostyle content; to reveal the melogeography of tunes in the territories of the Western Polesie and Ponemanie borderland. The relevance of the work lies in an integrated approach to the study of calendar and ritual tunes and identification of the dynamics of the local Zhnivo tradition. The novelty of the work is expressed in the first realization of the picture of the distribution of the Zhnivo and Dozhinki (harvest) period on the territory of the Western Polesie and Ponemanie borderland.The article uses methods: comparative and structural-typological analysis, documentary mapping and phonetic transcription.Research result. Based on the analysis of the genre, structural-typological, melostylistic characteristics, their melogeography (musical geography) is revealed. Several types of Zhnivo tunes stand out. They are included in the group of all-Belarusian harvest lyric-dramatic monologues-statements, which are based on the harvest tune-formula (Z. Ewald). Among them, there are several types of two-line tunes (the upper reaches of the Yaselda River, the locus of the White, Sporovskoye and Black Lakes) and three-line tunes (Vygonovskoye Polissya), based on the “chanting” of 8 or 7-syllable verse norms.Separate groups of festive quint Dozhinki-tunes are distinguished: 1) with the textual opening “Vylitay, perepilko” (localized in the basin of the Lesnaya river), 2) with the refrain “Plon nyasyom, plon” (outline the southern isomela of this type of tunes in the Western Belarusian territories). Conditionally confined to harvest and haymaking mainly quint tunes complement the “classic” harvest repertoire.Local features of the Zhnivo and Dozhinki period tunes of the Western Polesie and Poneman’ie borderland can be traced, a sufficient variety of their song types and varieties within these types are shown. Less quantitative fixation of the Zhnivo-repertoire from the “Poneman side” of the West Polesian-Poneman borderland is noted. On the basis of a comparison of expedition materials from different years the picture of the spread of harvest calendar-ritual tunes in a synchronous layer as well as the dynamics of the decay of tradition in a diachronic layer are clearly traced.The article is accompanied by a melogeographic map.

Oleh Tymoshenko’s Conducting and Choral School as a Phenomenon of Ukrainian Musical Culture of the Second Half of the 20th century

The Conducting and Choir School of the outstanding choral conductor and pedagogue Oleg Tymoshenko is analyzed. It is outlined that at the present stage of development of music and pedagogical education it is Oleg Tymoshenko's conducting and choral art that contributes to the formation of a high level of professional skill in the future specialist, ensures the growth of his personality and spiritual culture, provides the involvement in the repertoire of the best highly artistic samples of choral art of different times and genres. It is determined that the outstanding teacherchoirmaster Oleg Tymoshenko in artistic and pedagogical activity required careful study of choral work and provided this approach in teaching, developed refined musical taste, interest in the studied, broadened horizons, and most importantly was able to cultivate a sense of beauty, educated future professionals of our society in the paradigm of comprehensive knowledge of art and spiritual understanding of creativity. It is revealed that the educational process of Oleg Tymoshenko’s Conducting and Choir School plays a major role to reform the art education of higher educational institutions in Ukraine. It was found that the artistic path of the outstanding choral conductor and pedagogue is an example of the universalism of the creative personality, individual originality and unique expressiveness of every true artist. A wide range of Oleg Tymoshenko’s artistic activity is substantiated in the aspect to reveal different vectors of the artist’s creativity: performing work, pedagogical and creative activity. It is emphasized that the prominent choral conductor and pedagogue, the representative of Kyiv Conducting and Choir School Oleg Tymoshenko is a direct active participant of the Ukrainian artistic life with high professional potential. His creative activity contributes to the development and formation of the modern context of Ukraine spiritual life. Summarizing the above mentioned the author of the study determined that the artistic and pedagogical activity of the outstanding choral conductor and teacher Oleg Tymoshenko is clearly characterized, firstly, by repertoire policy, which provided interpretation of the best highly artistic samples of choral art of different times and genres, secondly, by purposeful formation of high technical level in future specialist, and lastly, thirdly, the dynamic development of his natural inclinations. It is proved that the Сonducting and Сhoir School of Oleg Tymoshenko, outstanding choral artist, was based on national song traditions, which are rooted in the distant past, but at the same time are an integral part of the modern socio-cultural environment, forming an original cultural product of the highest quality.

Decoding Social Standards for Children: A Case Study of Banjarese Songs

This study is set to explain social standards decoded through traditional songs for Banjarese children. This study is carried out under a descriptive qualitative design. The data are taken from 36 songs sung for different purposes, from lullabies to traditional games companions. Observation and interviews are the techniques employed to collect the data. The observation and the interview are conducted in regions representing two distinguished dialects of the Banjar language: Banjar Hulu and Banjar Kuala. Cultural Linguistics is an approach for data analysis. The lyrics of investigated songs are registered into five categories reflecting different standards expected by Banjarese society for children. The results of the study show the desired and undesired social values believed by Banjarese society. These values are introduced to children, not through the media of preaching, but common practice of Banjarese families, singing.

SCIENTIFIC AND HISTORICAL SIGNIFICANCE OF THE BOOK BY ABDURAUF FITRAT "UZBEK CL T "UZBEK CLASSICAL MUSIC AND I ASSICAL MUSIC AND ITS HISTORY"

Background. Makoms form the basis of the music of the peoples of the East. Therefore, a comprehensive study of the status is important in the history of our musical culture. Shashmakom consists of about two hundred and fifty melodies and songs and is a significant part of the musical heritage of the Uzbek-Tajik people. The article is dedicated to the essay of Abdurauf Fitrat entitled “Uzbek classical music and its history”, dedicated to the analysis and translation of classical eastern music and song tradition Shashmakom which consists of about two hundred and fifty melodies and songs, and is a significant part of the musical heritage of the Uzbek-Tajik people. The problem of Shashmakom is one of the least studied areas in the history of our musical culture, and the author gives his own interpretation of the solution to this issue.

BIRDS IN SELECTED FOLK SONGS OF RAJASTHAN

Folk songs play a substantial role in the cultural identity of a region. It is an expressive form of customs, traditions and daily life of the common folk which presents a multitude of stories and voices an array of feelings and emotions. Folk songs serve as testimony to the past events of war, community, customs and traditions, rites and rituals. Folk songs also identify and define the region, and help one understand the natural aspects like climate,seasons, topography, agriculture, flora and fauna. The present study focuses on the description and presence of Avifauna imagery and symbolism in Rajasthani folk songs, and the impact of industrialisation and migration resulting in the decline of bird population and folk song traditions.

Pendidikan Karakter Berbasis Kearifan Lokal

The current phenomenon shows that the noble character values ​​among children are experiencing a quite concerning crisis. One of the factors causing the deterioration of children's character is a crisis or deterioration of national cultural values ​​or local wisdom values. Therefore, exploring cultural values ​​or local wisdom values ​​is a strategic step in an effort to build the nation's character. The purpose of this study was to describe (1) character education through traditional games in MIN 3 Jember, (2) character education through traditional songs in MIN 3 Jember, and (3) character education through folklore in MIN 3 Jember. To achieve this goal, this study uses a phenomenological type of qualitative approach. The data collection technique uses observation, interview, and documentary study techniques. The data collected are primary data and secondary data which include: character education strategy data through traditional games, character education through traditional songs, and character education through folk stories. After the data is collected, it is analyzed using themodel spiral analysis proposed by Cresswel (2007).
 The results showed that (1) The teachers at MIN 3 Jember have used traditional games as a medium to instill character values ​​in students. The traditional games played by students are quite varied. The steps taken by the teacher in using traditional games as a medium in instilling the character of students are: choosing traditional games that are in accordance with the learning theme, playing games together with students, followed by explaining the character values ​​contained in the games that have been played the. (2) Teachers at MIN 3 Jember have used traditional songs as a medium to instill character values ​​in students. The steps taken by the teacher in using traditional songs as a medium to instill the character of students, namely: choosing traditional songs that are in accordance with the learning theme, singing songs together with students, followed by explaining the character values ​​contained in traditional songs that have been sung. (3) teachers at MIN 3 Jember have used folklore as a medium to instill character values ​​in students. The steps taken by the teacher in using folklore to instill character values ​​are: (a) the children read the folklore in groups or independently, (b) to find out whether the children understand the story, the teacher make inquiries via 5W + H. (c) the teacher retells the folklore to the children, and (d) the teacher conveys the messages (character values) that exist in the story.

Representations of Christmastide in Latin American Christmas Folk Songs: A Transitivity Analysis

Considered as the universal language, music has been historically a means of communication and personal expression about the inner and outer world of its creator, it is present in almost every social activity of human beings as in the habitual religious celebration of Christmas across the largely Catholic countries. Therefore, the present paper will provide a descriptive text analysis of ten traditional Latin American Christmas folk songs on the base of the transitivity system informed by the Hallidayan Systemic Functional Linguistics theory. To reach this goal, both a quantitative and qualitative research method approach was applied. Findings indicated that among the six analyzed transitivity process types, the material processes (32%) dominate the construal of the musical pieces, followed by the mental (23%), behavioral (18%), and relational realizations (13%) whereas the verbal and existential processes are relatively low all together representing an overall frequency of 14%. This reveals the singers’ attempt to represent the Christmas season as a nostalgic time leap, an immediate enjoyment, and a rewarding exchange.

In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019)

The Hungarian language belongs to the Finno-Ugric linguistic family, but several pre-Conquest strata of Hungarian folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations. Investigations authenticated by fieldwork have also been ongoing to the present day, parallel to theoretical research. Initially, the main goal was to explore the eastern relations of Hungarian folk music, which gradually broadened into the areal research of the Volga-Kama-Belaya region. I further expanded this work to encompass the comparative investigation of Turkic-speaking groups living over the vast Eurasian territory. This paper provides a summary of the findings of this field research examining the folk music of Anatolian Turk, Azeri, Karachay, Kazakh, Turkmen, Uzbek and Kyrgyz people. I briefly describe the sources, the fieldwork, the methods of processing the collected material, and most interestingly, I summarize new findings. After providing an overview of traditional songs of several Turkic peoples, selected results are provided in three tables: 1) a grouping of Turkic folk-music repertoires; 2) Turkic parallels to Hungarian folk music styles; and 3) the current state of Turkic folk music research conducted by Hungarian scholars.