Traditional Songs Research Articles

TRADICIJA LJUDSKIH PESMI V GLASBI SODOBNIH POGREBNIH SLOVESTNOSTI<br>MANUSCRIPT SONGBOOKS: BETWEEN RELIGIOUS AND FOLK</br>

Po ugotovitvah terenske raziskave pogrebne glasbe v sodobni Sloveniji ostaja ljudska pesem glavna spremljevalka slovesa od pokojnih. Iz pisnih virov in pogovorov z glasbeniki, ki na pogrebih nastopajo več desetletij, izvemo, da je bila na pogrebih v preteklosti ljudska glasba v izvedbi moških pevskih skupin tradicionalna glasbena praksa. Terenska raziskava je pokazala, da se danes ta tradicija dopolnjuje z uporabo različnih zvrsti glasbe od klasične do popularne v izvedbi vokalnih ali inštrumentalnih skupin in solistov.***The field research of funeral music in today's Slovenia indicates that traditional songs are often employed to accompany the process of bidding farewell to a deceased person. From written sources and in conversations with musicians performing at funerals for decades, we find out that traditional music performed by male vocal groups was a traditional musical practice at funerals in the past. Field research revealed that this tradition is complemented by the use of various types of music from classical to popular, performed by vocal and instrumental soloists and groups.

Changeability in Musical Folklore Performing Process: Evolution or Just Variability?

The musical folklore items use to have continuity of general changes in large scale historically. We can see it in the instrumental folk music, singing folklore, traditional choreography developments. It is not easy to make clear analysis of this process and we need a great number of special studies based on it. We can show only the main points or directions of this object in some different levels here. Each tune of particular traditional folk song has a great number of its variations. Each folklore performer does not want to make clear copy while singing the particular song the same way, as he has heard it from the other performer. So, we are able to find hundreds of the same folk tune variants, performed by particular singers in different times and various localities at the folklore archives in Lithuania. We have a nice possibility to make a comparative analysis of definite part (it is impossible to record all the performing variations) of this melody existing in real folklore life this way. And all variants are both in melodic lines and in poetic texts there, as a rule. On the other hand, we also can see the very clear stability of some the most important intonations, motives or phrases in almost all the different recordings of the melody (and text, of course). It shows us a sort of very clear non-written rules, known intuitively for all the traditional folklore performers as the basic forms of all the oral tradition. All sorts of music performance on the stage have their own specific standards. We have to make a folklore program in clear time and sequence. We have to show the interesting things for all the audience only. Therefore, traditional folklore performers have to make themselves as the artists. They have to turn their faces right way, to speak, to sing and to play music enough loudly, to smile and cry according to the stage program. What more terrible things we can ask them to do? Is it the right perspective of the folklore evolution? Thus, in this article we set the main goal – to define, theoretically and practically comprehend the forms of modifications performed by musical folklore, meaning the definitions of its evolution and variability. Methods – scientific analysis, historical, deductive and comparative methods, generalization and hypothesis. The novelty of the research is primarily determined by applying the experience of Lithuanian ethnomusicology in solving the general problems of the musical features development in traditional singing folklore. Conclusions. All the situations presented in this article we would like to define as the changeability, variability or at least developments of folklore (or in folklore). And some of them we can find as development and evolution of all the art and culture history using the folklore (musical, verbal etc.) essence or its elements. Traditional folklore has its own basic laws. We are not allowed to force and to influence them. We can use the traditional folklore elements as the copies of primary folklore items for all the other purposes we need in the history of worldwide culture, but we will never be able to make clear primary items from such copies. This is the essence of everlasting process of folklore changeability in one hand and evolution in another one.

The Functioning of Slovakian-Ukrainian Song Folklore (On the Example of The “Makovytska Struna” (“Makovytska String”) Festival)

The goal of the work. The research is related to the issue of the specificity of the existence of Slovak-Ukrainian song folklore on the territory of Eastern Slovakia, the disclosure of the issue of the functioning of the «Makovytska Struna» song festival. The methodology of the research is to combine the methods of cognition due to the requirements of the objective analysis of historical sources, which reflect the main tendencies of the development and functioning of the cultural and artistic life of the Ukrainians of the Region of the second half of the ХХth – the beginning of the ХХІst century. Scientific novelty of the work consists in the comprehensive coverage of the Slovak-Ukrainian song ties. The interconnection between Ukrainian song and Slovak folk songs is one of the priorities of folklorists and musicologists in our time. Conclusions. It is proved that the study of ethnic history, features of the song folklore of the Ukrainian population in various fields is one of the main issues of the present. The joint ethnographic boundary between the Ukrainian and Slovak populations in the Transcarpathian region and the Presov (Eastern Slovakia) region contributed to the cultural, economic and folkloric ties between them. In the process of transformation of the forms of the existence of folk song culture and ritualism, as well as the interaction of song tradition and new creation, in particular, associated with the influence of the ingratiation of modern culture of Rusyn-Ukrainians, it was discovered that whole figurative and poetic cliches are taken from the Slovak folklore in local Rusyn production; all that is special in the content and form of Lemko and Rusyn folklore does not separate them from the general array of traditional musical-song and verbal literature of the Ukrainian people does not isolate them, but rather complements enriches this array with unique elements and features. Folk festivals of Rusyn-Ukrainians, despite the processes of assimilation, are extremely popular in the modern period among the Ukrainian population of Slovakia.

Poetics of Yannis Konstantinidis’ piano style

Relevance of the study: the poetic aspect of the music works last time is more and more pooling the attention of the researchers, giving to them the argumentation of several composers’ stylistic preferences within the selection of the music impressiveness system. Poetic side of the piano stile by the Greek Composer Yannis Konstantinidis (1903–1984) is investigated for the first time in Ukrainian musicology as a divided subject. Despite the fact, that the several parts from the set “44 Children pieces upon the Greek songs” was already studied in the thesis by Liana Charalampidy (2004), now the First Piano Sonatine by composer is analyzed for the first time in the world musicology. During the studying of the creative personality of Y. Konstantinidis, which is necessary for the making clear the main topic, the new facts of composer’s biography, unknown for Ukrainian musicologists, will be presented.The main objectives of the study. The purpose of the article is to study the poetics of the piano style of Y. Konstantinidis as a system of proportions of artistic images and means, determined by the principles of the Greek musical tradition. At the same time, the angle of research identifies the methods of transmitting the spiritual and aesthetic content of a folklore source, inherent in the composer’s individual manner.The study was done by complex approach, combining the principle of the phenomenological, historical, musical analysis, examination of the poetic text and comparative analysis.Conclusions: Unique and common features in musical compositions of Y. Konstantinidis which are based on folklore, in particular in his First Piano Sonatina, correspond to the application of aesthetic norms, which have been developed in the ethnic tradition. It has been established that the mechanism used by these norms in a musical work is a range of poetic elements that influence the formation of the symbol system and the structure of content. The levels of functioning of poetics in musical style are shown. The tiny sense of the melodic nature and orphic-epic structures of the folklore are originated on composer’s experience of work in aria of popular music.Significance of the study: The prototypes of the main themes of the Y. Konstantinidis’ First Piano Sonatina are discovered. The deep links between the Main Theme of its First part with the Cretan traditional song “When the sky became bright” (“Πότe υα κάμeι ξαστeριά”) and “The waters are streaming...” (“Τρέχουν, τρέχουν τα νeρά...”) and Byzantine psalmody “The grieving Mother...”. (“Aι γeνeαί πaσαι μαναρί...”) are exposed. The similarity of the modes and motives proves the unity of the musical stylistics of ancient, Byzantine and contemporary Greek tradition.

MUSICAL CONTENT INSPIRED BY NATIONAL CREATIVITY OF ETHNIC COMMUNITIES OF VOJVODINA – MODELS OF MUSIC ABILITY DEVELOPMENT AT THE PRESCHOOL AGE

It is undeniable that tradition and culture form a nation’s “mirror of the soul”. In accordance with this the cultural heritage of a country with all its elements is the reflection of the existence of every nation (Stolic, 2017:182). It is clear to everyone that the young are the successors and carriers of the nation’s cultural identity, but it is also well known that children cannot often come across and in that way learn about the cultural heritage of their country. The way of dressing and life is different today and traditional songs and games are rarely listened to and performed (Stolic, 2017:182). Therefore, it is necessary to periodically influence and enrich their lives with traditional national songs and games. National songs and games with singing can be present in the children’s lives from their birth. Through an adequate selection and usage the children will in an unobtrusive way become familiar with their national heritage through song and play (Stolic, 2017). The topics of national song and games can be diverse, but humorous and love texts are the most common. Also common are the texts which describe work in the fields or the process of other types of work.

Tum Toh Mohammed Rafi Nikle: The song sequence in contemporary Hindi cinema

ABSTRACT This article explores the role of the song sequence as a narrative device in contemporary Hindi cinema. It does this through an analysis of select song sequences from six films – Ae Dil Hai Mushkil, Tumhari Sulu, Dangal, Highway, Tamasha and Udta Punjab. These songs play an essential role in the film narratives, and the article discusses them through a focus on song picturization, song lyrics and the absence of lip-synchronization. The broader context of my inquiry are the changes in the role of the film song in recent years marking both continuities as well as discontinuities with the established song tradition of Hindi cinema. I argue that even as a realist aesthetic is changing the form of the song sequence, the song scene continues to be a complex mechanism of storytelling in contemporary Hindi films.

전래동요를 활용한 신체활동이 만 2세 영아의 운동능력과 의사소통능력에 미치는 영향

전래동요를 활용한 신체활동이 만 2세 영아의 운동능력과 의사소통능력에 미치는 영향

Pieśni bożonarodzeniowe w luterańskim kancjonale toruńskim

The outline addresses the set of songs included in one of the editions of the Toruń cantional by Petrus Artomius (1601). The small extract of the text provided the opportunity to grasp the range and nature of the changes taking places in the Old Polish language when the Polish culture was affected by the Reformation. For this reason, the author attempted to indicate the origin of the works and to trace the edition modifications introduced in the text with particular emphasis on linguistic alterations. In the cantional there appear texts rooted in the Polish Catholic tradition of religious songs (e.g. XVII, XX, XXI, XXVI, XXVII), translations of Protestant carols of Martin Luther known from earlier songbooks (e.g. XXX, XXXII, XXXVI); however, they are often new, modified versions of the songs. In comparison with the first edition of the cantional, the discussed edition was somewhat reorganized, which may be observed in the editor’s attempt to modernize the language of the songs. On the basis of the presented description of philological- stylistic nature one may conclude that the language of the old Protestant community of Toruń did not differ significantly from the Old Polish language of the time. On the one hand, the texts included in the cantional refer to medieval songs stylistically and linguistically. On the other hand, they illustrate the popularity and universality of Polish songs used in religious practices of Protestants, not only Lutherans.

El Cantar de los Cantares y la escritura medieval: Richard Rolle de Hampole (CA. 1300-1349)

In this essay, I first explore some of the main characteristics of the medieval reading and writing traditions of the biblical Song of Songs. The rewriting of the Song of Songs in the mystical texts of Richard Rolle (c. 1300-1349) leads us to conclude that the Song was one of the most important texts in the exploration of subjectivity and love of his medieval readers, thus joining the hermeneutical traditions of both Jewish and Christian readers and exegetes.

REGGAE, CULTURA E IDENTIDADE NO MARANHÃO

The conception about cultural identity in Maranhão, was built around a strong tradition of rhythms, songs and dances, that are manisfested in a large calendar of popular festivals, especially, in the June period and at Carnival. From the seventies of the XX century, some segments of the Maranhão’s population, began to make contact with the Jamaican reggae rhythm, which has come to be defined as one of the most important leisure instruments for segments of the black population and people of mixed race in the suburbs of São Luís. Over the last decades, the rhythm has spread to other parts of the Island, causing rejection and acceptance reactions among different groups, stimulating debates about the issues of culture and identity, especially among intellectuals linked to the local popular culture groups. Our research was on the resignifications that this element has suffered since its dispersion through the Island, acquiring, among its followers, a proper language that is expressed through dances and other codes of communication.

Talking health: trusted health messengers and effective ways of delivering health messages for rural mothers in Southwest Ethiopia

SummaryBackgroundAccess to trusted health information has contribution to improve maternal and child health outcomes. However, limited research to date has explored the perceptions of communities regarding credible messenger and messaging in rural Ethiopia. Therefore, this study aimed to explore sources of trusted maternal health information and preferences for the mode of delivery of health information in Jimma Zone, Ethiopia; to inform safe motherhood implementation research project interventions.MethodAn exploratory qualitative study was conducted in three districts of Jimma Zone, southwest of Ethiopia, in 2016. Twelve focus group discussions (FGDs) and twenty-four in-depth interviews (IDIs) were conducted among purposively selected study participants. FGDs and IDIs were conducted in the local language, and digital voice recordings were transcribed into English. All transcripts were read comprehensively, and a code book was developed to guide thematic analysis. Data were analyzed using Atlas.7.0.71 software.ResultStudy Participants identified as Health Extension Workers (HEWs) and Health Development Army (HDA) as trusted health messengers. Regarding communication channels, participants primarily favored face-to-face/interpersonal communication channels, followed by mass media and traditional approaches like community conversation, traditional songs and role play.In particular, the HEW home-to-home outreach program for health communication helped them to build trusting relationships with community members; However, HEWs felt the program was not adequately supported by the government.ConclusionHealth knowledge transfer success depends on trusted messengers and adaptable modes. The findings of this study suggest that HEWs are a credible messenger for health messaging in rural Ethiopia, especially when using an interpersonal message delivery approach. Therefore, government initiatives should strengthen the existing health extension packages by providing in-service and refresher training to health extension workers.

Using Learning Strategy of English for Young Learners to Create the Textbook of Gorontalo Language for Elementary School as an Effort to Maintain Gorontalo Cultures

Teaching Gorontalo language is one of the Gorontalo government efforts to maintain Gorontalo culture. It has been being taught in elementary schools for years and continuously becomes the government concern. In the previous research (Husain, Bay and Mamu, 2017), the result of questionnaire generally indicated that the textbook used in teaching Gorontalo language was not colorful and attractive and the content was too monotonous. Additionally, certain teachers did not even use any textbook to teach and just tried to browse material on the internet. This research intends to create a textbook that will be used for teaching Gorontalo language in elementary schools based on the syllabus produced in the first year of research. Syllabus and textbook are created by adapting English for Young Learners (EYL) learning strategy. The content focuses on traditional musical instruments, traditional songs, traditional games and traditional dances and is introduced simply and nicely to the students as in EYL learning strategy. The students will have two benefits; they can learn Gorontalo language and its cultures at the same time. The research applies the Research and Development Method (Sugiyono, 2014, p. 297) to create the textbook of Gorontalo language with five main steps namely (1) creating the textbook; (2) validating the textbook; (3) textbook trial in elementary school; (4) Evaluating the textbook; (5) producing the textbook. Textbook as the research output is expected to provide a new sight of Gorontalo language learning for both teachers and students by adjusting EYL learning strategy to sustain Gorontalo culture.

Developing Android Role Playing Game for Elementary Music Learning

Elementary students prefer to listen to modern songs from the device that they have in their daily life. In the music learning process, the student feels bored because of the monotone learning method, even though the music art learning process is an important process to promote student knowledge about Indonesia’s traditional songs. Innovation is needed because of this condition. This study aims to design and develop an android role-playing game (RPG) for music learning, especially Indonesia’s traditional songs. This study also analyses the worthiness of android RPG game based on expert judgment validation’s score. Based on expert judgment validation’s score, the music art learning media called “Lagu Nusantara” is worthy of supporting the student to learn about the basic of music learning and Indonesia’s traditional songs. The average score is 3.6 for media representation, 4 for the material which presented in this game, and 3.3 for the use of language. The worthiness of this media is above 90% (precisely 90.83%). In conclusion, this RPG game can use by teachers or students to promote music art learning process, especially about Indonesia’s traditional songs.

SOCIO-POLITICAL LANGUAGE USE AND YORÙBÁ PROTEST SONGS: A STYLISTIC APPROACH.

Song is a universal phenomenon and significant aspect of Yorùbá literature usually constructed systematically using words that reflect either negative or positive linguistic connotation. Existing studies established their scope of usage in several areas of endeavors but have hardly addressed their negative implication for using them in socio-political scenario of Nigeria which sometimes seems to be counterproductive and having overbearing effect on peace and stability of the Nation. The paper adopts Marxist theory for its ability to explain reason for political and economic crisis in government and what the oppressed members of society must do to liberate themselves from such crisis. Eight protest songs were purposively selected from the Nigerian political scenario of the past for having sufficient usage of the Yorùbá protest songs imbued with curse, hate expressions, abuse, derision and ridicule/sarcasm. In order to strike a balance, four corrupt coinages of the Christian songs and the other four corrupt coinages of the Yorùbá traditional songs were eventually subjected to stylistic analysis. In all, politics, financial fraud and jubilation were expressed and contextualized in curse, ridicule/sarcasm, derision, hatred and abusive utterances all of which are capable of destabilizing peace and unity of the country. Yoruba protest songs in this paper are corrupt coinages of both Christian and Yorùbá traditional songs used to express socio-political issues in Nigeria and conveyed through curse, hate expressions, derision, sarcasm, abusive utterances and also reflect ingenuity-constrained stylistic choices.

Sonic Sovereignty: Performing Hopi Authority in Öngtupqa

In this article, I explore the ways territorial authority or sovereignty emerges from within a particular mode of Indigenous creativity — the creation and performance of Hopi taatawi (traditional songs) — despite the appropriation of Hopi traditional lands by the American settler-state. Hopi territories within Ongtupqa (Grand Canyon) are just a sample of the many places where Indigenous authority, as expressed through sound-based performances, continues to resonate despite the imposition of settler-colonial structures that have either silenced Indigenous performances of authority or severed these places from Indigenous territories. Drawing on the work of Hopi composers and intellectuals, I explore how Hopi musical composition and performance are deeply intertwined with Hopi political philosophy and governance, resulting in a form of sovereignty that is inherently sonic rather than strictly literary or textual in nature. Recognizing that this interconnection between territorial authority and sound production is common across many Indigenous communities, I propose listening to contemporary Indigenous creativity not just as an aesthetic form but as a source of sonic sovereignty.

Early childhood pedagogy in a Ghanaian socio-cultural medley: A case study of two Kindergarten classrooms

In a quest for quality-driven early childhood education settings, it is important to explore subtleties that define socio-culturally-relevant pedagogy that is often ignored in scholarly literature. To address this gap in literature, a qualitative multi-case study approach was used to explore four Kindergarten teachers views regarding early childhood pedagogy over a six-month in Kindergarten classrooms in Tata School and at Kariba School. This study sought to establish "Why does children's socio-cultural contexts influence choice of pedagogy in kindergarten classrooms". The study was framed by Bronfenbrenner's framework, ecological theory. The sources of data comprised semi-structured individual interviews, pair-interviews and field notes of classrooms observations. Both within and across case interpretative analysis was used. The study established that, participants in the two cases perceived that a socio-cultural context-based pedagogy such as learning materials, storytelling, traditional songs and traditional rhymes supported children's development in terms of their understanding of concepts, language development, cognitive and moral development, respectively.

Before Queen: Vergil and the Musical Tradition of Sampling Popular Song

This article describes a unit in an advanced Latin course on translating Vergil's Eclogues where a deeper understanding of the poet's work is requested. Student mastery of the Latin language is one hurdle often difficult to overcome. Another, perhaps even more challenging lesson, is an understanding of the poetry's genre, intertextuality and sound play. The complexity of reading meter to tell a story and the inclusion of names and phrases to convey mood and intention are more easily understood by the students when taken out of an ancient context and format and placed in the context of their own pop music. Once the students recognize the connections between modern pop music and ancient popular song, they realize through personalized experiences that musical sampling has actually been going on for millennia, and they become more informed readers of the text. This article presents a summary of the unit's methodology, learning objectives, a proposed outline with explanation, assignments and classroom activities.

Sung on the Water

Liszt’s relation to the tradition of folk song and its reflection in the piano pieces Venezia e Napoli (1861) as well as the unpublished early versions have already been the subject of several studies. Nevertheless, the context and sources of some of the Venetian inspired pieces still remain unknown. Similar to his Neapolitan Tarantella , Liszt’s “Venetian” compositions did not refer to an oral musical tradition, but rather were drawn from printed collections of canzonette veneziane . These identified sources illuminate the close connection between his compositions and the literary discourse on Venice that oscillated between nostalgic veneration for the city’s glorious political and artistic past and the everyday atmosphere of his day, the latter often evoked by music played in the salons.

La chanson folklorique enfantine comme media de l’apprentissage interculturel et du transfert des valeurs morales

<p class="MsoNormal" style="text-indent:0in">Children's folk song is an example
 of cultural products that has several goals in its creation. Aside from
 entertaining, this type of song also aims to transfer moral values or character
 building to children. Thanks to its moral values, this type of song is a
 potential medium as a media of character learning and also intercultural
 learning. This article aims to propose a compilation of Javanese children's
 folk songs translated into French intended not only for Indonesian learners who
 learn French, but also for French speakers who learn Indonesian language. The
 research focused on the process of translating the Javanese folk songs into
 French. This process is an assimilation of two different cultures by
 accentuating on the promotion of the culture of origin through the language.
 The future big goal is to make traditional songs better known around the world.
 After applying the developmental research approach, seven Javanese children's
 folk songs have been translated into French: <i>Gundhul pacul, Padhang mbulan, Menthok-menthok, Dhondhong opo salak,
 Sluku-sluku bathok, Lir ilir</i>, and <i>Siji
 lor otelu</i>. Each song has its value and also contains cultural elements. A
 booklet and a CD containing the translation of Javanese children's folk songs
 into French is the final product of this research that could be used in
 intercultural learning and at the same time character building</p><p>
 
 
 
 </p>

The Function Of Singing In The Architecture Of Songs Of Karakalpak Traditional Music

In the modern world, questions of revival, maintenance and propaganda national to tradition of ethno culture, and in particular their musical heritage there is one of the most actual tasks of study of art. Musical culture of Karakalpak people, phenomenon original, having centuries old history, in the sources of the family people closely associated with work inhabiting territory of Central Asia. Karakalpak folklore has a variety of genres and forms in which history, everyday life, customs and traditions are embodied. The study of the Karakalpak song tradition will allow us to understand the basic patterns of the musical language of the Karakalpaks, which served as an appeal to the coverage of the stated theme. The article examines the role of singing and the peculiarities of their functioning in the composition of Karakalpak traditional lyrics.