scholarly journals We Are Not Going Back: Migrant Music as the New Folk Music of Italy

2021 ◽  
Vol 10 ◽  
pp. 106-120
Author(s):  
Alessandro Portelli
Keyword(s):  
Oral History ◽  
Folk Music ◽  
Folk Song ◽  
Popular Memory

This article concerns the “Roma Forestiera” project that has been carried out for the last ten years by the independent Circolo Gianni Bosio organization, which is devoted to the study of popular memory, folk song, and oral history. The author describes the experiences gathered while recording witnesses to history on the streets and in the migrant centres.

Israeli Folk Music

1994 ◽  
Keyword(s):  
National Identity ◽  
Folk Music ◽  
Folk Song ◽  
Aaron Copland ◽  
Darius Milhaud ◽  
Arthur Honegger ◽  
Kurt Weill

During the 1930s several of Europe's most distinguished composers received commissions to arrange Hebrew songs collected from early settlers in Israel and circulated on postcards. In this edition, fifteen songs appear in voice and keyboard arrangements by Aaron Copland, Paul Dessau, Arthur Honegger, Darius Milhaud, Ernst Toch, Stefan Wolpe, and Kurt Weill, making the volume a resource for performer and scholar alike. In addition, ten melodies are presented in facsimiles of the original postcards. An afterword is devoted to the significance of folk-song collecting and to the diverse uses of folk music during the period of nascent Israeli national identity.

‘National Dignity’ and ‘Spiritual Reintegration’: The Discovery and Presentation of Jewish Folk Music in Germany

Jewishness ◽  
2008 ◽  
pp. 105-130
Author(s):  
Jascha Nemtsov
Keyword(s):  
Twentieth Century ◽  
Eastern Europe ◽  
Folk Music ◽  
Folk Song ◽  
Martin Buber ◽  
Cultural Divide ◽  
Jewish Thought ◽  
East And West ◽  
West European ◽  
Modern Jewish Thought

This chapter details how Jewish folk music was presented as high art to concert audiences in early twentieth-century Germany and how that strategy was criticized. In January of 1901, the first issue of the journal Ost und West (East and West) appeared in Berlin. It served as the most important organ of cultural Zionism for the next two decades, and, as its title suggests, it attempted to bridge the cultural divide between east and west European Jews with the aim of creating an ethnic nationalist goal. The first issue contained, among other things, an article by the renowned Jewish philosopher Martin Buber entitled ‘Jewish Renaissance’ — a term that was to characterize this movement. Critical to this renaissance was the establishment of a common spirit binding a modern nation. Although based in Germany, the leaders of the movement envisioned that this spirit would be found in the ‘authentic folk’ of eastern Europe and the ethno-poetry of the folk song. The chapter then uncovers the often overlooked story of these leaders, particularly Leo Winz and Fritz Mordechai Kaufmann, and the significance of their renaissance movement for modern Jewish thought and culture.

Ubiquitous, Promiscuous, Frequent, and Numerous

2019 ◽  
pp. 168-197
Author(s):  
R. Scott Huffard
Keyword(s):  
Folk Song ◽  
Railroad Network ◽  
Popular Memory ◽  
The Media ◽  
The Subject

This chapter discusses the life and legend of two train robbers active in Alabama in the 1890s – Railroad Bill and Rube Burrow. While there is a tendency to see train robbers as embodiments of resistance to capitalism, this chapter argues that it is more useful to see these men as personification of the dangers of capitalism. In their train robbing careers, Rube Burrow and Railroad Bill both exploited the increasing systemization, expansion, connectivity, and circulation of the southern railroad network. The crimes of these men touched off panicky reactions that revealed southerners anxieties about the railroad itself. In the end, these anxieties were obscured by the mythmaking that occurred after their violent deaths. Railroad Bill faded into legend as the subject of a folk song that stretched the truth about his deeds and popular memory and the media conflated Rube Burrow’s legend with that of Jesse James and sought to portray him as an anti-capitalist and neo-confederate avenger.

Kodály's Melody

Tempo ◽  
1963 ◽  
pp. 12-16
Author(s):  
András Szőllősy
Keyword(s):  
Chamber Music ◽  
Folk Music ◽  
Close Contact ◽  
Detailed Examination ◽  
Folk Song ◽  
The Other ◽  
Organic Part ◽  
Violin And Piano ◽  
Shed Light

It is a generally accepted view that the most striking features of Kodály's melodic structure may be explained by the influence of folk song. This is not borne out, however, by more detailed examination. It is true that there are certain features in his melodic types which later undergo a change, and of these a prime example is the precise periodic articulation of the melodies, which is much more consistent in his later compositions than in those of his youth. Such characteristics may indeed be attributed to the influence of folk music, but in general the typical Kodály melody existed before he could have come into close contact with folk music in the year when he made his first folk song collecting trip. Of his compositions from the years 1904–1906, the only work we can consider from the viewpoint of melodic structure is the ‘Adagio’ for violin and piano; the other two compositions, Evening for mixed voice choirs and Summer Evening for orchestra, are known only in their later revised form of 1930. This, however, is sufficient to convince us that the expansive declamation and the structural ornamentation which is an organic part of its idiom continue an instrumental tradition whose origin may well go back to chamber music of the Baroque age, with its broad-flowing slow movements. This also seems to be substantiated by the piano part, which replaces impressionistic harmonies with those which may be analysed in accordance with classical harmonic principles. This characteristic harmonisation requires mention here, although it is not closely connected with the problem of melodic structure, since even the most complicated of Kodály's harmonies, when stripped of their embellishments, reveal pure ‘classical’ chords as their basis. The role of the melody in this problem serves merely to emphasise that with Kodály, perhaps more than any other composer, harmony is never an end in itself, but is always the result of the movement of the melody. If the word did not have more significance than we wish to attribute to it here, we might say that Kodály's harmony is only secondary to melody. This word ‘secondary’, however, does not refer to expression, but merely attempts to shed light on the matter of origin, by stressing the supreme importance of melody for Kodály.

scholarly journals TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE

2021 ◽  
pp. 3-7
Author(s):  
Daryna Lukava
Keyword(s):  
Folk Music ◽  
Folk Song ◽  
Musical Drama ◽  
Musical Culture ◽  
Art Form ◽  
Ancient Times ◽  
Professional Genres ◽  
Time To Learn ◽  
The One ◽  
Xix Century

The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays. The object of the research is the nativity drama within the opera art of Ukraine. The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture. It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays. The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology. The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out. The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.

Tending the Flower Garden

2017 ◽  
Author(s):  
Anna Marie Stirr
Keyword(s):  
Folk Music ◽  
Cultural Policy ◽  
Language Ideologies ◽  
Folk Song ◽  
Power Dynamics ◽  
History Of

Focusing on dohori’s place in state constructions of nationalism, this chapter traces the genealogies of musical tropes in dohori and the umbrella genre of lok gīt, or folk song, through a history of musical nationalism and associated musical and language ideologies. It looks at song genres chosen to represent the nation after the founding of Radio Nepal in 1951, and tells how men in charge of the folk song department at the radio shaped Nepali national folk music. It also tells the story of national dohori competitions and how they, along with the radio and national cultural policy, helped consolidate dohori into its current generic parameters. It examines the power dynamics of region, caste, and ethnicity, showing how the attempt to unite Nepal’s musical diversity into an all-inclusive national genre ended in the overrepresentation of particular regional styles, and, most important, how the music chosen became symbolic of cultural intimacy.

Understanding of Structure

2020 ◽  
pp. 97-132
Author(s):  
Daphne Leong
Keyword(s):  
String Quartet ◽  
Folk Music ◽  
String Quartets ◽  
Folk Song ◽  
Written Text ◽  
Rhythmic Performance ◽  
Recorded Performances ◽  
Video Interview

The meters of the trio at the center of Bartók’s Fifth String Quartet scherzo are (3 + 2 + 2 + 3) / 8, (2 + 3 + 2 + 3) / 8, and (2 + 3 + 3 + 2) / 8. Well-known string quartets differ greatly in their interpretations of these meters, with rhythmic performance ranging from accented and angular to lyrical and flexible. What are the main differences in rhythmic interpretation, and what might explain them? This chapter explores the structure of the trio’s melodies in relation to Bartók’s writings on folk music (Hungarian folk song and Bulgarian meter), and examines ten recordings of the trio empirically. It concludes that the most significant distinctions in interpretation of the trio’s rhythms link to a folk-song-like understanding of its melodies, and that Bartók’s coaching influence coincides with such understanding. Bartók’s instructions to the Kolisch Quartet on the performance of the trio’s rhythms, and Bartók’s own recorded performances of similar rhythms, are examined. A performers’ guide and video interview with András Fejér of the Takács Quartet provide practical interpretive resources. Audio examples complement the written text.

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