scholarly journals The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present

2019 ◽  
Vol 52 (52) ◽  
pp. 101-118
Author(s):  
Y. Radkevych
Keyword(s):  
National Culture ◽  
Deep Understanding ◽  
Folk Songs ◽  
Folk Song ◽  
Scientific Article ◽  
Creative Personality ◽  
Instrumental Accompaniment ◽  
The Aesthetic ◽  
Orchestral Arrangements

Background. Turning to the original sources of Ukrainian musical culture, we should point out the greatest achievements that appear to be the folk-song tradition. The problem of authorship of musical folklore was not considered for well-known reasons: its decisive features are oral, anonymous, collective way of creation. If the phenomenon of authorship is present in various manifestations of musical creativity (composing, performing, directing, etc.) and works in various forms of musical art of the past and present, today the study of the role of the singer as a co-author in the contemporary representation of Ukrainian folk song has not yet become a subject of a special scientific interest. The stated problem opens the prospect of developing the interpretation science as a science of the phenomenology of the artist’s creative personality in various artistic discourses. The urgency of the topic is to study the peculiarities of the representation of Ukrainian folk songs in the contemporary concert repertoire on the example of the activities of the iconic representatives of the national culture: Kvitka (Kacey) Cisyk, Nina Matvienko, and Taras Kompanichenko. Objectives. The purpose of the research is to substantiate the role of the singer as the co-author in representing the Ukrainian folk song in the contemporary concert and artistic space on examples of multi-genre patterns (folk song, song-romance, spiritual chants). Methods. The methodology of the research is based on the genre, structurally functional and interpretive scientific approaches. Results. In order to highlight the peculiarities of the representation of Ukrainian folk songs in the concert and artistic space of today, within the framework of the scientific article, let us dwell on the consideration of the following genres of folk song: folk song, song-romance, and chant. In the unique performance by Kvitka Cisyk (1953–1998) of the chosen folk song “Verse, my verse” the singer appears as the co-author of the song. As one knows, this folk song has no authorship (being an example of the collective folk-song tradition). The level of co-authorship of the singer can be defined as the one corresponding to the traditional performance (the performer as the author). Another example considered is G. Skovoroda’s “Every City Should Have Its Character and Rights” in two versions (N. Matvienko and T. Kompanichenko) and two genre dimensions. Thus, in the detailed analysis of the sample, it can be argued that in the performance of N. Matvienko it sounds like a song-romance, and T. Kompanichenko’s interpretation makes clearer its genre attribution as a spiritual chant (the ethical basis). The song-romance performed by N. Matvienko appears as a bright theatrical performance. The singer represents the song in an elegant manner, appealing to the style basics of the musical baroque. In the instrumental accompaniment of the Ensemble of Ancient Music of K. Chechenia (Konstantin Chechenia), the baroque sound-ideal of the court secular culture was embodied. N. Matvienko, as the co-author of this composition, refined the baroque sounding (the deep understanding of the verbal text by G. Skovoroda, organic in the embodiment of the aesthetic and musically-immanent principles of the baroque style). “Every City Should Have Its Character and Rights” performed by T. Kompanichenko is characterized by such features as: 1) the introvert nature of the expression as a notable feature of the kobza-lyre tradition; 2) the interpretation by the performer of the “Skovoroda” song as an example of the spiritual chant (the correspondence of the repertoire of the traditional singing); 3) the organic and indissoluble nature of the vocal and instrumental components (singing performance (spivogra) as an attributive quality of the kobza-lyre tradition). Conclusions. The role of K. Cisyk as the co-author of the folk song “Verse, my verse” is evidenced in the fact that the singer managed to reach the level of the standard of interpretation of Lemko folk song, as much as possible tending to perform the song without any change. The subtle feeling of Ukrainian melody with the introduction of the contemporary sound (the high artistic orchestral arrangements by J. Cortner) is stated as a manifestation of the national sound ideal (according to O. Bench). In N. Matvienko’s performing interpretation of the song-romance “Every City Should Have Its Character and Rights” in the framework of the modern concert stage (with the sound of timbres of unique Ukrainian baroque musical instruments), the national baroque style constants (the concept of “the world as a theatre”) became more visible. The performing interpretation by T. Kompanichenko is aimed at the completeness of the disclosure of the concept of the composition as an ideological and aesthetic orientation of the kobza-lyre tradition. Without violating its style basics, the singer, as the co-author of the composition performed, appears to be the driving force behind the enrichment and development of the established stylistic principles of the kobza-lyre tradition. The provided multi-genre samples performed by the iconic representatives of the national culture are based on the established tradition of folk song and express the integrity of the creative personality of the performers as bearers of the spiritual tradition of ethnic culture. The prospects for further research in this direction may be related to the study of the iconic phenomena of the performing music culture of Ukraine, which find an appeal in the socio-cultural and research space of today

Advanced Studies in Folklore

2019 ◽  
pp. 141-160
Author(s):  
Susan G. Davis
Keyword(s):  
United States ◽  
Deep Understanding ◽  
The United States ◽  
Folk Songs ◽  
Folk Song ◽  
Library Of Congress ◽  
History Of ◽  
Cover Songs

In 1953, forced out of business by postal authorities, Legman moved to Paris. There he turned his attention to a long-planned series, Advanced Studies in Folklore, which he hoped would eventually cover songs, stories, jokes, rhymes, and vocabulary, as well as nonverbal forms like gestures and graffiti. His first volume in the series was anonymous, The Limerick (1954), which garnered him fans in the United States and provided a modest income. Legman moved on to research folk songs in English that had been censored or ignored because of their erotic or obscene content. His “Ballad” project would occupy Legman for decades. As he worked on it, Legman corresponded extensively with folklorists such as Roger Abrahams, Vance Randolph, and Kenneth Goldstein and with archivists at the Library of Congress. His letters reveal his romantic, textual orientation toward folk song and show his efforts to open folklore study to consideration of obscenity and erotica. Legman’s persistent research led to such important discoveries as an unpublished song manuscript by Robert Burns and to a deep understanding of the history of folk song collecting. It also gave him productive friendships with the British folklorists and folk song revival singers Ewan MacColl and Hamish Henderson.

scholarly journals GOTTSCHEER FOLK SONG – FROM A MEANS OF FOSTERING NATIONAL DIFFERENTIATION TO A MEMORY KEEPER IN THE DIASPORA

Traditiones ◽  
2020 ◽  
Vol 49 (2) ◽  
pp. 141-166 ◽  
Author(s):  
Anja Moric
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Folk Songs ◽  
Folk Song ◽  
Insight Into ◽  
Linguistic Islands

The article focuses on changes in the roles and uses of Gottscheer folk song from the mid-nineteenth century to the present day. The first part addresses how nationalist activists used folk songs from the end of the nineteenth century to 1941/42 in order to instill the idea of a national identity in the Kočevje region. The second part offers insight into the role of folk song in preserving the identity of present-day Gottscheers in the diaspora. The paper also touches on the concept of “German linguistic islands” and points to the role of scholarship in the (mis)understanding of the multicultural reality of linguistically mixed regions.

scholarly journals Image, Function, Meaning, and Structure: The Role of Aphorisms in the Kazakh Epic Poem Kyz Zhibek

2020 ◽  
Vol 23 ◽  
Author(s):  
Muhammadgali Abduov ◽  
Nazilya Abduova ◽  
Nicolae Stanciu
Keyword(s):  
Folk Song ◽  
Main Function ◽  
Epic Poem ◽  
Folk Literature ◽  
Image Function ◽  
The Aesthetic ◽  
Linguistic Methods ◽  
Universal Bases ◽  
And Linguistics

In this article, the function of aphorisms in folk song, which also contains lyrical and dramatic elements, is analysed and defined through cultural (mostly folklore) literature, and linguistic methods. The main purpose of this paper is to show the role of the gnomic words generated by folk creators in an epic poem’s plot, their main functions in the development of conflict and the aesthetic expression of the work. Therefore, the meaning of symbols has been interpreted in close connection with the actions, archetypes and metaphors inserted in the structure of the song. Using as an example the song “Kyz Zhybek”, which is a prominent creation in Kazakh folklore, and reviewing research papers on the subject, the present article follows the contrastive analysis in researching the echoes of archetypal traditions in a Muslim cultural frame. Ethnos in culture remains in an attempt to recover the identity of a group using what seems specific in folklore, history, and linguistics and to track them in an original ideology articulated on national and universal bases. This paper may help researchers when studying folklore heritage, with understanding the scope of using the aphorisms and the main function actualised by them in folk literature. In addition, the role of aphorisms in a folk song is systematised, and their historical and identity significance is underlined.

scholarly journals Zlata Tkach’s Concerto for Piano and Orchestra as a Culmination of the Composer Symphonic Thinking

2021 ◽  
Vol 4 (2) ◽  
pp. 287-295
Author(s):  
Alyona Vardanyan
Keyword(s):  
Research Methodology ◽  
Deep Understanding ◽  
The Other ◽  
Late Period ◽  
Piano Concerto ◽  
Thematic Structure ◽  
Creative Personality ◽  
First Time

The purpose of the article is to characterize Zlata Tkach’s Piano Concerto as the culminating composition in the genre of the composer’s symphonic music. The research methodology is based on the method of complex musicological analysis, due to which, the role of this work in the system of memorial genres of the author is determined, typical style features of her work late period are revealed, the thematic structure of the Concerto is characterized from the position of the manifestation of the principle of dialogicity and monothematism. The scientific novelty of the research is that for the first time, intonation processes in a Piano Concerto by Z. Tkach are systematically analyzed and the correlation of its traditional and innovative features is characterized. Being by genre attribution an opus with a pronounced desire to use modern means of expression, the concert is distinguished by the manifestation of the principle of microthematism and textural thematism. In the dramaturgical solution, the author conducts a constructive search in dynamic, timbre and rhythmic comparisons. At the same time, the intonational unity between the sections of the form, being the development of the romantic principle of poetry, is expressed in the form of monothematism. Conclusions. The creative method of Z. Tkach manifests itself in the synthesis of tradition and experiment. This is confirmed by the intonation-thematic structure of the Piano Concerto, in which the convergence of contrasting material contributes to the formation of an integral musical and dramatic concept. The motifs that form the basis of the monothematism complex establish intonation arches between the sections of a one-part composition, fastening them and subordinating them to a common plan. Important importance belongs to the opposition of the roles of the participants in the performance. Their dialogical activity is manifested in a peculiar way by the composer, primarily in the dialogue between the soloist and the orchestra: the interweaving of two contrasting figurative spheres is realized primarily in terms of content. The principle of monothematism is manifested especially vividly in the characterization of tragic reflections, painful reflections on the eternal conflict of the creative personality with the surrounding world, leading to a deep understanding of what exists. The other embodies the dynamism of life, dominating in the culmination of ‘action’, the accumulation of energy. Both the piano and the orchestra are equally involved in the development of both figurative principles. The resulting translational, purposeful movement towards the finale determines, along with the principle of monothematism, the integrity of the entire composition.

scholarly journals Role of Women in Telangana Statehood Movement from South India: Contributions and Case Story of Belli Lalitha

2020 ◽  
Vol 5 (1) ◽  
pp. 70-77
Author(s):  
Bongurala Gangadhar
Keyword(s):  
Peak Level ◽  
Folk Songs ◽  
Folk Song ◽  
Political Leader ◽  
Political Leaders ◽  
Grass Root ◽  
Grass Root Level ◽  
Role Of Women ◽  
Important Position

The role of women in Telangana statehood movement has immense importance and has paved a way for the realization of the dreams of women who aspired for emancipation from human trafficking, dowry, domestic violence and liquor mafia. The role of Belli Lalitha in the 1990s sparked a wave of movement with her folk songs to mobilize people to demand their rights. Belli Lalitha’s journey started with ups and downs as a school dropout, married early, labourer in a cotton mill, labour activist, folk singer and political leader, but her sudden murder by the goons and political leaders changed the pace of the movement from peak level to ground. To mobilize millions of people in the final phase of the Telangana movement, the folk song tradition familiarized at grass-root level by Belli Lalitha occupies an important position.

scholarly journals PECULIARITIES OF FUNCTIONING AND STYLISTIC ROLE OF DEMINUTIVES IN UKRAINIAN FOLK SONGS

2020 ◽  
Author(s):  
Liubov Stovbur ◽  
Keyword(s):  
Subjective Evaluation ◽  
Literary Text ◽  
Folk Songs ◽  
Word Formation ◽  
Lexical Unit ◽  
Semantic Classification ◽  
Basic Meaning ◽  
Main Thing ◽  
The Aesthetic

Deminutive vocabulary is a vivid means of emotional and allegorical expression of a literary text, especially when it comes to Ukrainian folk songs. The need for its further study in terms of word formation, semantics and expressive possibilities in the literary text will clarify the idea of reduction as a word-forming category, the peculiarities of its use in Ukrainian folk songs. High derivational activity of diminutive suffixes in the modern Ukrainian language is a manifestation of the nominative function – the desire to call small objects (rarely – minor phenomena of reality) a derivative with a diminutive formant. With the help of diminutive suffixes the aesthetic function of the word is realized – the desire to give the lexical unit of expression, to introduce into it an additional shade of expression. Diminutives often used in adult language addressed to children, and in children's language. Each group of words of subjective evaluation characterized by certain forms used in the formation of derivatives and express an inexhaustible number of different shades of meaning. Derivational analysis can be complicat by the specific possibilities of context and intonation, as in language and speech there may be an erasure of the basic meaning of the subjective-evaluation token and its transition from one group of words of subjective evaluation to another. The scientific novelty of the study lies in the multi-vector exploration: an attempt to generalize the idea of diminutives as a word-forming category, including typical suffixes with which they are formed, their word-forming meanings and productivity, types of creative bases, and to trace the stylistic role of diminutives on Ukrainian folk songs. The relevance of the proposed exploration determined by the insufficient development of the topic of diminutive derivation in song folklore, the importance and role of diminutives in Ukrainian folk songs. The connection of the researched topic with the general problems of Ukrainian stylistic word formation also seems to be theoretically important and relevant. The aim of the research is to reveal the lexical-semantic and word-forming features of diminutives, as well as their stylistic load in the texts of Ukrainian folk songs. To achieve this goal it is necessary to perform the following research tasks: to outline the theoretical foundations of the study of diminutives as a type of derived words in modern linguistic literature; to characterize the specifics of Ukrainian diminutives; to carry out semantic classification of the considered diminutives; analyze the grammatical and structural properties of diminutives; to determine the stylistic role of diminutives in Ukrainian folk songs. Research methods: the main thing in the work is the descriptive method, with its universal methods of observation, systematization and interpretation of linguistic facts and phenomena. The presentation of the researched material is subject to clear logicization: substantiation of theoretical bases, presentative-analytical presentation of the fact, formulation of the concluding part.

scholarly journals MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION

2016 ◽  
pp. 99-106
Author(s):  
Viktorija Irklienko
Keyword(s):  
Choral Music ◽  
Instrumental Music ◽  
Performing Arts ◽  
Fine Arts ◽  
Art Music ◽  
Folk Songs ◽  
Folk Song ◽  
Leading Role ◽  
Integrated Concept

The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.

scholarly journals براہوئی خلقی شاعری نا شونداری ٹی ریڈیو نا کڑد

Al-Burz ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 129-144
Author(s):  
Nargis Jabeen ◽  
Dr. Abdul Haleem Sadiq ◽  
Dr.Manzoor Baloch ◽  
Nasreen Gul
Keyword(s):  
Folk Songs ◽  
Folk Song ◽  
Main Role ◽  
Ordinary People ◽  
Common People ◽  
Important Place ◽  
Radio Access ◽  
The People ◽  
The Right

The Role of this title is the role of radio in the development of Brahui folk songs. At all times, the Agricultural Dialogue of Literature has developed. Brahui folk song is an important place in literature due to its position. Its sincere position represents its feelings and emotions. Folk songs appear in nature. These folk songs indicate emotions, feelings, love. These emotions have been a role in radio in people's access to people. Radio folk songs have access to ordinary people in the main role of radio. And those who were far away from those songs. They are also using the radio. And the radio they're talking about. The people who have been given access to the common people. That is why. That kind of folk songs have been stirred up to the far-door areas through the radio. Balochistan is the area where yet the basic facilities are not available to ordinary people. Radio access is a major access to the right there. And these agricultural issues are spreading even more literary skills in modern times. That is why access key folk songs can be accessible to ordinary people, due to which I have to play a role in radio

“Domesticating” the Foreign in Arrangements of Operas, Folk Songs, and Other Works for Chamber Ensembles

2017 ◽  
Author(s):  
Marie Sumner Lott
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Life ◽  
Chamber Ensembles ◽  
Social Settings ◽  
Opera Transcriptions ◽  
Changing Role

This chapter looks at string quartet transcriptions and arrangements. These arrangements differ from their piano-oriented counterparts in significant ways, and they reflect the changing role of chamber music—and that of opera and folk song—in musical life over the course of the nineteenth century. In translating an opera or other work for string quartet, arrangers combined seemingly opposed genres and social settings, bringing the opera house into the parlor in some cases and the countryside into the city in others. The chapter then focuses on Berlin-based publisher Adolph Martin Schlesinger. His firm produced dozens of opera transcriptions, collections of folk songs, and arrangements of Classical works for amateur chamber musicians between 1800 and 1900.

The Literary, Musical and Social Conditioning of the Czech Folk Song

Tekstualia ◽  
2018 ◽  
Vol 2 (53) ◽  
pp. 79-86
Author(s):  
Josef Prokeš
Keyword(s):  
National Culture ◽  
Folk Music ◽  
Cultural Context ◽  
Folk Songs ◽  
Folk Song ◽  
Methodological Issues ◽  
Social Conditioning ◽  
Czech Music ◽  
The Status ◽  
Song Lyrics

The article consists of three excerpts from the book Czech Folk Songs from the 60s to 80s of the 20th century by Josef Prokeš. The publication maps out the phenomenon of singer-songwriting in Czechoslovakia. The fi rst two extracts – „Folk Song lyrics in the context of Literary Studies” and „The Folk Song Genre in the context of Music Studies” – deal with methodological issues regarding the ways of analysing folk song lyrics in a wider cultural context, and the possibility of situating folk music in the fi eld of Czech Music Studies. The third excerpt, entitled „The Status of the Czech Folk Song in national culture”, discusses the sources of folk music in Czech culture, the inspirations of major singer-songwriters, the development of folk music in the analysed period as well as its signifi cance during the totalitarian era in Czechoslovakia, and fi nally poses questions about its future in the context of national culture.

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