A New History of American and Canadian Folk Music

2020 ◽  
Author(s):  
Dick Weissman
Keyword(s):  
Folk Music ◽  
History Of

Landmarks in the Study of Improvisation

2014 ◽  
Author(s):  
Bruno Nettl
Keyword(s):  
Middle East ◽  
Folk Music ◽  
Research Study ◽  
Art Music ◽  
Jazz Improvisation ◽  
Single Model ◽  
Oral Transmission ◽  
Western Art ◽  
Music Making ◽  
History Of

Historically, research on improvisation has been related to the discovery of non-Western musics, folk music, and jazz, and has depended on the development of recording techniques for its principal kinds of data. The concept of improvisation is not unitary, but includes many vastly different kinds of un-notated music-making, which casts some doubt on the efficacy of the term itself. In the history of Western art music, improvisation was originally ignored or seen as craft rather than art, but since ca. 1980 it has occupied increased attention. The association of improvisation with oral transmission has sometimes been misunderstood. The most successful standard research study has been the comparison of performances based on a single model, for example, raga in India, maqam and dastgah in the Middle East, or a series of chord changes or a tune in jazz. Improvisation as a concept—for example, as a metaphor of freedom—has been important in recent research.

History of Uzbek folk music

2021 ◽  
Vol 10 (9) ◽  
pp. 499-503
Author(s):  
Otamurod Eshmirza Ogli Kholmirzayev
Keyword(s):  
Folk Music ◽  
History Of

The Making of Singer-songwriters

2020 ◽  
Vol 32 (1) ◽  
pp. 78-105
Author(s):  
Shuwen Qu ◽  
Jian Xiao
Keyword(s):  
Folk Music ◽  
The Real ◽  
History Of ◽  
Process Of Urbanization ◽  
The Aesthetic ◽  
Dynamic Relationships ◽  
Discursive Field ◽  
Three Phases

This paper addresses the importance of singer-songwriters to understanding China's contemporary folk music ethos. Instead of considering singer-songwriters as those who perform their own material, this paper examines them as a discursive field that involves the notion of authorship. The first part of the paper revisits the history of singer-songwriters as a thickening process of the aesthetic and sociological voices in their singular authoritarian role. Drawing on Negus's “unbundling” concept, the myth of singer-songwriters' heightened investment of authorship is deconstructed via analysis of the dynamic relationships between the song, the performance and the real author. We then demonstrate three kinds of authorship across three phases of the making of folk singer-songwriters, namely confession, parody and scenius. The analysis reveals why and how the making of singer-songwriters and the issue of authorship are useful to the understanding of contemporary folk ethos in China. Overall, the transformation of authorship in the making of singer-songwriters reveals the complexity of textual narratives, the expansion of performance approaches, and the enhancement of sociological agency in the evolution of contemporary folk music. Folk music carves out a distinctive space for reflection on the process of urbanization and its effects on the thought and practice of people of different cultural, social and ethnic backgrounds.

Folk Music and the History of Music

1965 ◽  
Vol 7 (1/4) ◽  
pp. 19
Author(s):  
V. Belaiev
Keyword(s):  
Folk Music ◽  
History Of

Songs of Our Fathers

2017 ◽  
Author(s):  
David C. Paul
Keyword(s):  
New England ◽  
American Literature ◽  
Folk Music ◽  
State Prison ◽  
History Of ◽  
Van Wyck Brooks ◽  
Usable Past

This chapter focuses on Henry Cowell's advocacy of Charles E. Ives and his music between the years 1927 and 1947. Cowell's ideas about Ives can be grouped into two periods: those produced prior to the sentence he served at San Quentin State Prison for a 1936 conviction on a morals charge, and those produced after his release in 1940. This chapter first considers Cowell's portrait of Ives as a New England musical ethnographer before discussing the views of anthropologists, folklorists, and musical modernists about folk music. It then examines how Cowell became interested in folk music, along with his influence on Ives. It also looks at the notion of a usable past, advanced by Van Wyck Brooks in his essay “On Creating a Usable Past,” in which he called for a rewriting of the history of American literature. The chapter concludes with an assessment of Ives's “Concord” Sonata and Ives's commitment to freedom (in the sense of refusing to impose a fixed final form on his works).

Roots of the Revival

2014 ◽  
Author(s):  
Ronald D. Cohen ◽  
Rachel Clare Donaldson
Keyword(s):  
Folk Music ◽  
Pop Culture ◽  
The United States ◽  
Greenwich Village ◽  
Transatlantic History ◽  
Transatlantic Exchange ◽  
History Of ◽  
Work Songs ◽  
Cultural Connections ◽  
Harry Belafonte

This book presents a transatlantic history of folk's midcentury resurgence that juxtaposes the related but distinct revivals that took place in the United States and Great Britain. After setting the stage with the work of music collectors in the nineteenth century, the book explores the so-called recovery of folk music practices and performers by Alan Lomax and others, including journeys to and within the British Isles that allowed artists and folk music advocates to absorb native forms and facilitate the music's transatlantic exchange. The book places the musical and cultural connections of the twin revivals within the decade's social and musical milieu and grapple with the performers' leftist political agendas and artistic challenges, including the fierce debates over “authenticity” in practice and repertoire that erupted when artists like Harry Belafonte and the Kingston Trio carried folk into the popular music mainstream. From work songs to skiffle, from the Weavers in Greenwich Village to Burl Ives on the BBC, the book offers a frank and wide-ranging consideration of a time, a movement, and a transformative period in American and British pop culture.

scholarly journals The Application of Piano Accompaniment in Folk Music

2021 ◽  
Vol 1 (1) ◽  
pp. 5-7
Author(s):  
Qian Zheng
Keyword(s):  
Folk Music ◽  
Instrumental Music ◽  
Status Quo ◽  
Musical Instruments ◽  
Good Luck ◽  
Modern Music ◽  
The Status ◽  
History Of

Piano accompaniment has a history of more than one hundred years. Chinese national instrumental music has a long history and rich culture, which is an indispensable part in the history of Chinese folk music. With the development and change of modern music, Chinese folk music has entered an era of diversified development. As the "king of Musical Instruments", the combination of piano and Chinese national instrumental music was born by good luck. This paper mainly serious piano accompaniment used in folk music in the production, the status quo, so that more people understand, accept and pay attention to this new things, and even more to develop and innovation, to create more excellent works.

scholarly journals THE FIRST OPERA OF THE TURKISH WORLD "LEYLI AND MAJNUN’’

2021 ◽  
Vol 13 (2) ◽  
pp. 305-320
Author(s):  
Ömer TÜRKMENOĞLU ◽  
Zümra AZİZOĞLU
Keyword(s):  
Folk Music ◽  
Western Music ◽  
Tonal Structure ◽  
Music And Literature ◽  
The Public ◽  
History Of ◽  
The Subject ◽  
Many Sources ◽  
First Time ◽  
The City

The Turkish world's opera history gave its first example in 1908 with the opera "Leyli and Majnun" by Azerbaijani composer Üzeyir Hacıbeyli. According to many sources, "Leyli and Majnun" is described as the first opera of the Turkish world and the Islamic world, and the east. The most important feature of this opera is the masterful synthesis of classical western music and folk music. The opera, which was composed for the first time in this way, influenced the east with its staging and ensured that the art of opera was adopted by the public. The great composer Uzeyir Hajibeyli was born in the city of Shusha in Azerbaijan, which was developed in the field of literature and music and called the "natural conservatory." He developed his existing talent here and built it on solid foundations. He was interested in music and literature, wrote many books, articles, and was a writer for newspapers. The subject of the opera Leyli and Majnun is taken from Fuzuli's "Leyli and Majnun" poetry of the same name. At the age of 13, the composer decided to write this opera, influenced by the theater show "At the tomb of Majnun Leyli'' which he watched in Shusha, his home city. He started working on opera in 1907 when he was only 22 years old. By bringing a different perspective to opera, he used the tonal structure of western music with 'mugham,' also known as Azerbaijani folk music. This type of opera is also called "Mugam Opera.'' The opera, which was composed and performed despite the conditions of the period, preserved its originality by combining two cultures and was performed many times in other countries. Operas from the Turkish world are rarely staged in our country, and there is a need for such an article because the opera "Leyli and Majnun" has not been staged much in Turkey and there are very few theses, articles, and books about it. In this study; Different titles have been created such as the history of Azerbaijan opera, the life of Uzeyir Hajibeyli, the composer's process of creating the opera, and the content of the opera Leyli and Majnun. Keywords: Leyli and Majnun, Uzeyir Hajibeyli, Turkish World, Opera

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