Mediating Flemish Folk Songs Across Cultural Borders During the Nineteenth Century: From Patrimonial Monuments to Musical Propaganda

2018 ◽  
pp. 235-262 ◽  
Author(s):  
Lieven D’hulst
Keyword(s):  
Nineteenth Century ◽  
Folk Songs ◽  
Musical Propaganda

Harmonious Investigators of Nature: Music and the Persona of the German Naturforscher in the Nineteenth Century

2003 ◽  
Vol 16 (1-2) ◽  
pp. 121-145 ◽  
Author(s):  
Myles Jackson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Critical Role ◽  
Folk Songs ◽  
Cultural Resource ◽  
Early Nineteenth Century ◽  
Crucial Component ◽  
Choral Society ◽  
Scientific Identity ◽  
German Association

ArgumentDuring the early nineteenth century, the German Association of Investigators of Nature and Physicians (Versammlung Deutscher Naturforscher und Ärzte) drew upon the cultural resource of choral-society songs as a way to promote male camaraderie and intellectual collaboration. Investigators of nature and physicians wished to forge a unified, scientific identity in the absence of a national one, and music played a critical role in its establishment. During the 1820s and 30s, Liedertafel and folk songs formed a crucial component of their annual meetings. The lyrics of these tunes, whose melodies were famous folk songs, were rewritten to reflect the lives of investigators of nature and physicians. Indeed, the singing of these Liedertafel songs played an important part in the cultivation of the Naturforschers’ persona well into the twentieth century.

The Folk Song Project at the Confluence of Music and Nationalism

2017 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Nineteenth Century ◽  
South America ◽  
Cultural History ◽  
Intellectual History ◽  
English Translation ◽  
Paradigm Shift ◽  
Folk Songs ◽  
Folk Song ◽  
World Music ◽  
Musical Thought

Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of the chapter contains translations from Herder’s own introductions to the songs, and part two contains twenty-four songs that represent the paradigm shift inspired by this monumental work on folk song.

scholarly journals Slavic Scholar and Educator Pyotr Bezsonov (1827-1898): A Life and Legacy

2021 ◽  
Vol 10 (3) ◽  
pp. 134
Author(s):  
Alexander Kaplin ◽  
Olha Honcharova ◽  
Valentyna Hlushych ◽  
Halyna Marykivska ◽  
Viktoriia Budianska ◽  
...  
Keyword(s):  
Nineteenth Century ◽  
Folk Songs ◽  
Research Activity ◽  
Slavic Languages ◽  
European Culture ◽  
History Of ◽  
And Linguistics ◽  
Slavic Studies

Nowadays the name of Pyotr Bezsonov, the acknowledged in pre-revolutionary Russia scholar, is known to but a narrow circle of researchers as some myths and stereotypes about him have proved difficult to overwhelm. Yet, he traced in the history of Slavic studies as an assiduous collector of ancient Russian and Slavic literature works and explorer of Bulgarian, Belarusian and Serbian folklore, folk songs in particular, a scrutinizer of the Slavic languages and dialects, a talented pedagogue and editor. Based on the genuine sources, such as letters, documents and memoirs, as well as nineteenth century publications, which have become the bibliographic rarities, this article aims to present the revised biography of the scholar through revealing the hitherto unknown or underestimated facts of his life and research activity; also, to highlight his achievements in the field of Slavic history, literatures and linguistics; finally, to determine the place deserved by Bezsonov in Russian and European culture as a whole. The special attention is given to the Kharkiv period, related to the years of his professorship at Kharkiv University.   Received: 17 February 2021 / Accepted: 9 April 2021 / Published: 10 May 2021

Representing Russia's Orient

2020 ◽  
Author(s):  
Adalyat Issiyeva
Keyword(s):  
Nineteenth Century ◽  
Art Songs ◽  
Folk Songs ◽  
Folk Song ◽  
Late Nineteenth Century ◽  
Imperial Identity ◽  
Musical Discourse ◽  
Political Differences ◽  
Russian Composers ◽  
Musical Elements

This book examines the musical ramifications of Russia’s nineteenth-century expansion to the east and south and explores the formation and development of Russian musical discourse on Russia’s own Orient. It traces the transition from music ethnography to art songs and discusses how various aspects of (music) ethnographies, folk song collections, music theories, and visual representations of Russia’s ethnic minorities, or inorodtsy, shaped Russian composers’ perception and musical representation of Russia’s oriental “others.” Situated on the periphery, minority peoples not only defined the geographical boundaries of the empire, its culture, and its music but also defined the boundaries of Russianness itself. Extensively illustrated with music examples, archival material, and images from long-forgotten Russian sources, this book investigates the historical, cultural, and musical elements that contributed to the formation and creation of Russia’s imperial identity. It delineates musical elements that have been adopted to characterize Russians’ own national hybridity. Three case studies—well-known leader of the Mighty Five Milii Balakirev, lesser known Alexander Aliab’ev, and the late-nineteenth-century composers affiliated with the Music-Ethnography Committee—demonstrate how and why, despite the overwhelming number of pejorative images and descriptions of inorodtsy, these composers decided to disregard their social and political differences and sometimes confused and combined diverse minorities’ identities with that of the Russian “self.” The analysis of the arrangements of folk songs of Russia’s eastern and southern minorities reveals the trajectory of the ways their music was treated, from denigration and “othering” to embracing peoples from all the provinces of the empire.

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.

George Sand and Music Ethnography in Nineteenth-Century France

2015 ◽  
Vol 12 (2) ◽  
pp. 205-225 ◽  
Author(s):  
Anne Marcoline
Keyword(s):  
Nineteenth Century ◽  
Cultural Production ◽  
Folk Music ◽  
Folk Songs ◽  
George Sand ◽  
Rigorous Approach ◽  
Personal Significance ◽  
Art Form ◽  
Nineteenth Century France ◽  
History Of

In Les Visions de la nuit dans les campagnes (1851–1853), George Sand responded to the French government’s newly announced project of collecting the ‘popular’ or folk songs of France, with a critique of their methods of collection as perfunctory. Sand was adamant not only about a more rigorous approach to amassing the nation’s folk songs but also about the inclusion of the music with the lyrics, and her concise, insightful critique of archival methods came after nearly two decades of her own occupation with rendering music in her fiction and, more immediately, a decade focused on folk music in many of what are known as her ‘rustic’ novels. In particular, I bring to the fore in this article discussions in Sand’s expansive novel Consuelo; La Comtesse de Rudolstadt (1842–1844) which both insist upon the historical, cultural and personal significance of the preservation of folk music and navigate the tensions of preserving an art form that is fundamentally non-static and ephemeral, in order to articulate the value Sand places on musical sensibility, memory and heritage. I argue that Les Visions de la nuit dans les campagnes stands along with Sand’s fiction as an ardent defense against the loss of the musical heritage of provincial France in the hands of the state’s archivists. This article thus situates George Sand’s investment in the cultural production from the Berry region within the early history of nineteenth-century music ethnography in France, while maintaining Sand’s own understanding of her cultural production as poetic rather than scientific.

scholarly journals Born in the USA: The Cigar Box Guitar, Object Displacement and Performative DIY

2020 ◽  
Author(s):  
Paul Atkinson
Keyword(s):  
Nineteenth Century ◽  
Virtual Communities ◽  
Musical Instrument ◽  
Folk Songs ◽  
The Internet ◽  
Cultural Artefact ◽  
The Usa ◽  
Do It Yourself

Abstract The cigar box guitar is a long-standing cultural artefact which, over the course of its history, has undergone a series of displacements. Initially an acoustic instrument made by impoverished people in the mid-nineteenth century to fulfil a social need to make music and help the singing of traditional folk songs, it soon became a simple do-it-yourself project associated largely with children, and later, in the 1990s, it was reimagined as a serious, electrified musical instrument employed in a particular, performative form of DIY. In this most recent incarnation, the Internet has enabled the cigar box guitar to break free of its American roots to become the focus of a global practice of Performative DIY and a vehicle through which physical and virtual communities of makers support each other, express themselves, explore their creativity and display their self-identities.

Emblematizing Hope, Inspiration and the Call to Reconsider: Australian Flora, Fauna and Land in Judith Wright

2018 ◽  
Vol 5 (25) ◽  
Author(s):  
Susan Alexander
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Crucial Role ◽  
Folk Songs ◽  
Second World War ◽  
World War ◽  
Early Twentieth Century ◽  
Australian Flora ◽  
Post War ◽  
Second World

Poetry played a very crucial role in laying the foundations of Australian literature. The enormous collection of vibrant folk songs and ballads might have been the reason for providing such a strong foundation for poetry. Australian poetry can roughly be divided into three periods- the nineteenth century which endeavoured to create an indigenous literary poetry, the early twentieth century lasting upto the period of the Second World War and the later twentieth century extending from the post war period to the present. Australian Bush music is the most popular and is a narration of people’s experiences of living and surviving in the Australian bush.

Bhojpuri folk songs of Indians in Fiji

2018 ◽  
Vol 5 (1) ◽  
pp. 92-103
Author(s):  
Raj Sekhar Basu
Keyword(s):  
Nineteenth Century ◽  
Sex Ratio ◽  
Folk Songs ◽  
Men And Women ◽  
Left Behind ◽  
The Pacific ◽  
Archival Documents

The export of Indian indentured labour to British oversea colonies containing sugar, cotton and indigo plantations began around mid-nineteenth century. One of the destinations was Fiji, the British island colony in the Pacific, to which the Indian labourers, men and women, mainly went from East UP and West Bihar where Bhojpuri was spoken. While archival documents can help us trace the fortunes of individuals, their own feelings and sentiments are best preserved in their songs orally carried from one mouth to another for decades. The earlier songs contain mournful dirges over separation, the misery of those whom they left behind and their own afflictions in Fiji’s harsh white-owned plantations. As the migrations ceased, the Fiji–Indian people’s interest shifted to restoring their connection with Hinduism and its customs, and this has become more prominent in later folk songs. The gender problem (women outnumbered by men) was severe earlier but has now eased as with the passage of generations, the sex ratio has normalised.

Sign in / Sign up

Export Citation Format

Share Document