Poetry of the Baxtiārīs, Love Poems, Wedding Songs, Lullabies, Laments, Fereydun Vahman, and Garnik Asatrian, Copenhagen, Det Kongelige Danske Videnskabernes, Munksgaard, 1995, 216 pp.

Vietnam represents a country with 54 ethnic groups; however, the majority (88%) of the population are of Vietnamese heritage. Some of the other ethnic groups such as Tay, Thai, Muong, Hoa, Khmer, and Nung have a population of around 1 million each, while the Brau, Roman, and Odu consist only of a hundred people each. Living in northern Vietnam, close to the Chinese border (see Figure 1), the Tay people speak a language of the Central Tai language group called Though, T'o, Tai Tho, Ngan, Phen, Thu Lao, or Pa Di. Tay remains one of 10 ethnic languages used by 1 million speakers (Buoi, 2003). The Tày ethnic group has a rich culture of wedding songs, poems, dance, and music and celebrate various festivals. Wet rice cultivation, canal digging and grain threshing on wooden racks are part of the Tày traditions. Their villages situated near the foothills often bear the names of nearby mountains, rivers, or fields. This study discusses the status and role of the Tày language in Northeast Vietnam. It discusses factors, which have affected the habitual use of the Tay language, the connection between language shift and development and provides a model for the sustainability and promotion of minority languages. It remains fundamentally imperative to strengthen and to foster positive attitudes of the community towards the Tày language. Tày’s young people must be enlightened to the reality their Tày non-usage could render their mother tongue defunct, which means their history stands to be lost.

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Songs and Rituals of the Altai Mounting District from the Stepan Gulyaev’s Collection

OPERA MUSICOLOGICA ◽

10.26156/om.2020.12.1.005 ◽

2020 ◽

pp. 70-100

Author(s):

Л.П. Махова

Keyword(s):

Russian Literature ◽

Title Page ◽

Altai Mountain ◽

South Siberia ◽

Wedding Songs ◽

Wedding Ceremony ◽

Folk Poetry ◽

Poetry Collection

В Институте русской литературы Российской академии наук (г.Санкт-Петербург) хранится рукопись С.И.Гуляева, которая состоит из пяти тетрадей: Песни обрядные, Свадебные обряды, Песни круговые, Песни девичьи, женские и юнацкие, Знахарство. В совокупности они составляют самый ранний сборник народной поэзии Алтайского горного округа. Некоторые тексты народных песен и заговоров, а также фрагменты описания свадебного обряда Гуляев записал на Алтае еще в 1820-е годы. Частично материалы сборника были опубликованы в 1848 году в статье Этнографические очерки Южной Сибири . Затем до 1881 года автор вносил в рукопись дополнения: новые записи текстов песен и заговоров, этнографические описания свадебного обряда. В тетрадь Песни круговые он вложил черновик статьи о выпускнике Санкт-Петербургской консерватории, оперном и камерном певце Иване Васильевиче Матчинском, выступившем летом 1875 года с концертом в Барнауле. К статье Гуляев приклеил титульный лист тетради круговых песен, после чего в письме сообщил М.И.Писареву об окончании работы над сборником народной поэзии. Позднее в тетрадь Свадебные обряды собиратель внес описание умыкания невест у крещенской Иордани, случившееся в Барнауле в 1881 году. Тогда же он написал письмо С.Н.Шубинскому с вопросом о возможной публикации своего собрания в журнале Исторический вестник . Не считая заговоров, в четырех тетрадях рукописи содержится 291 текст хороводных (98), свадебных (84), лирических (72), плясовых (16) песен, причитаний (3 свадебных и 2 похоронных), духовных стихов (15) и рацейки (1), из них 156 не были опубликованы при жизни автора. В приложении к статье приводится содержание этих тетрадей сборника с отсылками к публикациям. Некоторые песни из собрания Гуляева в 19662016 годы удалось записать с напевами во время экспедиций Московской консерватории в южные районы Алтайского края. The Manuscript Department of the Russian Literature Institute (St. Petersburg) keeps a Stepan Gulyaevs manuscript, consisting of five notebooks: Ritual Songs, Wedding Ritual, Round Songs, Girls, Womens and Mens Songs, Sorcery. Together they form the earliest collection of the folk poetry of Altai mountain district. Some of these texts, along with the description of the wedding ceremony, were recorded by Gulyaev in Altai back in the 1820s. Partly the material was published in 1848, in Gulyaevs article Ethnographic Essays of South Siberia. After that, until 1881, he was making additions to the manuscript: the new lyrics, healers spells, and other. Gulyaev enclosed inside the Round Songs notebook the draft of his article about the recital of Ivan V.Matchinsky, a singer and a graduate of the St. Petersburg Conservatoire. The recital was held in Barnaul in 1875. Gulyaev glued the title-page of the Round Songs notebook to the article and then reported in the letter to Modest I.Pisarev that he had completed his work on the folk poetry collection. Gulyaev added the Wedding Rituals notebook with the description of the bride theft that happened in 1881 in Barnaul. At the same time he wrote a letter to Sergey Shubinskiy with a question about a possibility to publish his collection in the Historical Herald journal. Besides the spells, the four song notebooks contain 291 lyrics of round songs (98), wedding songs (84), lyrical songs (72), dance songs (16), spiritual poems (15), and other. The contents of these notebooks are attached to the article with the references to the published lyrics. Some of the songs from Gulyaevs collection were recorded with melodies in 19662016 during the expeditions to the southern regions of Altai.

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WEDDING MUSIC AND POETRY FOLKLORE OF THE RUSSIAN POPULATION OF THE SOUTHERN URALS

Arts education and science ◽

10.36871/hon.202003022 ◽

2020 ◽

Vol 1 (3) ◽

pp. 183-188

Author(s):

N. A. Ursegova ◽

Keyword(s):

Southern Urals ◽

Point Of View ◽

Russian Population ◽

The Southern Urals ◽

Complex Approach ◽

Republic Of Bashkortostan ◽

Wedding Songs ◽

The Republic ◽

Wedding Music ◽

Stylistic Unity

The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing of song samples. The complex approach used in the article in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classifications, allows to systematize the repertoire of the Beloretsk wedding, to distinguish two musical and stylistic groups — song-and-lament and song-and-dance groups. Each musical and stylistic group combines a part of the wedding repertoire, which is characterized by a certain set of typical features reflecting the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is conducted at the level of verbal, syllabic, and pitch parameters of chants organization. The found regularities allow to draw a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, providing not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole.

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The Text and Metre of Sapph. fr. 111 V.

Mnemosyne ◽

10.1163/1568525x-12342575 ◽

2019 ◽

Vol 72 (5) ◽

pp. 705-716

Author(s):

Felix J. Meister

Keyword(s):

Wedding Songs ◽

New Interpretation

AbstractSappho’s fr. 111 V. is an important specimen of Sapphic epithalamia and of Greek wedding songs in general. At its heart, however, are textual uncertainties that prevent a comprehensive engagement with this fragment. This article offers a thorough re- examination of its text and metre. It first revises available approaches and discusses fundamental problems underlying all of them. Then, it analyses the text of the fragment, which serves as a basis for a new interpretation of its metre and structure.

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A Fragment of Sappho Reinterpreted

The Classical Quarterly ◽

10.1017/s0009838800001592 ◽

1963 ◽

Vol 13 (1) ◽

pp. 51-52 ◽

Cited By ~ 4

Author(s):

G. S. Kirk

Keyword(s):

Lyric Poetry ◽

Wedding Songs ◽

Bridal Chamber

It seems very commonly agreed that Sappho's wedding-songs display none of the ritual obscenity so frequent in the genre. Thus D. L. Page wrote of fr. i ioa (Lobel-Page) that ‘There is no trace here or elsewhere in Sappho of that ribaldry which was characteristic of the songs recited at this and other stages of Greek wedding-ceremonies’ (Sappho and Alcaeus [Oxford, 1955], p. 120). Similarly Sir Maurice Bowra asserted of fr. 111 (L.-P.) that it is ‘neither bawdy nor exalted, but playful. If the humour is a bit primitive, that is due to tradition, which expected jokes at this level’ (Greek Lyric Poetry [Oxford, 1961], p. 216). On the next page he writes of the songs sung outside the bridal chamber, as distinct from those sung in the procession thither, that ‘Here too Sappho seems to avoid bawdry but is not averse from rather elementary jokes’.

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Sappho

Classics ◽

10.1093/obo/9780195389661-0074 ◽

2012 ◽

Author(s):

Dimitrios Yatromanolakis

Keyword(s):

Early Modern ◽

Latin American ◽

Song Cycles ◽

Late Archaic ◽

Gender Ideologies ◽

Her Family ◽

Wedding Songs ◽

China And Japan ◽

Roman Antiquity ◽

Work And Life

This bibliographical article focuses on studies on Sappho in the 20th and 21st centuries. Sappho, on whom modern research has been voluminous and labyrinthine, is the only ancient woman poet whose work and polyvalent figure have exerted lasting and deep influence on medieval, early modern, and modern European intellectual and sociocultural history. Her figure has further influenced modern Canadian, American (especially Latin American), African, and Australian gender ideologies; her influence goes as far as China and Japan. A Greek melic poet who, in Antiquity, was sometimes known simply as “the poetess,” just as Homer was known as “the poet” (Galen 4.771)—Sappho was born on Lesbos (probably) in the late 7th century bce. On the basis of later sources (the Parian Marble, Strabo, Athenaeus, Eusebius, the medieval Greek lexicon/encyclopedia entitled Suda), broad scholarly consensus holds that she composed many of her poems between c. 600 and 580 bce. Naturally, uncertainty remains as to the exact dates of her floruit, as there is uncertainty about the exact dates of the work and life of any Archaic poet (except for Pindar, whose life spans the Late Archaic and the Early Classical periods). Apart from numerous other poems, she composed epithalamia (wedding songs). Her compositions about her companions or her family might be viewed as song cycles. Extremely little is known about her activities in Mytilene, probably the most important city of Lesbos. A late-2nd- or early-3rd-century Oxyrhynchus papyrus (P.Oxy. 1800 fr. 1) and the 10th-century Greek lexicon Suda (Σ 107 Adler) provide accounts of her life (cf. P.Köln 5860, dated to the 2nd century ce): most of this late information belongs to what some scholars conventionally call “biographical tradition.” Mainly, but not exclusively, on the basis of ancient testimonia and specific aspects of her preserved fragments, scholars have often attempted to reconstruct hypothetically the original context within which she performed her compositions: such reconstructions are discussed in The (So-Called) Sapphic Question or Sapphofrage. It has recently been assumed that her compositions were transmitted by citharodes in the 6th and 5th centuries bce, that is, performed by them in the context of public competitions at the festival of the Panathenaea in Athens, but no ancient evidence exists for such a hypothesis. Sappho was granted an unparalleled status as a poet and sociocultural figure in Greek and Roman Antiquity. There is no complete compilation of all the ancient (and medieval Greek) testimonia. New fragmentary compositions of Sappho preserved on papyrus were discovered and published in 2004 and in 2014. Their importance is discussed in New Fragments and Ancient Transmission.

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The gender agenda in Indo-Fijian wedding songs

South Asian Diaspora ◽

10.1080/19438192.2016.1141460 ◽

2016 ◽

Vol 8 (1) ◽

pp. 63-77 ◽

Cited By ~ 1

Author(s):

Vicky Vishal Shandil

Keyword(s):

Wedding Songs

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FOLKLORE TRADITIONS OF KANASHSKY, YANTIKOVSKY AND URMARSKY DISTRICTS OF THE CHUVASH REPUBLIC: GENRE COMPOSITION

Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev ◽

10.37972/chgpu.2020.107.2.006 ◽

2020 ◽

pp. 41-50

Author(s):

Галина Геннадьевна Ильина ◽

Алексей Анатольевич Александров

Keyword(s):

Comparative Analysis ◽

Life Events ◽

Literary Character ◽

The Family ◽

Wedding Songs ◽

Chuvash Republic ◽

The Moment ◽

Local Traditions

В статье рассматривается жанровое разнообразие песен некоторых деревень Канашского, Янтиковского и Урмарского районов Чувашской Республики. Рассмотрение выбранных нами автохтонных локальных традиций продиктовано тем, что именно из этих районов в разное время произошло переселение чувашей в Сибирь. Нами планируется сравнительное изучение фольклора переселенцев на новых территориях, которое будет проведено позже. Изучение локальных традиций позволит нам провести дальнейшее исследование. Фольклор рассматриваемых районов чрезвычайно богат и сложен. В ходе работы выявлены песни, исполняемые в этих районах в обрядовой и необрядовой сфере жизни чувашей. К обрядовой песне принято относить песни, исполняемые во время календарных праздников, и семейно-бытовые песни. Широко бытовали и бытуют в указанных районах календарные песни. Записаны здесь песни новогоднего цикла Шерни / Кăшарни / Кĕшерни юррисем, çăварни (масленичные), рет юррисем (букв. ‘песни родни’), исполняемые во время Мункун. Из семейно-бытовых песен широко распространенными являются туй (свадебные) юррисем, салтак юррисем (рекрутские песни и причитания). В ходе исследования не обнаружены записи пытару/пумилкке/асăну юррисем (похоронно-поминальных песен). Неполно представлен детский фольклор. Судя по материалу, активно исполнялись в этом ареале молодежные лирические песни. Вăйă юррисем (хороводные песни) схожи с улах (посиделочными) песнями, которые сопровождались ташă такмакĕсем, шÿтлĕ (шуточными) и игровыми песнями. Тăлăх-турат юррисем (сиротские песни) по мотиву расставания схожи с песнями хĕр йĕрри - плачами невесты, рекрута и çĕн çĕре каякансен юрри (переселенцев). Ĕç юррисем (трудовые песни) представлены пока неполно. В песенном творчестве указанных районов имеется множество сюжетных песен пейĕт, для которых характерными являются событийное изображение фактов жизни и психологическое переживание героя. Многочисленными являются записи ĕçкĕ-çикĕ юррисем (пирушечные песни) с разновидностями: кĕреке (застольные), хăна (гостевые) юррисем. The article considers the genre diversity of the songs in a number of villages Kanashsky, Yantikovsky, Urmarsky districts of the Chuvash Republic. The authors have chosen these autochthonous local traditions because the Chuvash people migrated to Siberia from these particular districts at different times. The authors are planning to make a comparative analysis of the folklore of the Chuvash migrants. The study of the local traditions will allow the authors to make further research. The folklore of the considered districts is very rich and complicated. The research revealed the songs related to ritual and non-ritual spheres life of the Chuvash people in those districts. Ritual songs are considered to be family and genre songs and the ones, which were used during calendar festivals. Calendar songs were widely performed in the mentioned districts and are still being performed at the moment. The authors have recorded the songs related to the New Year’s season - Sherni/Kesharni/Kesherni songs, shchevarni (Maslenitsa songs), ret yurresem songs (lit. songs of family and relatives) that were performed on Munkun. As for the family and genre songs, tuy yurrisem (wedding songs) and saltak yurrisem (recruitment songs and lamentation) are widely spread. During the research the records of pytaru/pumilkke/asanu yurissem (funeral songs) have not been found. Child folklore is partially presented. According to the material, youth lyric songs were actively performed in this area. Vaiyayurrisem (round songs) resemble ulakh (gathering songs) and accompanied by shutle / tasha takmakesem (humorous songs) and playing songs. Talakh-turat yurrisem (orphan’s songs) resemble kher yerri (bride lamentation), recruit and schen schere kayakansen (migrants’ songs) in terms of the theme. Esch yurrisem (labour songs) are partially presented. There are a lot of peyet (narrative songs) among the songs of the considered districts, which represent life events and emotions of the literary character. There are also a lot of records of eschke-schike yurrisem (feast songs) and its variations: kereke (drinking songs), khana yurrisem (guest songs).

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Representation of the Concept Jumo "God" in Mari Folk Songs

Ethnic Culture ◽

10.31483/r-64071 ◽

2019 ◽

pp. 40-44

Author(s):

Lubov Alekseevna Abukaeva

Keyword(s):

Research Methods ◽

Comparative Method ◽

Component Analysis ◽

Folk Songs ◽

Traditional Religion ◽

Continuous Sampling ◽

The Earth ◽

Wedding Songs

The article is devoted to the analysis of the religious views of Mari, which are reflected in such genres of folklore as guest and wedding songs. The purpose of the article is to identify ways and means of representing the concept of humo «god» in Mari folk songs. Research methods: continuous sampling, comparative method, component analysis. Results, discussion. The following characters of the Mari pantheon are represented in the songs: the Bright God, the predecessor, the mother of God, the mother of the earth, the mother of wealth, the angel, the daughter of God, the prophet, the daughter of the prophet, the son of the prophet, and the bridegroom prophet. Conclusion. The content of folk songs also presents some stories from mythology, fragments of religious rites and the foundations of the creed of the Mari traditional religion.

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