scholarly journals Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)

Linguistics ◽  
2021 ◽  
pp. 77-87
Author(s):  
Oksana Klieshchova ◽  
Keyword(s):  
National Identity ◽  
Young People ◽  
Theoretical Analysis ◽  
Critical Analysis ◽  
Folk Songs ◽  
Folk Song ◽  
Spring Awakening ◽  
Patriotic Education ◽  
Descriptive Method ◽  
Ukrainian Society

Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.

scholarly journals MAKNA BUDAYA DALAM LIRIK-LIRIK LAGU DAERAH MINAHASA SEBAGAI KEARIFAN LOKAL (CULTURAL MEANING IN MINAHASAN TRADITIONAL SONGS LYRICS AS A LOCAL WISDOM)

Kadera Bahasa ◽  
2016 ◽  
Vol 8 (2) ◽  
Author(s):  
Stephani Johana Sigarlaki
Keyword(s):  
Folk Songs ◽  
Folk Song ◽  
Cultural Meaning ◽  
Data Collecting ◽  
Qualitative Descriptive ◽  
Traditional Songs ◽  
Descriptive Method

“Cultural Meaning in the Lyrics of Minahasa Folk Songs as Local Wisdom” is a result of study that was conducted to get cultural meaning in the lyrics of Minahasan folk songs. The problems of the study are 1) what vocabularies, phrases, clauses, and sentences that can be found in the lyrics of Minahasan folk songs that songs that show local wisdom in Minahasa and 2) what cultural meaning that bore in the lyrics of Minahasan songs.The research is aimed to indentify and classify vocabularies, phrases, clauses, and sentences found in the lyrics of Minahasan folk songs that show local wisdom in Minahasa and 2) explain cultural meaning that bore in the lyrics ofMinahasan folk songs. The methods of research that is applied is qualitative descriptive method through the stages of data collecting and analyzing. The data was gathered by technique of observation and interview that then analyzed bysemiotics theory of Pierce and Rifaterre. The result of this research is an explanation on cultural meaning that is bored in the lyrics of Minahasan folk song, such as words, phrases, and sentences as local wisdom.

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 Methodology of mastering Ukrainian song folklore in the process of training future teachers of Music

2019 ◽  
Vol 2019 (4 (129)) ◽  
pp. 109-115
Author(s):  
Gayane Chemenyan
Keyword(s):  
Folk Songs ◽  
Folk Song ◽  
Future Teachers ◽  
Natural Amenities ◽  
Vocal Training ◽  
Spiritual World ◽  
The Social ◽  
Arts Teachers ◽  
The Aesthetic ◽  
Ukrainian Society

The article raises the social problem of Ukrainian society – the reducing of the level of spiritual and aesthetic culture of youth. Its solution is addressed to the educational sphere and involves the improvement of teacher training at the level of professional excellence. The training of Musical Arts teachers who exercise a direct influence on the formation of the spiritual world the aesthetic culture of students is of particular interest. High professionalism, thorough mastery of the vocal voice allows you to captivate students, introduce them to the world of musical arts, achieve artistic impact on the personality of the student, and instill love of performing activities. The development of folk song folklore in the process of vocal training aimed at Musical Arts teachers is considered as the path to the most convenient and natural acquisition of vocal and performing skills. Various aspects of the study related to the systematization, storage and popularization of the Ukrainian folklore have been examined by numerous researchers. The article presents the technique, the development of the Ukrainian song folklore, the main principle of which is the phasing and consistency based on a concentric presentation of the material. The content of each stage has been grounded, the corresponding effective methods and principles have been indicated. The advantages of using the Ukrainian folk songs as a means of educating national identity the formation of the spiritual and aesthetic culture have been indicated. It is shown that the inclusion of song-folklore works in the repertoire allows us to solve the problems of forming vocal skills and performing skills. The genre features that create natural amenities in the process of developing the vocal voice of future teachers of Musical Arts have been highlighted. Keywords: spiritual and aesthetic culture, morality, folk-song folklore, vocal skills, performing skills, educational and methodical advantages of Ukrainian folk song, stages, methods, principles.

scholarly journals “Our song!” Nationalism in folk music research and revival in socialist Czechoslovakia

2015 ◽  
Vol 56 (4) ◽  
pp. 397-405 ◽  
Author(s):  
Matěj Kratochvíl
Keyword(s):  
National Identity ◽  
Folk Music ◽  
Critical Analysis ◽  
Traditional Music ◽  
Folk Song ◽  
Musical Identity ◽  
Folk Music Revival ◽  
Music Research ◽  
The 1950S

In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folk-inspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomenon: folk music research and folk music revival. A closer look reveals how the idea of state-promoted nationalism influenced the ways researchers presented their findings, how they filtered out material that was deemed unsuitable for publication, and how traditional music was revived on stage or in media by folk music and dance ensembles. Critical analysis of research materials and audiovisual documents from the 1950s and 1960s will show how censorship accompanied a folk song from its collection in the field, through publication, to a stylized production on stage or in film.

scholarly journals Planning arrangement of medley regional songs on choir for the preservation of local culture

2021 ◽  
Vol 5 (S3) ◽  
Author(s):  
Suryati Suryati
Keyword(s):  
Fine Arts ◽  
Field Studies ◽  
Folk Songs ◽  
Folk Song ◽  
Literature Study ◽  
Musical Performances ◽  
Cultural Arts ◽  
High School Choirs ◽  
Qualitative Descriptive ◽  
Descriptive Method

This study aims to motivate students' creativity in making musical compositions in Cultural Arts and Fine Arts learning. Student creativity is needed to preserve cultural arts. This study focuses on making folk song medley arrangements and their implementation for high school choirs. This study uses a qualitative descriptive method. Data was obtained through literature study, observation, and field studies. The sample of this research is the student choir group at SMA Muhammadiyah 2 Yogyakarta. Data were analyzed using the Miles and Huberman models, namely by data reduction, tabulation, presentation, and conclusion. The results showed that the arrangement of a medley of folk songs could make students more enthusiastic and creative in learning Arts, Culture and Arts, especially music. In addition, it was also shown that students were more creative in expressing their musical performances through the choir. The songs that were successfully arranged were “Gundul-Gundul Pacul”, “Cublak-Cublak Suweng” and “Padang Bulan”.

The problem of language identity in Volodymyr Vynnychenko’s novel I want! in contemporary sociocultural context

2020 ◽  
Vol 2019 (2 (11)) ◽  
pp. 211-227
Author(s):  
Ekaterina V. Baydalova ◽  
Keyword(s):  
National Identity ◽  
Russian Literature ◽  
The Novel ◽  
Sociocultural Context ◽  
Main Character ◽  
Life Goal ◽  
Language Identity ◽  
National Question ◽  
In The Beginning ◽  
Ukrainian Society

The novel by Volodymyr Vynnychenko I want! (1915) was, on one hand, his literary answer to the discussion on the national question in Ukrainian society, and, on the other, it was his reaction to the accusations of him being a renegade resulting from his shift towards Russian literature. In 1907-1908, after the publication of his dramas and novels which were impregnated with the idea of “being honest with oneself” (it implied that all thoughts, feelings, and acts were to be in harmony), his works could be more easily published in Russian than in Ukrainian. This situation was taken by his compatriots as a betrayal against his native language and the national cause. In the novel I want! the problem of language identity is directly linked with national identity. In the beginning of the novel the main character, poet Andrey Halepa, despite being ethnic Ukrainian, spoke, thought, and wrote poems in Russian, and consequently his personality was ruined and his actions lacked motivation. It seems that after his unsuccessful suicide attempt and under the influence of a “conscious” Ukrainian, Halepa got in touch with his national identity and developed a life goal (the “revival” of the Ukrainian nation and the building of a free-labour enterprise). However, in the novel, national identity turns out to be incomplete without language identity. Halepa spoke Ukrainian with mistakes, had difficulty choosing suitable words, and discovered with surprise the meaning of some Ukrainian words from his former Russian friends. The open finale emphasises the irony of the discourse around a fast national “revival” without struggle and effort, and which only required someone’s will.

Токтогулдун санат-насыят ырларынын тарбиялык мааниси

2019 ◽  
pp. 66-68
Author(s):  
А. Кошбаев
Keyword(s):  
Young People ◽  
Key Words ◽  
Basic Concept ◽  
Life Experiences ◽  
Folk Songs ◽  
General Philosophy ◽  
Educational Value ◽  
Pedagogical Content ◽  
Teaching Content ◽  
The Masses

Аннотация: Бул макалада санат-насыят ырларды жаштарга тарбия таалим берүүдө, адам болуп калыптануусуна өзгөчө орунга ээ. Акындык жанрда ыр түрүндө, комуздун коштоосунда же жөн гана ооз эки айтыш менен айтылган. Санат-насыят, терме мактоо ырлары менен жаштардан баштап улгайганга чейин акыл туюмун өстүрүп келген. Акындар эл аралап санат-насыят ырларын ырдашкан. Эл топтолгон тойлордо, жыйындарда тарбиялык мааниси бар ырларды көпчүлүккө жайылткан. Бул тарбиялык мааниси бар ырларды көпчүлүк өздөрүнүн балдарына тарбия берүүдө колдонушкан жана кулактарына сиңиришкен. Токтогулдун «Өмүр», «Карылык», «Насыят», «Санат», «Үлгү ырлар», «Нускалуу ырлар», «Терме», «Курдаштын көөнүн билип өт» деген философиялык ойлорго бай, педагогикалык маңызы терең ырлары жөнүндө автор баяндайт. Токтогулдун чыгармачылыгындагы эң негизги концепция-адам эң жогорку турган кымбат нерсе, улуу идеал. Акындын өзүнүн адамды асыл зат катары жогору баалашы, ага өтө гумандуулук менен мамиле кылгандыгы улуулугу болуп саналары жөнүндө сңз болот. Түйүндүү сөздөр: багыттоочу, гумандуулук, насыят, педагогикалык маңызы, санат, тарбиялоочу, терме, философиялык ойлор, элдик. Аннотация: Назидательные и нравоучительные народные песни занимают особое место в деле воспитания молодежи и становлении их как личности. Песни исполнялись акынами как в сопровождении комуза, так и без него. В данной статье показано воспитательное значение нравоучительных песен Т. Сатылганова. Т. Сатылганов через свои песни, которые несли воспитательные, созидательные функции, передавал гуманистические идеи, распространял передовые мысли среди народных масс. Автор говорит о том, что песни Токтогула «Өмүр», «Карылык», «Насыят», «Санат», «Үлгү ырлар», «Нускалуу ырлар», «Терме», «Курдаштын көөнүн билип өт» полны философских размышлений, педагогического содержания. Он раскрывает основную концепцию творчества Токтогула о том, что человек наивысшее, самое ценное существо, великий идеал. Так же автор подчеркивает, что слова песен Токтогула отличаются образностью, обладают эмоциональной силой и возвышенностью. Акын меткими и точными словами дает характеристику как человеку, так и явлениям жизни. Каждый слушатель или читатель получает для себя из песен Токтогула жизненный опыт и делает выводы. Ключевые слова: направляющий, гуманизм, назидание, педагогическое содержание, поучение, воспитательный, сборный, философские мысли, народный. Abstract: Edifying and moralizing folk songs occupy a special place in the education of young people and their formation as a person. The songs were performed by akyns both accompanied by komuz and without it. This article shows the educational value of the moralizing songs of T. Satylganov. T. Satylganov through his songs, which carried educational, creative functions, transmitted humanistic ideas, spread advanced thoughts among the masses. The author says that the songs of the Toktogul "Omur", "Karylyk", "Naziat", "Sanat", "Ulgu yrlar", "Nuscaluu, yrlar", "Terme", "Kurdashtyn konun bilip ot" complete philosophical reflection, and pedagogical content. He reveals the basic concept of creativity Toktogul that man is the highest, most valuable creature, the great ideal. The author also emphasizes that the words of the songs of Toktogul differ in imagery, have emotional power and sublimity. Akyn apt and precise words gives a description of both people and phenomena of life. Each listener or reader gets from the songs of Toktogul's life experiences and draws conclusions. Key words: guide, humanism edification, teaching content, teaching educational, general, philosophy, folk.

Makna Budaya Lagu Daerah Tontemboan

2015 ◽  
Vol 3 (1) ◽  
Author(s):  
Christina Rawung
Keyword(s):  
Observation Point ◽  
Folk Songs ◽  
The Other ◽  
Cultural Meaning ◽  
Cultural Meanings ◽  
Deep Meaning ◽  
Traditional Songs ◽  
Descriptive Method ◽  
Power Of God

Kapoya village is located in SouthMinahasa precisely in the District Suluun-Tareran. Problems of this research,what is the folk songs in Tontemboan areas that exist in Kapoya village andwhat is the function, what cultural meanings contained in the Tontemboan folksongs, and why villagers of Kapoya still sing the Tontemboan folk songs basedon their reflected the mindset. The purpose of this study is to identify the Tontemboanfolk songs and explain its function, explains the cultural meaning of theTontemboan folk songs, and explain the reason for the villagers of Kapoya stillsing the Tontemboan folk songs based on their reflected the mindset.This study used descriptive method withqualitative approach. The observation point chosen five informants. The firstone as the main informant and the other as a companion. In this study,collected twenty-seven folk songs in Tontemboan.In terms of meaningful culturalTontemboan folk songs in the Kapoya village and their functions, which consistsof 27 traditional songs and their functions. In terms of cultural meaningscontained in Tontemboan folk songs have some deep meaning, such as the peopleof Kapoya village who believe in the power of God as the Creator, the publicbelieves that happen compassion into the new year is a joy to remember therelatives and siblings. In terms of folk songs sung reason thatis the mindset of the villagers of Kapoya, namely as guidelines, instructions,and the correct way for a person to live a life based onwhat he believes and meaningful bring compassion, happy, respectful, and proudof the life lived in the Kapoya village.Keywords: Culture, Tontemboan, Kapoya

Latvju dainu atbalsis Veltas Sniķeres lirikā

2020 ◽  
pp. 124-134
Author(s):  
Sintija Kampāne-Štelmahere
Keyword(s):  
Indian Philosophy ◽  
First Language ◽  
Folk Songs ◽  
Folk Song ◽  
Ethical Values ◽  
Exile Literature ◽  
Gold Silver ◽  
Research Objects ◽  
Literary Methods ◽  
Prehistoric Time

The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.

Finding a Home on Stage: A Place for Romania in Europe?

2003 ◽  
Vol 28 (2) ◽  
pp. 193-210
Author(s):  
IOANA SZEMAN
Keyword(s):  
European Union ◽  
National Identity ◽  
Young People ◽  
Ethnic Group ◽  
Press Coverage ◽  
The European Union ◽  
Theatrical Production ◽  
Political Implications ◽  
Historical Relationship ◽  
Youth Theatre

Home, a pioneering theatrical production in post-communist Romania, cast homeless/orphaned youth in the Youth Theatre in Bucharest. The ‘orphan problem’ has been one of the most covered topics on Romania in western media, and one of the signs of Romania's ‘backwardness’, while neglect and indifference have characterized local press coverage. The significance of the production in changing the Romanian public's perception of these young people, many of whom are from the Roma ethnic group, is analysed, as are much wider political implications. Emma Nicholson, the European Parliament rapporteur for Romania, saw Home and afterwards expressed her support for Romania's acceptance into the European Union. The production and its reception permit a tracing of the historical relationship between the performance of Romanian marginality and national identity in relation to Europe.

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