János Jagamas’ Folk Song Arrangements

2020 ◽  
Vol 65 (2) ◽  
pp. 307-320
Author(s):  
Éva Péter
Keyword(s):  
Folk Music ◽  
Music Teachers ◽  
Scientific Work ◽  
Folk Song ◽  
Reliable Data ◽  
Mixed Choir ◽  
Folk Song Arrangements

"The aim of the following study is to present János Jagamas’ vocal folk song arrangements by analyzing the melodies and the compositional methods used within the works. During his scientific work at the Folklore Institute of Cluj-Napoca, the outstanding folk music researcher uncovered and recorded reliable data by collecting, recording, analyzing, and classifying not only Hungarian but also Romanian and Bulgarian melodies. He processed some of the melodies he gathered using a variety of compositional procedures. The works are recommended for children, youth, and amateur choirs, so it is important to get to make them known among music teachers and conductors. Keywords: folk song adaptations, homogeneous and mixed choir works, polyphonic and homophonic editing techniques."

scholarly journals The First Ethnomusical Publications by Volodymyr Hoshovskyi

2021 ◽  
Vol 16 ◽  
pp. 42-51
Author(s):  
Vira Madyar-Novak
Keyword(s):  
Folk Music ◽  
Early Period ◽  
Historical Review ◽  
Scientific Work ◽  
100Th Anniversary ◽  
Folk Song ◽  
Scientific Career ◽  
Scientific Biography ◽  
New Perspective ◽  
First Time

Relevance of the study. In 2022, the world community will celebrate the 100th anniversary of the outstanding Ukrainian ethnomusicologist Volodymyr Hoshovskyi. This date inspires a research of Hoshovskyi’s scientific career and his achievements. The main purpose of the study is to focus on less known period of scientific biography of V. Hoshovskyi and discuss his first ethnomusicological publications in 1958–1961, written in Transcarpathia in the early period of his scientific career. Scientific novelty of the research. V. Hoshovskyi’s early publications are considered in a new perspective. For the first time, the links between his four first published works have been revealed. Some of the publications have not yet been deeply analyzed in Ukrainian ethnomusicology. The main results and conclusions of the study. The study proved that not only a few, as was thought previously, but all early publications of V. Hoshovskyi discuss the issues of musical dialectology. The study «On the issue of musical dialects of Transcarpathia» (1958) became the first study on this problem. Taking into account the geographical landscape and stylistic heterogeneity of the folk music of the region, the scientist sketched out the main groups of musical dialects. The article «Some peculiarities of the historical development of Ukrainian folk song in Transcarpathia» (1959) touched upon the aspects of history influencing the formation of musical dialects and revealed such aspects as 1) the East Slavic origin of Transcarpathian music; 2) the processes of assimilation during the thousand years of Hungarian expansion, 3) contacts between inhabitants of the multinational Austria and Hungary. The issue of the influence of Czech and Slovak folklore on folk songs of Transcarpathia V. Hoshovskyi considered separately in the publication «Czech and Slovak songs in Ukrainian folklore of the Transcarpathian region of the Ukrainian SSR» (Prague, 1961; 1962, in Czech), thereby completing a historical review of multinational influences on folk music of Transcarpathia. The key role for the further Hoshovskyi scientific work had the article «Musical archaisms and their dialectal features in Transcarpathia» (1960), dedicated to the development of the methodology of musical and dialectical research. The innovative approach of V. Hoshovskyi consisted in a combination of achievements in related sciences: linguo-geography and ethnomusicology and was associated with a great rise in linguodialectic research in Transcarpathia. Thus, the early publications of V. Hoshovskyi identified the object of research, the reasons for the formation of musical dialects and outlined the methodology for their study. These studies reflected the stage of the formation of V. Hoshovskyi as a scientist, and in a broader sense – the first steps of Ukrainian ethnomusicology towards the development of musical dialectology.

scholarly journals The Harmonization of Folk Songs in Kodály’s Workshop

2020 ◽  
Vol 60 (1-4) ◽  
pp. 265-279
Author(s):  
Pál Richter
Keyword(s):  
Folk Music ◽  
Folk Songs ◽  
Folk Song ◽  
Bela Bartok ◽  
Western Music ◽  
Zoltan Kodaly ◽  
Depth Analysis ◽  
Folk Song Arrangements

When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.

Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

2017 ◽  
Vol 31 (1) ◽  
pp. 16-25 ◽  
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Folk Songs ◽  
Folk Song ◽  
Upper Elementary ◽  
Depth Information ◽  
General Music ◽  
Comprehensive Musicianship ◽  
Music Standards ◽  
Music Classrooms

This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

Israeli Folk Music

1994 ◽  
Keyword(s):  
National Identity ◽  
Folk Music ◽  
Folk Song ◽  
Aaron Copland ◽  
Darius Milhaud ◽  
Arthur Honegger ◽  
Kurt Weill

During the 1930s several of Europe's most distinguished composers received commissions to arrange Hebrew songs collected from early settlers in Israel and circulated on postcards. In this edition, fifteen songs appear in voice and keyboard arrangements by Aaron Copland, Paul Dessau, Arthur Honegger, Darius Milhaud, Ernst Toch, Stefan Wolpe, and Kurt Weill, making the volume a resource for performer and scholar alike. In addition, ten melodies are presented in facsimiles of the original postcards. An afterword is devoted to the significance of folk-song collecting and to the diverse uses of folk music during the period of nascent Israeli national identity.

‘National Dignity’ and ‘Spiritual Reintegration’: The Discovery and Presentation of Jewish Folk Music in Germany

Jewishness ◽  
2008 ◽  
pp. 105-130
Author(s):  
Jascha Nemtsov
Keyword(s):  
Twentieth Century ◽  
Eastern Europe ◽  
Folk Music ◽  
Folk Song ◽  
Martin Buber ◽  
Cultural Divide ◽  
Jewish Thought ◽  
East And West ◽  
West European ◽  
Modern Jewish Thought

This chapter details how Jewish folk music was presented as high art to concert audiences in early twentieth-century Germany and how that strategy was criticized. In January of 1901, the first issue of the journal Ost und West (East and West) appeared in Berlin. It served as the most important organ of cultural Zionism for the next two decades, and, as its title suggests, it attempted to bridge the cultural divide between east and west European Jews with the aim of creating an ethnic nationalist goal. The first issue contained, among other things, an article by the renowned Jewish philosopher Martin Buber entitled ‘Jewish Renaissance’ — a term that was to characterize this movement. Critical to this renaissance was the establishment of a common spirit binding a modern nation. Although based in Germany, the leaders of the movement envisioned that this spirit would be found in the ‘authentic folk’ of eastern Europe and the ethno-poetry of the folk song. The chapter then uncovers the often overlooked story of these leaders, particularly Leo Winz and Fritz Mordechai Kaufmann, and the significance of their renaissance movement for modern Jewish thought and culture.

Ethnographic Concerts in the Service of Empire

2020 ◽  
pp. 209-254
Author(s):  
Adalyat Issiyeva
Keyword(s):  
Detailed Analysis ◽  
Ethnic Minorities ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Language ◽  
Russian Culture ◽  
Russian Composers ◽  
Folk Song Arrangements

This chapter discusses how the composers affiliated with the Music-Ethnographic Committee used several strategies to circumscribe the peoples of the empire under the umbrella of Russian culture. Most of the so-called Ethnographic Concerts organized in Moscow by this committee (1893–1911) featured Russian or Slavic music followed by arrangements of folk songs of Russia’s inorodtsy, helping to reinforce the idea of Russia as a multiethnic state. Detailed analysis of folk song arrangements representing Russia’s ethnic minorities suggests that Russia was determined to appropriate and recontextualize the cultures of its newly acquired southern and eastern subjects. By introducing into inorodtsy music some elements associated with Russianness—the Dorian mode, avoidance of the leading tone, modal harmony, and what was called the “Glinka variation”—Russian composers reduced both the cultural and musical distances between Russia and its “others.” The arrangements performed in the Ethnographic Concerts, however, completely transformed inorodtsy musical language and stripped it of its historical and traditional meanings.

Kodály's Melody

Tempo ◽  
1963 ◽  
pp. 12-16
Author(s):  
András Szőllősy
Keyword(s):  
Chamber Music ◽  
Folk Music ◽  
Close Contact ◽  
Detailed Examination ◽  
Folk Song ◽  
The Other ◽  
Organic Part ◽  
Violin And Piano ◽  
Shed Light

It is a generally accepted view that the most striking features of Kodály's melodic structure may be explained by the influence of folk song. This is not borne out, however, by more detailed examination. It is true that there are certain features in his melodic types which later undergo a change, and of these a prime example is the precise periodic articulation of the melodies, which is much more consistent in his later compositions than in those of his youth. Such characteristics may indeed be attributed to the influence of folk music, but in general the typical Kodály melody existed before he could have come into close contact with folk music in the year when he made his first folk song collecting trip. Of his compositions from the years 1904–1906, the only work we can consider from the viewpoint of melodic structure is the ‘Adagio’ for violin and piano; the other two compositions, Evening for mixed voice choirs and Summer Evening for orchestra, are known only in their later revised form of 1930. This, however, is sufficient to convince us that the expansive declamation and the structural ornamentation which is an organic part of its idiom continue an instrumental tradition whose origin may well go back to chamber music of the Baroque age, with its broad-flowing slow movements. This also seems to be substantiated by the piano part, which replaces impressionistic harmonies with those which may be analysed in accordance with classical harmonic principles. This characteristic harmonisation requires mention here, although it is not closely connected with the problem of melodic structure, since even the most complicated of Kodály's harmonies, when stripped of their embellishments, reveal pure ‘classical’ chords as their basis. The role of the melody in this problem serves merely to emphasise that with Kodály, perhaps more than any other composer, harmony is never an end in itself, but is always the result of the movement of the melody. If the word did not have more significance than we wish to attribute to it here, we might say that Kodály's harmony is only secondary to melody. This word ‘secondary’, however, does not refer to expression, but merely attempts to shed light on the matter of origin, by stressing the supreme importance of melody for Kodály.

Form created by performance: Bartók's recording of his Improvisations op. 20

2007 ◽  
Vol 48 (1-2) ◽  
pp. 103-111
Author(s):  
Ron Atar
Keyword(s):  
Simple Structure ◽  
Folk Song ◽  
Personal Style ◽  
Performance Style ◽  
Current Article ◽  
The One ◽  
Folk Song Arrangements ◽  
Special Case

Abstract Bartók's “Continental” 1942 recording of Improvisations op. 20 provides us with invaluable insights into his aesthetics and nature. This is a special case study in which Bartók redesign the composition through his performance. In this rendition the simple structure of most of the eight pieces that construct the composition (alternations between arrangements of the Hungarian peasant songs and transitions section in between them), turn into temperamental micro-drama of associations, flowing without any hesitations from Bartók's mind to his fingers. The folk song arrangements are played in various performing styles, related directly to the written texture, while the transition sections played in more personal style. Here, in these transitional sections, Bartók the romantic, emotional pianist is revealed. These transitions are used by him as improvisatory pauses, used mainly for musical reflections dealing with his performance style of the preceded folk song arrangement or the one that follows. The current article introduces and examines some of the insights evoked by Bartók's recording of this composition.

scholarly journals TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE

2021 ◽  
pp. 3-7
Author(s):  
Daryna Lukava
Keyword(s):  
Folk Music ◽  
Folk Song ◽  
Musical Drama ◽  
Musical Culture ◽  
Art Form ◽  
Ancient Times ◽  
Professional Genres ◽  
Time To Learn ◽  
The One ◽  
Xix Century

The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays. The object of the research is the nativity drama within the opera art of Ukraine. The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture. It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays. The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology. The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out. The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.

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