PRESENTATION OF THE MUSICAL CULTURE OF THE SMALL PEOPLES OF SIBERIA IN THE MODERN INFORMATION ENVIRONMENT

2021 ◽  
Vol 5 (2) ◽  
pp. 32-39
Author(s):  
S.V. Berezyuk ◽  
◽  
A.I. Filko ◽  
Keyword(s):  
Ethnic Groups ◽  
Field Research ◽  
Folk Song ◽  
Information Environment ◽  
Musical Culture ◽  
Online Mode ◽  
Modern Information ◽  
Tv Shows ◽  
Characteristic Features ◽  
Ethnic Festivals

This article presents the results of the analysis of the concept of "modern information environment", and also defines its place in the ethno-cultural space. The purpose of the analysis is to study the influence of modern information processes on the traditional musical folklore culture of the small peoples of Siberia. On the materials of field research and the study of online communities, created ethnic groups, the analysis of the influence of "modern information environment" for the life of the indigenous peoples of Siberia. Also, the characteristic features of musical folklore are determined by the example of the analysis of interviews taken from representatives of such ethnic groups as Dolgan, Ents, Nenets. A study of recordings of ethnic festivals and TV shows that promote the popularization of folk song art of the small peoples of Siberia was conducted. The analysis methods used made it possible to formulate the value and semantic meaning of musical folklore culture for the life of a modern person, to determine the place of musical culture in the "modern information environment", as well as to trace cross-cultural ethnic ties. As a result of the analysis of the information space, the following was revealed: first, thanks to information resources, traditional and modern musical culture goes beyond territorial borders and becomes accessible to an audience from different regions of the country and not only; secondly, the broadcast of musical art in online mode allows for the inclusion of the largest number of performers of national music in this process.

“Serbs” in Bela krajina: a (deliberately) forgotten minority?

2015 ◽  
Vol 43 (1) ◽  
pp. 178-194
Author(s):  
Romana Bešter ◽  
Miran Komac ◽  
Mojca Medvešek ◽  
Janez Pirc
Keyword(s):  
Ethnic Groups ◽  
Ethnic Minorities ◽  
Field Research ◽  
Border Region ◽  
National Minority ◽  
Minority Status ◽  
Small Community ◽  
Minority Protection ◽  
National Minorities

There are three constitutionally recognized national/ethnic minorities in Slovenia: the Italians, the Hungarians and the Roma. In addition, there are other ethnic groups that could perhaps be considered as “autochthonous” national minorities in line with Slovenia's understanding of this concept. Among them is a small community of “Serbs” – the successors of the Uskoks living in Bela krajina, a border region of Slovenia. In this article we present results of a field research that focused on the following question: Can the “Serb” community in Bela krajina be considered a national minority? On the basis of the objective facts, it could be said that the “Serbs” in four Bela krajina villages are a potential national minority, but with regard to their modest social vitality and the fact that they do not express their desire for minority status, the realization of special minority protection is questionable.

Concerto for Orchestra “The Yellow Stars” by Isaac Schwartz: In the Mirror of Ashkenazi’s Musical Culture

2021 ◽  
pp. 19-37
Author(s):  
И.Ф. Двужильная
Keyword(s):  
Jewish Identity ◽  
Folk Song ◽  
Huge Number ◽  
Musical Culture ◽  
Entire Life ◽  
The Holocaust

В статье предпринят анализ последнего произведения выдающегося петербургского композитора Исаака Шварца (1923–2009) — мемориального опуса памяти жертв Холокоста. Аргументированно доказывается, что ашкеназская культура, в том числе и музыкальная, была органичной частью всей жизни композитора. Об этом свидетельствуют сформировавшийся в детские годы этнослух И. Шварца, огромное количество песен на идиш, которые он мог играть наизусть часами и, безусловно, тематизм инструментального концерта «Желтые звезды», в котором наряду с цитатным материалом выявляются и многочисленные авторские темы, отмеченные знаком еврейской идентичности. В них прослеживаются традиции синагогальной молитвы, клезмерского музицирования, идишской народной песни. Вместе с тем в работе с тематическим материалом, с формой, с оркестровкой обнаруживается прочная связь И. Шварца с ленинградской-петербургской композиторской школой. The article analyzes the last work of the well-known Petersburg composer Isaac Schwartz (1923–2009) which is a memorial opus in memory of the victims of the Holocaust. It is argued that the Ashkenazi musical culture was a natural part of the composer’s entire life. This is evidenced by the ethnic rumor of Schwartz formed in his childhood, a huge number of songs in Yiddish that he could play by heart for hours and, of course, the themes of the instrumental concerto “The Yellow Stars”, which demonstrates, along with quotation material, numerous author’s themes, marked by Jewish identity. They trace the traditions of synagogue prayer, klezmer music, Yiddish folk song. At the same time, the work with thematic material, with form, and with orchestration, reveals Schwartz’s tight relationship with the Leningrad-Petersburg school of composition.

scholarly journals Semantic parallels of archaic Crimean Tatar musical terminology with the musical vocabulary of “Divan Lugat at-Turk” by Mahmud al-Kashgari in the context of the Turkic musical culture of the early Middle Ages

2020 ◽  
pp. 97-123
Author(s):  
Ismet A. Zaatov ◽  
Keyword(s):  
Ethnic Groups ◽  
Middle Ages ◽  
Direct Connection ◽  
Lexical Analysis ◽  
Musical Culture ◽  
Early Middle Ages ◽  
Cultural Genesis ◽  
Crimean Tatar

The process of the formation of the Crimean Tatar musical culture can be divided into post-Byzantine-Golden Horde, Tatar-Seljuk and Nogai Kypchak (Nogai) – Ottoman periods of the cultural genesis of the Crimean Tatar people. The fact that the ancestors of the steppe Crimean Tatars are the Turkic tribes of the Kypchaks and the ancestors of the southern coastal Crimean Tatars are the Turkic tribes of the Oghuz, from the earliest centuries of their history were ethnic groups with a developed musical culture, written evidence from ancient Turkic authors and, in particular, the dictionary “Divan Lugat ata” – Turk “Mahmud al-Kashgari”. This article attempts to determine, based on the lexical analysis of the text of the vocabulary, the direct connection between the semantics of musical terminology in the language of modern Crimean Tatars with the semantics of the musical vocabulary of their Oguz and Kipchak ancestors, as well as identifying patterns of Oguz and Kipchak musical vocabulary in lexicon of the Crimean Tatars by the time of Mahmud Al-Kashgari has written his creation.

scholarly journals Analysis of the Opera Kerem by Akhmet Adnan Saygun

2021 ◽  
Vol 4 (1) ◽  
pp. 11-20
Author(s):  
Aysel Asadova
Keyword(s):  
Folk Music ◽  
Structure Characteristic ◽  
Theoretical Problem ◽  
Musical Language ◽  
Musical Drama ◽  
Musical Culture ◽  
National Values ◽  
Characteristic Features ◽  
First Time ◽  
The Way

The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.

Features of social adaptation of ethnic groups in modern conditions

2021 ◽  
pp. 98-102
Author(s):  
N.S. Badalova ◽  
Keyword(s):  
Ethnic Groups ◽  
Decisive Role ◽  
The Self ◽  
Social Adaptation ◽  
Way Of Life ◽  
Geographical Isolation ◽  
The Social ◽  
History Of ◽  
Characteristic Features ◽  
Modern Era

Discussed are actual questions of a sociological analysis of the social adaptation of various ethnic groups, since globalization disrupts the natural course of this process. We consider it important to preserve the ethnic identity of each nation, subject to their active participation in modern general civilizational development, in order to make a worthy contribution. In order to identify the characteristic features of social adaptation of ethnic groups, two were selected: Khinalugs and Talyshs. The method of analyzing the history of the development and formation of these peoples and the modern conditions of their life revealed the characteristic features of social adaptation here. The considered facts and tendencies in the vital activity of the indicated nationalities gave grounds to draw the following conclusions. In the life of the Hinalugians, their geographical isolation from the rest of the world played a decisive role, which helped them to preserve their unique language and way of life. Now, thanks to the expanded possibilities of communication, this village is exposed to the active influence of the outside world, which fundamentally changes the nature and possibilities of social adaptation of each subsequent generation of people. The Talyshs, being a larger ethnic unit, were subjected to assimilation and other influences of the external world more actively. Despite this, they managed for many decades to preserve their originality. In the modern era of globalization, the general social processes actively influence the process of their social adaptation. Thus, the self-consciousness of the ethnos is destroyed, the self-consciousness of the national identity is formed.

Why Ethnic Subaltern-Led Parties Crowd Out Armed Organizations: Explaining Maoist Violence in India

2019 ◽  
Vol 71 (2) ◽  
pp. 367-416 ◽  
Author(s):  
Kanchan Chandra ◽  
Omar García-Ponce
Keyword(s):  
Civil War ◽  
Political Parties ◽  
Ethnic Groups ◽  
Field Research ◽  
District Level ◽  
Data Set ◽  
Level Data ◽  
Armed Violence ◽  
Maoist Movement ◽  
New Hypothesis

AbstractThis article asks why some Indian districts experience chronic Maoist violence while others do not. The answer helps to explain India’s Maoist civil war, which is the product of the accumulation of violence in a few districts, as well as to generate a new hypothesis about the causes of civil war more generally. The authors argue that, other things equal, the emergence of subaltern-led parties at the critical juncture before armed organizations enter crowds them out: the stronger the presence of subaltern-led political parties in a district at this juncture, the lower the likelihood of experiencing chronic armed violence subsequently. They develop their argument through field research and test its main prediction using an original, district-level data set on subaltern incorporation and Maoist violence in India between 1967 and 2008. The article contributes a new, party-based explanation to the literatures on both civil war and Maoist violence in India. It also introduces new district-level data on the Maoist movement and on the incorporation of subaltern ethnic groups by political parties in India.

Musical and educative aspects of various forms of children’s folk song and play

2018 ◽  
Vol 5 (1(8)) ◽  
pp. 29-43
Author(s):  
Dominika Lenska
Keyword(s):  
Simple Form ◽  
Mother Tongue ◽  
Folk Songs ◽  
Folk Song ◽  
Children's Songs ◽  
The World ◽  
Characteristic Features

The author discusses the issues connected with children’s singing in the context of a folk song and of singing in general. She shows an analogy between a native song and mother tongue, indicating shared ‘steps’ that give a chance to express oneself through speech and song in a natural and universal manner. She also draws our attention to the link between a folk song and a life of particular communities, their culture and the world of nature. The author places children’s songs within an exceptionally colorful and varied repertoire of folk songs. Characteristic features of songs, such as a simple form, elementary melo-rhythmic phrases, narrow vocal range, texts about familiar matters, determine their value, enable children to learn them quickly and play a very important instructive-educative role.

TRADITIONAL MUSICAL CULTURE OF THE VOLGA AND URAL REGIONS: THE MULTI-ETHNIC DIMENSION

Servis plus ◽  
2016 ◽  
Vol 10 (3) ◽  
pp. 68-76
Author(s):  
Фаридэ Салитова ◽  
Faride Salitova
Keyword(s):  
Cultural Values ◽  
Ethnic Groups ◽  
Social Life ◽  
Performing Arts ◽  
Mutual Influence ◽  
Effective Means ◽  
Geographical Area ◽  
Positive Trend ◽  
Musical Culture ◽  
Cultural Traditions

The article analyzes the phenomenon of the traditional musical culture of ethnic groups of the Volga and Ural regions of the Turkic, Finno-Ugrian and Slavic origin, developed in the course of a permanent diversified mutual influence and mutual enrichment of distinctive ethnic, religious, regional and local components. Sam- ples of the music archaic Bashkir, Mari, Mordovian, Russian, Tatar, Udmurt and other ethnic groups living in these regions, as well as written and archaeological sources, reveal the formation of the geographical area, since the early Middle Ages, cultural space, characterized, in spite of the uniqueness of the individual compo- nents, significant unity and high moral and aesthetic potential. However, the trend of globalization in the mod- ern world is known to endanger the preservation of traditional cultural values. In this regard, they update the issue of preserving the cultural heritage of past eras, which can be solved by incorporating a modern cultural and educational environment in authentic forms, and various kinds of professional performing arts, creative composer, musical enlightenment and education. Special mention should be the aspect of existence of the tra- ditional musical culture in the social life of the region, as a regenerated ancient festivals and folklore festivals, which clearly demonstrate the relevance of ancestral cultural traditions of the Volga and Ural. Today we can observe a positive trend of revival of cultural traditions prevailing in the early stages of the ethnic history of the region. This great potential is the intrinsic moral and aesthetic value, and effective means of harmonization of interethnic and interfaith relations, the formation of a harmoniously developed personality in the realities of the modern multicultural society with a view to the formation of tolerant consciousness of new generations.

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