scholarly journals Folk songs and small genres of folklore in A.S. Pushkin’s tragedy «Boris Godunov»

2020 ◽  
pp. 32-44
Author(s):  
S.А. Dzhanumov
Keyword(s):  
Folk Songs ◽  
Boris Godunov ◽  
Folk Poetry

The article considers folk songs, proverbs and sayings, motifs and images of the Russian folklore, which are creatively used in A.S. Pushkin’s tragedy “Boris Godunov”: to characterize the situation, to recreate historical colouring, folk customs, to reveal the personality and psychology of a character, the features of his / her speech. The purpose of the study is to establish the role of folklore genres in the structure of “Boris Godunov”, their artistic functions in Pushkin’s tragedy, their connection with the characters and the plot situations of the play. The article uses modern principles and methods of studying the problem of “literature and folklore”, formulated in numerous studies of domestic literary scholars and folklorists, including the works of the author of this article. The article concludes that such qualities of Pushkin’s style as accuracy, clarity and expressiveness come in many respects from the Russian folk poetry. Pushkin’s mastery of the poetics and stylistics of folklore contributed to the development of remarkable simplicity and at the same time of the aphoristic nature of the writing, which characterize the whole tragedy “Boris Godunov”.

scholarly journals PHILOSOPHY, LANGUAGE AND MALAY THOUGHT IN THE LYRICS BANGAU OH BANGAU AND BURUNG KENEK-KENEK

2019 ◽  
pp. 14-26
Author(s):  
Farra Humairah Mohd ◽  
Nordiana Hamzah ◽  
Hasrina Baharum
Keyword(s):  
Text Analysis ◽  
Quantitative Method ◽  
Filial Piety ◽  
Moral Values ◽  
Folk Songs ◽  
Analysis Method

The Malay mind is explicitly and implicitly expressed in the works of Malay literature. The thinking in the lyrics of folk songs, in particular, those of “Bangau Oh Bangau” and “Burung Kenek-Kenek”, give emphasis to social and moral values as well as the role of custom in community lives. These songs draw attention to the Malay philosophy that is related to metaphysics, epistemology, ethics, logic and aesthetic through their interaction with nature as well as the surrounding plant and animal kingdoms. This study aims to identify the philosophy, language and thinking in the lyrics of “Bangau Oh Bangau” and “Burung Kenek-Kenek” by employing the Sapir-Whorf hypothesis. The quantitative method employed in the present study is the text analysis method. The study has identified four Malay philosophy and thinking in “Bangau Oh Bangau”: sarcasm with regard to the culture of shifting the blame, sarcasm concerning the indifferent attitude of the society, sincerity in action or planning, and philosophy or principle of life. The philosophy and thinking in the lyrics for “Burung Kenek-kenek” encourage one to strive for piousness, filial piety and noble character (humility). The study has also shown the link between philosophy, language, and thoughts in the lyrics of Malay songs, in particular, “Bangau Oh Bangau” and “Burung Kenek-Kenek”, as stated in the Sapir-Whorf hypothesis. In summary, analysis of the lyrics of “Bangau Oh Bangau” and “Burung Kenek-Kenek” has brought into the open the superiority of Malay thinking and creativity in composing the lyrics of Malay songs that are inspired by nature.

scholarly journals Absolute Pitch in Oral Transmission of Folk Tunes as Constrained Random Walks

2015 ◽  
Vol 10 (3) ◽  
pp. 178
Author(s):  
Klaus Frieler
Keyword(s):  
Random Walks ◽  
Empirical Research ◽  
Empirical Data ◽  
Absolute Pitch ◽  
Folk Songs ◽  
Pitch Class ◽  
Oral Transmission

In this commentary, I would like to add a few of our own, still unpublished, empirical observations concerning the possible role of absolute pitch memory (APM) in the oral transmission of folksongs. This empirical data poses some questions on the likelihood of the observed inter-recording tonic pitch consistency of Olthof, Janssen & Honing (2015) and how these could come about. Based on simulations of absolute pitch class of tonics during oral transmission of folk songs, I argue that the interplay of melodic range and vocal range might actually be the main reason for the observed non-uniformity, in contrast to the conclusions presented in Olthof et al. (2015). However, this does not invalidate the therein presented evidence, but makes the case more puzzling, consequently calling for more empirical research on the interaction of melodic and vocal range and latent APM as well as for more detailed modeling of oral transmission of folk songs.

In The Mirror Game: Ubuntu Philosophy and Umbundu

2020 ◽  
Vol 03 (12) ◽  
Author(s):  
José Viegas Brás ◽  
Keyword(s):  
Folk Songs ◽  
The Other ◽  
African Culture ◽  
The South ◽  
Human Community ◽  
Know How ◽  
Philosophy Of Life ◽  
Folk Poetry ◽  
The Universe

The Epistemologies of the South awaken our reflection to knowledge and practices of the traditional African culture which have been silenced in the historical unfolding. Such is the case of Ubuntu. In this philosophy of life, we have an existence which is only an existence because there are other existences. In this culture, which has an almost endless capacity for seeking consensus and reconciliation, a shift has taken place from an excluding notion of identity “I am because you are not” to an inclusive notion “I am because we are, and because we are then I am”. In this sense, we formulate as starting question to know how the concerns contained in the Ubuntu philosophy find expression in the oral heritage of Umbundu, given that they belong to the same linguistic matrix of Bantu. As core goal of this study we highlight: to interpret how Umbundu has integrated, preserved and disseminated the principles of the Ubuntu philosophy of life. We selected as sources of this research elements of the oral heritage (folk songs, folk poetry, proverbs, lullabies, chants). The methodology used focuses on the analysis of the structuring principles of the Ubuntu philosophy: 1) to live at peace with oneself (relation with self); 2) to live at peace with the other (relation with the others); and 3) to live in harmony with nature and the cosmos (relation with the universe). The findings of our research have led us to conclude that principles can be found in the oral heritage of Umbundu that have helped perpetuate and disseminate the Ubuntu philosophy. So, the oral heritage of Umbundu has contributed to renew the spirit of solidarity and the spirit of belonging to the universe and to the human community, through the belief that everything in the universe exists in full connection.

American Folk Songs for Children

2008 ◽  
Vol 56 (3) ◽  
pp. 238-254 ◽  
Author(s):  
Sarah H. Watts ◽  
Patricia Shehan Campbell
Keyword(s):  
Music Education ◽  
American Music ◽  
Folk Songs ◽  
Secondary Sources ◽  
The People ◽  
American Heritage ◽  
Biographical Study ◽  
Methodological Procedures ◽  
Musical Heritage

American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.

RECONSIDERING THE ROLE OF FOLK SONGS IN PRE-T'ANG YÜEH-FU DEVELOPMENT

T oung Pao ◽  
2000 ◽  
Vol 86 (1) ◽  
pp. 47-99 ◽  
Author(s):  
Charles Egan
Keyword(s):  
Folk Songs

scholarly journals Translations of slovenian children’s poetry into russian

2020 ◽  
Vol 18 (2) ◽  
pp. 364-381
Author(s):  
Mariya Gromova ◽  
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Folk Songs ◽  
Long Period ◽  
History Of ◽  
Number Of Publications ◽  
Folk Poetry ◽  
Children's Poetry ◽  
At Home

This study summarizes the history of Slovenian poetry for children and its translation into Russian. The article reviews translated poems by Slovenian authors and Slovene folk poetry written for children from 1955 to the present. Translations of Slovenian children’s folk lore into Russian date back to 1971. They are mainly represented by folk songs and addressed to preschoolers translated into Russian by Leonid Yakhnin. Currently, Zhanna Perkovskaya is engaged in translations of Slovenian children’s literature into Russian. The largest number of publications of Slovenian poetry for children happened in the 1980s. After 1991, there was a long period of silence. However, in recent years, due to the interest of Russian publishers in Slovenian children’s literature successful at home, as well as a significant demand for books for preschoolers, the publication of children’s poetry by Slovenian authors has resumed.

scholarly journals The image of Boris Godunov in the drama by A. S. Pushkin and opera by M. P. Mussorgsky: comparative analysis of philosophical-aesthetic, psychological and social components

2020 ◽  
pp. 31-40
Author(s):  
Hui Zhang
Keyword(s):  
Comparative Analysis ◽  
Psychological Traits ◽  
Philosophical Idea ◽  
Unique Interpretation ◽  
The Subject ◽  
Boris Godunov ◽  
Social Components ◽  
Artistic Image

The subject of this research is the image of Boris Godunov viewed in three different aspects in the eponymous drama by A. S. Pushkin and in the opera by M. P. Mussorgsky. The goal consist in description of multifacetedness and complexity of image of the Tsar, as well as his main traits in representation of the poet and the composer, which helps the performers in staging the opera “Boris Godunov”. A comparative analysis of drama and opera is conducted in accordance with the tree main categories: philosophical-aesthetic foundation, psychological portrait, peculiarities of social environment and place of the hero therein. The main conclusions consist in determination of the important sides of possible interpretation of the image of Tsar as: 1) basic philosophical idea that underlies the entire play, and thus defines the role of Godunov in the artistic concept of stage director and actor; 2) key psychological traits that set the emotional tone for the image of Tsar Boris Godunov; 3) nature and specificity of relations between the protagonist and other characters. The scientific novelty of this article is defined by an attempt to determine the key trends in creating an artistic image of the hero by means of theoretical analysis of representations on protagonist in the drama by A. S. Pushkin and opera by M. P. Mussorgsky. The author believes that the range of qualities and traits imposed by these prominent upon Boris Godunov would help the novice actors to find the key to their unique interpretation of this character.

Performing from memory

2012 ◽  
Author(s):  
Roger Chaffin ◽  
Topher R. Logan ◽  
Kristen T. Begosh
Keyword(s):  
Episodic Memory ◽  
Folk Songs ◽  
Oral Traditions ◽  
Retrieval Strategies ◽  
Effective Use

This article discusses memory for performance, focusing on the role of serial chaining and content addressability. Two areas of the episodic memory literature are particularly relevant to the discussion: oral traditions and expert memory. In oral traditions, materials such as children's rhymes and folk songs are handed down from one generation to another without the benefit of written records, often for hundreds of years. Expert memory results from years of training and the effective use of retrieval schemes. Expert memorists develop retrieval strategies to make their memories content-addressable so that they can find the information they needwhenthey need it. Anders Ericsson's theory of expert memory is used to explain how experienced performers memorize, as opposed to simply learn, a new piece.

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