scholarly journals ХОРОВА ОБРОБКА НАРОДНОЇ ПІСНІ У ТВОРЧОСТІ ГЕОРГІЯ МІРЕЦЬКОГО: ШЛЯХАМИ ВІДНОВЛЕННЯ СПАДЩИНИ МИТЦЯ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Key Words ◽  
Folk Songs ◽  
Folk Song ◽  
General Situation ◽  
General Context ◽  
Active Engagement ◽  
Musical Life ◽  
The 1950S

Здійснено спробу увести до сучасного музикознавства деякі аналітичні огляди творчості першого професійного композитора Волині, лучанина Георгія Мірецького (1929–1978 рр.), чия активна діяльність охопила 1950–1970-ті рр. Розглянуто спадщину митця, яка повертається до концертного життя за ініціативи сина Олександра. Опрацьовано вибрані хорові обробки волинських народних пісень, що стали однією з вершин творчості (на прикладі «Як билина та тополя» ор. 85 і «Такі оченьки» ор. 90 та вирізнено специфіку вказаних творів у контексті української хорової спадщини. Підкреслено, що композитор використовував оригінальні техніко-композиційні прийоми – імітацію інструментального звучання, вставки-цитування інших народних пісень; його обробкам притаманне використання елементів імітаційності в хорових партіях при домінуючій гармонічній основі тощо. Твори є внеском митця до скарбниці українського музичного фольклоризму.Ключові слова: волинська народна пісня, хорова обробка, музичне життя Луцька, творчість Георгія Мірецького. Attempting to bring some analytical reviews of the creativity by the first professional composer of modern Volyn Heorhii Miretskyi (1929–1978) from Lutsk, whose active engagement was carried out in the 1950s-1970s, was carried out in contemporary musicology. The general situation with the artist’s heritage is considered, which returns to the concert initiative and son Alexander’s main efforts. Selected choral transcriptions of Volyn folk songs which became one of the peaks by H. Miretskyi’s work on the example by “How to beil and poplars” op. 85 and “Such eyes” op. 90 worked out. The specificity of these works in the general context of Ukrainian choral heritage has been followed. It is emphasized that the composer uses original technical composition techniques – imitation of instrumental sound, insert-quote of other folk songs. The use of elements of imitation in choral parties with a dominant harmonious basis and others are characterize the transcriptions also. The works are artist’s contribution to the Ukrainian musical folklorism treasury. Key words: Volyn folk song, choral transcriptions, musical life of Lutsk, Heorhii Miretskyi’s creative.

scholarly journals Lusatian Folklore in the Slavic Research of the Italian Wolfango (Wolf) Giusti

2020 ◽  
Vol 69 ◽  
pp. 36-44
Author(s):  
Yarema Kravets’ ◽  
Keyword(s):  
Key Words ◽  
Folk Songs ◽  
Folk Song ◽  
Way Of Life ◽  
Research Papers ◽  
Short Essay ◽  
Mood Classification ◽  
The Way ◽  
Literary Legacy

Purpose: The article is devoted to the Sorbian studies work of the Italian Slavic scholar of Lusatian origin Wolfango Giusti (1901-1980) “The Folk Lusatian Serbian Song” (1926), totally unknown in Ukrainian Slavic scholars’ circles. The author of a large number of Sorbian studies publications printed in the 1920s and 1930s in the pages of Italian Slavic editions, he became a true popularizer of Lusatian culture, and his works found a special reverberation in the research papers of authoritative Sorbian scholars. W. Giusti’s name as researcher and translator has recently been more frequently mentioned in Slavistic publications, his interest in Ukrainian poetry, esp. in the 1920s, is written about. The interest in W. Giusti’s literary legacy is linked, in particular, to his being interested in T. Shevchenko’s and M. Shashkevych’s lyrics. In the research under analysis, the Italian scholar stressed that “the soul of the Lusatian people has found its best and fullest expression in their folk song”. Also mentioned by W. Giusti were Ukrainian folk songs, rich in their multi-genre samples. Results: The paper presents a classification of the most characteristic folk songs, the classification coming to be basis-providing for the Italian scholar: W. Giusti relied on authoritative research papers, including those by the scholars K. Fiedler and B. Krawc. The Italian Slavicist acquaints us with songs of love between brother and sister, love songs about the way of life of the whole people, songs resonating with the motif of fidelity. Neither has the literary scholar bypassed the issue of the neighbouring peoples’ influence experienced by Lusatian culture, particularly that of a Germanic culture, providing some examples of a “spiritual analogy” with German folk songs. W. Giusti completed his short essay by promising to offer the reader, before long, “other genres of the extremely rich Lusatian folklore”. The promise came to be fulfilled as early as the next year, in the work published under the title “Folk Lusatian Serbian Songs”. Key words: Lusatian folklore, Wolfango Giusti, folk song, motif of fidelity/infidelity, dramatic mood, classification of songs, aspects of “Wendish” folklore, Germanic influence.

“Domesticating” the Foreign in Arrangements of Operas, Folk Songs, and Other Works for Chamber Ensembles

2017 ◽  
Author(s):  
Marie Sumner Lott
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Life ◽  
Chamber Ensembles ◽  
Social Settings ◽  
Opera Transcriptions ◽  
Changing Role

This chapter looks at string quartet transcriptions and arrangements. These arrangements differ from their piano-oriented counterparts in significant ways, and they reflect the changing role of chamber music—and that of opera and folk song—in musical life over the course of the nineteenth century. In translating an opera or other work for string quartet, arrangers combined seemingly opposed genres and social settings, bringing the opera house into the parlor in some cases and the countryside into the city in others. The chapter then focuses on Berlin-based publisher Adolph Martin Schlesinger. His firm produced dozens of opera transcriptions, collections of folk songs, and arrangements of Classical works for amateur chamber musicians between 1800 and 1900.

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.

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.

Merging Traffic

2018 ◽  
Author(s):  
Mark Slobin
Keyword(s):  
African American ◽  
Auto Industry ◽  
General Motors ◽  
Musical Life ◽  
United Auto Workers ◽  
Folk Revival ◽  
Auto Workers ◽  
The Media ◽  
The 1950S ◽  
Special Case

This chapter surveys the institutions and movements that brought together the city’s musical life with the aim of merging disparate styles, trends, and personnel. First comes the auto industry, based on archival sources from Ford and General Motors that show how the companies deployed music for worker morale and company promotion. The complementary work of labor follows, through the United Auto Workers’ songs. Next comes the counterculture’s musical moment in the age of the folk revival and the artist collectives of the 1950s–1960s. Motown offers a special case of African American entrepreneurial merging of musical talent and style. The chapter closes with a look at the media—radio and newspapers—with their influential role in bringing audiences together, through music, in a city known for segregation, oppressive policing, and occasional outbursts of violence.

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.

The Folk Song Project at the Confluence of Music and Nationalism

2017 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Nineteenth Century ◽  
South America ◽  
Cultural History ◽  
Intellectual History ◽  
English Translation ◽  
Paradigm Shift ◽  
Folk Songs ◽  
Folk Song ◽  
World Music ◽  
Musical Thought

Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of the chapter contains translations from Herder’s own introductions to the songs, and part two contains twenty-four songs that represent the paradigm shift inspired by this monumental work on folk song.

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.

‘Tutt' ora vivente’: Petrassi and the concerto principle

Tempo ◽  
1995 ◽  
pp. 2-11
Author(s):  
Calum MacDonald
Keyword(s):  
Old Age ◽  
20Th Century ◽  
Musical Life ◽  
10Th Anniversary ◽  
The Third ◽  
International Reputation ◽  
The 1950S ◽  
Santa Cecilia ◽  
Peter Maxwell Davies

Italian masters seem habitually to survive to a ripe old age. The proverbial example is Verdi, dying at 87, but Gianfrancesco Malipiero had turned 91 by his death in 1973, and his longevity has now been equalled, and seems likely to be surpassed, by Goffredo Petrassi. Long an eminent and respected figure in Italian musical life, and routinely named in the reference books as a significant 20th-century composer, Petrassi has never been well known in this country. His international reputation was at its height in the 1950s and 60s, and probably reached its apogee here with the London premiere, in 1957, of his Sixth Concerto for Orchestra, commissioned by the BBC for the 10th anniversary of the Third Programme. During those decades he travelled, conducted and adjudicated widely; he was closely associated with the ISCM (and was its President in the years 1954–56); as Professor of Composition at the Conservatorio di Santa Cecilia in Rome, he exercised a powerful influence on his country's musical life. He is especially celebrated as a teacher: his Italian pupils have included Aldo Clementi, Riccardo Malipiero, the film composer Enrico Morricone and the conductor Zoltán Pesko, but composers of many nations have studied with him. Among his British pupils, one need only instance Peter Maxwell Davies, Cornelius Cardew, and the late Kenneth Leighton to see that his teaching was never stylistically prescriptive.

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