Folk Music Characteristics in the World of Yi Haeshik’s Musical Works

2012 ◽  
Vol 51 ◽  
pp. 87-112
Author(s):  
Gye Won Byeon ◽  
Keyword(s):  
Folk Music ◽  
Musical Works ◽  
The World

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

Folk-Inspired Neoclassical vs Folk-Inspired Compositions

2021 ◽  
Author(s):  
Kendra Klages
Keyword(s):  
Detailed Analysis ◽  
Folk Music ◽  
The Other ◽  
Research Project ◽  
The World ◽  
Applied Lessons ◽  
Over Time

My research project focuses on folk inspired music of Poland, England, China, and Ireland. In my applied lessons on clarinet, I studied two neoclassical Polish folk pieces, so the question answered in the research is how the two neoclassical Polish pieces compare to folk inspired pieces from other countries. The pieces chosen for this study are mainly pieces that I have heard before. Therefore, I chose the pieces based upon my familiarity with them. Folk music expresses the sounds and rhythms that represent countries all over the world. Over time these sounds and rhythms evolve to reflect the country at that moment. This study will reflect how folk music was implemented into different pieces with a focus on Polish neoclassical folk pieces versus English, Chinese, and Irish folk pieces. There is a detailed analysis focused on two Polish compositions. While the focus of the other global pieces is to allow one to understand how folk music was being used in compositions specific to the country being studied. The purpose of this study is to understand how folk tunes and characteristics can be expressed through larger compositions, and how the different countries and genres approached that. Furthermore, the study compares Polish folk music to the folk music of other countries and where Polish folk composers stand in originality and experimentalism with the composers of England, China, and Ireland.

Folk Music Instruments of the World

1973 ◽  
Vol 17 (3) ◽  
pp. 545
Author(s):  
Ani Apelian ◽  
Alexander Buchner ◽  
Alzbeta Novakova
Keyword(s):  
Folk Music ◽  
The World

THE EDIFICE AND THE FLIES, OR, THE CONTINUING ADVENTURES OF THE WORST COMPOSERS IN THE WORLD

Tempo ◽  
2017 ◽  
Vol 71 (281) ◽  
pp. 81-86
Author(s):  
Max Erwin
Keyword(s):  
Large Body ◽  
Short Article ◽  
Very Old ◽  
Long Period ◽  
Musical Works ◽  
The World ◽  
Musical Canon

AbstractThis short article draws on, without mentioning, a very large body of works written over a very long period of time which share a common critique of the musical canon of great works as traditionally conceived. Chief among the musicologists drawn from are Georgina Born and Lydia Goehr (especially The Imaginary Museum of Musical Works). Readers familiar with these criticisms can safely skip to the final two sections, which explain why I am reinventing this particular musicological wheel at this moment in time. While I believe my framing is reasonably novel, I am under no illusions that the argument being made here is a new one. Nevertheless, the emphasis on community and practice feels urgent and perhaps merits retelling a story that is by now very old indeed.

scholarly journals A Brief Analysis of Orff's Music Teaching Concept

2019 ◽  
Vol 2 (3) ◽  
pp. 21
Author(s):  
Chao Zhang
Keyword(s):  
Secondary Schools ◽  
Music Education ◽  
Folk Music ◽  
Teaching Method ◽  
Music Teaching ◽  
Profound Impact ◽  
Chinese Music ◽  
National Characteristics ◽  
Teaching Concept ◽  
The World

Orff music teaching method is one of the most famous and widely used music education systems in the world, named after Karl Orff, a famous German musician. It endows the music education with humanity and fraternity under the perspective of anthropology, which has a profound impact on music education in primary and secondary schools all over the world. During the process of Chinese folk music teaching in primary and secondary schools, we should draw on the advantages of Orff's music teaching philosophy and promote the national characteristics of Chinese music teaching.

scholarly journals Genre and style priorities of accordion performance in traditional common culture of USA

2021 ◽  
pp. 150-155
Author(s):  
L. Shemet
Keyword(s):  
Folk Music ◽  
The United States ◽  
World Music ◽  
Dance Music ◽  
Musical Style ◽  
Important Place ◽  
Common Culture ◽  
The World ◽  
Historical Dynamics ◽  
Regional Specificity

The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine. The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument. The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods. The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument. The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.

Custom Arrangements

2021 ◽  
Author(s):  
Jann-Michael Greenburg
Keyword(s):  
File Sharing ◽  
Legal Framework ◽  
Third Party ◽  
Sheet Music ◽  
Derivative Work ◽  
Work Distribution ◽  
Musical Arrangements ◽  
Musical Works ◽  
The World ◽  
American Law

Custom arrangements are: (a) derivative works, generally musical arrangements, based upon preexisting copyrighted musical works, (b) reproduced in the form of sheet music copies, and (c) distributed to specific third-party performance ensembles. Arrangers who create custom arrangements are able to utilize software and Internet services to create such arrangements physically and digitally and distribute them physically and via file sharing. This chapter explores the legal framework and justification for custom arrangement licensing under American law, with a focus on the reproduction, derivative work, distribution, and display rights afforded to copyright owners. Differences between physical and digital sheet music are noted where relevant. The chapter also addresses both practical and normative arguments encountered in the world of custom arrangement licensing and concludes with brief commentary on the custom arrangement licensing process.

Controlling the Liminal Power of Performance: Hungarian Scholars and Romani Musicians in the Hungarian Folk Revival

2007 ◽  
Vol 3 (1) ◽  
pp. 51-72 ◽  
Author(s):  
LYNN HOOKER
Keyword(s):  
Gender Roles ◽  
Folk Music ◽  
Folk Revival ◽  
Liminal Spaces ◽  
Music Scene ◽  
The World ◽  
And Gender ◽  
Fixed Boundaries ◽  
Hungarian Folk Music

AbstractIn the Hungarian folk revival, Hungarian Roma (Gypsies) serve as both privileged informants and exotic Others. The musicians of the revival known as the táncház (dance-house) movement rely heavily on rural Rom musicians, especially those from Transylvania, as authentic sources of traditional Hungarian repertoire and style. Táncház rhetoric centres on the trope of localized authenticity; but the authority wielded by rural Rom musicians, who carry music both between villages and around the world, complicates the fixed boundaries that various powerful stakeholders would place on the tradition. Drawing on media sources and on fieldwork in Hungary and Romania, I examine how authenticity and ‘Gypsiness’ are presented and controlled by the scholars, musicians, and administrators who lead the táncház movement, in particular in the context of camps and workshops dedicated to Hungarian folk music and dance. Organizers often erect clear boundaries of status, genre, and gender roles through such events, which, among other things, address the anxiety raised by Rom musicians’ power in liminal spaces. In addition, I look at how Rom musicians both negotiate with the táncház’s aesthetic of authenticity and challenge it musically. Finally, I discuss how musicians and the crowds that gather to hear and dance to their music together create a carnival atmosphere, breaking down some of the boundaries that organizers work so hard to create. Throughout, I demonstrate that liminality is an extraordinarily pertinent lens through which to view Roma participation in the Hungarian folk music scene.

The Religious Aspect of the Bāul Songs of Bengal

1978 ◽  
Vol 37 (3) ◽  
pp. 445-455 ◽  
Author(s):  
Rajeshwari Datta
Keyword(s):  
Folk Music ◽  
Religious Beliefs ◽  
General Body ◽  
Religious Traditions ◽  
The World ◽  
History Of ◽  
Religious Aspect ◽  
Religious Songs

The socio-religious songs composed in village Bengal by the adherents of the mystical sect known as the Bāuls are of great interest to students of folk music and poetry, but they are of no less interest to a student of the history of the religions of Bengal. In his songs, the Bāul expresses his religious beliefs and experience, his view of life and of the world, his thoughts and emotions. They are his only form of worship; there is no treatise embodying the doctrines and practices of this sect. It is only in his songs that we can get a glimpse of what a Bāul is and what he believes in. Famous for their spontaneity of expression and charm of melody, their rustic language and imagery, these songs clearly bring out the various themes that together form the general body of Bāul thought. And there are threads of many religious traditions: tantric; Sahajiyā—both Buddhist and Vaiṣṇava; and Ṣūfī.

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