RUSSIAN FOLK SONG "OVER THE SILVER RIVER" AND ITS FATE IN CHINA

2021 ◽  
Vol 1 (2) ◽  
pp. 160-167
Author(s):  
Zhang Yue ◽  
Keyword(s):  
Chinese Culture ◽  
Folk Songs ◽  
Folk Song ◽  
Russian Culture ◽  
Russian Music ◽  
Cross Border ◽  
Chinese Music ◽  
History Of ◽  
Different Cultures ◽  
Very High

The article deals with the history of the Russian poet F. N. Glinka's poem "Veiled Traces", which was the basis for the famous folk song "Over the Silver River". The article reveals the content of the text and shows different variants of its "plot". This refers to several Russian collections containing the song "Over the Silver River", including "Ural Folk Songs" by L. Christiansen and "Folk Songs of Krasnoyarsk Region" by K. Skobtsov. Folklore collectors considered this song as an example of Russian lyrical song genre. The author analyzes the arrangement of this song included in A. Chernyavsky's piano book and notes the expressive features of the performance of the song by the famous singer I. M. Skobtsov. The original and adapted versions are compared in terms of style and expressive techniques in the context of Chinese traditions, in order to identify specific and common properties within two different cultures. The roles of the folklore collector Wang Lobin, who recorded the song "Over the Silver River" using elements of Chinese music, and the composer Li Yinghar, who arranged Russian melody adopted in Chinese culture, are highlighted. Musical samples are also presented. Russian music in China is a special "cross-border" phenomenon, and the interest in Russian culture and Russian musical folklore in China is very high. Russian folk songs are loved in China and are very popular.

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.

World Music: A Very Short Introduction

2020 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Music Industry ◽  
Folk Song ◽  
World Music ◽  
Short Introduction ◽  
National Pride ◽  
The Enlightenment ◽  
The World ◽  
History Of ◽  
Different Cultures

World Music: A Very Short Introduction looks at the history of world music and its many definitions. ‘World music’ is more than a marketing term for the music industry. During the Enlightenment, the idea of the ‘folk song’ encouraged European audiences to imagine music from around the world. Technology helped to create the ‘audio moment’—the transformation of sound into material which could be recorded and distributed worldwide. Throughout history, music has been used to express unity and national pride. World music both foregrounds and transgresses borders. Ideas in different cultures about world music, and indeed about music, are as diverse as ever.

Advanced Studies in Folklore

2019 ◽  
pp. 141-160
Author(s):  
Susan G. Davis
Keyword(s):  
United States ◽  
Deep Understanding ◽  
The United States ◽  
Folk Songs ◽  
Folk Song ◽  
Library Of Congress ◽  
History Of ◽  
Cover Songs

In 1953, forced out of business by postal authorities, Legman moved to Paris. There he turned his attention to a long-planned series, Advanced Studies in Folklore, which he hoped would eventually cover songs, stories, jokes, rhymes, and vocabulary, as well as nonverbal forms like gestures and graffiti. His first volume in the series was anonymous, The Limerick (1954), which garnered him fans in the United States and provided a modest income. Legman moved on to research folk songs in English that had been censored or ignored because of their erotic or obscene content. His “Ballad” project would occupy Legman for decades. As he worked on it, Legman corresponded extensively with folklorists such as Roger Abrahams, Vance Randolph, and Kenneth Goldstein and with archivists at the Library of Congress. His letters reveal his romantic, textual orientation toward folk song and show his efforts to open folklore study to consideration of obscenity and erotica. Legman’s persistent research led to such important discoveries as an unpublished song manuscript by Robert Burns and to a deep understanding of the history of folk song collecting. It also gave him productive friendships with the British folklorists and folk song revival singers Ewan MacColl and Hamish Henderson.

The Project of a Contrastive Dictionary of the Kuban Cossacks’ Folk Songs

2021 ◽  
pp. 75-91
Author(s):  
Elena V. Litus ◽  
Keyword(s):  
Traditional Culture ◽  
Folk Songs ◽  
Folk Song ◽  
Russian Language ◽  
Contrastive Analysis ◽  
Linguistic Features ◽  
Dictionary Entry ◽  
Folk Traditions ◽  
History Of ◽  
World Image

The aim of the article is to justify the concept of a contrastive dictionary of the language of Kuban Cossacks’ folk song culture. This dictionary should demonstrate the bilingual nature of the Kuban Cossacks’ song folklore in the context of Russian and Ukrainian folk speech traditions, and become the basis for identifying the ethnolinguistic and ethnopsychological features of the Kuban Cossacks – a subethnos that has formed its own special traditional culture for over three centuries. The contrastive analysis of each culturally significant lexeme is organized in two blocks depending on the research base: Russian-language songs (songs of the Kuban Line Cossacks and Russian folk songs), Ukrainian-language songs (songs of the Kuban Black Sea Cossacks and Ukrainian folk songs). The article presents the concept of contrastive dictionary of the Kuban Cossacks’ folk songs; its originality is determined by the peculiar forming conditions of the Kuban folklore language caused by the settlement history of the Kuban territory. The existing experience of compiling contrastive dictionaries cannot be fully applied to the language of Kuban folklore, in which Russian and Ukrainian language folk traditions are mixed in a complex way. The dictionary is based on the ideographic principle. The thematic approach fully reflects a particular fragment of the linguistic world-image and provides great opportunities to study the place of separate language units in this fragment. Due to the significance of the task, attention is focused on one thematic group – “Man’s World”. The structure of the dictionary entry of the developed dictionary reflects linguistic features of lexemes: it gives an idea of the lexical and morphological paradigmatics, family of words (within the analyzed lexicon), their co-occurrence properties (syntagmatic aspect), and the originality of use (functional aspect). Such a structure of the dictionary entry allows not only describing the linguistic features of the analyzed lexeme, noting the presence of qualitative (cultural, conceptual) asymmetry in equivalent lexemes, but also identifying the deep implicit meanings reflected in the co-occurrence properties of the word and understanding the concept verbalized by the analyzed lexeme. The justified concept of the contrastive dictionary of Kuban folk songs should contribute to the solution of many problems of modern lexicography – studies of the possibilities of using contrastive dictionaries in folklore and author’s (writer’s) lexicography, lexicography of a multicultural region.

2. The West and the world

2020 ◽  
pp. 18-36
Author(s):  
Philip V. Bohlman
Keyword(s):  
Balance Of Power ◽  
Folk Songs ◽  
World Music ◽  
Middle Passage ◽  
The West ◽  
Music Making ◽  
The World ◽  
History Of ◽  
Different Cultures

‘The West and the world’ investigates the unequal balance of power in the transcription, recording, and history of world music. World music may have been forged in the ‘Middle Passage’ from Africa to slavery elsewhere, but its musicians were nameless. Their music-making was documented by those with power. Collectors of world music have an anthological impulse, bringing together songs from different cultures. Johann Gottfried Herder’s collection of Volkslieder or ‘Folk Songs’ and two of the first anthologies on record—the Demonstration Collection and Music of the Orient—show that the products of the overarching anthological impulse can be very different.

scholarly journals Research on multi-dimensional translation of Chinese folk songs

2021 ◽  
Vol 9 (4) ◽  
Author(s):  
Liu Wei
Keyword(s):  
Chinese Culture ◽  
Folk Songs ◽  
Folk Song ◽  
Cultural Elements ◽  
Multi Mode

Folk songs reflect the unique spiritual value, customs and culture of a nation. The translation and transmission of folk songs is part of the effective way for Chinese culture to go abroad. The paper points out the necessity of and major tasks in folk song translation, namely the reproduction of cultural elements and rhythmic features and propose the application of multi-mode translation to bring out the best translation of folk songs.

scholarly journals Ukrainian folk songs of the stormy years (songs of captivity of the Second World War)

2020 ◽  
Vol 10 (19) ◽  
pp. 62-74
Author(s):  
Tamara Nikolchenko ◽  
◽  
Maria Nikolchenko ◽  
Keyword(s):  
Twentieth Century ◽  
Folk Songs ◽  
Second World War ◽  
Folk Song ◽  
Forced Labor ◽  
World War ◽  
Complex Processes ◽  
History Of ◽  
Second World ◽  
Folk Poetry

The article covers the complex processes of folk art during the Second World War, in particular slave poetry. In times of war, the creation of folk poetry is intensified, which is caused by the need to respond to events, to record them, above all, in memory. These song responses to events take place on the material of "old" samples of poetry that are already known. And «innovations» are used by participants of events and are saturated with new realities. Such is the folk song of the period of fascist captivity during the Second World War. The genesis of the poetry of captivity of the studied period can be traced on a large factual material, it is proved that genetically slave poetry of the period of the Second World War is connected with the cries of slaves and has its roots in the long history of Ukraine. These motives are still heard in the old Cossack thoughts, in which the lamentation gradually turns into a lyrical song. And during the war troubles of the twentieth century, these songs became relevant and sounded in a modern way. The article analyzes recordings of songs that reflect the grief of young girls taken to forced labor in Germany, the suffering of mothers who lose their children. Most of the analyzed works are stored in the funds of the IMFE of Ukraine, as well as in the own records of the authors of the article. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals.

INTERNATIONAL SCIENTIFIC AND PRACTICAL YOUTH FORUM

2020 ◽  
Vol 1 (3) ◽  
pp. 156-160
Author(s):  
E. B. Dolinskaya ◽  
◽  
Keyword(s):  
Chinese Culture ◽  
Cultural Exchange ◽  
Educational Institutions ◽  
Art World ◽  
Postgraduate Students ◽  
Russian Music ◽  
Conference Presentations ◽  
History Of ◽  
The Russian Federation ◽  
And Performance

The article analyzes the results of two international conferences of young musicologists held at the RGSAI online. The first conference "Creativity and Performance: Young Scientists' View of the Art World" was attended by students and postgraduates of higher educational institutions of Russia and Hungary. Within this conference special attention was paid to the period of Russian music of the turn of the XIXth – XXth centuries, namely to the works of S. Rachmaninoff, N. Medtner, R. Gliere and S. Taneyev. Postgraduate students from China took part in the conference "Russian- Chinese Dialogue in Musical Art". As a result of cultural exchange between Russia and China, Chinese students get an opportunity to study at conservatories, academies and institutes in various cities of the Russian Federation. Like other universities in the capital, the Academy trains representatives of various specialties, including performers, as well as musicologists, who improve their qualifications in the field of musical science. During the second conference, presentations were made on the history of Chinese and Russian theater. A series of reports combined works dedicated to prominent figures of Chinese culture who have gained wide international fame.

scholarly journals Ukrainian folk songs in music education of pupils

2017 ◽  
pp. 128-132
Author(s):  
T. B. Kablova ◽  
S. O. Pavlova
Keyword(s):  
Music Education ◽  
Folk Music ◽  
Folk Songs ◽  
Folk Song ◽  
The People ◽  
Powerful Means ◽  
Close Relationship ◽  
History Of ◽  
Main Components ◽  
Education Of Students

The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic and musical texts, deep emotion, authenticity, profound statement thoughts, poetry, clean image, deep highly and true meaning, reflection the history of the people, their thoughts and feelings. Folk ensembels are the most accessible and authentic embodiment of the Ukrainian folk songs. Ukrainian folk music has a great pedagogical value and helps educate a highly moral individual, who would have aesthetic, philosophical and artistic aesthetic qualities; develops interest in folk music, artistic taste and imagination. On the other hand, there is a remarkable arttherapeutic component of Ukrainian folk song.

scholarly journals La chanson folklorique enfantine comme media de l’apprentissage interculturel et du transfert des valeurs morales

2019 ◽  
Vol 3 ◽  
pp. 00040
Author(s):  
Sri Handayani
Keyword(s):  
Moral Values ◽  
Folk Songs ◽  
Folk Song ◽  
Research Approach ◽  
Intercultural Learning ◽  
Cultural Elements ◽  
Traditional Songs ◽  
Character Building ◽  
Different Cultures ◽  
Culture Of Origin

<p class="MsoNormal" style="text-indent:0in">Children's folk song is an example of cultural products that has several goals in its creation. Aside from entertaining, this type of song also aims to transfer moral values or character building to children. Thanks to its moral values, this type of song is a potential medium as a media of character learning and also intercultural learning. This article aims to propose a compilation of Javanese children's folk songs translated into French intended not only for Indonesian learners who learn French, but also for French speakers who learn Indonesian language. The research focused on the process of translating the Javanese folk songs into French. This process is an assimilation of two different cultures by accentuating on the promotion of the culture of origin through the language. The future big goal is to make traditional songs better known around the world. After applying the developmental research approach, seven Javanese children's folk songs have been translated into French: <i>Gundhul pacul, Padhang mbulan, Menthok-menthok, Dhondhong opo salak, Sluku-sluku bathok, Lir ilir</i>, and <i>Siji lor otelu</i>. Each song has its value and also contains cultural elements. A booklet and a CD containing the translation of Javanese children's folk songs into French is the final product of this research that could be used in intercultural learning and at the same time character building</p><p> </p>

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