Lībiskā dialekta un vidus dialekta kursisko izlokšņu atspoguļojuma problemātika akadēmiskajā izdevumā „Latviešu tautasdziesmas”: 11. sējuma piemērs

Author(s):  
Arta Krūze

The first volume of the academic edition entitled “Latvian Folksongs” was published in 1979, thus starting the publication of the largest collection of Latvian folksongs. Until now, eleven volumes have been arranged and published. The newest volume consists of wedding songs, and it was published in 2018. The publishing of the twelfth volume is currently in progress. The twelfth volume will continue the previous one, adding wedding customs songs, including naughty folk songs. In the academic edition of Latvian folksongs, the texts in High Latvian dialect are especially separated from Standard Latvian, thus creating their own unique set of texts. However, there are other dialects different from Standard Latvian – Livonian dialect and Curonian variety of Central dialect, which have been represented significantly less frequently. Based on the research of academic publications and questionnaires for the compilers of “Latvian Folksongs”, the research analyses why the situation with the representation of Livonian dialect and Curonian variety of Central dialect is so different from the representation of High Latvian – is it because there are fewer texts in these two dialects that are available or maybe there are more complicated reasons.

2019 ◽  
pp. 40-44
Author(s):  
Lubov Alekseevna Abukaeva

The article is devoted to the analysis of the religious views of Mari, which are reflected in such genres of folklore as guest and wedding songs. The purpose of the article is to identify ways and means of representing the concept of humo «god» in Mari folk songs. Research methods: continuous sampling, comparative method, component analysis. Results, discussion. The following characters of the Mari pantheon are represented in the songs: the Bright God, the predecessor, the mother of God, the mother of the earth, the mother of wealth, the angel, the daughter of God, the prophet, the daughter of the prophet, the son of the prophet, and the bridegroom prophet. Conclusion. The content of folk songs also presents some stories from mythology, fragments of religious rites and the foundations of the creed of the Mari traditional religion.


Author(s):  
Agata Kusto

<p>W artykule omówiony jest repertuar pieśni ludowych żyjących w tradycji ustnej na Pojezierzu Łęczyńsko-Włodawskim. Opracowanie zawiera tabelaryczne zestawianie incipitów pieśni, wyposażonych w odesłania do literatury i komentarze dotyczące wykonawców. Podstawą prezentowanego wywodu są rezultaty badań przeprowadzonych w latach osiemdziesiątych XX wieku przez Mirosława Grusiewicza – zamieszczone w jego pracy magisterskiej napisanej pod kierunkiem Zenona Kotera – oraz zebrane przez niego materiały fonograficzne, przechowywane obecnie w Instytucie Muzyki UMCS.</p><p>SUMMARY</p><p>The article discusses the repertoire of folk songs continued in oral tradition in the Łęczna-Włodawa Lake District. The survey contains a tabular specifi cation of song incipits with references to literature and comments concerning performers. The presentation is based on the results of research conducted in the nineteen-eighties by Mirosław Grusiewicz (they are contained in his MA thesis written under the supervision of Zenon Koter, PhD ), and on the phonographic materials he collected, now stored at the Maria Curie-Skłodowska University Institute of Music. In terms of its origin, the repertoire of the Łęczna-Włodawa Lake District consists of three groups. The fi rst group is the archaic collection of ritual wedding songs and couplets, the second comprises traditional common folk songs (inter alia class songs, and courtship and military songs) prone to variability and accommodation, and the third is made up of the youngest repertoire in terms of origin, containing occasional songs or those heard on the mass media.</p><p> </p>


2021 ◽  
Vol 58 (1) ◽  
pp. 3983-3987
Author(s):  
Lotika Saikia

Folk literature has come to be identified as one of the priceless resources of an indigenous community. Folk literature is an important carrier of culture, heritage and tradition of a particular cultural or linguistic community. In this context, Assamese „Biyanaam‟ are one type of Folk literature which falls into this mentioned description. The biyanam presented during such ceremonies reflect the socio-cultural life of the Assamese community. This trend showcases the myths, outfits, jewellery, food habits, the cultural ethos etc. This folk songs are called ‘Biyanaam’ (Marriage songs) as they are sung or played only on occasions of marriage ceremony. Rather it is the reflection of collective emotions as well as collective consciousness of Assamese people surfacing as or in the form of oral literature. It transforms and travels along with the changing currents of time. The „biyanaam‟ or “wedding songs” sung in a traditional Assamese wedding ceremony is an integral part of Assamese culture. An Assamese wedding household is practically incomplete without these wedding songs that are sung throughout various ceremonies by the ladies present there.


2015 ◽  
Vol 37 ◽  
pp. 57-78
Author(s):  
Hyejung Im ◽  
Keyword(s):  

2019 ◽  
Vol 148 (4) ◽  
pp. 850-860
Author(s):  
Uliana Handziy
Keyword(s):  

2019 ◽  
Vol 149 (5) ◽  
pp. 1331-1341
Author(s):  
Hanna SOKIL
Keyword(s):  

2016 ◽  
Vol 12 (3) ◽  
pp. 14-26
Author(s):  
A.I. Radchenko ◽  
◽  
Yu.V. Didenko ◽  

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