scholarly journals Die FAK-fenomeen: populêre Afrikaanse musiek en volksliedjies

2018 ◽  
Vol 41 (2) ◽  
pp. 21-46
Author(s):  
Martjie Bosman
Keyword(s):  
Popular Music ◽  
Folk Songs ◽  
Folk Song ◽  
Historical Overview ◽  
Musical Arrangements ◽  
Song Lyrics ◽  
Important Position

Afrikaans popular music of a variety of genres and subgenres is currently flourishing. A very productive phenomenon is the re-interpretation of older songs, in particular folk songs. This article gives a short historical overview of the collection and publication of Afrikaans folk songs, followed by a brief description of various ways in which folk songs have previously been utilised. The collection of Afrikaans folk songs known as the FAK (Federation of Afrikaans Cultural Organisations) songbook earned itself an important position in Afrikaans cultural circles, but it was also stigmatised. Since the end of the 1990s, Afrikaans popular songwriters and singers showed a renewed interest in so-called FAK songs and a number of musical arrangements and re-writings of folk song lyrics have been recorded. A number of lyrics that either contain references to folk songs or are re-writings of folk songs, are discussed. Tension between the old, well-known words of the folk songs and the new songs often develops, while the intertextual references to older songs are used to comment on current situations. The importance of popular music in minor cultures is briefly discussed.

scholarly journals Role of Women in Telangana Statehood Movement from South India: Contributions and Case Story of Belli Lalitha

2020 ◽  
Vol 5 (1) ◽  
pp. 70-77
Author(s):  
Bongurala Gangadhar
Keyword(s):  
Peak Level ◽  
Folk Songs ◽  
Folk Song ◽  
Political Leader ◽  
Political Leaders ◽  
Grass Root ◽  
Grass Root Level ◽  
Role Of Women ◽  
Important Position

The role of women in Telangana statehood movement has immense importance and has paved a way for the realization of the dreams of women who aspired for emancipation from human trafficking, dowry, domestic violence and liquor mafia. The role of Belli Lalitha in the 1990s sparked a wave of movement with her folk songs to mobilize people to demand their rights. Belli Lalitha’s journey started with ups and downs as a school dropout, married early, labourer in a cotton mill, labour activist, folk singer and political leader, but her sudden murder by the goons and political leaders changed the pace of the movement from peak level to ground. To mobilize millions of people in the final phase of the Telangana movement, the folk song tradition familiarized at grass-root level by Belli Lalitha occupies an important position.

scholarly journals BUKU DODING HALELUYA SEBAGAI SALAH SATU MEDIA PELESTARIAN LAGU RAKYAT SIMALUNGUN DI GKPS SIMALINGKAR

2018 ◽  
Vol 7 (1) ◽  
pp. 11
Author(s):  
Febri Ridho Sipayung
Keyword(s):  
Data Collection ◽  
Theoretical Foundation ◽  
Folk Songs ◽  
Folk Song ◽  
Replacement Method ◽  
The Media ◽  
Song Lyrics ◽  
Descriptive Qualitative

This study aims to find out what folk song title Simalungun in Doding book Hallelujah,how is the form of the folk songs and the effectiveness of its conservation through replacementmethod lyrics/poems for the congregation GKPS Simalingkar.This study is based on the theoretical foundation to explain the meaning of HallelujahDoding Books, Media, Preservation, and Folk Songs SimalungunThe method used is descriptive qualitative. The population in this study are allSimalungun folk songs that are in the book Hallelujah Doding the 36 songs and 10 congregationsGKPS Simalingkar. The techniques of Data collection in this study conducted by fieldobservations, literature studies, interviews and documentations.Generally, this research shows that the contribution of 36 folk songs in the bookDoding Simalungun Hallelujah create varied impressions in the book. as well as with the form ofsongs that mostly consists of two parts. And look also the effectiveness of the preservation of thefolk song lyrics Simalungun with replacement method/lyrics towards more religious makeHallelujah Doding books as one of the media in the preservation of the folk song SimalungunGKPS Simalingkar.

The Literary, Musical and Social Conditioning of the Czech Folk Song

Tekstualia ◽  
2018 ◽  
Vol 2 (53) ◽  
pp. 79-86
Author(s):  
Josef Prokeš
Keyword(s):  
National Culture ◽  
Folk Music ◽  
Cultural Context ◽  
Folk Songs ◽  
Folk Song ◽  
Methodological Issues ◽  
Social Conditioning ◽  
Czech Music ◽  
The Status ◽  
Song Lyrics

The article consists of three excerpts from the book Czech Folk Songs from the 60s to 80s of the 20th century by Josef Prokeš. The publication maps out the phenomenon of singer-songwriting in Czechoslovakia. The fi rst two extracts – „Folk Song lyrics in the context of Literary Studies” and „The Folk Song Genre in the context of Music Studies” – deal with methodological issues regarding the ways of analysing folk song lyrics in a wider cultural context, and the possibility of situating folk music in the fi eld of Czech Music Studies. The third excerpt, entitled „The Status of the Czech Folk Song in national culture”, discusses the sources of folk music in Czech culture, the inspirations of major singer-songwriters, the development of folk music in the analysed period as well as its signifi cance during the totalitarian era in Czechoslovakia, and fi nally poses questions about its future in the context of national culture.

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.

Popular Music and the Colloquial Tone in the Posthorn Solos of Mahler’s Third Symphony

2017 ◽  
Author(s):  
Timothy Freeze
Keyword(s):  
Popular Music ◽  
Folk Song ◽  
Sheet Music ◽  
Military Band ◽  
The Third ◽  
Musical Styles

The posthorn solos in the trios of the third movement of Mahler’s Third Symphony have polarised critical and scholarly opinion regarding their stylistic origins. My examination places the posthorn solos in the context of the popular music of Mahler’s day. Drawing on contemporary reviews, sheet music, and military band manuscripts in Austrian and German archives, I uncover palpable references, since forgotten or neglected, both to the genre of sentimental trumpet solos, common in salon music and band concerts, and to posthorn stylisations distinctive to popular music. Mahler demonstrably knew these repertoires, and critics often cited them in reviews. These allusions do not negate the solos’ likenesses to folk song and the sound of actual posthorns. Rather, Mahler’s score refers to multiple musical styles without being reducible to any one of them.

Lyrics in The Dolalak Dance Purworejo Central Java as a Form of Islamic Folk Songs

2016 ◽  
Vol 2 (2) ◽  
pp. 71-92
Author(s):  
Djarot Heru Santosa ◽  
Timbul Haryono ◽  
RM Soedarsono
Keyword(s):  
Dominant Role ◽  
Folk Songs ◽  
Local Language ◽  
Central Java ◽  
Dance Movements ◽  
Song Lyrics ◽  
Musical Accompaniment

Dolalak dance is highly dependent on the power of the song lyrics, so it can be called a lyrical dance. The dancers will not be able to do perfect dance moventents only by musical accompaniment; the displacement and combination of dance movements are characterized by lyrics that accompany the songs. Thus, song lyrics have a very dominant role in the arrangement of the dance movements. Dolalak dance has approximately 64 types of movements. A one-night staging, as an illustration, usually begins with 13 types of movements, followed by a trance dance, and ends with 7 types of movements as the closing. Song lyrics in the Dolalak dance are mostly influenced by the nuances of Islamic teachings. This is proven by the presence of a lot of words and/ or terms in the song lyrics which are very close to the. Arabic words in Islamic teachings. More interestingly, as a form of folk songs used in the performance of traditional Javanese arts, the Arabic words are widely adapted to the speech or pronunciation of the local language, especially the Javanese one. As a result, the origin and meaning of certain words or terms in the lyrics are difficult to trace. However, it is understandable since sometimes words in the song lyrics are preferred to adjust particular sounds.

Music video in its contexts: popular music and post-modernism in the 1980s

Popular Music ◽  
1988 ◽  
Vol 7 (3) ◽  
pp. 247-266 ◽  
Author(s):  
Will Straw
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Surrounding Rock ◽  
Music Video ◽  
Post Modernism ◽  
Song Lyrics ◽  
Music Experience ◽  
To Come ◽  
The Individual

Writing on music video has had two distinctive moments in its brief history. The first wave of treatments tended to come from the culture surrounding rock music and from those who were primarily interested in music video as something which produced effects on that music. Here, two claims were most common, and generally expressed in the terms and the contexts of rock journalism:(1) that music video had made ‘image’ more important than the experience of music itself, with effects which were to be feared (for example, the potential difficulties for artists with poor ‘images’, the risk that theatricality and spectacle would take precedence over intrinsically ‘musical’ values, etc.);(2) that music video would result in a diminishing of the interpretative liberty of the individual music listener, who would now have visual or narrative interpretations of song lyrics imposed on him/her, in what would amount to a semantic and affective impoverishment of the popular music experience.

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.

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.

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