scholarly journals Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан

2021 ◽  
pp. 44-51
Author(s):  
Лилия Бородовская
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Folk Dance ◽  
Professional Musicians ◽  
Historical Information ◽  
Wide Range ◽  
Musical Arrangements ◽  
Crimean Tatar

This article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), performed by Kazan musicians and composers - R.E. Ilyasov for the "Kazan Nury" folk instrument orchestra and R.Yu. Abyazov for the "La Primavera" string chamber orchestra. A brief historical information about the work of A. Spendiaryan connected with the Crimean Tatar music is given. Also presented is material about the peculiarities of the Crimean Tatar folk dance "haitarma", about its different musical variants. This work will be useful to a wide range of professional musicians, as well as researchers of the Crimean Tatar folk music.

Punk as Folk: Continuities and Tensions in the UK and Beyond

2020 ◽  
Author(s):  
Pete Dale
Keyword(s):  
Folk Music ◽  
Music Making ◽  
Collective Creativity ◽  
Living Tradition ◽  
Wide Range ◽  
The Us ◽  
The Common ◽  
The Individual ◽  
The Uk

Numerous claims have been made by a wide range of commentators that punk is somehow “a folk music” of some kind. Doubtless there are several continuities. Indeed, both tend to encourage amateur music-making, both often have affiliations with the Left, and both emerge at least partly from a collective/anti-competitive approach to music-making. However, there are also significant tensions between punk and folk as ideas/ideals and as applied in practice. Most obviously, punk makes claims to a “year zero” creativity (despite inevitably offering re-presentation of at least some existing elements in every instance), whereas folk music is supposed to carry forward a tradition (which, thankfully, is more recognized in recent decades as a subject-to-change “living tradition” than was the case in folk’s more purist periods). Politically, meanwhile, postwar folk has tended more toward a socialist and/or Marxist orientation, both in the US and UK, whereas punk has at least rhetorically claimed to be in favor of “anarchy” (in the UK, in particular). Collective creativity and competitive tendencies also differ between the two (perceived) genre areas. Although the folk scene’s “floor singer” tradition offers a dispersal of expressive opportunity comparable in some ways to the “anyone can do it” idea that gets associated with punk, the creative expectation of the individual within the group differs between the two. Punk has some similarities to folk, then, but there are tensions, too, and these are well worth examining if one is serious about testing out the common claim, in both folk and punk, that “anyone can do it.”

scholarly journals Trends in Folklore Studies Development in the Research and Education Space at Ukrainian and Foreign Universities

2017 ◽  
Vol 7 (1) ◽  
pp. 14-19
Author(s):  
Myroslava Vovk
Keyword(s):  
Folk Music ◽  
Educational Practice ◽  
Traditional Culture ◽  
Academic Science ◽  
Folk Dance ◽  
Multicultural Personality ◽  
Folklore Studies ◽  
Research And Education ◽  
Definition Of ◽  
Foreign Universities

AbstractTrends in development of folklore studies in the research and education space at Ukrainian and foreign universities have been analyzed. They are fundamentalization, synthesis of academic science and educational practice, professionalization, institutionalization, humanitarization, anthropoligization, interdisciplinarity. It has been defined that in Ukrainian and foreign folkloristic discourse of the 20th – the beginning of the 21th centuries, folklore is studied through the prism of functional, communicative, anthropological, context-based approaches that is partially realized in the official definition of folklore according to the 1989 UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore. It has been found out that while structuring the content of folkloristic disciplines as well as directing future specialists’ researches the multivectoring of folklore studies allows instructors to use the achievements of folkloristic directions that were formed in historical retrospective and actively developed at the modern stage: linguofolkloristics, ethnomusicology, folk therapy (folk music therapy, fairytale therapy, folk dance therapy), etc. It has been justified that folklore studies in Ukrainian and foreign research and education space is being developed as an interdisciplinary science based on the historical and pedagogical experience and taking into account modern integration processes that define the problematics of the content of folkloristic, culturological training of future pedagogue-researcher who is to be educated as a man of culture, nationally aware and, at the same time, multicultural personality.

scholarly journals Electronic folklore archive in the modern sociocultural space

2021 ◽  
Vol 10 (1) ◽  
pp. 283-286
Author(s):  
Mikhail Semenovich Zhirov ◽  
Olga Yakovlevna Zhirova ◽  
Natalya Stanislavovna Kuznetsova
Keyword(s):  
Folk Music ◽  
Electronic Version ◽  
Folk Songs ◽  
Preliminary Review ◽  
The Internet ◽  
State Institute ◽  
Electronic Map ◽  
Wide Range ◽  
Arts And Culture ◽  
Musical Genres

The paper is devoted to the problem of creating an electronic version of a folklore archive and finding ways to present it on the Internet. A preliminary review of the electronic archives of folklore materials posted on the Internet indicates different approaches to their implementation. In the category of archives containing information about folk songs, various methods of classifying musical genres are used, as well as ways of organizing them, which in general makes it difficult for the user to work with resources. The authors of this study propose their own development of a draft electronic map Ethno-cultural heritage of Belgorod Region. This information resource is aimed at both professional figures in the field of folk music and a wide range of amateurs. The basis of the electronic map was made up of expeditionary materials from the archive of Folk Singing Art Department of Belgorod State Institute of Arts and Culture. While developing the project, modern trends in the presentation of archival materials on the Internet were taken into account, which made it possible to fully reveal the traditional culture of the region. The proposed method of presenting information allows you to maximally illuminate the musical genre composition of folk singing, get acquainted with the creative heritage of outstanding performers, as well as greatly facilitates the search for specific song samples, both among the archive materials and in existing publications.

“I Never Planned Anything in My Life”: The Music ofCool Hand Luke

2017 ◽  
Vol 11 (3) ◽  
pp. 257-283
Author(s):  
JAMES M. DOERING
Keyword(s):  
Creative Process ◽  
Folk Music ◽  
Southern California ◽  
American Music ◽  
Primary Sources ◽  
Original Music ◽  
University Of Southern California ◽  
Popular Press ◽  
Wide Range ◽  
The University

AbstractCool Hand Lukehas a distinct soundtrack that features original music by composer Lalo Schifrin and an intriguing collection of traditional American music selected by director Stuart Rosenberg. The music emerged over an intense nine-month span in 1966–67, during which ideas flowed freely and original plans were often jettisoned. Rosenberg and Schifrin were the film's primary musical architects, but others contributed along the way, including screenwriters, actors, producers, folk music experts, and a trio of banjo players. Based on a wide range of primary sources, including documents in the Warner Bros. Archives at the University of Southern California, interviews with individuals involved in the production, the voluminous popular press about the film, and the film itself, this article is a rare glimpse inside the creative process that produced an unmistakably American soundtrack.

scholarly journals Celebration of the 208th Anniversary of May Revolution

2018 ◽  
pp. 242-249
Author(s):  
Alberto José Alonso
Keyword(s):  
Buenos Aires ◽  
Environmental Safety ◽  
Folk Dance ◽  
Argentine Literature ◽  
25Th Anniversary ◽  
Bilateral Agreements ◽  
Wide Range ◽  
Argentine Republic ◽  
High Level ◽  
San Martín

The article is devoted to the May Revolution in Argentina and the 25th anniversary of the opening of the representation of the Argentine Republic in Ukraine. The May Revolution has its origins in the events of May 25, 1810. It was the day when the foundation act declaring the creation of the Argentine state was issued. Two hundred and eight years ago, the word “freedom” arose in the hearts of Argentines. Remembering the most significant moments of history, Argentines preserve and cherish their desire for peace and freedom. Ukraine and Argentina are negotiating bilateral agreements on social security, extradition, mutual assistance in criminal and civil cases, tourism, cinematographic production, intellectual property protection, environmental safety. More than 50 bilateral agreements have already been signed by the two countries in recent years. The enhancement of cooperation is to be reiterated at the meetings of the Joint Commission for Economic and Trade Affairs in Buenos Aires. It is expected that those meetings would result in visits of delegations of Ukrainian businessmen to Argentina and vice versa. The author draws attention to the unveiling of a commemorative sign dedicated to the father of the Argentine nation, General Don José de San Martín, in the garden square in front of the Embassy of the Argentine Republic to Ukraine. The article also focuses on active efforts to spread the culture of Argentina through the Argentine House in Kyiv that offers a wide range of activities, including Argentine literature workshops, tango and folk dance classes, tourism seminars, movie screenings. The author argues that nothing brings people closer together than culture and concludes that relations between Ukraine and the Argentine Republic are at a high level. Keywords. Argentine Republic, May Revolution, Ukraine, bilateral agreements, Argentine culture, economy, Buenos Aires.

scholarly journals Transylvanian Folk Music in Zoltán Kodály's Compositions

2018 ◽  
Vol 59 (1-2) ◽  
pp. 55-60
Author(s):  
István Almási
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Essential Role ◽  
Folk Songs ◽  
Zoltan Kodaly ◽  
Musical Play ◽  
Mixed Voices ◽  
Voice And Piano ◽  
Hungarian Folk Music

Zoltán Kodály became seriously interested in Transylvanian folk music when he had learnt about the results of Béla Bartók's collecting fieldworks in Székelyföld. The wealth of old-style tunes and classical ballads, and – above all – the recognition of the importance of pentatony inspired Kodály to take part personally in the exploration of Székely folk music. Székely musical folklore obviously intrigued him both as an ethnographer and as a composer. He collected nearly 600 tunes in 15 Székely localities in the Gyergyó Basin, the valley of the Kászon stream, and Bukovina. He arranged 66 of these melodies within such compositions as e.g. the Dances of Marosszék, the musical play The Spinning Room, Hungarian Folk Music (57 ballads and folk songs for voice and piano), Székely Lament for mixed voices, Bicinia Hungarica, Kádár Kata and Molnár Anna (both with chamber orchestra accompaniment), and Pentatonic Music. Apart from his own collection, he also used those of some of his contemporaries. The paper discusses the specificities of Kodály's techniques of arrangement. His inspiring advice for younger folklorists had an essential role in triggering the in-depth investigation of Central Transylvanian folk music.

scholarly journals TARI SEBAGAI GEJALA KEBUDAYAAN: STUDI TENTANG EKSISTENSI TARI RAKYAT DI BOYOLALI

2013 ◽  
Vol 4 (2) ◽  
Author(s):  
Mukhlas Alkaf
Keyword(s):  
Folk Dance ◽  
Cultural Economic ◽  
Cultural Phenomenon ◽  
Central Java ◽  
Political Events ◽  
The Social ◽  
Wide Range ◽  
The Many ◽  
Important Form

Tujuan penelitian ini adalah untuk mendiskusikan tari sebagai kebudayaan. Keberadaan tari merupakan gejala yang sangat umum ditemukan dalam berbagai komunitas masyarakat. Keberadaan berbagai ragam tari pada berbagai lapisan masyarakat, sesungguhnya merupakan suatu bentuk penting kebudayaan sekaligus sosial yang menarik diteliti. Penelitian ini dilakukan  sebagi upaya memperoleh penjelasan  lebih jauh mengenai tari berdasar berbagai studi pustaka serta pengalaman penelitian dengan menggunakan data kualitatif melalui metode partisipasi observasi  terhadap keberadaan beberapa tari rakyat yang ada di Kecamatan Selo, Kabupaten Boyolali, Jawa Tengah. Penelitian ini menunjukkan bahwa eksistensi tari, termasuk wujud teks tari ternyata senantiasa bersentuhan dengan dimensi-dimensi sosial, budaya, ekonomi, bahkan politik yang ada di sekitarnya. The objective of this study is to gain an understanding of a cultural phenomenon called dance. Until now, dance is one of the many artistic expressions, which attracted the attention of researchers, especially the social and cultural researchers. The existence of many forms of dance is a  common in many levels of communities. The existence of a wide range of dance at various levels of society indicate that dance is an important ”form of culture”. This research was carried out as efforts to obtain more detail about folk dance as culture and the research was done on the existence of folk dances that exist in the District Selo, Boyolali, Central Java. The research reveals that the existence of dance never stands alone, it always and constantly intesects with  its surrounding social, cultural, economic, and political events.

Marrying Past, Present, and Future

2017 ◽  
Author(s):  
Tanya Merchant
Keyword(s):  
Popular Music ◽  
Central Asia ◽  
Folk Music ◽  
Art Music ◽  
Musical Performance ◽  
Vital Part ◽  
Western Art ◽  
Wide Range ◽  
Wedding Music ◽  
Musical Genres

This chapter examines the ways in which musicians cross the four musical genres in Uzbekistan: maqom, folk music, Western art music, and popular music. Most of the women interviewed for this book interacted with all four genres at some point, and most have strong opinions about each type of practice. The diversity of styles of music present in events associated with Uzbek weddings and the ubiquity of weddings means that they act as unifiers for Tashkenters across disciplinary divides. The chapter first provides an overview of the importance of wedding music throughout Central Asia before discussing the significance of musical performance at weddings. It shows that wedding music is a vital part of the musical economy in Tashkent and is one that involves a wide range of musical styles, including most of those institutionalized in the Uzbek State Conservatory.

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