Musical and educative aspects of various forms of children’s folk song and play

2018 ◽  
Vol 5 (1(8)) ◽  
pp. 29-43
Author(s):  
Dominika Lenska

The author discusses the issues connected with children’s singing in the context of a folk song and of singing in general. She shows an analogy between a native song and mother tongue, indicating shared ‘steps’ that give a chance to express oneself through speech and song in a natural and universal manner. She also draws our attention to the link between a folk song and a life of particular communities, their culture and the world of nature. The author places children’s songs within an exceptionally colorful and varied repertoire of folk songs. Characteristic features of songs, such as a simple form, elementary melo-rhythmic phrases, narrow vocal range, texts about familiar matters, determine their value, enable children to learn them quickly and play a very important instructive-educative role.

Author(s):  
Tatyana V. Petkova ◽  
Daniel Galily

This article is about the story of a favorite Jewish song of many people around the world. Hava Nagila is one of the first modern Israeli folk songs in the Hebrew language. It went on to become a staple of band performers at Jewish weddings and bar/bat (b'nei) mitzvah celebrations. The melody is based on a Hassidic Nigun. According to sources, the melody is taken from a Ukrainian folk song from Bukovina. The text was probably the work of musicologist Abraham Zvi Idelsohn, written in 1918. The text was composed in 1918, to celebrate the Balfour Declaration and the British victory over the Turks in 1917. During World War I, Idelsohn served in the Turkish Army as a bandmaster in Gaza, returning to his research in Jerusalem at the end of the war in 1919. In 1922, he published the Hebrew song book, “Sefer Hashirim”, which includes the first publication of his arrangement of the song Hava Nagila.


LingVaria ◽  
2018 ◽  
Vol 13 (25) ◽  
pp. 163-178
Author(s):  
Katarzyna Prorok

Wziął braciszek strzelbiczkę, trafił myśliweczka w główeczkę… On (Un)conventional Uses of Diminutives in Polish Folk SongsThe paper attempts to specify the function of diminutives in folk songs, and to find to what degree they can be considered a reliable source in the reconstruction of the linguistic image of the world. The starting point are the findings of Jerzy Bartmiński who distinguished five main functions of diminutives in folk songs: intellectual (communicating smallness), emotional (communicating endearment), rhythm-creating, rhyme-creating, and structural-poetic (signalling the style of the folk song: affectionate, tender, and noble). An analysis of lyrics where diminutives appear frequently and, unusually for them, in contexts of pejorative nature (e.g. in the wife’s description of how she killed her husband: zabiłam go drewienkiem w komórce pod okienkiem), allows the author to formulate a hypothesis that the structural-poetic function of diminutives is not only to establish a “tender and gentle” style in order to evoke positive emotions (create a positive image of the world), but also to evoke negative emotions (and create a negative image of the world). In pejorative texts, partially desemantized diminutives with their conventional tenderness and gentleness, can either soften the evil and the horror of the depicted world, neutralize negative emotions, or they can create such a sharp contrast with the “heartless” story which is being told, that the evil and dread of the world are intensified together with negative emotions. But this diversity of functions that diminutives can play in folk songs, ther partial desemantization and conventionality, render them particularly difficult to analyze, and a reasearcher of the linguistic image of the world should approach them with caution.


1955 ◽  
Vol 75 ◽  
pp. 42-53
Author(s):  
John Mavrogordato

This paper is only a small scratch at the surface of a much larger investigation of the meanings of folk-song and folk-tale—and that is why this journey to the World of the Dead, as it appears in some Greek folk-songs, begins in a hesitating and roundabout manner. I had been reading Professor Dawkins's Forty-five Stories from the Dodekanese, and had been impressed by part of the Introduction in which he explains how ‘ideas and feelings about life’, which cannot be directly expressed and often remain unconscious or not consciously formulated, may be ‘conveyed in the concrete external shape of a story’, and after that I began to think that any work of art, ifit is good enough to survive at all, must express more than the maker's conscious beliefs and must include some serious statement about the nature of the world. All good folk-tales and all good folk-songs have a hidden meaning, and that is why they survive. In the brain of James Barrie some feeling about the nature of Time and History must have been germinating when he wrote in Peter Pan about the crocodile which swallowed the alarm-clock; and I wondered if he had ever heard the Chinese folk-tale about the dragon that swallowed the moon. From that my thoughts went to Alice in Wonderland, which tells us not only a great deal about the hidden temperament of Lewis Carroll but also something he had felt about life, and something more than he found satisfactorily expressed in his religion. If this feeling of his was of any importance, the view that it expressed, or the feeling that produced such a view, would be shared by others, and a similar expression of it would turn up somewhere else. That led to thoughts about the World under the Ground, the World Below, the Under World—ὁ κάτω κόσμος.


Author(s):  
Sintija Kampāne-Štelmahere

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.


2021 ◽  
Vol 25 (1) ◽  
pp. 26-51
Author(s):  
Md. Nazmul Islam ◽  
Yılmaz Bingöl ◽  
Israel Nyaburi Nyadera ◽  
Gershon Dagba

This article aims to examine the legacy and policy of AK Party in Turkey, Ennahda’s political movement in Tunisia, and Jamaat-e-Islami (BJI) in Bangladesh, which is ostensibly identified with Islamic political ideology and acquainted with the world as a ‘moderate-conservative political Islam party.’ The study interrogates the nature, processes, and the characteristic features of the three countries’ administrative system, comparatively from three regions of the world, particularly from the Middle East and Europe region, Africa and Arab region, and the South Asian region. This study also highlights these political parties’ history, political ideology differences, and their practices reflective of democratic principles from a theoretical perspective on politics, policy, and philosophy. It also acknowledges whether the political development of Turkey from 2002 onward is feasible for Bangladeshi and Tunisian Islamic political parties to accept as a role model in their political arena.


2010 ◽  
Vol 18 (3) ◽  
pp. 329-345
Author(s):  
Hubert Markl

The reason why I wavered a bit with this topic is that, after all, it has to do with Darwin, after a great Darwin year, as seen by a German scientist. Not that Darwin was very adept in German: Gregor Mendel’s ‘Versuche über Pflanzenhybriden’ (Experiments on Plant Hybrids) was said to have stayed uncut and probably unread on his shelf, which is why he never got it right with heredity in his life – only Gregory Bateson, Ronald A. Fisher, and JBS Haldane, together with Sewall Wright merged evolution with genetics. But Darwin taught us, nevertheless, in essence why the single human species shows such tremendous ethnic diversity, which impresses us above all through a diversity of languages – up to 7000 altogether – and among them, as a consequence, also German, my mother tongue, and English. It would thus have been a truly Darwinian message, if I had written this article in German. I would have called that the discommunication function of the many different languages in humans, which would have been a most significant message of cultural evolution, indeed. I finally decided to overcome the desire to demonstrate so bluntly what cultural evolution is all about, or rather to show that nowadays, with global cultural progress, ‘the world is flat’ indeed – even linguistically. The real sign of its ‘flatness’ is that English is used everywhere, even if Thomas L. Friedman may not have noticed this sign. But I will also come back to that later, when I hope to show how Darwinian principles connect both natural and cultural evolution, and how they first have been widely misunderstood as to their true meaning, and then have been terribly misused – although more so by culturalists, or some self-proclaimed ‘humanists’, rather than by biologists – or at least most of them. Let me, however, quickly add a remark on human languages. That languages even influence our brains and our thinking, that is: how we see the world, has first been remarked upon by Wilhelm von Humboldt and later, more extensively so, by Benjamin Whorf. It has recently been shown by neural imaging – for instance by Angela Friederici – that one’s native language, first as learned from one’s mother and from those around us when we are babies, later from one’s community of speakers, can deeply impinge on a baby’s brain development and stay imprinted in it throughout life, even if language is, of course, learned and not fully genetically preformed. This shows once more how deep the biological roots are that ground our cultures, according to truly Darwinian principles, even if these cultures are completely learned.


Author(s):  
Anil Gopi

Food and feast are integral and key components of human cultures across the world. Feasts associated with religious rituals have special social and cultural significance when compared to those in any other festivities or celebrations in people’s life. In this study, an approach is made to comparatively analyze the feasts at religious festivals of two distinctive groups of people, one with a characteristic of simple society and the other of a complex society. The annual feast happening at the hamlets of the Anchunadu Vellalar community in the last days of the calendar year is an occasion that portrays the egalitarian nature of the people. While this feast is restricted within a single community of particular caste affiliation and geographical limitations, the feast associated with the kaliyattam ritual of village goddess in North Malabar is much wider in scope and participation. The enormous feast brings the people in a larger area and exhibits a solidarity that cuts across boundaries of religion, caste and community. Beyond the factors of social solidarity and togetherness, these events also illustrate its divisive characters mainly in terms of social hierarchy and gender. A comparative study of both the two feasts of two different contexts reveals the characteristic features of religious feasts and the value of food and feast in social life and solidarity and also how it acts as a survival of their past and as a tradition.


Author(s):  
A.G. Shipilov ◽  
◽  
T.S. Kuzmenko ◽  

This article deals with the problem of designing car parks in the modern urban environment. Special attention is paid to the search for architectural expressiveness. The article reveals the methods of achieving architectural expressiveness. The characteristic features of plastic solutions for car parks based on the world experience in the construction and construction of such buildings and structures are highlighted and described separately. The author's solution of car Parking on the selected site with the use of space-rod construction of the coating, as one of the techniques of plastic solutions, is given.


2020 ◽  
Vol 69 ◽  
pp. 36-44
Author(s):  
Yarema Kravets’ ◽  

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.


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