Songs and morphology in three species of the Chorthippus biguttulus group (Orthoptera, Acrididae, Gomphocerinae) in Russia and adjacent countries

Songs and morphology are compared between Chorthippus miramae (Vorontsovsky, 1928) that was previously named as C. porphyropterus and two other closely related species, C. brunneus (Thunberg, 1815) and C. maritimus Mistshenko, 1951. We compare them because the calling song of C. miramae was previously shown to have song elements similar to those of other two species. One morphological character, the length of stridulatory file, appeared to be the best character to distinguish between all three species. For C. maritimus and C. miramae, we present the morphological descriptions since they are absent in the literature. We also establish the synonymy C. maritimus = C. bornhalmi Harz, 1971, syn. n. = C. biguttulus eximius Mistshenko, 1951, syn. n. In the song analysis, we analyse not only the sound but also the leg-movement pattern, which is very helpful to find a homology between various song elements. We show that the calling song of C. miramae usually contains two elements, one element being similar to the C. brunneus calling song, and another – to the C. maritimus calling song. Despite some similarities, the calling song elements in C. miramae have some peculiarities. The courtship song of C. miramae is similar to the C. brunneus song, whereas the rivalry songs of C. miramae comprise both the maritimus-like elements and the unique ones. C. miramae generally demonstrates a richer song repertoire than the other two species.

Robert Owenson’s macaronic song repertoire and the Dublin theatre audience of the late eighteenth century

This article argues that Robert Owenson’s bilingual song repertoire represents an urban strain of the Irish macaronic tradition which developed over the course of the eighteenth century as Irish-speaking poets and song composers responded to a public that was increasingly diglossic. In Owenson’s case, this repertoire was formed from the crossings between songs and tunes from the Irish-speaking area where this performer grew up, and those that came out of the playhouses, taverns, and streets of Dublin, the city where he spent his twenty-year Irish stage career. The article also explores the politics of these songs and the Dublin audience’s shifting response to their performance. While Owenson’s songs were enthusiastically received in the years leading up to 1782, a period dominated politically by the patriots and the Volunteers, they provoked a reactionary backlash in the later 1780s and 1790s when Dublin’s radical element began claiming them as their own.

Relevant questions in studying dance ditty

The object of this research is a Russian dance ditty (folk song consisting of four-lined couplet). The subject of this research is the emergence and proliferation of dance ditty across the Russian regions, its nature and entwinement with the dance song, as well as active popularization in the late XIX – early XX centuries. Special attention is given to the existing scientific versions of the emergence of this genre. The author underlines the importance of in-depth study of dance ditty as a folk genre the choreographers and folklorists rely on in their work. The question is raised on the need for comprehensive examination of the Russian regional dance ditty, since it is encompasses a vast layer of types, subtypes, performing, musical and dance peculiarities of all Russian regions. The novelty of this work lies in the attempt to determine the factors of emergence and popularization of dance ditties. The analysis of folklore material (song collections, etc.) for the purpose of establishing correlation between dance ditties and dance songs, quadrilles, its particular types and forms suggests achieving the goal set in this article. The goal of this research is to reveal the reasons for the existence and popularity of dance ditties in different Russian regions. The author develops a new version of the emergence of ditty from dance songs during the quadrille performance. The acquired results reveal close interrelation between ditty and dance songs alongside the development of folk choreography and song repertoire, and draws the interest of experts to dance ditties.

VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine

The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.

From Pure Source Only – Collection of Hungarian Folk Songs Project

The collection contains a selection of folk songs from the Hungarian population living in Romania. Of the four volumes planned, three have been published so far. The entire collection is expected to span 18 regions and 3 micro-regions, as well as a strip of hundreds of kilometers from Transylvania and other areas outside Transylvania. These include some more developed areas which abandoned their traditions in the first half of the last century, and some more traditional regions. The first three volumes comprise folk songs from 174 localities, collected by 126 collectors, including Béla Bartók, Zoltán Kodály, László Lajtha, János Jagamas and Zoltán Kallós. The collections took place between 1899 and 2017. The melodies have been selected from the archives of Transylvanian and Hungarian institutions, as well as from audio materials accompanying various publications. In this selection I have tried to add as many songs as possible which belong to the old strata of folk songs. I have tried to include as many pentatonic melodies as possible because these strata predominantly feature this scale. Also, in the last century the everyday folk-song repertoire shifted toward a fixed-rhythm performance mode. An ancient form, with its speech-like mode of performance, is now in the process of being lost. Therefore, the number in the published volumes is smaller than that of the folk songs performed in a tight rhythm.

Der ṭarab der Sängersklavinnen

In "Der ṭarab der Sängersklavinnen", Yasemin Gökpınar presents a text critical edition of the three known manuscripts of the 10th chapter of Ibn Faḍlallāh al-ʿUmarī’s (died 749/1349) "Masālik al-abṣār fī mamālik al-amṣār". In this monograph, she provides an unprecedented commented German translation of this important source on female singer slaves and their song repertoire in the context of Muslim court culture from the Abbasids to the Mamluks. The scientific interests of Dr. phil. Yasemin Gökpinar, Ruhr-University Bochum, and Austrian Academy of Sciences, Vienna, include Arabic music theory and history of sciences, their Greek sources, Arabic manuscript culture, text edition, Arabic-Islamic music culture and literature.

On the question of the formation of a secondary linguistic personality

The article analyzes topical issues of teaching Russian as a foreign language. The special attention is paid to the choice of methodological techniques in the formation of the category of the secondary linguistic personality. The problem of the formation of a secondary linguistic personality among foreign students in a situation of isolation from the country of the learning language is considered. The authors characterize the conditions and opportunities for the formation of a secondary linguistic personality on the example of teaching philology students of the specialty "Russian as a foreign language" from the People's Republic of China, in conditions of academic mobility in the Republic of Kazakhstan. The factors that actualize the features of the secondary linguistic personality, such as the choice of the Russian name and song repertoire, are given. Attention is focused on the importance of tandem classes in the situation of intercultural communication. These teaching methods and techniques allow developing intercultural competence in its relationship with communicative competence, which in turn will determine the formation of the secondary linguistic personality.

НОВІ ВИМІРИ ІНТЕРПРЕТАЦІЇ ВОКАЛЬНО-ІНСТРУМЕНТАЛЬНИХ ТВОРІВ ШКІЛЬНОЇ ПРОГРАМИ

The article actualizes the problem of interpreting vocal-instrumental works of the school program. On the basis of analysis, synthesis, systematization and generalization of conceptual provisions presented in the scientific literature on the studied problems the peculiarities and theoretical bases of interpretation of school song repertoire (with an emphasis on instrumental component) are revealed, in particular: taking into account the specificity of the structure of the specified works as a “mono-synthesis” of the textures of the vocal-choral part and piano accompaniment, the need to decode the coordinates of the author’s text of the studied musical works, designing special pedagogically oriented performing-ensemble solutions for the production of the accompaniment part. It is found that vocal-instrumental works are specific in their structure, they represent a combination of heterogeneous textures into a single whole. It is an organic fusion of different “components” that create a single and multifaceted musical-artistic text. The basis of knowledge of their artistic and figurative content is the “author’s text”. Its uncertainty, schematism necessitates further decoding and “predetermination” due to the recognition and differentiation of coordinate groups. The coordinate scheme of the author’s text of vocal-instrumental works is created. The include: marked coordinates (author’s text level), inaccurately marked coordinates (author-performer’s text level) and unmarked coordinates (performer-ensemble’s text level). The content components of each of the selected text levels are defined. The content of the author’s level of the text consists of the following components: literary text, musical text (metrorhythm, pitch, harmony, pitch-tone, form-composition) and the type of textured presentation of the accompaniment. The content of the author-performer’s text level includes: tempo, agogics, dynamics, articulation, phrasing, fingering, author’s remarks, pedaling. The content of the performer-ensemble’s level of the text consists of the following components: functional and role characteristics of the accompaniment, dynamic balance; dynamic, articulatory, agogic, metrorhythmic, tempo coherence; intonation unity. A number of components of the author’s text of vocal-instrumental works of the school program are carefully analyzed, namely: type of textural presentation of accompaniment, features of ratio of literary and musical texts, functional and role characteristic of accompaniment. On the basis of the selected theoretical positions a number of effective artistic methods of realization of the investigated interpretive process is offered.

ANDRÉ PREVIN (1929–2019)Five Songs (1978)

This chapter discusses a set of fluent, pleasing songs by the internationally-celebrated conductor and composer, André Previn, in which he demonstrates his innate flair and natural feeling for vocal timbre. Like other American composers, he possesses the knack of setting English texts in a smooth, unforced way; phrases follow the natural contours of the texts and are largely undemanding. The songs are therefore suitable for a comparative novice. Accompaniments, too, are sensitive and well judged. The musical idiom is appealingly straightforward, with a gently shifting tonality. In these songs, Previn has successfully applied his distinctive gifts to the traditional ‘art-song’ repertoire, investing it with his highly individual musical sensibility and panache.

The Theme of War in the Collection of the Amateur Regional Ethnographer P. P. Fertikov from Udmurtia

В статье рассматривается краеведческая деятельность П. П. Фертикова - подполковника медицинской службы в отставке, уроженца русской деревни Патраки Якшур-Бодьинского района Удмуртии. Собранная им за многие годы коллекция материалов представляет собой важный источник по истории и культуре родной деревни и района, республики в целом, основной акцент при этом сделан на события Великой Отечественной войны. Сквозной темой устных повествований о военном времени в жанре рассказов-воспоминаний является жизнь российской глубинки: взваленный на стариков, женщин и детей непосильный крестьянский труд в тылу, постоянная борьба с голодом и холодом, изнурительная работа подростков на лесозаготовках и строительстве железной дороги. Полны драматизма воспоминания бывших военнопленных. Сдержанно-эмоциональны подборки писем с фронта. Типологически общей составляющей коллекции являются русские и удмуртские частушки - короткие песни-куплеты на злободневную тему, позволяющие выплеснуть эмоции непосредственно в момент исполнения. По «девичьим альбомам» участниц войны прослеживается отличный от деревенского песенный репертуар: широко известные авторские песни военных лет, жестокие романсы, наивные по содержанию и стилю песни на стихи самодеятельных авторов. This article deals with the collection of the local historian P. P. Fertikov, a retired Lieutenant Colonel of the medical service and a native of the Russian village of Patraki in the Yakshur-Bodya Region of the Udmurt Republic. The materials he collected over many years is an important source on the history and culture of his native village and district, and of the republic as a whole, with a main focus on the events of World War II. A constant theme of the oral narratives (memoirs) about wartime is life in the rear, in the Russian hinterland. Backbreaking peasant labor burdened the old and the weak shoulders of children; there was a constant struggle with hunger and cold; teenagers had to do the grueling work of cutting timber and railway construction. The accounts of former prisoners of war are full of drama. Letters from the front are emotionally restrained. The main component of the collection is Russian and Udmurt chastushkas - short songs-verses on a topical theme that allow the performer to vent emotions directly during performance. “Maiden’s albums” by participants in the war reveal a different song repertoire from that of the village: they include well-known authorial songs of the war years and heart-rending romances, naive in content and style, based on poems by amateur authors.