Folk Elements in Sakkai Novel

Despite the advancement in the literacy knowledge of the human race, the truth and happeinings infered from the experiences of the ancestors is quite evident till today. The references of Folklore, devotional songs, work songs, Lullobies, Proverb, Quizzes, Medicinal hints in the literature till date proves the timelessness of the culture the way, the author expresses the rituals, traditions, Culture use of local languages, lifestyle of a particular region makes literature a tool to carry forward them to future. whenever the medical hints are mentioned in Literature. It is easier for the readers to understand the nature of the disease and the simple ways of cure in the literature by kalaiselvi, the objective of the article is to research the Pleasure and displeasure happenings in one life through folklore.

Tales on the prophets: artistic reflection in the Kumyk literature

The subject of this research is the Quranic narratives on the prophets in the books by A. Akayev, Shihammat-kadi from Erpeli, and Magomed Kazanbiev. In their works, tales on the prophets are interpreted and embellished with the corresponding Quranic ayats and hadiths. An attempts is made to determine cognitive function of the tales that would combine artistic virtues with folk elements, as well as frame a philosophical worldview. The worldview function of these tales is defined as humane by the spirit and logical by the method of interpretation of Islamic theosophy and ideology. It is worth noting that these tales and narratives contain the elements of folklore traditions (M. Kazanbiev “The Radiant Story”). Having analyzed the tales on the prophets described in the books by A. Akayev, Shihammat-kadi from Erpeli, and Magomed Kazanbiev, the author concludes that they represent the extensive authorial narratives based on Quranic themes. The conducted comparative analysis of the texts demonstrates that Shihammat-kadi from Erpel infuses more fiction elements, while A. Akayev places emphasis on the historical-biographical records on the prophets. Unlike the aforementioned authors, M. Kazanbiev describes and glorifies the actions and personal traits of a single prophet. Reference to the Quranic narratives on the prophets in the Kumyk religious literature allows tracing the peculiarities of their interpretation, determine the specificity of authorial narration, their style, as well as similarities and differences. The acquired results confirm that A. Akayev, Shihammat-kadi from Erpeli, and Magomed Kazanbiev embellish the Quranic texts in their works.

Proverb and style in Eminescu’s journalistic writings

The paper inquires into the idea that Mihai Eminescu (1850–1889)—the most important Romanian writer of the 19th century—featured in his journalistic writings proverbs collected from the speech of common people. Concerning the hundreds of proverbs featured in the press articles penned by Eminescu, I assume that the aforementioned writer naturalised in the mosaic-like journalistic texts certain book excerpts upon which he conferred the stylistic image of folk elements. Without denying that some of the proverbs used by the poet in his articles pertain to common language, in this study, I am mainly interested in the “stage setting” orchestrated by the writer to confer a folkloric aura upon erudite excerpts. Last but not least, the study unveils Eminescu’s willingness to experiment with various journalistic compositional formulas, tailored to his knowledge, sensibility, and imagination.

ROKOPISNE PESMARICE – MED RELIGIOZNIM IN LJUDSKIMMANUSCRIPT SONGBOOKS: BETWEEN RELIGIOUS AND FOLK

Rokopisne pesmarice so pomemben, a premalo upoštevan vir raziskovanja cerkvenih in ljudskih nabožnih pesmi ter procesa ponarodevanja avtorskih pesmi. V članku so analizirani vzroki za nezanimanje raziskovalcev za to področje in predstavljene dileme žanrskega razmejevanja v rokopisnih pesmaricah, v katerih so zapisane tako avtorske cerkvene kot ljudske pesmi. Vprašanja razmerij med institucionalno religioznim in ljudskim dopolnjujejo prepletanja med pisnim in ustnim.***Manuscript songbooks as a very important source have only partly been taken into account in research on church songs and religious folk songs and in the process of folklorization of art songs. This article analyzes the reasons for researchers’ lack of interest of in this topic, and it presents the problems of genre demarcation in manuscript songbooks, which contain both church songs and folk songs. Discussion of the relations between institutional religious and folk elements are complemented by the interplay between written and oral material.

Multicultural Choral Music Pedagogy Based on the Facets Model

Multicultural choral music has distinct characteristics in that indigenous folk elements are frequently incorporated into a Western European tonal system. Because of this, multicultural choral music is often taught using Western styles (e.g., bel canto) rather than through traditional singing techniques from their cultures of origin. One of the most important purposes of teaching multicultural music is to increase understanding of and acceptance toward different cultures and enrich musical experiences. This article details eight instructional strategies to help students learn multicultural choral music from alternative perspectives that enrich their musical skills, cultural understandings, and performances of multicultural music.

Catherine II’s the early reign of Oleg: Sarti, Canobbio and Pashkevich working towards an ideal

This paper focuses on Catherine II?s The Early Reign of Oleg (1790) as a demonstrative performance of the sovereign?s policy. In the context of Catherine?s early nationalistic pride and her ?Greek project?, the performance is understood as a synthesis embodying in music the vision of Russia as an Empire ready to receive the heritage of Byzantium, thanks to Sarti?s use of modes combined with the Russian folk elements introduced by Canobbio and Pashkevich. In this context, Nikolay L?vov represents the joining link, having theorized that Russian folk music originated from ancient Greek music.

Folk Elements in Aleksei Balabanov’s Brat and Brat 2: A Morphological Analysis

The article uses Vladimir Propp’s Morphology of the Folktale (Морфолоƨuя сказкu, 1928) as a framework to illustrate the way in which Aleksei Balabanov masterfully creates a modern folk tale using classic motifs and structures in his 1997 film Brother (Браm, Russia) and its sequel Brother 2 (Браm 2, Russia, 2000). The paper argues that Brother and Brother 2 are post-Soviet retellings of classic tales of Russian folklore and that Danila is a modern hero, an unlikely saviour of the Russian nation and the Russian soul. Danila’s journey is formulaic, predictable and straightforward, yet nevertheless makes for a powerfully new take on concepts of Russian nationalism and heroism. The underworld to which our hero must journey is located in the heart of Russia’s ‘Peter’, and possession of the Russian nation and soul are the object of his quest in the volatile post-Soviet period.

Composers, Trends and the Question of Nationality in Nineteenth-Century Musical Greece

The question of a European-type local music was raised in modern Greece as early as during the first years of its independent life, and within the context of a rapid Occidentalizing and modernizing process. The earliest Greek professional musicians to serve this social, as well as ideological, need came from the Ionian Islands, but soon other parts of the national territory saw the birth of some important composers who added specific German, French or Russian components to the basically Italianate flavour of the Ionian musical tradition. In their respective works the main trends of nineteenth-century European music found their Greek way, although a sparse use of local folk elements was only gradually, hesitantly, and – in any case – partially accepted by a middle-class public, willing to keep its distance from its own Ottoman past. It was mainly for that reason that a Herderian-type musical nationalism, although already visible around 1850, had to wait until the end of the century before obtaining its clear and definite shape, and before occupying the central Greek musical scene during the early years of the new age.