Ancient Beliefs and Traditional Singing of Ukrainians: Gender Differentiation

Gender differentiation in the Ukrainian song tradition is most consistently manifested in the ritual system, and partly – in the epic tradition and lyrical song tradition. The primary attention in the article is paid to the ritual sphere, first of all to the calendar cycle. The paper highlights in detail the traditional distribution of functions between men and women in pre-Christian rituals, during which, according to ancient ideas and beliefs, there was some contact between «that» (sacred) and «this» («profane») worlds. Males, or more precisely, boys who were members of the so-called «parubotchi gromady» (young men communities) took an active part in the rites only once a year – at the beginning of the calendar-time cycle that is, in winter (in ancient times this happened in the spring) during the rituals of the yards circumambulation. The main purpose of these actions was to wish good for each family from the dead ancestors for the coming year (verbal magic), and in return, the ancestors received gifts – sacrificial food from representatives of the living world to appease them for the next year. Women, as representatives of «this» world, maintained contact with otherworldly forces throughout the entire agrarian period from sowing to harvest, as well as in ceremonies associated with the birth of a child, a wedding, or escorting the deceased to the afterlife. In times of crisis in the development of nature and human life, they turned to their deceased ancestors for help. The magical instrument of this connection was the voice, which filled the ritual texts with specific ritual timbre-intonation. The gender distribution in other genres of Ukrainian traditional song is somewhat different. Thus, if in the epic songs the prerogative belongs to men, then the lyric song system is characterized by the joint and almost equal participation of men and women. However, it should be noted that the performers of social songs were predominantly men, and women sang family lyric songs. But the most common was a mixed lineup of singing groups. Even more this property is inherent in the late layer of lyrical song performance. The author also draws attention to the age aspect of the performance of ritual and non-ritual songs in the Ukrainian tradition

George Petrie (1790–1866) as a collector of Irish song

This chapter considers the contribution of George Petrie as a collector and publisher of Irish song. His upbringing, his professional career first as an artist and subsequently as an archaeologist, and his role as a leading figure in the Royal Irish Academy, all provided important contexts for his collection of traditional song. As the head of the orthographical and etymological section for the Memoir of the Ordnance Survey of Ireland he worked closely with two of the most important Irish scholars of the time, Eugene O’Curry and John O’Donovan, and their influence proved invaluable when he was made president of the Society for the Preservation and Publication of the Music of Ireland in 1851. The various sources of the songs he collected and his approach to their notation are considered, as are the characteristics of the contents of the only completed publication of the Society for the Preservation and Publication of the Music of Ireland, The Petrie Collection of the Ancient Music of Ireland in 1855.

Ornamentasi Vokal pada Tarsul Kutai Kartanegara

One form of singing or chanting spread through cultural needs is a traditional song originating from Kutai Kartanegara called tarsul. This study aimed to obtain data about what vocal ornaments are contained in the Kutai tarsul. The theory used in this research is the theory of music presentation forms, ornamentation, and western music vocal techniques. A qualitative descriptive study was chosen by prioritizing the musicology approach. The data was collected by (1) literature study, (2) observation, (3) interviews, (4) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, (3) historiography writing, and (4) conclusions. Data clarification was again carried out using data triangulation techniques. The results showed two kinds of tarsul rhythms commonly used by petarsul, namely tarsul with one rhythm (low) and tarsul with a rhythm of two (high). In Kutai Kartanegara's tarsul, there are several ornaments. Many melismatic ornaments are found at the end of the melody of each part of the tarsul sentence. There are three forms of melismatic ornamentation named for easy classification: melismatic ornament A, melismatic ornament B, and melismatic ornament C. Apart from melismatic ornamentation, there is symbolic ornamentation on tarsul, namely trill ornamentation. Next is the morden ornamentation. More specifically, lower mordent ornamentation was found. Lastly is the use of grupetto ornamentation. From the transcription and tarsul analysis of rhythm patterns 1 and 2, it was found groupetto reverse turn ornamentation.

"The variabilities of a specific Gorj county song. Comparative analysis of two versions"

Traditional music is characterized by: oral transmission, collective specificity, syncretic substrate, anonymous source, etc. These elements generate another phenomenon specific to this music, namely: the transformations that a traditional song can undergo when it leaves an area, a region even a performer and is “replanted” in another area / region or it is reinterpreted by another person. This scientific study monitors this transformation through the comparative analysis of a song from the Oltenia region, Gorj County, sung by two of the most famous voices of traditional music and folklore in Romania: Maria Lătărețu and Maria Tănase. Following the analysis, conclusions are specified, regarding the differences in the underlying structure, melodic structure, rhythmic structure, etc

Preserving Javanese Language by Translating Traditional Song used in Dieng’s Dreadlock Hair Cutting Tradition to Support Banjarnegara Local Tourism

Language is served as evidence of human being civilization. Through language, culture is shared. When a language goes extinct after its speakers are gone, a culture is also threatened. To preserve a language and the culture embedded in it, language maintenance is needed. One of the ways to do it is by translating the language for foreign visitors in a tourism event. This research shows how the Javanese language is translated in a song containing prayer in a religious-traditional tourism event called Ngruwat, in Dieng, Banjarnegara, Central Java. The data were collected and analyzed using translation theory and methodology. The result shows that translating the old Javanese language means learning the language and exposing it to people who serve as language and culture maintenance.

The theme in oral poetry as exemplified by the Faroese Ragnars Táttur

The theme as well as the formula is one of two basic elements of Parry and Lord’s theory. A. B. Lord defines the “themes” of oral poetry as “the groups of ideas regularly used in telling a tale in the formulaic style of traditional song”. The theme happens to be a bilateral unit having both the plane of content and the plane of expression. The presence of the plane of content is self-evident and axiomatic. The theme in oral Faroese poetry possesses also the plane of expression. The proof of this statement is the fact that the realization of the same theme or some similar themes in different ballads or within the same piece of oral poetry presupposes the use of the same units of the lower level i.e., formulas and repetitions. The theme is a bilateral unit having its proper position in the unit system of the poetic language. It boasts its own level status. From the point of view of the level structure, the theme occupies the medium place between the formulas and the whole text. The interaction of the theme and both neighboring levels may be described as whole-part relationship. To the means of formula technique, formulas and repetitions, the theme behaves as the whole; to the text it plays the role of a part. Such a hierarchical structure creates the effect that the features of some units within this system influence the features of other units.

Transformasi Lagu “Kacang Dari” ke Dalam Chamber Music

This article aims to reveal the transformation process of a traditional lullaby entitled Kacang Dari into chamber music so that the song can rise from the of extinction. The problems discussed in this article are focused on the rapid development of technology that has indirectly made the legacy of traditions, especially traditional songs, increasingly abandoned. One of the traditional songs that is on the verge of extinction is Kacang Dari. Kacang Dari is a traditional song originating from Pujungan Village, Pupuan, Tabanan-Bali. This song is a lullaby that is rarely sung now, even very few children in Pujungan Village know about the song Kacang Dari. In order to approach this problem, the researcher uses the theory of transformation and composition theory to represent the song into a new form, namely chamber music. In this transformation process the researcher uses the creation method which refers to the method offered by Alma Hawkins consisting of the exploration, improvisation, and formation stage. This creation concludes that a traditional song that is getting extinct and not sung by the song can be picked up and transformed into a new form so that it can maintain its existence and attract the public's interest to be able to re-enjoy the song.

Wschodniosłowiańskie i polskie pieśni tradycyjne jako uniwersalny nośnik kultury

In the presented article, the author considers a rarely discussed subject of traditional song lyrics perceived as culture transmitters. Even though they are very universal and comprehensive sources in terms of cultural transmission, academics use them in scientific discourse incommensurately less frequently than other textual forms or art works from the epoch. The author analyzes traditional folk songs as texts which unfold before the reader. Their crucial value and broad possibility to understand different and interfusing realms of human activity associated with Polish and East Slavic culture are presented.