TRANSFORMASI KOMUNIKASI LAGU GENJER-GENJER DARI LAGU POPULER KE POLITIK

Abstrak Kreativitas karya budaya melalui lagu dalam sejarah Indonesia semenjak dahulu hingga kini ternyata sangat efektif menjadi alat komunikasi perubahan sosial dan politik. Di zaman dahulu dalam tradisi budaya Jawa ada yang disebut tembang atau lagu yang dipakai sebagai sarana komunikasi untuk memberikan arah petunjuk bagi perubahan tersebut. Tembang atau lagu ternyata menjadi alat menghela pesan kesadaran publik atas berbagai persoalan yang terjadi. Kajian atas sarana komunikasi melalui lagu itu ternyata dapat menjadi penanda atas perubahan sosial politik yang menandai sebuah era zaman. Dalam tulisan ini membahas soal perubahan komunikasi sebuah lagu di era menjelang kemerdekaan Indonesia atau era modern Nusantara. Lagu rakyat Banyuwangi yang dikenal dengan nama ‘Genjer-genjer’ yang pada awal pembuatannya di zaman Jepang hanya sebatas berfungsi lagu hiburan semata, namun pada suatu waktu dalam sebuah arus zaman bisa berubah menjadi lagu yang sangat kental dengan pesan sebuah ideologi dan politik. Bahkan, lagu rakyat yang memakai syair bahasa daerah Jawa dengan dialek Banyuwangi ini, nantinya berubah dan dianggap sebagai alat propaganda yang efektif sebuah kekuasaan politik yang bersifat nasional bahkan internasional. Di masa kini lagu Genjer-genjer semakin menarik karena telah dinyanyikan oleh orang asing dengan memakai bahasa asing atau melepaskan syair aslinya. Akibatnya lagu ini yang dahulu begitu popular, kemudian dalam beberapa puluh tahun saat terjadinya perubahan rezim menjadi terlarang dan menghilang dari telinga publik, kini mulai dikenal dan terdengar semarak kembali. Adanya kenyataan tersebut, maka melalui kajian ini, publik kemudian menjadi memahami kembali arti dan nilai pentingnya sarana komunikasi dari karya budaya melalui sebuah lagu pada umumnya, serta lagu ‘Genjer-genjer’ pada khususnya. Sebuah lagu ternyata bisa sangat efektif menjadi sarana komunikasi. Lagu ternyata tak bermata tunggal, yakni hanya hiburan dan pelepas ekpresi pribadi belaka. Lagu punya banyak fungsi dan wajah. Abstract The creativity of artistic works through songs in Indonesian history from the past until now has become very effective as a communication tool for social and political change. In ancient times in the Javanese cultural tradition, a so-called tembang or song was used as a means of communication to provide directions for these changes. Tembang or song turned out to be a tool to convey a message of public awareness of the various problems that occurred. The study of the means of communication through the song became a marker for the socio-political changes that marked an era. This paper discusses the difference in the transmission of a song in the period leading up to the independence of Indonesia or the modern era of the archipelago. The Banyuwangi folk song known as 'Genjer-genjer' which at the beginning of its creation in the Japanese era was only limited to functioning as an entertainment song, but at one time in a period, it could turn into a song that was very thick with the message of an ideology and politics. This folk song, which uses Javanese rhymes with the Banyuwangi dialect, will later change and be considered an effective propaganda tool for a political power that is national and even international. Nowadays, the song Genjer-genjer is more interesting because it has been sung by foreigners using a foreign language or releasing the original lyrics. As a result, this song, which used to be so popular, then in a few decades when the regime change took place, became banned and disappeared from the public's ear, is now starting to be known and sounds lively again. With this fact, through this study, the public will then understand the meaning and value of the importance of means of communication from cultural works through a song in general, and the song 'Genjer-genjer' in particular. A song can be very effective as a means of communication. The song does not have a single eye, that is, it is only entertainment and a mere release of personal expression. Songs have many functions and faces.

An American Singing Heritage

This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud's Folk Song Index, catalogues of commercial early country (or “hillbilly”) recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from (1) commercial recordings of “hillbilly” musicians, and (2) field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. Each transcription is accompanied by a brief contextualizing essay discussing the song's history and influence, recording and performance information (whenever available), and an examination of the tune. The edition begins with a substantive essay about the history of folk song recordings and folk song scholarship, and the nature of traditional vocal music in the United States.

The First Ethnomusical Publications by Volodymyr Hoshovskyi

Relevance of the study. In 2022, the world community will celebrate the 100th anniversary of the outstanding Ukrainian ethnomusicologist Volodymyr Hoshovskyi. This date inspires a research of Hoshovskyi’s scientific career and his achievements. The main purpose of the study is to focus on less known period of scientific biography of V. Hoshovskyi and discuss his first ethnomusicological publications in 1958–1961, written in Transcarpathia in the early period of his scientific career. Scientific novelty of the research. V. Hoshovskyi’s early publications are considered in a new perspective. For the first time, the links between his four first published works have been revealed. Some of the publications have not yet been deeply analyzed in Ukrainian ethnomusicology. The main results and conclusions of the study. The study proved that not only a few, as was thought previously, but all early publications of V. Hoshovskyi discuss the issues of musical dialectology. The study «On the issue of musical dialects of Transcarpathia» (1958) became the first study on this problem. Taking into account the geographical landscape and stylistic heterogeneity of the folk music of the region, the scientist sketched out the main groups of musical dialects. The article «Some peculiarities of the historical development of Ukrainian folk song in Transcarpathia» (1959) touched upon the aspects of history influencing the formation of musical dialects and revealed such aspects as 1) the East Slavic origin of Transcarpathian music; 2) the processes of assimilation during the thousand years of Hungarian expansion, 3) contacts between inhabitants of the multinational Austria and Hungary. The issue of the influence of Czech and Slovak folklore on folk songs of Transcarpathia V. Hoshovskyi considered separately in the publication «Czech and Slovak songs in Ukrainian folklore of the Transcarpathian region of the Ukrainian SSR» (Prague, 1961; 1962, in Czech), thereby completing a historical review of multinational influences on folk music of Transcarpathia. The key role for the further Hoshovskyi scientific work had the article «Musical archaisms and their dialectal features in Transcarpathia» (1960), dedicated to the development of the methodology of musical and dialectical research. The innovative approach of V. Hoshovskyi consisted in a combination of achievements in related sciences: linguo-geography and ethnomusicology and was associated with a great rise in linguodialectic research in Transcarpathia. Thus, the early publications of V. Hoshovskyi identified the object of research, the reasons for the formation of musical dialects and outlined the methodology for their study. These studies reflected the stage of the formation of V. Hoshovskyi as a scientist, and in a broader sense – the first steps of Ukrainian ethnomusicology towards the development of musical dialectology.

EDUCATION FOR CITIZENSSHIP OF PRIMARY SCHOOLCHILDREN IN INTEGRATED ART LESSONS

The article is devoted to the problem of the development of civic qualities of a junior student personality in the process of studying the integrated course “Art” in primary school. The semantic aspect of the concept of «citizenship» is revealed; its components such as sense of self-worth, inner freedom of the individual, discipline, respect and trust in state power, readiness to perform their civic duties in a harmonious combination of patriotic, national and universal feelings are distinguished. In this context, the substantiation of new content, forms and methods, innovative technologies of education for citizenship, adequate for modern social and pedagogical realities, acquires special importance. Conceptual provisions of civic education have been developed in the domestic pedagogical science. The purpose of this article is to find out the ways of effective educational tasks implementing by a teacher in the process of teaching the integrated course “Art”.Modern Ukrainian scholars-educators attached special importance to this problem and studied its various aspects: conceptual provision was defined by O. Vyshnevskyi and O. Sukhomlynska; psychological and pedagogical principles – I. Bekh, M. Boryshevsky, O. Kyrychuk. The work of O. Dokukina, M. Zaderikhin, U. Ketsyk, V. Rud, L. Korinna, D. Krytska and L. Rekhteta are relevant to the content of our research.Researchers do not pay attention to the problem of using integrated subjects in particular “Art” in the education of students’ citizenship.The article presents a thorough analysis of textbooks for primary school on the integrated course “Art”, which are important means of knowledge and creative skills developing in the art of music, set out in accordance with the purpose of teaching and implementation of educational tasks for the formation of junior schoolchildren citizenship. Keywords: civic education; content of education; integrated course; component of citizenship; textbook; folk song; lullaby; calendar rituals; national identity; native language.

Kraasna nominal derivation

This article examines the derivation of Kraasna nominals using suffixes. Despite limited documentation, it was possible to find a large number of nominal derivatives using 18 derivational suffixes formed from 20 primary suffixes and 21 suffixes formed from 21 secondary suffixes. Kraasna suffixes mostly resemble those of Seto. Only the compound suffixes (-i)s-to, -la-s, and -ži-ne, which derive just a few words (kaklas, laanist, soomist, ammuužine) are not characteristic of Seto. The suffixes *-ek and *eš occur as the assimilated form -eh in Kraasna, but as -eh and -eq in Seto. In oblique cases, the derivational suffix -eh still occurs in a mid-19th century folk song but had been lost by the early 20th century. The Kraasna dialect is surprisingly similar to Seto, from which it separated 300 years before its documentation in the early 20th century. It would be interesting to know to what extent later connections with Setomaa harmonised both dialects. Kokkuvõte. Enn Ernits: Kraasna noomenituletus. Vaatamata talletatud sõnavara piiratusele ilmneb Kraasna murrakus rohkesti käändsõnatuletisi. Need on moodustatud 20 primaarsufiksist tekkinud 18 liite ja 21 sekundaarsufiksist kujunenud sama arvu liidete abil. Kraasna sufiksid sarnanevad seto omadega. Ainult liitliited (-i)s-to, -la-s ja -ži-ne, mis tuletavad vaid üksikuid sõnu (kaklas, laanisto, soomisto, ammuužine), pole seto murrakutele omased. Viimatimainitud sufiks esineb ka Hargla, leivu ja lutsi murrakutes. Kraasna murrakule oli iseloomulik liidete *-ek ja *eš sarnastunud kuju -eh, seevastu seto murrakutes võivad need esineda paralleelselt -eh ja -eq kujul. Obliikvakäändes derivatiivsufiks -eh esines XIX sajandi keskpaiku veel ühe rahvalaulu sõnas *valgõ-hõ-ta, XX sajandi alguseks oli taandunud, vrd *valgõt. Kraasna murrakus kasutati rohkesti deminutiivliidet -kanõ. Enamikul Kraasna käändsõnatuletistel on vasted seto murrakutes, üksnes vähestel juhtudel see puudub, sh kipõküüdzüs ‘kurivaim’, mako ‘magamine’, tukim ‘tugi’ ja vadõridzõq ‘vaderid’. Teadaolevalt ainult Kraasna murrakus esinevad sõnad laudadzõq ~ laadadzõq ‘lehmakahi’ ja puzanõ ‘mõrkjas’. Kraasna murrak, mis irdus setost XX sajandi alguse kirjapanekutega võrreldes 300 aastat varem, on viimasega üllatuslikult sarnane. Tuleks uurida, kuivõrd suutsid murrakuid ühtlustada hilisemad seosed Setomaaga.

A Triumph of Musical Order? Multiple Sources of Inspiration in “Prelude and Canon,” Forty-Four Duos no. 37

It has been a hot topic in Bartók literature whether he followed some particular order, or relied on creative intuition when he composed. His own statem ents appear to be ambiguous, that is, he occasionally stressed that he consciously worked out his musical language, but on other occasions he emphasised the role of intuition. A contrapuntal short piece from the Forty-Four Duos, namely no. 37 “Prelude and Canon”, can be considered an appropriate material in order to examine how these different viewpoints are applied in an analysis (and to evaluate how appropriate the application of these viewpoints is). From a technical point of view, the Canon part of this piece deserves special attention, as it contains three different types of canon one after another. While the dux always remains in E, each comes is on different degrees (G, A, then B) and different temporal distances (one, two, and three crotchets). This can be regarded as a kind of compositional virtuosity; especially because it is not easy to write such canons on an original theme, much less on an original folk tune. Thus, this piece might be considered an example of how Bartók rationally and consciously worked out his compositions. Such a view can be refined, or possibly superseded by the examination of the original folk tune. The genre of the original folk tune, “párosító” [matchmaking song], as well as the way of its actual performance on the original recording gives us an insight into how an apparently systematic application of the compositional technique is nevertheless related to what we would call a secret programme. Thus, it was probably not only a particular folk song but also the people's life surrounding the folk song which fascinated the composer, and he tried to vividly encode a typical village scene into a piece of art music.

MeloSol Corpus

This data report introduces the MeloSol corpus, a collection of 783 Western, tonal monophonic melodies. I first begin by describing the overall structure of the corpus, then proceed to detail its contents as they would be helpful for researchers working in the field of computational musicology or music psychology. In order to contextualize the MeloSol corpus in relation to other corpora in the literature, I present descriptive statistics of the MeloSol corpus alongside the The Densmore Collection of Native American Song and The Essen Folk Song Collection. I suggest possible future uses of this corpus including extending research investigating Western tonality, perceptual experiments needing novel ecological stimuli, or work involving the musical generation of monophonic melodies in the style of Western tonal music.