The pedagogy and practices of folk music and folk dance are firmly separate in Finland. Furthermore, the expertise in these fields focuses heavily on folk music and dance as performing arts rather ...than communal activities. The situation has led to the differentiation and fragmentation of professional and amateur activities. To address this gap in knowledge and practice, the KanTaMus project intends to present a pedagogical model for a joint participatory folk dance and music pedagogy devised through practice-based development work. This article explains the basic premises of the model under development. We first discuss the legacy issues crucial in Finnish folk dance and music and its pedagogy. Secondly, we outline the values, pedagogical principles, and prior development work we see as fundamental to our work. Martin Seligman's PERMA theory serves as an overall canvas for our development work. The basic elements of the theory, i.e., positive emotions, engagement, relationships, meaning, and accomplishment, work as a basis for our model, which emphasises embodied presence, inclusion, and interaction as crucial features of a shared learning situation in dance and music. Finally, we present the pairing process as a specific example of the application of the model.
This article aims to present the organological characteristics and the prominence of aerophones and idiophones in the archaeological collections of the Marajoara and Tapajonic peoples at the Museu ...Paraense Emilio Goeldi, the National Museum, and the Museum of Archaeology and Ethnology of the University of Sao Paulo. The article also offers reflections on the agency and intentionality of sound and music in ritual contexts and their connections with the sonic traces of these societies, grounded in ethnomusicological research on the music of indigenous peoples of the lowlands of South America. Finally, the article discusses aspects of sound production, texture, and organological considerations of the instruments. Keywords: Archaeomusicology; Ancient Amazonian Societies; Ethnomusicology; Musical Instruments. Este artigo tem como objetivo apresentar as caracteristicas organologicas e a proeminencia de aerofones e idiofones presentes nas colecoes arqueologicas dos povos Marajoara e Tapajonico no Museu Paraense Emilio Goeldi, Museu Nacional e Museu de Arqueologia e Etnologida da Universidade de Sao Paulo. O artigo apresenta, tambem, reflexoes sobre agencia e intencionalidade do som e musica em contextos rituais e suas conexoes com os vestigios sonoros dessas sociedades, ancorados na pesquisa etnomusicologica sobre musica dos povos indigenas das Terras Baixas da America do Sul. Por fim, o artigo apresenta discussoes em torno da sonoridade, tessitura e consideracoes organologicas dos instrumentos. Palavras-chave: Arqueomusicologia; Sociedades Antigas Amazonicas; Etnomusicologia; Instrumentos Musicais.
The author reviews the many genres of Yakut (Sakha) folk music, arguing that its richness is illustrated through the vitality and adaptability of song toyuk, epos olonkho, prayer algys, and ...improvisational circle dance chanting okhuokhai. Some traditionally multi-media and multi-vocal forms, such as shamanic dramas and full-length epic singing, have been rechanneled, with their creative spirit being inherited by the most varied manifestations of Yakut artistic culture-words, painting, and music.
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BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the ...world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays.
The object of the research is the nativity drama within the opera art of Ukraine.
The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture.
It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays.
The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology.
The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out.
The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.
This book gathers international voices from the field of ethnomusicology discussing the socio-political relevance of the discipline. The articles draw from contemporary discourses that take into ...account the role of music and dance in shaping social and political realities. An important field connected to political relevance is heritage, either in connection with the UNESCO or with archives. Ontologies of indigenous groups and their relevance in knowledge production is discussed in ethnomusicology nowadays as well as the possibilities of decolonising the discipline. Two articles from ethno-choreology explore dance from the gender perspective and in the post-socialist political structures. Different approaches from applied ethnomusicology deal with social justice, participatory dialogical practice, and the socio-political relevance of performance. Forced migration is seen as comprehensive topic for future ethnomusicology. The contents of the book mirror influential discourses of ethnomusicology today that will definitely shape the future development of the discipline.
The article presents a brief excursus into the history of the folk music expeditions organized by music scholars from the Gnesins’ Institute to the Russian North. The beginning of the expeditionary ...study of the Northern Russian territories and the formation of a fund of musical and ethnographic materials on this region dates back to the creation of the Cabinet for Folk Music at the Gnesins’ Institute (1958). Its leader was the famous folklorist Vladimir Kharkov, who during the time period between the 1950s and the 1970s determined the routes and methods of expeditionary work. Since 1959, under his leadership, the traditions of the Kirov Region have been collectively and systematically studied. Individual expeditions were sent to other northern Russian areas with the participation of musicologists specializing in musical folklore: Igor Istomin explored the basins of the rivers Northern Dvina, Vaga, and Mezen (in the Arkhangelsk Region), while Ksenia Bromley explored the upper Volga region. The prominent national ethnomusicologist Evgeny Gippius played an important role in the study of the folk music traditions of the Russian North by the scholars of the Gnesins’ Institute. Since the mid-1960s, he supervised the expeditionary and scholarly work of Borislava Efimenkova on the study of the lamentation culture of the eastern Vologda region, in the 1970s he initiated the expeditions of Evgeniya Reznichenko on the Onega River in the Arkhangelsk region, which ended with the discovery of the traditions of Pomorye. The continuous research of these territories and the mass recording of the material has made it possible to carry out the structural-typological and arealogical interpretation of the Vologda and Pomorye traditions of lamentations. The most important result of the early expeditions of the musicologists from the Gnesins’ Institute to the Russian North were the published collections of folk music of various genres and many scholarly studies, including dissertations, on the traditional culture of the region.
The Bench community is one of the ethnic groups in the South-West part of Ethiopia. They have their own distinguished musical system. The objective of this study is therefore to analyse folk music of ...the Bench community by correlating the kiñit with the musical instruments used without disfiguring the context of its performance. Specifically, this study tried to answer the question, what the kiñit and performance of the communities’ folk music look like? Data were collected through observation, interview, focused group discussion and document analysis. The study is descriptive by nature, and data were analysed using contextual data analysis technique. Based on the content of the oral poetry and the main context where they are demonstrated, the Bench Community folk music in this study is categorized in to three types. These are songs performed during happiness, during grief and during work. The study showed that the kiñit of the Bench Community folk music lies mainly on the lyre which is a source of kiñit. The study attested that the four Ethiopian kiñits (ANCHI HOYE LENE, BATI, AMBASEL & TIZITA) can be created and played using the lyre. But to create the music kiñits using lyre, sequential structure of the way the lyre player handles the threads, pace and movement of the fingers, and the musical instruments and the oral lyrics are decisive.
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