Pieśni gminne ludu mazurskiego w Prusach wschodnich, które znalazły się w pracy Wojciecha Kętrzyńskiego O Mazurach, ukazały się drukiem jako pozycja książkowa w 1872 r. W tym też roku recenzję o ...pieśniach napisał prozaik i folklorysta Kazimierz Władysław Wójcicki, który sam zbierał pieśni ludowe, był więc zorientowany w temacie. Zarzucił Kętrzyńskiemu brak melodii do pieśni oraz „żadnego podziału ani wskazówek, czy łączą się z jakim obrzędem lub tylko luźnie bywają śpiewane”. Oskar Kolberg, który zamieścił ten zbiór oraz inne materiały rękopiśmienne Kętrzyńskiego w tomie Mazury Pruskie (wydanie: Dzieła wszystkie: t. 40, PWM, Kraków 1966), z konieczności musiał poprzestać na samych tekstach. Tym samym pieśni szybko stały się „martwe”, bo po latach nikt już nie znał melodii i nie umiał ich zaśpiewać. A wśród 54 tekstów podanych w gwarze mazurskiej wiele jest ciekawych i zróżnicowanych tematycznie: miłosne, zalotne i weselne, o rozstaniu i zdradzie, o małżeństwie i kłótniach. Ponadto rzemieślnicze, o wojnie i wojsku, myśliwskie, o niedoli sierocej i służbie, dumy, legendy i podania, śpiewki towarzyszące różnym grom i zabawom, przyśpiewki taneczne do krakowiaków i mazurów, wreszcie pieśni związane ze zwyczajami. Obecnie śpiewać można tylko te, które jako ogólnopolskie są powszechnie znane: „Pojedziem na łowy, towarzyszu mój”, „Leży zajączek za miedzą”, „Idź głosie po rosie”, „Czemu kalinko w dole stoisz?”, „Plon niesiemy, plon”.
Folk songs are common examples of folk poetry in many areas of social life and are said in almost every subject. As a result of this prevalence, folk songs, which perform many overt or secret ...functions in line with all the functions of folklore products, have been used to reflect political-ideological ideas from time to time and even some or all of their lyrics have been changed for this purpose. In Turkey, folk songs, which have been restructured by right or left political ideologies, have been used as a propaganda tool in times of intense political activity or in election squares. In the study, which briefly emphasized the political and social conditions of the folk tradition in our country since the second half of the twentieth century, it was determined that it was replaced by political-ideological purposes by the performers who belonged to different ideological trends, especially from the 60s until today. They were compared with their performances and repertoire records, and then the ways in which these changes were made were discussed. In this respect, it was determined that these changes were made in the sample folk songs, which were used as arguments of some political movements in various periods by making significant changes to their lyrics for political-ideological reasons, in the form of secularizing, conservationizing, articulating current ideological jargon to the verbal texture of the folk songs and adapting new lyrics to the melodic structure of them. The study also required that this situation be considered completely separate from the concepts of variant or version; it was concluded that it would be more accurate to consider the above practices as a censorship or adaptation.
Language that is a versatile and developed system served as a tool for conveying the feelings and thoughts of humanity and as a bridge between the past and the future. It is possible to describe and ...understand all kinds of creations of humanity by language. Language was the mirror and dress of thought and was evaluated as the most effective way and an indispensable factor in fulfilling every human need. Language plays an important role in the formation of inner world, in ordering and conveying the subjects which come to minds. Our mother language that has a place in human consciousness, is acquired from mother and close environment, and enables to establish strong ties with the society reveals effectively inner world and petition of humanbeing. In this study, it was mentioned that the petition which is about a request, complaint and situation, signed petition that submitted to the official authorities, being a petition-writer which is seen as a profession, and the situation of submission and request. It was stated that the concept of "petition", which has an important place in life, culture and tradition, is a factor of relaxation in reflecting the inner world of the person. Petition was emphasized with selected examples from some periods of Turkish literature and it was aimed to raise awareness on this subject.
Although popular songs have been used for many years in the teaching of English, they are still regarded as little more than a 'seductive' tool and mainly as a grammatical aid. This essay overturns ...this approach, starting from a reflection on the relationship between music and language, and then shifting the focus to the phonetic and phonological aspects of songs. At the core of this reflection is the voice, and the use it can be put to in language and music (and therefore in singing). First of all, we point out that in many ways the learning of a language, in which the oral dimension is increasingly regarded as a priority, implies a process similar to that required for learning to sing, i.e. making discrete sounds both when listening and when performing. Using the Kodály method and working on phonetics, it is therefore possible to envision a method that proceeds in parallel with the teaching of English and music. The privileged work instrument will be the Anglo-American folk song, on account of its specific qualities, for its being fully immersed in local contexts and perfectly intelligible, because it is not submerged by invasive arrangements unlike most popular songs. Thus understood, the song becomes both a vehicle for approaching the 'deep' culture of the Anglo-Saxon world, where the popular song is increasingly the expression of a global culture, and a play with sounds: this turns out to be ideal for the practice of fluency, which is crucial to access advanced language levels. The goal is to develop the ability to decode and reproduce sounds, both linguistic and musical, in order to create an attitude that can then be transferred from the phonetics of the English language, and from tonal and tempered music, in which the Kodály method is embedded, to other languages and to music based on other intonation systems.
This study reports the analysis of the characteristics of Isan folk songs for creating music for symphonic bands. The study was designed with a qualitative approach. The data were collected by ...analyzing related documents, online data, and interviews. Qualitative analysis was also employed in the interpretation processes of the data. Both music and folk music principles were used in the data analysis with the consideration of the scope of the study. The results were as follows. In terms of song selection, the music was selected considering its popularity in the uses of traditional performances in the Isan region. The selected songs were arranged in the name of “Isan Suite” which was a western composed symphonic consisting of “Seng BungFai”, “Mae Hang Klom Look”, “Tei Sam Jung Wa”, and “Lum Plern”. Moreover, transitional theme and composition techniques including rhythm, pulse, scale, melody, transitional theme, drone harmony, and articulation were also studied with a multicultural point of view to present Isan folk music that could be performed in symphonic bands.
The phenomenon of jazz-style treatment of folk vocal melodies in the Romanian space represents a large and important domain of the jazz heritage of the Republic of Moldova, now manifesting itself as ...a musical trend with its characteristic particularities. It is part of a universal process, which reflects the fusion of the popular tradition — both rural and urban — with other fields of musical art (folk music, rock music or jazz). In this context, folklore masterpieces (mostly from urban repertoire) are treated, modeled, and the entire arsenal of jazz vocal execution is applied. We will analyze in this article our own version of jazz style interpretation of two Romanian folk songs from the urban repertoire, which are frequently requested by the jazz vocalists, we refer to the „Săraca inimă mea” from the repertoire of Nicolae Furdui-Iancu and „Ciririp/Într-o zi la poarta mea” from the repertoire of singer Gabi Lunca.
The present reflections are based on the thesis that the Bulgarian folk song reflects the soul of the Bulgarian. It houses memory, traditions, life and heritage. In terms of content, however, the ...ideas in some Bulgarian folk songs are developed on a Christian basis. This fact is often ignored or rejected. If our folk-song heritage is to be preserved, we are obliged to preserve it and translate it in its entirety. As a result of this attitude, Bulgarian folk songs with Ortho-dox-religious content are born - a real experience in a small municipality in Bulgaria, which thinks not only about preserving our Christian and native heritage, but above all to reach our children, to continue to spread through the generations to come.
PDF
