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.
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.
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.
For the last three centuries, prominent thinkers have been asking themselves what it is that constitutes a classic. This volume takes up this question and shows how cultural artifacts become and ...remain classics through transcultural circulation, i.e., through their adaptation in ever-changing media and the expansion of the cultural milieu in which they are received.
Der Frage „Was ist ein Klassiker?“ haben sich prominente Denker der letzten drei Jahrhunderte gewidmet. „Theorie der Klassik. Eine kulturelle Praxis von Goethe bis Grandmaster Flash“ greift die Frage auf und zeigt, wie Kulturgüter durch transkulturelle Zirkulation, d.h. Adaption in immer neuen Medien und Ausweitung der sie rezipierenden kulturellen Milieus klassisch werden und bleiben.
Literature, which awakens esthetic pleasures in the human soul, has as its theme man and life, and psychology has as its theme sensation, thought, and behavior. In both fields, imagination, the ...importance of the subconscious, the method of association, and similar methods of investigation are used. In the studies of narratives, literature in the broadest sense benefits from psychology in terms of method, and psychology benefits from literature in terms of the effects of the works on the human mind. The main axis of our study is to evaluate folk songs, which are anonymous types of folk literature, on the basis of psychological data within the framework of this relationship. Cases that were the source of each genre in the context of the subject and theme can be accepted as human behavior and artistic reflection of this behavioral model. Since man has existed, he has established his relationship with the environment first with the basic impulses and then with the cultural achievements he has acquired. Jealousy is one of the most important factors that influence these relationships. If we approach folk songs from a thematic point of view, the tragic consequences of the impact of the events caused by pathological jealousy on the community spirit become clearly visible. For this reason, it is necessary to consider the psychological depth of the emotion that had such an impact on a genre and its effects on literary and artistic works previously written or created. Any impulse becomes art, and the phenomenon used in art becomes the name of this impulse. The terminology thus named sets in motion a cycle of analysis of subsequent creations. In this context, the impulse is reflected in Othello’s work; the theme is called a syndrome because of its similarity to real events, and becomes a source for similar situations in subsequent narratives. Since folk songs cannot be isolated from this cycle, they have become the focus of the study. In this sense, pathological jealousy in folk songs was analyzed in the context of the Othello syndrome.
The article is devoted to the study of folklore activities of Ukrainian playwright, writer, poet, translator, theatrical and cultural figure, director, philanthropist, director of the first Ukrainian ...professional theater, the so-called “theater of luminaries”, Mykhailo Starytsky (1840–1904) and the founder of the Ukrainian national opera, composer, pianist, conductor, folklorist, public figure Mykola Lysenko (1842–1912). The main attention is paid to the analysis of the playwright’s use of descriptions of rituals, customs, traditions, folk morals of Ukrainians, as well as examples of the use of small folk genres, phraseology. It was found that for the Ukrainian community the study and preservation of folk traditions in the second half of the 19th century played an important role in the formation of national self-identification and national consciousness. The origins, features and functions of ethnography in Starytsky’s works are determined, in particular it is proved that the playwright’s use of descriptions of Christian and pre-Christian rites was primarily aimed at a true image of traditional Ukrainian society, an important component of which were ancient rituals, games, music and drama actions. It is shown how the rites of the winter and summer cycles of the folk calendar are reflected in various ways in the artist’s work, which is the most saturated with various bright rituals and customs. It is proved that the study of folk music significantly influenced the composer’s creativity. It is confirmed, that folklore in the works of Starytsky and Lysenko had a positive effect on the formation of the Ukrainian professional theater as a music and drama one.
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