Search

Refuting rhymes, refuting folk songs, refuting epics, and refuting tales are among the products of Turkish Folk Literature. In tales with refutations, listeners are able to go through a transition from the real world to the imaginary world with rhymes. Sometimes, entire tales are created as contradictory tales without using refuting rhymes. What is meant by refutation here is an exaggeration. The performer attracts attention and activates the element of curiosity by making things that did not happen seem like they happened. Besides, it also creates a humorous saying. There is alliteration in contradictory tales. These oral culture products are made up of imaginary events that cannot be accepted by logic. It is evaluated together with the types of fairy tales, nursery rhymes, and tall tales. This study includes refutation tales compiled from East Antalya, which interact with these types of rhymes and tales. The functions of refuting tales and the narrator's attitude towards the tales were evaluated. The findings in this study demonstrate that the tall tales told by the performer are not tales told to deceive others, on the contrary, they are told to make people laugh and entertain. Moreover, they are the products of oral culture are the common consciousness of people. [ABSTRACT FROM AUTHOR]

This article explores the collection and study of Australian mining songs, specifically those related to gold and coal mining. The author notes a lack of documentation on industrial folk songs and conducted field collecting trips to coal mining towns to gather songs and stories. The article discusses the role of songs during strikes and demonstrations, as well as the changing opportunities for collecting songs through online resources. It also examines the themes and perspectives found in mining songs, including excitement, practicality, despondency, and grievances. The article highlights the increase in literacy among coal mining workers and the circulation of songs through printed materials. It questions whether modern-day miners create songs and mentions the presence of anti-mining songs. Resources for further exploration of Australian mining folklore are provided. [Extracted from the article]

Northern Shaanxi folk songs are an integral part of China's folk-art heritage, renowned for their simplicity and the deep emotional expression they convey. As a vital component of traditional Chinese culture, the translation of these folk songs necessitates meticulous attention. However, in recent years, there has been a paucity of innovation in the study of northern Shaanxi folk songs, both in terms of research methods and study perspectives. This article aims to address this gap by applying Halliday's Systemic Functional Linguistics (SFL) to the translation practice of northern Shaanxi folk songs. This article first provides an overview of Systemic Functional Linguistics (SFL), a linguistic framework developed by Michael Alexander Kirkwood Halliday (M.A.K. Halliday). It then utilizes SFL 'Context' theory to explore various translation techniques, drawing on appropriate examples from Wang Hongyin's Voices from China's Northwest. The objective of this research is to facilitate the external dissemination of northern Shaanxi folk songs by applying Systemic Functional Linguistics to their translation. This approach is intended to foster cross-cultural communication and understanding. In conclusion, the author's endeavours and research have yielded novel insights into the practice of translating northern Shaanxi folk songs and have advanced the English translation of folk songs to a modest extent. [ABSTRACT FROM AUTHOR]

The paper examines leave-takings and farewells as linguistic routines in Akan. It emerged from my previous works on ethnopragmatics of Akan linguistic routines, namely apology, requests, greetings, thanking, advice, compliments, etc. This paper adopted Weigand's (2010) Mixed Game Model, which deals with dialogic action games. It employs qualitative approaches including interviews, observation, and the recording of natural ethnographic events in the Akan society. These include closings and farewells at funerals, durbars, visits, travelling, arbitrations, folksongs, etc. The paper discusses the ethnosemantics of the leave-takings and farewell expressions. The findings of this paper will contribute to the use of dialogic action games in discussing other linguistic routines. This study will help further research in leave-taking and farewell in other Ghanaian languages. [ABSTRACT FROM AUTHOR]

Scholars have concerned with the possibilities of the independent cultural production in the educational field. In the schools, the educated are surrounded by the powerful diverse cultural influences. Those have been discussed in different issues from sociological, anthropological and semiotic perspectives. In fact, there is a gap between theoretical and practical research in cultural studies. Therefore, it's necessary to explore the production and educational significance of student culture from the perspective of specific culture event. This paper chooses Taiwan folk song movement as a specific Chinese cultural event occurred in the mid-1970s to the early 1980s. It can be named as "student soundscape" because it is created by the high school and the college students. The slogan of this movement "Sing Our Own Songs" was initially to question the students' cultural dependency on western pop music and the stereotype of Chinese urban songs named as "Era Music". It is the ordinary students who seek for a cultural turn- a new native art form with authentic common experience. With their humanism ideal and complicated affection, emphasized as "nostalgia", this generation of youth have experienced a trip in search for cultural roots and developed a cultural renaissance age. [ABSTRACT FROM AUTHOR]

Extending and connecting scholarship on decolonial geopoetics, critical Mediterraneanism and maritime (wet and more-than-wet) ontologies, this paper discusses Genoese folksinger Fabrizio De André’s political, poetical, and geographical work on the Mediterranean Sea. De André has been considered as a pioneer of “World Music” for his linguistic and historical research on sounds and stories of the Mediterranean. Yet, a socially and politically committed intellectual, De André fostered agendas that went well beyond the role that this author played in the history of Italian and international folksong, and should interest scholars in geography, geopolitics and geopoetics. Exploring his original texts and recollections, I argue that De André’s works open ways to connect critical studies on the Mediterranean to broader scholarship on decoloniality and relational ontologies. This emerges especially through his commitment to challenge cultural and linguistic borders, listening to “histories from below” and denouncing the colonial violence of states and other oppressive powers in North-South Mediterranean relations. Furthermore, De André’s geopoetics fosters ideas of Mediterranean entanglements between land and sea that challenge statist territorialities, enhancing different geopoetic and geopolitical imaginations to address current matters on migration, racism and exclusion. [ABSTRACT FROM AUTHOR]

Kurdish music has many important transformations, including the liberation of Kurdish singing from the tarab sensuality on the one hand, the modernization of oriental music with Western classical musical instruments on the other hand, and then the enrichment of melodic and vocal writing with advanced musical sciences represented by the use of counterpoint, which led to the development of oriental music composition methods in terms of aesthetics and expression, which sought these methods, which began from the eighties (1980s) of the twentieth century to our current reality in the development of counterpoint techniques in polyphony Texture. Hence, the researchers believe that there are many experiences of Kurdish musicians in employing folkloric and folk heritage songs by treating their melodies in a contemporary musical way, i.e. by introducing polyphony (counterpoint and harmony) and diversifying in the instrumental distribution. The research aims to show the role and use of counterpoint in Kurdish orchestral compositions. It is an important part of the development and diversification of contemporary Kurdish music, in general and shows how Dilshad Mohamed Said's counterpoint is used in his Kurdish orchestral compositions. The use of counterpoint in Kurdish orchestral compositions is an endeavor to achieve serious scientific and systematic steps in the field of artistic expression and vocal diversity, which enhances Kurdish musical culture to reach the global level. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cizhen yadiao is a massive qu anthology compiled and engraved by the Hudongtang bookstore in Nanjing during the early Wanli era. This work consists of nine volumes that could be printed and sold respectively; later, they were put together and reproduced into one catalogue with continuous page numbers as a new book entitled Cizhen yadiao. The anthologizing concept of the book is centered on the core of "qu"--the combination of sanqu and dramatic songs, southern songs and northern songs, folk songs and literati lyrics, thereby representing a distinctive characteristic of "songbook and qu library" for use in popular singing. The editorial principle of Cizhen yadiao lies in the classification of occasions, putting similar songs together according to various life scenes in order to make a glossary to satisfy readers' multiple demands. The book's features and selection strategies might be connected with the cultural consumption of the prostitutes' song-singing entertainment in Nanjing during the late Ming. From the perspective of book history and the history of drama, Cizhen yadiao can provide us with a new way of thinking about research on anthologizing and the development of the qu. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the search, the names of countries and cities outside Turkey mentioned in folk songs, were analyzed using document analysis technique. Folk song texts in the context of place names were divided into themes. The classified data were analyzed in the light of the information given by the place names; which geographies were the subject of the folk songs, how these geographies were depicted and the mentioning frequencies of the geographies in the folk songs were revealed. Based on the data obtained, it has been observed that even if Turks do not have political sovereignty in the geographies they have made homeland, they make these places the subject of their folk songs due to cultural unity. In addition, in this context, when the cultural traces of folk songs are evaluated by centring on the place references in their texts rather than the regions where the folk songs were collected, it is understood that the geography where the cultural traces of the folk songs extend goes far beyond the basin of folk song collection.

While previous research has demonstrated the beneficial role of pop music in foreign language learning, there is a lack of studies exploring the potential impact of Chinese folk songs on Mandarin language acquisition. This study aimed to investigate whether a curriculum based on Chinese folk songs enhances the outcomes of Mandarin Chinese learning in foreign speakers. International students in a university in Beijing who were attending regular Mandarin courses were allocated into two groups: the group receiving an additional Chinese folk song-based curriculum (intervention) and the group not (control). Mandarin proficiency after one and two semesters between the two groups was assessed using the Chinese Proficiency Test (i.e., Hanyu Shuiping Kaoshi, HSK) by the Generalized Estimating Equations (GEE) analyses. 16 international students were analysed (intervention: 8; control: 8). After adjusting for time, the intervention group showed a significantly higher HSK score in listening section (adjusted β = 7.86, p = 0.015) than that of the control group. In conclusions, Chinese folk song-based curriculum has the potential to enhance Mandarin listening among foreign speakers. [ABSTRACT FROM AUTHOR]

In the study, it was aimed to evaluate the activities which were designed for beginner level piano education based on the Kodály approach by piano educators. The research is a qualitative research and was carried out using a single case design, one of the case study designs. The study group of the research was determined by using the criterion sampling method, one of the purposive sampling methods, and 21 piano instructors who gave piano education in Northern Cyprus were reached. As a data collection tools, two different structured interview forms were created to determine the piano beginner methods used by piano instructors at the beginner level and to evaluate the designed activities. The obtained data were analyzed using descriptive and content analysis methods. As a result of the research; piano instructors found the beginner piano activities designed with the Kodály approach feasible. In addition to this, piano instructors stated that the activities will provide students with the ability to play the piano as well as musical hearing-reading skills, that they can gain permanent knowledge by actively participating in the activities with the materials, and that they can participate in the lesson in a relevant way by playing the motifs of the songs of their culture.

Intangible cultural heritage (ICH) songs convey folk lives and stories from different communities and nations through touching melodies and lyrics, which are rich in sentiments. Currently, researches about the sentiment analysis of songs are mainly based on lyrics, audios and lyric-audio. Recent studies have shown that deep spectrum features extracted from the spectrogram, generated from the audio, perform well in several speech-based tasks. However, studies combining spectrum features in multimodal sentiment analysis of songs are in a lack. Hence, we propose to combine the audio, lyric and spectrogram to conduct multimodal sentiment analysis for ICH songs, in a tri-modal fusion way. In addition, the correlations and interactions between different modalities are not considered fully. Here, we propose a multimodal song sentiment analysis model (MSSAM), including a strengthened audio features-guided attention (SAFGA) mechanism, which can learn intra- and inter-modal information effectively. First, we obtain strengthened audio features through the fusion of acoustic and spectrum features. Then, the strengthened audio features are used to guide the attention weights distribution of words in the lyric with help of SAFGA, which can make the model focus on the important words with sentiments and related with the sentiment of strengthened audio features, capturing modal interactions and complementary information. We take two world-level ICH lists, Jingju (京剧) and Kunqu (昆曲), as examples, and build sentiment analysis datasets. We compare the proposed model with other state-of-the-arts baselines in Jingju and Kunqu datasets. Experimental results demonstrate the superiority of our proposed model. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Educational Studies (1673-1298) is the property of Journal of Educational Studies Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study delves into the cultural significance and educational potential of Hua'er folk songs within the Hui ethnic communities of Gansu and Ningxia in northwest China. By positioning Hua'er as an indispensable educational tool in folk song history, the research seeks to safeguard and elevate this revered musical tradition. Employing literature reviews, immersive fieldwork, questionnaire surveys, interviews with four significant contributors, and direct observations, the study sheds light on the importance of Hua'er music as a cultural legacy. These insights offer valuable guidance for educators, cultural institutions, and future research initiatives. Through a detailed exposition of the research methodology, this study enriches our understanding of the diverse landscape of Chinese folk song history, presenting avenues for further exploration and practical application in educational contexts. [ABSTRACT FROM AUTHOR]

The article presents the translations of Shakunakharas, which refers to the popular folk ritual songs of the Central Himalayan region of Kumaun, using various translation techniques. Cited are the cultural nuances associated with these ritual folk songs, a background on the cultural and religious beliefs of the Kumauni community, and the socio-psychological constructs of Kumauni folk life and its people.

This article introduces Fazil Say's Sonata for Violin and Piano op. 7, composed in 1997, shortly after his international success. Despite being an early work, it exhibits the architectural complexity characteristic of Say's style, blending his Turkish cultural heritage with innovative compositional techniques. The authors aim to analyze this sonata thoroughly, exploring its mature style and cultural influences in order to provide a series of guiding principles for interpretation. They discuss the architectural and semantic meanings that reside in the incorporation of Turkish musical elements, such as modal approaches, folk traditions, and dance rhythms, throughout the sonata's three movements. Each movement is examined, highlighting technical challenges, interpretive nuances, and thematic connections to Turkish culture. The sonata's structure, culminating in a palindromic arrangement, is investigated, emphasizing its coherence and narrative thread. The first movement introduces melancholic themes, the second movement evokes Turkish instruments and rhythmic patterns, the third movement emulates the Horon dance, and the second to last movement draws from Turkish folk songs. The conclusion praises Say's fusion of tradition and innovation, highlighting the interpretive freedom left to performers and listeners. Overall, the Sonata op. 7 reflects Say's distinctive musical language and showcases his prowess as both a pianist and composer, blending tradition with modernity in a captivating manner. [ABSTRACT FROM AUTHOR]

India's indigenous communities have long been aesthetically vibrant, as seen by their complex handicrafts, rich literature, and traditional folk melodies. The Indian music industry is also susceptible to the effects of this indigenous culture's influence. In traditional music, there is also the issue of the constant reworking or recombination of accessible material within the traditional musical system. In order to accurately estimate the significance of intellectual property protection for folklore, the authors have studied the constitutive elements of Copyright laws and discussed them in the light ofthe preservation of Traditional Cultural Expressions, specifically folk songs, by interviewing a few experts who are associated with the Indian Music Industry. The study also emphasizes the necessity of defining, identifying, conserving, preserving, disseminating, and safeguarding folklore, which has been a dynamic cultural heritage of immense economic, social, and political relevance since ancient times. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Pedagogical Sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Asia Minor Studies is the property of Asia Minor Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research explores the effects of incorporating modern musical instruments into traditional Jhumur folk songs, a precious part of Eastern Indian culture. The study aims to answer two main questions: How does the use of modern instruments influence the traditional feel of Jhumur songs, and what are the opinions of musicians and listeners about blending modern instruments with Jhumur music? Through surveys and data analysis, the study found that while many people believe modern instruments change the traditional essence of Jhumur songs, others appreciate the added musical expression and potential to attract younger audiences. Overall, there is a mixed response, with a slight preference for maintaining the traditional sound of Jhumur music while also being open to modern influences. This research sheds light on the evolving landscape of Jhumur music and its resonance within contemporary society, offering insights for musicians, listeners, researchers, and industry professionals interested in the preservation and evolution of cultural heritage. [ABSTRACT FROM AUTHOR]

This research paper mainly focused on the impact of spiritual folk songs on mental exhaustion caused by various activities related to a person's daily life. For this experimental study 120 samples (46 male and 74 female) were selected randomly from the Sirmaur district of Himachal Pradesh. Single group pre-test and post-test design was implemented in this study. After listening the spiritual folk songs for 30 days, the post-test was conducted. It was found that the mean scores of Pre-tests and Post-test were M = 44.84 and M = 31.47 respectively. The value of 't' was M = 14.474 which was highly significant at 0.01 level of confidence. The findings revealed that spiritual folk music had a significant impact on mental exhaustion. Thus, listening to spiritual folk songs enhances people's mental happiness and spiritual peace, which reduces their mental exhaustion. [ABSTRACT FROM AUTHOR]

Folk tales, epic, tale, legend, such as genres such as epic, fairy tale, legend, in terms of having a mixed form of prose and verse is separated. The folk tales that emerged after the epic period are largely characterised by its characteristics on it. However, it is also a unique genre with many new features. Axel Olrik, the twentieth at the beginning of the century, he began to work on the epic laws of folk narratives. As a result of this, he was able to find out the common epic laws of the narratives he called 'sage', which include myths, folk songs, epics and legends put forward the rules. By analysing the texts of European folk literature, he developed the rules of folk narratives in fifteen as a title. Researchers have analysed these rules on different genres and texts until today. In this study, the epic rules of folk narratives were applied to Kirmanşah compiled from the folk story Âşık Şeref Taşlıova and determinations were made within the framework of these rules. [ABSTRACT FROM AUTHOR]

Founded in 1909 by W. Doegen in Berlin, the Sound Archive (Lautarchiv) was enriched during the First World War with valuable texts and folk songs recorded on discs and wax cylinders or recorded on paper. The research took place in 32 of the 175 prisoner-of-war camps of the Allied Powers, which covered the territory of Germany at that time. The prisoners came from European, Asian, African countries and the United States of America, and the research was carried out by a team of 50 German specialists in the languages spoken in those countries. Among them are three camps with prisoners from the Kingdom of Romania and from Bessarabia located in the perimeter of the cities of Chemnitz, Mannheim and Lamsdorf. The study presents some of the results obtained by the professors M. Friedwagner and H. Urtel in the research of the Romanian prisoners in those camps. [ABSTRACT FROM AUTHOR]

Âşıks, renowned for their adeptness at improvisational poetry, are viewed as the inheritors of certain shamanic functions within historical contexts. Originally, shamans assumed diverse roles encompassing poetry, medicine, and priesthood before social and religious transformations prompted a gradual shift of the poetic responsibilities, first to individuals termed ozan (bards) and later to âşık, beginning from the 15th to 16th centuries. Âşıks share parallels with shamans in their upbringing, developmental stages toward âşıklık (bardhood), and esteemed societal positions. Their reverence for deceased masters becomes evident in their artistic presentations, wherein they express homage to the memories, and consequently the spirits, of their masters by reciting the works of esteemed âşık masters, notably Köroğlu, during their performances. This practice, referred to as "usta malı söylemek" (the performance of the masters' poems and folk songs) within the Turkish âşık tradition, represents an endeavor to establish a connection with the spirits of ancestors. The resemblance between the tradition of âşıks evolving within the master–apprentice dynamic and shamans invoking the spirits of departed ancestors, embarking on celestial and subterranean journeys empowered by them, and the âşıks' homage to their masters' spirits through recitations of their works, thereby sensing their masters' influence by engaging with them, is striking. This study explores the extent to which contemporary âşıks consciously embrace this resemblance. To this end, a sample group of 34 âşıks residing in diverse regions of Türkiye was interviewed, and the acquired data were analyzed using the document analysis method. Accordingly, all the âşıks who participated in the study were nurtured within the tradition of the master–apprentice relationship akin to shamans. They diligently sought to evoke the spirits of their masters during their performances by reciting masters' poems and songs, reminiscent of shamans invoking the spirits of deceased shaman ancestors through prayers resembling divine verses. Furthermore, while variations specific to different regions and age groups existed among these âşıks, it was observed that consciously reciting the poems of their masters elevated the masters' spirits. Simultaneously, they harbored concerns about the potential harm that neglecting this practice might inflict upon the tradition, themselves, and their surroundings. [ABSTRACT FROM AUTHOR]

This fragmented essay, titled "Melancholic Thoughts," explores various melancholic observations and reflections on nature and life. The author, Romualdas Vaicekauskas, contemplates the fleeting nature of spring, the loneliness of an old woman, and the joy of witnessing the beauty of nature. The essay also delves into the significance of birdsong and the lessons that can be learned from observing birds. The text is poetic and introspective, offering a unique perspective on the human experience. [Extracted from the article]

Copyright of ISTEM is the property of ISTEM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Online Journal of Music Sciences (OJOMUS) is the property of Online Journal of Music Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Amme Idaresi Dergisi is the property of Public Administration Institute for Turkey & the Middle East (TODAIE) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: Apart from negative environmental consequences, modern animal husbandry has also created unfortunate moral consequences. Studies show that the relationship between humans and domestic animals in the past was based on a moralistic spiritual background, and although humans kept domestic animals for their edible and non-edible consumption, the relationship between them has never been degraded to the existing level. In folk literature, there has been a very sentimental view of livestock. Although some cases suggest that they are derived from the official literature, there are many cases that show a very clear difference between the two. Metaphors in which friends are likened to deer and gazelles are familiar in Persian literature; But in folk literature, this case is rare, and the metaphor of romantic beauty is used from domestic animals. Method and Research: In their descriptive and analytical study, using documentary sources, the authors have addressed the issue of romantic metaphors in the oral literature of the native regions of Iran with the aim of understanding the place of animals in the native culture of Iran, and have focused their attention on the case example of Kerman district in the early 13th century. In a qualitative study, 383 local songs from the mentioned region were selected and analyzed from a specific source. Findings and Conclusions: The result of this point is that in Iranian culture, despite all the problems that nature has raised in front of man, animals, especially animals that live with him, have had a spiritual and spiritual place. [ABSTRACT FROM AUTHOR]

The article deals with an teaching activity which uses folk songs as a source of information about nature. Pupils use lyrics of folk songs to reconstruct which animal and plant species our ancestors were acquainted with: They compile a list of species mentioned there. From a didactic point of view, the designed inquiry is related to econarratology, in terms of content it mainly touches ethnobiology. Depending on teacher´s intervention, this inquiry can be either structured, or guided. Pupils´ research is interdisciplinary as it interconnects biology (an inventory of species) to music education (folk song as an unique musical form), history (the contemporary trend called animal turn) and Czech language (folk literature, dialects, formation of the Czech scientific nomenclature). Its main goal is to make pupils familiar with partial steps of scientific research and methodological concepts involved (such as representative sample, data interpretation, research limitations, etc.). Moreover, the activity draws attention to disciplines on the boundaries of natural and social sciences and it points out to works of art as a potencial source of information about nature. The activity allows number of variations and it is suitable for elementary school pupils. No special equipment is needed. [ABSTRACT FROM AUTHOR]

This study explores a community-based cultural protection project among the Bulang ethnic group in several villages located in Xishuangbanna, Yunnan province, southwest China. In 2008, 'Bulang's traditional singing and instrument playing' (Bulangzu tanchang) was listed for protection under China's intangible cultural heritage regulatory measures. This study documents Bulang musical heritage, explores the link between mythology and music, and analyses whether modern social changes endanger musical traditions or give rise to new aesthetics. It adopts an ethnomusicological perspective, focusing on sustainability amid the commodification of ethnicity for showbiz through staged performances for tourists. The fieldwork ranges from virtual digital spaces to the established ethnographic technique of participant observation. Fieldwork in Menghai village examines how the Bulang people represent themselves in media, stage performances, and popular music, negotiating and reshaping their musical identity. This study emphasises the relationship between the stage performances of 'original ecology folksongs' in media and the sustainability of Bulang music, with insights for the politics of intangible cultural heritage. [ABSTRACT FROM AUTHOR]

The purpose of the article is to find out a number of peculiarities of vocal education of young actors with residual signs of mutation. The research methodology is studying and comprehending theoretical developments of phoniatric scientists and vocal methodological literature on the topic of the article, getting acquainted with various aspects of vocal education of young men at different stages of mutation in Ukrainian art educational institutions, using the practical, professional and pedagogical experience of the author of the article. Scientific novelty: the development of questions about the specifics of vocal education of young actors with residual signs of mutation (there are no publications on this issue). Conclusions. Importance of focusing the work of stage singing teachers on the final stage of mutation, the postmutation stage, which is inherent in the young actors' profession. Attention is focused on the following issues: inaccuracy of intonation of post-mutant voices; characteristic breathing disorders and smoothing of sound registers; clarification by the teacher of the category of voices and their timbre and range characteristics; methodologically correct organization of classes with recommendations for selecting a specific type of voice for the educational repertoire, in particular Ukrainian folk songs; tessitura-dynamic problems; unity of vocal-technical and artistic-performance development of young actors. [ABSTRACT FROM AUTHOR]

The purpose of this survey study was to investigate the self-reported practices of P–6 elementary general music teachers (N = 275) regarding their experiences with American folk songs with racist origins. A secondary purpose was to examine P–6 elementary general music teachers' familiarity with and incorporation of anti-racist pedagogical practices into their teaching. Data were collected through an online questionnaire. Out of 19 folk songs with racist origins, "Jingle Bells" was the song most participants (67.6%) continued to teach and was the only song that 50% or more participants continued to teach. I categorized participants' responses regarding why they discontinued teaching the 19 songs as follows: (a) racism/minstrelsy and (b) origins/history. Additionally, participants' American folk songs with racist origins were categorized under teaching and planning. Musical enjoyment/utility and teaching about racism/minstrelsy were subcategories for teaching, while removing/replacing and learning through researching were subcategories for planning. Regarding anti-racist pedagogical practices, 76.6% of participants agreed that teachers should teach songs that represent various races and ethnicities in respectful ways even if they disagreed that teachers should use folk songs to challenge race, privilege, equity, and racial/ethnic injustices. Implications and recommendations for future research are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Journal of National Education / Millî Eğitim Dergisi is the property of Milli Egitim Bakanligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

India is a rich repository of cultural heritage and diversity, with a significant portion consisting of traditional folk songs. West Bengal has no exception and has got a wide variety of folk songs in every district of the state. This research has been conducted to identify the folk song relevant to agriculture and farmer’s livelihood by understanding the contents with respect to themes. Emphasis has been rendered to explore the agricultural messages implied in the folk songs and to delve into any possibility to employ the folk songs as a tool for transfer of agricultural technologies. The research has been conducted by creating a compendium of the Bengali folk songs related to agriculture with experts’ assistance. These songs were analyzed by applying content analysis and represented in tabular forms depicting knowledge items with quantification. Since folk songs relevant to agriculture were considered, most of the songs belonged to the category of Karmasangeet (work song), followed by Tusu, Bhadu, Mahipal, Mecheni and others. Some of the songs carry traditional agricultural knowledge on cropping sequence, intercultural operation, plant protection, planting times, etc. Folk songs, whose primary idea was born to express the inner state of mind and break the monotony, can also be used for transforming the tacit knowledge into explicit one. Agricultural Extension, as a discipline, can very well employ the traditional folk media to impregnate the remotest of Indian villages with new technologies keeping intact the entertainment component. [ABSTRACT FROM AUTHOR]

A personal narrative is presented which explores the authors experience of being grieved for the many Black folks, like myself, having to endure the state-sanctioned attack against Blackness as it played out on screen like a modern-day lynching.

During the late Ottoman period, there was a great deal of interest in folk culture. After all, this was a period when the various ethno-religious communities of the Ottoman Empire began to form national states, such as Albania, Bulgaria, Greece, Romania, and Serbia. At the same time, the Ottoman state turned its attention to the Turkish people and began to shape the Turkish national identity in order to create a sense of unity among the Turkish-speaking Muslim community. In this effort to cultivate the national identity of the people, religion and folk culture were fully exploited. This study examines the musical collections published by the Greek Orthodox Christian community of the Ottoman Empire, specifically the Efterpi (1830), Pandora (1843), Mecmua-yı Makamat (1856 & 1872-1873), Kallifonos Sirin (1859 & 1888) and Music Journal (1896) editions. These collections were printed in Istanbul and addressed to Greek-speaking Orthodox Christians. They consist mainly of Greek Orthodox ecclesiastical music, Greek secular music, and some Greek folk songs. Interestingly, the collections additionally include Ottoman music and Turkish folk music. It should be noted that the main language of the collections is Greek, and some Karamanlidika, and the musical transcriptions have been written down in Byzantine notation. This paper presents data on these transcriptions. The songs are transnotated from Byzantine notation to Turkish staff notation. 3 of these transnotations are presented here. After this process, different results are obtained regarding the way the songs were transcribed by the Rum musicians in comparison to their transcriptions by Turkish musicians of a later period. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Music & Folklore Studies is the property of Journal of Music & Folklore Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)