scholarly journals Crane tunes and dances in Kalmyk traditional culture

2019 ◽  
pp. 33-44
Author(s):  
G. A. Dordzhieva
Keyword(s):  
Video Recording ◽  
Traditional Culture ◽  
Traditional Music ◽  
Musical Instruments ◽  
Rare Elements ◽  
South Siberia ◽  
Turkic Languages ◽  
History Of ◽  
Round Dance ◽  
Women And Children

The article is devoted to the documentation of music-related phenomena of the Togrun Bi (Crane dance of Kalmyks). The traditional music of Kalmyks is deeply rooted in the culture of Oirad. The new geographical and ethnic environment changed and transformed it. The most obvious shift took place in the dances and musical instruments (their organology, performing style, and tunes). At the same time, on this outskirt of the Mongolian world, some unique forms and genres have been preserved. The sources of the present research are field materials collected by author in late 1990 th in Kalmykia: non-fiarytale prose, two-string dombra tunes with singing, onomatopoeia, and round dances. The participants of Сrane praising ritual were women and children. Similar components are revealed in the ritual Togrugan biilulkhm (Force Crane to dance) and Ova täkh (a sacrifice to a host-spirit of the place). In personal stories and memoires, the mythologic idea of the curse cast by cranes made a connection to arrests, exile and other tragic events in the history of the Kalmyks in the XX century. Characteristics of Crane dances is presented in the musical notations (made by author) and their description. There are the similarities between the Kalmyk round dance with imitations of Crane movements and calls (video recording from the settlement of Yashkul) and circular dances of Evenki, Yakuts, and some other Turkic-languages peoples of Siberia. These rare elements of Kalmyk tradition trail to the regions of South Siberia and Central Asia, from where some Oirad groups brought it to Volga region.

Vocabulary reflecting the titles of Evenk and Even dances

2021 ◽  
pp. 165-176
Author(s):  
Tamara E. Andreeva ◽  
◽  
Varvara G. Belolyubskaya ◽  
Kirill N. Struchkov ◽  
◽  
...  
Keyword(s):  
Traditional Culture ◽  
Northern Region ◽  
Way Of Life ◽  
Comprehensive Description ◽  
Distinctive Features ◽  
Historical Processes ◽  
History Of ◽  
Round Dance ◽  
Folk Dancing ◽  
First Time

The paper is a comprehensive description of the vocabulary of the dancing culture of Tungus ethnic groups - Evens and Evenks. The development of Even and Evenk folk dancing art was preconditioned by the peculiarities of their economic activity and way of life and the geographical conditions of the northern region. The dances and games reflect the local features related to the history of Even and Evenk settlements in the territories they currently inhabit. Round and imitative dances, an integral part of all ritual celebrations, are the most typical and distinctive for their dancing culture. Intimate relationship to nature is important for dancing vocabulary formation. The traditional culture of Tungus peoples was considerably influenced by their confession: as pagans, they shaped their mythical and real notions of a totem. The dancing tempo of Evenk round dances was influenced by Yakut round dance osuokhai. The analysis of ethnographic, folklore, linguistic, and the authors’ field materials allowed presenting the titles of Evens’ and Evenks’ imitative round dances for the first time holistically. Common and distinctive features of Even and Evenk vocabulary of the round and imitative dances’ titles are revealed. The notions of dance and song in Even and Evenk languages are often indivisible, expressed by cognate words: Even nѳrgenek “dancing with singing”, Evenk iken, ikevun “dancing with singing”. Most of the vocabulary common to the Even and Evenk languages is indigenous to them, with Evenk-Even linguistic correlations on the lexical and semantic levels, suggesting the commonality of the historical processes affecting the development of these languages.

scholarly journals Komunitas Pengabdi Seni Musik Tradisional Karinding di Kampung Jaha Tangerang

Simulacra ◽  
2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Tyas Siti Nur Asiyah ◽  
Musahwi Musahwi
Keyword(s):  
Social Values ◽  
Daily Life ◽  
Traditional Culture ◽  
Traditional Music ◽  
Musical Instruments ◽  
Social Setting ◽  
Human Beings ◽  
Global Culture ◽  
The Social ◽  
Musical Works

<em>The existence of music as a representation of traditional culture increasingly doubted by various parties. Especially when he has to deal with international music that has a modern genre. In Indonesia, in line with today's global culture, traditional music is slowly being forgotten. Even considered the music peripheral by his own generation because it is not in line with the latest music trends. Is a community of Barak Karinding that plays traditional musical instruments Karinding typical Sundanese, they try to fight the flow. It is important to be studied with regard to the understanding of Karinding musical art, as well as the social values of humanity (local wisdom) that they stretcher in daily life amid the onslaught of global music products today. The type of this research is qualitative, by trying to describe the phenomenon naturally based on the social setting as it is. The results of this study describes among others: a) Karinding music has value, Belief, Patience, Conscious. As a universal message of their music. b) loving art is loving humanity. That is, musical works are not created for the interests of the market as the mindstream of music today, but to develop constructive human beings.</em>

scholarly journals DIALEKTIKA KESENIAN JARANAN THEK DI PONOROGO DENGAN AGAMA ISLAM

Kodifikasia ◽  
2020 ◽  
Vol 14 (2) ◽  
pp. 339-358
Author(s):  
Ahmad Choirul Rofiq ◽  
Erwin Yudi Prahara
Keyword(s):  
Qualitative Research ◽  
Traditional Music ◽  
Musical Instruments ◽  
Conservation Strategy ◽  
Local Culture ◽  
Popular Songs ◽  
The Arts ◽  
Electric Organs ◽  
History Of ◽  
Depth Interviews

Agama Islam senantiasa berinteraksi dengan kebudayaan lokal. Di antara kesenian yang berinteraksi dan berdialektika dengan ajaran agama Islam adalah kesenian Jaranan Thek di Ponorogo. Keunikan dari kesenian Jaranan Thek ini adalah para pemain dan pawang yang memainkan Jaranan Thek menggunakan unsur magis dan kadang tidak sadar (trance), padahal mereka secara formal menganut agama Islam. Oleh karena itu, penelitian ini sangat penting dalam mengkaji fenomena Jaranan Thek yang hingga kini tetap eksis dan bagaimana para pelaku kesenian ini mendealektikakannya dengan ajaran agama Islam. Penelitian kualitatif (dengan observasi, wawancara mendalam, dan dokumentasi) ini menganalisis sejarah kesenian Jaranan Thek, strategi pelestarian, dan dialektikanya dengan Islam. Jaranan Thek di Ponorogo terkait dengan Kerajaan Kediri dan Kerajaan Bantarangin (Ponorogo). Demi pelestarian Jaranan Thek, maka komunitas kesenian ini berinovasi, yakni menyisipkan kisah Kelono Sewandono (dari Kerajaan Bantarangin) dengan Dewi Songgolangit (dari Kerajaan Kediri); menambahkan variasi lagu (shalawatan, tembang Jawa, Campursari, maupun lagu populer di masyarakat); menggunakan alat musik modern (misalnya, drum dan organ elektrik) sambil mempertahankan gamelan; menggabungkan Jaranan Thek dengan kesenian lain (misalnya, tari tayuban dan jathilan); dan menyelaraskannya dengan ajaran Islam (misalnya, doa, ayat, maupun lafadh bernuansa Islam). Dialektika Jaranan Thek dengan Islam terwujud secara mencolok dalam bentuk sinkretisme setelah unsur-unsur keislaman dimasukkan dalam pementasan Jaranan Thek. [Islam always interacts with the local culture. Among of the arts that interact and dialectic with Islamic teachings is the art of Jaranan Thek in Ponorogo. The uniqueness of this Jaranan Thek art is that the players and handlers who play Jaranan Thek use magical elements and are sometimes unconscious (trance), even though they formally adhere to Islam. Therefore, this research is very important in examining the phenomenon of Jaranan Thek, which still exists today and how the actors of this art treat it with Islamic teachings. This qualitative research (with observations, in-depth interviews, and documentation) analyzes the history of Jaranan Thek, its conservation strategy, and its dialectic with Islam. The Jaranan Thek's art in Ponorogo related to the Kingdom of Kediri and the Kingdom of Bantarangin (Ponorogo) because Jaranan Thek's art was from Jaranan art in Kediri. There are many innovations to preserve Jaranan Thek, such as inserting the story of Kelono Sewandono (from Bantarangin Kingdom) with Dewi Songgolangit (from Kediri Kingdom); performing various songs (with shalawatan, Javanese song, Campursari, and popular songs); using modern musical instruments (drums and electric organs) besides gamelan (traditional music instruments); combining Jaranan Thek with other arts (tayuban and jathilan), and synchronizing Jaranan Thek with Islam (Islamic prayers, verses, and sayings). The dialectic of Jaranan Thek with Islam appears prominently in its syncretism with Islamic elements in its performance.]

BUILDING THE MODEL OF INFORMATION, EDUCATION AND COMMUNICATION EFFICIENCY IN CONSERVATION AND PROMOTION OF THE IDENTITY VALUE OF ETHNIC MINORITIES CULTURE IN ETHNIC MINORITY BOARDING GENERAL SCHOOLS, ETHNIC MINORITY SEMI-BOARDING GENERAL SCHOOLS AND LOCAL COMMUNITIES THROUGH LANGUAGE OF ETHNIC MINORITIES

2019 ◽  
Vol 8 (2) ◽  
Author(s):  
Ngo Quang Son ◽  
Nguyen Thi Phuong
Keyword(s):  
Ethnic Minority ◽  
Ethnic Minorities ◽  
Traditional Culture ◽  
Cultural Preservation ◽  
Spiritual Values ◽  
Linguistic Identity ◽  
Modern Life ◽  
Urgent Task ◽  
Communication Efficiency ◽  
History Of

Traditional culture of ethnic minorities is the material and spiritual values that are accumulated and preservedin the whole history of ethnic minority development. In thatcommon cultural flow, every ethnic minorities group in ourcountry has its own characteristics in traditional culture.That identity is expressed firstly in language. Language is animportant element of the ethnic minorities character, therefore,the loss of language is the loss of a great asset, thereby leadingto the erasure of art literature, religious beliefs and the custom,customary law.Therefore, in the context of modern life, preserving andpromoting the cultural and linguistic identity of ethnicminorities is an urgent task. In particular, pay specialattention to the method of cultural preservation through thedevelopment of Information, Education and CommunicationModel in ethnic minorities languages in schools and localcommunities.

The history of the keyboard instrument MNP I 49 from the Museum of Musical Instruments in Poznań. the state of research

2021 ◽  
Vol 2 (16) ◽  
pp. 137-148
Author(s):  
Małgorzata Wróblewska
Keyword(s):  
20Th Century ◽  
National Archive ◽  
Musical Instruments ◽  
National Museum ◽  
Previous Knowledge ◽  
History Of ◽  
Baroque Era ◽  
State Of Research ◽  
Source Materials ◽  
Keyboard Instrument

The keyboard instrument MNP I 49 from the Museum of Musical Instruments in Poznań has not been a subject of detailed academic studies yet, but there have been mentions of it in various types of publications throughout the years. The item is currently placed in the exhibition hall devoted to the art of the Baroque era in the Museum of Applied Arts in Poznań. It is a unique historical item in the Polish collection due to a very scarce number of harpsichords preserved in Poland. This situation is mainly a result of two world wars in the 20th century. Due to not enough available sources, the exact time of the creation of the instrument and the name of its builder were impossible to determine. The aim of the present article was to compile and arrange previous knowledge about the historical item MNP I 49. The work lists source materials and publications in which the instrument was mentioned, such as documents from the National Archive in Poznań, Raczyński Library in Poznań and National Museum Archive in Poznań. Based on the available source materials, the author was able to determine that the harpsichord appeared at the Skórzewski family’s palace in Czerniejewo before 1855.

scholarly journals Vocabulary of Clothes and Jewelry in Studies of Turkic Languages (From the History of the Study of the Issue)

2015 ◽  
Author(s):  
Alfina Tagirovna Shamigulova ◽  
Munir Idelovich Karabaev ◽  
Gulfira Rifovna Abdullina ◽  
Zulfiya Karimovna Ishkildina
Keyword(s):  
Turkic Languages ◽  
History Of

3D printing technology in musical instrument research: reviewing the potential

2018 ◽  
Vol 24 (9) ◽  
pp. 1511-1523 ◽  
Author(s):  
Antreas Kantaros ◽  
Olaf Diegel
Keyword(s):  
Additive Manufacturing ◽  
Design Methodology ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Content Type ◽  
New Class ◽  
History Of ◽  
New Applications ◽  
Practical Implications

Purpose This paper aims to discuss additive manufacturing (AM) in the context of applications for musical instruments. It examines the main AM technologies used in musical instruments, goes through a history of musical applications of AM and raises the questions about the application of AM to create completely new wind instruments that would be impossible to produce with conventional manufacturing. Design/methodology/approach A literature research is presented which covers a historical application of AM to musical instruments and hypothesizes on some potential new applications. Findings AM has found extensive application to create conventional musical instruments with unique aesthetics designs. It’s true potential to create entirely new sounds, however, remains largely untapped. Research limitations/implications More research is needed to truly assess the potential of additive manufacturing to create entirely new sounds for musical instrument. Practical implications The application of AM in music could herald an entirely new class of musical instruments with unique sounds. Originality/value This study highlights musical instruments as an unusual application of AM. It highlights the potential of AM to create entirely new sounds, which could create a whole new class of musical instruments.

scholarly journals Commentary: Masculinity and the Racial State

2018 ◽  
Vol 51 (3) ◽  
pp. 513-522
Author(s):  
Christopher Dillon
Keyword(s):  
Gender Relations ◽  
National Socialism ◽  
Third Reich ◽  
Social Identities ◽  
Nazi Germany ◽  
Economic Policies ◽  
History Of ◽  
Women And Children ◽  
The Third Reich ◽  
The Relationship

In their 1991 monograph on Nazi Germany,The Racial State, Michael Burleigh and Wolfgang Wippermann asked why it was “acceptable to use anthropological categories in the case of youth or women, and apparently unacceptable to employ them in the case of men?” The expansive historiography of Nazism, they complained, offered nothing “beyond an isolated venture into the realm of male fantasies, or a few studies of homosexuals.” The answer, in fact, had a lot more to do with scholarly motivation than acceptability. Put starkly, there was no intellectualfrissonin recovering the history of “men” as a social category in Nazi Germany. Influential asThe Racial Stateproved to be in driving the research agenda for historians of National Socialism, the authors’ ensuing chapter, “Men in the Third Reich,” merely confirmed as much. It presented a dry, empirical overview of Nazi racial and economic policies, excised of those specifically directed at women and children. The termsgender,masculine, ormasculinitydo not appear once in thirty-six dense pages of text. To be sure, this reflected the wider state of knowledge in the academy. Now, almost three decades later, historians can draw on a sociology of gender relations that was still in its infancy when Burleigh and Wippermann were writing. They study “men” to decode historical configurations of power. They no longer conceive of women, children, and men as discrete actor groups, but as protagonists in systems of gender relations. A sophisticated interdisciplinary literature has rendered men legible as gendered subjects, rather than as an unmarked norm. This scholarship stresses the plurality of masculine identities. It advises that a racial state, like all known states, will be a patriarchal institution, and that the gendering of oppressed ethnic minorities plays a key role in the construction of majority femininities and masculinities. By pondering the relationship between racial and social identities in Nazi Germany, Burleigh and Wippermann nevertheless raised questions with which historians continue to grapple. Each of the contributors to this special issue ofCentral European Historyfocuses productively on the intersection of gender, ethnicity, and power in the “racial state.”

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