The souls of black folk : essays and sketches /

Of our spiritual strivings -- Of the dawn of freedom -- Of Mr. Booker T. Washington and others -- Of the meaning of progress -- Of the wings of Atalanta -- Of the training of black men -- Of the black belt -- Of the quest of the golden fleece -- Of the sons of master and man -- Of the faith of the fathers -- Of the passing of the first-born -- Of Alexander Crummell -- Of the coming of John -- The sorrow songs.

Eight songs with pianoforte accompaniment, op. 47 /

For medium voice and piano.

Armenian Orchestral Music

Thesis (D.M.A.)--University of Washington, 2016-06

Mobilising of the German 1848 Protest Song Tradition in the Context of International Twentieth Century Folk Revivals

The rediscovery of democratic traditions of folk song in Germany after the Second World War was not just the counter-reaction of singers and academics to the misuse of German folk song by the Nazis. Such a shift to a more ‘progressive’ interpretation and promotion of folk tradition at that time was not distinct to Germany and had already taken place in other parts of the Western world. After firstly examining the relationship between folk song and national ideologies in the nineteenth century, this article will focus on the democratic ideological basis on which the 1848 revolutionary song tradition was reconstructed after the Third Reich. It will look at how the New Social Movements of West Germany and the folk scene of the GDR functioned in providing channels of transmission for this, and how in this process a collective cultural memory was created whereby lost songs – such as those of the 1848 Revolution – could be awakened from extinction. These processes will be illustrated by textual and musical adaptations of key 1848 songs such as ‘Badisches Wiegenlied’ (Baden Lullaby), ‘Das Blutgericht’ (The Blood Court) and ‘Trotz alledem’ (For all that) within the context of the West German folk movement and its counterpart in the GDR.

Cultural revolution in whale songs

Humpbacks have picked up a catchy tune sung by immigrants from a distant ocean. The song patterns of humpback whales (Megaptera novaeangliae) depend on where they live, with populations inhabiting different ocean basins normally singing quite distinct songs. Here we record a unique and radical song change in the song of humpback whales in the Pacific Ocean off the Australian east coast. Their song was replaced rapidly and completely by the song of the Australian west coast population from the Indian Ocean, apparently as a result of the introduction of only a small number of 'foreign' singers. Such a revolutionary change is unprecedented in animal cultural vocal traditions and suggests that novelty may stimulate change in humpback whale songs.

Folk culture and political power: practices and representations of moliceiro culture in Portugal, cultural sociology

This article analyses the painted panels of the moliceiro boat, a traditional working boat of the Ria de Aveiro region of Portugal. The article examines how the painted panels have been invented and reinvented over time. The boat and its panels are contextualized both within the changing socio-economic conditions of the Ria de Aveiro region, and the changing socio-political conditions of Portugal throughout the 20th century and until the present day. The article historically analyses the social significance of ‘moliceiro culture’, examining in particular the power relations it expresses and its ambiguous past and present relationships with the political and the economic powers of the Portuguese state. The article unpacks some of the complexity of the relations that have pertained between public and private, local and national, folk culture and ‘art’, and popular and institutional in the Ria de Aveiro region in particular, and Portugal more generally.

Canções / Songs: Fernando Pessoa traduz António Botto

Dissertação apresentada com vista à obtenção do grau de Mestre em Tradução e Interpretação Especializada. Instituto Politécnico do Porto (Portaria nº 602/2003 de 21 Julho)

“We are azorean”: discourses and practices of folk culture in Santa Catarina (Brazil)

Etnográfica, Vol. IX, N.1, pp. 171-193

Arshile Gorky: An Armenian in New York

Born in Armenia, the oldest Christian country in the world but nevertheless one of the youngest reinstated republics (1991) after the collapse of the Soviet Union, Arshile Gorky flew to the United States in 1920, where he chose to reinvent himself in the struggle to become an artist. This reinvention meant the creation of a persona with, or behind, which Gorky kept alive the artistic flame inside himself. Gorky became one of the most learned voices lecturing on contemporary European modernist artists and movements of the late nineteenth and early twentieth centuries in the United States (New York) without ever visiting Europe. Moreover, he was able to survive the traumatic events he underwent during the Armenian Genocide (1915-1919) to adapt to his new country and identity, to live through the years of the Depression and, eventually, to become the protagonistof a major artistic breakthrough. This paper proposes an insight into the experience of life and frame of work of this Armenian-American artist, whose simultaneously rich, traumatic, dislocated and reenacted life and work established one of the most fertile links between his middle‑eastern origins, his dreamed of Europe and the particular transit of his American artistic creation.

Svea Folk-Kalender.

1846

Svea Folk-Kalender.

1858

Comparison of calling songs in three allopatric populations of Endecous itatibensis (Orthoptera, Phalangopsinae)

Three isolated populations of the cricket Endecous itatibensis Rehn, 1918 had been analyzed to test the hypothesis of divergence in the calling song estridulation and to discuss its implications in the speciation process. The song registers were obtained from specimens in Corumbataí, Piraciacaba and Itatiba cities, state of São Paulo, Brazil. In the three analyzed populations, calling songs are composed by pairs of notes. Specimens from Corumbataí emit composed phrases with 3 to 18 pairs of notes, while those of Piracicaba and Itatiba have 1 to 3 pairs of notes. Inter- and intrapopulational variability in the frequencies of acoustic signals were detected. While recording the calling songs, other stridulations were registered, possibly from species of Orthoptera or Hemiptera. When the tapes were analyzed in the laboratory, it was verified that there was no overlap among the species' calling songs, in such a way that each species had their particular band of frequencies, avoiding interespecific acoustic competition.