A Digital Library of Folklore Songs and Keyword-Based Search Engine

ACM Computing Classification System (1998): H3.3, H.5.5, J5.

An examination of Bernard Connor's The History of Poland (1698) and its depiction of the political, religious, and cultural history of the Polish-Lithuanian commonwealth

Connor was an Irish-born member of seventeenth-century English medical society who made an impact on medicine through his use of anatomy. This forward-thinking scientist also worked as a court physician for the Polish king John III Sobieski (1629- 1696) and published a history of that country. This thesis will examine Bernard Connor's 1698 publication The History of Poland to show that the Commonwealth was considered a vision of a progressive European parliamentary government that could serve as a model for a struggling English parliamentary government, thus supporting Larry Wolff and Maria Todorova's vision of the later eighteenth-century creation of the idea of a backward "eastern Europe."

“Animanazo”. Song and memories. Cultural expressions and movements in the reconstruction of the past inside a north Argentinian town

This article analyses the context of production and local situations of appropriation and resignification related to the folk song “Fire on Animaná” as well as the request and mobilization (“The animanazo”) provoked by this song in order to examine different mechanisms and foundations by which a population connect with an event from its community past, identifying with this and taking it in a specific way. In this article we combine discourse analysis of the song and of interviews to participants in this event with the reconstruction —through ethnographic observation— of how to use this song.

Let The People Sing? Irish Rebel Songs, Sectarianism, and Scotland’s Offensive Behaviour Act

Irish rebel songs afford Scotland’s Irish diaspora a means to assert, experience, and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland’s majority Protestant population. The Scottish Government’s Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context, and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.

Monosyllabic Circumflexion in Lithuanian

This PhD thesis examines a phenomenon known as Monosyllabic Circumflexion (MC, hereafter) from a historical linguistics / phonological point of view. MC denotes a Lithuanian or Balto-Slavic phenomenon according to which long vowels and diphthongs in monosyllabic words exhibit a circumflex tone instead of the expected acute tone.  It is observed in the following four categories: I. 3rd person future forms of monosyllabic stems (e.g., šõks ― šókti `to jump;' vy͂s ― výti `to drive') II. reflexes of PIE root nouns (e.g., Latv. gùovs `cow;' Lith. šuõ `dog') III. prepositions/adverbs (e.g., nuõ `from' ~  nùotaka `bride;' vė͂l `again' ~ Latv. vêl `still, yet,' tė͂ (permissive particle) < *teh1) IV. pronominal forms (e.g., tuõ ~ gerúoju `the good (m.~sg.~instr.),' tie͂ ~ tíeji `id. (pl.nom)'). The unexpected circumflex tone in these categories is problematic and important for the solution of a Balto-Slavic accentological question on the etymological background of acute and non-acute tones. The aim of this thesis is to partially contribute to the solution of this problem by establishing the existence of MC and its relative chronology. The first category, the 3rd person future forms, provides a substantial number of examples and counterexamples. The examination of them has revealed the fact that the counterexamples constitute a morpho-semantic group of verbs whose future stems underwent considerable morphological changes in the prehistory, hence not exhibiting MC. This shows that the regular tonal reflex of the 3rd person future forms of monosyllabic acute stem must be circumflex, allowing for the establishment of MC as a regular phonological process, although this category does not provide much information on the relative chronology of MC. The second category, the reflexes of Proto-Indo-European root nouns, gives an important clue as to where MC is located in the relative chronology of Balto-Slavic sound changes. Next, there is a discussion of whether the results of the examinations of the first two categories can be maintained for the data of the third and fourth categories, which show an irregular distribution of the acute and circumflex tones in monosyllabic forms. It is shown that various morphological factors, such as homonymic clashes within the paradigms for pronouns, can explain why some monosyllabic forms have acute tone. Also, the linguistic feature of West Aukštaitian dialects of Lithuanian that tend to preserve the results of MC is revealed. These dialects are known to have played an important role in the formation of standard Lithuanian. In this way, the monosyllabic forms with unexpected circumflex tone in Lithuanian are explained as a combination of MC in the Proto-Balto-Slavic time and the dialectal tendency of West Aukštaitian dialects of Lithuanian.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

The Psalms of Holy Scripture : the only songs of Zion : an appeal to the churches in behalf of this ordinance of God /

Mode of access: Internet.

DOCUMENTARY RESCUE OF POPULAR TRADITIONS OF THE CENTRAL AREA CANTONS HEREDIA PROVINCE

This paper presents the results of documentary rescue demonstrations performed in different counties present in the central area of the province of Heredia.This idea was enhanced thanks to the Organization of the United Nations Educational, Scientific and Cultural Organization (UNESCO) has provided the rescue and preservation of folk traditions, both tangible and intangible, throughout the world.Coupled with this, the Ministry of Education under the direction of Professor Manuel Antonio Bolaños, launched in the administration of La Espriella Pacheco (2002-2006) the development of an educational project aimed at rescuing the popular traditions of the province of Heredia, which under the title"Draft Heredianidad" became one of the main inspiring to be translated into a multimedia all information collected in the process of this research.The final graduation consisted of three major axes: the memory, the media containing all the information collected and a database in which (the) user (s) and to describe the bibliographic production on the subject of popular traditions Heredia has occurred, would help to physically locate these publications.To achieve the objectives we proceeded to conduct visits to public libraries and municipalities in the province as well as interviews with different artistic personalities of the cantons heredianos, thereby gained access to various legends, anecdotes, stories, songs, music and history of the province of Heredia.