Sheet Music For Everybody Clap Your Hands By Joshua S Troop
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Broken Voices
Author: Roald Maliangkay
language: en
Publisher: University of Hawaii Press
Release Date: 2017-10-31
Broken Voices is the first English-language book on Korea’s rich folksong heritage, and the first major study of the effects of Japanese colonialism on the intangible heritage of its former colony. Folksongs and other music traditions continue to be prominent in South Korea, which today is better known for its technological prowess and the Korean Wave of popular entertainment. In 2009, many Koreans reacted with dismay when China officially recognized the folksong Arirang, commonly regarded as the national folksong in North and South Korea, as part of its national intangible cultural heritage. They were vindicated when versions from both sides of the DMZ were included in UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity a few years later. At least on a national level, folksongs thus carry significant political importance. But what are these Korean folksongs about, and who has passed them on over the years, and how? Broken Voices describes how the major repertoires were transmitted and performed in and around Seoul. It sheds light on the training and performance of professional entertainment groups and singers, including kisaeng, the entertainment girls often described as Korean geisha. Personal stories of noted singers describe how the colonial period, the media, the Korean War, and personal networks have affected work opportunities and the standardization of genres. As the object of resentment (and competition) and a source of creative inspiration, the image of Japan has long affected the way in which Koreans interpret their own culture. Roald Maliangkay describes how an elaborate system of heritage management was first established in modern Korea and for what purposes. His analysis uncovers that folksong traditions have changed significantly since their official designation; one major change being gender representation and its effect on sound and performance. Ultimately, Broken Voices raises an important issue of cultural preservation—traditions that fail to attract practitioners and audiences are unsustainable, so compromises may be unwelcome, but imperative.
Rustic Speech and Folk-Lore
Author: Elizabeth Mary Wright
language: en
Publisher: OXFORD: HORACE HART
Release Date: 2014-12-21
Example in this ebook Under the heading of ‘The Varieties of English Speech’ an article of mine appeared in The Quarterly Review of July, 1907. The favourable reception accorded to it at the time prompted me to embark forthwith on a larger work dealing with the same subject. Many books both scientific and popular have been written concerning dialect speech and lore, but nearly all of them are special investigations of some particular dialect. I have taken a bolder flight than this. I have not given a detailed account of any one dialect, but I have surveyed them all, and have gathered words, phrases, names, superstitions, and popular customs, here and there, wherever I found something that appealed to me, and that I felt would appeal to others as well as myself. It was impossible to make any one category exhaustive, for such was the mass of material open to me for selection, I might say I was ‘fairly betwattled and baffounded’. The only thing to be done was to make my selections fairly representative of the whole. My aim in dealing with the linguistic side of my subject has been to show that rules for pronunciation and syntax are not the monopoly of educated people who have been taught to preach as well as practise them. Dialect-speaking people obey sound-laws and grammatical rules even more faithfully than we do, because theirs is a natural and unconscious obedience. Some writers of literary English seem to enjoy flinging jibes at dialect on the assumption that any deviation from the standard speech must be due to ignorance, if not to vulgarity besides. Since I wrote the last chapter of this book, I read in a criticism of Stanley Houghton’s Play Trust the People, this sentence describing the Lancashire ‘father an old mill-hand and the homely mother to match’: ‘They are both drawn, you feel, to the life, and talk with ease, not to say gusto, that curious lingo which seems to an outsider mainly distinguished by its contemptuous neglect of the definite article’, The Times, Friday, Feb. 7, 1913. Now the definite article in north-west Lancashire is t, in the south-west and south t, or th, and in mid and south-east Lancashire th. When this t stands before a consonant, and more especially before a dental such as t, d, it is not by any means easy for the uninitiated to detect the difference in sound between the simple word and the same word preceded by the article, between, for example, table and t table, or dog and t dog. But this is not ‘contemptuous neglect’ on the part of the Lancastrian! It would be nearer the mark to say that the Lancashire dialect is characterized by its retention of a form of the definite article very difficult to pronounce in certain combinations. Further, I have endeavoured to show by means of numerous illustrations, how full the dialects are of words and phrases remarkable not only for their force and clearness, but often also for their subtle beauty, that satisfying beauty of the thing exactly fitted to its purpose. I have also drawn up lists showing the numbers of old words and phrases once common in English literature, still existing in the dialects. Occasionally writers of modern verse seek to restore some of the words of this type to their former position in literary English, thereby causing the reviewer to stumble dreadfully, though he thinketh he standeth. I quote the following from a literary periodical dated May 2, 1913: ‘He debates if he shall make “a nest within a reedy brake”, or, failing this delectable situation, offers himself a quaint alternative, Or I shall see with quiet eye, The dappled paddock loping by. We had always supposed in our ignorance that “paddock” was a term applied to green fields or pastures. How Mr. ... could have seen a paddock “lope” we do not know, and perhaps it would not be kind to ask him to explain.’ To be continue in this ebook
Complete Mission Praise: Music Edition
The most complete collection of hymns and songs from the Mission Praise series, this new edition includes music and lyrics for 1,250 traditional and modern worship songs and hymns, including over 100 extra new songs. For 25 years Mission Praises's unique blend of old and new has met the needs of churches of all denominations and sizes, in the UK and around the world. This new, expanded edition of Complete Mission Praise includes the whole of the existing collection of over 1000 songs and hymns, and adds more than 100 of the best new songs from the past few years. This is the ultimate collection of traditional hymns and modern worship songs for all churches, an invaluable resource for all musicians and worship leaders. - 1,250 hymns and songs in all, from long-standing classics to new favourites - Includes full sheet music and guitar chords - 106 new additions - the best hymns and songs of the 21st Century - Fully compatible with the previous edition of Complete Mission Praise and Mission Praise Combined - Easy-to-use alphabetical index - All the words for Complete Mission Praise in one volume - Photocopiable under the CCLI Music Reproduction Licence