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Retells, through song, the tale of a poor shoemaker and his wife who become successful with the help of elves who finish their shoes overnight. Includes glossary, critical thinking questions, and sheet music.

In ancient times, all examples of folklore created by humans came from living conditions and lifestyles.Initially, small art ceremonies were sung at festivals, both individually and collectively, and over the years this genre of art has survived to the present day in perfect condition.However, the beginning of all arts is closely connected with the art of folklore.Many Uzbek folklorists have collected samples of Uzbek folklore and published several books.In this article, we take a look at the history of our national art.We also set a goal to cover the history of a song from the series Tanovar, which is typical of the Fergana Valley. [...]FOLKLORE\" - people's wisdom, people's knowledge.Over the years, Uzbek folklorists and scholars have written hundreds of works on folklore.Among them, Ghazi Olim Yunusov, Hodi Zarif, Abdulla Alavi, Yunus Rajabi collected samples of ancient folklore, folklore works, songs and lapars, published many works in the form of books, pamphlets, manuals.Folklore scholar Muzayyana Alaviyya has done a lot of creative work, collecting samples of Uzbek folklore, folk customs and traditions in many of her works, pamphlets, manuals and articles.She traveled to all regions and recorded samples of local folklore, songs, melodies, lapars, ceremonial songs, olan, yor-yor, myths, legends, fairy tales, local bakhshis, folk epics and folk songs from local performers.His works \"Uzbek Folk Songs\" (1955), \"New Songs\" (1959), \"Samples from Uzbek Folklore\" (1955), \"White Apple Red Apple\" (1979), \"Folk Songs\" (1983) and many others are the proof our opinion.From time immemorial, Uzbek women, and mothers have been very patient, content, resilient, courageous and, at times, brave.Those who bravely overcame the bitterness and the oppression of life.Without openly expressing their grief, they sang lullabies, yalla songs, lapars, and as well as olans. Folklore has thus been formed and polished over the years and centuries and has survived to the present day.Uzbek folk songs, Shashmaqom, samples of professional art, in general, all genres of music and art have developed and reached a perfect level.Even today, folklore, ethnography, examples of folklore have a special place in our lives, they are closely linked with the way of life of our people.As mentioned above, each region, oasis has its own way of execution, style, direction.Their customs, traditions, rituals, as well as ceremonies and cocktails, seasonal songs, yoryor(song performed in weddings), kelin salom (song devoted to a bride), olans and alyor differ from each other.In the works performed in these places, in the words of the work, the dialects of the region and oasis are distinguished.It is not difficult to understand the uniqueness of the dance moves, even on the heads of clothes.In addition to the variety of performances of local folklore, the musical instruments that accompany the songs also combine the place with their unique melodies.Folk songs should be accompanied by the following musical instruments: 1. Each of them is the result of a certain ethnic closeness and socio-economic commonalities in the lives of the people of these regions.Works of Uzbek classical music or traditional professional music and examples of folklore have been passed down from generation to generation by word, in the tradition of teacher-student.The fact that the songs and lapars, which are typical of the regions, were created from the oral traditions of the people, is a clear proof of our opinion, based on the living conditions and lifestyle of the Uzbek people.

Retells, through song, the tale of three billy goats who trick a troll that lives under the bridge. Includes glossary, critical thinking questions, and sheet music.

East German music educators developed new children’s operas on the model of Brechtian Lehrstücke to teach critical, “dialectical” thinking, a skill they considered essential for young socialists. This essay examines how the operas offered an alternative political education to the GDR’s official program of state-loyal patriotism and explores the conflicts that arose when Brecht’s theories of gestus and estrangement came into contact with the fairy tale tradition long thought to be the center of German children’s culture.

Retells, through song, the tale of two abandoned children that come upon a gingerbread cottage inhabited by a cruel witch who wants to eat them. Includes glossary, critical thinking questons, and sheet music.

The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project.

Retells, through song, the tale of a frog which, in return for retrieving the princess's golden ball, exacts a promise she is reluctant to fulfill. Includes glossary, critical thinking questions, and sheet music.

One of the foremost composers of the French Baroque operatic tradition, Rameau is often cited for his struggle to steer lyric tragedy away from its strict Lullian form, inspired by spoken tragedy, and toward a more expressive musical style. In this fresh exploration of Rameau's compositional aesthetic, Charles Dill depicts a much more complicated figure: one obsessed with tradition, music theory, his own creative instincts, and the public's expectations of his music. Dill examines the ways Rameau mediated among these often competing values and how he interacted with his critics and with the public. The result is a sophisticated rethinking of Rameau as a musical innovator. In his compositions, Rameau tried to highlight music's potential for dramatic meanings. But his listeners, who understood lyric tragedy to be a poetic rather than musical genre, were generally frustrated by these attempts. In fact, some described Rameau's music as monstrous--using an image of deformity to represent the failure of reason and communication. Dill shows how Rameau answered his critics with rational, theoretical arguments about the role of music in lyric tragedy. At the same time, however, the composer sought to placate his audiences by substantially revising his musical texts in later performances, sometimes abandoning his most creative ideas. Monstrous Operailluminates the complexity of Rameau's vision, revealing not only the tensions within the music but also the conflicting desires that drove the man--himself caricatured by his contemporaries as a monster. Originally published in 1998. ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In the present article the question of the folklore phenomenon in the folk art of the Lower Volga Region in the first third of the 20th century is considered. In the course of research high emphasis was placed on the Cossack subject matter. The role of B.S. Laschilin and A.M. Listopadov in collecting and publishing folk art, the folklore of the Don Cossacks, is revealed. Boris Stepanovitch Laschilin’s work left a great impact in the artistic life of our region. In B.S. Laschilin’s books, that were published in Rostov-on-Don, Saratov, Stalingrad-Volgograd, contained tales, fairy tales, bylinas, legends, songs, ditties, proverbs, sayings, ancient dramas of the first Russian folk theatres, exorcisms. Boris Stepanovitch kept selecting songs and ditties, chastooshkas for Voronezh Folk Choir “Voronezh girls”, which are still in the repertoire of the Pyatnitsky Russian Folk Chorus. Folklorist and musician Alexander Mikhailovich Listopadov, who collected and studied folk songs from his youth up, and recorded them in the Don Region hamlets and Cossack villages, spent more than 50 years of his life on the research of the Don Cossack’s musical culture. Alexander Mikhailovich Listopadov’s heritage made an important contribution to the native musical folklore study. Folklore compositions is a unique source of knowledge of history, way of life, moral and other national concepts, which allows us to reconstitute a linguistic personality of a definite historical epoch.

Who \"speaks\" to us inThe Sorcerer's Apprentice,in Wagner's operas, in a Mahler symphony? In asking this question, Carolyn Abbate opens nineteenth-century operas and instrumental works to new interpretations as she explores the voices projected by music. The nineteenth-century metaphor of music that \"sings\" is thus reanimated in a new context, and Abbate proposes interpretive strategies that \"de-center\" music criticism, that seek the polyphony and dialogism of music, and that celebrate musical gestures often marginalized by conventional music analysis.