Playing for Integration – Folksong Book Playing for Integration Grundtvig - Learning Partnership 2011 – 2013 funded by European Folksong Book Partners from Website(s) www.playingforintegration.com www.sommercamp.at/p4i2 Folksongs colleced by FUN&LEARN (Austria) August 2013 2 Playing for Integration – Folksong Book Playing for Integration – Folksong Book European Folksong Book Folksongs and Adult Education • What Can We Learn From Folksongs? Content • How To Use Folksongs In Adult Education? 1. Introduction: Folksongs and Adult Education • Structure and Content of the Songbook 2. Folksongs I. What Can We Learn From FOLKSONGS? Structure - music sheet with chords - recordings 1. Cultural Heritage Learning - background information about the content and music The folksongs of a country are a part of their cultural heritage. - translation into English Countries 1.1. Lyrical Aspects Austria The lyrics of the folksongs give an interesting view on the history and a great impression - Bergvagabunten - Kufstein Lied on the country. - Gstanzl singen For example, the two Austrian folksongs deal with the nature aspect of the country such as the mountain side, the famous Austrian flower "Edelweiss" and how beautiful the Denmark - Jeg kan se på dine øjne environment is whereas the Danish folksongs deal with the topic of love. In both songs - Syv Kærester one partner has been cheating. The two German folksongs - one coming from the North sung in lower German called Germany - Dat du min Leevsten bist "Plattdütsch" and one sung in the Bavarian dialect - are very directly proposing their love - s´Suserl to the partner. Ireland It is made very obvious that they expect more then just innocent kisses. - Molly malone The Irish folksongs are more dynamical, both telling a full story, such as in the famous - An Po car Buile tune "Molly Mallone" and in "An poc ar buile" - a rather surreal song a bout a crazy goat Poland relating to a yearly fair sung in Irish. - W Murowanej Piwnicy The Polish songs are dancing songs and deal with love. Very typical for this region they - Czerwone Jabluszko start with an introducing about an apple and then the next line has nothing to do with the Romania beginning: - Coborai din deal in vale "A little red apple is rolling on the table - Cui nu-i place dragostea I love that girl who has bright eyes.." Slovenia - Zrejlo je !ito - Po koro"kem po kranjskem Also the Romanian folksongs handle the most popular topic love but in a more philosophical and ironical way. UK - England The two Slovenian Folksongs songs are about farming. "The grain is ripe" - this tune is - Two Ravens - Lowlands Away describing the harvest and beauty of the summer with a rather sentimental touch. Both folksongs from England deal with death. The "two ravens" are metaphorical for the 3 4 Playing for Integration – Folksong Book Playing for Integration – Folksong Book killing during wars. II. How To Use Folksongs In Adult Education? Discussing the various lyrics in our last two meeting in Poland and Germany we wondered Here is an instruction how to use folksongs in adult education: if the lyrics draw a good picture of each country. It was interesting to see what pictures/stereotypes people have about the countries. 1. Target Group Therefore the lyrics could be a good starting point for a analysis and/or discussion about a • Language Learning Group country and its background. • (any) International Learning Group 1.2. Musical Aspects 2. Task for the LEARNERS = the one who presents the song In our folksong meetings we were also discussing the musical aspects of the a) Select 1-2 Folksongs from your country compositions. b) Find a good source (from Internet, Youtube) to listen to the song Austria used very simple I-V-(IV)* progressions – very similar to German folksong tradition. c) Translate the Song: in a German language class – translate it into German, also Though the Bavarian song had a very uncommon change of rhythm from 3/4 to 4/4 which translate it into English (translation into the national language and English) is a so called "Zweifacher" dancing pattern. d) Answer the following questions Interesting enough the Danish folksong are structured in a even more simple chord - Why did you choose exactly this song? progression: I-V (and IV). - When and where did you sing this song? In the English folksongs there are not many chord progressions but very unfamiliar scales - Which instruments are normally used to sing this song? such as the lydian scale. - What is the cultural, historical background of this song? Whereas the Irish folksongs are more complex in their harmonic composition. e) Make a short PRESENTATION about the song The Slovenian, Polish and Romanian folksongs are preferably written in minor. It creates a - content, meanings more melancholic or sentimental picture which suits the content of the words. - historical background * "I" stands for tonic, "IV" for subdominant and "V" for dominant. - when and where do people sing this song? f) IF possible: TEACH the song to the other participants/learners of your course 2. Language Learning It is recommended to first let the participants pronounce the words line by line with several We did not intend to study the different languages by learning the folksongs. repetitions. But by being taught how to pronounce the words we expired the sound and got an idea about the rhythm and melody of the languages. Then let them sing the melody with a simple syllable such as "la". When trying to sing the song you have to pronounce properly and we really tried to do it Put words and melody together and start by singing it in a very slow tempo. correctly. Some languages of course were much easier to learn then others. Danish and Polish were by far the most difficult for the others to learn. 3. Reflection of the other LEARNERS = the ones who learn the song - What are your associations when you hear that folksong? 3. Cultural and History Learning - What pictures do you see? During the folksong workshops we always got some interesting information about the - Does it fit to the picture that you have about this country? cultural and historical background of the song and of the country. - What is familiar – what is new? - Is the song similar to songs that you know? - What did you learn when you learnt this song? 5 6 Playing for Integration – Folksong Book Playing for Integration – Folksong Book Austria 1.1. Listen to the Song 1. Bergvagabunten www.youtube.com/watch?v=a17WRbxnuCQ www.liederkiste.com/liederkiste/Wanderlieder/Bergvagabunden.html 1.2. Historical Background The Song is about mountain climbing. It describs the feelings of the hikers. The love climbing, beeing near to the sun, the beauty of the mountain. The last verse tells that girls are watching them when they are back home. But the climbers are afraid of them. because they could lose their heard to the girls. The Song was written after a mountain hike in 1945 in the ALLGÄU (Germany, Austria). Words by Rudolf Hartinger and Melody by Hans Kolesa und Hans Gasser. After 1956 it appeared in many song books. 1.3. Translation into English 1. When we hike up to the top, we climb up to the mountain peak In our hearts there is a desire, which leaves us never in peace Wonderful mountains, sunny mountains, mountain vagabonds are, yes, we Wonderful mountains, sunny mountains, mountain vagabonds are, yes, we 2. With rope and hook, we adventure everything, we hand in the steep wall Hearts burn, the edelweiss (= flower) flowers, we go on with a straight hand 3. The rock is beaten, we breath freely, this world is so wonderful handshake, a smile, efforts forgotten, everything is perfect 4. With the alpenglow we go home, the mountains are shining red we come again, because we are brothers, brothers (when we are) alive and dead 1. Wenn wir erklimmen schwindelnde Höhen, steigen dem Berggipfel zu, In unserem Herzen brennt eine Sehnsucht, die lässt uns nimmer mehr in Ruh. 5. When we walk through the city, girls are watching us Herrliche Berge, sonnige Höhen, Bergvagabunden sind wir, ja wir. But you cant trust these girls, because they could steal our hearts the peace Herrliche Berge, sonnige Höhen, Bergvagabunden sind wir. 2. Mit Seil und Haken, alles zu wagen, Hängen wir in steiler Wand. Herzen erglühen, Edelweiß blühen, Vorwärts mit sicherer Hand. Herrliche Berge, sonnige Höhen, Bergvagabunden sind wir, ja wir. Herrliche Berge, sonnige Höhen, Bergvagabunden sind wir. 3. Fels ist bezwungen, frei atmen Lungen, Ach, wie so schön ist die Welt ! Handschlag, ein Lächeln, Mühen vergessen, Alles aufs beste bestellt. 4. Im Alpenglühen heimwärts wir ziehen, Berge, sie leuchten so rot. Wir kommen wieder, denn wir sind Brüder, Brüder auf Leben und Tod. 5. Wenn wir marschieren, durch unser Städtchen, schauen die Mädchen uns zu. Doch diesen Frauen ist nicht zu trauen, Rauben unser Herzen die Ruh. 7 8 Playing for Integration – Folksong Book Playing for Integration – Folksong Book 2. Kufstein Lied G G D Kennst du die Perle, die Perle Tirols, G das Städtchen Kufstein, das kennst du wohl; C umrahmt von Bergen, so friedlich und still: G D G Ja das ist Kufstein dort am grünen Inn, C D G ja das ist Kufstein am grünen Inn. (Jodler) D7 G Holdera diridiridiri, holderi holdereidio, Kuku D7 Holderi holdereidio, Kuku G holderi holdereidio. Holdera diridiridiri, holderi holdereidio, Holderi holdereidio, bei uns in Tirol. Es gibt so Vieles bei uns in Tirol. A guates Weinderl aus Südtirol. Da denkt a jeder, ´s möcht immer so sein: Bei einem Maderl und am Flascherl Wein. Und ist der Urlaub dann wieder mal aus, dann nimmt man Abschied und fährt nach Haus.