Sentence examples for folksongs- from inspiring English sources

One lonely task was lobbying western governments not to recognise the annexation of the Baltics, traded to Stalin by Hitler and kept by the Soviet Union for half a century; another, no less quixotic, was to preserve the home language and culture in exile.Her own contribution included corralling youthful Latvian émigrés to scan many thousands of Latvian folksongs into a computer database.

Bartok, a Hungarian, ran into considerable trouble for using Transylvanian folksongs, which clearly had strong Romanian "fingerprints".

He went there "with a rake for folksongs, an ear for the lovely, fragrant countryside, and a heart for the bare legs of the natives".

Czech folk songs and tales exercised a powerful attraction for Dvořák throughout his life, and some of his best choral music consists of settings such as V přírodě (Amid Nature, 1882) and Trǐ sborg (Three Slovak Folksongs, 1877).

Grün also produced masterly translations of the popular Slovene songs current in Carniola in Volkslieder aus Krain (1850; "Folksongs from Carniola") and of the English poems on Robin Hood (1864).

They can be location specific, as with Bartók's quizzically graceful "Hungarian Folksongs from the Csík District" and Rachmaninov's "Prelude in D minor", one of the last pieces written prior to his exile; or more sentimental – the wistful homesickness of Chopin's "Mazurka in F sharp minor", and Kurt Weill's "Lost in the Stars", saturated with yearning.

Quoting a Venezuelan folksong, he warned Mr Fox: "Don't mess with me, mister, or you'll get scratched".

However, the sampler comes with an excellent 72-page booklet introducing Alan Lomax, his father, his work and the collection; it also includes a wonderful article, "Saga of a Folksong Hunter", that Mr Lomax originally published in 1950.

Musically, it is believed that a complex intermingling of African and white folk-music elements occurred and that complementary traits of African music and white U.S. folksong reinforced each other.

The following year his first and most famous folksong, "The Preacher and the Slave," appeared in the IWW's Little Red Song Book.

Since then, the balance has, if not entirely reversed, then at least shifted significantly, to the point where Waits comes armed with a small ensemble of players able to accommodate the variety of instrumental colouration in his songs, while the lyrics have to some extent retreated into a netherworld of nursery rhymes and familiar folksong phraseology.