Lullaby
A lullaby (/ˈlʌləbaɪ/), or a cradle song, is a soothing song or piece of music that is usually played for (or sung to) children (for adults see music and sleep). The purposes of lullabies vary. In some societies they are used to pass down cultural knowledge or tradition. In addition, lullabies are often used for the developing of communication skills, indication of emotional intent, maintenance of infants' undivided attention, modulation of infants' arousal, and regulation of behavior.[1] Perhaps one of the most important uses of lullabies is as a sleep aid for infants.[2] As a result, the music is often simple and repetitive. Lullabies can be found in many countries, and have existed since ancient times.[3]
Etymology
Already in the Sumerian myth of Enki and Ninhursaja it says: “27-28. No singer sang "elulam" there. No cries of woe were complained about there on the outskirts of the city.” Elulam is considered to be the root word for the German „einlullen“ and English lulaby.
The term 'lullaby' derives from the Middle English lullen ("to lull") and by[e] (in the sense of "near"); it was first recorded circa 1560.[4][5]
A
Characteristics
Lullabies tend to share exaggerated melodic tendencies, including simple pitch contours, large pitch ranges, and generally higher pitch.[11] These clarify and convey heightened emotions, usually of love or affection. When there is harmony, infants almost always prefer consonant intervals over dissonant intervals. Furthermore, if there is a sequence of dissonant intervals in a song, an infant will usually lose interest and it becomes very difficult to regain its attention.[12] To reflect this, most lullabies contain primarily consonant intervals. Tonally, most lullabies are simple, often merely alternating tonic and dominant harmonies.
In addition to pitch tendencies, lullabies share several structural similarities. The most frequent tendencies are intermittent repetitions and long pauses between sections.[13][14] This dilutes the rate of material and appeals to infants' slower capacity for processing music.
Rhythmically, there are shared patterns. Lullabies are usually in triple meter or 6/8 time, giving them a "characteristic swinging or rocking motion."[15] This mimics the movement a baby experiences in the womb as a mother moves. In addition, infants' preference for rhythm shares a strong connection with what they hear when they are bounced, and even their own body movements.[16] The tempos of lullabies tend to be generally slow, and the utterances are short.[11] Again, this aids in the infant's processing of the song.
Lullabies almost never have instrumental accompaniments. Infants have shown a strong preference for unaccompanied lullabies over accompanied lullabies.[17] Again, this appeals to infants' more limited ability to process information.
Lullabies are often used for their soothing nature, even for non-infants. One study found lullabies to be the most successful type of music or sound for relieving stress and improving the overall psychological health of pregnant women.[18]
These characteristics tend to be consistent across cultures. It was found that adults of various cultural backgrounds could recognize and identify lullabies without knowing the cultural context of the song.[13] Infants have shown a strong preferences for songs with these qualities.[19]: 19
Cross-cultural prevalence
Lullabies are often used to pass down or strengthen the cultural roles and practices. In an observation of the setting of lullabies in Albanian culture, lullabies tended to be paired with the rocking of the child in a cradle. This is reflected in the swinging rhythmicity of the music. In addition to serving as a cultural symbol of the infant's familial status, the cradle's presence during the singing of lullabies helps the infant associate lullabies with falling asleep and waking up.[20] Kogan and Gintsburg, in a study of the mainly preliterate, non-media-exposed people on the island of Soqotra, found that lullabies in this culture shared many of the features of lullabies in the western and oriental tradition: the repetition of 'nonsense syllables', the creation of a warm affective space, and the allusions to ancient customs and beliefs. On the other hand, these lullabies lacked the 'counting elements' found in other traditions, and defined safety as a spiritual space, while danger was conceptualised as both physical and spiritual.[21]
Therapeutic value
Studies conducted by Dr. Jeffery Perlman, chief of newborn medicine at
Additional research by Jayne M. Standley has demonstrated that the physiological responses of prematurely delivered infants undergoing intensive care can be regulated by listening to gentle lullabies through headphones. In addition to slowing heart and respiration rates, lullabies have been associated with increased oxygen saturation levels and the possible prevention of potentially life-threatening episodes of apnea and bradycardia.[23] Gentle music can also provide stimulation for premature infants to behave in ways that boost their development and keep them alive. Lullabies can serve as a low-risk source of stimulation and reinforcement for increasing nipple sucking (feeding) rates, providing infants with the nutrition they require for growth and development. Lullabies are thus associated with encouraging the rapid development of the neurological system and with a shorter length of hospitalization.[24]
More recent research has shown that lullabies sung live can have beneficial effects on physiological functioning and development in premature infants. The live element of a slow, repetitive entrained rhythm can regulate sucking behavior. Infants have a natural tendency to entrain to the sounds that surround them. Beat perception begins during fetal development in the womb and infants are born with an innate musical preference. The element of live breathing sounds can regulate infant heart rate, quiet-alert states, and sleep. Live lullabies can also enhance parent-child bonding, thus decreasing
Many lullabies, regardless of the meaning of their words, possess a peaceful hypnotic quality. Others are mournful or dark, like a lament. The Gaelic lullaby "Ba, Ba, Mo Leanabh Beag" was written in 1848 during the potato famine, which caused much hardship in the Scottish Highlands. The song mentions soft potatoes, the mother's situation, and her fears for her child.[27] In the 1920s, poet Federico García Lorca studied Spanish lullabies and noted the "poetic character" and "depth of sadness" of many of them. Lorca's theory was that a large part of the function of the lullaby is to help a mother vocalize her worries and concerns. In short, they also serve as therapy for the mother.[15]
Combined with lament, lullaby can have "restorative resounding" properties for hospice inpatients and their families. Lullabies typically soothe people through the awake/sleep transition, and similarly can soothe people through the life/death transition. Music therapists have called these tunes "lullaments", that which sustain the spirit, support psychological structure, and enable resilience during times of vulnerability to the effects of adversity. Lullaments are music-contextualized expressions of attachment and detachment, sadness/tears and happiness/laughter, privilege and loss, nurturance and grief, deterioration, stasis and moving forward.[28]
Many Christmas carols are designed as lullabies for the infant Jesus, the most famous of them being "Silent Night".
Mother–infant interaction
Infants exhibit a natural preference for infant-directed over non-infant-directed lullabies[19]: 83–92 and their own mothers' voice over that of another female.[29]
Much research has been generated on the role of lullabies in nurturing caregiving bonds between mother and child. Mothers who sing lullabies to their infants engage in a bonding activity that actually alters the underlying neural structure of the infant brain such that the infant becomes "tuned" into music and its association with parental affiliation.[26]: 217 In one Taiwanese study of Kangaroo Care, a technique practiced on newborn infants in which a mother holds her child tightly against her chest, it was demonstrated that infant–mother dyads who listened to their choice of lullaby were associated with more quiet sleep states and less occurrence of crying by the infant and were also associated with significantly lower maternal anxiety, than those dyads who did not listen to lullabies. The therapeutic effect of lullabies can thus have a strong impact on calming anxieties and nurturing bonds, which is especially important with premature and fragile infants.[30]
In classical music
Lullabies written by established
Chopin's "Berceuse" is a composition for solo piano. Other famous examples of the genre include Maurice Ravel's Berceuse sur le nom de Gabriel Fauré for violin and piano; the Berceuse élégiaque by Ferruccio Busoni; the "Berceuse" from the opera Jocelyn by Benjamin Godard; the "Berceuse" by Igor Stravinsky which is featured in the Firebird ballet, and Lullaby for String Quartet by George Gershwin. The English composer Nicholas Maw's orchestral nocturne, The World in the Evening, is subtitled "lullaby for large orchestra". German composer's Paul Graener last movement of his suite From The Realm of Pan is entitled "Pan sings the world a lullaby".
By geography
This section needs additional citations for verification. (January 2016) |
Americas
Brazil
"Dorme neném" (Sleep Little Baby) is sung all over the country and includes a reference to "Cuca", a folk character very feared by children.
Colombia
"Duérmete niño, duérmete ya, que si no viene el coco y te comerá" (Go to sleep child, go to sleep now, otherwise the boogie man will come and eat you) is a cradle song sung by parents to advise children to go to sleep soon.
Asia
India
In Hindi and in many Indian languages, the lullaby is called "Lori". Mostly, lullabies are sung in folk languages. Lullabies have been also an integral part of Indian cinema. Many lullabies were written and composed in the fifties, such as:
- "Aaja Ri Aa Nindiya Tu Aa" – Do Bigha Zamin (1953 film)
- "Main Gaoon Tu Chhup Ho Jaa" – Do Aankhen Barah Haath (1957 film)
- "So Jaa Re Lalna Jhulao Tohe Palna" – Journey Beyond Three Seas(1957 film)
In the
In the Odia language, a lullaby is called a Nanabaya gita. A book in the same name by Nanda Kishore bal that was published in two volumes in 1934 is a major compilation of the known lullabies in the language.[32]
In Telugu language, a lullaby is called a "Jola" or "Jola pata". A famous Telugu lullaby is "jo achuthaa nanda jo jo mukunda".
In the Tamil language, a lullaby is called a thaalattu (thal means "tongue"). A melodious sound is created by frequent movement of the tongue at the beginning of the song.
In the Marathi language, a lullaby is called a angai geet. Soothing words and music helps baby calm down and help them sleep.
Philippines
In the
Vietnam
In
China
- The "Northeastern Cradle Song" is from northern China.
- .
Indonesia
"Nina Bobo" is from Indonesia.
Japan
The "Edo Lullaby", "Itsuki Lullaby", "Chūgoku Region Lullaby", "Shimabara Lullaby" and "Takeda Lullaby" are from Japan.
Bangladesh
In Bangladesh, the lullaby is termed "Ghum-Parrani-Gaan" (song to make sleep). Examples of Bangla lullabies are "Ghum-Parrani Maashi, Pishi" and "Baash baganer mathar upor".[33]
Iran
"Laay laay, laay, laay, gol-e laaleh" (Persian: لای لای، لای، لای، گل لاله) is one of the most famous and oldest Persian lullabies which comes from the Gorgan region in North-Eastern Iran.[34]
Europe
Czech
"Spi, Janíčku, spi" ("Sleep, Johny, sleep") – This playful lullaby was collected in Moravia by František Sušil (1804–1868), a priest and an activist of Czech national revival. He collected songs in Moravia and Silesia as well as in Slavic villages in Austria. This lullaby uses a specific name of the child, Janíček, a familiar form of the very common male name Jan. Nonsense is employed here, as the boy is promised not only a green and a red apple but also a blue one if he falls asleep.
"Ukolébavka" ("Lullaby") – This lullaby was published in 1633 in The Informatorium of the School of Infancy by
"Hajej, můj andílku" ("Sleep, My Little Angel") – This is one of the most melodious Czech lullabies, first collected by Karel Jaromír Erben (1811–1870), Czech romantic writer, poet and collector of Czech folk songs and fairy tales. The text refers specifically to the mother rocking her baby.
"Halí, dítě" ("Hullee, baby") – This lullaby was collected by František Bartoš (1837–1906), pedagogue and ethnographer who collected Moravian songs. The second line says the carer will leave after the child falls asleep, but in the third line we learn that only to the garden in the valley to pick raspberries.
"Halaj, belaj, malučký" ("Sleep, Sleep, Little One") – This lullaby is from the east of Moravia, where the dialect is influenced by the Slovak language, and also folk songs are similar to the Slovak ones from across the border. A boy is promised the essential food for infants, kašička, a smooth mixture made of milk and flour.
Danish
"Elefantens vuggevise" ("The Elephant's Lullaby") – This lullaby is considered one of the most popular lullabies in Denmark. Using exotic animals as theme, the lyrics are simple and easily understood by a child. It was made politically correct in the 1990s: The word negerdreng (Negro boy) was changed to kokosnød (coconut).[35] The song was written in 1948 by the Danish writer and poet Harald H. Lund with music composed by writer-musician Mogens Jermiin Nissen (1906–72).
"Godnatsang" ("Goodnight Song") – This is a popular lullaby that was composed (lyrics and music) by Sigurd Barrett (born 1967), pianist, composer and host of a children's TV programme in Denmark, and fellow musician Steen Nikolaj Hansen. Sigurd usually sings this song at the end of his children's show. This lullaby has sleeping time as theme: The day is over and we must sleep and rest so we will be fresh again in the morning.
"Mues sang få Hansemand" ("Mother's Song to Little Hans") – This lullaby originated from south Jutland and is very old (year of composition is unknown). It is not well known in Denmark. This may, in part, be due to the fact that it was written in Jutlandic dialect. The lyrics were written by Marie Thulesen (1878–1924) with music by the Danish musician Oluf Ring (1884–1946).
"Jeg vil tælle stjernerne" ("I Will Count the Stars") – This lullaby was written in 1951 by the Danish poet and writer Halfdan Rasmussen (1915–2002). Rasmussen had written numerous rhymes and jingles, some of which are still being used in Danish beginner classes in public schools (e.g. the picture book "Halfdans ABC"). This lullaby's music was composed by Hans Dalgaard (1919–81). The song is a simple story of a child who tries to count the stars with his/her fingers and toes.
Dutch
"Slaap kindje slaap" – The text is mostly chosen for its rhyme. Sleep, little child, sleep. Outside a sheep is walking. A sheep with white feet, it drinks its milk so sweet.
"Maantje tuurt, maantje gluurt" – Older Dutch lullaby. Look the moon peeps and spies through the window. Have the children already gone to bed? Yes moon, they're lying in bed. Good, tomorrow will be a new day of playing and learning.
English
Many medieval English verses associated with the birth of Jesus take the form of a lullaby, including "Lullay, my liking, my dere son, my sweting" and may be versions of contemporary lullabies.[36] However, most of those used today date from the seventeenth century onwards. Some of the best known English-language lullabies originate from the US, notably "Bye, baby Bunting" and "Hush, Little Baby".
German
"
Hungarian
The Hungarian words for "lullaby" are altatódal, 'put-to-sleep song', altató, '[something that] puts [someone] to sleep', and bölcsődal, 'cradle song'. Another, now archaic and little-used word is csucsujgató, '[something that] puts [someone] to sleep; nuzzling/cuddling [song]'. In Hungary, lullabies did not develop into an independent genre, and most folk lullabies are from before the Hungarian conquest of the Carpathian Basin (Hungarian: honfoglalás, lit. 'conquest of the homeland'). Relatively little foreign impact can be seen in them, but many changes came from their use in schools. A discernable subtype are Mária-énekek, 'Mary songs', Christmas lullabies sung in the name of Mary, mother of Jesus. Most cradle-songs use ringatószavak, 'rocking words' that are meaningless, archaic, or come from baby talk, as well as many terms of endearment such as baba, bogárka, csibe, angyal, kedves, rózsabimbó, 'baby, beetle, chick, angel, dear, rosebud', some of which they share with love songs. They usually have only one verse and short lines.[37]
Hungarian lyrics | Literal English translation | Place of origin | Notes |
---|---|---|---|
Aludj, baba, aludjál! |
Dunasziget, Győr-Moson-Sopron County |
This lullaby showcases the trend of wishing or promising sweet dreams and/or good sleep to the child. Somewhat unusually, it has more than one verse.[37] | |
Csicsija, babája! |
Shush, baby |
Súr, Komárom-Esztergom County | Here, the 'ringatószó', 'csicsija' is used to calm the infant. This song is an example of promising some reward if the child will sleep and behave well, also common in Hungarian lullabies.[37] |
Tente, baba, tente, |
Sleep, baby, sleep |
Jász-Nagykun-Szolnok County
|
Note the presence of another 'ringatószó', 'tente' and the term of endearment rózsabimbó, 'rosebud'. |
Sleep, sleep, little baby |
Borsod-Abaúj-Zemplén County
|
Apart from 'tente' being used here, too, this is an example of including lines on the troubles or works of parents, commonly found in Hungarian lullabies.[37] |
Irish
- The Kildare Poems (mid-14th century), among the earliest English language literature in Ireland, include the lullaby Lollai, Lollai, litil child.[39]
- "I've Found My Bonny Babe a Nest" was published in 1901 by Charles Villiers Stanford; it is believed to be much older.[40]
- "Irish-American composer James Royce Shannon.
- "Whisht Wee Bairn" ('be quiet, small child') is an Ulster Scots lullaby.[41]
- "Seoithín Seothó" (Hushaby, Hush; also spelled Seó hín seó, Shoheen Sho) is a noted Irish language lullaby.[42][43]
- In 1999, Pádraigín Ní Uallacháin produced an album of Irish lullabies (in English and Irish), entitled An Irish Lullaby.
Russian
"
Scottish
There are many lullabies in Scottish song tradition, with well-known examples in Scottish Gaelic, Scots and English. They include songs which express emotions other than affection for the child – notably "Griogal Cridhe", which commemorates the beheading of Gregor Roy MacGregor by his father-in-law, Campbell of Glenlyon and brother-in-law in 1570 and "Hishie Ba" which may refer to a gang assault. A number of traditional lullabies also express social issues and this has been continued in modern lullaby writing in Scotland, notably Jim MacLean's "Smile in Your Sleep" (also known as "Hush, Hush, Time to Be Sleeping"), Matt McGinn's "Miner's Lullaby" (also known as "Coorie Doon") and Karine Polwart's "Baleerie Baloo". Christina Stewart's kist o dreams project provides a resource of over 30 Scottish lullabies, ranging from Doric Scots of the North East, to Northern Isles dialect of Shetland, Scottish Gaelic and English language examples.[44]
Ukrainian
Oi Khodyt Son Kolo Vikon (The Dream Passes by the Window) is from Ukraine.
Welsh
The oldest known
Another traditional Welsh lullaby "Suo Gân" gained popularity in the late twentieth century. Although the earliest prints date from around 1800, new arrangements of the lullaby have been performed and recorded by artists from around the world as well as featuring in Hollywood films (Empire of the Sun), anime (Black Butler) and computer games (The Maid of Sker). Suo Gân's distinctive tune has also been repurposed for several Christian hymns.[46]
Oceania
Australia
"Curly Headed Babby" (also known as "Lula Lula Lula Lula Bye Bye") was composed by George H. Clutsam in 1897.[47][48] It was made famous through a recording by Paul Robeson.[49]
New Zealand
"
See also
Notes
- ^ Form of the word 'itthon' in the Central Transdanubian dialect of Hungarian.
- ^ Pronunciation of 'eljött' in the Palóc/Northeastern dialect of Hungarian.
- ^ Form of the word 'dolga' in the Palóc/Northeastern dialect of Hungarian.
- ^ Archaic form of the word 'felkel'.
- ^ Hungarian folk lullabies always use the informal voice ('te'), which could only be literally translated into English with the archaic pronoun 'thou'.
References
- ^ Doja, Albert. "Socializing Enchantment: A Socio-Anthropological Approach to Infant-Directed Singing, Music Education and Cultural Socialization" International Review of the Aesthetics and Sociology of Music, Vol. 45, No. 1 (June 2014), pp. 118–120.
- ^ Trehub, Sandra E., Trainor, Laurel J. "Singing to infants: lullabies and play songs" Advances in Infancy Research, (1998), pp. 43–77.
- ^ Iona and Peter Opie, The Oxford Dictionary of Nursery Rhymes (Oxford University Press, 1951, 2nd ed., 1997), p. 6.
- ^ Soukhanov, Anne H. (15 June 2015). "The American Heritage Dictionary of the English Language, 3rd Edition, Anne H. Soukhanov: English Language". Bukupedia – via Google Books.
- ISBN 9780888644022– via Internet Archive.
lullen bye lullaby.
- ^ Hines, Kathleen. "The Art of the Musical Zz: Cultural Implications of Lullabies around the World." Miwah Li, John Moeller, and Charles Smith Wofford College (2013): 74.[clarification needed]
- ^ Pathak, Vrushali, and Shefali Mishra. "Psychological effect of lullabies in child development." Indian Journal of Positive Psychology 8.4 (2017): 677–680.
- ^ Levin, S. "The evil eye and the afflictions of children." South African Medical Journal 32.6 (1958).
- ^ The Human Interest Library: Wonder world, Midland Press, 1921, p. 87
- Teaching History46.3 (2012): 54.
- ^ a b Doja, Albert. "Socializing Enchantment: A Socio-Anthropological Approach to Infant-Directed Singing, Music Education and Cultural Socialization" International Review of the Aesthetics and Sociology of Music, Vol. 45, No. 1 (June 2014), p. 120.
- ^ Trainor, Laurel J., Tsang, Christine D., Cheung, Vivian H.W. "Preference For Sensory Consonance in 2- and 4-month-Old Infants." Musical Perception, Vol. 20, No. 2 (Winter 2002), pp. 187–194.
- ^ a b Mitterschiffthaler, M. T., Fu, C. H.Y., Dalton, J. A., Andrew, C. M. and Williams, S. C.R. "A functional MRI study of happy and sad affective states induced by classical music" Human Brain Mapping, Vol. 28 No. 11 (November 2007).
- ^ O'Neill, Colleen T., Trainor, Laurel J., Trehub, Sandra E. "Infants' Responsiveness to Fathers' Singing" Music Perception, Vol. 18, No. 4 (Summer 2001), p. 410.
- ^ a b Perry, Nina (20 January 2013). "The universal language of lullabies". BBC News.
- ^ Pouthas, V. " The development of the perception of time and temporal regulation of action in infants and children" Musical beginnings: Origins and development of musical competence, (New York: Oxford University Press, 1996), pp. 115–141.
- ^ Ilari, Beatriz and Sundara, Megha. "Music Listening Preferences in Early Life: Infants' Responses to Accompanied versus Unaccompanied Singing" Journal of Research in Music Education, Vol. 56, No. 4 (January 2009), p. 356.
- ^ Chang, Mei-Yueh; Chen, Chung-Hey; Huang Kuo-Feng, "Effects of music therapy on psychological health of women during pregnancy" Journal of Clinical Nursing, Vol. 17, No. 19 (October 2008), pp. 2580–2587.
- ^ .
- ^ Doja, Albert. "Socializing Enchantment: A Socio-Anthropological Approach to Infant-Directed Singing, Music Education and Cultural Socialization" International Review of the Aesthetics and Sociology of Music, Vol. 45, No. 1 (June 2014), pp. 118–122.
- S2CID 244731818– via Taylor&Francis.
- ^ Clark, Daniel; Humphries, Rachel (18 June 2013). "Lullaby Medicine for Premature Babies". ABC News.
- .
- PMID 12796858.
- PMID 23589814.
- ^ a b Thompson, William F. (2009), Music, Thought, and Feeling (2nd ed.), Oxford University Press
- ^ "Lullabies and dandlings", Foghlam Alba Archived 4 October 2013 at the Wayback Machine, EducationScotland.gov.uk
- S2CID 206633408.
- (PDF) from the original on 14 February 2010.
- PMID 15996669.
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- ISBN 978-1-134-87993-9.
- ^ Burnard, P.; Mackinlay, E.; Powell, K.; The Routledge International Handbook of Intercultural Arts Research. New York: Routledge, 2016. Print
- ^ Archived at Ghostarchive and the Wayback Machine: "Persian Lullaby in Swedish Church". PDN. Retrieved 16 January 2013.
- ^ "politisk korrekthed – Gyldendal – Den Store Danske". Den Store Danske. Gyldendal. Retrieved 31 October 2012.
- ^ Carpenter, H.; Prichard, M. (1984), The Oxford Companion to Children's Literature, Oxford University Press, p. 326
- ^ OCLC 941974058– via Magyar Elektronikus Könyvtár.
- OCLC 907499983. Retrieved 17 July 2022 – via Magyar Elektronikus Könyvtár.
- ^ "Part 10 of Anglo-Irish poems of the Middle Ages: The Kildare Poems". celt.ucc.ie.
- ^ "Lullaby (Graves, set by Charles Villiers Stanford, Sir) (The LiederNet Archive: Texts and Translations to Lieder, mélodies, canzoni, and other classical vocal music)". www.lieder.net.
- ^ "An Ulster-Scots Lullaby (Whisht Wee Bairn)". www.libraryireland.com.
- ISBN 9780717135356– via Google Books.
- ISBN 9781907494017– via Google Books.
- ^ "Kist O'Dreams | Home". www.kistodreams.org.
- .
- ^ Lullaby ("Suo Gan"), Lesley Nelson-Burns, Contemplator.com . Accessed July 2011
- ^ "George Clutsam Ovta files" (PDF). Archived (PDF) from the original on 21 February 2014. Retrieved 29 October 2021.
- ^ "Musicweb International". Retrieved 20 October 2021.
- ^ Archived at Ghostarchive and the Wayback Machine: "Paul Robeson You Tube". YouTube. Retrieved 29 October 2021.
- ^ Archer, John (14 June 2003). "Hine E Hine, a Māori slumber song". New Zealand Folk Song. Retrieved 18 July 2020.
Further reading
- Sarv, Mari. 2013. "Traditional Estonian lullabies. A tentative overview." Estonia and Poland. Creativity and tradition in cultural communication, vol. 2: Perspectives on national and regional identity. Liisi Laineste & Dorota Brzozowska & Władysław Chłopicki, eds., 161–176.
- Sikora, Kazimierz, and Barbara Żebrowska. 2013. "Traditional Polish lullabies." Estonia and Poland. Creativity and tradition in cultural communication, vol. 2: Perspectives on national and regional identity. Liisi Laineste & Dorota Brzozowska & Władysław Chłopicki, eds., 177–190.
- Wulandari, Alisa Putri.2023-05-01. ACEH PEOPLE'S BEDTIME CHILDREN TRADITION: Values and Messages Contained in Dodaidi's Poetry .AKADEMIK: Jurnal Mahasiswa Humanis, 3(2), 59–65. https://doi.org/10.37481/jmh.v3i2.594
External links
- Media related to Lullabies at Wikimedia Commons
- Lullabies of the World, a European Union-funded project to collect lullabies from around the world
- Two variants of a traditional lullaby from Rhodes Island, "Our baby is sleeping", performed by Tsambika Moustaka, and "Sleep with the sugar", performed by Iraklia Pardalou, both recorded in 2022 by Thede Kahl (project coordination: Sotirios Rousiakis) and retrieved from the Commission Vanishing Languages and Cultural Heritage