Thematische Bibliographien / Roots (Botany) – Songs and music

Auswahl der wissenschaftlichen Literatur zum Thema „Roots (Botany) – Songs and music“

Autor: Grafiati

Veröffentlicht am 26. Juli 2024

Zuletzt aktualisiert am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Roots (Botany) – Songs and music"

Vergano, Rina, und Roxana Vilk. „Songs that live in the bones“. British Journal of Music Education 39, Nr. 3 (November 2022): 286–91. http://dx.doi.org/10.1017/s0265051722000328.

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AbstractIn conversation with playwright and theatre journalist Rina Vergano, multidisciplinary artist and musician Roxana Vilk unpicks her own experience of diaspora and the ways in which her cultural, familial and political roots have informed her artistic practice and inspired her current project about the power of lullabies.

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Graebner, Werner. „Whose music? The songs of Remmy Ongala and Orchestra Super Matimila“. Popular Music 8, Nr. 3 (Oktober 1989): 243–58. http://dx.doi.org/10.1017/s0261143000003548.

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In his song ‘Asili ya Muziki’ (‘The Roots of Music’) Remmy Ongala, one of the most prolific singers/composers in Tanzanian music, discusses the complex and ambiguous position of music and musicians. In Tanzania musicians are commonly considered to be wahuni, i.e. vagabonds, drunkards, drugtakers, while their music, is enjoyed by the same people who call them these names.

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Tang, Jing, und Phiphat Sornyai. „The Cultural Treasures of Baima Tibetan Folk Songs in Gansu Province, China, as a Resource for Literacy Education in Chinese Music History“. International Journal of Education and Literacy Studies 11, Nr. 3 (31.07.2023): 234–43. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.234.

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Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups - scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.

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Evans, David. „Music Makers: Portraits and Songs from the Roots of America (review)“. Notes 61, Nr. 2 (2004): 469–71. http://dx.doi.org/10.1353/not.2004.0134.

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GÖK, Emre, und İsmet DOĞAN. „COMPILATION WORKS OF BELA BARTOK IN ANATOLIA“. Zeitschrift für die Welt der Türken / Journal of World of Turks 14, Nr. 2 (15.08.2022): 113–30. http://dx.doi.org/10.46291/zfwt/140206.

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Composer and ethnomusicologist Bela Bartok, who came to Turkey in 1936 in order to hold conferences and studies on Turkish folk music, researched.both the relationship between Turkish folk music and Hungarian folk melodies and the roots of the similarities between the music of the two countries, which are thought to come from the same root and got interesting and valuable information. He made field studies in certain regions of Turkey, compiled the folk songs in the areas he worked, notated the songs which he compiled and then classified these folk songs. In addition to her field work, she also worked with important musicians such as Ahmet Adnan Saygun, Necil Kazım Akses, Ulvi Cemal Erkin, whom we know as Turkish fives today. Throughout all his studies in Anatolia, he said that there were both similarities and differences between Turkish and Hungarian folk music, but he argued that the two musical cultures emerged from the same root. One of the most important theses he defended was that he said that Hungarian music culture was a clear Turkish music culture and that the motifs in Turkish melodies were seen in Hungarian music. Keywords: Bela Bartok, Turkish folk music, Hungarian folk music, Cultural transfers and similarities, Pentatonic

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Bernstein, Tamara. „The Vocal Music of Ana Sokolović: Love Songs for the Twenty-First Century“. Circuit 22, Nr. 3 (20.02.2013): 19–35. http://dx.doi.org/10.7202/1014226ar.

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Enchanted by the vocal music of Serbian-born Canadian composer Ana Sokolović, Tamara Bernstein visited the composer at her home in Montreal. Sokolović’s music draws on several sources, including the theatrical world and the culture of the Balkans. The extended vocal techniques in Sokolović’s music are rooted not in the avant-garde music of the twentieth century, but in the oral traditions and poetic voice of Serbia. It seems that the more the composer returns to her cultural roots, the more she embraces the universality of the human soul.

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Cox, Gordon. „Towards the National Song Book: The History of an Idea“. British Journal of Music Education 9, Nr. 3 (November 1992): 239–53. http://dx.doi.org/10.1017/s0265051700009128.

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This paper traces the relationship between music and national feeling which permeated popular education during the latter part of the nineteenth century, culminating in the publication ofThe National Song Book(Stanford, 1906). By the First World War there was hardly a school in the country which did not possess a copy. The roots of the idea of national songs are traced back to Herder and Engel, and in particular to William Chappell'sPopular Music of the Olden Time(1858–9). The paper argues that music educationists developed distinct theories about the educative value of such songs in developing notions of nationhood, patriotism and racial pride. Specifically a line of development is traced in the development ofThe National Song Bookthrough Charles Stanford, W. H. Hadow and Arthur Somervell, while taking cognisance of the dissenting views of John Stainer and Cecil Sharp. The paper concludes thatThe National Song Bookproclaimed the hegemony of the literate tradition as opposed to the oral, and considers the view that national songs contained within them the danger of the manipulation of patriotism.

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Domokos, Mária, und Katalin Paksa. „The Hungarian folk song in the 18th century“. Studia Musicologica 49, Nr. 1-2 (01.03.2008): 105–25. http://dx.doi.org/10.1556/smus.49.2008.1-2.6.

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In Hungary, the concept of “folk song” was clarified at the beginning of the 20th century only, accordingly, there were no “folk songs” noted down in the 18th century. Still, the number of music sources relating to folk music increased significantly in the 18th century. As a result of their scientific analysis the melodic parallels of some five hundred 18th-century tunes were found in the central folk music collection of the Institute for Musicology of the Hungarian Academy of Sciences. These melodic parallels involve 153 folk song types. In a specific era of folk culture there is always a coexistence of elements and styles of different age. The sources also contain examples of the descending pentatonic styles (that either originates or developed from oriental roots), of the lament style and of the medieval and early modern tunes. Of particular interest are the songs that first appeared in the 17th century, then undergone significant changes in form and rich collection of variants developed around them. The most remarkable result of our research is that contrary to former beliefs regarding its insignificance, the 18th century enriched the Hungarian folk music with some sixty new melody types. One of the most interesting groups of this rather mixed collection of songs is that of the songs in a major key with a narrow compass that seems to be the most characteristic music of the time. Plagal songs in a major key with perceptive functional chords behind their melodies also entered Hungarian tradition at this time. Plagal tunes, unfamiliar to Hungarian folk music, were sometimes transformed into descending tunes. The antecedents of the new Hungarian folk song style hardly feature in these sources — this style probably developed in the late 19th century. However, among the popular art songs that flourished from the 1830s onwards we found about a dozen melody types with a partial or full similarity to 18th-century melodies.

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Duinker, Ben. „Song Form and the Mainstreaming of Hip-Hop Music“. Current Musicology 107 (27.01.2021): 93–135. http://dx.doi.org/10.52214/cm.v107i.7177.

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Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).

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Zadorozhna, Tetyana. „THE SEMANTICS OF THE ACADEMIC SONGS AS A SIGNIFICANT FORM OF UKRAINIAN MUSIC COMPOSITION: EPISTEMOLOGICAL ASPECT“. Baltic Journal of Legal and Social Sciences, Nr. 2 (25.10.2022): 65–70. http://dx.doi.org/10.30525/2592-8813-2022-2-11.

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The Ukrainian academic song is a phenomenon that clearly demonstrates the significance of the ethnic national identity of Ukrainian music composition. Its origins are obviously Ukrainian folk songs, which determined the stylistic roots of Ukrainian chamber vocal lyrics with its genre stylistic diversity. And therefore, the importance of posing the problem lies in the fact that a certain system of its genre stylistic specialization was formed from among the genre varieties of Ukrainian chamber solo singing, which was discussed in the research of S. Lyudkevych regarding the solo songs of M. Lysenko to the lyrics of T. Shevchenko. Therefore, continuing the research traditions of the Galician scholar, as well as taking into accopunt modern analytical works, an updated view is offered regarding the genre stylistic priorities of Ukrainian academic songs. Research methods used are analytical and discursive, which means a logical elaboration of the existing research on the problems of generic specialization of chamber vocal lyrics as a whole. It is to be hoped that the selected research approach will be favorable for a heuristically fruitful and epistemologically plausible interpretation of the mental specificity of the Ukrainian academic songs.

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Bücher zum Thema "Roots (Botany) – Songs and music"

Erbsen, Wayne. Rural roots of bluegrass: Songs, stories & history. Asheville, NC: Native Ground Music, 2003.

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Erbsen, Wayne. Rural roots of bluegrass: Songs, stories & history. Pacific, MO: Mel Bay, 2003.

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Bégin, Carmelle. Dance: Roots, ritual and romance. Hull, Quebec: Canadian Museum of Civilization, 1989.

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Timothy, Duffy, Hrsg. Music makers: Portraits and songs from the roots of America. Hillsborough, NC: Music Maker Press, 2004.

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Timothy, Duffy, Hrsg. Music makers: Portraits and songs from the roots of America. Athens, Ga: Hill Street Press, 2002.

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Hight, Jewly. Right by her roots: Americana women and their songs. Waco, Tex: Baylor University Press, 2011.

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Shehan, Campbell Patricia, McCullough-Brabson Ellen und Tucker Judith Cook 1947-, Hrsg. Roots & branches: A legacy of multicultural music for children. Danbury, CT: World Music Press, 1994.

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Filene, Benjamin. Romancing the folk: Public memory & American roots music. Chapel Hill: University of North Carolina Press, 2000.

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Reinhold, Grimm, und Hermand Jost, Hrsg. Our Faust?: Roots and ramifications of a modern German myth. Madison, Wis: Published for Monatshefte [by] the University of Wisconsin Press, 1987.

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Poruciuc, Adrian. Prehistoric roots of Romanian and southeast European traditions. Sebastopol: Institute of Archaeomythology, 2010.

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Buchteile zum Thema "Roots (Botany) – Songs and music"

Church, Joseph. „Rock Songs“. In Rock in the Musical Theatre, 121–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943462.003.0007.

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Chapter 6 brings the discussion of acting and music together in examples of rock songs, some of which musical theatre singers might add to their repertoire. Each song is examined in terms of the important points raised in earlier chapters: lyrical content, form, tone, style, groove, purpose, and historical context. The selections cover the full period of the growth of rock music, from its rock ’n’ roll roots to the present day, encompassing as wide a variety of styles and sub-genres as possible, and explaining common crossovers among styles. Suggestions are offered for performance approaches by musical theatre singers to these and related songs.

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Ensminger, David A. „Dave Dictor“. In Roots Punk, 77–88. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496848413.003.0005.

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This chapter focuses on the ongoing savvy politics and musical inventiveness of Dave Dictor, whose bands, first known as the Stains, then Millions of Dead Cops, spread through the underground network like a shock wave. As righteous, fiery renegades, they pushed the boundaries of free expression, created a musical style that was dynamic, and proved that resistance could be resilient. Yet, Dictor was a product of folk music, cosmic country, and AM radio, and he wrote many of MDC’s firebrand songs with an acoustic guitar.

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Sacré, Robert. „Black Music USA: From African to African American Music“. In Charley Patton, 3–12. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816139.003.0001.

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This chapter discusses the history of African American Music. Many of the roots of black American music lie in Africa more than four hundred years ago at the start of the slave trade. It is essential to realize that the importance given to music and dance in Africa was reflected among black people in America in the songs they sang, in their dancing, and at their folk gatherings. As such, every aspect of jazz, blues, and gospel music is African to some degree. Work songs and the related prison songs are precursors of the blues. One can assume that primitive forms of pre-blues appeared around 1885, mostly in the Deep South and predominantly in the state of Mississippi. However, it was several more years before the famous AAB twelve-bar structure appeared, and when it did, one of its leading practitioners was Charley Patton.

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Barlow, Clarence. „Songs Within Words: the Programme TXMSand the Performance of Pingon the Piano“. In Samuel Beckett and Music, 233–40. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198184270.003.0018.

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Abstract It was in early 1971 that I first treated music as an abstract art. My compositions previous to this show an abundance of permutatory and probabilistic mechanisms, but their methods of application and the resultant sounds were invariably and obviously a product of my cultural background, a phenomenon even more evident in my recent work. In 1971, however, a passing need to purge my methods of personal traits drove me to a closer awareness of the role of cultural roots within the act of composing. In my eyes, the work of John Cage, then meaningful to me, sought to circumvent musical tradition by generating unpredictable sounds through multiple and complex operations. These he entrusted nonetheless to musicians, without whose cultural specialization the intended work could neither be realized nor performed.

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„People's Songs and People's War“. In Third Worlds Within, 91–112. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059158-004.

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This chapter traces the organizational history and creative output of Paredon Records, a US-based company created by two veteran Jewish activists with roots in the worlds of folk music and the Old Left, Barbara Dane and Irwin Silber. Founded in 1970, Paredon released fifty records generated by political movements across the world, including Palestine, Greece, El Salvador, Angola, the Dominican Republic, Northern Ireland, Haiti, Mexico, and the United States. Dane and Silber envisioned Paredon as raising awareness inside the United States about national liberation struggles taking place overseas, as well as providing an ongoing organizing role within societies abroad. In addition to the 1973 album A Grain of Sand, which became a key text of the Asian American movement, Paredon produced records covering struggles in Thailand, the Philippines, China, and Vietnam. This chapter explores these releases as an example of a musical tricontinental solidary in the face of American imperialism.

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„The Magi Kings“. In Noche Buena, herausgegeben von Nicolas Kanellos, 156–59. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195135275.003.0022.

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Abstract Unlike the jolly frolicking of “Las Arandelas” and other songs of the asalto, “The Magi Kings” is a serious aguinaldo commemorating the sacred coming of Christ to save humanity. Both music and lyrics reveal ancient roots in medieval Europe.

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Castillo, Belén Pérez. „Roberto Gerhard’s Cantares : Seven Songs of Absence … and a Presence“. In Roberto Gerhard, 216–37. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267134.003.0013.

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Far from being a minor work, the collection of popular melodies Cantares, composed by Roberto Gerhard between 1956 and 1957, constitutes an interesting case study that raises important questions regarding the composer’s roots, his compositional style, his relationship with, and integration into, English musical culture, and the development of the music of his time. Despite their conventional appearance, these pieces constitute a milestone in the guitar repertoire of the twentieth century, which had predominantly ignored the instrument’s usual accompaniment function focusing rather on the highly virtuosic, as embodied by Andrés Segovia. This chapter aims to investigate the composition of Cantares as an example of sympoietic process that explains the creation of a work of distinctly Spanish character within the core of support for British—and especially avant-garde—music.

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Mungons, Kevin, und Douglas Yeo. „Falling Out of Step at the Close of an Era“. In Homer Rodeheaver and the Rise of the Gospel Music Industry, 230–50. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043840.003.0011.

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In the final decade of his life, Homer Rodeheaver enjoyed financial success and national fame, though his health and trombone playing declined precipitously. His business model for promoting gospel songs proved increasingly less effective, bypassed by a younger generation who moved gospel music from its communal roots to a popular performance idiom. Rodeheaver’s aging song catalog from the early 1900s could not keep up with the next generation of gospel music. Still, he befriended the young Billy Graham and Graham’s trombone-playing songleader, Cliff Barrows, and strongly influenced their methods for large-scale evangelistic meetings. Upon his death, the Rodeheaver Company was sold to Word Music and then a succession of music industry conglomerates which continued to profit from his gospel song copyrights.

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Winkler, Allan M. „“Where Have All the Flowers Gone?”“. In “To Everything There Is a Season”, 64–87. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195324815.003.0004.

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Abstract Seeger Didn’t see it coming. Everything was going so well—the music, the bookings, the marriage to Toshi, which now boasted two healthy children. The Weavers were at the height of their popularity, making more money and hammering out more songs than ever. Suddenly, like a clap of thunder on a sunny day, their bubble burst. They were the ones being hammered. A Red Scare more destructive than the one that followed World War I left them reeling under charges of being Communist subversives. The attacks came just as the Weavers were beginning to relish their success. They were appealing to mainstream America with enviable results. Time magazine called the foursome “the most imitated group in the business.” Listeners loved the melodies and harmonies of their songs, some of them songs they had sung as children, songs that captured the folk roots of American life. They bought records, lots of them, and flocked to concerts all over the country.

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Mungons, Kevin, und Douglas Yeo. „Introduction“. In Homer Rodeheaver and the Rise of the Gospel Music Industry, 1–12. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043840.003.0001.

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Homer Rodeheaver’s brand of gospel songs became a commercial music force at the height of World War I, when print music and recorded music was marketed with genre labels like “hillbilly” and “race.” These categories influenced a generation of scholarship that searched for authenticity, a mythical roots music that was untainted by commerce. As a result, early gospel music studies examined folk spirituals and evangelical hymns, culminating in the performance styles of black gospel and southern gospel. Recent studies have expanded these interpretations to also study the influence of technology, the emerging music industry, and the impact of racial segregation. The authors of this Rodeheaver biography use newly discovered sources to understand his role as a trombone-playing revivalist songleader, motivated by his own evangelical religious devotion and passion for community singing.

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