Thematische Bibliographien / Singers/songwriters

Auswahl der wissenschaftlichen Literatur zum Thema „Singers/songwriters“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Singers/songwriters"

Shevlyakova, Daria. „Depicting Italy in Singers-songwriters’ Songs“. Stephanos. Peer reviewed multilanguage scientific journal 28, Nr. 2 (30.03.2018): 218–24. http://dx.doi.org/10.24249/2309-9917-2018-28-2-218-224.

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Prayogi, Akhwan, und I. Gede Agus Kurniawan. „Existence of Performing Rights: An Analysis of Implications and Orientations for Café Singers“. SASI 29, Nr. 3 (22.09.2023): 605. http://dx.doi.org/10.47268/sasi.v29i3.1529.

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Introduction: Performing rights are rights attached to copyright as an integral part of the creation of a work. In the context of copyrights to songs or music, performing rights relate to the need to pay royalties to songwriters or music for attempts to use songs or music commercially.Purposes of the Research: Implications of performing rights for café singers to continue paying royalties based on statutory regulations and how the performing rights orientation for café singers is ideal in ensuring justice for songwriters or music as well as for café singers.Methods of the Research: Normative legal research with a concept and statutory approach.Results of the Research: The implications of performing rights for café singers to continue paying royalties based on statutory regulations, namely that there is no legal certainty for café singers because there is no specific regulation governing them. The performing rights orientation for café singers is ideal in ensuring justice, namely by excluding royalty payments for café singers because the commercialization impact received by café singers is not large and only sufficient to make ends meet.

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Smith, Graeme. „Singers and Songwriters in Australian Country Music“. Musicology Australia 33, Nr. 2 (23.11.2011): 213–22. http://dx.doi.org/10.1080/08145857.2011.596140.

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Fortoul van der Goes, Teresa I. „Seré famoso algún día algún día“. Revista de la Facultad de Medicina 63, Nr. 3 (10.05.2020): 57–58. http://dx.doi.org/10.22201/fm.24484865e.2020.63.3.09.

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For some reason, creators are more likely to die at the age of 27. Several singers and songwriters often fell by the wayside, as consequence of an overdose. Names like Jimmy Hendrix, Amy Weinhouse, Janis Joplin, Jim Morrison and to this list we add Jean-Michel Basquait. What do they have in common? A success that they did not know how to handle? "The Radiant Child" could not escape that curse ...drugs, success and 27 years

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ADENIYI, KIKELOMO O., und TAYE A. KEHINDE. „Code Shifting or Code Switching as a Style in Simi’s and Adekunle Gold's Songs“. International Journal of Linguistics Studies 2, Nr. 2 (08.04.2022): 01–06. http://dx.doi.org/10.32996/ijls.2022.2.2.1.

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Adekunle Kòsọ́kọ́ and Sìmisola Kòsọ́kọ́ (nee Ogunleye) are married singers, both born and bred in Lagos known by the stage names Kunle Gold and Simi respectively. They are among a group of young, popular, and successful songwriters, composers, and singers. Their music has gained the hearts of Nigerian people, especially the youth. The focus of this paper is to examine critically how they make use of code-switching or code-shifting in their respective music as a 'style' in order to differentiate their songs and also to make a unique identity. It is observed that they alternate between two or more languages to pass information to the target audience in order to showcase their fluency in the languages hence showing their level of literacy and flexibility. The data for analysis and discussion are songs from ‘Duduke’, ‘Sade’, ‘No forget me’, 'Selense’, ‘Promise Me’, and ‘Joromi’. Sociology Theory is used to drive home the point of discussion to reflect the effect of the songs on society.

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Saphan, LinDa. „From Modern Rock to Postmodern Hard Rock: Cambodian Alternative Music Voices“. Ethnic Studies Review 35, Nr. 1 (01.01.2012): 23–39. http://dx.doi.org/10.1525/esr.2012.35.1.23.

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Cambodian modernity was driven by the political agenda of the Sihanouk government beginning in the 1950s, and Cambodian rock and roll emerged in the 1960s in step with Sihanouk's ambitious national modernization project. Urban rockers were primarily upper-class male youths. In. the postcolonial era rock and roll was appropriated from abroad and given a unique Cambodian sound, while today's emerging hard rock music borrows foreign sociocultural references along with the music. Postmodern Cambodia and its diaspora have seen the evolution of a more diverse music subculture of alternative voices of hard rock bands and hip-hop artists, as well as post-bourgeois and post-male singers and songwriters.

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Habibi, Muhammad. „Problematics Intellectual Property Rights of Music Industrialization Indonesia After The Easy Trying of Creating Work“. Pancasila and Law Review 3, Nr. 1 (29.06.2022): 31–42. http://dx.doi.org/10.25041/plr.v3i1.2353.

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Since the Government of Indonesia through President Joko Widodo ratified regulations regarding job creation (ciptaker) in 2020 which is expected to boost the Indonesian economy. However, instead of being supported, this regulation was opposed because it was projected that it would harm some people, especially in terms of Intellectual Property Rights (HaKI). Although basically the Copyright Act itself has reached the protection of intellectual property rights, but not in full. This creates a phenomenon that occurs in the music industry today which is experiencing many problems, including various copyright infringements committed by cover singers through the Youtube application. This research is a normative research using a statutory and conceptual approach. The results of this study show that the Government Regulations that were formed in relation to the ease of doing business have not been able to ensnare business actors on Youtube who plagiarize songs created through national music industry companies. The government should revise Government Regulation Number 56 of 2021 concerning Song and Music Royalties in Indonesia to ensure legal protection for songwriters in Indonesia from piracy of the works of cover singers through the Youtube application.

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Yeh, Aiden, und Nicola Philippou. „Blue without my Green: A Corpus Analysis on Colours of Grief and Emotive Expressions of Amy Winehouse’s Compositions“. International Journal of Language and Literary Studies 5, Nr. 4 (18.12.2023): 1–19. http://dx.doi.org/10.36892/ijlls.v5i4.1478.

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Singers and songwriters use their music as a platform for communication, using lyrics to express intimate sentiments - often caused by the pressures of the music industry as well as personal matters such as mental health. In this study, we analysed Amy Winehouse’s songs, exploring the explicit and subliminal affective messages using linguistic techniques i.e., metaphors and colour symbolism. Grounded on corpus analysis and stages of grief theory, we looked at linguistic patterns and intensity of word choice related to Amy’s choices of colours and emotive expressions. The findings show that sadness was the most prevalent emotion in her lyrics and its correlation to her mental health issues; the transition of positive sentiments developing into negative emotions was also evident in the data. Her complex relationships and experiences were also infused into her deliberate self-portrayal of catalytic mental deterioration, self-destruction, and torment. This study offers new insights in corpus analysis research on psycholinguistics and mental health in pop culture.

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Loxlea-Danann, Laine, und Irene Bartlett. „A Singer-Songwriter's Approach to Vocal Performance of Their Original Songs: An insider's view“. Australian Voice 22 (2021): 29–37. http://dx.doi.org/10.56307/tdmq4857.

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Statistical data suggests that through media like radio, television and streaming, the music listening public engages with the output of singer-songwriters (SSWs) on a daily basis (Surveyspro, 2016). The singer is key to this engagement, yet existing scholarly discussion is focused primarily on industry and non-industry, etic views/perspectives of SSWs as a group (Bentley, 2016; Holman Jones, 2007; Jackson, 2007; King, 2012; Lanksford Jr, 2010; Potter & Sorrell, 2012; Reynolds, 2009; Rogers, 2016; Whiteley, 2000; Williams & Williams, 2016; Zollo, 1958, Zollo, 2016). Beyond the suggestion that for SSWs the process of singing their own original songs is comparable to singing covers of other artists’ compositions, the existing literature offers little discussion on the singer component within the musical product of the singersongwriter craft. In this paper, we propose that, whilst the singers’ process in creating a vocal performance on any song (original or cover) could be considered similar in terms of voice production, there are deeper considerations for SSWs and consequently, for the teachers who oversee their voice training.

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Johinke, Rebecca. „BEHIND THE COVERS OF AUSTRALIAN ROLLING STONE: NEGOTIATING THE PERSONA OF A FEMALE MUSIC MAGAZINE EDITOR“. Persona Studies 5, Nr. 1 (11.07.2019): 75–91. http://dx.doi.org/10.21153/psj2019vol5no1art843.

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Singers, songwriters and musicians create personas and perform the (gendered) role of rock star, punk, heart-throb, crooner, diva, or rock chick. Magazine covers are a key factor in consolidating and marketing that constructed persona. Magazine covers have visual power that is calibrated for maximum impact with a defined audience and a key part of the editor’s role is to decide on the cover image and cover lines. Moreover, there is now an expectation that editors of glossy magazines are recognisable ‘influencers’ who personify the values and commodities that their titles promote. We expect performers to put on a show, but do we expect music magazine editors to adopt a gendered celebrity persona and a public self too? This article examines the persona of the music magazine editor and the construction of music celebrity with a particular focus on Australian Rolling Stone magazine. Interviews with Kathy Bail and Elissa Blake, the first two women to edit the title in magazine format, underscore the self-fashioning of cultural intermediaries and the challenges for women in leadership roles in Australian media workplaces.

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Mehr Quellen

Bücher zum Thema "Singers/songwriters"

Marcus, Greil. The folk years: A singers and songwriters collection. [United States]: Time-Life Music, 2002.

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Marcus, Greil. The folk years: A singers and songwriters collection. [United States]: Time-Life Music, 2002.

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Marcus, Greil. The folk years: A singers and songwriters collection. [United States]: Time-Life Music, 2002.

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1947-, Simon Peter, Hrsg. More room in a broken heart: The true adventures of Carly Simon. New York: Gotham Books, 2012.

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Chin, Paula, Hrsg. Dolly Parton: Closer Special Collector's Edition. New York, USA: American Media Specials, 2019.

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Walsh, Robert. Bob's book of music theory: For musicians and songwriters with special sections for guitar players, bass players, drummers, keyboard players and singers, and featuring real-life stories from the front lines. Toronto, Ontario, Canada: Time and a Place Publishing, 2012.

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Swann, Mike. American singer/songwriters: a history and guide: How many roads?. Lewes, Sussex: The Book Guild, 1989.

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Sarlin, Bob. Turn it up!: (I can't hear the words) : singer/songwriters then & now. New York: Citadel Underground, 1992.

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Sarlin, Bob. Turn it up!: (I can't hear the words) : singer/songwriters then & now. New York: Citadel Press, 1992.

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No Secrets No Lies: Singers and Songwriters Series. Archer Press, 2020.

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Buchteile zum Thema "Singers/songwriters"

Cox Jensen, Oskar. „8. ‘The Arethusa’: Slip Songs and the Mainstream Canon“. In Cheap Print and Street Literature of the Long Eighteenth Century, 195–218. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0347.08.

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In the realm of cheap print, eighteenth-century musical culture was dominated by the slip song. In this chapter, the song ‘The Arethusa’ acts as a case study of this broader culture and is used to examine issues of authorship, performance, distribution, and consumption. It is argued that, although materially inextricable from the ‘cheap’ world of the street and the ballad printer, the slip as a format allowed songs to move easily between disparate social and geographical spheres. More broadly, the slip is conceived as being at the heart of a burgeoning musical mainstream, fuelled by the creativity of a loose ‘canon’ of middlebrow songwriters, primarily British in origin but in debt to Continental influences, whose compositions came to be ubiquitous across British society by means of the theatres, street printers, and singers – and an inveterate culture of piracy.

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„6. Singers and Songwriters“. In John Prine, 65–80. University of Texas Press, 2022. http://dx.doi.org/10.7560/325933-007.

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„6 Singing from Difference: Jewish Singers-Songwriters in the 1960s and 1970s“. In Mazal Tov, Amigos! Jews and Popular Music in the Americas, 96–108. BRILL, 2016. http://dx.doi.org/10.1163/9789004204775_008.

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Wilder, Alec. „Outstanding Individual Songs“. In American Popular Song, 433–92. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190939946.003.0012.

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Hundreds of individuals have contributed to the American Songbook, many of whom did not even consider themselves songwriters. They might have been bandleaders. arrangers, instrumentalists, singers, or rank amateurs. Some wrote only a handful of notable songs, some just one or two. Songs that would likely elicit a puzzled look if their authors were revealed include “April Showers,” “Just Friends,” “I’m Getting Sentimental over You,” “How High the Moon,” “Moonlight in Vermont,” and “You Make Me Feel So Young.” True, the artist who made the song famous is likely to come to mind immediately, but the intrinsic merit of these songs cannot be denied. This chapter discusses more than one hundred songs that are likely to be far more famous than their authors.

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Batiste, Larry D., und James McKinney. „Building a Fanbase“. In The Art and Business of Songwriting, 166–86. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780199893102.003.0010.

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Abstract Fans are the foundation and catalyst to the singer/songwriter’s success. Enthusiasm from the fanbase’s network is your music’s net worth. The promotion of your authentic image and your song attracts, connects, retains, and grows your audience. As singers and songwriters, great efforts are spent to create a musical masterpiece for the world to hear and love. The same fervor must apply to distribution efforts so that your music may reach your targeted audience and beyond. Topics in this chapter include cross-marketing, streaming platforms, social media platforms, marketing tools, and suggestions that will spark ideas to help you connect with your audience. Other highlights in this chapter include discussions on business, organization, team building, and understanding audience demographics.

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Giddins, Gary. „A Bottomless Well (Duke Ellington)“. In Weather Bird, 219–21. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0057.

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Abstract Duke Ellington liked to claim he won his job at the Cotton Club in December 1927 because he showed up three hours late for the audition, as did the owner, who heard only Ellington and none of his rivals. After five years of touring or working in arson-prone saloons, it was the luckiest of breaks. Radio broadcasts transmitted from the gangster-owned, segregated (blacks on stage, whites at the tables) Harlem nightclub were relayed across the country and ultimately the world, bringing him instant recognition. The long engagement enabled Ellington to double the size of his orchestra, encouraged a daring prolificacy, and provided him with a daunting apprenticeship working with top-flight choreographers, songwriters, dancers, singers, comics, set designers, and other professionals involved in developing the Cotton Club’s slick and sexy revues. Ellington responded with a wry, insinuating music—erotic, exotic, and, at once, ironic and ingenious. He invented his own instrumental voicings and found uncanny soloists whose virtuoso embellishments seemed to burble from the ravishing brew like the nighttime chatter of an urban jungle. Some considered Ellington’s music as salacious as the serpentine dancing it accompanied, but music lovers in and out of the academy heard in it a fresh, audacious musical language and a genius for sultry melodies and startling harmonies. Ellington tapped into something recondite, almost occult, yet accessible—unshackling characters as shadowy as “The Mooche” and as seductive as “Black Beauty,” while issuing injunctions on the order of “Rockin’ in Rhythm” and “It Don’t Mean a Thing If It Ain’t Got That Swing.”

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Giddins, Gary. „Christmas Gilt (Ella Fitzgerald / Johnny Smith / Grant Green / Others)“. In Weather Bird, 518–20. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0127.

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Abstract The annual profusion of Christmas albums suggests a bottomless appetite for the same dozen or 15 songs done in every conceivable fashion, and a hapless record industry eager to oblige. When in doubt, shake up the backlist, develop a seasonal pun, and leave the rest to nostalgia. It is often noted that most of the good American Christmas songs, beginning with Berlin’s “White Christmas” (1942, not so very long ago) are by Jewish composers. They have secularized the revelry to the point where even unlapsed Catholics must at times struggle to recall that all the fuss commemorates their Savior’s birth and not merely ASCAP and BMI annuities involving sleigh bells, drummer boys, chipmunks, reindeer, chestnuts, Santa, Frosty, and, most crucially, snow—of which there was a dearth in Galilee. Why those songwriters could not bestir themselves to write a decent Hanukkah song is a mystery for the ages. Hath not a Jew snow, snowmen, bells, singing animals, Buddy Rich? Secularist that I am, I don’t need chain-rattling Marley to muster my belief in miracles, for example, the sound of Ella Fitzgerald’s voice in 1960, when she recorded Ella Wishes You a Swinging Christmas, recently reissued by Verve. Her instrument was pearly—perhaps at its apogee— and her time, well, what is there left to say of her time, a musical Greenwich Mean? “Have Yourself a Merry Little Christmas” is near perfect, so near that for the duration of her vocal I am inclined to close the book on singers and concede that paradise is lost.

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Everett, Walter. „Chord Construction“. In The Foundations of Rock, 190–213. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195310238.003.0008.

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Abstract It is through harmonic relationships that musical material most effectively points toward goals or digresses from them, follows expected norms or shocks the listener, and expressively supports the melody. Whereas rhythmic propulsion drives the listener’s body to dancing synchronization, and the singer’s melody and the words it carries reach the listener’s consciousness, a song’s harmonic relations touch or inspire the heart and soul only in mysterious, unseen ways. And so, the topic of harmony might seem at first a bit more abstract than music’s other aspects, with their more direct appeal. But it is this mysterious, intangible allure that makes an understanding of harmony’s hidden nature so enticing and rewarding. And the sometimes intricate, sometimes bold nature of harmony is so centrally important, it is usually the only aspect of music that is notated in any way by rock composers and pop singer-songwriters, who often write some references to the chord changes along with their lyrics. But even most pop and rock musicians, particularly those guitarists who begin learning their craft with left-hand chord patterns, don’t have a complete conscious understanding of how chords relate to each other, and are not aware of the vast materials available in this area. To the uninitiated, or even to the professional writer about popular music who comes to this book thinking that harmony is a concept confined to the employment of backing singers, this chapter will no doubt present manifold unexpected complexities. But it contains everything necessary to build a com-prehensive and fully detailed understanding of its topic, and a careful digestion of its contents—whether or not one plays an instrument, composes, sings, or simply listens—will add immeasurably to the experience of this music.

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Harburg, Yip. „The Squirrel“. In Singers and the Song II, 43–52. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195115567.003.0003.

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Abstract Back in the 1960s, when I was living-in New York, I was asked by the Canadian Broadcasting Corporation to do a series of radio documentaries on various songwriters I admired. Some of them, of course, were already gone, but I did do interviews with a number of those who were still available. One of these was Mitchell Parish, whose body of work, while small, contains one of the most breathtaking lyrics in the English language, Stardust. What a piece of writing that is! The aesthetic application of Gresham’s law was already at work, and rock-and-roll was taking over, turning its listeners into an ahistorical generation. Parish was outraged by it. I wanted to talk about his youth in New York City, about his associations with such composers as Hoagy Carmichael. I wanted to hear his reminiscences about walking around Tin Pan Alley on a summer day when the music then being born was coming out the open windows. He kept returning to his anger.

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Konferenzberichte zum Thema "Singers/songwriters"

Liang, Qihao, Xichu Ma, Finale Doshi-Velez, Brian Lim und Ye Wang. „XAI-Lyricist: Improving the Singability of AI-Generated Lyrics with Prosody Explanations“. In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. California: International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/872.

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Explaining the singability of lyrics is an important but missing ability of language models (LMs) in song lyrics generation. This ability allows songwriters to quickly assess if LM-generated lyrics can be sung harmoniously with melodies and helps singers align lyrics with melodies during practice. This paper presents XAI-Lyricist, leveraging musical prosody to guide LMs in generating singable lyrics and providing human-understandable singability explanations. We employ a Transformer model to generate lyrics under musical prosody constraints and provide demonstrations of the lyrics' prosody patterns as singability explanations. XAI-Lyricist is evaluated by computational metrics (perplexity, prosody-BLEU) and a human-grounded study (human ratings, average time and number of attempts for singing). Experimental results show that musical prosody can significantly improve the singability of LM-generated lyrics. A controlled study with 14 singers also confirms the usefulness of the provided explanations in helping them to interpret lyrical singability faster than reading plain text lyrics.

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