Journal articles on the topic 'Counting – Songs and music'

The Rungus are one of the indigenous Dusunic ethnic groups of Sabah, most of whom reside in the administrative Districts of Kudat and Pitas. In Rungus culture, many different genres of intangible cultural heritage have been passed down orally over generations. These heritages are valuable resources for teaching cultural awareness and appreciation among children of different ethnicities in Malaysia. They have yet to be introduced in the national music education curriculum. The purpose of this research was to document, transcribe, analyse, and thereafter to select the appropriate longoi tanganak (children’s songs) and longoi pogondoi (lullabies) that are suitable to be introduced into the Malaysia primary school music curriculum based on the recommendations of the culture bearers. This research employed ethnographic field techniques including participant observations, in-depth and focus group interviews, as well as audio and video recording. This article taps on the suggestions of culture bearers in developing suitable song repertoires that serve as school music teachers’ resources. Findings show that culture bearers recommended counting songs performed in recited heighten speech, songs arranged in the do- re- mi- so and do- mi- so tone sets, and rhythmic motifs based on the and patterns as beginner repertoire for learning Rungus songs.

Expression of humans has a very crucial role in determining the present state and the mood of a person. It helps in the extraction of the emotion by understanding the different features of the face like cheeks, forehead, eyes, or maybe the curvature of the smile. Music plays a crucial role in the daily lifestyle. It is essentially a kind of thing that soothes and calms the body, brain and soul of a human. During this fast-paced lifestyle, everyone goes through a roller coaster of emotions and changes in moods within seconds. People tend to listen to music according to their emotions. Hence, we have chosen emotion and music and combined them together. Our program will first detect facial expressions and using that it will recognize the emotion of a human being. This is done through counting of repeated integers in a trained model and playing music favorable with the mood detected. This will alleviate the mood or just calm the individual. It may also be able to fetch quicker songs consistent with the mood, saving time looking up for different songs. Parallelly developing a software which will be used anywhere with the assistance of providing the functionality of playing music consistent with the emotion detected. People tend to concentrate on songs consistent with their moods, and it feels very frustrating if a tragic song starts playing when you are happy. It seems like a burden to constantly visit the music application to vary the song. Therefore, in this work, we've come up with a solution in which we will use computer vision to detect the emotion of an individual and therefore the system shall play a song consistent with the mood of the client.

This study attends to the global need to rethink how music education could provide opportunities for shaping imagined communities in times of intensifying societal complexity and diversity by exploring the practice of singing ‘school-specific songs’ in the Kathmandu Valley, Nepal. The methodology combines educational ethnography with Appreciative Inquiry, whereby individual interviews with school administrators, musician-teachers, a school founder and a composer were analysed and reflexively interpreted. Countering previous critical research on school-specific songs, this study shows that although the school-specific song practice originates outside Nepal, the songs are tailor-made to canonise each school’s unique vision and mission, and for teaching values and character, and were thus considered to be local. Through considering the new ideas and practices that emerge through a reflexive interpretation of the school-specific song practice, we discuss five perspectives that arose from the Appreciative Inquiry process: the universal right to aspire; developing reflexivity; the pedagogical paradox of rituals; a continuum from individual to collective goals; and a constantly changing ‘we’ in diversifying, complex societies. The study suggests that rituals in schooling, of which school-specific songs are a part, should be applied reflexively and subject to ongoing critical reflection and constant revision.

Countering the Russian invasion is the subject of many songs dating back as far as several centuries. Oi u luzi chervona kalyna (“Oh, the Red Viburnum in the Meadow”) is one of such songs. Intonation structure of this folk song, remarkably resembling an anthem, represents the mighty power of generations and unites the communities in their struggle against the enemy. Investigating the genre transformations of this piece and it communicative models that consolidate communities serving as an attribute of Ukrainian national identity as opposed to the enemy proves the importance of the subject of this paper. The objectives of this research were the following: to study the historical and genre reminiscences of the Oi u luzi chervona kalyna song, to analyze its impact on developing the new trends within the popular Ukrainian music and culture, to outline the communicative mechanisms used in the anthem-like pieces rooted in folk songs to influence and consolidate communities. The means of replication of this song may be identified, on the one hand, as a specifically targeted strategy, namely, seemingly random viral sharing in the Internet. On the other hand, the transformation of a genre of this song is evident. Heavy rotation of the Oi u luzi chervona kalyna song enables concluding that it became a part of the mainstream of the present time. The very idea of the song encourages the audience to collaboration and co-creation, be it singing along, making electronic covers, singing backing vocals, etc. The fact that its symbolic and semiotic fields influenced the intensification of cross-cultural interaction between similar worldviews and became a unifying factor in the struggle against the Ruscist evil in is an important feature of this song’s replication during the war

Children’s world of sounds — musical education of a preschool child Music is around us — every day music is the noise of trees, the rustle of leaves, the sound of a passing tram, the barking of a dog. We learn it while studying in kindergarten and school, but above all at home. This is where the child learns the first melodies. Initially, these are sounds from the immediate environment, starting with the mother’s heartbeat and the melody of her words. Then we expand our knowledge of sounds with children’s counting, acoustic experiments, short song chants, kindergarten songs and music accompanying the game. It’s all a child’s world of sounds, but what’s the key to that? The natural musical development of humans is observed between the ages of 1 and 13, and this is when the most important changes take place in the body, including the maturation of the auditory analyzer and psychomotor performance. Therefore, a variety of musical activities of parents, and then teachers, which are aimed at developing the child’s musical abilities, are very significant at this time. They can be realized by singing together, listening to music of different styles, creating ostinato on instruments and simple instrumentation. Free and directed movement as well as instrumental improvisation are also important. To understand music, you need to be extremely sensitive to its beauty. This is a trait that cannot be taught to children just like that, but it is possible to create any conditions for them to experience music emotionally. This main goal of children’s music education should be realized with the use of five forms of musical activity, which will be discussed in detail in this article.

Numerical literacy is the ability needed to use number ideas and arithmetic skills in everyday situations as well as the ability to analyze quantitative data around children. This study aims to determine the effect of the intervention of singing favorite food songs on children's numerical literacy. Using a pretest-posttest experimental design with a control group, this study involved 20 children as research objects, consisting of 10 experimental class children and 10 control class children. The results of the study showed that singing activities with the theme of favorite food influenced the numerical literacy of kindergarten children. This singing activity attracts children's interest, thus showing a significant difference between the experimental class and the control class. Therefore, for further research, it is suggested that early childhood educators can always take advantage of artistic activities such as singing to attract children's interest in any learning. Keywords: early childhood, numerical literacy, singing activities References: Anvari, S. H., Trainor, L. J., Woodside, J., & Levy, B. A. (2002). Relations among musical skills, phonological processing, and early reading ability in preschool children. Journal of Experimental Child Psychology, 83(2), 111–130. https://doi.org/10.1016/S0022-0965(02)00124-8 Barrett, M. S. (2006). Inventing songs, inventing worlds: The ‘genesis’ of creative thought and activity in young children’s lives. International Journal of Early Years Education, 14(3), 201–220. https://doi.org/10.1080/09669760600879920 Batchelor, S., Keeble, S., & Gilmore, C. (2015). Magnitude Representations and Counting Skills in Preschool Children. Mathematical Thinking and Learning, 17(2–3), 116–135. https://doi.org/10.1080/10986065.2015.1016811 Dixon-Krauss, L., Januszka, C. M., & Chae, C.-H. (2010). Development of the Dialogic Reading Inventory of Parent-Child Book Reading. 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Now … “I play music. I sing. I talk, but mostly I do math,” Kenny Curtis replies when asked about his work as a disc jockey. “Mostly math” is probably not what his audience expects this twenty-six-year-old entertainer to say, but when he describes the careful counting, adding, and subtracting of times essential to live radio broadcasting, his description of his work during his time on the air seems accurate. The preparation for his radio show includes selecting music, taping segments, gathering information from a variety of sources, and organizing them all into a show that will entertain and inform his audience. Once on the air, he is a disc jockey, actor, public speaker, comedian, director, and manager of the radio's stage. While presenting the content of the show, he constantly checks his computer clocks showing the current time and the times for airing pretaped commercials, adds and subtracts the exact times of songs and taped reports, and adjusts his live segments so that the time required for the material and the time available between commercials match exactly. His accurate arithmetic in units of minutes and seconds is extremely important because he has only a ten-second window of time during which he must act on the computer's directions to play a commercial. He is a talented entertainer who uses both his college training in theater and mass communication and his basic mathematics skills during every minute of the five hours each day that he is on the air.

The paper addresses the issue of musicality in the theatre of Jan Dorman, in particular his last productions, in which music was a starting point for the staging concept. “Musical” thinking about the theatre always had a strong impact on Dorman’s creative process. His first productions included children’s songs and counting rhymes, and this led to a rhythmisation of the text in the subsequent ones. Composing the spectacle along the lines of a musical score, which became the hallmark of Jan Dorman’s theatre, is especially prominent in his last theatre works inspired by larger musical forms, such as concert, ballet and opera. These performances represent a synthesis of various musical tropes and signs that were so characteristic of Dorman’s theatre at various stages of its development.

Introduction: Bystander cardiopulmonary resuscitation (CPR) improves survival in out-of-hospital cardiac arrest. The use of certain songs as mental metronomes for CPR have been validated and recognised by contemporary guidelines. We hypothesise that the National Day song, Count on me Singapore (COMS CPR), is not inferior to standard ‘one-and-two-and-three-and-four’ counting (standard CPR) for timing CPR, in terms of the proportion of participants achieving the guideline compression rate of 100–120/minute. Methods: This was a prospective randomised crossover trial powered to demonstrate non-inferiority in the CPR rate. After a familiarisation session, volunteers were randomly assigned to two groups. Group A performed one cycle of standard CPR while group B performed one cycle of COMS CPR. Participants then crossed over to perform the other method. The Laerdal SkillReporter measured CPR quality. Four weeks later, participants attended a test scenario, using standard CPR or COMS CPR (randomly allocated). Results: Ninety subjects were recruited; 46 were randomly assigned to group A and 44 to group B. Baseline characteristics were similar; 41.1% of COMS CPR achieved 100–120/minute, versus 28.9% of standard CPR ( P=0.028). In mixed effects logistical regression, significantly more COMS CPR was performed at 100–120/minute compared to standard CPR (odds ratio 2.44, 95% confidence interval 1.01–5.9, P=0.047). The proportion of insufficient depth was higher in COMS CPR (80.59% vs. 68.01%, P<0.001). There were no differences in other aspects of CPR quality. There were no differences in CPR quality between standard CPR and COMS CPR during the follow-up. Conclusion: COMS CPR was not inferior in terms of the proportion of participants delivering a guideline-compliant rate of chest compression. COMS CPR may have applications to layman CPR education, such as in mass education events.

The tembang macapat can be classified using its cultural concepts of guru lagu, guru wilangan, and guru gatra. People may face difficulties recognizing certain songs based on the established rules. This study aims to build classification models of tembang macapat using a simple yet powerful Naïve Bayes classifier. The Naive Bayes can generate high-accuracy values from sparse data. This study modifies the concept of Guru Lagu by retrieving the last vowel of each line. At the same time, guru wilangan’s guidelines are amended by counting the number of all characters (Model 2) rather than calculating the number of syllables (Model 1). The data source is serat wulangreh with 11 types of tembang macapat, namely maskumambang, mijil, sinom, durma, asmaradana, kinanthi, pucung, gambuh, pangkur, dandhanggula, and megatruh. The k-fold cross-validation is used to evaluate the performance of 88 data. The result shows that the proposed Model 1 performs better than Model 2 in macapat classification. This promising method opens the potential of using a data mining classification engine as cultural teaching and preservation media.

Purpose: This paper examined the deictic strategies in the Kimeru song and dance lyrics by KamaNu and Karimi by assessing how the deictic properties of these song and dance lyrics express the main issues. The study utilized the aspects of Van Dijk’s (2008) ideological square as a component of his socio-cognitive approach to critical discourse analysis (CDA). Methodology: The study adopted a qualitative approach using descriptive research design in particular a case study. Research was carried out in Meru and Nairobi counties in Kenya. The target population consisted of native Meru artists and their fans. Two native Meru artists, a male and a female, namely: KamaNu and Karimi were purposively sampled as a corporate item. Twelve songs six from each of the artists were picked on popularity basis and that they had a traditional tinge and contained deictic content that were relevant to the study. Data was collected through six video recordings, semi-structured interviews and note taking of the actual live performances in social functions; three for each artist to enable the researcher get verbatim data and songs without any alterations, as well as save time. Findings: The study established that Kimeru song and dance lyrics by KamaNu and Karimi, through polarization of Us and Them, employ a cocktail of both simple and complex strategies to cater for people of all ages for purposes of understanding the intended meaning, while saving one’s face and as such smoothly transmits the societal ideals. Unique contribution to theory, policy and practice: The study recommends that listeners pay more attention to these diectic strategies for an appropriate interpretation of the intended meaning as they enable the speaker identify with the situation making listeners incline towards the music since it elevates the speaker on a pedestal of the informer and all knowing (Atoh, 2017). Secondly, the audience should discern the meaning of these expressions in accordance to the context under which they are used. There is therefore need for the policy makers to incorporate song and dance lyrics in the school curriculum as a technique of language teaching as well as preserve our cultural heritage through documentation for posterity

Abstract Songbooks were an especially popular product in the colonial-era book industry of northern India. From cheap chapbooks to multi-volume tomes, collections of lyrics covered a range of tastes and genres, appealing to different social settings and performance practices. This article excavates the worlds of music-making invoked by these books through the case study of khemṭā. The khemṭā dancing girl was a low-status performer, associated with the playboy culture of early-nineteenth century Calcutta. Khemṭā lyrics were considered especially salacious and sensual, and the common view today is that the genre was geared towards titillation rather than artistry. Following the exile of Wajid ʿAli Shah of Awadh (r. 1847–1856) to Calcutta, this genre began to be choreographed and performed in the royal court, and the former king began to collect – and compose his own – khemṭā lyrics. By the late nineteenth century, khemṭā dancers were performing at fairs across northern India, and their verses were being compiled and printed in different scripts and languages. Khemṭā’s increasing popularity challenges the general impression of the late nineteenth century as a period of rising conservatism posed against “decadent” literary and musical forms. This view of the period presents an obstacle to making sense of the activities of Muslim lyricists, choreographers, dancers, and songbook editors. Countering this narrative, this article considers how khemṭā was printed, read, sung, and danced, and the modes of listening and arousal embedded in the printed song text.

In the Phaedo – a dialogue investigating the immortality of the soul – Socrates compares himself to the swans of Apollo who sing “most beautifully” before they die. Working principally from the Phaedo (but also Timaeus, Parmenides, and Philebus), the aim of this article is to determine the relation between the song of the swan and the song of the philosopher. First, we examine the use of language in human song as a way to consider the other side of logos: logos not only as word but logos as ratio – i.e., as a relation between temporally-ordered terms. This ratio we then examine as the sense of before-and-afterness that Aristotle explores, in Physics IV, as the “number of movement” that is time; for, through the counting of this “number of movement” (accomplished by the soul), we begin to understand how swans (through song) and philosophers (through dialogue) share a temporal orientation toward what transcends the present moment. This temporal orientation, I argue, pertains to sempiternity, an ageless or undying [ἀθάνατος] movement of the soul. Thus, I conclude that philosophy as “the highest kind of music” (Phaedo) – like the song of the swans of Apollo – concerns itself with the undying state of the soul and, hence, with ethos.

Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample. Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media References An, S. A., & Tillman, D. A. (2015). Music activities as a meaningful context for teaching elementary students mathematics: a quasi-experiment time series design with random assigned control group. 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RESUMOObjetivo: compartilhar a utilização da música na Semana Brasileira de Enfermagem do oeste catarinense, como forma de integrar organizadores e participantes do evento, com momentos de lazer, cultura e socialização. Método: estudo qualitativo, descritivo, tipo relato de experiência, em que se convidaram, para participar do coral, os estudantes, docentes de Enfermagem das instituições e profissionais da área de Chapecó-SC e região, contando com a participação de 128 pessoas que se apresentaram na abertura do evento. Resultados: destacam-se a integração dos envolvidos, o despertar de momentos de alegria e de novas amizades, a reflexão sobre a vida e sobre os sonhos a conquistar, com a letra das músicas ensaiadas, a aproximação das escolas da região, as vivências do trabalho em equipe e o compartilhar da Enfermagem. Evidenciou-se dificuldade na continuidade do coral pelo tempo limitado dos envolvidos, ficando o desejo de novas oportunidades musicais na Enfermagem. Conclusão: a música é capaz de unir diferentes pessoas e instituições em prol de um bem comum. Descritores: Enfermagem; Música; Canto coral.ABSTRACT Objective: to share the use of music in the Brazilian Nursing Week in the west of Santa Catarina, as a way to integrate organizers and participants of the event, with moments of leisure, culture and socialization. Method: a qualitative, descriptive study, of experience report type, in which the students, Nursing professors of the institutions and professionals of the Chapecó-SC area and region were invited to participate in the choir, counting on the participation of 128 people, who presented themselves at the opening of the event. Results: the integration of those involved, the awakening of moments of joy and new friends, reflection on life and the dreams to be conquered, with the lyrics of the rehearsed songs, the approach of the schools of the region, experiences of teamwork and the sharing of Nursing. It was evidenced difficulty in the continuity of the choir for the limited time of those involved, leaving the desire for new musical opportunities in Nursing. Conclusion: music is able to unite different people and institutions for the common good. Descritores: Nursing; Music; Choral. RESUMEN Objetivo: compartir la utilización de la música en la Semana Brasileña de Enfermería del oeste catarinense, como forma de integrar organizadores y participantes del evento, con momentos de ocio, cultura y socialización. Método: estudio cualitativo, descriptivo, tipo relato de experiencia, en que se invitaron, a participar del coral, a los estudiantes, docentes de Enfermería de las instituciones y profesionales del área de Chapecó-SC y región, contando con la participación de 128 personas, que se presentaron en la apertura del evento. Resultados: se destacan la integración de los involucrados, el despertar de momentos de alegría y de nuevas amistades, la reflexión sobre la vida y sobre los sueños a conquistar, con la letra de las músicas ensayadas, lo acercamiento de las escuelas de la región, las vivencias del trabajo en equipo y el compartir de la Enfermería. Se evidenció dificultad en la continuidad del coro por el tiempo limitado de los involucrados, quedando el deseo de nuevas oportunidades musicales en la Enfermería. Conclusión: la música es capaz de unir a diferentes personas e instituciones en pro de un bien común. Descritores: Enfermaría; Música; Coral.

This research aims to improve the ability to recognize the number symbols 1-10 using the Stick Math educational game tool (ETG STIKMA). This research method uses a quasi-experimental design with a control group to test the effectiveness of using ETG STIKMA on the ability to recognize numbers. ETG STIKMA learning media has been tested by material experts and media experts who are experienced and competent in their fields. Data collection techniques use questionnaires and observation. The material expert's validation results were 80%, then the media expert gave a result of 97%, which means that the media and materials contained in STIKMA media are suitable for use to improve the cognitive abilities of children aged 5-6 years at Fatimah Az-Zahro Kindergarten. The effectiveness test results show that children's cognitive abilities in recognizing numbers 1-10 have increased by 10.50% with a positive rating of 210.00. 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There is something paradoxical about the fact that while whales and dolphins produce some of the most complex vocalizations on Earth, they have little political representation or ‘voice’ and despite the success of past anti-whaling campaigns, continue to face existential threats from entanglement, ship strikes and underwater noise pollution. In this article, I argue that this paradox is sustained by a belief in human exceptionalism ‐ exemplified by the claim that music is unique to humans ‐ and review biological and musicological evidence that contradicts this claim. Overcoming the paradox may require more than logical argument, however, and I survey the use of humpback whale song field recordings in works of human music, analysing them along the dimensions of ‘distance’ and ‘difference’. I argue that although it is important to recognize the continuity between human music and humpback song, a more effective use of whale song recordings also requires attention to be paid to the differences between human and whale vocalizations to avoid the risk of collapsing into naïve anthropomorphism. Such an animalcentric compositional voice would operate according to the ideals of ‘difference without distance’ and ‘proximity without indifference’ to facilitate empathic relationships between humans and other animals.

Objectives The need for an accurate understanding of the concepts of contemporary music, practical music, and popular music, and the recognition of the necessity for changes in music education based on individual music tastes and preferences, are affirmed. This aims to advocate for a reassessment of music textbooks, particularly in elementary music education, through a quantitative evaluation of practical and popular music content. Furthermore, the proposal emphasizes the necessity for changes in music textbooks through individual assessments of multi-frequent songs. Methods Analyze the popular music area included in elementary school music textbooks. We analyzed the songs included in 32 textbooks from 8 different publishers, established the multi-frequent songs, and looked into the characteristics and contents of each song. The need for changes to the songs included in textbooks is confirmed through individual evaluation of the distribution of songs included in music textbooks and the multi-frequent songs. Results First, animation music accounts for 26.4% and movie music 25.8%, which accounts for more than 50%. Second, there are 121 foreign songs and 61 domestic songs, with POP (13.2%) followed by K-POP (9.9%), and there are many POP in the singing field. Third, there are differences between textbooks, Fourth, the content related to the music industry is insufficient, and it is included in 5 textbooks (out of 32), and Fifth, there are problems with the content and release period of multi-frequent songs. Lastly, since multi-frequent songs are repeatedly included in middle and high school textbooks, a feasibility study on this aspect is also necessary. Conclusions There is a need to realistically reflect the songs included in textbooks, and for this, it is necessary to reexamine the songs included in textbooks. There is a need for a change in perception of popular music education due to scientific development, and a practical approach to the methods and content needed for future popular music education is needed.

Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language. Abstract in Hindi Lanaguage: लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है। Keywords: लोक संगीत, कजरी, लोक वाद्य

Abstract This article examines a corpus of Burmese-language anti-Muslim hate songs archived on YouTube. Burma/Myanmar is the site of recent genocidal violence perpetrated against Muslims, and these songs are part of the hate speech campaign that undergirds this violence. Using the definition of incitement articulated by the International Criminal Tribunal for Rwanda, the article shows that the lyrics of these songs constitute incitement to violence. Further, the comments written by YouTube listeners provide evidence that the songs provoke additional dehumanizing speech. The songs and their creators are therefore complicit in the recent violent persecution of Muslims in Myanmar.

In recent years, the question whether personal suicidality is reflected in individual music preferences has been discussed. We assessed associations of preferred music genres and cumulative exposure to and rating of 50 preselected songs, including 25 suicide-related songs, with suicide risk factors in an online survey with 943 participants. Preferences for sad music were associated with high psychoticism, while fanship of music genres with predominantly joyful contents was linked to low psychoticism. There was a dose-response relationship of positive rating of suicide songs with high life satisfaction and low hopelessness. Music preferences partly reflect suicide risk factors, but enjoyment of suicide songs is negatively associated with risk factors of suicide, which may indicate a psychological defense mechanism against suicidal impulses.

Eliseo Verón’s approach to circulation focuses on the gap between production and recognition and the consideration of texts in relation to their contexts of production and consumption. In this paper, we employ Veron’s concepts of grammar of production and grammar of recognition to examine popular songs that reached their peak of success several years after their release. Drawing our case studies from the Hot 100 American singles chart, we combine social semiotics and semiotics of popular music to examine the contexts of the initial songs’ release and their eventual commercial peak while considering changes in the media ecology and how these songs re-entered popular culture. The corpus of songs examined is split into three major categories: Songs that re-entered popular culture after their performer’s passing, recurring Christmas- themed songs, and hits featuring in audiovisual productions like films and television series.

Students' musical preferences in childrens' major- and minor-key songs. This paper explores elementary school students’ music preferences in terms of songs authored for children and traditional major- and minor-key songs and the influence of familiarity of the music on their music preferences. The questionnaire and sound questionnaire were administered to 216 students attending the second, third, seventh and eighth grades of elementary school in Sinj, Croatia. The results confirm the influence of age and gender on students’ music preferences concerning songs authored for children and traditional songs in major and minor keys. Furthermore, all the participants prefer major-key songs to minor-key songs. Finally, it was established that familiarity with a piece of music is a significant factor affecting the music preferences of the participants.

This essay reflects work toward a critical edition of 129 Ives songs (all those in whose publication he was directly involved)-mainly 114 Songs (1922) and the New Music issues of Thirty-Four Songs (1933) and Nineteen Songs (1935). It explores his value judgments of them, and also of 50 Songs (1923), containing unaltered reprints from 114. 114 Songs is eclectic and inclusive, a retrospective exhibition of various song types, including ones drastically foreign to conventional notions of a song. In 50 Songs, Ives responded to adverse reactions to 114 Songs and sought to reprint songs of "more general interest." For the New Music collections, he revised many songs, especially those initially arranged from pre-114 chamber-ensemble works. To the latter he typically restored material from the "parent pieces," increasing the songs' dissonance (not, however, to falsify their modernity). He also reprinted conservative songs, as well as adding nine previously unpublished ones, and in both collections chose the songs' order carefully.

Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.

College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a “happy” or “sad” song. Each participant listened to two “happy” and two “sad” songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.

Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi music. The country or caste of which a sensitive human was oriented to express the feelings of his heart, on the same occasion, the self-proclaimed tone, rhythm, nature emerged from his mouth and the classical development which he developed by binding the same tone, song and rhythm Gaya became the only country music. भारतीय लोक जीवन सदैव संगीत मय रहा है। भारत वर्ष का कोई अंचल कोई जाति ऐसी नहीं जिसके जीवन पर संगीत का प्रभाव न पड़ा हो। भारतीय संगीत के लिए कहा जाता है कि साहित्य से ब्रह्म का ज्ञान और संगीत से ब्रह्न की प्राप्ति होती है। भारत में पुरातन काल से विभिन्न पर्वो एवं अवसरों पर गायन, वादन व नृत्य की परंपरा रही है। लोकगीत प्राचीन संस्कृति एवं सम्पदा के अमिट वरदान है जिसमें अनेकानेक संस्कृतियों की आत्माओं का एकीकरण हुआ है। लोक संगीत जन-जीवन की उल्लासमय अभिव्यक्ति है। पद्म श्री ओंकारनाथ के मतानुसार-‘‘देवी संगीत के विकास की पृष्ठभूमि लोक संगीत है। जिस देष या जाति का सम्वेदनषील मानव जिस समय अपने हृदय के भावों को अभिव्यक्त करने के लिए उन्मुख हुआ उसी अवसर पर स्वयंभू स्वर, लय, प्रकृत्या उनके मुख से उद्भूत हुए और उन्हीं स्वर, गीत और लय को नियम बद्ध कर उनका जो शास्त्रीय विकास किया गया वही देषी संगीत बना।‘‘