Academic literature on the topic 'Etc Songs and music History and criticism'

Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.

Background. Art criticism, as part of the humanities, has long and productively used the terminology of related sciences. This is a systemic approach, the provisions of which significantly influenced the development of scientific thought in the XX–XXI centuries. Systematization and modeling greatly simplify the process of cognition and allow to highlight the parameters that determine the identity and ability to transform of each individual system. The same approach can be applied to the study of particular components of the meta-system of human culture. From this point of view, we will analyze the vocal culture of modern China as a whole, formed by the interaction of national and international cultural patterns – primarily by verbal and musical languages. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. In the system of artistic creativity, vocal art occupies a unique place because it is a product of the synthesis of music and words, sensual and rational, imaginative and conceptual. It is language that determines the identity of national schools of composition and performance. Chinese has an unprecedentedly long history of development – from the second millennium BC. All this time the national vocal culture of the country functioned as a system that included the following elements: – a body of philosophical works, the authors of which tried to determine the function of musical art (and, in particular, singing) in the development process of the state; – treatises, aimed at the comprehension of the art of singing as a separate area of human creativity and as a type of energy practice; – creative work of outstanding singers and epistolary testimonies about it; – the full scope of musical artifacts – folk, author’s songs, works of various vocal genres; – identifying areas of vocal performing, which for a long time had two basic locations – court and domestic; – specialists’ training system and concert establishments. Obviously, all these elements had to be united by something. Let’s point out two essential factors: mentality and language. It is known that the ethnic composition of the people who lived in ancient times in the territories of modern China was heterogeneous and only in the middle of the first millennium BC a single Chinese nation was formed. What brought people of different ethnicities together? Acceptance of common life values; gradual consolidation of Confucianism as a state-building ideology; attraction to figurative thinking and preference for contemplation. All this formed an interesting conglomeration of national artistic guidelines, which includes nature worship, philosophical understanding of the nature of art, understanding of the relationship between human existence and the laws of existence of the universe. It is from this position that the philosophers and artists of ancient China treated the art of singing, which was perceived as one of the means of communication with the world and a part of spiritual practices. This determined the uniqueness of Chinese folk song as one of the most important components of national culture. We note that, as in the culture of other countries, Chinese folk song was one of the most common musical genres, responding to changing of aesthetic dominants of society. From ancient times, the Music Department has been operating in China, one of the tasks of which was to select songs and approve the time and order of their performance. One of the most famous monuments is the famous Book of Songs «Shijing» (詩經), which presents the established genre and style typology of songwriting: domestic, labor, love songs and works that glorify the rulers. Another facet of folk art associated with the embodiment of fantastic images is reflected in another monument – «Chu Ci» or «Verses of Chu» (楚辭). These artifacts determined the development path of Chinese vocal culture. Now let’s turn to an important factor for our study – language. Due to its phonetic features, the Chinese forms a specific intonation of melos and unusual for the European listener vocal speech. Considerable attention in Chinese singing culture was paid to the emotional coloring of the “musical message”, the tension of which was achieved through timbre colors and the use of extremely high register. Another important aspect of the language that influenced China’s vocal culture is its rather complex rhythmic organization. Language affects the singer’s thinking, the formation of his organs of articulation. But can changes in vocal culture affect verbal language? Since the beginning of the twentieth century, the structure of the vocal art of the Celestial Empire has changed almost radically. Today it is practically identical to what we can find in any European country. But, in our opinion, there is something that significantly distinguishes the vocal art of modern China from other national vocal schools. It’s a question of language. After all, a singer who seeks to improve in the academic vocal art is forced to restructure the entire speech apparatus without which it is impossible to master bel canto as a basic vocal technique. Conclusions. The verbal component is an important part of vocal culture, because it is a representative of national picture of the world and through its structures embodies the specifics of thinking of a particular people. Language determines all the melodic parameters – semantic, intonation, compositional, emotional, etc. The most illustrative proof of this is the folk song culture, which is the basis for the further formation of academic genres of music. In this sense, China’s vocal culture is a unique phenomenon, in which academic culture is shaped by borrowing the cultural heritage of other countries. Moreover, one of the most important markers of this borrowing is the assimilation of music and speech resources namely.

During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.

The ancient history and culture of the inhabited tribes of Tuva attracted the attention of travelers, linguists, ethnographers, and musicians, especially in recent decades. The primary recordings of yrlar (tuvan songs) and kozhamyk (ditties) in the writing sources of scientists contained samples of ancient musical poetry, including one-thousand-year history images, plots, motifs, and archaic vocabulary. Owing to ethnocultural values and beliefs of Tuvan people in Southern-Central Siberia it preserved features of relict cultures in music traditions. Based on field works conducted in the late 20th century, via ethnographic, historical, and typological principles of systematic approaches to folklore music genres, all songs were divided into occasional rituals and non-occasional songs, according to musical stylistic characteristics folk songs were classified into long songs ʽuzun yrlarʼ, short songs ʽkyska yrlarʼ and traditional ditties ʽkozhamykʼ. Tuvan culture is rich with musical traditions, it includes various song types, melodic recitations, instrumental creativity, calendar, and ritual songs, epic genres, etc. The author considers the development of song art as the most mobile layer, which absorbs all from the surrounding sound world. Songwriting reflects the spiritual experience and national character of the Tuvan ethnos.

Dievturība (dievturi - "God keepers", "people who live in harmony with God") is a newly created religious tradition having appeared in the second part of the 1920s – 1930s, its most essential source includes materials of Latvian folklore and folk traditions. These are interpreted by construing a religious ethical theory and creating a religion which is alternative to Christianity, with its own doctrine and rituals, and the conception of Latvianness in culture and politics. Latvianness is the most essential concept of cultural politics to which all activities of the dievturi are subjected (exaltation, family celebrations (krustabas, vedības (marriage), bedības (funeral)) as well as seasonal rituals, cultural historical excursions, tidying and spiritual restoration of the sacral sites (sacred places, castle mounds), folklore activities, article publications in mass media, summer thematic camps in the countryside marked by intensive mastering and cultivation of history and culture, celebration of Latvian public holidays and the most important remembrance days. Contemporary dievturi groups are seeking for new ideas in order to develop and popularize their conceptions, which can partly be characterized as a cultural political programme for theoretical (doctrine) and practical (exaltations, ceremonies, seasonal rituals) realization of Latvianness and its components. Within this publication, creativity means the system of ideas and values that promotes the development and perspectives of dievturi groups as well as includes them into a wider cultural political environment thus performing a culture-creating job. A special attention is paid to the essential ideas and values guiding the creativity of contemporary Latvian dievturi groups, making ample use of storyteller habitus, thus intentionally allowing the domination of group participant discourse. The two main directions of dievturi group participant creativity are the development of their doctrine (teaching) and the ritual practice (exaltations). These directions allow to attract wide attention of the society and mass media, new participants and supporters, to influence the political and cultural processes in Latvia. An important part in the doctrinal reflections of the dievturi, especially in the ritual practice (exaltations), has always been taken by Latvian literature writings. A selective choice of these supplement the textual canon of the dievturi continuing the tradition in line with “the mood of Latvian folk songs” and attributing a more modern shape and world outlook concepts to dievturi undertakings. The aim of an exaltation is always associated with the main cultural political concept of the dievturi – Latvianness, namely, to make Latvianness more active, to offer an opportunity to approach Latvianness, make efforts for deeper comprehension of it, being aware and living through it, although thematically it may be dedicated to separate components of Latvianness (people, land, language, God, Māra, Laima, work, virtues, human life, and the like). Also, the most essential ideas and values of dievturība – gender equality, domesticity, antiglobalism, ecology, traditional marriage formula, life style and appearance, environment (for example, use of Latvian language), music, art and literature priorities (classical and/or national music, use of local building materials and ornaments (all ornaments have been observed in Latvia’s nature), writers, poets and playwrights who most precisely depict the “Latvian spirit” – derive from folk songs and the cultural concepts deriving thereof. Activity in the field of Latvianness (ethnicity conception) is in accord with the activity in favour of the future of the Latvian people, symbolical non-forgetting of culture correspond to generating of culture. This attributes a political and social dimension to the cultural activity of dievturi. Dievturība does not perform an official cultural politics of cultural values, heritage, traditions etc., this is a task for politicians; however, it is at least a marginal participant of the cultural political sphere. Placing ethnicity, or the Latvian discourse, at the centre of cultural politics encompasses the range of further impact when the seeming encapsulation within the margins of culture are replaced by reflections on Latvian economy, guidelines in education and science, health care system, axiological juxtaposition of the countryside and city. Also, the evaluation and criticism of the activity of the Christian Church by the dievturi is connected with the conception of Latvianness. Dievturi strongly disclaim Christianity and any chance of mutual cooperation (and also vice versa), protest against its monopoly position in Latvian society, consider Christianity a historically alien religion having been forced upon Latvians and demanding the status of a traditional religion in Latvia also for dievturība including, for example, the right to wed, to celebrate religious festivals. The results of field research do not allow to speak about dievturība today as a strong and united manifestation of Latvian religious experience and way of life. Rather, it is possible to register (after the decline of the movement at the end of the 1990s and at the beginning of the 2000s) a quite consistent and sufficiently active revival which is connected with the appearance of new persons and creative ideas among Latvian dievturi. The future events depend on the fact whether dievturi themselves would be able to solve the protracted inner inconsistencies and find a uniting grounds for further development of the movement. The article is based on the study results obtained during the 2006–2008 field research carried out in dievturi groups (interviews with group leaders, participants and individual representatives, transcripts of audio and video materials). The study was carried out with the financial support of the project “Society and lifestyles” and using its accepted methods – ethnographic description, semi-structured interviews and methods of visual anthropology (photography, filming) and instructions by the Ethical Commission (for example use of assumed names for storytellers).

Abstract This article discusses Iwan Fals' musical career and his songs with the theme of social criticism, especially songs with the theme of lower class society from 1981-1994. The purpose of this article is to explain the meaning or content contained in the lyrics of Iwan Fals' songs with the theme of lower class society which will then be linked to the context of society at that time. This article uses the Historical method which is presented in a descriptive-analytical form and utilizes news sources, cassette covers, newspapers and magazines, photos and relevant books. To examine the lyrics of the song specifically using the semiotic method of Roland Barthes. Based on the facts collected, Iwan Fals is a stage name and has the real name virgiawan listanto. As a child, he often played with poor children in the village behind his house. He began to recognize music from his boarding house in Bandung. His success in winning the 1979 Country Music Festival made Musica Studio recruit Iwan Fals. Together with musica he completed 13 albums between the period 1981-1988.Iwan Fals considers his songs are the result of his observations of society. From the results of the analysis, Iwan Fals' songs have a lot to say about the life of the lower class. His partiality to the lower class of society is inseparable from his background in life which is close to the community. Keywords: Iwan Fals, Lower Class Society, Music Industry, Semiotics

Albanian culture coexisted for a period of over 500 years with Ottoman culture, at the turn of the new century, along with the Balkan troubles that led to the continued embrace of the transition from an old culture to the ideology of the Young Turk movement, and the continuation of joint Albanian-Turkish actions, in order to protect the Albanian Vilayets from the Serbo-Montenegrin occupiers. Early nineteenth-century Turkey emerged from bloody wars on all sides of its borders and from a weak government led by Abdul Hamid II faced a new war in 1915 now in defense of the Dardanelles in the bloodiest battle "The Battle of Canakkale". The First World War found Albanians divided and occupied in some of its territories, however, from 1912 Albania had declared Independence, but Kosovo, Skopje and Bitola, Ulcinj and Bar had remained outside the borders, while Chameria - the South of Albania had been invaded by Greece. During the First World War a large number of Albanians remained in the Turkish military service, many others joined the Turkish army, mainly Albanians who had migrated to Turkey from the violence of the Serbo-Montenegrin invaders, as well as some more from Kosovo, Skopje, Tetovo, Presevo, Shkodra, Ulcinj, etc who volunteered to help the Turkish army. According to history, oral literature and written documents, many Albanians died heroically, it is said that about 25,000 martyrs had died in this battle. In their honor, the Albanian people composed songs, it is worth mentioning the "song dedicated to the Battle of Canakkale" by the most prominent folklorists of the Albanian nation. Our research was done through a semi-structured interview with: 5 teachers of Albanian literature (at the same time master’s students at the University "Kadri Zeka" in Gjilan, Kosovo); 5 history teachers (at the same time master’s students at the University of Prishtina “Hasan Prishtina”, Prishtina, Kosovo); 2 independent researchers from the Institute of History "Ali Hadri" Prishtina, Kosovo.

"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "

Background. The rapid development of contemporary art has intensified the scientific thought in relation to the theory and history of dancing art. Domestic art criticism pays much attention to the problems of dancing functioning in contemporary culture; periodicals publish theoretical and methodological works, general critical reviews of ballet performances. In historical plane, the majority of publications contain information about outstanding artists – performers and choreographers of various times and stylistic trends. However, the evolution of a dance as a socio-cultural and artistic phenomenon, the specifics of its functioning in different epochs and in different regions to a great extent remains unknown. Objectives. The purpose of this study is to identify the peculiarities of dancing art development in the ancient world, its functions and the influence of dancing on the development of “mousikē” creativity of the Antiquity. Methods. The research uses the following methods: the analytical method, which directed on consideration of individual elements of “mousikē” art, expressive means of dancing and its interaction with all parts of artistic-syncretic action, characteristic features of ancient art; the method of classification applied for definition of functions of a dance in the syncretic art of the ancient world; the method of generalization consumed to analyze the facts collected and the logical transition from a singular to general judgment, knowledge, and evaluation. Results. Art as a socio-cultural phenomenon in various cultural-historical periods reflects the specifics of the spiritual sphere of social life. In this regard, the art of the ancient world can be a vivid example. Unlike other types of art, ancient dancing did not leave behind so many artifacts as the classic examples of ancient art – monuments of sculpture, architecture and literature did. Even when methods of fixing language and music were found, dancing as a language of movements remained within the “oral tradition” for quite a long time. It is proved that the art of the ancient world was artistically syncretic. It is a well-known fact that music and dancing are based on rhythm. Rhythm contributed to the interconnection of “mousikē” arts, it was a core that combined words, singing, music, dancing and dramatic action. The implementation of monotonous movements in a single rhythm contributed to uniting the community together to achieve a collective goal. The great social significance of dancing is also confirmed by the fact that almost all-important events in the life of an ancient man were accompanied by dancing: birth and death, war, hunting, etc. In his treatises, the great philosopher, Plato, prescribed all the sacred songs and dances that, in his opinion, were the means of real implementation of the law, that is, they had a specific social function. For a long time dancing was an indispensable component and obligatory attribute of ceremonial and religious rituals. Such celebrations were characterized by magical significance, which in turn formed a magical function of dancing. Also, ancient philosophers had a special attitude to “mousikē” forms of creativity as a means of education. Confucian doctrine put forward the issue of moral and ethical perfection of the individual, whose one of the effective means was considered “mousikē” creativity. Confucius developed the forms of “mousikē” influence not only theoretically, but also applied them in practice. The greatest justification and great importance of the educational function of dancing as an integral element of “mousikē” art was in ancient Greece. Since the VIIth century B. C. the upbringing by the way of “mousikē” art was widely cultivated in Sparta. It is known that the Spartans provided “mousikē” creativity a great state and educational value. Teaching the skills of “mousikē” creativity was part of the general youth education system. In addition, in ancient culture, dancing was an integral part of tragedy and comedy, the then contemporary genres of theatrical art, and had an entertaining aesthetic function. Conclusions. Based on the foregoing, one can conclude that dancing was of great importance in the art of the ancient world. Dances were the object of discussions of writers, philosophers and religious leaders of that time; the rhetoric of that period about the art of dancing were either of ethical-applied or theoretical character and often used dance images as metaphors. The source of dancing art development were ritual dances of magical character, which eventually turned into an important part of artistic and syncretic creativity of the “mousikē” art of Antiquity. Dancing as a reflection of an emotional state of the ancient man through rhythmic moves traditionally got special magic meaning, it was a mandatory attribute of ceremonial and religious rituals. By dancing marked all the significant events in the life of an individual and society of the ancient time. Dancing in the ancient world was an integral part of the spatial-temporal action, but it had a variety of functions. Great social significance of dancing is confirmed by the fact that the teaching the skills of “mousikē” creativity was part of the general education system of the youth of Greece, Sparta and China. In ancient culture, dancing was an integral part of the then genres of theatrical art – tragedy and comedy, had an entertaining aesthetic function. The professionalization of music and dancing art led to the emergence of dancing genres that were theatrical and stage-oriented; as a result, the aesthetic function of dancing in the art of the ancient world was reinforcing gradually. Thus, the dancing had various aspects of functioning in “mousikē” forms of creativity in the ancient world from ritual and magic to aesthetically entertaining ones.

Pete Seeger would have turned one hundred and one on May 3 of this year. To commemorate these ten decades plus one year, I would like to look at eleven of the most remarkable aspects of Pete Seeger’s life, work and legacy. This paper will examine the cultural impact and oral tradition of the music, songs and books of Pete Seeger. This legendary folk musician's career spanned eight decades and touched on many of the key historical developments of the day. He is responsible for some of the iconic songs which have not only helped define American culture, but even beyond. Seeger was also a pioneer in a number of fields, using his music to propagate political convictions, ecological themes, civil rights, world music, education, etc. The folk singer also had his finger on the pulse of a number of developments in American history and culture. He was friends with a number of prominent musicians and artists and influenced an entire range of younger musicians and activists.

This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiritual.
Several motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.

This dissertation, which takes the form of a creative project as is sanctioned by the Doctor of Arts Curricular Program, is an investigation of artsong literature, composers and musico-poetic structure. The work is a textbook designed for an undergraduate course in song literature and is accompanied by a performance-based interpretation workbook. The author's approach to the artsong is a threefold one: the artsong is considered as a unique performance idiom and is examined for the characteristics common to all; distinctive features are examined which identify specific sub-genre classifications within the body of artsong; specific artsongs are investigated from a performance aspect in order to develop an appropriate methodology for the interpretation of an individual song. This work includes information about historical analysis, performance practice, translation, phonetic transcription and the characteristics of versification unique to each language covered.The unique contribution of this work, however, is the workbook of sixty-five artsongs.In the workbook, the student is guided through a systematic approach to the interpretive process. The student is asked to examine the poem for type, mode of address and imagery and is asked to consider elements of rhyme, meter and poetic structure. The student is guided through an investigation of the characters both present and implied in the poetry; the student is asked to consider the structural elements of the musical setting in order to better discern the composer's response to the poem. Additionally, the student is asked to place the speaker-the person whose voice he or she is bringing to life-in time and location as well as construct a profile of the speaker's character. At the beginning of the workbook the entire process is demonstrated for the student; as the student progresses through the workbook, he is expected to perform more and more of the tasks until he can independently create a performance-based interpretation.The work contains copious musical examples as well as a source guide to instructional materials (scores, translations, recordings) and a brief glossary.
School of Music

This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.

The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs unique to the Doukhobor tradition. The second limitation of the study was then applied, which was to select those Old Verses and Spiritual Songs believed to exist prior to the beginning of the twentieth century. Forty-five melodies, comprised of 11 Psalms, 18 Old Verses and 16 Spiritual Songs were included in the study. The notation of each example is accompanied by one verse of Russian text and transliteration and by documentary information stating the genre, the Doukhobor song text collection reference number, the singers' names, and a tape source in the researcher's private collection. Full and/or partial translations of the texts are provided.

Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.