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Relevant bibliographies by topics / Pigeons – Songs and music

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Academic literature on the topic 'Pigeons – Songs and music'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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Journal articles on the topic "Pigeons – Songs and music"

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Rouse, Andrew A., Aniruddh D. Patel, and Mimi H. Kao. "Vocal learning and flexible rhythm pattern perception are linked: Evidence from songbirds." Proceedings of the National Academy of Sciences 118, no. 29 (July 16, 2021): e2026130118. http://dx.doi.org/10.1073/pnas.2026130118.

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Rhythm perception is fundamental to speech and music. Humans readily recognize a rhythmic pattern, such as that of a familiar song, independently of the tempo at which it occurs. This shows that our perception of auditory rhythms is flexible, relying on global relational patterns more than on the absolute durations of specific time intervals. Given that auditory rhythm perception in humans engages a complex auditory–motor cortical network even in the absence of movement and that the evolution of vocal learning is accompanied by strengthening of forebrain auditory–motor pathways, we hypothesize that vocal learning species share our perceptual facility for relational rhythm processing. We test this by asking whether the best-studied animal model for vocal learning, the zebra finch, can recognize a fundamental rhythmic pattern—equal timing between event onsets (isochrony)—based on temporal relations between intervals rather than on absolute durations. Prior work suggests that vocal nonlearners (pigeons and rats) are quite limited in this regard and are biased to attend to absolute durations when listening to rhythmic sequences. In contrast, using naturalistic sounds at multiple stimulus rates, we show that male zebra finches robustly recognize isochrony independent of absolute time intervals, even at rates distant from those used in training. Our findings highlight the importance of comparative studies of rhythmic processing and suggest that vocal learning species are promising animal models for key aspects of human rhythm perception. Such models are needed to understand the neural mechanisms behind the positive effect of rhythm on certain speech and movement disorders.

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Piekut, Benjamin. "Pigeons." Representations 132, no. 1 (2015): 112–20. http://dx.doi.org/10.1525/rep.2015.132.1.112.

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Kang, Stella. "Analysis of practical and popular music as contemporary music: Focusing on elementary school music textbooks." Korean Association For Learner-Centered Curriculum And Instruction 24, no. 5 (March 15, 2024): 77–93. http://dx.doi.org/10.22251/jlcci.2024.24.5.77.

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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.

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Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (April 14, 2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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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

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Banfield, Stephen. "Songs." Musical Times 127, no. 1720 (August 1986): 445. http://dx.doi.org/10.2307/965170.

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Anderson, Robert. "Songs." Musical Times 126, no. 1714 (December 1985): 734. http://dx.doi.org/10.2307/965204.

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Miller, Philip Lieson, and Charles T. Griffes. "Songs." American Music 3, no. 3 (1985): 375. http://dx.doi.org/10.2307/3051492.

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Perrin, Peter, and Charles Martin Loeffler. "Songs." American Music 5, no. 1 (1987): 115. http://dx.doi.org/10.2307/3051875.

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Crichton, Ronald, and Alan Blyth. "Songs." Musical Times 128, no. 1732 (June 1987): 335. http://dx.doi.org/10.2307/1193743.

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MacLachlan, Heather. "Music and Incitement to Violence: Anti-Muslim Hate Music in Burma/Myanmar." Ethnomusicology 66, no. 3 (October 1, 2022): 410–42. http://dx.doi.org/10.5406/21567417.66.3.05.

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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.

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Dissertations / Theses on the topic "Pigeons – Songs and music"

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Hubbard, Colton M. "Tea Songs." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.

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Lanci, Michael P. "Songs for Joe Hill." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.

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Hung, Justin. "Songs about Words." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.

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A song cycle for baritone and mixed chamber ensemble, "Songs about Words" consists of five songs for everyday concepts and subjects, and explores deeper themes of communication and identity. The ensemble consists of piano, accordion, tenor saxophone, percussion and double bass. The text was inspired by Pablo Neruda and written by the composer.

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Baron, Michael David. "The songs of Franz Liszt." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234717504.

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Hood, Errik M. "Teaching the Songs of Ivor Gurney:An Applied Studio Guide to the Utilization of Fourteen Songs." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1448468099.

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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Jones, Reba Pestun. "An examination of coal mining song repertoire in the Virginia elementary music curriculum with the creation and incorporation of a suggested coal mining musical unit of study /." < Digital Thesis and Dissertation Collection > Username and password required for access, SU only, 2003. http://www.su.edu/library/digitalthesis/jonesreba.pdf.

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Wood, Kenneth Edward. "An investigation and analysis of selected Victorian art songs /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.

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Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.

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Sigurjónsson, Jóhannes. "Reference Music As Guidelines : Using reference music to create better songs." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73989.

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This essay examines how reference music can be used as a tool to fix weaknesses within my own songwriting and production process. The weaknesses were found by analysing feedback from other students on my own music. Four reference artists were then analysed with the intent of finding solutions to these weaknesses. Four new songs were then written and produced by implementing the solutions from the reference artists into the creative process. The results were mostly positive, as the songs had improved on various issues found in the feedback analysis. However, the method restricted the creative process in some occasions rather than inspiring it. The reasons for this are in part due to the choice of reference artists and which aspects of their music were in focus for the analysis.
I detta arbete undersöker jag hur referensmusik kan användas som ett verktyg för att stärka svagheter i mitt eget låtskrivande- och produktionsprocess. Svagheterna hittades genom att analysera feedback från andra studenter på min egen musik. Därefter analyserades fyra referensartister med syftet att hitta lösningar på dessa svagheter. Fyra nya låtar skrevs sedan och producerades genom att implementera lösningarna från referensartisterna till den kreativa processen. Resultaten var mestadels positiva, eftersom låtarna förbättrades på olika svagheter som hittades i feedbackanalysen. Metoden begränsade dock den kreativa processen i vissa tillfällen snarare än att inspirera den. Anledningarna till detta beror dels på valet av referensartister och vilka aspekter av deras musik som analyserna var inriktade på.

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Books on the topic "Pigeons – Songs and music"

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Caesar, Little. Songs about music. [s.l.]: Unistar Radio Programming, 1991.

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group), Fugazi (Musical. 13 songs. Washington, D.C: Dischord Records, 1989.

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Dean, Gene. Country songs and talk songs. [Virginia]: Goodway Pub., 1998.

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Race, Steve. My music - my songs. London: Novello, 1987.

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Baird, Tadeusz. Songs and orchestral music. London: Olympia, 1993.

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Babyface. Love songs. New York, NY: Epic, 2001.

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Ann, Little Miss. Music for tots. [Place of publication not identified]: [publisher not identified], 2006.

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Furia, Philip. America's Songs. London: Taylor and Francis, 2006.

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Pollanz, Wolfgang. 33 songs. Graz: Edition Keiper, 2013.

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Hornby, Nick. 31 songs. London: Penguin, 2003.

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Book chapters on the topic "Pigeons – Songs and music"

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Akuno, Emily Achieng’. "Children’s songs." In Music Education in Africa, 299–314. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-19.

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Thomas, Richard K. "Campfire Songs." In Music as a Chariot, 109–32. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315145631-6.

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Amos, Jonny. "Releasing Cover Songs and Remixes." In The Music Business for Music Creators, 167–68. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781003452119-24.

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Archer, W. G. "Steps and Music." In Love Songs of Vidyāpati, 117. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003104216-79.

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Lal, Ananda. "Note on the Music Scores." In Songs of Tagore, 53–55. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003276869-5.

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Amos, Jonny. "Songwriters Pitching Songs to Recording Artists." In The Music Business for Music Creators, 268–76. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781003452119-41.

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Flinn, Caryl. "The Songs of Music46." In The Sound of Music, 47–93. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-910-5_3.

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Bolderman, Leonieke. "Sharing songs on Hirakata Square." In Contemporary Music Tourism, 40–57. Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429318863-3.

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Tragaki, Dafni. "Acoustemologies of rebetiko love songs." In Music as Atmosphere, 184–201. [1.] | New York : Routledge, 2019. | Series: Ambiances, atmospheres and sensory experiences of spaces: Routledge, 2019. http://dx.doi.org/10.4324/9780815358718-10.

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Johansson, Ola. "An Analysis of Swedish Pop Music." In Songs from Sweden, 99–135. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2736-4_4.

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Conference papers on the topic "Pigeons – Songs and music"

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Folorunso, S. O., O. O. Banjo, J. B. Awotunde, and F. E. Ayo. "Machine Learning Analysis of Music Based on Music Information Retrieval Tasks." In International Workshop on Social Impact of AI for Africa 2022. AIJR Publisher, 2024. http://dx.doi.org/10.21467/proceedings.157.3.

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Music Information Retrieval (MIR) methods extracts from music high-level information like classification, musical feature extraction, song similarity and tonality. Musical genre is one of the orthodox methods of describing musical content and a significant part of MIR. At present, few MIR research has been done on Nigerian songs. So, this paper proposed to build a genre classification model based on Mel Spectrogram of audio songs. The process first converts ORIN audio dataset to Mel Spectrogram and extract numerical information from it using the Histogram of Oriented Gradient (HOG) and apply machine learning (ML) models to accurately categorize the songs into different genres of Apala, Fuji, Juju, Highlife and Waka. Support Vector Machine (SVM) with 4 different kernels, with 10- cross validation method were applied and assessed based on Accuracy and Receiver operating characteristics (ROC).

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Soleymani, Mohammad, Micheal N. Caro, Erik M. Schmidt, Cheng-Ya Sha, and Yi-Hsuan Yang. "1000 songs for emotional analysis of music." In the 2nd ACM international workshop. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2506364.2506365.

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Cheng, Zhiyong, Jialie Shen, Lei Zhu, Mohan Kankanhalli, and Liqiang Nie. "Exploiting Music Play Sequence for Music Recommendation." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/511.

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Users leave digital footprints when interacting with various music streaming services. Music play sequence, which contains rich information about personal music preference and song similarity, has been largely ignored in previous music recommender systems. In this paper, we explore the effects of music play sequence on developing effective personalized music recommender systems. Towards the goal, we propose to use word embedding techniques in music play sequences to estimate the similarity between songs. The learned similarity is then embedded into matrix factorization to boost the latent feature learning and discovery. Furthermore, the proposed method only considers the k-nearest songs (e.g., k = 5) in the learning process and thus avoids the increase of time complexity. Experimental results on two public datasets demonstrate that our methods could significantly improve the performance of both rating prediction and top-n recommendation tasks.

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Sridhar, Rajeswari, and T. V. Geetha. "Music Information Retrieval of Carnatic Songs Based on Carnatic Music Singer Identification." In 2008 International Conference on Computer and Electrical Engineering (ICCEE). IEEE, 2008. http://dx.doi.org/10.1109/iccee.2008.118.

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Hishida, Hirotoshi, Yoshihiro Komatsu, Tomohiro Nomura, Yasuhiro Hishida, and Keiko Hishida. "Music Database for Earphone Hearing Loss Prevention and Music Therapy - American Musical Songs -." In 13th International Multi-Conference on Complexity, Informatics and Cybernetics. Winter Garden, Florida, United States: International Institute of Informatics and Cybernetics, 2022. http://dx.doi.org/10.54808/imcic2022.02.40.

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Das, Nikhil, Esther Ramdinmawii, Ajit Kumar, and Sanghamitra Nath. "Vocal Singing and Music Separation of Mizo Folk Songs." In 2023 4th International Conference on Computing and Communication Systems (I3CS). IEEE, 2023. http://dx.doi.org/10.1109/i3cs58314.2023.10127457.

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Garcia-Garcia, Dario, Jeronimo Arenas-Garcia, Emilio Parrado-Hernandez, and Fernando Diaz-de-Maria. "Music genre classification using the temporal structure of songs." In 2010 IEEE International Workshop on Machine Learning for Signal Processing (MLSP). IEEE, 2010. http://dx.doi.org/10.1109/mlsp.2010.5589240.

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Liu, Yi, and Yue Gao. "Acquiring Mood Information from Songs in Large Music Database." In 2009 Fifth International Joint Conference on INC, IMS and IDC. IEEE, 2009. http://dx.doi.org/10.1109/ncm.2009.311.

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Kuusi, Tuire, Ivan Jimenez, and Matthew D. Schulkind. "Identifying Beatles songs from their chord progressions: New evidence of the effect of specialized harmonic familiarity, melodic cues, and transposition on the identification of songs from chord progressions." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0035.

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Oliveira, Gabriel P., and Mirella M. Moro. "Mining Exceptional Genre Patterns on Hit Songs." In Symposium on Knowledge Discovery, Mining and Learning. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/kdmile.2023.232412.

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Abstract:

The music industry has always been complex and competitive. Nowadays, combining different genres has become a common practice to promote new music and reach new audiences. Given the diversity of combinations between all genres, predictive and descriptive analyses are very challenging. Here, our goal is to mine frequent and exceptional patterns in music collaborations that have achieved success in both global and regional markets. We use the Apriori algorithm to mine genre patterns and association rules that reveal how music genres combine with each other in each market. The results show significant differences in the behavior of each market and a strong influence of the regional factor on musical success. In addition, we are able to use such patterns to identify and recommend promising genre combinations for such markets through the association rules.

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Reports on the topic "Pigeons – Songs and music"

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Berrian, Brenda F. Chestnut Women: French Caribbean Women Writers and Singers. Inter-American Development Bank, July 2001. http://dx.doi.org/10.18235/0007945.

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.

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