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

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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1

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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3

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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5

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

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6

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

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7

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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8

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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9

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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10

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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11

Smith, Richard Langham, Guillaume Lekeu, Rachel Yakar, and Ensemble Musique Oblique. "Chamber Music and Songs." Musical Times 136, no. 1826 (April 1995): 203. http://dx.doi.org/10.2307/1004183.

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12

Knappert, Jan. "Swahili songs and music." South African Journal of African Languages 10, no. 4 (January 1990): 212–21. http://dx.doi.org/10.1080/02572117.1990.10586852.

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13

Vickers, Paul, and James L. Alty. "Siren songs and swan songs debugging with music." Communications of the ACM 46, no. 7 (July 2003): 86–93. http://dx.doi.org/10.1145/792704.792734.

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14

Till, Benedikt, Ulrich S. Tran, Martin Voracek, and Thomas Niederkrotenthaler. "Music and Suicidality." OMEGA - Journal of Death and Dying 72, no. 4 (March 9, 2015): 340–56. http://dx.doi.org/10.1177/0030222815575284.

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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.

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Hafner, Klaus. "Handel Songs." Musical Times 128, no. 1736 (October 1987): 546. http://dx.doi.org/10.2307/965379.

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Whittall, Arnold, and Glenn Watkins. "Battle Songs." Musical Times 144, no. 1884 (2003): 60. http://dx.doi.org/10.2307/3650703.

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Fujie, Linda, and Laura Boulton. "Navajo Songs." Yearbook for Traditional Music 25 (1993): 193. http://dx.doi.org/10.2307/768732.

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Swift, Richard, and John Harbison. "Mirabai Songs." American Music 6, no. 3 (1988): 357. http://dx.doi.org/10.2307/3051902.

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Cox, Kevin L. "Hermit Songs." American Music 16, no. 3 (1998): 360. http://dx.doi.org/10.2307/3052646.

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Smith, Richard Langham, Claudette Leblanc, and Valerie Tryon. "Debussy: Songs." Musical Times 134, no. 1807 (September 1993): 528. http://dx.doi.org/10.2307/1002759.

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Rushton, Julian, Julianne Baird, and Colin Tilney. "Mozart: Songs." Musical Times 134, no. 1807 (September 1993): 528. http://dx.doi.org/10.2307/1002760.

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Bradshaw, Susan, and Adrian Thomas. "Desert Songs." Musical Times 138, no. 1857 (November 1997): 33. http://dx.doi.org/10.2307/1004230.

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MacDonald, Hugh. "Rare Songs." Musical Times 126, no. 1707 (May 1985): 291. http://dx.doi.org/10.2307/961322.

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Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (January 1985): 33. http://dx.doi.org/10.2307/962449.

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Hund, Marianne. "Cricket songs." Early Music 33, no. 4 (November 1, 2005): 749. http://dx.doi.org/10.1093/em/cah180.

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Sklavounakis, Georgios. "Semiotics on music charts: The signification of late-blooming hits in contemporary popular music." Punctum. International Journal of Semiotics 9, no. 2 (2023): 189–208. http://dx.doi.org/10.18680/hss.2023.0025.

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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.

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Brooks, Daniel I., and Robert G. Cook. "Chord Discrimination by Pigeons." Music Perception 27, no. 3 (February 1, 2010): 183–96. http://dx.doi.org/10.1525/mp.2010.27.3.183.

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PIGEONS WERE TRAINED IN A GO/NO-GO TASK TO discriminate a major triad from four other chord triads. These latter chords were constructed by altering the third or fifth of the triad by one semitone, creating minor, suspended fourth, augmented, or flat five chords. Experiment 1 used a C root to test these chords. Experiment 2 examined the discrimination of these chords using the D root. Pigeons could discriminate these harmonically complex triads, with manipulations of the fifth supporting better discrimination than manipulations of the third. The augmented chord was perceived as the most dissimilar from the major chord and the suspended fourth chord as the most similar. A combination of attention to sensory consonance and absolute properties of the chords is suggested to account for the results. Comparable human results suggested some overlap in their perception of harmonic elements, but a considerable difference in their flexibility to use this information across different contexts.

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Dobrota, Snježana, and Maja Gusić. "Glasbene preference šolarjev glede otroških pesmi v duru in molu." Revija za elementarno izobraževanje 13, no. 3 (2020): 311–24. http://dx.doi.org/10.18690/rei.13.3.311-324.2020.

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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.

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Lin, Tse-Hsiung. "Mountain Songs, Hakka Songs, Protest Songs: A Case Study of Two Hakka Singers from Taiwan." Asian Music 42, no. 1 (March 2011): 85–122. http://dx.doi.org/10.1353/amu.2011.a407118.

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Hitchcock, H. Wiley. "Ives's "114 [+ 15] Songs" and What He Thought of Them." Journal of the American Musicological Society 52, no. 1 (1999): 97–144. http://dx.doi.org/10.2307/832025.

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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.

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Zilmi, Fauziatus, Abdul Rachman, and Moh Muttaqin. "Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 17–24. http://dx.doi.org/10.15294/jsm.v10i1.46812.

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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.

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Hidayatullah, Panakajaya. "GLUNDHÂNGAN AND PIGEON IN SOCIOCULTURAL PRACTICES OF MADURESE PEOPLE." Journal of Urban Society's Arts 6, no. 1 (August 9, 2019): 39–55. http://dx.doi.org/10.24821/jousa.v6i1.2575.

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Glundhangan is an ensemble of wooden gamelan played by Madurese people. Glundhangan music is believed as archaic music of Madurese people. It even existed before era of metallophone gamelan. In Jember, glundhângan is closely related to pigeon and usually used for nyata and totta’an dhârâ events. Nyata is an event when a pigeon master succeeds to get his opponent’s pigeon. While totta’an dhârâ is a match of releasing pigeons together and then they, pigeons, come back to pajhudhun (pigeon house) of their masters. Glundhângan is a music which becomes winning signifier of pigeon’s master when he gets his opponent’s pigeon, and it is an accompanying music for pigeons release and return to home. Glundhângan consists of some wooden musical instruments like glundhâng, dhung-dhung, tong-tong, tek-tek, nèng-nèng and ghâghâmbhâng, and they are accompanied by vocal of tembhâng mamaca (ancient version) and kèjhungan (modern version). Every pajhudhun and pigeon master must have musical instruments dhung-dhung or tong-tong in a form of various kentongan made by wood. The music instrument is used by a master as means of communication to pigeons and people. Dhung-dhung instrument of the pigeon master is commonly sacred as other relics like keris. Commonly, the master supplies himself and pigeons with mythical power. It is dhung-dhung itself which becomes identity of glundângan music. For Madurese people, pigeon is treated as special animal. Pigeon is also a manifestation of supernatural power of its master. Glundhângan music and pigeons are articulations of Madurese people that represent social degree, pride at stake, symbol of masculinity and productive distribution of conflict desire among people.

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Barbiere, J. Michael, Ana Vidal, and Debra A. Zellner. "The Color of Music: Correspondence through Emotion." Empirical Studies of the Arts 25, no. 2 (July 2007): 193–208. http://dx.doi.org/10.2190/a704-5647-5245-r47p.

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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.

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Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.

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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।‘‘

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Lortat-Jacob, Bernard, and Wolfgang Laade. "Corsica: Traditional Songs and Music." Yearbook for Traditional Music 23 (1991): 156. http://dx.doi.org/10.2307/768419.

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Hertz, Paul, and Barry Truax. "Song of Songs: Computer Music." Leonardo 31, no. 1 (1998): 74. http://dx.doi.org/10.2307/1576551.

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Austern, Linda Phyllis, John Taverner, and Hugh Benham. "Ritual Music and Secular Songs." Notes 43, no. 2 (December 1986): 403. http://dx.doi.org/10.2307/897398.

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Studwell, William E. "Circus Music and Drinking Songs." Music Reference Services Quarterly 4, no. 3 (June 12, 1996): 57–62. http://dx.doi.org/10.1300/j116v04n03_04.

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Doucet, Sharon Arms. "Cajun Music: Songs and Psyche." Journal of Popular Culture 23, no. 1 (June 1989): 89–99. http://dx.doi.org/10.1111/j.0022-3840.1989.2301_89.x.

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Hawthorne, Shannon. "Songs in General Music Classes." General Music Today 11, no. 1 (October 1997): 28–29. http://dx.doi.org/10.1177/104837139701100109.

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Park, Young Shin, Hyunjin Moon, and Yunhee Seung. "A Study on the Aspects of Children's Song Festival Winning Songs Included in Elementary School Music Textbooks." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 19 (October 15, 2022): 533–50. http://dx.doi.org/10.22251/jlcci.2022.22.19.533.

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Abstract:

Objectives Looking back at the 100-year history of creative children's songs, the ‘Children's Song Festival’ proves to have had a great influence on the development of children songs. The first purpose of this study is to investigate all Children's Song Festival winning songs included in elementary school music textbooks according to the educational curriculum change. The second purpose is to analyze the aspects of those winning songs published in music textbooks. Methods To do so, this study conducted a combination of literature reviews and research study methods, and analyzed Children's Song Festival winning songs in music textbooks. These songs were those that were included in 3~6 grade elementary school music textbooks from the fifth curriculum period (1987~1991) until the current 2015 revised curriculum; meaning all winning songs in elementary school music textbooks since the first Children's Song Festival of 1983 were analyzed. Results First, an analysis on ‘Children's Creative Song Festival Winning Songs and Number of Songs’ shows that out of the total 96 winning songs, the majority of winning songs were from the MBC Children's Song Festival - a total of 69 songs (71.9%). Second, upon analyzing the ‘Number of Times Festival Winning Songs were Published’, it was found that the number increased as the curriculum changed and as textbooks went up to an older grade level. The textbook publisher ‘Genius Education’ had the most winning songs within their textbooks - a total of 43 times (15.8%) were winning songs published. Third, after analyzing the ‘Name and Number of Overlapping Winning Songs’, it was revealed that there were 51 overlapping songs, the song that was published multiple times in music textbooks was <On a Train Ride> from the 1st KBS Children's Song Festival - a total of 13 times. The songs <Island Village> and <Walking in the Woods> were published 11 & 10 times respectively - both songs were from the 4th MBC Children's Song Festival. Songs that are continuously included in music textbooks are <On a Train Ride> and <Walking in the Woods>. Conclusions The act of singing creative children songs gives children hope, courage, the chance to dream, and holds an educational meaning that allows them to experience the beauty of music. Thus, continuing discovery and supply of creative children's songs are of great significance. Since Children's Song Festivals, which has played a huge role in the development of creative children's songs, are no longer as common as before, a new developing method that fits current society criteria must be sought out.

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Cholij, Irena. "Defesch's 'Tempest' Songs." Musical Times 127, no. 1719 (June 1986): 325. http://dx.doi.org/10.2307/965070.

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Magro, Agostino, Colinet de Lannoys, and F. Fitch. "Mass and Songs." Revue de musicologie 88, no. 1 (2002): 243. http://dx.doi.org/10.2307/947492.

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LeSueur, Richard. "Songs of America." American Music 7, no. 4 (1989): 485. http://dx.doi.org/10.2307/3051927.

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Browner, Tara, and Wes York. "Three Native Songs." American Music 13, no. 3 (1995): 394. http://dx.doi.org/10.2307/3052632.

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Harrison, Robert J., James Dashow, Bruce Saylor, and Ezra Sims. "Some Dream Songs." American Music 16, no. 3 (1998): 362. http://dx.doi.org/10.2307/3052647.

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Joseph, Jeffrey, Deutsche Sinfonie, Eisler, BA Zimmermann, Vlatka Orsanic, James Johnson, Michael Rotschopf, et al. "Songs of Freedom." Musical Times 137, no. 1837 (March 1996): 32. http://dx.doi.org/10.2307/1003898.

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Byron, Carl. "Songs and Romances." Latin American Music Review / Revista de Música Latinoamericana 21, no. 1 (2000): 79. http://dx.doi.org/10.2307/780420.

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Rankin, S. "Some medieval songs." Early Music 31, no. 3 (August 1, 2003): 327–44. http://dx.doi.org/10.1093/em/31.3.327.

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Clark, S. "Songs and sources." Early Music 36, no. 2 (May 1, 2008): 306–8. http://dx.doi.org/10.1093/em/can025.

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