Relevant bibliographies by topics / Song

Academic literature on the topic 'Song'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 September 2024

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Journal articles on the topic "Song"

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Stoddard, Philip K., Michael D. Beecher, S. Elizabeth Campbell, and Cynthia L. Horning. "Song-type matching in the song sparrow." Canadian Journal of Zoology 70, no. 7 (July 1, 1992): 1440–44. http://dx.doi.org/10.1139/z92-200.

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Song playback to song sparrows (Melospiza melodia) in a resident population in Washington state showed that the tendency of birds to respond with the same song type (match) depended on the identity of the singer. Matching rates were high to 'self song (60%) and 'stranger' song (50%) and low to 'neighbor' song (20%, not significantly above chance level). The higher matching rate to stranger song was particularly interesting, since the neighbor test songs were generally more similar to the subjects' songs than were the stranger test songs (the self songs, of course, were the most similar). The importance of the neighbour–stranger contrast, in addition to song similarity, in eliciting song matching confirms similar conclusions from earlier studies on the great tit (Parus major) and western meadowlark (Sturna neglecta).
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Nakano, Tomoyasu, Kazuyoshi Yoshii, and Masataka Goto. "Musical Similarity and Commonness Estimation Based on Probabilistic Generative Models of Musical Elements." International Journal of Semantic Computing 10, no. 01 (March 2016): 27–52. http://dx.doi.org/10.1142/s1793351x1640002x.

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This paper proposes a novel concept we call musical commonness, which is the similarity of a song to a set of songs; in other words, its typicality. This commonness can be used to retrieve representative songs from a set of songs (e.g. songs released in the 80s or 90s). Previous research on musical similarity has compared two songs but has not evaluated the similarity of a song to a set of songs. The methods presented here for estimating the similarity and commonness of polyphonic musical audio signals are based on a unified framework of probabilistic generative modeling of four musical elements (vocal timbre, musical timbre, rhythm, and chord progression). To estimate the commonness, we use a generative model trained from a song set instead of estimating musical similarities of all possible song-pairs by using a model trained from each song. In experimental evaluation, we used two song-sets: 3278 Japanese popular music songs and 415 English songs. Twenty estimated song-pair similarities for each element and each song-set were compared with ratings by a musician. The comparison with the results of the expert ratings suggests that the proposed methods can estimate musical similarity appropriately. Estimated musical commonnesses are evaluated on basis of the Pearson product-moment correlation coefficients between the estimated commonness of each song and the number of songs having high similarity with the song. Results of commonness evaluation show that a song having higher commonness is similar to songs of a song set.
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Lennox, Stephen J. "Song of Songs." Bulletin for Biblical Research 22, no. 3 (January 1, 2012): 428–29. http://dx.doi.org/10.2307/26424583.

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Kreutzer, Michel L., and Laurent Nagle. "Song Tutoring Influences Female Song Preferences in Domesticated Canaries." Behaviour 134, no. 1-2 (1997): 89–104. http://dx.doi.org/10.1163/156853997x00296.

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AbstractLaboratory experiments were designed to examine the influence of previous acoustic experience on later song preferences in female domesticated canaries (Serinus canaria). Young females were reared in acoustic isolation (five groups). In these five groups, one was reared without tutoring and four were exposed to taped tutoring songs (playbacks of three different songs, two conspecific and one heterospecific). One of the four tutored groups was exposed to all three songs, while each of the remaining groups was exposed to one of the three songs. When adult, all females were tested using copulation solicitation displays as an index of their song preferences. We demonstrated that females reared without tutoring were especially responsive to a particular domesticated canary song. This song contained a special song phrase type (Vallet & Kreutzer, 1995) that elicits high levels of sexual response. In general, a similar preference was also observed in the groups reared with tutoring. In addition, the females' preferences in tutored groups were also positively and strongly affected by conspecific songs, when these songs had been heard during the previous tutoring. In fact, females seemed to be able to selectively respond to a song containing a special song phrase, but were also able to learn conspecific songs.
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Щітова, С. А., and О. М. Якимець. "THE INNOVATIVE INTERPRETATION OF THE CHAMBER-VOCAL GENRE IN THE LATE WORKS OF SCHUBERT." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 163–71. http://dx.doi.org/10.33287/221913.

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The purpose of the study is to prove the innovative approaches of F. Schubert in vocal works on the example of his later opuses – the vocal cycle „Winterreiseˮ, op. 90 („Winter Roadˮ) and the song collection „Der Schwanengesangˮ („Swan Songˮ). The methods of this proposed scientific article are based on the research approaches (historical, compare, analytical), which allow to us to follow the path of dramatization of the song in the late works of F. Schubert, as well as to determine the conformity of the vocal intonation to the poetic text. The material of scientific intelligence there are ten separate songs, namely, five songs from the vocal cycle „Winter Pathˮ and five songs on the lyrics by G. Heine from the collection „Swan Songˮ. In our opinion, they are not only indicative, but also similar in form, methods and content. The scientificnovelty of this research is to in the treatment to the issues of determining the correspondence of vocal intonation to a poetic text. Conclusions. Lyrics by Wilhelm Muller and Heinrich Heine are the peak of Schubertʼs vocal lyrics, the starting point for the further development of the song (romance) genre. Simplicity and the associated „sociability” of song intonation, on the one hand, naturally continue the traditions of the Austro-German song Lied. However, while the melody of Schubert reveals time fundamentally new qualities caused by the composerʼs innovative attitude to its formation. The reason for this is a great attention to the verbal text. The close interaction of poetic words and music, especially in the late works of the composer romantic, gives rise to a fundamentally new type of vocal intonation, a new level of voice and accompaniment and, as a final result, the emergence of a new quality of the chamber-vocal work – „poems with music”, thereby pushing on the further path of development of chamber vocal genres.
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Sigler Ficken, Millicent, Kathryn M. Rusch, Sandra J. Taylor, and Donald R. Powers. "Blue-Throated Hummingbird Song: A Pinnacle of Nonoscine Vocalizations." Auk 117, no. 1 (January 1, 2000): 120–28. http://dx.doi.org/10.1093/auk/117.1.120.

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Abstract Little is known about the structure and function of hummingbird vocalizations. We studied the vocalizations of Blue-throated Hummingbirds (Lampornis clemenciae) at two sites in southeastern Arizona. Songs were produced by males and females. Male songs consisted of arrays of notes organized in clusters of “song units.” Within sites, all males shared the same song units. Individual differences occurred in some temporal aspects of song, and slight but consistent differences in note structure occurred between the two sites. The organization of units within songs was marked by rigid syntax, and long songs were produced by agglutination of units. Male songs may function in territorial advertisement and mate attraction. Female songs were very different acoustically from those of males and typically were given when females were within a few centimeters of a male. In these situations, the female's song often overlapped temporally with the male's song. Of the hummingbird species studied so far, the Blue-throated Hummingbird has the most complex songs and is the only known species with complex female songs. Blue-throated Hummingbirds show convergence with oscines in vocal complexity, song organization, song function, and possible learning of some song elements.
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Nowicki, Stephen, and Jared Strote. "Responses To Songs With Altered Tonal Quality By Adult Song Sparrows (Melospiza Melodia)." Behaviour 133, no. 3-4 (1996): 161–72. http://dx.doi.org/10.1163/156853996x00099.

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AbstractPure-tone sounds are a common and distinctive feature of many birdsongs. We used field playback experiments to test whether this tonal quality is perceptually salient to adult male song sparrows in the context of song recognition, by comparing responses to playback of normal songs with responses elicited by songs that had harmonics added. This species was chosen for study based on the recent finding that young song sparrows do not show a preference for songs with pure tones over songs with harmonics when choosing model songs to copy during their sensitive phase for learning. We found adult song sparrows to be significantly more responsive to normal song than to harmonic song, consistent with results from adult birds of other species. We conclude that the perceptual salience of the tonal quality of song changes during ontogeny or is context-dependent.
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Rizqy, Titis. "Creativity of Teachers in Creating Java Song in Industrial Era 4.0." International Conference of Moslem Society 3 (April 12, 2019): 296–304. http://dx.doi.org/10.24090/icms.2019.2332.

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Javanese literature includes a Javanese song which should remain popular among the millennial generation today which will meet the industrial era 4.0. The limitations of Javanese songs require teachers to increase innovation by means of continuous creativity to create Javanese songs where poetry and songs use compilation of existing songs. As well as the process of preserving Javanese songs, so that the growing age of Javanese, especially Javanese songs, is not left behind but still follows. Teacher creativity in the creation of Javanese song lyrics in the industrial revolution 4.0 era is based on song inspiration, the contents of song lyrics and the process of song lyrics.
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Garland, Ellen C., Luke Rendell, Luca Lamoni, M. Michael Poole, and Michael J. Noad. "Song hybridization events during revolutionary song change provide insights into cultural transmission in humpback whales." Proceedings of the National Academy of Sciences 114, no. 30 (July 24, 2017): 7822–29. http://dx.doi.org/10.1073/pnas.1621072114.

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Cultural processes occur in a wide variety of animal taxa, from insects to cetaceans. The songs of humpback whales are one of the most striking examples of the transmission of a cultural trait and social learning in any nonhuman animal. To understand how songs are learned, we investigate rare cases of song hybridization, where parts of an existing song are spliced with a new one, likely before an individual totally adopts the new song. Song unit sequences were extracted from over 9,300 phrases recorded during two song revolutions across the South Pacific Ocean, allowing fine-scale analysis of composition and sequencing. In hybrid songs the current and new songs were spliced together in two specific ways: (i) singers placed a single hybrid phrase, in which content from both songs were combined, between the two song types when transitioning from one to the other, and/or (ii) singers spliced complete themes from the revolutionary song into the current song. Sequence analysis indicated that both processes were governed by structural similarity rules. Hybrid phrases or theme substitutions occurred at points in the songs where both songs contained “similar sounds arranged in a similar pattern.” Songs appear to be learned as segments (themes/phrase types), akin to birdsong and human language acquisition, and these can be combined in predictable ways if the underlying structural pattern is similar. These snapshots of song change provide insights into the mechanisms underlying song learning in humpback whales, and comparative perspectives on the evolution of human language and culture.
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Kaplan, Jonathan, and Aren M. Wilson-Wright. "How Song of Songs Became a Divine Love Song." Biblical Interpretation 26, no. 3 (September 4, 2018): 334–51. http://dx.doi.org/10.1163/15685152-00263p03.

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Abstract The origin of the interpretation of Song of Songs as a description of God’s relationship with God’s beloved community has been a persistent question in the work’s history of interpretation. Earlier scholarship has provided a number of possible solutions to this problem, none of them conclusive. This article offers another possible answer: the language and imagery of the Northwest Semitic combat myth in Song 8:6-7, which identifies love with Yhwh as the victorious divine warrior, triggers the work’s interpretation as a divine love song. This argument receives support from some of the earliest allusions to Song of Songs in Revelation, which interpret Song of Songs in the context of apocalyptic discourse that likewise draws heavily on the combat myth.
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Dissertations / Theses on the topic "Song"

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Junkermann, Penelope Robin. "The relationship between Targum Song of Songs and Midrash Rabbah Song of Songs." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-relationship-between-targum-song-of-songs-and-midrash-rabbah-song-of-songs(d9749f55-93cb-4b58-b235-36d5a0f9a697).html.

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This dissertation investigates the relationship between Targum Song of Songs and Song of Songs Rabbah, and challenges the view that the Targum is dependent on the Midrash. In chapter one I set out the problem to be investigated and consider some of the reasons why scholars in the past have assumed that the Targum drew on the Midrash. Having rejected these reasons as inadequate and established the need for a fresh review of the evidence, I describe the approach I will adopt in the present thesis. In chapters two and three I introduce the two key texts individually, discussing such background information as their manuscripts, provenance, date, genre, coherence and theology. In chapter four I analyse textual parallelism and its implications, reviewing first some seminal studies of the subject, and then introducing and defending a distinction between one-to-one parallelism and multiple parallelism. In chapters five and six I examine in depth a number of indicative cases of both one-to-one and multiple parallelism between Targum Song and Song Rabbah, demonstrating that direct literary dependency between the one work and the other simply cannot be proved. In chapter seven I set this conclusion in the context of a wider comparison between Targum Song and Song Rabbah, arguing that the hypothesis of literary dependency rests on a model of text-creation and text-transmission that is inappropriate to Rabbinic literature in late antiquity. In a series of appendices, printed for convenience as a separate volume, I provide the texts discussed in the case studies in chapters five and six.
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Parker, Anthony Raymond. "Solomon's song a three act screenplay based on the Song of Songs /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Rostig, Grace. "Ambiguity in the Song of Songs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ47791.pdf.

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King, J. Christopher. "The bridegroom's perfect marriage-song : Origen on the Song of songs as eschatological text." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312664.

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Munro, Jill M. "The imagery of the 'Song of Songs'." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/27082.

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The intention of this thesis is to classify the imagery of the Song of Songs, and to see how the images therein combine to give movement to the whole. A translation of the Song tests the findings of the analysis. It is accompanied by a discussion of rare words and textual cruxes. Four main chapters follow, containing the main body of the work. Images are examined under the broad categories of 'Courtly Imagery', 'Imagery Drawn from Family Life' and 'Nature Imagery', each of which subdivides into a number of sections. The way in which they combine is considered in the final chapter, 'Metaphors in Time and Space'. Among the conclusions of the study is the importance of imagery in the constitution of the unity of the Song; the variety of images illumines the themes of seeking and finding, longing and fulfilment from a number of different perspectives, whilst their homogeneity builds up a common language between the lovers. This deepening communion is both the subject and purpose of the Song.
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Clarke, Rosalind S. "Canonical interpretations of the Song of Songs." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=203507.

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Traditional interpretations of the Song recognised in it many allusions to the wider canon and used these as the basis of an allegorical reading. The allegorical interpretation has largely been supplanted by dramatic, cultic and literal interpretations of the book, and the focus of scholarship on the Song has shifted towards methodological issues, rather than interpretive paradigms, using comparative studies, ideological approaches and literary analysis. These methods have tended to overlook the canonical context of the Song by focussing on extra-canonical parallels and internal literary features. Without advocating a return to the allegorical interpretation, the canonical approach recognises the significance of the book's canonical status, giving due attention to the literary, theological and ecclesiological contexts which the canon provides. A canonical method of interpretation drawing on literary theories of intertextuality and speech-acts is developed and applied to the Song of Songs. The Song is a particularly valuable test case for this method, since it is found in different contexts within the Jewish, Greek and Christian orders of the canon. The intertextual element of the canonical method is applied to each of these three contexts in successive chapters, with a final chapter analysing the canonical speech-acts associated with each context. It will be shown that the Song is deeply embedded within the canon as a result of a rich complex of literary allusions and theological motifs, and that its interpretation within each canonical context yields coherent yet distinctive results. In each context, the Song is shown to evoke feelings of desire in the reader. This desire is focused on woman wisdom in the wisdom literature context, on the ideal spouse in the Writings, and on Christ in the context of the Christian canon. For the Christian reader, the person of Christ provides the basis for the coherence of these readings.
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Stewart, Andrew Philip. "Participant identity in the Song of songs." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Juma, Dorcas Chebet. "Encountering the female voice in the Song of Songs : reading the Song of Songs for the dignity of Kenyan women." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95821.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This study investigates one of the central aspects of a Kenyan woman’s identity, namely the notion of sexuality, which unfortunately also underlies numerous socio-economic and developmental challenges currently confronting Kenyan women. The research shows that in Kenya, patriarchal ideologies are used to control the sexuality of women in the name of ‘our culture’. Thus, it is and has been difficult for many Kenyan women to live with dignity as beings equally created in the image and likeness of God. The study, therefore, sought to identify, expose, criticize, destabilize and to deconstruct patriarchal ideologies that deny Kenyan women the right to live with dignity. Patriarchal ideologies that have been used to mute the voices of Kenyan women on matters of sex and sexuality are challenged by introducing the voices of Kenyan women. The latter is done with reference to poetry that reflects the voices and experiences of Kenyan women as a means of expressing who they really are in the midst of a society that silences them. It is shown that, by means of poetry, the full power and energy of these women may be mobilized. Moreover, the voices and experiences of Kenyan women offer a contextual re-reading of the Song of Songs for their dignity. The study presents the female voice in the Song of Songs (a text from a male pen) as responding in a new way to the patriarchal Old Testament society on matters of sex and sexuality. In the process, a twofold strategy is proposed with which negative perceptions of the sexuality of women in the worldview of Kenya may be addressed: First, this study proposes that it is important to purposefully steer conversations regarding issues of sex and sexuality. The latter is done in the conviction that this is one way of creating a platform for addressing other gender-based injustices that deny Kenyan women the right to live with dignity. Second, by focusing on Kenyan poetry, as well as on the female voice in the Song of Songs, there is a possibility of reconstructing positive aspects of the sexuality of Kenyan women, which may allow them to live with dignity. To achieve the aim of this study, to re-read the Song of Songs for the dignity of Kenyan women, an African Women’s Theological approach is used within the broader context of feminist and womanist approaches to the Song. Through an African Women’s approach to the Song of Songs, the study asks how the female voice that spoke boldly in the patriarchal setting of the Old Testament can also be liberating in the Kenyan patriarchal setting. The female voice in Song of Songs presents issues of sex and sexuality in a new way. As such, it is proposed that the latter voice, read through the hermeneutical lens of Kenyan women’s poetry or poetry on Kenyan women, has the potential to inform and therefore to transform the patriarchal setting of the Kenyan society. It is only if Kenyan women are empowered to negotiate safe sex and to express their sexuality on their own terms and conditions, that this will be fully realized.
AFRIKKANSE OPSOMMING: Hierdie studie ondersoek een van die sentrale aspekte van ’n Keniaanse vrou se identiteit, naamlik die idee van seksualiteit, wat ongelukkig ook onderliggend is aan talle sosio-ekonomiese en ontwikkelingsuitdagings wat Keniaanse vroue tans konfronteer. Die navorsing toon in Kenia word patriargale ideologieë gebruik om die seksualiteit van vroue te beheer in die naam van ‘ons kultuur’. Dit is dus moeilik vir baie Keniaanse vroue om met waardigheid te leef as gelyk-geskape na die beeld en gelykenis van God. Hierdie studie poog om patriargale ideologieë wat Keniaanse vrouens die reg om met waardigheid te leef ontneem te identifiseer, te kritiseer, te destabiliseer en te dekonstrueer. Die studie daag patriargale ideologieë uit wat gebruik is en word om die stemme van Keniaanse vrouens oor seks en seksualiteit stil te maak. Dit word spesifiek gedoen deur die stemme en ervarings van Keniaanse vrouens in poësie te gebruik (soms in die gedigte van manlike digters!) as uitdrukking van hulle lewens te midde van ”’n patriargale samelewing. Dit word getoon hoedat hiedie gedigte die krag en energie van hierdie vroue kan mobiliseer. Meer nog, die stemme van Keniaanse vrouens bied die geleentheid tot ’n kontekstuele herlees van Hooglied met die oog op die erkening en beskerming van hulle waardigheid. Die vroulike stem in Hooglied word verstaan as ’n nuwe reaksie op die Ou Testamentiese samelewing met betrekking tot kwessies soos seks en seksualiteit. In die proses word daar met ’n tweeledige strategie voorendag gekom waarmee die negatiewe opvattings oor die seksualiteit van vroue in die wêreldbeeld van Keniaanse mans aangespreek kan word. Eerstens word die noodsaak voorgestel van ’n doelbewuste rigtinggewing aan gesprekke oor seks en seksualiteit. Dit word gedoen vanuit die oortuiging dat dit een manier is om ’n platform te skep waar gelsagsgebasseerde ongeregtighede wat Keniaanse vroue die reg op ’n menswaardige lewe ontsê aangespreek kan word. Tweedens, deur op Keniaanse poësie en die vroulike stem in Hooglied te fokus, word voorgestel dat dat posititewe aspekte van die seksualiteit van Keniaanse vroue herkonstrueer kan word, wat dan kan meewerk om hulle met waardigheid te kan laat leef. Ten einde bogenoemde doelwit van hierdie studie te bereik, word ’n Afrika-vrouebenadering toegepas in die lees van Hooglied. Dit vind plaas binne ’n breër konteks van Feministiese en sogenaamde “Womanist” benaderings tot die boek. Met ’n Afrika vroue benadering as leesstrategie, word aangedui dat en hoe die vroulike stem wat vreesloos in haar eie patriargale, Ou Testamentiese konteks spreek ook bevrydend kan funksioneer binne die Keniaanse patriargale konteks. Daar word dus getoon dat die vroulike stem in Hooglied seks en seksualiteit op ’n nuwe manier aanbied. Gevolglik stel hierdie studie voor dat die vroulike stem in Hooglied, gelees deur die hermeneutiese lens van Keniaanse gedigte oor of deur vroue, die potensiaal het om die patriargale konteks van die Keniaanse samelewing eendersyds te ontbloot en andersyds te transformeer. Dit is slegs wanneer Keniaanse vroue bemagtig word om vir veilige seks te kan onderhandel en hulle seksualiteit op hulle eie terme uit te kan druk, dat hulle menswaardigheid ten volle gerealiseer sal word.
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Gault, Brian P. "The adjuration repetend in the Song of songs." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Baxter, Brian A. "An exegesis of Song of Songs 2:15." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1168.

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Books on the topic "Song"

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Jeanne Marie Bouvier de La Motte Guyon. Song of songs. New Kensington, PA: Whitaker House, 1997.

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Hughesdon, Beverley. Song of Songs. London: Century, 1988.

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Galle, Rita. Song of Songs. Woodmere, N.Y: Pardes Rimonim Press, 1990.

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1958-, House Paul R., ed. Song of songs. Nashville: Thomas Nelson Publishers, 2004.

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Renzo, Sala, ed. Song of love: The Song of songs. Boston, MA: Pauline Books & Media, 2008.

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Clairvaux, Bernard of. Song of Songs I. Edited by Kilian Walsh OCSO. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463218218.

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Bicknell, Jeanette, and John Andrew Fisher. Song, songs, and singing. Malden, MA: John Wiley & Sons, 2013.

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Keel, Othmar. The Song of songs. Minneapolis: Fortress Press, 1994.

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Harold, Bloom, ed. The Song of songs. New York: Chelsea House Publishers, 1988.

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Moore, David George. Ecclesiastes, Song of Songs. Edited by Akin Daniel L. 1957- and Anders Max E. 1947-. Nashville, Tenn: Broadman & Holman, 2003.

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Book chapters on the topic "Song"

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del Rosario, Ingeborg. "Song of Songs." In Encyclopedia of Psychology and Religion, 2226–27. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_790.

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Rothenberg, Naftali. "Song of Songs." In Rabbi Akiva's Philosophy of Love, 91–110. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58142-2_5.

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Rosario, Ingeborg. "Song of Songs." In Encyclopedia of Psychology and Religion, 1684–85. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_790.

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Cyrous, Sam, Carol L. Schnabl Schweitzer, Stacey Enslow, Paul Larson, Rod Blackhirst, Morgan Stebbins, Erel Shalit, et al. "Song of Songs." In Encyclopedia of Psychology and Religion, 861–62. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_790.

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Westbrook, Deeanne. "Wordsworth’s Song of Songs." In Wordsworth's Biblical Ghosts, 123–43. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780312299330_6.

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Wright, Julia M. "3.7 “Sons of Song”." In Romantic Poetry, 333–53. Amsterdam: John Benjamins Publishing Company, 2002. http://dx.doi.org/10.1075/chlel.xvii.22wri.

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Astell, Ann W., and Catherine Rose Cavadini. "The Song of Songs." In The Wiley-Blackwell Companion to Christian Mysticism, 25–40. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118232729.ch2.

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Astell, Ann W., and Catherine Rose Cavadini. "The Song of Songs." In The Wiley-Blackwell Companion to Christian Mysticism, 25–40. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118232736.ch2.

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Blanc, Luis F. Girón. "Song of Songs in Song of Songs Rabbah." In Encyclopaedia of Midrash, 857–70. BRILL, 1987. http://dx.doi.org/10.1163/9789004531352_018.

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"Song of Songs:." In Fierce, 89–95. 1517 Media, 2017. http://dx.doi.org/10.2307/j.ctt1gr7fb8.15.

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Conference papers on the topic "Song"

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"Sadhukarn Song, The Song in Thai Rituals." In March 21-23, 2018 Istanbul (Turkey). Dignified Researchers Publication, 2018. http://dx.doi.org/10.17758/dirpub1.dir0318018.

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Sutthithepthamrong, Phanuthep, and Vadim Marshalkovskiy. "@Blood Song." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3446562.3458514.

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Navone, Victor. "Alien Song." In ACM SIGGRAPH 2001 video review. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/945314.945317.

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Palmer, Nicholas, Roelof Kemp, Thilo Kielmann, and Henri Bal. "SWAN-song." In the Third International Workshop. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2389148.2389160.

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Gabbolini, Giovanni, and Derek Bridge. "Generating Interesting Song-to-Song Segues With Dave." In UMAP '21: 29th ACM Conference on User Modeling, Adaptation and Personalization. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450613.3456819.

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Yanling, Zhuang, and Wang Huajie. "Interpretation of 8 Tenses Song/Planting Trees(Song)." In Proceedings of the 2019 3rd International Conference on Education, Culture and Social Development (ICECSD 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icecsd-19.2019.35.

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Lee, Juheon, Sungkyun Chang, Sang Keun Choe, and Kyogu Lee. "Cover Song Identification Using Song-to-Song Cross-Similarity Matrix with Convolutional Neural Network." In ICASSP 2018 - 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2018. http://dx.doi.org/10.1109/icassp.2018.8461395.

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Mondal, Uttam Kr, and J. K. Mandal. "Song authentication technique through concealment of secret song (SATCon)." In 2011 International Conference on Recent Trends in Information Technology (ICRTIT). IEEE, 2011. http://dx.doi.org/10.1109/icrtit.2011.5972306.

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Khoa, Đỗ Đăng, Ngô Hồng Đăng, Phan Đăng Phong, and Đỗ Sanh. "Động lực học ngược của rô bốt song song 3RRR." In HỘI NGHỊ KHOA HỌC TOÀN QUỐC LẦN THỨ NHẤT ĐỘNG LỰC HỌC VÀ ĐIỀU KHIỂN. Publishing House for Science and Technology, 2019. http://dx.doi.org/10.15625/vap.2019000277.

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Wijaya, Hendry, and Raymond Sunardi Oetama. "Song Similarity Analysis With Clustering Method On Korean Pop Song." In 2021 6th International Conference on New Media Studies (CONMEDIA). IEEE, 2021. http://dx.doi.org/10.1109/conmedia53104.2021.9617204.

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Reports on the topic "Song"

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Lizurek, Grzegorz. Episode: SONG TRANH. Institute of Geophysics, Polish Academy of Sciences, January 2015. http://dx.doi.org/10.25171/instgeoph_pas_isepos-2017-001.

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Shiller, Ben, and Joel Waldfogel. Music for a Song: An Empirical Look at Uniform Song Pricing and its Alternatives. Cambridge, MA: National Bureau of Economic Research, October 2009. http://dx.doi.org/10.3386/w15390.

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Kramer, Elisabeth. Candidates sing the same old anti-corruption song. Edited by Sam Hendricks. Monash University, February 2024. http://dx.doi.org/10.54377/fc8f-8ec3.

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Seacord, Robett C., and Scott A. Hissam. Browsers for Distributed Systems: Universal Paradigm or Siren's Song? Fort Belvoir, VA: Defense Technical Information Center, July 1998. http://dx.doi.org/10.21236/ada351644.

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Mizrach, Amos, Michal Mazor, Amots Hetzroni, Joseph Grinshpun, Richard Mankin, Dennis Shuman, Nancy Epsky, and Robert Heath. Male Song as a Tool for Trapping Female Medflies. United States Department of Agriculture, December 2002. http://dx.doi.org/10.32747/2002.7586535.bard.

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This interdisciplinaray work combines expertise in engineering and entomology in Israel and the US, to develop an acoustic trap for mate-seeking female medflies. Medflies are among the world's most economically harmful pests, and monitoring and control efforts cost about $800 million each year in Israel and the US. Efficient traps are vitally important tools for medfly quarantine and pest management activities; they are needed for early detection, for predicting dispersal patterns and for estimating medfly abundance within infested regions. Early detection facilitates rapid response to invasions, in order to contain them. Prediction of dispersal patterns facilitates preemptive action, and estimates of the pests' abundance lead to quantification of medfly infestations and control efforts. Although olfactory attractants and traps exist for capturing male and mated female medflies, there are still no satisfactorily efficient means to attract and trap virgin and remating females (a significant and dangerous segment of the population). We proposed to explore the largely ignored mechanism of female attraction to male song that the flies use in courtship. The potential of such an approach is indicated by studies under this project. Our research involved the identification, isolation, and augmentation of the most attractive components of male medfly songs and the use of these components in the design and testing of traps incorporating acoustic lures. The project combined expertise in acoustic engineering and instrumentation, fruit fly behavior, and integrated pest management. The BARD support was provided for 1 year to enable proof-of-concept studies, aimed to determine: 1) whether mate-seeking female medflies are attracted to male songs; and 2) over what distance such attraction works. Male medfly calling song was recorded during courtship. Multiple acoustic components of male song were examined and tested for synergism with substrate vibrations produced by various surfaces, plates and loudspeakers, with natural and artificial sound playbacks. A speaker-funnel system was developed that focused the playback signal to reproduce as closely as possible the near-field spatial characteristics of the sounds produced by individual males. In initial studies, the system was tasted by observing the behavior of females while the speaker system played songs at various intensities. Through morning and early afternoon periods of peak sexual activity, virgin female medflies landed on a sheet of filter paper at the funnel outlet and stayed longer during broadcasting than during the silent part of the cycle. In later studies, females were captured on sticky paper at the funnel outlet. The mean capture rates were 67 and 44%, respectively, during sound emission and silent control periods. The findings confirmed that female trapping was improved if a male calling song was played. The second stage of the research focused on estimating the trapping range. Initial results indicated that the range possibly extended to 70 cm, but additional, verification tests remain to be conducted. Further studies are planned also to consider effects of combining acoustic and pheromonal cues.
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Dutta, Lopamudra, and Soubhik Chakraborty. Analyzing a Raga based Bollywood song: A statistical approach. Peeref, April 2023. http://dx.doi.org/10.54985/peeref.2304p4050647.

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Coolican, Michael A. The Song Remains the Same: United States Marine Corps and V/STOL. Fort Belvoir, VA: Defense Technical Information Center, January 2002. http://dx.doi.org/10.21236/ada403750.

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Laura Céspedes Arias, Laura Céspedes Arias. Hybridization in Andean warblers: how color, song, and genes interact in avian hybrid zones. Experiment, September 2016. http://dx.doi.org/10.18258/7813.

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Moskowitz, Ira S., and Daniel D. Kang. Comments on Optical Fiber Communication Channel Capacity Results of Song, Mahajan, Mahadevan, and Morris. Fort Belvoir, VA: Defense Technical Information Center, March 2010. http://dx.doi.org/10.21236/ada518673.

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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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