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Journal articles on the topic 'Song work'
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1
Matthews, K., and C. Stelmackowich. "Anatomists' work song." Canadian Medical Association Journal 180, no. 4 (February 17, 2009): 431–32. http://dx.doi.org/10.1503/cmaj.090062.
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Caporicci, Camilla. "The Song of Songs in Thomas Campion’s Work." Notes and Queries 65, no. 1 (January 16, 2018): 116–19. http://dx.doi.org/10.1093/notesj/gjx188.
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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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Pleijel, Agneta. "Author and Translator: The Stylist's Work with the Song of Songs." Bible Translator 47, no. 1 (January 1996): 114–18. http://dx.doi.org/10.1177/026009359604700103.
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Nevins, A., and A. B. R. de Arellano. "Plena is Work, Plena is Song." Gerontologist 30, no. 3 (June 1, 1990): 427–28. http://dx.doi.org/10.1093/geront/30.3.427a.
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Grossberg, Daniel. "Nature, Humanity, and Love in Song of Songs." Interpretation: A Journal of Bible and Theology 59, no. 3 (July 2005): 229–42. http://dx.doi.org/10.1177/002096430505900302.
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This essay is a study of the three-fold theme of nature, humanity, and love in Song of Songs and an investigation into the ways nature imagery is used to evoke human love. The work further examines the nature of the highly erotic yet restrained love that is evoked.
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Boldyreva, Indzhir M. "Песни о выселении калмыков и их возвращении из Сибири, записанные у информанта М. Б. Мудаевой." Бюллетень Калмыцкого научного центра Российской академии наук 15, no. 3 (November 25, 2020): 251–63. http://dx.doi.org/10.22162/2587-6503-2020-3-15-251-263.
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Goals. The paper introduces texts of songs dealing with the Kalmyk deportation and its follow-up period recorded from M. B. Mudaeva. These songs illustrate the historical truth of 1943 nation-wide tragedy and enormous happiness of the ones to have survived and returned to ancestral lands. Materials. The work examines songs recorded by the scholars of Kalmyk Research Institute of Language, Literature and History (present-day Kalmyk Scientific Center of the RAS) from M. B. Mudaeva during the 1960 folklore research expedition in Yashkulsky District. The song Hal’mgudyg nүүlһsnә tusk dun (‘Song of the Kalmyk Deportation’) deals with the deportation itself, and the song Hal’mgud Sibrәs irsnә tusk dun (‘Song of the Kalmyks’ Arrival from Siberia’) depicts the successful return and universal joy of ones who after all reached their dear steppe. Conclusions. The work introduces the songs about deportation of Kalmyks and their return to their native land that have not been published before.
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Snijders, Tineke M., Titia Benders, and Paula Fikkert. "Infants Segment Words from Songs—An EEG Study." Brain Sciences 10, no. 1 (January 9, 2020): 39. http://dx.doi.org/10.3390/brainsci10010039.
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Children’s songs are omnipresent and highly attractive stimuli in infants’ input. Previous work suggests that infants process linguistic–phonetic information from simplified sung melodies. The present study investigated whether infants learn words from ecologically valid children’s songs. Testing 40 Dutch-learning 10-month-olds in a familiarization-then-test electroencephalography (EEG) paradigm, this study asked whether infants can segment repeated target words embedded in songs during familiarization and subsequently recognize those words in continuous speech in the test phase. To replicate previous speech work and compare segmentation across modalities, infants participated in both song and speech sessions. Results showed a positive event-related potential (ERP) familiarity effect to the final compared to the first target occurrences during both song and speech familiarization. No evidence was found for word recognition in the test phase following either song or speech. Comparisons across the stimuli of the present and a comparable previous study suggested that acoustic prominence and speech rate may have contributed to the polarity of the ERP familiarity effect and its absence in the test phase. Overall, the present study provides evidence that 10-month-old infants can segment words embedded in songs, and it raises questions about the acoustic and other factors that enable or hinder infant word segmentation from songs and speech.
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Hore, Sirshendu, and Tanmay Bhattacharya. "Analyzing Tagore's Emotion With the Passage of Time in Song-Offerings." International Journal of Synthetic Emotions 10, no. 2 (July 2019): 18–38. http://dx.doi.org/10.4018/ijse.2019070102.
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The emotions of humans can be observed through tears, smiles, etc. The emotion of poets is reflected through poetry/songs. The works of a poet give philosophical insights about the beauty and mystery of nature, socio-economic conditions of that era, besides his personal state of mind. In the proposed work ‘Song- Offerings': A collection of poems and songs composed by Rabindranath Tagore, for which, Tagore received the Nobel Prize for literature in 1913, has been analyzed. Earlier, most of the research work on Song-Offerings was based on Zipf's law or bibliometric laws. This article analyzes the changes in Tagore's emotion in Song-Offerings with the passage of time (1895-1912). Emotions are analyzed based on the Arousal-Valence Model. To analyze the arousal state, ‘Plutchik's' emotion model has been employed and to find the valence, a Fuzzy-based model has been engaged. The work reveals that the emotions of the poet gradually mellows with the passage of time barring some transitional time, nevertheless, poet submission towards almighty remains unchanged during this period.
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Stephenson, Jean. "“Quizás, quizás, quizás”. Translators’ dilemmas and solutions when translating spanish songs into english." DEDiCA Revista de Educação e Humanidades (dreh), no. 6 (March 1, 2013): 139–51. http://dx.doi.org/10.30827/dreh.v0i6.6968.
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Rendering songs into another language poses numerous difficulties for translators. Songs may be considered as poems set to music, and in translating them, these professionals confront not only routine translation problems such as expressing the meaning, ambience and style of the original work, but they also have to attend to other requisites such as creating a new version of the song within the restrictions of rhythm and rhyme. In this article, I examine songs from Spanish literature and from Spanish and South American popular music, and explore translators’ ways of converting the original texts into English. We shall see that sometimes they have captured meaning by translating virtually word for word, while on other occasions translated songs manage to encapsulate only the general sense and atmosphere of the original Spanish song. In some cases, sounds from the original have acted as a catalyst for the topic of a new song, while in others the song’s main topic has been discarded altogether. As a result of these perhaps inevitable adjustments and shifts in topic and atmosphere there will nearly always be some kind of ‘loss’ in the translation of songs, but on rare occasions their rendition into English almost seems to ‘improve’ on the Spanish version. I will outline Low’s (Low, 2005) “Pentathlon Principle” which offers five criteria for assessing song translation, and examine specific translations from this persective. Song examined are María Josefa’s song “Ovejita, niño mío” from Federico García Lorca’s “La Casa de Barnada Alba”, Luis Aguilé’s “Cuando salí de Cuba”, Agustín Lara’s “Granada”, and Osvaldo Farrés’s “Quizás, quizás, quizás.”
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Ragulina, E. S., and N. Yu Arzamastseva. "The Use of Song Material in Russian as a Foreign Language Classes (from experience)." Professor’s Journal. Series: Russian and Literature: studying and teaching 4 (November 26, 2020): 18–22. http://dx.doi.org/10.18572/2687-0339-2020-4-18-22.
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The article presents current issues of using song material in classes of Russian as a foreign language. The main advantages of using song material, which help to reveal the main competencies in teaching a foreign language, are highlighted. The criteria for selecting songs, presented for complex work on the use of song material in the lessons of Russian as a foreign language, are considered. Examples of using various songs in accordance with the language level of foreign students are given.
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Kagawa, Hiroko, Hiroko Yamada, Ruey-shing Lin, Taku Mizuta, Toshikazu Hasegawa, and Kazuo Okanoya. "Ecological correlates of song complexity in white-rumped munias." Interaction Studies 13, no. 2 (May 7, 2012): 263–84. http://dx.doi.org/10.1075/is.13.2.05kag.
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Male white-rumped munias sing syntactically simpler songs than their domestic counterparts, Bengalese finches. The differences in song structure may reflect differences in natural selection pressures between wild and domestic environments. Deacon (2010) proposed song simplicity of the wild strain could be subject to natural selection. We hypothesized the selection pressure may be species identification. Thus, we compared song variations in relation to ecological factors and dispersal history of white-rumped munias to understand song evolutionary processes. We found geographic variations of song syntactical complexity. The difference of song syntactical complexity did not corresponded to genetic distance, but did to that of the proportion of mixed flocks with sympatric related species. Birds that inhabited the areas with more mixed flocks sang simpler songs. The song complexity might be constrained to intensify distinct conspecific signals from related species. Our field work provided empirical evidence supporting a proposal made by Deacon (2010). Keywords: birdsong; evolution; masking hypothesis; Bengalese finches; song geographic variation; genetic variation
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Tymoshenko, A. V. "Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 74–91. http://dx.doi.org/10.34064/khnum2-14.06.
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Background. In recent years, there has been an increasing interest in the phenomenon of lyricism in Ukrainian musicology. This growth is more so conspicuous given that in the Soviet Musical Encyclopedia this term was omitted, and now it is the pivot of various researches, up to Ph. D. dissertations [7]. There is also a tendency to use this term regarding not only to vocal, but to instrumental music as well, including works lacking noticeable traits of lyrical mood. Works devoted to literature contain valuable information on lyricism, including remarks on the apprehension of this phenomenon in France. On the other side, there are no special researches devoted to incarnation of lyricism in different cultures of pop singing based on their comparison. The objective of research is to reveal specifics of lyricism in Ukrainian and French songs and to apply the results received to the of work with the students of Popular Music and Jazz Department. Methods. To reach that objective, eight songs have been considered. Although these songs belong to different cultures (Ukrainian and French), they are bound the similar plot basics; they pertain to love poetry, and each of them in some way embodies themes of detachment, remembrance, confession of love etc. The main aspect taken into consideration was whether the song leans towards open expression of feeling or no, when the feelings of lyrical hero (even very strong) are kept inside him; and in what way that correlates with the song being French or Ukrainian. Results. Having considering these songs, we were able to state similarities and differences between them. The song “Kohana” (“Beloved”) combines lyrical extraversion with optimistic mood. Plentiful hints about future allow understanding of this song as an open declaration of joy, caused by mutual love. Hence, firm belief in happy future should be represented with active and strong voice. Contrary to that, the song “Ochi voloshkovi” (“Cornflower-blue Eyes”) directs into the past as a reminiscence of pleasant days of happiness. Clearly defined initial nostalgic mood gradually shifts into a tragic one as it becomes clear, that hero’s hopes for future cannot be fulfilled. In this case, emphatic affirmative intonation would be perceived as an illusion. The song “Kvity romena” (“Flowers of chamomile”) represents another pole of Ukrainian songs as it lacks tragic mood or confessions. The text of the song hasn’t any conflicts, and that causes “unproblematic” performing tone. The poetic text differs from the previous two songs as it relies less on a parallelism between nature and state of the soul and uses more complicated methods, such as assonances and more elaborated system of metaphors (the chamomile, initially standing for the soul of the hero, later becomes a symbol of love). Overall, this song characterizes not by “experiencing”, but by representation. The main motive of the song “Dead Leaves” (“Les feuilles mortes”) is remembrance, but not only of the past times, but also of the song, which the lyrical hero used to sing with his beloved. The structure of “Les feuilles mortes” is quite original as it consists of two parts: introduction with clearly defined speech basis, and the main part, where vocal plays bigger role. This reminds of traditional opera form “Recitativo e Aria”, where both parts might be not joined by the same thematic material. “Les feuilles mortes” doesn`t bear conflict as the idea that love cannot be returned is accepted rather calmly, without outburst of lamentation. The “flow” of music is rather smooth as it lacks sudden modulations and unusual intonations; that creates an atmosphere of tranquil reminiscence. The opposite attitude about love is enshrined in the song “The snow is falling” (“Tombe la neige”), where the snow stands for cold and dispassionate reality as well as of the state of soul of lyrical hero. The unity of these meanings is emphasized in the words “Blanche solitude” (“White solitude”), and their opposition – in the contrast of desperate cry and indifferent descent of snow. The melody of song is quite special as it has a pause after each line that creates the effect of woeful sighs. The simplicity of the harmony emphases relentless despair of the hero; thus, the song demonstrates an example of “limitation of expressive possibilities”. In the song “Nathalie” lyricism is combined with narrative features as the song is, basically, the recital of the story of the visit of the French tourist to the Moscow during the Soviet era. Here, the sound-painting is used: to portray the party of Russian students, the orchestra resembling Russian folk instruments is used and gradual acceleration of the tempo creates an allusion to traditional Russian dances. In the last part of the song potentially dramatic phrase “My life appears empty” doesn’t cause culmination as it would do on Ukrainian song – solitude taken just as fact of reality. The conclusion is drawn that the lyricism of Ukrainian songs is mostly inclined to the “pure” type with its open emotionality, and that of French songs – by the synthesis with another moduses of expression (such as narrative, pondering, reminiscence etc.). This difference is visible even more due to the similarities of the poetic texts. The Ukrainian songs usually have more opened form of emotional expression, with illusion of “experiencing”, while the French songs are marked by quite reserved feelings or usage of the change of their intensity as a mean of expression. In the latter case, expressiveness is reached often by another means, which often require more intellectual perception (complicated and refined poetic symbols, music closely following the text, poetic techniques etc.). Although of considered song groups includes those seemingly negating these conclusions (“Kvity romena”, “Tombe la neige”), they can be regarded as exceptions from the general rule that is inevitable and natural in the functioning of “living” artistic culture. Nevertheless, both national cultures share understanding of lyricism as expression of feelings. Comprehension of specifics of lyricism in Ukrainian and French songs will allow the students in their practical work to choose the degree of revealing of emotions suitable to the essence of the performed songs; that, subsequently, will result in the performance being stylistically loyal. At the same time, similarities in interpretation of lyricism allow to overcome any cultural or language barriers.
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Larionova, A. S. "Edward Alekseyev – founder of Yakut ethnomusicology." Languages and Folklore of Indigenous Peoples of Siberia, no. 41 (2021): 163–72. http://dx.doi.org/10.25205/2312-6337-2021-1-163-172.
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The paper studies the life and creative path of the outstanding Russian ethnomusicologist E. E. Alekseev. He was born in 1937 in Yakutsk. He studied at the Moscow State Conservatory, named after P. I. Tchaikovsky. He wrote a large number of scientific papers. To a great extent, he explored the mode-scale and mode-intonation sphere of Yakut folk song and early folklore traditional music. He created models of the mode-intonation basis of archaic singing. He also studied various aspects of the traditional singing of Yakuts: genres and styles, the connections of the word and music of Yakut folk songs, the heterophonic polyphony of the Yakut ritual osuokhai, and the Yakut folk instrument khomus. Together with N. N. Nikolaeva, he published the collection of Yakut folk songs of various styles and genres (“Samples of Yakut song folklore”). He conducted the editorial work on the publication of other researchers’ works. He edited the piano works of G. A. Grigoryan. He participated in the release of the record “Ustin Nokhsorov Sings” and the creation of the documentary “Times of dreams” about shamans of Siberia and the Far East. As a composer, he created romances, choirs, and treatments of folk songs. He composed “Sergelyakhsky sketches” comprising 4 piano pieces. Together with composer G. N. Komrakov, he created the opera “Song of Manchary” on a historical plot. His research work is being developed by Russian and foreign researchers of musical folklore. A lot of statements put forward by E. E. Alekseev have further prospects for study.
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Kwon, Hye-Jin. "Utilization of Work Song for Infant-Mother Interaction." Journal of the Korea Contents Association 8, no. 6 (June 28, 2008): 269–80. http://dx.doi.org/10.5392/jkca.2008.8.6.269.
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Linda Wang. "Science storytelling in scholarly work and in song." C&EN Global Enterprise 98, no. 46 (November 30, 2020): 40. http://dx.doi.org/10.1021/cen-09846-newscripts.
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Shackleton, Scott A., Laurene Ratcliffe, Andrew G. Horn, and Christopher T. Naugler. "Song repertoires of Harris' sparrows (Zonotrichia querula)." Canadian Journal of Zoology 69, no. 7 (July 1, 1991): 1867–74. http://dx.doi.org/10.1139/z91-259.
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The songs of 34 male Harris' sparrows were recorded at Churchill, Manitoba. The songs are composed of one to three whistled notes, all at the same frequency. Individuals sing from one to three song types, each at a discrete frequency. Males are very accurate at returning to the same frequency, both within a bout and between days. Individuals seem to structure their repertoire on the basis of the frequency ratio between types, rather than on the absolute frequency of each type. Males responded to playback of a 3-kHz song with the song in their repertoire that was closest to it in frequency. We suggest that the frequency ratio between song types may be species specific, whereas the absolute frequency of song types may facilitate individual recognition. This species has been previously described as having only a single song type. Our study and other recent work suggest that there is no sharp distinction in the wild between bird species with single and multisong repertoires.
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B. Decock, Paul. "Origen’s Christian Approach to the Song of Songs." Religion and Theology 17, no. 1-2 (2010): 13–25. http://dx.doi.org/10.1163/157430110x517898.
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AbstractThis essay attempts to understand and appreciate what Origen was aiming at in his commentary on the Song of Songs. Origen “imagined” the purpose of reading the Scriptures as the transformation of the reader into the “likeness of God”. He viewed the Song of Songs as the climax of all songs of Scripture and therefore, “learning to sing that song” expressed the highest stage of Christian growth. As the subject matter of the Song of Songs is love, it is clear that perfection in love is indeed the ultimate goal of human life. However, understanding love is difficult and many go astray, because, in fact, as God is love, understanding love and loving is as profound as God Self. It is through the Logos at work in the Scriptures as well as within us and in the whole of the created reality that we are empowered for loving and understanding love. Origen describes the action of the Logos with the image of a “saving wound caused by the arrow of the divine eros”. Origen’s perspective is not that of working towards a fusion of horizons between a human author in the past and a present-day reader, but of working towards an ascent from the level of the “letter” to the level of the “spirit”.
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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.
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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.
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Rinon, Yoav. "Mise en abyme and Tragic Signification in the Odyssey: The Three Songs of Demodocus." Mnemosyne 59, no. 2 (2006): 208–25. http://dx.doi.org/10.1163/156852506777069673.
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AbstractThis essay highlights some aspects of the tragic conception of the Odyssey in assertion of its generic identity, focusing on the three songs of the bard Demodocus recounted in Book 8 of the epic and using mise en abyme as the primary exegetical tool. Mise en abyme, a narratological term denoting a certain part of a literary work of art that represents the work as a whole, functions in Demodocus' first song to mark the Odyssey as an epic in dialogue with the Iliad. The second song functions as a mise en abyme of both the content of the Odyssey and its poetic form. The last of the bard's songs enhances the perception of mise en abyme, viewing the Odyssey as an act of communication between poet and audience where the song and its responding listeners suggest emotional and cognitive reactions to the narratees of the Odyssey. This song also reflects the two earlier ones, and it is this dialogical relationship that leads to the epic's tragic signification.
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Інна Терешко and Лариса Пшемінська. "M. LEONTOVYCH’S WORK OF FOLKLORE IN THE CONTEXT OF THE NEW UKRAINIAN SCHOOL." Collection of Scientific Papers of Uman State Pedagogical University, no. 4 (September 4, 2020): 128–35. http://dx.doi.org/10.31499/2307-4906.4.2020.224180.
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The methodical concepts of organization, recording, processing and documentation of folklore by the outstanding Ukrainian composer, conductor, teacher Mykola Leontovych are defined in the article. The artist's interest in folk songs is revealed, and his purposeful work as a recorder of folk melodies is studied. The composerʼs approaches to collecting, studying and popularizing the folklore of Ukraine are defined. The memories of friends and students, which reveal the composer’s and folklore activities, are analyzed.Much attention is paid to the definition of individual perception, techniques and methods of presentation of folklore in the professional activities of M. Leontovych, in particular, describes the diverse and multilevel system of the composerʼs creative approach to folk songs and outlines the leading role of folklore in music and aesthetic education. The article considers the national originality of M. Leontovych’s choral music, reveals the close connection of the composer’s activity with the rich folk song culture of Ukraine, highlights the composer’s innovative approaches to the embodiment of folklore in Ukrainian music, traces the artist’s influence on the development of the choral miniature genre. The paper presents a creative understanding of the folk song heritage of the composer and the use of its best examples in the education and artistic training of todayʼs young generation. Some aspects of the development of professional skills of future teachers of music are highlighted. The use of certain forms, methods, techniques of educational activities contribute to the formation of studentsʼ readiness to use arrangements of M. Leontovychʼs song folklore in modern secondary schools in the context of the New Ukrainian School.
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Syroid, Olena. "Spiritual Song in Ukrainian Folklore Milieu." Слово і Час, no. 11 (November 15, 2019): 62–71. http://dx.doi.org/10.33608/0236-1477.2019.11.62-71.
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The paper outlines the original phenomenon of a spiritual song in the Ukrainian oral tradition, determines characteristic features of these texts and their functions. Besides, the author focuses on some special research issues concerning the folklore religious repertoire, first of all, the specificity of the relationship between spiritual and secular epic songs.
The spiritual song in the Ukrainian oral tradition is a large group of poetical and musical works, united primarily by the religious Christian themes and endowed with the ability to acquire special spiritual meaning in the life of a believer, exercise an important function of satisfying his/her spiritual religious needs. Another defining feature of these songs is a lack of clear attachment to a certain rite, time, occasion. An episodic attachment of individual texts to the rite only reveals their multifunctionality, since, as a rule, the same work may be used in various rituals, appear in the repertoire of professional singers, and perform some other functions simultaneously. Essential for the differentiation of the spiritual song phenomenon in the folklore milieu is the fact of distinguishing this group of works and perceiving it as integrity by the bearers of tradition themselves until now. They use special folk concepts for its designation (‘God’s songs’, ‘psalms’). At the same time, this large stratum of folk repertoire is divided into two sub-groups, namely folklorized songs of book origin and those of folk origin. Thus, the phenomenon of a spiritual song in the Ukrainian oral tradition is characterized by a rich variety of texts in terms of character, time of emergence, nature, form, style, and genre features.
The practice of perception, recording, and comprehension of spiritual songs has developed certain concepts and approaches. The present paper offers an attempt to systematize the previous experience and distinguish the problems that were raised in the works by various researchers and remained topical, often lacking a proper resolution. Attention to the system of the research approaches gives a guideline to the author and forms a sense of the continuing tradition.
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Mahmudah, Siti. "Nilai Budaya dalam Lirik Lagu Banjar Karya Syarifudin MS." Pelataran Seni 1, no. 1 (March 17, 2016): 71. http://dx.doi.org/10.20527/jps.v1i1.1454.
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AbstractThe value of culture is the conception of ideal or idealized images of something that is deemed valueable, life in mid and are embodied in the norms of society. The lyrics are an expression of an author who comes from inside her about something they have seen, heard and felt. The song is a song has speak Banjar. After conducting qualitative descriptive study about the Banjar song lyrics work Syarifudin MS., in particular the analysis of the music album Hindau Banua, found five categories of cultural values. Ie the value of religiosity and social mores.Keywords: banjar songs, syarifudin ms, cultural values, song lyric
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Chonghaile, Deirdre Ní. "‘listening to this rude and beautiful poetry’: John Millington Synge as Song Collector in the Aran Islands." Irish University Review 46, no. 2 (November 2016): 243–59. http://dx.doi.org/10.3366/iur.2016.0225.
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To date, little attention has been given to the songs in Synge's The Aran Islands, items that Tim Robinson imagines are not ‘fully thought into the texture of the work’. They come from a collection of songs in Irish and in English that was created by Synge in Inis Oírr in 1901 in the company of the local poet Mícheál Ó Meachair. This essay investigates Synge's song collection and the local singers and poets whom he met, including Seághan Seoige of Baile an Fhormna, Inis Oírr and Marcuisín Mhichil Siúinéara Ó Flaithbheartaigh of Cill Rónáin, Árainn. It examines how the music of Aran impacted on Synge during his four visits between 1898 and 1901, what his collection tells us about the song tradition of Aran, and what inspired him to collect songs there. Did Douglas Hyde's Love Songs of Connacht prompt him to create his own collection? What parts did Lady Gregory and W.B. Yeats play? Considering Synge was a trained musician and composer, why did he not collect the airs that accompanied the songs? Recognising the influence of sean-nós song on Synge's dramatic oeuvre, this essay questions whether or not the songs of Aran affected his work.
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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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Péter, Éva. "János Jagamas’ Folk Song Arrangements." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 307–20. http://dx.doi.org/10.24193/subbmusica.2020.2.20.
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"The aim of the following study is to present János Jagamas’ vocal folk song arrangements by analyzing the melodies and the compositional methods used within the works. During his scientific work at the Folklore Institute of Cluj-Napoca, the outstanding folk music researcher uncovered and recorded reliable data by collecting, recording, analyzing, and classifying not only Hungarian but also Romanian and Bulgarian melodies. He processed some of the melodies he gathered using a variety of compositional procedures. The works are recommended for children, youth, and amateur choirs, so it is important to get to make them known among music teachers and conductors. Keywords: folk song adaptations, homogeneous and mixed choir works, polyphonic and homophonic editing techniques."
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Schellenberg, Annette. "The Description of Solomon’s Wedding: Song 3:6-11 as a Key to the Overall Understanding of the Song of Songs." Vetus Testamentum 70, no. 1 (January 20, 2020): 177–92. http://dx.doi.org/10.1163/15685330-12341433.
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Abstract This article argues that Song of Songs 3:7-11 is a mocking song about King Solomon and was not originally connected with 3:6. After presenting aspects of 3:7-11 that might convey criticism of Solomon, the thesis is further substantiated by observations showing that taking Solomon as a cipher for the nonroyal human lover or a divine lover does not work in this passage. The article concludes by pointing out some consequences of this analysis for the overall understanding of the Song.
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Muzakka, Moh. "Lirik Lagu “Citra Cinta” Karya Rhoma Irama: Kajian Stilistika." Nusa: Jurnal Ilmu Bahasa dan Sastra 16, no. 1 (February 28, 2021): 75–87. http://dx.doi.org/10.14710/nusa.16.1.75-87.
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The purpose of this research is to study the language style of Rhoma Irama's song lyrics entitled "Citra Cinta". To study these lyrics, stylistic theory is used, which is an interdisciplinary linguistic theory whose object of study is literary works. The work steps used in this study are to apply stylistic work steps initiated by Pradopo, namely analyzing language style based on the units that build literary works, namely sound style, word style, sentence style, and discourse style. The results of the analysis show that the language style that builds the lyrics of the song "Citra Cinta" by Rhoma Irama cannot be separated independently because the lyrical discourse of the song is built by a coherent sound style, word style, and sentence style to build the discourse, namely the value of love that is holy and noble.
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Caporicci, Camilla. "Black But Yet Fair: TheToposof the Black Beloved from Song of Songs in Shakespeare’s Work." Shakespeare 14, no. 4 (July 27, 2017): 360–73. http://dx.doi.org/10.1080/17450918.2017.1354061.
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Dharamraj, Havilah. "The Idea of the Idyll: Why it May Not Work for the Song of Songs." Expository Times 124, no. 9 (February 7, 2013): 417–24. http://dx.doi.org/10.1177/0014524613476823.
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Malendra Pradana, Tio, and Agung Pramujiono. "PSIKOLOGIS PENGARANG DALAM LIRIK LAGU ALBUM “DOSA, KOTA, DAN KENANGAN” KARYA SILAMPUKAU." Buana Bastra 6, no. 1 (May 5, 2021): 60–66. http://dx.doi.org/10.36456/bastra.vol6.no1.a3601.
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This research is motivated by the fact that each of the creative process in the creation of aliterary work is a personal reflection author. The personal things, including psychologicalfactors within the author closely related to the events that the author never experienced in thepast. In addition to the author's personal experience, culture and literacy authors also take partin determining the quality of a literary work. In this study, the researchers raised concernsabout the psychology of the author of the lyrics of the song Silampukau. The purpose of thisstudy was to describe how the association psychology author of the lyrics of the song album"Dosa, Kota, dan Kenangan" by Silampukau have correlation with this author. The approachused in this study is expressive approach, whereas the type of research is descriptive. The dataused in this study is a written record. Data is written in the form of song lyrics tenSilampukau, among others Balada Harian, Si Pelanggan, Puan Kelana, Bola Raya, Bianglala,Lagu Rantau, DOA 1, Malam Jatuh di Surabaya, Sang Juragan, and Aku Duduk Menanti.Sources of data in this study is the physical release / CD album "Dosa, Kota, dan Kenangan"by Silampukau which contains ten songs. In this study, the techniques used to collect data isthe technique see and record. Researchers in this study do penyimakan careful to use languagethat is used by Silampukau analyzed in every song on the album "Dosa, Kota, dan Kenangan"by Silampukau to get the lyrics or the words used in the songs. Based on the results of dataanalysis found that there are some songs that have a link between the psychology of theauthor with his work. On Balada Harian, is a reflection of sadness and anger against theauthor and his work routine. At Puan Kelana’s song author also tells about his affair with aformer girlfriend through the expression and comparison between Paris and Surabaya. In thesong DOA 1 also contained an expression of sadness, grief, and anger poet on his way inbecoming a musician as well as a critique of the music industry in Indonesia today.
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Jiménez, Rocío García. "Song translation and AVT." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 2 (August 31, 2017): 200–213. http://dx.doi.org/10.1075/babel.63.2.03jim.
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Abstract There is no doubt that music plays an important role in people’s lives and, consequently, in different societies and cultures. Through music, the distinctive features of societies and cultures can be appreciated, while, at the same time, its condition of universal language acts as a means of communication among them. Translation Studies has recently started to pay attention to the relationship between translation and music. The study of the translation of songs, opera and other musical products is a subject that can enrich the field. In addition to this, owing to the peculiar nature of the musical text, the translation of music can be linked to other disciplines within Translation Studies, as is the case with AVT. In this work, we will analyse the similarities and differences between AVT and song translation. We will show that some of the translation strategies used in AVT can be applied to other types of multimodal translation, like song translation. We will also consider some cases in which song translation becomes part of AVT, as happens in the translation of TV series or films in which there are songs.
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Agakova, Alisa Leonidovna. "Song «Fly, Fly, Cuckoo» as a Phenomenon of Musical and Poetic Work of the Chuvash People." Ethnic Culture, no. 4 (5) (December 25, 2020): 6–10. http://dx.doi.org/10.31483/r-97474.
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The article examines the semantic and axiological foundations of «Fly, fly, cuckoo» – the most popular work of Chuvash song folklore. The purpose of the work is to establish the history of the song from the moment of the first recording and analyze its professional processing. The author practices a short generalized description of the most characteristic features of each artistic treatment. This approach allows to clearly feel the individual handwriting of each composer. The research results are based on comparison and generalization methods. The melody of this song inspired the Chuvash and Russian composers to create works of different genres: vocal, choral, instrumental. It is unique in terms of the number of adaptations: there are more than 30 of them – so often composers did not pay attention to any Chuvash song. The article discusses the most vivid and characteristic examples of processing the melody of a song. The author analyzes the works of S. M. Maksimov, A. G. Orlov-Shuzm, G. Khirbyu, A. Petrov, G. Anchikov, V. Bely and others. The inclusion in the educational process of such examples of folk art as the song «Fly, fly, cuckoo», and works created on this topic, contributes to an increase in the level of musical culture, the formation of respect for indigenous peoples and their traditions.
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Mulder, Raoul A., Helen Bishop, Michelle Cooper, Sophie Dennis, Melanie Koetsveld, Julia Marshall, Belinda L. Saunders, and Naomi E. Langmore. "Alternate functions for duet and solo songs in magpie-larks, Grallina cyanoleuca." Australian Journal of Zoology 51, no. 1 (2003): 25. http://dx.doi.org/10.1071/zo02060.
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Several possible functions have been proposed for antiphonal duetting in birds, including pair-bond maintenance, cooperative territorial defence and acoustic mate guarding. Previous work has suggested that duetting in magpie-larks was consistent with both defence of the territory and guarding the mate against usurpation. We conducted playback experiments designed to distinguish between these two functions. Responses of males and females to simulated intrusion (broadcasts of unfamiliar solo songs) suggested functional differences for solo songs and duets. Both sexes initiated more songs in response to same-sex conspecific song, suggesting that solo songs are used to deter same-sex rivals in the context of territory defence. Contrary to predictions of the mate-guarding and pair-bond maintenance hypotheses, the sex of playback song had no effect on the likelihood of either sex answering their partner's song to form a duet. Thus, duets are most likely to be performed for the purpose of cooperative territorial defence.
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Forbes, Anne-Marie. "Notions of the Universal and Spiritual in Percy Grainger’s Early British Folk-Song Settings." Nineteenth-Century Music Review 16, no. 01 (June 8, 2018): 43–62. http://dx.doi.org/10.1017/s1479409817000581.
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Between 1905 and 1908 Percy Grainger made a major contribution to the corpus of British folk-song, collecting melodies and words of ballads, shanties and work songs, and devoting himself not just to the faithful capture of pitch and rhythm, but also the nuances of performance, with his pioneering use of the phonograph. These folk-songs became for Grainger a wellspring of compositional inspiration to which he returned time and time again. Yet while he was still a student in Frankfurt, Grainger had been making settings of British traditional tunes sourced from published collections. This article contends that these early arrangements hold the key to a deeper understanding of his later persistence in folk-song arranging and collecting, and that they prefigure the recurrent textual themes in the songs he later chose to arrange. It is argued that Grainger’s attraction to folk-song was textual and musical, tied to notions of purity, freedom and an unorthodox spirituality inspired by nature and shaped by the writings of Whitman, whereby Grainger perceived folk-song as a universal utterance. For Grainger, British folk-song was not simply a source of profound melody for appropriation; the window into a nation’s soul became a door into the souls of all humanity.
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Eka Wijaya, Damaris, and Gunarto Gunarto. "Copyright Protection Of The Song "Akad" Created By “Payung Teduh” In Case Covered By Hanin Dhiya Based On Copyright Law." Jurnal Akta 5, no. 2 (June 15, 2018): 541. http://dx.doi.org/10.30659/akta.v5i2.3230.
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Technology is in progress increasingly sophisticated, enables everyone to explore and showcase her work in a variety of ways, one of which is now very easy to find is to upload video footage in a private channel on the YouTube site. However, disputes arise when recording on the channel associated with copyright issues. One of them is the activity of singing songs of others. The problems discussed in this study is how the Top Tracks Copyright Protection “Akad” Created by Payung Teduh In Case Cover Version By Hanin Dhiya Seen From the Copyright Act. The research approach is Normative legislation reviewing Act No. 28 of 2014 on Copyright. The results of this study explains that the song “Akad” is the creation of Payung Teduh, and copyright is protected by the Copyright Act, in order to perform a cover of the song, so it needed permission from Payung Teduh, as a tribute to the work of someone else's copyright. If this right is violated, the creator has the right to prosecute the song cover both civil and criminal.Keywords : Protection Law, Copyright, Cover Songs.
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Chen, Yining, Oliver Clark, and Sarah C. Woolley. "Courtship song preferences in female zebra finches are shaped by developmental auditory experience." Proceedings of the Royal Society B: Biological Sciences 284, no. 1855 (May 24, 2017): 20170054. http://dx.doi.org/10.1098/rspb.2017.0054.
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The performance of courtship signals provides information about the behavioural state and quality of the signaller, and females can use such information for social decision-making (e.g. mate choice). However, relatively little is known about the degree to which the perception of and preference for differences in motor performance are shaped by developmental experiences. Furthermore, the neural substrates that development could act upon to influence the processing of performance features remains largely unknown. In songbirds, females use song to identify males and select mates. Moreover, female songbirds are often sensitive to variation in male song performance. Consequently, we investigated how developmental exposure to adult male song affected behavioural and neural responses to song in a small, gregarious songbird, the zebra finch. Zebra finch males modulate their song performance when courting females, and previous work has shown that females prefer the high-performance, female-directed courtship song. However, unlike females allowed to hear and interact with an adult male during development, females reared without developmental song exposure did not demonstrate behavioural preferences for high-performance courtship songs. Additionally, auditory responses to courtship and non-courtship song were altered in adult females raised without developmental song exposure. These data highlight the critical role of developmental auditory experience in shaping the perception and processing of song performance.
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Raflis, Raflis, and Juni Rahmat Zai. "Figurative Languages in William Shakespeare’s Poem: a Fairy Song, a Madrigal, Bridal Song, Dirge, and Sonnet 116." Jurnal Ilmiah Langue and Parole 2, no. 1 (December 30, 2018): 53–58. http://dx.doi.org/10.36057/jilp.v2i1.334.
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The problem in this thesis is figurative language in Shakespeare's poetry. The reason for choosing the figurative language in William Shakespeare's poetry is because all of his works contain many literary qualities, which are figurative and each of these poems has a beautiful story that is translated into a beautiful figurative form.The purpose of this study is to analyze types of figurative language, figurative language formulas, and figurative language functions in Shakespeare's poetry. In this writing, library research is taken as a data collection method. As for the data analysis method, the researcher describes literary work as a not-based structure that forms it as an internal factor of literature. Data collection techniques use documentation techniques to find data relevant to the research. In data analysis techniques, the author uses a formalist approach, all elements needed to understand the work contained in the work itself. The main purpose for formalist criticism is to determine how elements in Shakespeare's poetry work together with text content to form meaning to the reader.The findings in this thesis are: 1) figurative language in Shakespeare's poetry can be divided into simile, metaphor, hyperbole, personification, and repetition. Simile can be found in Madrigal poetry; Metaphorical figurative languages can be found in four Shakespearean poems, A Fairy Song, Song Bridal, Dirge, and Sonnet 116; personification can be found in two poems Shakespeare, A Madrigal and Dirge; hyperbole can be seen A Fairy Song, Dirge, and Sonnet 116; and Repetition can be seen in three poems of Shakespeare, A Fairy Song, A Madrigal, and Dirge.
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Nabila, Sitti, and Sanusi Bintang. "Copyright Infringement in Youtube Under Indonesian and Malaysian Laws: The Cases of Aisyah Istri Rasulullah and Karna Su Sayang Songs." Syiah Kuala Law Journal 5, no. 1 (April 30, 2021): 41–49. http://dx.doi.org/10.24815/sklj.v5i1.20963.
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This study describe the prescription problems in the case of Aisyah Istri Rasullullah song constitute infringement under Indonesian Copyright Law No. 28 of 2014 on Copyright; Karna Su Sayang song constitute infringement under Malaysian Copyright Law Act 332 1987 and the implementation of the law regarding the dispute settlement of the Aisyah Istri Rasulullah song and Karna Su Sayang song. The normative legal research method was used in this research. The results of this study shows that the Aisyah Istri Rasulullah song ingfrings Article 5 and 9 Indonesian Copyright Law stipulate that is prohibited to take the advantage of the copyright work without the owner permission and use it for commercial and Karna Su Sayang song infrings Section 13 and 36 Malaysian Copyright law; There are many similarities between the infringing copy and original work, there is a causal relationship between the infringing work and original works, and the infringing is an essential part of the original work. The recommendation for Indonesia’s and Malaysia’s lawmakers is to revise the Copyright law, so that the copyright infringement on YouTube related the use of fair use and pirates from uploading content will get the strengthen sanction. And create more comprehensive policy regarding the protection of song and Music in YouTube to made the enforcement of the policy to become more effective.
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Tawlai, Galina. "The principle of laughter in Byelorussian vocal culture as a form of reflection on images of the world." Muzikologija, no. 17 (2014): 107–27. http://dx.doi.org/10.2298/muz1417107t.
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This paper considers particular ways of organizing musical material in songs connected with the culture of laughter, as well as the coordination and interaction of different artistic spheres in this group of traditional Belarus song forms. Our long standing, complex ethno-musicological research, constant documentations of our own field work, comparison of ritual songs? stylistics with their respective cognitive methods, together with observations and generalizations made by the real exponents of traditional Belarus song have given us the possibility to hear and recognize this strict, logically-adjusted selection of forms of musical expressiveness among folk melodies.
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Ni Wayan Sariani and I. Wayan Rasna. "the Balinese Pop Song which was Semiotic Heuristic study." Widya Accarya 11, no. 2 (October 31, 2020): 120–29. http://dx.doi.org/10.46650/wa.11.2.878.120-129.
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Abstract.
This research was about Balinese pop song which was Semiotic Heuristic study. The research underlined was the fact that occurred in the Balinese popular songs as a part of the literary work featured new vocabularies as well as old vocabularies modification and also a combination of vocabularies from other languages such as Indonesian and English, considered as the "Deviate" composition from the rules of standard grammar and literary conventions. The purpose of this research was to describe the phenomenon of linguistic structure in Balinese popular song texts and the philosophical meaning of the texts Balinese popular song based on semiotic-heuristic analysis. To be able to describe these purposes, semiotic theory and structuralism were used. This research used descriptive qualitative method. The data source was derived from two texts of Balinese popular songs entitled “Suksma Hyang Widhi” by Dek Ulik” and "Bungan Sandat" by AA Made Cakra. Both of these popular songs used different styles. The song of "Bungan Sandat" mostly used words based on the rules of language and literature that was, poetic. While the song titled "Suksma Hyang Widhi” mostly used a lot of ordinary words such as language used in daily life. There appeared some deviate words found out of the rules of grammar or literary conventions; however there were also words appropriately right based on the rules of language and literature, namely poetic, romantic, by symbolic and philosophical language styles. Based on the result analysis of those two songs heuristically towards the two texts of Balinese Pop songs were found the existence of violations of linguistic rules both grammatically, syntagmatically, paradigmatically, semantically and composition of these two Balinese popular songs.
Keywords: the text of balinese popular song, semiotic-heuristi, philosophical meaning
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Saepudin, Asep, and Ela Yulaeliah. "The Jaipongan Drumming Strokes in Lagu Gedé in Sundanese Gamelan." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 43–59. http://dx.doi.org/10.15294/harmonia.v21i1.28206.
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This paper aims to describe the Jaipongan drumming strokes in Lagu Gedé. Lagu Gedé is a type of song in Sundanese Karawitan that has a large embat (rhythm). This song includes a dish of drums vocals accompanied by gamelan pelog-salendro with characteristics that have tone, barrel, surupan, embat, gending, slow tempo, embat opat wilet, and bound by the standard rules. Observations were made by appreciating Jaipongan’s performances in Bandung and Karawang. Besides, the author conducts interviews with several primary informants who are directly involved in the arrangement of Jaipongan. Gedé’s point here is to look at it with a smooth, soft, slow serving. The Kiliningan genre has a specific punch motif name for Gede’s song. The name of this variation is called tepak melem. Melem has a delicious or gentle meaning. Tepak melem to accompany Sekar Gending songs in Kiliningan genre. The phenomenon that happens that Lagu Gede is served in Kiliningan dish and used to attend Jaipongan dance. When Jaipongan’s work uses Gedé’s song, it generates innovations. Gedé’s song is no longer presented with a glued drum but with a tepak diteunggeul. Diteunggeul contains the meaning of being hit hard, powerful, dynamic, and fast. This research concluded that jaipongan drumming strokes in Lagu Gedé is realized that drummers and dancers must explore many spaces because it has the freedom to work. After all, they present it in an embat opat wilet (big rhythm). This affects the widening of the number of beats, the position of kenongan, pancer, and gongan. Artists have the freedom to do creativity in working on Gede’s songs. The space of artists in their work can ultimately foster new creativity that impacts the growth and development of Sundanese karawitan.
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Trofimenko, O. A., and Z. Yu. "Song as an effective method of studying Korean." Язык и текст 5, no. 4 (2018): 78–88. http://dx.doi.org/10.17759/langt.2018050409.
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This article deals with research of the methods of teaching Korean through the learning of authentic songs. The article includes various exercises for developing of pronunciation, speaking and listening skills, for learning grammar and developing sociocultural competence. The criteria of materials selection, and rules of work with the song are demonstrated in this article.
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Castro, Adrian. "The Threshing Floor, and: Work Song (3): Not Until the Day's Work Is Done." Prairie Schooner 90, no. 4 (2016): 22–24. http://dx.doi.org/10.1353/psg.2016.0077.
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Kamitova, Alevtina Vasilevna. "FEATURES OF POEMS-SONGS OF THE UDMURT POET AIVO IVI." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 82–87. http://dx.doi.org/10.35634/2224-9443-2020-14-1-82-87.
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This article discusses the features of the functioning of the song genre in the creative practice of Aivo Ivi. The appeal of the Udmurt poets of the beginning of the XX century to the creation of literary songs, which were alterations, imitations, re-singing and stylization of folk songs, was a common phenomenon and played a positive role in the development of national literature. In this work, on the example of Aivo Ivi's creativity, the characteristic features of the poems-songs created by him are revealed. It is determined that his texts represent improvisation of folk songs with preservation of traditional plots, complicated by signs of time. In some cases, the popular melody of Russian songs was attracted by the Udmurt poet to "service" his compositions. In building the text on the basis of a simple plot line, the calculation for the ease of perception of information by the reader is obvious. It is established that the author's songs of Ivo Ivy went beyond the book existence. It is summarized that the song texts created by him as a whole were formed under the influence of socio-cultural trends and the previous song-poetic tradition. The "folk" form of poems, their adaptation to the tunes understandable to the illiterate population allowed the poet to realize ideological and educational meanings, were a way of creative self-realization, introducing the reader to the artistic word.
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Pervushina, Elena Vladimirovna. "Relevant questions in studying dance ditty." Культура и искусство, no. 7 (July 2021): 17–26. http://dx.doi.org/10.7256/2454-0625.2021.7.33808.
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The object of this research is a Russian dance ditty (folk song consisting of four-lined couplet). The subject of this research is the emergence and proliferation of dance ditty across the Russian regions, its nature and entwinement with the dance song, as well as active popularization in the late XIX – early XX centuries. Special attention is given to the existing scientific versions of the emergence of this genre. The author underlines the importance of in-depth study of dance ditty as a folk genre the choreographers and folklorists rely on in their work. The question is raised on the need for comprehensive examination of the Russian regional dance ditty, since it is encompasses a vast layer of types, subtypes, performing, musical and dance peculiarities of all Russian regions. The novelty of this work lies in the attempt to determine the factors of emergence and popularization of dance ditties. The analysis of folklore material (song collections, etc.) for the purpose of establishing correlation between dance ditties and dance songs, quadrilles, its particular types and forms suggests achieving the goal set in this article. The goal of this research is to reveal the reasons for the existence and popularity of dance ditties in different Russian regions. The author develops a new version of the emergence of ditty from dance songs during the quadrille performance. The acquired results reveal close interrelation between ditty and dance songs alongside the development of folk choreography and song repertoire, and draws the interest of experts to dance ditties.
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Lerner, Jesse. "Bakine Para un Maestro/Plena is Song, Plena is Work." Visual Anthropology Review 5, no. 2 (September 28, 2010): 38. http://dx.doi.org/10.1525/var.1989.5.2.38.
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Vorster, Stacey. "Recognition, Encounter, and Estrangement, in the Work of Zhou Song." Philosophy & Technology 33, no. 1 (May 14, 2019): 33–52. http://dx.doi.org/10.1007/s13347-019-00350-1.
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Davies, Coral. "Say it till a song comes (reflections on songs invented by children 3–13)." British Journal of Music Education 3, no. 3 (November 1986): 279–94. http://dx.doi.org/10.1017/s0265051700000796.
Full textAbstract:
Recent publications, such as Music from 5 to 16 (D.E.S., 1985a) and the National Criteria for Music for GCSE (D.E.S., 1985b) reflect the now established view that composition should be a normal part of the music curriculum for all children. There is still some work to be done infurthering our understanding of children's compositions. Much of the material published so far (e.g. Loane, 1984) has concentrated on children of secondary school age. The present article offers some reflections prompted by work with younger children.
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Osypenko, V. "Ethnoaesthetics of the Ukrainian folk song tradition in the performance of the singer Oksana Mukha." Culture of Ukraine, no. 72 (June 23, 2021): 124–30. http://dx.doi.org/10.31516/2410-5325.072.17.
Full textAbstract:
The topicality is associated with the need for musicological understanding of the value categories of ethnoaesthetics in the creative activity of singers that represent the Ukrainian folk song tradition in modern variety vocal art.
The purpose of the article is to identify ethno-aesthetic value components in the performance of O. Mukha as a personification of the uniqueness of the Ukrainian national expression.
The methodology consists of scientific works of prominent Ukrainian scientists devoted to the study of ethno-aesthetic ideas and criteria in the traditional songs of Ukraine (Y. Harasym, T. Orlova, V. Lychkova), as well as genre-style and performance specifics of Ukrainian musical folklore (K. Kvitka, F. Kolessa, A. Ivanytskyi, S. Hryts).
The results. The artistic imagery of the iconic folk songs of O. Mukha repertoire, which is a part of the ethno-aesthetic fund of the Ukrainian folk song tradition, is considered. The general features of ethnoaesthetics of the folk song performing tradition of Ukraine, including its vocal and technical component are outlined.
The novelty. The article considers the performance of O. Mukha for the first time and reveals ethnoaesthetic value components in it.
The practical significance. The study of the essence of folk singing as an art with its own artistic and value component, based on an established system of qualitative components of ethnoaesthetics, as well as the study of performing experience of prominent Ukrainian folk singers are the necessary practical material for creating a scientific basis and general methodology of folk vocal art.
The conclusions. Musical ethnoaesthetics as a component of traditional culture covers the semantic field of songs, concentrating on the structure, rhythmics and size of a poem, the richness of national melos, its intonation and tonality basis. Ethnoaesthetics of the folk song tradition of Ukraine is manifested in the uniqueness of the national expression, namely: vocal-timbre color of sound, in the peculiarities of intonation, freedom of metro-rhythmic movement, variability and melismatic richness.
In O. Mukha’s works, the creation of the sound matter of the modern performance version of a folk song is based on the perception of song intonation as sound emotion and understanding of the boundless ocean of ancient symbols of the national musical language, which during centuries has crystallized in the folk song tradition. Her works grow out from the reflection on the national song culture and traditions of her family. Work on each ancient relict of tradition is based on discovering the potential of the power of its aesthetic, spiritual and emotional impact on listeners, perception of the stock of expressive possibilities.