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Dissertations / Theses on the topic 'Song'

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Author: Grafiati

Published: 4 June 2021

Last updated: 7 September 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Black, Fiona Catherine. "The grotesque body in the Song of Songs." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311696.

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12

Huber, Daniel A. "The rhetorical structure of the Song of Songs." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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13

Mitchell, Mark Howard. "Season songs : a song cycle for voice and orchestra." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.

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Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work. The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs. The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface.
Arts, Faculty of
Music, School of
Graduate

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14

Grosser, Emmylou Joy. "The extended botanical metaphors of the Song of Songs." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Thesis (M.A.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2003.
Abstract and vita. Appendix contains Hebrew text of the Song of Songs. Includes bibliographical references (leaves 88-92).

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15

Stillman, Johanna. "Love Song." Thesis, Konstfack, Institutionen för Konst (K), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5791.

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Love Song is an essay about romance, passion, obsession, attraction, Eros, intoxication, infatuation, to fall in love and love. Love songs, as artworks, are almost always directed towards a nameless “you” and this essay wants to talk to you. The text might be seen as a way to create and rewrite something, a performance to understand other performances, a dwelling on past relationships, a love letter, or just a text for me to vent you with others that have been thinking about you. I would love to hear Elsa von Freytag-Loringhoven, Chris Kraus, Beyoncé, Bell Hooks, Anaïs Nin and Taylor Swift talk to each other about art and romances, but because that is an impossible dream I try to connect them and many other thinkers, artists and singers through language. One of them, Roland Barthes once wrote: "Language is a skin: I rub my language against the other. It is as if I had worlds instead of fingers, or fingers at the tip of my worlds."[1] Love Song is, more than anything else an attempted to touch you, a strategy to better understand the way you made and make me feel. [1] Roland Barthes, A Lover’s Discourse – Fragments, original: Fragments d’un discours amoureux, 1977, translation from French: Richard Howard, Edition du Seuil, 1978, p. 73.

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Rodrigo, Lasantha. "Firefly Song." Thesis, Illinois State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623457.

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Chethiya is a brown, gay, disabled (ultimately), abused young man from Sri Lanka, who comes to the U.S. on a full scholarship. His dream is to be a Broadway star, but after coming out of his first relationship with an emotionally abusive, alcoholic man, he is diagnosed with multiple sclerosis, a chronic, degenerative neurological disease that results in demyelination, causing progressive debilitation. The story is divided into six chapters that narrate his life under various marginalizations he is subjected to, culminating in traumatization. The story, however, ends on a positive note of redemption with the narrator looking forward to his days to come.

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Wakeley, Meghan A. "An evolution of song: Opera, Oratorio, and Art Song." Kansas State University, 2011. http://hdl.handle.net/2097/8864.

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Master of Music
Department of Music
Reginald L. Pittman
This master’s report is a discussion of the selections and composers presented on my graduate recital performed in All Faiths Chapel on Thursday, April 28, 2010. This report is also an in-depth look at the history and evolution of opera arias, oratorio, and art songs beginning in the Renaissance period. The first chapter discusses song in the Renaissance period and the origin of opera. Chapter two discusses oratorio and the Baroque period. Chapter three discusses art song and opera arias in the Classical period, with particular emphasis on Wolfgang Amadeus Mozart. Chapter four discusses art song and opera aria in the Bel Canto style and Romantic period. Chapter four will also include information about the operetta. Chapter five discusses art song and opera aria in the Modern period.

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Cardwell, Robert Ewell. "A Survey of 21st Century Gay-Themed American Art Songs for Baritone." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703289/.

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The majority of repertoire catalogs for singers, printed and digital, often list works by voice type, language, and/or genre. The 21st century has seen an emergence of online classical music catalogs where the user can seek repertoire by searching composers from underrepresented communities (i.e., women, Black, LGBTQ, Latinx). What does not currently exist is a resource that catalogs songs for solo voice dealing specifically with gay subject matter. This dissertation surveys seventeen 21st century gay-themed art songs by four living American composers: David Del Tredici, Ben Moore, Clint Borzoni, and Gary Schocker. Each chapter introduces a different composer and a select representation of their gay-themed art songs. Each entry includes text analysis based on the composer's and author's intentions and a brief analysis to determine pedagogical and musical difficulty. It is my intent that this document will facilitate a much-needed resource and encourage further study, promotion, and performance of voice works with gay themes. Moreover, I hope that it will serve as a tool for the applied voice teacher to assist in the vocal and artistic development of their students through broader repertoire choices.

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Chiu, Remi. "Motet settings of the Song of Songs ca. 1500-1520." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.

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

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Chen, Ching-Yi. "A Performer's Guide to John Musto's Song Cycle, Quiet Songs." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1331099604.

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Sneed, Petronella. "Redemption's sweet song /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/SneedP2010.pdf.

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Voegler, Sebastian. "Sing your song." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-888.

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Nysater, Richard, and Tobias Reinhammar. "Song Similarity Classication." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-134955.

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The purpose of this study was to investigate the possibility of automatically classifying the similarity of song pairs. The machine learning algorithm K-Nearest Neighbours , combined with both bootstrap aggregating and an attribute selection classier, was rst trained by combining the acoustic features of 45 song pairs extracted from the Million Song Dataset with usersubmitted similarity for each pair. The trained algorithm was then utilized to predict the similarity between 50 hand-picked and about 4000 randomly chosen pop and rock songs from the Million Song Dataset. Finally, the algorithm was subjectively evaluated by asking users to identify which out of two randomly ordered songs, one with a low and one with a high predicted similarity, they found most similar to a target song. The users picked the same song as the algorithm 365 out of 514 times, giving the algorithm an accuracy of 71%. The results indicates that automatic and accurate classication of song similarity may be possible and thus may be used in music applications. Further research on improving the current algorithm or nding alternative algorithms is warranted to draw further conclusions about the viability of using automatically classied song similarity in real-world applications.
Syftet med denna studie var att undersoka huruvida det ar mojligt att automatiskt rakna ut hur lika tva latar ar. I studien anvandes maskininlarningsalgoritmen k narmaste grannar tillsammans med bootstrap aggregering och en klassicerare som sallar bort ovidkommande egenskaper. Algoritmen tranades forst genom att kombinera ett ertal akustiska parametrar med anvandares likhetsbedomningar for 45 latpar skapades genom att kombinera 10 latar uttagna fran The Million Song Dataset med varandra. Den tranade algoritmen anvandes sedan for att rakna ut likheten mellan 50 handplockade och ungefar 4000 slumpmassigt valda pop- och rocklatar fran the Million Song Dataset. Avslutningsvis utvarderades resultaten genom en andra fas av anvandartestning. Anvandare blev ombedda att lyssna pa en mallat, en av de 50 handplockade latarna, foljt av en av de latar som algoritmen matchat som mycket lik och en lat som den matchat som mycket olik, i slumpmassig ordning. Anvandaren ck sedan valja vilken av de tva latarna som tycktes likna mallaten. Algoritmen och anvandaren valde samma lat i 365 av 514 fall, vilket ger algoritmen en trasakerhet pa 71%. Resultaten tyder pa att det kan vara mojligt att utveckla en algoritm som automatiskt kan klassicera likhet mellan latar med hog precision och darmed skulle kunna anvandas i musikapplikationer. Ytterligare utveckling av algoritmen, eller forskning pa alternativa algoritmer, ar nodvandigt for att kunna dra vidare slutsatser om hur anvandbart automatisk uppskattning av latlikhet ar for verkliga tillampningar.

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Lin, Chaomin. "Xin song ji." Kunming : Yunnan da xue chu ban she, 1996.

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Guerrettaz, Jean Ellen. "Song of Athens." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997988928.

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Flores, Cynthia. "Song of Myself?" Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/997.

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Bissell, Paul. "The alabados song." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035941.

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Cardoso, Gisele Luz. "Reading song lyrics." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101905.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.
Made available in DSpace on 2013-07-15T23:30:33Z (GMT). No. of bitstreams: 1 225080.pdf: 1691776 bytes, checksum: b444ad91b97f4e937499891dee809ec2 (MD5)
Este estudo examinou como fala-em-interação em pequenos grupos se desenvolve dentro de uma sala de aula de Inglês como língua estrangeira em uma escola pública de Florianópolis. Para este fim, duas perguntas de pesquisa foram feitas. A primeira perguntou como alunos de Inglês como língua estrangeira fazem sentido de expressões metafóricas (Vieira, 1999c) que eles encontram em letras de música, e a segunda investigou o papel de scaffolding (Wood, et al, 1976) na co-construção de significados de expressões metafóricas. O processo metafórico de assistência com andaimes (scaffolding) foi estudado através de protocolos do pensar alto em grupos onde as verbalizações são mais conscientes (Ericsson & Simon, 1987). Um estudo qualitativo e microetnográfico (Watson-Gegeo, 1988) foi aplicado através de métodos de triangulação, dentro de uma pesquisa-ação. Os resultados mostraram que as expressões metafóricas são rapidamente compreendidas por alunos de Inglês como língua estrangeira através de trabalhos em grupos. Além disso, os resultados mostraram que alunos do ensino médio precisam se sustentar na sua língua materna a fim de co-construirem significados de vocabulário novo e, então, processar as expressões metafóricas. Estes resultados apontam para os benefícios do trabalho em grupos e a necessidade de se incorporar consciência metafórica nas salas de aula de inglês como língua estrangeira junto com assistência através de andaimes (Nardi, 1999).

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Boston, Kris A. "Stephen Sondheim: Crossover Songs for the Classical Voice Studio." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin985625314.

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Taylor, Allan. "Song, songwriting and the songwriter in the English folk song revival." Thesis, Queen's University Belfast, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333855.

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Monsalve, Mejía Juana. "María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609097/.

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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.

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Elder, Hilary Elizabeth. "The Song of Songs in late Elizabethan, Jacobean and Caroline poetry." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/2165/.

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This thesis is about reading. Working on the understanding that all texts read other texts, it aims to uncover something of how English poets from 1590-1650 read the Song of Songs, by analyzing when and how they use it in their poetry. By looking at poetic readings, rather than theological ones, it also explores the connections and distinctions between reading literature and reading Scripture. As both Scripture and lyric love poetry, the Song of Songs has participated in theological and literary discourse over a long period. The Introduction gives background on both kinds of reading, and how they have been applied to the Song of Songs. It also sets out the structure of the thesis. Chapter 2 surveys theological writing about the Song of Songs produced during the period. The material includes sermons, commentaries, household advice books, hymns and translations, including poetic translations. There is a stable core of interpretation, which reads the Song as primarily about the relationship between Christ and the Church, or the individual soul, or both. Within this stable core, however, there is a wide variety of interpretations. Chapters 3-5 are themed, and look at how poets handle the three topics of the feminine voice, beauty and desire when they read the Song of Songs. The first poet considered in each chapter is Aemilia Lanyer, who provides a plumb-line for the exposition. As a poet seeking elite patronage, Lanyer is typical of her age in many important respects; but she also challenges expectations about poets of the period. The other poets considered are Shakespeare, Southwell, Mary Sidney, Countess of Pembroke, Spenser, Donne and Crashaw. The Conclusion considers what light these poetic readings shed on the relationship between Scripture and literature.

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De, Crom Dries [Verfasser]. "LXX Song of Songs and Descriptive Translation Studies / Dries De Crom." Göttingen : Vandenhoeck & Ruprecht, 2019. http://www.v-r.de/.

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Newby, Mark. "The Song of Songs before Origen : aspects of canon and hermeneutics." Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246493.

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Sahr, Nate. "Song/Casting: Combining Podcasts and Songs to Create a Hybrid Medium." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619174946672814.

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Stewart, Kevin Royce. "Increasing intimacy in Christian marriages by examining the Song of Songs." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Talbott, Christy Jo. "The French art song style in selected songs by Charles Ives." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000455.

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Meredith, Christopher. "Journeys in the songscape : reading space in the Song of Songs." Thesis, University of Sheffield, 2012. http://etheses.whiterose.ac.uk/3113/.

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This thesis employs a range of contemporary critical and theoretical tools to examine the spatiality of the biblical Song of Songs. Ch. 1 examines the limitations of existing modes of biblical spatial analysis, critiquing biblical scholars’ uses of the work of Henri Lefebvre and Edward Soja. The thesis then develops new ways of engaging with literary space, using the writings of Walter Benjamin and Jacques Derrida as its starting point. Ch. 2 looks at the broad poetic world conjured up by the Song. The trope of the phantasmagoria provides a framework in this chapter for thinking through the relationship between the spatialities of sex and of text in the poem. Ch. 3 takes a detailed look at the Song’s most iconic settings, the garden and the city, with the observations of ch. 2 in mind. It uses specialist work on the politics of garden space and on urban space to re-read these settings; is the garden necessarily a ‘good’ space, is the city really all that bad? Ch. 4 looks at threshold space in the text, using the lines and limens of the poetic world to think about the Song’s attitude towards gender, and how spatiality, gendered performativity and textual meaning are connected in the poem. Ch. 5 looks at the Song’s approach to bodily space, paying particular attention to the ways in which landscaped space and bodily space work as a self-sustaining milieu in the text. The chapter thus circles around to think about the ways in which the Song’s bodily spaces are symptomatic of the nature of the Song as a whole. Throughout, the thesis argues that the Song fuses the spatiality of sex with the spatiality of reading, and suggests that the poem’s idiosyncratic world speaks to the structures of textual signification itself.

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Nordby, Jennifer Cully. "Song learning in the song sparrow (Melospiza melodia) : ecological and social factors /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9090.

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Quinlan, Meghan. "Contextualising the contrafacta of trouvere song." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:de48756e-ed5a-4ffd-8ce2-c44dcc31ab74.

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Scholarship on medieval contrafacture has long been engaged in the Kontrafakturjagd, the hunt for songs whose textual and structural similarities suggest they might also share melodies. By making melodies freely exchangeable, this practice has tended to treat the music of medieval song as if it were an empty vessel, overlooking the ways in which contrafacta might construct musical meaning to serve various political, devotional, or aesthetic ends. Rather than making a case for contrafacture among songs whose shared melodies are questionable, this dissertation provides a context rich perspective on certain groups of 'close contrafacta' - songs whose status as contrafacta is already known and supported by strong musical, textual, and contextual evidence. In five case studies, all of which take at least one song from the trouvÃ¨re repertory, and which represent the most common contrafact genres - political serventois, Marian song, and crusade song - I consider the ways in which their melodies could signify. More specifically, I examine the interrelated layers of the melody's performed sound structures, its cuing of previous texts on the listener, and its integration of old and new contexts. The case studies reveal a culture that cared about melodic association and used it in sophisticated ways. In the first two chapters, which address political contrafacture, the music's textual associations form a background against which the contrafact text reacts ironically, while its melodic origins evoke precise geopolitical loyalties or antagonisms. The third and fourth chapters on Marian song, conversely, point toward efforts to intensify and develop a song's meaning through contrafacture, while the fifth chapter's contrafact text cites its own affective reason for melodic re-use. In all case studies, not only does the music cue text and context synoptically; its performed structures also intensify and subvert textual meanings, showing how music can enrich literary interpretations of medieval song.

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Shuve, Karl Evan. "Song of Songs in the Early Latin Christian tradition : a study of the Tractatus de Epithalamio of Gregory of Elvira and its context." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5525.

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The Song of Songs was the most commented upon biblical text in medieval Europe and became the cornerstone of the Western mystical tradition, but our knowledge of its use in Latin Christian communities before the time of Ambrose and Jerome is largely fragmentary. The thesis is a study of the use and interpretation of the Song in the Latin West during the period 250 – 380 CE, with a focus on the Tractatus de Epithalamio of Gregory of Elvira (c. 320-392), which is the earliest extant Song commentary composed in Latin. The research demonstrates that there was a robust tradition of Song exegesis in early Latin Christianity, although the mystical-affective interpretation that marks the later tradition is entirely absent. The poem is, rather, interpreted in an ecclesiological mode and is put in the service of communal selfdefinition. Gregory’s Tractatus, which I argue should be dated to 350-55, is a key source in recovering this largely lost tradition. The first part of the thesis traces in detail all of the citations of the Song in Latin Christian literature during the period in question, focusing on the writings of Cyprian of Carthage, Optatus of Milevis, Tyconius, Pacian of Barcelona, and Augustine. There emerge a cluster of passages from the Song that become key proof texts in ecclesiological controversies in North Africa and Spain. The second part engages problems in Gregorian scholarship, particularly issues pertaining to Gregory’s supposed direct knowledge and use of Origen’s writings. Scholars assert that his exegetical writings reflect the Origenist turn of the late fourth century. Using the tools of source criticism and theological analysis, I contest this hypothesis, demonstrating that the evidence of Origen’s influence has been greatly exaggerated and that the points of contact which do exist must be explained with reference to intermediary Latin sources. The third part sets the Tractatus de Epithalamio within its precise historical context and offers a close reading of the text, giving an account of its Christology, ecclesiology, and use of sources. The Tractatus, I argue, represents a ‘fusion’ of a distinctly Latin tradition of ecclesiological exegesis with a particularly Spanish mode of Christological reflection, which treats the enfleshment of the Word in the Incarnation and the embodiment of the risen Christ in the church as conceptually inseparable. Related historical problems, such as the chronology of Gregory’s career, are treated in appendices.

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Morris, Margaret A. "A practical theology of congregational song : developing a wholesome 'song of the people'." Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620333.

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This thesis seeks to put in writing a practical theology of congregational song - the song of the people. Congregational song has been overlooked; studies of church music tend to focus on choral music and studies of hymns tend to look at words rather than music. This study seeks to tell the story of the song of the people, and to develop a practical theology of congregational song derived from the song itself and from a congregation’s reflections on that song.

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Stone, Keith Allen. "Singing Moses's Song: A Performance-Critical Analysis of Deuteronomy's Song of Moses." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11007.

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Starting from the observation that Deuteronomy commands a tradition of performing the Song of Moses (Deuteronomy 32.1-43), in this dissertation I explore ways in which the performance of the Song contributes to Deuteronomy's educational program through an effect on those who perform the Song. In order to do so, I employ a performance-based approach that stresses the dynamic of re-enactment that operates in traditions of performance; I argue that performers of the Song are to be transformed as they re-enact not only the characters within the Song but also those who came before them in the history of the Song's performance, particularly YHWH and Moses, whom Deuteronomy depicts as that tradition's founders. In support of this thesis, I provide a close reading of the text of the Song (as preserved in Deuteronomy and as informed by Deuteronomy's account of its origins and subsequent history) that examines how the persona of the performer interacts with these re-enacted personas in the moment of performance. I also argue that the various composers of Deuteronomy themselves participated in the tradition of performing the Song, adducing examples from throughout the book in which certain elements originally found in the Song have been adopted, elaborated, acted out, or simply mimicked while being put to another use.
Near Eastern Languages and Civilizations

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Leung, Yung. "Dali and the Song-Mongolian war = Daliguo yu Song Meng zhan zheng /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25797347.

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45

Reeves, Brendan J. "Neural basis of song perception in songbirds /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9127.

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46

Howell, Christine A. "Life history evolution in the song sparrow : an experimental approach /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962534.

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Ervin, Frazier Beverly D. "The song of Athena." Honors in the Major Thesis, University of Central Florida, 1998. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/31.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Studio Art

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48

Griffin, Amy. "The Song of Monteverdi." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1186.

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Freya diMonteverdi has spent her entire life trying to piece together the story of her family. Interspersed amongst three generations of women, this fiction piece attempts to answer questions of home and absence through the narrative mediums of mushrooms, the tale of Atlantis, opera and excessive use of footnotes.

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Tseng, Yu-Chung 1960. "Song of Pi-Pa." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279013/.

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Sona of Pi-Pa is a composition set to a poem to be performed by soprano and mixed instrumental ensemble. The formal plan is through-composed and the organization of each individual piece is largely determined by the structure of the poetic text. The text, drawn from Song of Pi-Pa by Po Chu-i, depicts the story of how the poet became overwhelmed by the chance hearing of a virtuosic performance of a woman playing the pi-pa. The general characteristics of the work reflect the assimilation of certain non-western musical and philosophical influences. Traditional western compositional techniques are also employed in the treatment of thematic materials, musical form, instrumentation, and the developmental process. The total performance time for this composition is approximately twenty-six minutes.

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Porter, Gerald. "The English occupational song /." Umeå : University of Umeå, 1992. http://catalogue.bnf.fr/ark:/12148/cb35519355d.

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