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Journal articles on the topic 'Songs'
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Petrinovich, Lewis. "Individual Stability, Local Variability and the Cultural Transmission of Song in White-Crowned Sparrows (Zonotrichia Leucophrys Nuttalli)." Behaviour 107, no. 3-4 (1988): 208–40. http://dx.doi.org/10.1163/156853988x00359.
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The songs of 306 territorial male white-crowned sparrows were recorded between 1975 and 1983 in two study areas in San Francisco, California. Nestlings were banded and 47 sons whose father's songs had been recorded acquired territories. Some fathers had more than one son who acquired a territory. The songs of 263 territorial neighbours of the sons were also recorded. In addition, there were 32 females for whom both the father's and the mate's songs were available. The songs that were sung on the two study areas differed in a number of qualitative and quantitative aspects. For each area, there was change across years, in qualitative composition of song types, as well as considerable variability in the properties of the songs within dialect areas throughout the course of the study. There were 49 instances in which the song of a territory holder was recorded for more than one year. These individuals exhibited considerable stability of song across years. The song types of sons and fathers and of sons and neighbours were compared; Analysis of these songs indicated that some sons sang the song of the father, some adopted a song similar to that of the neighbours, and some had song with idiosyncratic elements that, in a few cases, remained in the population during succeeding generations. These data provided no support for the hypothesis that sons learned song preferentially from the father: there was no tendency for the quantitative characteristics of the songs of sons and fathers to be more similar than those of sons and neighbours, and when a father had two sons whose song was known, there was little tendency for the three songs to resemble one another. Finally, the songs of a father and his daughter's mate did not tend to resemble one another, indicating that females of this species do not choose as mates males that sing the same song as their father's. These results suggest that variability in transmission of song types may play a role in individual recognition, which in turn might aid a male to acquire a territory.
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Wafa, Mochammad Usman, Neli Purwani, and Abdul Malik. "Characteristics of Titounis Children Songs: A Study of Songs, Music Instruments and Onomatopoeia." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 161–66. http://dx.doi.org/10.15294/harmonia.v20i2.25539.
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The purpose of the study is to describe an analysis of children’s song characteristics Titounis. This study used a musicological approach to recognize songs’ characteristics. The data collection were document study and, listen and take note. This study used a content analysis technique. The analysis cover three aspects: (1) songs’ analysis, (2) instruments’ analysis, (3) Onomatopoeia. The songs that were analyzed were (1) Petit Escargot, (2) Le Roues de l Autobus, (3) Les Chiffres, (4) Un kilometer en Roulant. In the song analysis, the patterns used were general patterns, using fun and cheerful vocals, strong tonal stress, relatively limited variations in tones, slow, fast, and gradual tempo. The delivery style invites singing as well as dialogue or interaction. Then in musical instruments, the melody variations of each instrument form harmonization, the use of non-musical instruments emphasizes the theme of the song and provides the experience of hearing about the environment. The onomatopoeic analysis shows sound vroom (car), pataboum (jumping passengers), bip-bip-bip (serine), suisse-suisse (wiper). The onomatopoeia of Titounis songs serves to strengthen the song’s theme.
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Kennelly, Tim, and Paul D. Berger. "HOW LOUDNESS, SONG NEGATIVITY AND PLAYLIST PERSONALIZATION CAN INCREASE SPOTIFY’S CUSTOMER RETENTION." EPH - International Journal of Business & Management Science 4, no. 1 (March 27, 2018): 23–31. http://dx.doi.org/10.53555/eijbms.v4i1.63.
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In this paper, we consider the music streaming service provider, Spotify. We consider 14 attributes of a song (13 of which provided by Spotify, mostly subjective, a few objective) and analyze the relationship between these 14 attributes/ "variables" and a song's position in the top 50 songs in the United States Top 50 playlist. Specifically, we first examine, for each of the 14 variables, whether the top 25 songs have a different mean from the mean of the bottom 25 songs. Then, we analyze, using linear multiple regression analysis followed by linear stepwise regression analysis, the relationship between position of the song on the playlist and the values of the 14 variables.
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R, Jaisankar. "Psychoanalytical Approach in Kuruntokai." International Research Journal of Tamil 4, S-18 (December 8, 2022): 188–93. http://dx.doi.org/10.34256/irjt224s1824.
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Over the course of time Tamil literature keeps on changing. In that way classical Sangam literature has been subjected to traditional and modern theoretical study. The study is carried out in different angles. Only two songs from Kuruntokai, Velliveediyar song and Auvaiyar song are subjected to psychoanalytical approach. Freud’s psychoanalytical theory is used in the two songs. In both the songs the heroine’s depression, helplessness, self-reliance and anger are clearly revealed in the lyrics. The heroine’s subliminal expression is manifested in the strategies of simile, allusion and metaphor. In the song’s women are not allowed to express their lustful feelings. Auvaiyar is considered to be the best among the women poets. Next to her is Velliveediyar and both have sung the inner feelings of the heroine. The two songs through Freud’s theory expresses that the sexual pressures are caused by the unconscious mind and they get artistic with the help of the conscious mind.
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Navin Kamuni. "Enhancing Music Genre Classification through Multi-Algorithm Analysis and User-Friendly Visualization." Journal of Electrical Systems 20, no. 6s (April 29, 2024): 2274–81. http://dx.doi.org/10.52783/jes.3178.
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The aim of this study is to teach an algorithm how to recognize different types of music. Users will submit songs for analysis. Since the algorithm hasn't heard these songs before, it needs to figure out what makes each song unique. It does this by breaking down the songs into different parts and studying things like rhythm, melody, and tone via supervised learning because the program learns from examples that are already labelled. One important thing to consider when classifying music is its genre, which can be quite complex. To ensure accuracy, we use five different algorithms, each working independently, to analyze the songs. This helps us get a more complete understanding of each song's characteristics. Therefore, our goal is to correctly identify the genre of each submitted song. Once the analysis is done, the results are presented using a graphing tool, making it easy for users to understand and provide feedback.
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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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Dong, Aoran, Ruizhe Qiu, and Zhen Ye. "Regression Analysis of Song Popularity based on Ridge, K-Nearest Neighbors and Multiple-Layers Neural Networks." Highlights in Science, Engineering and Technology 39 (April 1, 2023): 609–17. http://dx.doi.org/10.54097/hset.v39i.6602.
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Contemporarily, human beings are working on the implementation of artificial intelligence technology in the arts fields, where the music is one of the directions. Before humans can create a song with artificial intelligence, it is necessary to understand the song first. This research tries to find out the relationship between the song's popularity and several selected songs' physical parameters based on statistics and machine learning. According to the analysis, this research proves that there is no significant relationship between selected physical parameters and the song's popularity. In addition, machine learning algorithms also do not find the potential relationships between them. In this case, it is safe to conclude that creating the song by considering these selected physical parameters is meaningless. On this basis, scholars should try to find out what factors make the song popular in terms of analyzing songs differently. These results shed light on guiding further exploration of future music analysis and artificial intelligence in music fields.
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Park, Young Shin, Hyunjin Moon, and Yunhee Seung. "A Study on the Aspects of Children's Song Festival Winning Songs Included in Elementary School Music Textbooks." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 19 (October 15, 2022): 533–50. http://dx.doi.org/10.22251/jlcci.2022.22.19.533.
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Objectives Looking back at the 100-year history of creative children's songs, the ‘Children's Song Festival’ proves to have had a great influence on the development of children songs. The first purpose of this study is to investigate all Children's Song Festival winning songs included in elementary school music textbooks according to the educational curriculum change. The second purpose is to analyze the aspects of those winning songs published in music textbooks. Methods To do so, this study conducted a combination of literature reviews and research study methods, and analyzed Children's Song Festival winning songs in music textbooks. These songs were those that were included in 3~6 grade elementary school music textbooks from the fifth curriculum period (1987~1991) until the current 2015 revised curriculum; meaning all winning songs in elementary school music textbooks since the first Children's Song Festival of 1983 were analyzed. Results First, an analysis on ‘Children's Creative Song Festival Winning Songs and Number of Songs’ shows that out of the total 96 winning songs, the majority of winning songs were from the MBC Children's Song Festival - a total of 69 songs (71.9%). Second, upon analyzing the ‘Number of Times Festival Winning Songs were Published’, it was found that the number increased as the curriculum changed and as textbooks went up to an older grade level. The textbook publisher ‘Genius Education’ had the most winning songs within their textbooks - a total of 43 times (15.8%) were winning songs published. Third, after analyzing the ‘Name and Number of Overlapping Winning Songs’, it was revealed that there were 51 overlapping songs, the song that was published multiple times in music textbooks was <On a Train Ride> from the 1st KBS Children's Song Festival - a total of 13 times. The songs <Island Village> and <Walking in the Woods> were published 11 & 10 times respectively - both songs were from the 4th MBC Children's Song Festival. Songs that are continuously included in music textbooks are <On a Train Ride> and <Walking in the Woods>. Conclusions The act of singing creative children songs gives children hope, courage, the chance to dream, and holds an educational meaning that allows them to experience the beauty of music. Thus, continuing discovery and supply of creative children's songs are of great significance. Since Children's Song Festivals, which has played a huge role in the development of creative children's songs, are no longer as common as before, a new developing method that fits current society criteria must be sought out.
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Lennox, Stephen J. "Song of Songs." Bulletin for Biblical Research 22, no. 3 (January 1, 2012): 428–29. http://dx.doi.org/10.2307/26424583.
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Nakano, Tomoyasu, Kazuyoshi Yoshii, and Masataka Goto. "Musical Similarity and Commonness Estimation Based on Probabilistic Generative Models of Musical Elements." International Journal of Semantic Computing 10, no. 01 (March 2016): 27–52. http://dx.doi.org/10.1142/s1793351x1640002x.
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This paper proposes a novel concept we call musical commonness, which is the similarity of a song to a set of songs; in other words, its typicality. This commonness can be used to retrieve representative songs from a set of songs (e.g. songs released in the 80s or 90s). Previous research on musical similarity has compared two songs but has not evaluated the similarity of a song to a set of songs. The methods presented here for estimating the similarity and commonness of polyphonic musical audio signals are based on a unified framework of probabilistic generative modeling of four musical elements (vocal timbre, musical timbre, rhythm, and chord progression). To estimate the commonness, we use a generative model trained from a song set instead of estimating musical similarities of all possible song-pairs by using a model trained from each song. In experimental evaluation, we used two song-sets: 3278 Japanese popular music songs and 415 English songs. Twenty estimated song-pair similarities for each element and each song-set were compared with ratings by a musician. The comparison with the results of the expert ratings suggests that the proposed methods can estimate musical similarity appropriately. Estimated musical commonnesses are evaluated on basis of the Pearson product-moment correlation coefficients between the estimated commonness of each song and the number of songs having high similarity with the song. Results of commonness evaluation show that a song having higher commonness is similar to songs of a song set.
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Secondi, Jean, Carel Ten Cate, and Merijn De Bakker. "FEMALE RESPONSES TO MALE COOS IN THE COLLARED DOVE STREPTOPELIA DECAOCTO." Behaviour 139, no. 10 (2002): 1287–302. http://dx.doi.org/10.1163/156853902321104163.
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AbstractBirdsong is one of the main models in sexual selection studies. Most investigations focused on oscines in which male song and female preference learning occur. Yet, some non-oscines are well suited for such studies as well. In Columbidae song learning does not occur. However, like in oscines, song is involved in inter- and intra-sexual interactions. Surprisingly, experimental evidence of female song-based preferences are still largely lacking in this group. We conducted playback tests on wild-caught Streptopelia decaocto females. We tested for the sexual function of song by playing decaocto songs versus songs of an unrelated species. We then investigated female responses to trill. Although they do not produce this trait, males react more strongly to artificially trilled decaocto songs, i.e. to conspecific songs in which a trill from a S. roseogrisea song has been inserted, than to normal decaocto songs. We also tested female responses to S. roseogrisea songs. Females flew more often and with a shorter latency during decaocto songs than during wren songs, suggesting that species recognition occurred, but we found no evidence of preference for trilled decaocto songs. The low activity observed during the experiment might have obscured actual preferences. Nevertheless, females consistently reacted more to normal decaocto songs than to trilled decaocto or roseogrisea songs. This contrasts with the strong responses for trilled decaocto songs and the virtual lack of reaction to S. roseogrisea songs observed in males. Thus, female collared doves, as receivers, may have different characteristics from males and impose constraints on the evolution of song.
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Rizqy, Titis. "Creativity of Teachers in Creating Java Song in Industrial Era 4.0." International Conference of Moslem Society 3 (April 12, 2019): 296–304. http://dx.doi.org/10.24090/icms.2019.2332.
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Javanese literature includes a Javanese song which should remain popular among the millennial generation today which will meet the industrial era 4.0. The limitations of Javanese songs require teachers to increase innovation by means of continuous creativity to create Javanese songs where poetry and songs use compilation of existing songs. As well as the process of preserving Javanese songs, so that the growing age of Javanese, especially Javanese songs, is not left behind but still follows. Teacher creativity in the creation of Javanese song lyrics in the industrial revolution 4.0 era is based on song inspiration, the contents of song lyrics and the process of song lyrics.
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BRAAE, NICK. "Sonic Patterns and Compositional Strategies in Queen's ‘Bohemian Rhapsody’." Twentieth-Century Music 12, no. 2 (August 26, 2015): 173–96. http://dx.doi.org/10.1017/s147857221500002x.
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AbstractQueen's ‘Bohemian Rhapsody’ (1975) has been the subject of many academic analyses; the song has not been considered, however, in the context of Queen's wider output. This article examines ‘Bohemian Rhapsody’ in relation to Queen's idiolect as identified from the group's songs written between 1973 and 1975. ‘Idiolect’ refers to the common musical details of an artist's output or segment of their output. I subdivide the category of an idiolect to include sonic patterns and compositional strategies. The former accounts for patterns that are consistent in their presentation across songs, the latter accounts for patterns that differ in their presentation across songs. The formal and harmonic structures of ‘Bohemian Rhapsody’ reflect the group's common compositional strategies; the song's textural arrangements highlight Queen's sonic patterns. ‘Bohemian Rhapsody’ occupies a unique place in Queen's output, as the first song to present all the major elements of the group's idiolect.
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Rifan, Edmundus. "Analysis of The Structure and Meaning of The Lyrics Song of Adeles 30th Album “Struggle of Love”." Journal of English Language Teaching, Literature and Culture 2, no. 2 (August 17, 2023): 155–81. http://dx.doi.org/10.53682/jeltec.v2i2.7414.
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Analysis of the Structure and Meaning of the Lyrics Song of Adele’s 30th Album “Struggle of Love”. Paper. Maumere: Faculty of Social Sciences Education and Humanities. IKIP Muhammadiyah Maumere. 2023. This research aims to know and explain the structures and the meanings of song’s lyrics of Adele’s 30th album. There are two focuses of research namely physical and inner structure and meaning. The method of research used descriptive qualitative. In this research, there are two data sources, namely: primary and secondary data. For data collection, the researcher used interpretation of written material according to published notes, and articles. Based on the researcher conducted by the researcher, some important things can be found it, namely Adele’s songs contain a lot of structure and meaning. The results of the analysis found that in Adele’s song especially in 30th album, there are two big points. The points are: structure and meaning. The physical structure of Adele’s songs contains a lot of diction, figurative language, and imagery, basically that of the seventh mostly used three important parts of the physical structure. In terms of the inner structure of Adele’s songs there are important elements in them namely: themes, tones, feeling and mandate that are so diverse and aesthetically pleasing. Basically, of all that song that exist, not all song contains important points in the inner structure but only a few songs
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Sigler Ficken, Millicent, Kathryn M. Rusch, Sandra J. Taylor, and Donald R. Powers. "Blue-Throated Hummingbird Song: A Pinnacle of Nonoscine Vocalizations." Auk 117, no. 1 (January 1, 2000): 120–28. http://dx.doi.org/10.1093/auk/117.1.120.
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Abstract Little is known about the structure and function of hummingbird vocalizations. We studied the vocalizations of Blue-throated Hummingbirds (Lampornis clemenciae) at two sites in southeastern Arizona. Songs were produced by males and females. Male songs consisted of arrays of notes organized in clusters of “song units.” Within sites, all males shared the same song units. Individual differences occurred in some temporal aspects of song, and slight but consistent differences in note structure occurred between the two sites. The organization of units within songs was marked by rigid syntax, and long songs were produced by agglutination of units. Male songs may function in territorial advertisement and mate attraction. Female songs were very different acoustically from those of males and typically were given when females were within a few centimeters of a male. In these situations, the female's song often overlapped temporally with the male's song. Of the hummingbird species studied so far, the Blue-throated Hummingbird has the most complex songs and is the only known species with complex female songs. Blue-throated Hummingbirds show convergence with oscines in vocal complexity, song organization, song function, and possible learning of some song elements.
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Chybowski, Julia. "Joshua McCarter Simpson's Songs and Mid-Nineteenth Century Antislavery Activism." Journal of the Society for American Music 18, no. 2 (May 2024): 108–27. http://dx.doi.org/10.1017/s1752196324000087.
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AbstractThe Ohio-based Black songwriter, Joshua Simpson, published two books of antislavery songs in the mid-nineteenth century, Original Anti-Slavery Songs in 1852 and Emancipation Car in 1854. Unlike most other known songsters, which were compilations of poetry from several authors, Simpson authored original lyrics for borrowed melodies, and he did so with extraordinary care, engaging the original song to enhance his activist messages. Employing the rhetorical practice of signification, his linkage of new lyrics with preexisting songs sometimes builds upon meaning from the original text, reusing it to add weight to the moral and political arguments against slavery. He also extends nature imagery and lyrics about the comforts of home and family in traditional ballads and contemporary sentimental songs to his new lyrics, but more often his signifying practice is ironic. He inverts the original song's sentimentality in deliberately discomforting ways that could persuade Americans to assist self-emancipating people and work toward wholescale abolition of slavery. Simpson's most radical songs talk back irreverently to the originals, especially minstrel tunes containing degrading caricatures and proslavery propaganda as well as patriotic anthems proclaiming hypocritical platitudes. Simpson did not simply write new songs; he transformed some of the most popular and beloved songs of his era, harnessing their renown to sharpen his activist messages.
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Manik Sancita. "Simile Figurative Language in Passenger Selected Song." ELYSIAN JOURNAL : English Literature, Linguistics and Translation Studies 3, no. 3 (August 25, 2023): 198–208. http://dx.doi.org/10.36733/elysian.v3i3.4796.
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This article discusses about simile figurative language in selected song lyrics of Passenger. The writer analysed five song’s lyrics of Passenger which is used as data source. The five song’s lyrics are and I Love Her, I Hate, The Wrong Direction, Things that Stop You Dreaming, Beautiful Birds. The data in this article analysed in a descriptive and qualitative way. The purpose of this article is to identify the language and meaning of the metaphorical similes found in the lyrics of selected passenger songs. The article used theory proposed by Knickerbocker and Reninger (1963) and theory proposed by Leech (1981). The result of this article found fourteen similes in the songs’ lyrics which centred around connotative and affective meaning.
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Sijono, Sijono, and Thomas Joni Verawanto Aristo. "THE ANALYSIS OF FORMAL LINK IN WESTLIFE’S SONG." JEES: Journal of English Educational Study 1, no. 2 (March 15, 2019): 58–65. http://dx.doi.org/10.31932/jees.v1i2.328.
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Formal is formal links referring to the fact inside the language, that consist of verb form, parallelism, ellipsis, referring expression, conjunction, substitution, and repetition. This study uses descriptive qualitative research in which the researcher just describe the result of the implementation from the instruments and the data is obtained from articles, literary works, field notes, and personal documents in the form of words or pictures rather than numbers. The object of this study is formal links and the subject is Westlife’s songs. The analysis is taken from twelve songs of Westlife in their “Back Home” album. From the whole data the researcher found that most of songs consist of more than one formal link. The formal links are; Verb Form, Referring Expression, Repetition, Parallelism, Conjunction, and Substitution. From those formal links the most used in Westlife’s songs is Referring Expression, it can be seen that referring expression dominate the others links in eight songs from twelve songs. The songs that are dominated by referring expression are Us Against the World, Something Right, I’m Already There, When I’m With You, Have You Ever, It’s You, Catch My Breath and the Easy Way. From the result of analysis it can be concluded that Westlife’s songs has deep meaning which always referring with other words or elements and they avoid to repeat the identity of what they are sharing about again and again. To referring the meaning that they posted in their song’s lyric they used the third person pronouns like he, she, we, our, it, his, her, them. For the suggestion, the researcher recommends to the next researchers to analyze another part of discourse analysis such as discourse structure, discourse as dialogue, knowledge on discourse, etc.Keyword: Formal Link, Song Lyric, Weslife’s Song
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Tsvelykh, A. N., and E. D. Yablonovska-Grishchenko. "Song Repertoire of the Crimean Chaffinch, Fringilla Coelebs (Fringillidae), and Comparative Analysis of the Vocalization Features of F. C. Solomkoi, F. C. Coelebs and F. C. Caucasica Subspecies." Vestnik Zoologii 46, no. 6 (December 1, 2012): 55–63. http://dx.doi.org/10.2478/v10058-012-0047-4.
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Abstract Song repertoire of chaffinch F. c. solomkoi subspecies from Crimea was analyzed. We discerned 38 song types in Crimean chaffinches’ repertoire, 27 of them were more frequent. Comparing Crimean chaffinches’ songs with those of nominative subspecies from Eastern Europe showed no common songs. Comparison of individual song elements showed that songs of F. c. solomkoi consisted of 108 elements, of which 18 were distinctive to Crimean birds, 18 were specific to Crimean chaffinches and Carpa-thian F. c. coelebs population while absent in songs of chaffinches from Eastern Europe plains. Comparison of F. c. solomkoi songs with songs of Caucasian subspecies F. c.caucasica revealed no common types of songs. There are certain similarities in song structures between some Crimean chaffinches and hybrid popula-tion of F. c. caucasica and F. c. solomkoi from Northwest Caucasus. Other specifics of vocalization showed drastic differences in rain-call structures of all subspecies and no after-song “kit“ element for Caucasian sub-species
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Zhang, Dezhi, Huihui Liao, Xiaowen Zhu, De Li, and Min Zhu. "English Publicity of Chinese Folk Songs—With the Tea Picking Dance as an Example." Journal of Education, Teaching and Social Studies 6, no. 1 (March 3, 2024): p95. http://dx.doi.org/10.22158/jetss.v6n1p95.
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Chinese folk songs have unique inheritance and dissemination value. While actively developing the local dissemination of folk songs, we should constantly expand the transmission of Chinese folk songs overseas and enhance the international influence of Chinese folk song culture. Utilizing folk song micro-lesson to popularize the knowledge of Chinese folk songs, conducting surveys and analyzing the attitudes of international students from different countries towards four folk song micro-lesson videos, we have obtained over 30 valid survey data. The survey found that 96.77% of respondents believe that this series of micro-lesson plays a certain role in spreading Chinese folk songs, and the majority of the audience is interested in folk song micro-lesson and willing to share them. Micro-lessons of folk songs is one of the media for disseminating Chinese folk songs and folk song culture in the new era, providing a reference for the new approach to the external dissemination of Chinese culture.
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Wati, Jumaini Mulia. "THE IMPLICATION OF MORAL VALUES FOUND IN THE LYRICS ISLAMIC POP SONG ON TEACHING ENGLISH AS FOREIGN LANGUAGE (TEFL)." Esteem Journal of English Education Study Programme 5, no. 1 (January 10, 2022): 110–17. http://dx.doi.org/10.31851/esteem.v5i1.7460.
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The purpose of the analytical research conducted by researcher was to find moral values in the lyrics of the best song of Sami Yusuf and the theoretical implication of Sami Yusuf's song for Teaching English as Foreign Language (TEFL). To find out the moral values contained in the song, the researcher examines each song's lyrics that contain educational moral values by applying several theories such as: Linda and Richard Moral Value, Webster and Buzan. This type of research is descriptive analysis research, where this research is carried out by analysing and describing the object of research which is supported by expert theories and various library sources. The research method used in this study is descriptive qualitative method. The sources of data were seven songs from the best song of Sami Yusuf. Method of collecting the data is triangulation: lyrics, interview and book review. The data of this study were analysed by following steps: reading tenth lyrics from the album, understanding the contents and analysing the moral values in the lyrics of songs. After analysing there were ten moral values contained in the lyrics of the song, it could build the good character for student and for the theoretical implication for TEFL could be concluded that moral values could be taught through songs.
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Black, Fiona. "BEAUTY OR THE BEAST? THE GROTESQUE BODY IN THE SONG OF SONGS." Biblical Interpretation 8, no. 3 (2000): 302–23. http://dx.doi.org/10.1163/156851500750096363.
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AbstractThe expressions of love and desire made by the lovers in the Song of Songs include intimate and detailed poetic descriptions of the body. These often cause difficulty for interpreters because the imagery used is cryptic and seemingly nonsensical. Biblical scholars frequently express some discomfort or embarrassment over this language, yet largely maintain the view that it should be interpreted positively—as complementary and loving description. In all this, they are bowled over by their own amorous relationships with this text, which make them stutter and fumble almost as much as the Song's lovers do. This essay looks at (scrutinizes) the bodies in the Song of Songs—the physical bodies described in the Song and the textual body (corpus) with which readers engage. The literary and artistic construct of the grotesque serves—ostensibly perversely—as a heuristic for viewing bodily imagery and readerly desire. The grotesque's emphasis on the exaggerated and hybridised body and its weavings of the comic and the terrifying facilitate an investigation of the Song's gender politics and its complicated and potentially conflicting presentation of desire.
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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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Kurniastuti, Irine, and Vinsencius Bayu Prayogo. "DEVELOPMENT OF THEMATIC CHILDREN'S SONG AS A FUN LEARNING MEDIA FOR 2nd GRADE ELEMENTARY SCHOOL STUDENTS." IJIET (International Journal of Indonesian Education and Teaching) 6, no. 1 (January 20, 2022): 25–38. http://dx.doi.org/10.24071/ijiet.v6i1.4132.
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Creating a pleasant classroom atmosphere is an important element in starting the learning process. In various studies, listening to songs or singing them has been shown to have a positive effect on a student's mood for participating in the learning process. However, children's songs that are relevant to be used as teaching media are very limited. This study aims to develop new songs that are suitable for thematic learning of the 2nd-grade elementary school (SD) students which also can be used as an online learning medium. The songs developed include 6 themes in the 2nd-grade curriculum. Songs were developed using the ADDIE method. The result of this study is an album containing 6 children's songs according to the 2013 Curriculum theme. The results of expert validation show that the songs have good quality in terms of song titles, song atmosphere, language style, song content, and song characteristics. Based on the test result with students, these songs can be sung easily and give a positive feeling effect.
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Andrieu, Julie, Samuel G. Penny, Hélène Bouchet, Suchinda Malaivijitnond, Ulrich H. Reichard, and Klaus Zuberbühler. "White-handed gibbons discriminate context-specific song compositions." PeerJ 8 (August 3, 2020): e9477. http://dx.doi.org/10.7717/peerj.9477.
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White-handed gibbons produce loud and acoustically complex songs when interacting with their neighbours or when encountering predators. In both contexts, songs are assembled from a small number of units although their composition differs in context-specific ways. Here, we investigated whether wild gibbons could infer the ‘meaning’ when hearing exemplars recorded in both contexts (i.e. ‘duet songs’ vs. ‘predator songs’). We carried out a playback experiment by which we simulated the presence of a neighbouring group producing either its duet or a predator song in order to compare subjects’ vocal and locomotor responses. When hearing a recording of a duet song, subjects reliably responded with their own duet song, which sometimes elicited further duet songs in adjacent groups. When hearing a recording of a predator song, however, subjects typically remained silent, apart from one of six groups which replied with its own predator song. Moreover, in two of six trials, playbacks of predator songs elicited predator song replies in non-adjacent groups. Finally, all groups showed strong anti-predator behaviour to predator songs but never to duet songs. We concluded that white-handed gibbons discriminated between the two song types and were able to infer meaning from them. We discuss the implications of these findings in light of the current debate on the evolutionary origins of syntax.
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Pu, Tao. "A Research on the Five State Songs of the Khorchin Zasagt Banner." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 335–38. http://dx.doi.org/10.54097/yb1pt185.
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The five State songs,inherited from the old time are in the Zasagt banner. (They are also called as the religious and State songs). Five songs/hymns of religion and state: 1: Bayanun Tsagaan Altan Delkhii. 2: Yalguusan Erkhet Dalai Lama. 3: Namyan Dalai. 4: Praise of Mount Bayanzurkh. 5: Ungu Saitai.The five State songs, inherited from the old time in the Zasagt banner have been sung untill now.Three of them are long-songs and two of them short songs. The folk songs, passed on for many years are value of the unforgettable cultural heritage. The song”A Praise of mountain Bayanzurkh”has been sung over hundred years and we have analysed its three versions. The reason that the song is not changed for the full hundred years may be connected to the preservation of the specific “soul”, carried out by the worshipped mountain in comparison with the praise song/folk song changed by singers who enriched in their improvisation.
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Nowicki, Stephen, and Jared Strote. "Responses To Songs With Altered Tonal Quality By Adult Song Sparrows (Melospiza Melodia)." Behaviour 133, no. 3-4 (1996): 161–72. http://dx.doi.org/10.1163/156853996x00099.
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AbstractPure-tone sounds are a common and distinctive feature of many birdsongs. We used field playback experiments to test whether this tonal quality is perceptually salient to adult male song sparrows in the context of song recognition, by comparing responses to playback of normal songs with responses elicited by songs that had harmonics added. This species was chosen for study based on the recent finding that young song sparrows do not show a preference for songs with pure tones over songs with harmonics when choosing model songs to copy during their sensitive phase for learning. We found adult song sparrows to be significantly more responsive to normal song than to harmonic song, consistent with results from adult birds of other species. We conclude that the perceptual salience of the tonal quality of song changes during ontogeny or is context-dependent.
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Garland, Ellen C., Luke Rendell, Luca Lamoni, M. Michael Poole, and Michael J. Noad. "Song hybridization events during revolutionary song change provide insights into cultural transmission in humpback whales." Proceedings of the National Academy of Sciences 114, no. 30 (July 24, 2017): 7822–29. http://dx.doi.org/10.1073/pnas.1621072114.
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Cultural processes occur in a wide variety of animal taxa, from insects to cetaceans. The songs of humpback whales are one of the most striking examples of the transmission of a cultural trait and social learning in any nonhuman animal. To understand how songs are learned, we investigate rare cases of song hybridization, where parts of an existing song are spliced with a new one, likely before an individual totally adopts the new song. Song unit sequences were extracted from over 9,300 phrases recorded during two song revolutions across the South Pacific Ocean, allowing fine-scale analysis of composition and sequencing. In hybrid songs the current and new songs were spliced together in two specific ways: (i) singers placed a single hybrid phrase, in which content from both songs were combined, between the two song types when transitioning from one to the other, and/or (ii) singers spliced complete themes from the revolutionary song into the current song. Sequence analysis indicated that both processes were governed by structural similarity rules. Hybrid phrases or theme substitutions occurred at points in the songs where both songs contained “similar sounds arranged in a similar pattern.” Songs appear to be learned as segments (themes/phrase types), akin to birdsong and human language acquisition, and these can be combined in predictable ways if the underlying structural pattern is similar. These snapshots of song change provide insights into the mechanisms underlying song learning in humpback whales, and comparative perspectives on the evolution of human language and culture.
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Labra, Antonieta, and Helene M. Lampe. "The songs of male pied flycatchers: exploring the legacy of the fathers." PeerJ 6 (August 1, 2018): e5397. http://dx.doi.org/10.7717/peerj.5397.
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Singing is a key element of songbirds’ behavioral repertoire, particularly for males, which sing during the breeding season to defend resources against other males and to attract females. Different song traits may convey honest information about males’ qualities or conditions, which may be used by females to select their mates. Traits under strong sexual selection have an important component of additive genetic variation (i.e., the main genetic inheritance from parents), and so relatively high heritability; therefore, it can be expected that song traits also do. Although the act of singing is an innate behavior, and thus, genetically determined, songbirds need to learn their songs and therefore the genetic contribution to song traits may be reduced by the effect of environmental factors. We tested this hypothesis in seven song traits recorded in the long-distance migratory bird, the pied flycatcher (Ficedula hypoleuca). From a 23-year database (1992–2015), we obtained songs for 28 father–son pairs, and for each song trait we applied parent–offspring regressions to estimate heritability. The type of syllables sung are learned from tutors, and here we also determined the cultural contribution of fathers to the song repertoires of their sons, by quantifying the percentage of syllables that sons shared with their fathers, and compared this with what sons shared with other males in the population (e.g., neighbors). The heritabilities of song traits were highly variable (ranging from −0.22 to 0.56), but most of these were around zero and none of them were significant. These results indicate that the seven song traits are most likely determined by environmental factors. Sons shared more syllables with their fathers than with neighbors (21% vs. 3%), suggesting that fathers are important song tutors during the nestling period. We conclude that there is a cultural inheritance from fathers to their sons’ syllable repertoires, but there is no strong evidence for a genetic contribution of fathers to the seven song traits studied.
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Zhang, Yelin. "A Multi-sentence Music Humming Retrieval Algorithm Based on Relative Features and Deep Learning." Scalable Computing: Practice and Experience 25, no. 3 (April 12, 2024): 1799–806. http://dx.doi.org/10.12694/scpe.v25i3.2711.
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This project will study a fast retrieval method for music humming speech recognition based on sentence features and deep learning. The method proposed in this paper can realize the fast extraction of songs. According to the characteristics of the natural pause mode of the song, the song database and the song fragments provided by the user are divided into different sentences. The deep learning algorithm of BDTW is used to calculate the similarity of the song's pitch, and users can set matching conditions according to their preferences. It can identify the most significant differences between music fragments and the order of queries in the database. Then, a retrieval method of a music database based on DIS is proposed. It can shorten the acquisition time. Experiments show that the algorithm can recognize humming songs quickly and efficiently.
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Frima, Mohammad Syafa, Mayasari Mayasari, and Fardiah Oktariani Lubis. "Kritik Pemerintah Pada Lagu “Gugatan Rakyat Semesta” Karya Feast (Analisis Wacana Kritis Model Norman Fairclough)." JKOMDIS : Jurnal Ilmu Komunikasi Dan Media Sosial 4, no. 2 (July 18, 2024): 575–77. http://dx.doi.org/10.47233/jkomdis.v4i2.1883.
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This research aims to examine the role of songs as a tool of criticism against the government, focusing on "Gugatan Rakyat Semesta" which calls for scrutiny of governance. The study employs Norman Fairclough's critical discourse analysis approach with textual, discursive, and sociocultural analyses to understand how the song reflects socio-political dynamics in Indonesia. At the textual level, the research indicates that the song explicitly or implicitly urges people to challenge the government. Discursively, there is a correlation between the release of the song and student demonstrations. Sociocultural analysis reveals that the song's release is influenced by social tensions arising from economic decline, unemployment, corruption, discourse on election postponement, and others. This research is expected to contribute to understanding how musical artworks, particularly songs, can serve as tools of critique in the Indonesian socio-political context.
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Wiaderny, Jacek. "Title: Refrains of trauma: Eugeniusz Tkaczyszyn-Dycki’s songs." Tekstualia 2, no. 53 (July 29, 2018): 71–78. http://dx.doi.org/10.5604/01.3001.0013.3293.
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The article focuses on Eugeniusz Tkaczyszyn-Dycki’s songs, that is poems containing the word „song” in the title (e.g. „Song for Ms. Mościcka”). Although they are called „songs”, they are not intended to be performed orally; instead, they explore the musical potencial of their form for strictly textual purposes. The discussion follows Magdalena Łopata’s typology of Tkaczyszyn-Dycki’s songs, which refl ects the poet’s own differentiation between „somebody’s” songs, songs „about something”, „some” songs and songs „for somebody”. Subsequently, the article problematizes Tomasz Majeran’s conception of the refrainity” of Tkaczyszyn-Dycki’s poems. The Lacanian theory of trauma and tuché helps explain this particular aspect of Tkaczyszyn-Dycki’s poetic writing.
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Tyasrinestu, Fortunata. "Pemakaian Kosakata Tema Kesehatan dalam Penciptaan Lirik Lagu Anak." Resital: Jurnal Seni Pertunjukan 22, no. 3 (February 28, 2022): 180–86. http://dx.doi.org/10.24821/resital.v22i3.5227.
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The Use of Health-Themed Vocabulary in Creating Children's Song Lyrics. Children's songs can convey the songwriter's messages and describe the children's lives and the environment through their perspective in the lyrics. In this context, the song is the unity of the melody and lyrics. In addition, songs can also function as a means of exploration, information, expression, and entertainment. This research was conducted to determine the description of health-themed vocabulary uses in children's song lyrics. How health vocabulary, especially in children's song lyrics, is used by children's songwriters. The study sample was a set of songs from a collection of the best children's songs, Dendang Kencana. The research used a descriptive-analytical method, which was preceded by a literature study followed by determining the lyrics of the health-themed song lyrics created by the songwriters of Dendang Kencana song album. Data collection was carried out by using the ten-song lyrics with scores. Those songs were the best songs chosen from the Dendang Kencana album. The two songs were the best-selected songs in the Dendang Kencana Children's Songwriting Competition in 2017. The lyrics were observed and recorded, and analyzed to determine the vocabulary used within the children's song lyrics. The vocabulary was then grouped and interpreted according to the purpose of this study. The results show that in children's songs, the vocabulary of the health-themed is often used by the songwriters to emphasize the importance of being healthy and healthy since childhood. The vocabulary is related to children's daily activities, such as bathing, washing hands, washing hair, maintaining a healthy body, exercising, eating nutritiously, and other movement activities.
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Kreutzer, Michel L., and Laurent Nagle. "Song Tutoring Influences Female Song Preferences in Domesticated Canaries." Behaviour 134, no. 1-2 (1997): 89–104. http://dx.doi.org/10.1163/156853997x00296.
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AbstractLaboratory experiments were designed to examine the influence of previous acoustic experience on later song preferences in female domesticated canaries (Serinus canaria). Young females were reared in acoustic isolation (five groups). In these five groups, one was reared without tutoring and four were exposed to taped tutoring songs (playbacks of three different songs, two conspecific and one heterospecific). One of the four tutored groups was exposed to all three songs, while each of the remaining groups was exposed to one of the three songs. When adult, all females were tested using copulation solicitation displays as an index of their song preferences. We demonstrated that females reared without tutoring were especially responsive to a particular domesticated canary song. This song contained a special song phrase type (Vallet & Kreutzer, 1995) that elicits high levels of sexual response. In general, a similar preference was also observed in the groups reared with tutoring. In addition, the females' preferences in tutored groups were also positively and strongly affected by conspecific songs, when these songs had been heard during the previous tutoring. In fact, females seemed to be able to selectively respond to a song containing a special song phrase, but were also able to learn conspecific songs.
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Šmidchens, Guntis. "A HERITAGE OF BALTIC SONG CELEBRATION SONGS." Culture Crossroads 9 (November 10, 2022): 7–19. http://dx.doi.org/10.55877/cc.vol9.147.
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This attempt to inventory all 1,964 songs performed at the seventy Estonian, Latvian and Lithuanian National Song Celebrations (1869 to 2014) identified twelve songs which are most representative of Song Celebrations tradition as a whole. These are songs which were remembered and repeated across diff erent epochs of Celebration history (Tsarist, Independence, Soviet, and Renewed Independence). Song Celebrations heritage is measurable, in retrospect. At any Song Celebration, the number of songs from previous Celebrations can be counted to assess if the concert is more or less heritage-oriented.
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Pavlova, N. V. "Traditional formulas in Yakut folk songs recorded S. I. Bolo and A. A. Savvin." Languages and Folklore of Indigenous Peoples of Siberia, no. 40 (2020): 38–49. http://dx.doi.org/10.25205/2312-6337-2020-2-38-49.
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The paper presents the results of the study of Yakut folk songs, with the principle of classification of traditional formulas of folk tales applied. The study focused on the songs included in the manuscript of the volume “Yakut folk songs” 2012 of the series “Monuments of folklore of the peoples of Siberia and the Far East”. The author draws several conclusions. All the songs under consideration contain some categories of medial formulas. Besides having the categories of medial formulas, the songs with their own plot contain some groups of initial formulas (“Song of the broom”, “Sippie”, “Ann with candy”). Three songs lack categories of initial formulas (“The song about cuckoo”, “The bull’s Song”, “The pedestrian’s Song”), all of them having only the categories of medial formulas. All these songs have the following medial formulas: formulas defining the characters’ image, formulas describing the characters’ actions, formulas included in the dialogue (typical characters’ phrases). There are no categories of final formulas in these songs. Whi le the categories of initial formulas in Yakut folk tales are used once, in folk songs, as in Olonkho, they can be repeated several times. Whereas the medial formulas in folk tales are found in the middle of the story, in folk songs, they can be found in all parts of the text.
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Barbiere, J. Michael, Ana Vidal, and Debra A. Zellner. "The Color of Music: Correspondence through Emotion." Empirical Studies of the Arts 25, no. 2 (July 2007): 193–208. http://dx.doi.org/10.2190/a704-5647-5245-r47p.
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College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a “happy” or “sad” song. Each participant listened to two “happy” and two “sad” songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.
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Nurwati, Nurwati, and Aisyah Salsabila. "PEMBENTUKAN KARAKTER BAGI ANAK USIA 5-6 TAHUN MELALUI LAGU-LAGU ANAK DITK IT BUNGA HARAPAN SAMARINDA." Jurnal Warna : Pendidikan dan Pembelajaran Anak Usia Dini 5, no. 1 (March 31, 2020): 1–11. http://dx.doi.org/10.24903/jw.v5i1.13.
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The research is entitled "Character Building for Children 5-6 Years Old Through Children's Songs at Kindergarten IT Flower Hope Samarinda". Forming characters for children through songs is very influential. It is important to teach songs that are appropriate for early childhood so that their characters grow well. The songs that are in Kindergarten IT Flower Hope Samarinda are intended to instill moral character values, as well as attitudes that reflect a sense of caring, discipline and a sense of responsibility in children. These character values are poured into songs and can then be applied to children in everyday life. The purpose of this study was to determine the formation of children's characters through children's songs in TK Bunga Harapan Kindergarten, and what kind of songs are given in order to form good characters in children in TK Bunga Harapan Kindergarten Samarinda.This type of research is research or field with a qualitative descriptive approach. The subjects of this study were the principal, teachers, and students at the Bunga Harapan Kindergarten IT Samarinda. The research methodology used is descriptive qualitative. Data collection methods use observation, interviews, and documentation. Data analysis techniques use data reduction, data presentation and data applications. The validity of the data uses tringulation.The results of this study indicate that the formation of characters for children aged 5- 6 years through children's songs in TK IT Bunga Harapan shows that the songs that are applied can shape the character of responsibility, discipline, and caring, adjusting songs in accordance with the theme of learning. Songs that contain character values are ablution songs, rain songs, professional songs, I am a Muslim song, Baca Hamdalah song, Lahu Santri Kecil, Clearing song, and Recalling song.
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Julyandini, Luh Nurcahya, Ni Nyoman Sariyani, and Kadek Dwi Arlinayanti. "Feminist Language And Women’s Image In Balinese POP Song Entitled Wek Igis." International Journal of Multidisciplinary Sciences 1, no. 4 (November 11, 2023): 450–62. http://dx.doi.org/10.37329/ijms.v1i4.2374.
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Balinese pop song has a simple characteristic and is easily remembered by the public because this song characterizes the expression of the author’s feelings, which are written into the content and the life phenomenon. Balinese pop song is highly favored among the Balinese people because it has its own characteristic of using the Balinese language and is easy to learn because it has simple lyrics. It has been proven that in Bali, many singers sing Balinese pop songs such as Widi Widiana, Panji Kuning, Yong Sagita, Dek Ulik, A.A. Raka Sidan, Putri Bulan, and Dek Arya. One of the most famous Balinese pop songs is Wek Igis. This song tells about how women are from the man's point of view and also contains love. Furthermore, this love song also expresses joy, sadness, and anger. There are two singers in this album entitled Wek Igis, namely Dek Arya, and Putri Bulan. This song is one of the songs that represent the feminist aspect or the image of women. The image of women is a form of mental-spiritual image and daily behavior expressed by women in various aspects, namely physical and psychological aspects as a woman’s self-image and family and community aspects as a social image. By the existence of the feminist language presented in the lyrics of the Balinese pop song entitled Wek Igis, it aims to preserve and develop modern Balinese literature, especially in Balinese pop songs, and to raise the degree of women’s image in society’s point of view. In this study, two theories were used in the manuscript: structural theory according to I.A. Richard (in Tarigan, 2004) and feminist psychoanalysis theory according to Marxists and Socialists (in Rosemarie, 2010). The research method was qualitative, while the supporting instruments were transcription, interviews, literature, and documentation. The data analysis used in this research was descriptive data analysis technique and qualitative data analysis technique. The results of this study discussed the structure of the lyrics in the song entitled Wek Igis. The lyrical structure of the song is divided into two, namely, method and essence. The data studied only focuses on diction (word choice), imagery, and rhyme, and the essence studied was only on the song’s message. The image of women is perceived from feminist psychoanalysis aspects, such as caring women and loyalty expressed through the song’s message. The feminist language in this song is also found in Hindu literature, specifically in the Manava Dharmasastra.
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Williams, Heather. "Choreography of song, dance and beak movements in the zebra finch (Taeniopygia guttata)." Journal of Experimental Biology 204, no. 20 (October 15, 2001): 3497–506. http://dx.doi.org/10.1242/jeb.204.20.3497.
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SUMMARY As do many songbirds, zebra finches sing their learned songs while performing a courtship display that includes movements of the body, head and beak. The coordination of these display components was assessed by analyzing video recordings of courting males. All birds changed beak aperture frequently within a single song, and each individual’s pattern of beak movements was consistent from song to song. Birds that copied their father’s songs reproduced many of the changes in beak aperture associated with particular syllables. The acoustic consequences of opening the beak were increases in amplitude and peak frequency, but not in fundamental frequency, of song syllables. The change in peak frequency is consistent with the hypothesis that an open beak results in a shortened vocal tract and thus a higher resonance frequency. Dance movements (hops and changes in body or head position) were less frequent, and the distribution of dance movements within the song was not as strongly patterned as were changes in beak aperture, nor were the peaks in the distribution as strongly marked. However, the correlation between the positioning of dance movements within fathers’ and sons’ songs was striking, suggesting that the choreography of dance patterns is transmitted from tutor to pupil together with the song. A QuickTime movie of a courtship display used in this study can be found at: http://www.williams.edu/Biology/ZFinch/zfdance.html.
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Harahap, Addinul Arfansyah, and Nelly Astuti Hasibuan. "Implementation of LCM (Linear Congruent Method) Method in Region Song Game." IJICS (International Journal of Informatics and Computer Science) 4, no. 2 (September 6, 2020): 57. http://dx.doi.org/10.30865/ijics.v4i2.2118.
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The Regional Song Game is a game that educates players to hone the ability of knowledge about folk songs in the form of questions given the Regional Song game. With the game Regional Songs, players can expand the ability of players about the knowledge of regional songs. Aside from being a means of entertainment, games can also be an exciting learning medium and do not make players bored, so it becomes a pleasant learning atmosphere. The linear congruent method (LCM) is a random number generator method that is widely used by computer programs. The application of the Linear Congruent Method (LCM) in the Regional Song game is intended to randomize the questions that will be displayed by the Regional Song game. Regional Songs Game is an application designed to provide insights about folk songs for the players. This game aims to reintroduce folk songs to the people lost by the ages.
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Emerton, J. A., and Athalya Brenner. "The Song of Songs." Vetus Testamentum 40, no. 4 (October 1990): 501. http://dx.doi.org/10.2307/1519235.
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Disch, Thomas M. "The Song of Songs." Hudson Review 51, no. 2 (1998): 367. http://dx.doi.org/10.2307/3853061.
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Cameron, Bradley S. "Ecclesiastes, Song of Songs." Bulletin for Biblical Research 31, no. 3 (October 2021): 401–4. http://dx.doi.org/10.5325/bullbiblrese.31.3.0401.
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Snaith, J. G. "Review: Song of Songs." Journal of Theological Studies 54, no. 1 (April 1, 2003): 195–96. http://dx.doi.org/10.1093/jts/54.1.195.
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Landry, Gardner. "The Song of Songs." Cream City Review 39, no. 2 (2015): 106–11. http://dx.doi.org/10.1353/ccr.2015.0098.
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Payne, Robin. "The Song of Songs." Expository Times 107, no. 11 (August 1996): 329–33. http://dx.doi.org/10.1177/001452469610701103.
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Carr, David. "Song of Songs (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 21, no. 3 (2003): 162–64. http://dx.doi.org/10.1353/sho.2003.0009.
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Landy, Francis. "Song of Songs (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 25, no. 2 (2007): 196–98. http://dx.doi.org/10.1353/sho.2007.0033.
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O'Connor, Stephen. "5. Song of Songs." Missouri Review 30, no. 4 (2007): 99. http://dx.doi.org/10.1353/mis.2008.0016.
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