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1
Tawa, Nicholas E., and Frederick A. Hall. "Songs I to English Texts." American Music 5, no. 4 (1987): 452. http://dx.doi.org/10.2307/3051454.
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Tawa, Nicholas, and Lucien Poirier. "Songs II to French Texts." American Music 7, no. 1 (1989): 103. http://dx.doi.org/10.2307/3052061.
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Christian, Yuriko, and I. Dewa Made Bayu Atmaja Darmawan. "Wavelet Transformation and Spectral Subtraction Method in Performing Automated Rindik Song Transcription." Jurnal Ilmu Komputer dan Informasi 15, no. 1 (February 27, 2022): 9–19. http://dx.doi.org/10.21609/jiki.v15i1.1009.
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Rindik is Balinese traditional music consisting of bamboo rods arranged horizontally and played by hitting the rods with a mallet-like tool called "panggul". In this study, the transcription of Rindik's music songs was carried out automatically using the Wavelet transformation method and spectral subtraction. Spectral subtraction method is used with iterative estimation and separation approaches. While the Wavelet transformation method is used by matching the segment Wavelet results with the Wavelet result references in the dataset. The results of the transcription were also synthesized again using the concatenative synthesis method. The data used is the hit of 1 Rindik rod and a combination of 2 Rindik rods that are hit simultaneously, and for testing the system, 4 Rindik songs are used. Each data was recorded 3 times. Several parameters are used for the Wavelet transformation method and spectral subtraction, which are the length of the frame for the Wavelet transformation method and the tolerance interval for frequency difference in spectral subtraction method. The test is done by measuring the accuracy of the transcription from the system within all Rindik song data. As a result, the Wavelet transformation method produces an average accuracy of 83.42% and the spectral subtraction method produces an average accuracy of 78.51% in transcription of Rindik songs.
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Sklavounakis, Georgios. "Semiotics on music charts: The signification of late-blooming hits in contemporary popular music." Punctum. International Journal of Semiotics 9, no. 2 (2023): 189–208. http://dx.doi.org/10.18680/hss.2023.0025.
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Eliseo Verón’s approach to circulation focuses on the gap between production and recognition and the consideration of texts in relation to their contexts of production and consumption. In this paper, we employ Veron’s concepts of grammar of production and grammar of recognition to examine popular songs that reached their peak of success several years after their release. Drawing our case studies from the Hot 100 American singles chart, we combine social semiotics and semiotics of popular music to examine the contexts of the initial songs’ release and their eventual commercial peak while considering changes in the media ecology and how these songs re-entered popular culture. The corpus of songs examined is split into three major categories: Songs that re-entered popular culture after their performer’s passing, recurring Christmas- themed songs, and hits featuring in audiovisual productions like films and television series.
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CHRISTODOULAKIS, MANOLIS, COSTAS S. ILIOPOULOS, M. SOHEL RAHMAN, and WILLIAM F. SMYTH. "IDENTIFYING RHYTHMS IN MUSICAL TEXTS." International Journal of Foundations of Computer Science 19, no. 01 (February 2008): 37–51. http://dx.doi.org/10.1142/s0129054108005528.
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A fundamental problem in music is to classify songs according to their rhythm. A rhythm is represented by a sequence of “Quick” (Q) and “Slow” (S) symbols, which correspond to the (relative) duration of notes, such that S = 2Q. In this paper, we present an efficient algorithm for locating the maximum-length substring of a music text t that can be covered by a given rhythm r.
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Spracklan-Holl, Hannah. "Noblewomen’s Devotional Song Practice in ‘Patiençe veinque tout’ (1647–1655), a German Manuscript from the Mid-seventeenth Century." Context, no. 48 (January 31, 2023): 35–51. http://dx.doi.org/10.46580/cx78832.
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"Devotional song in the German vernacular was a large repertory in the seventeenth century; as Robert Kendrick points out, the more than two thousand printed collections of these songs produced at this time attest to a relatively musically literate public that engaged with the repertoire. Most published devotional songs appeared in collections, usually consisting of a foreword or dedications, other poetry, and songs. The songs themselves often appeared without printed musical notation, indicating the use of contrafactum. Both men and women contributed to the German devotional song repertoire; however, there is a notable number of original song texts written by women. The 1703 publication Glauben-schallende und Himmel-steigende Herzens-Music, for example, contains 1,052 devotional songs, of which 211 have texts written by women. Women’s performance of devotional texts—whether by singing, recitation, or reading—was a practice that demonstrated their deep internalisation of the text itself whilst also providing a socially acceptable means of self-expression. This article focuses on a mid-seventeenth century manuscript songbook compiled by Duchess Sophie Elisabeth of Braunschweig-Lüneburg (1613–1676). It suggests that at least three songs in the manuscript have poetry and/or music written by noblewomen other than the duchess, including Juliane of Oldenburg-Delmenhorst (1615–1691) and Maria Magdalena of Waldeck-Wildungen (1606–1671). This suggestion is based on two notable features of Sophie Elisabeth’s meticulous recording practices in ‘Patiençe veinque tout’ that are missing from the songs in question. First, the authorship of these three songs is ambiguous, whereas the text and music for all other songs in the source are either made clear by Sophie Elisabeth’s own annotations accompanying each song, or are easily traceable. Second, none of the three songs include the duchess’s monogram, a date of composition, nor any other note stating her authorship (one or more of these notations are included for the songs in ‘Patiençe veinque tout’ that are of her own creation). In investigating the provenance of these songs, this article highlights the fact that women’s original texts, which are often overlooked, form a sizeable and significant body of musical literature from the early modern period. The two complementary practices of writing and performance paint an intimate portrait of women’s confessional and personal identity and the role music played in forming this identity, while also reflecting broader cross-confessional trends towards spiritual interiority and personal piety in the seventeenth century."
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Lee, Jonathan Rhodes. "Texts, Drugs, and Rock ’n’ Roll." Journal of Musicology 38, no. 3 (2021): 296–328. http://dx.doi.org/10.1525/jm.2021.38.3.296.
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Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyrics/musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters/situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.
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MapurangaChitando, TapiwaEzra. "Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe." Religion and Theology 13, no. 1 (2006): 72–89. http://dx.doi.org/10.1163/102308012x13397496507667.
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AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study also describes how artists look forward to a new era of Africa's prosperity and progress. Throughout, reference is made to specific biblical passages that have inspired the different songs.
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Stallsmith, Glenn. "Protestant Congregational Song in the Philippines: Localization through Translation and Hybridization." Religions 12, no. 9 (August 31, 2021): 708. http://dx.doi.org/10.3390/rel12090708.
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Historically, the language of Protestant congregational song in the Philippines was English, which was tied to that nation’s twentieth-century colonial history with the United States. The development of Filipino songs since the 1970s is linked to this legacy, but church musicians have found ways to localize their congregational singing through processes of translation and hybridization. Because translation of hymn texts from English has proven difficult for linguistic reasons, Papuri, a music group that produces original Tagalog-language worship music, bypasses these difficulties while relying heavily on American pop music styles. Word for the World is a Pentecostal congregation that embraces English-language songs as a part of their theology of presence, obviating the need for translation by singing in the original language. Day by Day Ministries, the third case study, is a congregation that translates beyond language texts, preparing indigenous Filipino cultural expressions for urban audiences by composing hybridized songs that merge pre-Hispanic and contemporary forms.
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Važanová, Jadranka. "Functions of Ceremonial Wedding Tunes, Svadobné Nôty, in the Context of Traditional Culture in Slovakia and in a Cross-Cultural Perspective." Yearbook for Traditional Music 40 (2008): 21–32. http://dx.doi.org/10.1017/s0740155800012078.
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Within the varied repertoire of songs sung in the course of the traditional village wedding ceremony in Slovakia, specific songs were performed—usually by women without instrumental accompaniment—at particular, mostly ritual moments with context-appropriate texts to one or two recurring, locally identified wedding tunes called svadobné nôty. Today, these songs are still known by village people and are occasionally also performed within or outside the wedding context. Moreover, this phenomenon of a common local wedding melody seems to be spread among the wedding traditions of central, southern, and eastern Europe, sharing the name (svadobný hlas, svadbarski glas, svatovski glas) and similar features (Važanová 1999).
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Shrestha, Tara Lal. "Music as therapy in Bhim Birag’s selected songs." Nepal Journal of Multidisciplinary Research 5, no. 5 (December 31, 2022): 17–30. http://dx.doi.org/10.3126/njmr.v5i5.51799.
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An art or an artist is not beyond influences of the dominant historical- politico-cultural- forces. However, an art is a platform of meditation, where an artist can remain beyond historicity and exists as a healer. Birag lived an enduring painful physical life, but he used music as a therapy. In his simple looking serious songs he exists as a therapist, and it looks as if beyond his ideological ‘I’. In search of an escape from his painful life, he engaged his moments in composing serious songs, which embody certain level of therapeutic essence. This paper presents an outcome of the qualitative research on Bhim Birag’s biography and his selected songs primarily connecting his painful life with his creative life. On the basis of interviews and discussions along with published documents, it shows evidences about how he played some eclectic roles as a therapist persona via his celebrated songs. Finally, this research tries to connect the therapeutic essence of his serious songs to historicity from the eclective approach, where his ideological ‘I’ converses with his therapist persona and his texts (songs) negotiate to the politico-cultural contexts.
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Porras, J. Yuri. "Contextualizing Extant Music for Song-texts in Selected Plays by Lope de Vega." Comedia Performance 21, no. 1 (April 2024): 166–83. http://dx.doi.org/10.5325/comeperf.21.0166.
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Abstract: In recent years, there has been an expanded effort to identify, rescue, and transcribe Iberian early-modern theatrical music scattered in Cancioneros––period anthologies of secular music and song-texts attributed to a range of named and anonymous composers. Some of these songbooks are the primary sources of songs that appear in composer Jesús Bal y Gay’s (1905–1993) Treinta canciones de Lope de Vega. Although the scores’ song-texts derive from various lyric, prose, and dramatic works, in honor of Donald R. Larson, this article will focus on the latter. The extant music in Treinta canciones cries out for analysis, particularly from a contextualized theatrical and performance perspective within the fabric of the plays. Therefore, centering on extant music whose song-texts are linked to some of Lope de Vega’s plays, this article will contextualize the relevant transcriptions as well as highlight potential performative aspects to demonstrate not only the overall significance of music on the early modern stage but also the songs’ possible contribution to how the musical component can enhance modern productions and maximize the genre’s structural and ideological significance for today’s audiences.
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Hascher-Burger, Ulrike. "Music and Meditation: Songs in Johannes Mauburnus's Rosetum exercitiorum spiritualium." Church History and Religious Culture 88, no. 3 (2008): 347–69. http://dx.doi.org/10.1163/187124108x426538.
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AbstractThe Rosetum exercitiorum spiritualium et sacrarum meditationum of Johannes Mauburnus is considered the most extensive and influential treatise on meditation in the circles of the late Devotio Moderna. It was printed in five editions from the late fifteenth to the early seventeenth century. Besides instructions for numerous meditations of varying length, this treatise contains seven religious songs which were intended to stir up the emotions and facilitate the correct disposition for meditation. These songs were created as contrafacts, meaning that the newly composed texts were sung to well-known melodies of liturgical hymns and religious songs. In song rubrics, Mauburnus gives precise instructions about their function as an aid to summoning the motivation for the great number of spiritual exercises that had to be accomplished by the adherents of the Devotio Moderna every day. A unique feature of the Rosetum is the combination of a concrete meditation with a corresponding written song. These songs have not yet been examined systematically. The texts were edited by Guido Maria Dreves in Analecta hymnica on the basis of the edition printed in Paris in 1510. The melodies have not yet been reconstructed. In this article, the seven contrafacts are studied for the first time from the point of view of their structure and function, and their melodies are reconstructed on the basis of liturgical sources associated with the Devotio Moderna.
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Ziv, Naomi. "Reactions to “patriotic” and “protest” songs in individuals differing in political orientation." Psychology of Music 46, no. 3 (June 30, 2017): 392–410. http://dx.doi.org/10.1177/0305735617713119.
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Music is commonly used in political contexts, to strengthen attitudes and group cohesion. The reported research examined reactions to music representing national values or contesting them in individuals with different political orientations, on issues related to national pride, cohesion and free expression. In Study 1, 100 Israeli participants heard three “patriotic” or “protest” songs and rated their agreement with statements regarding them. Beyond a number of main effects of music and of political orientation, several interactions between these two variables were found. For right-wing participants, patriotic music increased pride whereas protest music increased shame and fear of social disintegration. For left-wing participants, protest music led to higher agreement with the right to free expression. Study 2 included 78 participants and repeated the procedure with parallel texts. Main effects of texts were found, but no main effects of political orientation or interactions were found. Results are discussed in terms of the role and impact of music in political settings.
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Shreffler, Anne C. ""Mein Weg geht jetzt vorüber": The Vocal Origins of Webern's Twelve-Tone Composition." Journal of the American Musicological Society 47, no. 2 (1994): 275–339. http://dx.doi.org/10.2307/3128880.
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The essay explores Anton Webern's earliest encounters with the twelve-tone method in the context of his previous decade-long preoccupation with vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16, Three Traditional Rhymes, op. 17, Three Songs, op. 18, and sketches and drafts from 1922 to 1925 suggests that Webern did not accept Arnold Schoenberg's method uncritically, but alternately rejected and embraced it. The religious and folk texts that Webern set during these years, hardly anonymous ciphers, were essential in helping him to articulate his own twelve-tone technique.
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Ye, Ye, and Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.
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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
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Jacob, Uri. "A Musical Stereotype? Repetitive Formations of Women’s Voices in the Trouvère Repertory." Journal of Musicology 40, no. 4 (2023): 456–84. http://dx.doi.org/10.1525/jm.2023.40.4.456.
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This article focuses on the effects of extensive melodic repetition in twelve Old French monophonic songs preserved in chansonniers (song books) from the thirteenth century. All these songs share a specific formal pattern: at least three initial poetic verses (or pairs of verses) set to the same melody. While the methodological point of departure for this study revolves around musical form and melodic construction, five songs within this group of twelve involve women speakers within their poetic texts—a relative rarity in medieval song. In addition to reviewing the cultural, cognitive, emotional, and performative implications of repetition, the article considers how repetitive melodic patterns intersect with and complement the feminine emphases of the text, arguing that this combination is not coincidental. As demonstrated by a close reading of these five songs, repetition has the potential to depict deliberately distinct female figures, ranging from a woman who longs for the touch of her absent crusading lover to the Virgin Mary herself. Repetition thereby serves in these songs to destabilize both the widespread trope of courtly love and the gendered implications of the chanson as a poetic and musical genre.
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Nagode, Aleš. "Benjamin Ipavec‘s Solo Songs on German Texts: Slovenian Patriot to German Muse." Musicological Annual 54, no. 1 (June 29, 2018): 23–30. http://dx.doi.org/10.4312/mz.54.1.23-30.
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Benjamin Ipavec is deemed to be the key composer of Slovenian nationalistic movement in the 19th Century. But he also composed solo songs with piano accompaniment on German texts. He is typical representative of musical “biedermeier”. He attempted to achieve the synthesis of perfect form and profound emotional expression.
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Metzer, David. "Reclaiming Walt: Marc Blitzstein's Whitman Settings." Journal of the American Musicological Society 48, no. 2 (1995): 240–71. http://dx.doi.org/10.2307/3128815.
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Between 1925 and 1928, Marc Blitzstein composed nine songs to texts by Walt Whitman. These settings highlight homoerotic and corporeal thematics, which dominant views of the poet had either obscured or denied. Challenging such interpretations, Blitzstein advanced a reclaiming of Whitman by homosexual readers. Subtitled "songs for a coon shouter," four of these settings introduce African American elements, either through "coon song" gestures or through incorporation of jazz idioms. These appropriations were intended to enhance Whitman's eroticism. They also create tensions between the "primitive" and the "civilized," high and low art, and white and black bodies.
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Kupina, Darina, and Galyna Smirnova. "Music interpretation of Shakespeare’s plays poetry in the beginning of the XX century into the solo song genre." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 46–56. http://dx.doi.org/10.33287/222033.
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The purpose of this scientific article is to prove the potential of Shakespeare’s poetry „Fear no More” for giving rise to multiple interpretations in a genre of a solo song. Methods. This study is based on a historical approach, which is used to determine the types of musical genres present in Shakespeare’s plays and trace the history of setting playwright's texts by British composers. The systems approach, comparative and analytical methods are used by investigator to determine the specifics of the form and music interpretation of texts. The scientific novelty of this investigative article is determined by the fact that the comparative analysis of the songs „Fear no more the heat o’ the sun” by British composers of the beginning of the XX century R. Quilter and G. Finzi is, for the first time, carried out and described in this publication. The main target, in this case, is to link the literary component to the music of the song and confirm the possible existence of multiple interpretations of songs from Shakespeare’s plays. Conclusions. Nearly all Shakespeare's plays call for music of some kind which often bears a direct connection to the action of the play; thus is created by the characters on stage in the form of a song. These songs often transgress the boundaries of the plays becoming independent works that are combined together and published as such in separate opuses. For instance, Shakespeare’s song „Fear no More” from the play „Cymbeline” exists in more than a hundred of music versions; the most well known of which are those by R. Qulter and G. Finzi. Comparison of these interpretations proofs the great intrinsic value of Shakespeare’s texts and potential for producing its various readings, as well as the possibility of existence of these songs beyond the narrow confines of the stage action.
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Kim, Seon ah. "From early composed art songs in Japanese occupation period to korean style art songs: the correlation between poetry and music in Park Tae-joon s art Song." Korean Society of Music Education Technology 47 (April 30, 2021): 209–28. http://dx.doi.org/10.30832/jmes.2021.47.209.
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A study on the analysis of Park Tae-joon s art song is the first step in studying the process of transforming from early composing song to Korean style art songs in the early modern era of Korea. IIt focused on changing musical factors of his pieces from his initial period of time until the time when he established matured technique. I analyzed how the music expressed the lyrics when it sings a poem and how Korean elements were used in Park Tae-joon s music works.
Generally Park Tae-joon composed simple music with regular phrase such as children s songs and hymns. Sometimes he tried to express the meaning of poetry matching texts with music by using musical elements like word painting, figurations of piano accompaniment and using irregular time. In addition, although he composed art songs that are western musical forms, he tried to use Korean musical idioms, which commonly used in Korean traditional songs called “Min-yo” such as a pentatonic scale, triple meter and Saeya harmony. This study finds that Park Tae-joon tried to find his identities of Korean art songs in the early modern era of Korea.
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Gramit, David. "Orientalism and the Lied: Schubert's "Du liebst mich nicht"." 19th-Century Music 27, no. 2 (2003): 97–115. http://dx.doi.org/10.1525/ncm.2003.27.2.97.
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Franz Schubert's "Du liebst mich nicht" (D. 756) has often been discussed as an extreme example of chromatic harmony, but one important possible motivator of the song's extravagance--its representation of one of the most exotic of the Orientalizing texts that Schubert set--has largely been overlooked. By considering the song and its interpretation by several recent critics, this essay suggests that the exotic is here represented not by overtly Orientalistic stylistic features, but rather by a pervasive ambiguity, which parallels the features ascribed to the Oriental in a variety of contemporary sources, including a review by Schubert's acquaintance Matthaus von Collin. Unlike such public evaluative texts, however, Schubert's song directly evokes the patterns of emotion and experience associated with the Orient rather than describing and critiquing from a critical distance. A brief consideration of the other songs of op. 59, "Dass sie hier gewesen" (D. 775), "Du bist die Ruh" (D. 776), and "Lachen und Weinen" (D. 777), reveals that "Du liebst mich nicht" opens the collection with an extreme representation of otherness from which the remaining songs gradually retreat.
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Sladký, Aleš. "Blues lyrics in teaching music and Czech at the grammar school." Musica paedagogia pilsnensis 1, no. 1 (2021): 96–103. http://dx.doi.org/10.24132/zcu.musica.2021.01.96-103.
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My study is entitled: “Blues lyrics in teaching music and Czech at the grammar school” and now I will outline its fundamental contents, the basic conclusions of my study and the meth- ods used to help me reach these conclusions. The study is conceived as a comparison of five American and five Czech blues compositions, which are considered the most popular and basic works of the genre. I did this by analyzing several available charts focused on foreign blues songs and then compiled my list of the five “most popular” American blues songs based on the number of occurrences and locations of the songs in specific charts. For Czech songs, this procedure was more difficult, because I could not find any survey, discussion or ranking that focused specifically on blues songs. So, I proceeded here more or less intuitively and I put together a list of five songs according to my own knowledge of songs, according to the popularity of songs on the youtube music portal and the popularity of the artists who presented the songs. I analyzed the compositions mainly from the textual point of view; however, I did not forget the musical aspect. I was mainly looking for basic identical and different elements in the text area. I found several identical elements, not only in terms of themes, but also in the construction of texts and poetic turns. However, I also found certain textual differences in the Czech and foreign compositions. I will discuss these identical and different elements in more detail in the following text.
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Tiron, Ekaterina L. "Fly agaric songs of the Koryaks-Nymylans." Sibirskiy filologicheskiy zhurnal, no. 1 (2023): 26–45. http://dx.doi.org/10.17223/18137083/82/2.
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The tradition of singing songs under the influence of fly agaric intoxication has been recorded among many peoples of Siberia. However, this topic still needs to be studied, with publications of texts, translations, and sheet music being scarce. This paper presents samples of Koryak-Nymylan fly agaric songs recorded in the 1990s–2000s in the Karaginsky and Olyutorsky districts of Kamchatka. There are two types of songs associated with different stages of interaction with fly agarics. When fly agarics are found, special songs-dances of a joyful character are sung due to the beliefs about the correct behavior of welcoming a mythical tribe of dancing fly agaric women. When using fly agarics, personal songs are performed, manifested in the commonality of poetic texts and melodies. This paper describes for the first time the modal-melodic structure of the melodies and the versification of the Koryak fly-agaric songs. The specificity of the flapper songs is caused by the special state, reflected in the timbre change of personal songs and the inclusion of “fly agaric” themes in the texts. The following semantic markers can be distinguished: the statement of the fly agaric state, the traditional speech dialogue with people from the real world, the transmission of messages from deceased ancestors, the description of the fly agaric dance, and the elements of the fly agaric journey. Fly agaric songs should be considered in the context of mythological representations of interaction with other worlds where deceased ancestors and special fly agaric creatures live.
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YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING." Eighteenth Century Music 2, no. 2 (September 2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.
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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, little has been said about her apparent penchant for reflecting on and preparing for death through the medium of her personal musical notebook. By reading these poetic texts and their musical settings against the voluminous writings on the art of dying to be found in the family’s theological library, this essay argues for the centrality of the ars moriendi in the Bachs’ domestic life and in their music-making.
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Borčak, Lea Wierød. "The sound of nonsense - on the function of nonsense words in pop songs." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 1 (December 21, 2017): 27–43. http://dx.doi.org/10.7146/se.v7i1.97177.
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Nonsense words in songs challenge the common assumption that song meaning resides in song texts. Songs containing verbal nonsense thus make evident that meaning cannot be deduced from one element (e.g. text), but rather emerges as a constant negotiation between the different medialities involved: music, text, the visual, the aural etc. It has been pointed out by several musicologists that content analysis of texts, despite having had a long historical tradition, is nonetheless insufficient or even downright misleading as a methodological approach to interpreting songs. The extensive use of nonsense words in pop songs affirms this stance, as verbal sense is simply stripped away, forcing the analyst to look for other kinds of sense. Researchers from various fields have dealt with nonsense, and quite a few of their insights are very similar – although this theoretical convergence is often not explicated, probably due to disciplinary borders. This article juxtaposes different observations about nonsense for the purpose of illuminating their mutual concordance and contributing to a systematic and comprehensible framework for understanding types and functions of verbal nonsense in songs.
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Karpowicz, Agnieszka. "Azbest Punk." Kultura Popularna 3, no. 53 (February 26, 2018): 11–20. http://dx.doi.org/10.5604/01.3001.0010.8262.
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The article analyses the lyrics of Polish punk rock songs showing their relationship with urban culture. By considering punk culture as an urban culture it interprets an impact of architecture and its materiality on the character of music and texts.
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Kablova, T. B., and S. O. Pavlova. "Ukrainian folk songs in music education of pupils." Musical art in the educological discourse, no. 2 (2017): 128–32. http://dx.doi.org/10.28925/2518-766x.20172.12832.
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The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic and musical texts, deep emotion, authenticity, profound statement thoughts, poetry, clean image, deep highly and true meaning, reflection the history of the people, their thoughts and feelings. Folk ensembels are the most accessible and authentic embodiment of the Ukrainian folk songs. Ukrainian folk music has a great pedagogical value and helps educate a highly moral individual, who would have aesthetic, philosophical and artistic aesthetic qualities; develops interest in folk music, artistic taste and imagination. On the other hand, there is a remarkable arttherapeutic component of Ukrainian folk song.
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Braun, Michael. "Bartóks originale Vokalmusik Gemeinsamkeiten in Textwahl, Textbehandlung und Stil." Studia Musicologica 53, no. 1-3 (September 1, 2012): 199–210. http://dx.doi.org/10.1556/smus.53.2012.1-3.15.
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The inventory of Béla Bartók’s original vocal compositions produces a heterogeneous impression: as regards to scoring, form, the derivation of the text, and the attitude of expression, the opera Bluebeard’s Castle, the two collections of songs opp. 15 and 16, Cantata profana for Soli, Choir and Orchestra, and the a cappella series Elmúlt időkből (From Bygone Times) and Twenty-Seven Two- and Three-Part Choruses apparently do not form a homogeneous group. However, they do share the common characteristic of being born as original music out of pre-existing texts. Stylistic features and peculiarities in the choice and the treatment of the texts do reveal some links and parallels between the original vocal works which reflect Bartók’s principles in the setting of texts and in the treatment of voices.
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Ishizuka, Kenkichi, and Takehisa Onisawa. "Evaluation of Operetta Songs Generation System Based on Impressions of Story Scenes." Journal of Advanced Computational Intelligence and Intelligent Informatics 16, no. 2 (March 20, 2012): 256–65. http://dx.doi.org/10.20965/jaciii.2012.p0256.
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This paper describes a system which composes operetta songs fitting to adjectives representing producer’s impressions of story scenes. Inputs to the system are original theme music, story texts and adjectives representing producer’s impressions of story scenes. The system composes variations on theme music and lyrics based on impressions of story scenes using Kansei information processing in order to convey producer’s impression of a story to audiences. Evolutionary computation is also applied to generations of variations and lyrics. Subjects experiments are performed to verify the usefulness of the system usingThe Ant and the Chrysalisin Aesop’s Fables as a story. In the experiments, two types of evaluations are considered. The one is the evaluation from the viewpoint that the system generates operetta songs fitting to story scenes appropriately or not. The other is the evaluation from the viewpoint that the system generates operetta songs giving producers and listeners the same impressions of generated operetta songs or not.
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Muralytė-Eriksonė, Giedrė. "Benjamin britten-henry purcell realizations: musical language correlation with original compositions." South Florida Journal of Development 3, no. 2 (April 19, 2022): 2749–56. http://dx.doi.org/10.46932/sfjdv3n2-092.
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English music and literature has deep traditions. In twentieth century the composers had the idea to refresh English music and literature, to show the beauty, freedom, and vividness of the English language. Benjamin Britten (1913–1976) was inspired by Henry Purcell‘s (1659–1695), the Baroque composers, musical language, which made use of texts in an expressive and free manner and was very modern in his living time. The identified patterns will be used to explain the linkages between the musical text in Britten’s realizations of several of Purcell’s, which were expressive and free, more like improvisations, filled with strong notes diatonically and chromatically. The paper will analyze the parallels between Britten’s realizations of Purcell’s songs Not all my Torments, Mad Bess, If Music Be the Food of Love (1rst and 3rd versions) from Orpheus Britannicus and the deep connection with original songs from vocal cycles by Britten Winter Words op. 52 and Sechs Hölderlin-Fragmente op. 61. Some interpretation ideas of the realization If music be the food of love (3rd version) from Orpheus Britannicus Seven Songs are also included.
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Honisch, Erika Supria. "Drowning Winter, Burning Bones, Singing Songs." Journal of Musicology 34, no. 4 (2017): 559–609. http://dx.doi.org/10.1525/jm.2017.34.4.559.
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In 1587 the Flemish composer Carolus Luython, employed by Holy Roman Emperor Rudolf II, published an unusual motet collection in Prague. Titled Popularis anni jubilus, the collection describes the sounds and rituals beloved by Central European peasants, recasting them as the ecstatic songs of rustic laborers (jubilus) famously celebrated by Saint Augustine in his Psalm commentaries. Highlighting the composer’s collaboration with the Czech cleric who wrote the motet texts, this study serves as a corrective to the interpretative frameworks that have broadly shaped discourses on Central European musical and religious practices in the early modern period. To make sense of the print’s raucous parade of drunken revelers, mythological figures, honking geese, and the Christ child, this analysis sets aside the hermetic lens typically used to account for the cultural products of the Rudolfine court and turns instead to contemporary theological tracts and writings by Augustine and Ovid that were foundational to the literary worlds of Renaissance humanists. Doing so brings into focus an ordered sequence of motets that offers some of the earliest and most vivid documentation in Central Europe of lay practices associated with the major feasts of the church year, from the bonfires on the Nativity of St. John the Baptist to the drowning of winter on Laetare Sunday. At the same time, this study shows the extent to which such “folk” traditions, parsed along national lines since the nineteenth century, had in fact long occupied common ground in the diverse territories of Habsburg Central Europe.
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Higgins, Paula. "Parisian nobles, a Scottish princess, and the woman's voice in late medieval song." Early Music History 10 (October 1991): 145–200. http://dx.doi.org/10.1017/s0261127900001121.
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Perhaps the best-known songs of Antoine Busnoys are those whose texts conceal in acrostics or puns some form of the name ‘Jacqueline d'Aqueville’ (for the song texts and translations see Appendix 1).The first letters in each line of A vous sans autre (no. 2) and Je ne puis vivre ainsi toujours (no. 3) yield the acrostics ‘A Iaqveljne’ and ‘Jaqueljne d'Aqvevjle’ respectively; the first line of A que ville est abhominable (no. 4) makes a pun on the surname ‘Aqueville’; and the incipit of Ja que lui ne si actende (no. 1) forms an ambiguous series of monosyllables that can also be read as the name ‘Jaqueline’.
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Liu, Chen, and Rong Yang. "Consuming popular songs online: Phoenix Legend’s audiences and Douban Music." cultural geographies 24, no. 2 (January 3, 2017): 295–310. http://dx.doi.org/10.1177/1474474016684125.
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This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotionally and how these interpretations shape and are shaped by these audiences’ senses of self and place. The key finding of this article argues that through the consumer-to-consumer network provided by social media (Douban Music), the rural–urban division, ethnic cultures and the role of Chinese nationalism in the global marketplace are generated by audiences’ creative writings and their interactions with other consumers. Moreover, we suggest that anti-fans’ and non-fans’ emotional engagement within music consumption and their interactions should be paid more attentions to.
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Bao, Dat. "Exploring the impact of songs on student cognitive and emotional development." International Journal of Visual and Performing Arts 5, no. 2 (November 28, 2023): 134–43. http://dx.doi.org/10.31763/viperarts.v5i2.1217.
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This scholarly article investigates the impact of diverse songs on second language (L2) learning, emphasizing cognitive, kinesthetic, and emotional engagement. This research recognizes songs as literary expressions, specifically through the lens of lyrics as literary texts, and explores their historical and ongoing significance in L2 education. Beyond linguistic proficiency, the article delves into the broader implications of integrating songs into language education. Educators observe that incorporating music fosters a positive learning environment, contributing to increased motivation and engagement among learners. The discussion in this article addresses the gaps in the integration of literary texts, including songs, into language education. It criticizes the tendency of tertiary foreign language programs to overemphasize 'literature' at the expense of linguistic aspects and the opposite approach at the lower secondary level, which focuses on linguistic aspects while neglecting literary involvement. The results of this literature review highlight the need to recognize the profound impact that literary texts, including songs, have on individual learners, urging the incorporation of artistic elements into language teaching practices in a more comprehensive and balanced manner. This article emphasizes that literature, through stories and narratives, contributes to the emotional development of learners, fostering empathy and understanding of 'otherness.' This research advocates the balanced and thoughtful integration of literature in FL classrooms, recognizing its capacity to go beyond language instruction and contribute to broader education and individual growth.
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Romey, John. "Songs That Run in the Streets." Journal of Musicology 37, no. 4 (2020): 415–58. http://dx.doi.org/10.1525/jm.2020.37.4.415.
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In the second decade of the eighteenth century, the Parisian théâtres de la foire (fairground theaters) gave birth to French comic opera with the inception of the genre known as comédie en vaudevilles (sung vaudevilles interspersed between spoken dialogue). Vaudevilles were popular songs that “ran in the streets” and served as vessels for new texts that transmitted the latest news, scandals, and gossip around the city. Already in the seventeenth century, however, the Comédie-Italienne, the royally funded troupe charged with performing commedia dell’arte, began to create spectacles that incorporated street songs from the urban soundscape. In the late seventeenth century all three official theaters—the Comédie-Italienne, the Comédie-Française, and the Opéra—also infused the streets with new tunes that transformed into vaudevilles. This article explores the contribution of the nonoperatic theaters—the Comédie-Française and the Comédie-Italienne—to the vaudeville repertoire to show the ways in which theatrical spectacle shaped a thriving popular song tradition. I argue that because most theatrical finales were structured around many repetitions of a catchy strophic tune to which each actor or actress sang one or more verses, a newly composed tune used as a finale had an increased probability of transforming into a vaudeville. Some of the vaudevilles used in early eighteenth-century comic operas therefore originated in newly composed divertissements for the late seventeenth-century plays presented at the nonoperatic theaters. Other vaudevilles began as airs from operas that were also absorbed into the tradition of street song. By the early eighteenth century, fairground spectacles drew from a dynamic repertory of vaudevilles amalgamated from the most voguish tunes circulating in the city. The intertwined relationship of the popular song tradition and theatrical spectacle suggests that the theaters helped to mold the corpus of vaudevilles available to street singers, composers, and playwrights.
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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Pedneault-Deslauriers, Julie. "Webern’s Angels." Journal of Musicology 32, no. 1 (January 1, 2015): 78–114. http://dx.doi.org/10.1525/jm.2015.32.1.78.
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Anton Webern’s Two Songs, Op. 8 on Poems by Rainer Maria Rilke (1910-1926) stand at the intersection between the composer’s spiritual ideals involving a fascination for angels, his personal circumstances at the time of the songs’ composition, and the literary influences of Weininger, Balzac, and especially Rilke. The Lieder absorb the Rilkean notions of transcendence and “intransitive love,” themes developed in the novel The Notebooks of Malte Laurids Brigge, the source of Webern’s texts. According to Rilke, lovers access the higher spiritual realm of angels by forsaking (rather than yearning for) proximity and possession. This concept resonates with the relationship Webern crafts between the chamber orchestra and the vocal line, one that eludes the goals it projects and expresses quasi-intangible motivic connections that dematerialize as soon as they form. The Op. 8 songs represent a turning point that reverberated throughout Webern’s personal and spiritual life: the promise of transcendence that Rilke’s poems held was couched in terms that echoed the hardships and rewards of his relationship with his future wife and, at the same time, resonated with the composer’s religious and artistic morals.
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Blades-Zeller, Elizabeth. "Tchaikovsky's Complete Songs: A Companion with Texts and Translations (review)." Notes 60, no. 1 (2003): 169–71. http://dx.doi.org/10.1353/not.2003.0089.
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Radinović, Sanja. "Béla Bartók and the development of the formal analysis of Serbian vocal folk melodies." Studia Musicologica 48, no. 1-2 (March 1, 2007): 183–200. http://dx.doi.org/10.1556/smus.48.2007.1-2.12.
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Abstract Béla Bartók's and Albert Lord's capital work on folk songs of the Serbs and Croats (Serbo-Croatian Folk Songs, Texts and Transcriptions of 75 Folk Songs from the Milman Parry Collection and a Morphology of Serbo-Croatian Folk Melodies, New York: Columbia University Press, 1951) has been known for more than six decades to Serbian experts. Yet, in Serbia Bartók's contribution have remained insufficiently studied and valued by the time being, specially his methodology of formal analysis and precious conclusions about the principles of traditional melopoetic shaping, realized on that basis. The author of this paper presents Bartók's notions on the formal structure of Serbo-Croatian folk songs, and then highlights delayed and extremely negative reaction on Bartók's work, made by the cultural public in postwar Belgrade. Namely, on account of this book of Bartók, Stanislav Vinaver and Josip Slavenski, renowned representatives of the then expert public opinion, engaged in a fierce debate with the Hungarian writer József Debreceni in the Književne novine (literary magazine) during the 1950's, concerning Bartók's political pretensions to a part of the Yugoslav territory, which are supposedly distinguishable precisely from some of the conclusions from the said study. Today it transpires that in the delicate political climate of the time the great authorities of Vinaver and Slavenski had a direct bearing on the negative reception of the said Bartók's ethnomusicological work, which considerably slowed down the potential development of Serbian ethnomusicology, primarily its methodological bases.
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Rodgers, Stephen. "Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850." Nineteenth-Century Music Review 10, no. 1 (June 2013): 119–49. http://dx.doi.org/10.1017/s1479409813000062.
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This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.
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Leibowitz, René. "Alban Berg's Five Orchestral Songs after Post-Card Texts by Peter Altenberg, Op. 4." Musical Quarterly 75, no. 4 (1991): 125–31. http://dx.doi.org/10.1093/mq/75.4.125.
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van der Geest, Sjaak. "Orphans in Highlife: An Anthropological Interpretation." History in Africa 31 (2004): 425–40. http://dx.doi.org/10.1017/s0361541300003582.
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In 1971 and 1973 I carried out anthropological fieldwork in Kwahu-Tafo, a rural town of about 5,000 inhabitants on the Kwahu plateau in the Eastern Region of Ghana. The first research project was a case study of the family I was staying with; the second was on ideas and practices concerning sex and birth control. As usual in anthropological research, my attention was drawn to many other things around me. One of these was Highlife. This short essay discusses the texts of some Highlife songs, which intriguingly related to my experiences in the field.It was impossible not to be struck by the importance of Highlife in the dreariness of daily life in Ghana. In the evenings large groups of young people assembled in front of the local bar to dance and listen to Highlife, the sounds of which resounded over the town. Many of the youngsters sang the texts along with the music. The typically empty interior contrasted strangely with the crowd outside. They were attracted not only by the music but also by the light—the bar was the only place in town with electricity. And, of course, it was the place to meet members of the opposite sex. Women and children were present to sell bread, tea, fried plantains, and other snacks. Around 10 p.m. the bar usually stopped the music; the lights went off, and the people dispersed. I became curious to know what the songs were about. Although I had learned some Twi, I was not able to understand them, so I asked someone to translate one text for me. The content aroused my interest and I decided to collect more Highlife texts. Various people helped me: school pupils, teachers, university students, and others. After recording the songs I had them transcribed in Twi and then translated into English.
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LAMBERT, PHILIP. "Brian Wilson’s Pet Sounds." Twentieth-Century Music 5, no. 1 (March 2008): 109–33. http://dx.doi.org/10.1017/s1478572208000625.
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AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.
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Gergely, Zoltán. "Written Sources in the Repertoire of the Christmas Carols From the Transylvanian Plain." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 145–62. http://dx.doi.org/10.24193/subbmusica.2022.2.08.
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"In the structure of the carols from the Transylvanian Plain has survived an old material of tunes and texts. The origin of some song’s dates back as far as the 16th century, and from that period to the 19th century the set of songs had been enriched with more and more tunes. In the material collected by the author an important style group is the Variants of the songs from the hymnals. The author argues that even if the written or printed forms still have their role in the learning, remembering, and singing of Christmas songs, the learning of new tunes or the passing of the old ones to the new generation happens by the well-known oral tradition and not with the help of music sheets. Keywords: Christmas songs, Transylvanian Plain, oral tradition. "
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Pilecka, Małgorzata. "The emotional dimension of language propaganda in Polish children's songs." Educational Role of Language Journal 2023-2, no. 10 (February 6, 2024): 94–102. http://dx.doi.org/10.36534/erlj.2023.02.08.
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The aim of this article is to show the results of the pedagogical qualitative research on the emotional dimension of language propaganda in Polish children's songs. As a text of culture, children's songs are both carriers and transmitters of the linguistic image of the world, and for this reason they can possibly serve as a tool for linguistic and ideological manipulation. By applying the method of a qualitative discourse analysis, the author has studied 136 contemporary music pieces, paying attention both on their text and melodic layers. The gathered data revealed that many of the analysed songs contain words, phrases and other linguistic means typical for propaganda text. The characteristic of such texts developed by various researchers was used to distinguish the features of language and melody that could indicate the manipulative nature of the message transmitted by the songs. / Keywords: children’s songs, linguistic worldview, language propaganda
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Hascher, Xavier. "‘In dunklen Träumen’: Schubert's Heine-Lieder through the Psychoanalytical Prism." Nineteenth-Century Music Review 5, no. 2 (November 2008): 43–70. http://dx.doi.org/10.1017/s1479409800003360.
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Why – one might be tempted to add: why again – the Heine-Lieder? And why psychoanalysis? Like most of Schubert's music and especially the late works, yet with a distinctive nuance, Schubert's set of six songs to texts from Heine's Buch der Lieder has been regularly discussed in the musicological literature of the last decades. Among those writings, the articles by Harry Goldschmidt and Richard Kramer, the collection of essays on Schwanengesang edited by Martin Chusid, and the latter's publication of the facsimile of the autograph and first edition of the cycle are of particular interest to us here. The reason for it has to do with the nuance referred to at the beginning of this paragraph. While some authors are inclined to discuss Schubert's understanding of the poetry (notably in terms of the celebrated Heinesque ‘irony’), others choose to address the set from another perspective, namely that of the order of the songs. Indeed, the following questions inevitably arise in considering the Heine songs: Why did Schubert alter the order of the poems from that in which they appear in Heine's original collection, therefore (seemingly) destroying the logic of the sequence? Did Schubert actually conceive the text as a sequence – that is to say, a cycle? In dealing with those issues, Goldschmidt and Kramer have suggested a provocative and radical solution, which consists in reordering the songs to match the succession in Heine. This, of course, has occasioned much eyebrow-raising in the musicological community, and has led to successive refutation and counter-refutation.
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Hellweg, Joseph. "Songs from the Hunters’ Qur’an: Dozo Music, Textuality, and Islam in Northwestern Côte d’Ivoire, from the Repertoire of Dramane Coulibaly." African Studies Review 62, no. 1 (March 2019): 120–47. http://dx.doi.org/10.1017/asr.2018.142.
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Abstract:The hunting songs of the majority-Muslim, Odienné region of Northwestern Côte d’Ivoire accomplish more than meets the ear. They conjoin and distinguish Muslim goals and ostensibly non-Muslim hunting practices. The musical repertoire of my host, Dramane Coulibaly, is illustrative. This study examines the role that Dramane’s songs played in motivating initiated dozo hunters to kill game during dozo funerals, a primary concern for dozos at these events. Next, it analyzes the structure and content of Dramane’s songs in relation to the embodied, emplaced, and material dimensions of dozo funerals, where Dramane’s performances served to calm the spirits of the dead so that they would leave the living in peace. Finally, it examines the musical aspects of Dramane’s songs in relation to Islam, with the aim of broadening the study of Islam in West Africa and beyond to encompass the texts and performance practices of dozo funerals.
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Daniel, Clay. "Auden, Auden’s Milton, and Songs for Virgins." Literature and Theology 33, no. 4 (July 4, 2019): 414–33. http://dx.doi.org/10.1093/litthe/frz005.
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Abstract Deep though unexplored currents of W.H. Auden’s incipient Christian theology in ‘Song for St Cecilia’s Day’ become clearer when we read the poem with an eye on John Milton’s madrigal ‘At a Solemn Music’ and his musical tribute to virginity, ‘A Masque’. Auden closely identified Milton with the religious dualism that impeded his acceptance of Christianity, as well with the divided consciousness of the Protestantism whose disintegration was a primary source for contemporary global chaos; and his examination of art, religion, and sexuality consistently uses Milton’s poems as counter-texts off which to ‘bounce’ his own vision of Christian flesh and Christian spirit.
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Tchanba, Nodar V. "Music in the Nart epic and Nart songs." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2022): 36–50. http://dx.doi.org/10.35852/2588-0144-2022-3-36-50.
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The article is devoted to the Abkhazian Nart epic poetry, presented in three types: prose, folk songs-tales, accompanied by a two-stringed bowed instrument – apkhyartsa, as well as in a special epic musical form, when song are inserted into prosaic texts. The music and dance in the Nart epic poetry is evidenced by such sections as: “The Song about the mother of the Narts”, composed in a round dance form, “How the hero Sasrykva was born”, written in a prose-poetic form, including elements of a lullaby, the lullaby “More amazing than amazing”. In a mixed prose-poetic form, the “Incomparable Daughter-inlaw of the Narts” is presented, referring in structure to a circular song and dance action. The chapter “How the narts got a pipe and a song” is mostly musical. It is fully set out in verse form, which gives reason to assume that it will be accompanied by a traditional two-stringed apharza. The music is also mentioned in the chapters “One Hundred Brothers of the Narts”, “Narts of Black-faced People”, “How the Dyd got Married”, “Unusual Transformation”, “The Courage of the Avenger” and many others. The last mention of the song can be found in the final chapter of the epic poetry piece – “The Death of Sasrykva”. In the Abkhazian Nart epic, the life of Narts is impossible without music: babies sing lullabies, heroes return from wars with a song, dance, create music instruments, play the apkhyartsa and acharpana, etc. However, in the few recordings of Abkhazian folklore made in the twentieth century, the musical component is poorly represented. The same is with the scientific research, in which the musical part is presented only in general words. The article offers a reconstruction of the musical component in the key works of the Abkhazian epic folklore.