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Articoli di riviste sul tema "Addition – Songs and music – Texts"
1
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 (30 aprile 2021): 209–28. http://dx.doi.org/10.30832/jmes.2021.47.209.
Testo completoAbstract (sommario):
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.
2
Jacob, Uri. "A Musical Stereotype? Repetitive Formations of Women’s Voices in the Trouvère Repertory". Journal of Musicology 40, n. 4 (2023): 456–84. http://dx.doi.org/10.1525/jm.2023.40.4.456.
Testo completoAbstract (sommario):
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.
3
Baruah, Sudarshana. "Indian Devotional Music: Its Relation with the Religious Concept of People and Iconography". BL College Journal 4, n. 2 (1 dicembre 2022): 129–34. http://dx.doi.org/10.62106/blc2022v4i2e5.
Testo completoAbstract (sommario):
Religion is the driving force behind the evolution of society. Human religious believers have interpreted music as the utterances of gods and lauded it as the purest expression of spirituality. Throughout the majority of human history, religious texts have been sung rather than written, and religious behavior has been expressed through prayer or devotional melodies or music in almost all religious traditions. The values, functions, and genres of religious music are culturally diverse and varied. Religious musical forms can transcend cultural barriers. Some religions, such as Buddhism, use music to prepare the mind for meditation by calming and focusing it. In India, kirtan, also known as Shikh religious music, facilitates connection with one another and with God. Similarly, Vedic hymns in Hinduism were musical. By performing bhajans, devotional songs, Sanskrit mantras, etc. Hindus offer prayers to God. Sufi music, Qawalli, etc., are chanted during prayers in the Muslim faith. In addition, it teaches religious teachings. Religious songs of any faith are characterized as a source of strength and a means of relieving pain, thereby improving one’s mood. The iconography of Indian music contains numerous elements that represent the human religion, culture, traditions, and way of life, thinking, values, customs, costumes, rituals, and behavior throughout the centuries through visual art and symbolism like sculpture, architecture, idol of god etc. Therefore, iconography is a specialized discipline of study that examines images of gods. Indian music and dance are the culmination of one of the world’s finest civilizations’ evolution. The Iconography of Indian music entails the study of figures, images, deities, and pictorial representations of the devotional music’s most prominent deities of music.
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Martina Mulyani. "IT IS NOT JUST A SONG FOR CHILDREN". JELA (Journal of English Language Teaching, Literature and Applied Linguistics) 6, n. 1 (21 giugno 2024): 44–58. http://dx.doi.org/10.37742/jela.v6i1.121.
Testo completoAbstract (sommario):
A Song is a good medium for children to learn about culture. Through songs, songwriters can convey their native culture, which they regard as valuable for future generations to inherit. There are several songs for children in Indonesia written by talented songwriters that portray the distinctive qualities of Indonesia’s culture. For the listeners to recognize the Indonesian virtues implied in the songs while simultaneously enjoying the songs, the songwriters demonstrated some strategies that allowed them to convey the intended culture. This study attempted to determine how songwriters managed to pass culture through songs and what culture they tried to convey. A semiotic analysis, including textual analysis, thematic progression, and sign analysis, was conducted on five popular songs for children from four well-known songwriters in Indonesia. The results showed that the songwriters utilized the material process to help the children visualize the content of the songs and used existential phrases and a variety of marked themes, including conditions, adjuncts, and dependent themes, to convey many key points in a single sentence. In addition, the songwriters also employed a combination of multiple thematic progressions to develop the subject, zigzag thematic development to maintain the text's logical relation, and reiterative thematic progression to emphasize the theme of the text. The findings are valuable as references, especially for those who wish to write music for young listeners
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Buroni, Edoardo. "IL BELCANTO E LA CANZONE NELL’INSEGNAMENTO DELL’ITALIANO L1 E L2. CONSIDERAZIONI GENERALI ED ESPERIENZE DIDATTICHE". Italiano LinguaDue 14, n. 2 (17 gennaio 2023): 191–219. http://dx.doi.org/10.54103/2037-3597/19657.
Testo completoAbstract (sommario):
I testi per musica offrono molteplici spunti e stimoli per l'insegnamento e l'apprendimento della lingua italiana. I due generi principali, l'opera lirica e la canzone, consentono di approfondire anche lo sviluppo storico del nostro idioma e di affrontare le varietà stilistiche e sociolinguistiche del passato e del presente; inoltre il modo di fruizione principale e più genuino di questi testi verbali (quello che, appunto, li unisce all'esecuzione canora e musicale) è per sua natura multimodale, tratto che in anni più recenti ha acquisito ulteriori potenzialità grazie allo sviluppo della multimedialità. Senza contare che a partire sia dall'opera lirica sia dalla canzone gli insegnanti possono elaborare dei percorsi interdisciplinari pensati appositamente per le diverse categorie di studenti a cui di volta in volta si rivolgono. Il saggio presenta un esempio concreto di analisi linguistica e di una possibile applicazione didattica di natura multimodale, multimediale e interdisciplinare prendendo in esame l'opera che ha inaugurato la stagione 2021-2022 del Teatro alla Scala di Milano, il Macbeth di Giuseppe Verdi, e le canzoni prime classificate al Festival di Sanremo dello stesso anno: una scelta sperimentata in alcuni corsi accademici e che ha dato esiti positivi perché più aderente e vicina al contesto culturale, informativo e massmediatico in cui gli studenti sono immersi. Bel-canto and songs in teaching Italian as L1, L2 and LS. General considerations and teaching experiences Texts written to be sung offer many possibilities to teach and learn the Italian language in a pleasant way. The two main genres of these texts for music - opera and song - also allow to deepen the historical development and the stylistic and sociolinguistic varieties of the Italian language. Multimodality is an intrinsic feature of the fruition of sung texts; furthermore, in recent years the development of multimedia has offered new possibilities in this direction. In addition, both opera and song allow us to deal with interdisciplinary arguments. The paper presents an example of linguistic analysis and a possible multimodal, multimedia and interdisciplinary didactic application: it analyzes the opera that inaugurated the 2021-2022 season of the Teatro alla Scala in Milan, Macbeth by Giuseppe Verdi, and the first classified songs at the Sanremo Festival of the same year. This choice has been tested in some academic courses, giving positive feedback: in fact, the students approached these texts with greater interest because they considered them to be closer to the cultural and informative context they experience every day.
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L, Janarthanan. "An Overview of the Methods by which the Visually Impaired Learn Classical Music in the Gurukula System". International Research Journal of Tamil 4, S-8 (20 agosto 2022): 392–97. http://dx.doi.org/10.34256/irjt22s854.
Testo completoAbstract (sommario):
The gurukul education system is one in which a student who wants to study the arts first selects a guru and approaches him. The Guru, too, will give some tests to know whether he is really interested in learning and whether he is qualified to do so if he is selected, he will admit him into his gurukul (educational place). He stays with the guru and learns that art, which is the gurukul system of education. In that place, disciplines like duty, decency, and control were taught in addition to the art the student studied. From getting up in the morning and taking a bath after completing the nature calls and yoga practice, he was taught the meaning of "duty" by performing the duties assigned to him, starting with the needs required by the guru. When a student goes to a guru to learn music, he will be taught vocals, string instruments, wind instruments, leather instruments, etc., based on his voice and his skills. Mridangam vidwan Valangaiman Thiyagarajan and veena maestro Srini Maheshwari Venkataraman have said in an interview that the gurukul system is the best way for the visually impaired to learn classical music. In texts like Ratnakaram, it is said that music is an artificial combination of the three songs: instruments and acting. The authors of Tamil literature also call it music, which contains within itself questions, swarams, taalams, ragas, ideas, beautifications, and flavours. If this music is to develop in a way that is not to be questioned among the students, it is necessary to teach music properly. When the visually impaired learn music in the gurukul system, the students can learn clearly by interacting with the students, like parents and relatives, and teaching them the art. In this way, this article explains the usefulness, method, and guidance of learning classical music in a gurukul manner.
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Mantra, Ida Bagus Nyoman, I. Nyoman Weda Kusuma, I. Nyoman Suarka e Ida Bagus Rai Putra. "Exploring the Educational Values of Oral Texts of Balinese Oral Tradition". International Journal of Linguistics, Literature and Culture 2, n. 2 (1 luglio 2016): 120. http://dx.doi.org/10.21744/ijllc.v2i2.140.
Testo completoAbstract (sommario):
The main concern of the present study is to analyze the educational values of the oral text of genjek oral tradition performed by several genjek groups in Karangasem, eastern part of Bali. Genjek is one of the most popular oral traditions in Bali and it is a spontaneous performing oral art by a group of young villagers to express their feeling, thought, and criticisms to the existing conditions of the country. All criticisms and suggestions are conveyed through songs in common Balinese language accompanied by acoustic Balinese bamboo music instruments. Their performances are usually funny and entertaining. Most of the lyrics are created spontaneously during the performance. As an oral traditional, genjek is mainly performed for entertainment and the education of their supporting society. This study found that most of the oral text of genjek Karangasem contains educational values which are really important to maintain the harmony of the social life of the society. In addition, the present study revealed that genjek is also an effective way of educating a big crowd of people. Therefore, it is recommended that genjek should be utilized more extensively, especially in social education and in conveying mass information which is needed to be known by the society.
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Pshenichkina, Halyna. "Spring-Time Ritual Folk Songs from Zvenyhorodshchyna: Ethnography, Typology, Geography". Problems of music ethnology 17 (17 novembre 2022): 130–47. http://dx.doi.org/10.31318/2522-4212.2022.17.270936.
Testo completoAbstract (sommario):
Spring-time ritual folk songs are currently a relict phenomenon in the local tradition of the historical Zvenyhorodka region (which covers the current Zvenyhorodka and parts of the neighbouring regions of the Right Bank of Cherkasy region) studies, so each recorded unit (song, text, description of a ritual or even a mention of their former life) is perceived by the researcher as an very important finding.
In the Eastern Podillia region of Cherkasy region (on the lands of the historical Uman region) until recently, you could hear stories about the rituals and songs of the spring-time cycle. On the other hand, spring-time melotypes are almost completely absent in the Naddnipryanshchyna villages (except for Nadtyasmynnia area). In this way, Zvenyhorodshchyna appears as the frontier of the actual ritual folk songs certain layer existence and at the same time – a transition zone between two large ethnographic regions, which absorbed the musical and stylistic features of both of them.
In the most complete collection of calendar and family rituals of the Right Bank of Cherkasy region, the beginning of the 20th century – monograph "Zvenyhorodshchyna" by A. Krymskyi, in addition to a detailed description of customs, rites and comments on them, contains more than 40 texts of spring dances, games and songs, as well as fasting verbal verses – "khrystuvannia", performed during the round of courtyards by children and young people on Easter. A certain number of samples of spring-time ritual genres are also found in music and ethnographic publications of different years and in the author's contemporary recordings.
The largest part of the local spring repertoire is made up of round dance and dance songs: "Shum", "Kryvyi Tanec", "Mak", "Zaichyk", "Proso", "Podolyanochka", "Verbovaya Kladochka", "Tuman", etc. Spring dances begin to be led and sung from Easter or even during Lent.
Among the genres of spring-time ritual singing, there are unique examples of early spring appeals, a group of lyrical ("velychalni" according to Y. Yefremov) ("Oh vesna, vesna, vesnyanochka", "Oi u pravuyu seredu", etc.) and timed ones to the spring season songs.
The collected and analyzed musical and ethnographic data formed the basis of typological maps that allow us to draw conclusions about the geographical distribution of certain spring melotypes in the Zvenyhorodshchyna region.
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Неклюдов, С. Ю. "“Bublichki” Between Folklore and Pop Music". ТРАДИЦИОННАЯ КУЛЬТУРА 25, n. 1 (29 marzo 2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.
Testo completoAbstract (sommario):
Среди музыкальных текстов «эпохи НЭПа» особенно широкой известностью пользовалась песенка «Бублички» («Купите бублики…»), наиболее вероятный автор которой — одесский поэт Яков Ядов (1926), а мелодия, по-видимому, восходит к еврейской народной песенке «Уголь». Песня сразу широко расходится по традициям городского фольклора и связанным с ним эстрадным подмосткам, включая русское зарубежье. С 1927 по 1945 г. в Европе и Америке напечатано более полусотни записей, инструментальных (бóльшей частью) и вокально-инструментальных (не только по-русски); в СССР была лишь одна «пробная» грамзапись Леонида Утесова. Наибольшее количество пластинок приходится на период 1927–1930 гг., по 1929 г. идет стремительный рост этого показателя, затем его резкое снижение, до одной пластинки в год. Интерес к песне возрождается после выступления сестер Берри с версией «Бубликов» на идише (в СССР — 1959 г.), но особенно с 1960-х гг., в русле ретро-увлечения русским романсом и городской песней. Сейчас мы располагаем 13 полными грамзаписями «Бубличек», включая иноязычные переработки (польскую, французскую, еврейскую). Кроме того, текст песни цитируется современниками и мемуаристами, а также размещается на нотных листках и в песенниках — печатных (1929–1930) и рукописных (1940-е). Всего в нашем распоряжении не меньше двух десятков записей, которые были зафиксированы вскоре после появления первотекста и могут рассматриваться как репрезентирующие «начальную» фазу развития данной песенной традиции. Их сопоставительный анализ позволяет описать вероятный содержательный состав этого первотекста и процесс последующего образования двух основных версий песни и их различных редакций. Among the musical texts of the New Economic Policy (NEP) era, the song “Bublichki” (“Kupite bublichki ...”) [Little Hot Buns or Bagels (Buy Little Hot Buns)], most likely authored by the Odessa poet Yakov Yadov (1926), was especially widely known. Its melody, apparently, goes back to the Jewish folk song “Coal.” The song quickly spread and became part of urban folklore. It was also performed on the pop stage, both in Russia and in the Russian diaspora. From 1927 to 1945, more than fifty recordings appeared in Europe and America, most of them instrumental, and some both vocal and instrumental (and it was not only sung in Russian); in the USSR there was only one “test” recording by Leonid Utesov. The largest number of records dates from the period 1927–1930; in 1929 there was a rapid jump of this indicator, which then sharply declined to one record per year. Interest in the song revived after the Berry Sisters performed a Yiddish version of “Bublichki” in the USSR in 1959, and grew from the 1960s onwards in the wake of the retro fascination with Russian romance and urban folk songs. The author has traced thirteen complete gramophone recordings of “Bublichki,” including versions in Polish, French, and Yiddish. In addition, the text of the song was quoted by contemporaries and memoirists, and also made its way into sheet music and into songbooks, both printed (in 1929–1930) and manuscript (in the 1940s). In total, the author counts at least two dozen records which were recorded soon after the appearance of the first, presupposed “primary” text, and that can be regarded as representative of the initial phase of the development of this song tradition. Their comparative analysis allows us to reconstruct the probable content of this primary text and the subsequent formation of two main versions of the song and their various modifications.
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Aikin, Judith P. "PRIVATE PIETY IN SEVENTEENTH-CENTURY GERMANY AND THE DEVOTIONAL COMPILATIONS OF CASPAR STIELER". Daphnis 29, n. 1-2 (30 marzo 2000): 221–79. http://dx.doi.org/10.1163/18796583-90000707.
Testo completoAbstract (sommario):
Caspar Stieler (1632-1707), chiefly known today as the author of erotic love song texts and melodies, serio-comic musical dramas, a treatise of journalism , and his ground-breaking dictionary, also wrote devotional texts and published compilations of prayers together with devotional song texts and their melodies that combined his own creations with those of other authors of Evangelical Lutheran Germany. His four surviving compilations (and their various later editions) are discussed in the context of treatment of the religious practices of the times, especially private and domestic devotional exercises. In addition, the study places the compilations in the spiritual movements with which Stieler became involved in the period from around 1665 through 1686, and in particular examines the evidence in these collections of his relationship with Ahasverus Fritsch, an early proponent of Philipp Jakob Spener's Pietism. This study of the devotional handbooks also relates them to Stieler's life, to his other publication activities, and to his life-long involvement with vocal music as composer and as poet of texts designed to be set to music.
Tesi sul tema "Addition – Songs and music – Texts"
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Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts". Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.
Testo completoAbstract (sommario):
Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
2
Garcia-Saavedra, Vivian. "The efficacy of folk songs versus songs composed for music education texts as determined by the primary grades music skills test scores of kindergarten and first grade students". FIU Digital Commons, 2002. https://digitalcommons.fiu.edu/etd/3927.
Testo completoAbstract (sommario):
The purpose of this research was to determine whether folk songs versus songs composed for music education texts would improve the music memory and performance skills of kindergarten and first grade students in a Miami Dade County Public School as measured by “The Primary Grades Music Skills Test” (PGMST). The folk songs selected for this study are multi-ethnic.
A sample of 80 students, 40 from kindergarten and 40 from first grade was drawn from the Lincoln-Marti School, an affiliate private school of the Miami Dade County Public School System. Within each grade level, 20 students composed the Experimental group and 20 the Control group (N=80).
Before attempting this project, a Primary Grades Music Skills Test designed and piloted by myself was administered to determine reliability. Results were positive, students understood and were able to perform all tasks in the pilot test.
Both, Experimental and Control groups for kindergarten and first grade were then administered the PGMST to determine baseline skills. An instruction period consisting of 20 consecutive daily music lessons of 20 minutes duration each, followed the Pretest. All lessons included 10 minutes of rudimentary music drills and 10 minutes of teaching four folk songs to the Experimental group and four songs composed for music education texts to the Control group. Upon completion of the instruction period, both the Experimental and Control groups were administered the PGMST as a Posttest in order to measure acquired musical achievement.
Posttest findings showed positive gains in the mean scores for correct responses in both groups. On the Posttest, the kindergarten Experimental group exceeded the kindergarten Control group by a margin of 20.31%. The first grade Experimental group exceeded the first grade Control group by a margin of 18.43%.
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Lebaka, M. E. K. (Morakeng Edward Kenneth). "Psalm-like texts in African culture : a Pedi perspective". Thesis, University of Pretoria, 2009. http://hdl.handle.net/2263/25129.
Testo completoAbstract (sommario):
Up to now there has been no attempt by Biblical scholars to compare the book of Psalms in the Old Testament with Pedi psalm-like songs. This study aims to fill that gap in the research and so contribute to the development of the African cultural heritage – especially that of the Pedi culture, by using indigenous knowledge systems. The research commences with a descriptive analysis of the various genres within the Book of Psalms. A variety of psalms types are discussed, including: Hymns of praise; Thanksgiving songs (communal and individual); Laments (communal and individual); Royal psalms; Hymns of Zion; Psalms of Yahweh’s kingship; Wisdom psalms; Liturgical psalms; Entrance liturgies; Judgement liturgies; Psalms of trust; Imprecatory psalms; Creation psalms; Torah (Law)-psalms; and Festival psalms. Each of these genres is described with reference to structural elements, characteristics and function(s). Then follows a descriptive assessment of numerous types and specific examples of Pedi Psalm-like songs via the provisioning of text, translation and a detailed commentary pertaining to contents and function. These include: Songs of Praise (e.g. Kgoparara); Thanksgiving songs (e.g. Mogale wa marumo - thanksgiving birth poem); Lament songs (e.g. Madi a manaba - a funeral song); Royal songs (e.g. Kgoshi - an inauguration song) Liberation songs (Ga e boe Afrika - a liberation song); Wisdom songs (Mokgoronyane - initiation song for boys and Kgogedi - initiation song for girls); Prayers of trust (e.g. Salane - a song of trust); Imprecatory songs (e.g. Leepo - song with irony); Law songs (e.g. Bana ba Modimo, thaetsang melao ya Modimo ka badimo - instruction song); Feasts (e.g. Ngwana malome nnyale - a lobola song and Hela Mmatswale, tlogela dipotwana - a wedding song). Finally the thesis provides a critical comparision between biblical psalms and Pedi psalm-like songs. The research demonstrates that, on the one hand, there are numerous interesting similarities between the two cultures’ songs with regard to a variety of aspects. On the other hand, the assessment also reveals substantial differences between the two musical traditions pertaining to an equally great number of issues.Thesis (PhD)--University of Pretoria, 2009.
Biblical and Religious Studies
unrestricted
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FORRESTER, ELIZABETH HARTLEIGH. "Musical Semantics within Modern Literature: A Study of Seven American Art Songs Set to the Texts of Gertrude Stein". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211255987.
Testo completo
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Wilson, Barbara Sue Johnston. "Stabat Mater by Frank Ferko a mosaic of mourning, the universality of mothers' grief, ancient texts made relevant by the addition of English interpolations /". Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/May2006/wilson%5Fbarbara%5Fsue%5Fjohnston/index.htm.
Testo completo
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Monsalve, Mejía Juana. "María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609097/.
Testo completoAbstract (sommario):
Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.
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Gross-Mejía, Jennifer Anne. "The working hour: A rhetorical analysis of the lyrics of Tears for Fears". CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2477.
Testo completoAbstract (sommario):
Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological symbolism to explore the idea of destiny. This thesis uses a combined rhetorical and psychological approach to analyze the manner in which the ethos and pathos inherent in the lyrics generated recognition, understanding, and sympathy in the listener.
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
Testo completoAbstract (sommario):
This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene". Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.
Testo completoAbstract (sommario):
Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia.Thesis (DMus)--University of Pretoria, 2005.
Music
Unrestricted
10
"Automatic lyric alignment in Cantonese popular music". 2006. http://library.cuhk.edu.hk/record=b5892755.
Testo completoAbstract (sommario):
Wong Chi Hang.Thesis submitted in: October 2005.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 89-94).
Abstracts in English and Chinese.
Abstract --- p.ii
摘要 --- p.iii
Acknowledgement --- p.iv
Chapter 1 --- Introduction --- p.1
Chapter 2 --- Literature Review --- p.5
Chapter 2.1 --- LyricAlly --- p.5
Chapter 2.2 --- Singing Voice Detection --- p.6
Chapter 2.3 --- Singing Transcription System --- p.7
Chapter 3 --- Background and System Overview --- p.9
Chapter 3.1 --- Background --- p.9
Chapter 3.1.1 --- Audio Mixing Practices of the popular music industry --- p.10
Chapter 3.1.2 --- Cantonese lyric writer practice --- p.11
Chapter 3.2 --- System Overview --- p.13
Chapter 4 --- Vocal Signal Enhancement --- p.15
Chapter 4.1 --- Method --- p.15
Chapter 4.1.1 --- Non-center Signal Estimation --- p.16
Chapter 4.1.2 --- Center Signal Estimation --- p.17
Chapter 4.1.3 --- Bass and drum reduction --- p.21
Chapter 4.2 --- Experimental Results --- p.21
Chapter 4.2.1 --- Experimental Setup --- p.21
Chapter 4.2.2 --- Results and Discussion --- p.24
Chapter 5 --- Onset Detection --- p.29
Chapter 5.1 --- Method --- p.29
Chapter 5.1.1 --- Envelope Extraction --- p.30
Chapter 5.1.2 --- Relative Difference Function --- p.32
Chapter 5.1.3 --- Post-Processing --- p.32
Chapter 5.2 --- Experimental Results --- p.34
Chapter 5.2.1 --- Experimental Setup --- p.34
Chapter 5.2.2 --- Results and Discussion --- p.35
Chapter 6 --- Non-vocal Pruning --- p.39
Chapter 6.1 --- Method --- p.39
Chapter 6.1.1 --- Vocal Feature Selection --- p.39
Chapter 6.1.2 --- Feed-forward neural network --- p.44
Chapter 6.2 --- Experimental Results --- p.46
Chapter 6.2.1 --- Experimental Setup --- p.46
Chapter 6.2.2 --- Results and Discussion --- p.48
Chapter 7 --- Lyric Feature Extraction --- p.51
Chapter 7.1 --- Features --- p.52
Chapter 7.1.1 --- Relative Pitch Feature --- p.52
Chapter 7.1.2 --- Time Distance Feature --- p.54
Chapter 7.2 --- Pitch Extraction --- p.56
Chapter 7.2.1 --- f0 Detection Algorithms --- p.56
Chapter 7.2.2 --- Post-Processing --- p.64
Chapter 7.2.3 --- Experimental Results --- p.64
Chapter 8 --- Lyrics Alignment --- p.69
Chapter 8.1 --- Dynamic Time Warping --- p.69
Chapter 8.2 --- Experimental Results --- p.72
Chapter 8.2.1 --- Experimental Setup --- p.72
Chapter 8.2.2 --- Results and Discussion --- p.74
Chapter 9 --- Conclusion and Future Work --- p.82
Chapter 9.1 --- Conclusion --- p.82
Chapter 9.2 --- Future Work --- p.83
Chapter A --- Publications --- p.85
Chapter B --- Symbol Table --- p.86
Bibliography --- p.89
Libri sul tema "Addition – Songs and music – Texts"
1
Dean, Gene. Country songs and talk songs. [Virginia]: Goodway Pub., 1998.
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2
Judith, Pasamanick, Collins Temma ill e Dicke Karen ill, a cura di. Rhyme, rhythm, and music. Cleveland, Ohio: Modern Curriculum Press, 1991.
Cerca il testo completo
3
Castiglione, Janice. Christmas songs. New York: Modern Pub., 1996.
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4
Niedecken, Wolfgang. BAP: Neue Songs 2007-2011. Hamburg: Hoffmann und Campe, 2011.
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5
Linus, Joe. Songs from the ZebraBook. Carson City, Nev: Acquisition Management & Design, 1996.
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6
Porter, Cole. Let's do it. San Francisco: Chronicle Books, 1993.
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7
Paresh, Shah Jyotsana, a cura di. Music masti: An encyclopedia of 2100 songs. 3a ed. Navi Mumbai: Jyotsana Paresh Shah, 2003.
Cerca il testo completo
8
Jeremy, Taylor. Ag pleez deddy!: Songs and reflections. [Pretoria: J. Taylor Pub., 1992.
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9
Harlan, Moore, e Taylor Steven V, a cura di. Lead the way: 50 contemporary songs. Kansas City, MO: Lillenas Pub. Co., 1993.
Cerca il testo completo
10
Milne, A. A. Disney's Winnie the Pooh Sing along. Burbank, CA, USA: Walt Disney Records, 1995.
Cerca il testo completoCapitoli di libri sul tema "Addition – Songs and music – Texts"
1
Poady, Antoine Cano, Chanel Ouetcho, Angélique Stastny e Matthias Kowasch. "Kanak Cultural Heritage on Colonised and Damaged Lands". In Geographies of New Caledonia-Kanaky, 149–61. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-49140-5_12.
Testo completoAbstract (sommario):
AbstractThis chapter – co-authored by two Kanak knowledge holders (a clan chief and a singer-songwriter) and two European researchers (from political science and geography) – discusses how Kanak communities deal with cultural heritage in the present, in a context of colonial legacies, institutional conservatism and depleting natural resources. We focus specifically on the communities of Bako and Touaourou in Paicî Cèmuhi and Drubea-Kapumë countries, respectively. We first analyse colonial policies of land dispossession and cultural oppression, as well as the ongoing inadequate support for Kanak languages from school institutions. We then discuss the ways in which grassroots initiatives testify to resilient and resurgent spaces for Kanak languages and cultural heritage in such contexts, by taking the example of (1) the work of the Agency for the Development of Kanak Culture (ADCK) to record oral histories, myths and toponyms as important identity markers and (2) Kaneka music as a contemporary transmitter of Kanak languages and cultural practices. In addition to the collection of toponyms in Kanak communities, Kaneka music is popular amongst young people and elders. Bands such as Humaa-gué from Touaourou provide songs engaging with colonial history, Kanak cultural life and practices, the mining industry and current sociopolitical issues. We draw the conclusion that the educational institution responds inadequately to Kanak needs, and initiatives undertaken by Kanak people at the grassroots level are key to the continuance of Kanak languages, cultural heritage and practices.
2
Chow, Yiu Fai, Jeroen de Kloet e Leonie Schmidt. "We Think We Should Stop Now". In Contemporary East Asian Visual Cultures, Societies and Politics, 197–209. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_7.
Testo completoAbstract (sommario):
AbstractWe borrow the last line of Tat Ming Pair’s hit song “High-flown 天花亂墜” (1989) as the title of our final chapter, or more accurately, our coda to the book. We think we should withdraw our voice now—in the previous six chapters, we have been speaking. We have also, of course, made an attempt to let Tat Ming speak, as well as their works—their songs, their MVs, their concerts. We have invited the voices of those who, more or less intensely or immediately, were inspired by Tat Ming in creating their own cultural products. Occasionally, we have included the voices of fans. It dawns on us that perhaps we should dedicate this coda to this purpose. In 2022, Tat Ming staged their second series of REPLAY concerts in Hong Kong. In addition, they organised an online event, especially for fans who could not be there—it was still in the midst of pandemic and the stringent travel regime. Using the song “High-flown” as prompt, they asked fans to send in how Tat Ming’s music has felt for them. Fans would be selected, upon their submissions, to converse directly with Tats and Anthony during the online session. We have secured a copy, with courtesy of Tat Ming, and made our own selection to be included here. We have decided to complement the fans’ responses with images we deem befitting, conversing, resonating. It is perhaps also our manner to pay tribute to the affective, evocative, and future-making potentials of cultural productions we discussed when we started this book.
3
Boulton, Maureen. "Intermedial Texts". In The Edinburgh Companion to Literature and Music, 78–85. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0008.
Testo completoAbstract (sommario):
The term ‘intermediality’ is applied to texts that incorporate an independent medium, and in medieval contexts may refer to the combination of text and image or of literature and music. Experimentation in thirteenth- and fourteenth-century France led to the creation of a variety of hybrid works. Several romances (Guillaume de Dole, Roman de Perceforest, Roman du Castelain de Couci and Gerbert de Montreuil’s Roman de la Violette) incorporate songs described as sung but without melodies in the surviving copies. Others (Roman de Tristan en prose, Aucassin et Nicolete) include musical notation in at least one manuscript, while Jean de Lescurel and Guillaume de Machaut wrote first-person narratives as contexts for the inserted music. In addition, Machaut wrote explicitly about the composition of words and music.
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Mohn, Christine. "Sjelen i kroppen: Sang og musikk i jødisk tradisjon". In Musikk og religion: Tekster om musikk i religion og religion i musikk, 223–43. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.177.ch12.
Testo completoAbstract (sommario):
Song is an inseparable part of Jewish prayer and other religious rituals. The earliest written sources describe how musically accompanied rituals are pleasing to God, and commentators from all periods of Jewish history emphasize the role of song in beautifying and intensifying prayer and religious devotion. Metaphorically speaking, the religious texts and rituals comprise the body of Judaism, while the melodies are likened to its soul. Outside of the synagogue, song and music accompany virtually all ritual celebrations and festivities. Non-religious Jews often cite music as a major and highly emotional expression of their Jewish identity. Different communities have different melodic traditions, with a common origin in the ancient Middle East. Mode scales are the basis for liturgical chanting and religious songs. However, local non-Jewish melodies have influenced the music of the synagogue, particularly in Ashkenazi communities. During the Jewish religious reform efforts of the 19th century, changes in synagogue music were a main vehicle for theological change and community coherence, affording Jewish music political power in addition to remaining an inherent part of individual and collective religious experiences.
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"People's Songs and People's War". In Third Worlds Within, 91–112. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059158-004.
Testo completoAbstract (sommario):
This chapter traces the organizational history and creative output of Paredon Records, a US-based company created by two veteran Jewish activists with roots in the worlds of folk music and the Old Left, Barbara Dane and Irwin Silber. Founded in 1970, Paredon released fifty records generated by political movements across the world, including Palestine, Greece, El Salvador, Angola, the Dominican Republic, Northern Ireland, Haiti, Mexico, and the United States. Dane and Silber envisioned Paredon as raising awareness inside the United States about national liberation struggles taking place overseas, as well as providing an ongoing organizing role within societies abroad. In addition to the 1973 album A Grain of Sand, which became a key text of the Asian American movement, Paredon produced records covering struggles in Thailand, the Philippines, China, and Vietnam. This chapter explores these releases as an example of a musical tricontinental solidary in the face of American imperialism.
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Manning, Jane. "HUW WATKINS (b. 1976)Three Auden Songs (2008)". In Vocal Repertoire for the Twenty-First Century, Volume 2, 223–25. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0069.
Testo completoAbstract (sommario):
This chapter explores Welsh composer Huw Watkins’s Three Auden Songs (2008). Written for the flexible high-lying voice of the tenor Mark Padmore, these three settings of W. H. Auden constitute an attractive and well-varied cycle which will sit well amongst more established pieces, and should prove a valuable addition to the tenor repertoire. It was commissioned by the Théâtre Royale de la Monnaie in Brussels. The musical language is chromatic, quasi-tonal, and highly accessible, and, as to be expected, the composer’s writing for piano is idiomatic, achieving a distinctive character for each song. Vocal lines are rewardingly lyrical and words are set with care for clarity and ease of attack. The music is phrased naturally to match the flow of the text, so the singer should have no difficulty in planning breaths. The ability to launch and sustain an even tone will be shown to full advantage.
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Archer, Violet. "Epigrams". In New Vocal Repertory 2, 128–31. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198790181.003.0028.
Testo completoAbstract (sommario):
Abstract One of Canada’s most distinguished and prolific senior figures, Violet Archer has written a good quantity of solo songs. Her music is not as widely known as it should be, and this short and extremely witty cycle is a gift for a performer: a most delightful addition to the male voice repertoire of lighthearted fare so often needed for recitals. A great deal of musical skill and variety is contained within its brief length, and the stylistic idiom is immediately attractive. Texts are taken from The Pocket Book of Humorous Verse by David McCord. The composer displays a fondness for bitonality and ‘wrong-note’ harmony, always used skilfully and to the point, never sounding ugly.
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Kohn, Livia. "Western Adaptations". In The Daode Jing, 243–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190689810.003.0013.
Testo completoAbstract (sommario):
These and many other translations of the Daode jing have made the text widely accessible to Western audiences, leading to a widespread and diverse adaptation. There are visions of Daoist leadership that extol the goodness of the sage and interpret the ancient ideals of nonaction, self-being, softness, and sufficiency in terms of executive excellence. In a wider dimension, the text has also inspired visions of environmental responsibility and was connected to concepts and practices of Deep Ecology. On a more mundane level, there are now works that extol “the Tao of” practically everything, from relationships through abundance to golf, photography, and more. In addition, the text has found expression in literature, music, and art, giving rise to books such as The Tao of Pooh, and recordings such as “The Songs of Laozi” and “Dao Blues.”
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Karpf, Juanita. "Genre Intrigue". In From Biblical Book to Musical Megahit, 73–98. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845740.003.0005.
Testo completoAbstract (sommario):
Whether a vocal work could or should be classified as sacred or secular mattered to 19-century U.S. audiences. Many devout Protestants voiced strong objections to certain types of so-called “secular music,” especially dance, and songs with lyrics considered bawdy or morally suspect. Certain secular genres, especially opera, were performed in theaters and therefore conservative citizenry generally avoided these venues. Yet, when Esther assumed the identity of a theatrical piece, many of its performances took place in spaces considered off-limits to the religiously conservative. However, these matters were anything but clearcut or definitive. Audiences and critics frequently questioned whether or not Esther’s music was sacred, or secular, and debated if Bradbury’s score upheld the expectations of a sacred or religious work. Even as Bradbury referred to Esther as a sacred cantata or oratorio, newspapers also classified the score as an opera. Much of the American public chafed at the possibility that a vocal piece, with a text drawn from the Bible, should be presented in a secular venue, with the addition of secular theatrical trappings such as dance, costumes and acting.
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Kenny, Elizabeth. "Italian Performance Practices in Seventeenth-Century English Song". In The Edinburgh Companion to Literature and Music, 209–18. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0022.
Testo completoAbstract (sommario):
This chapter discusses the role of performer additions in mid-seventeenth-century English song. It re-examines the relationship between delivery of a poetic text and musical performance. The ‘Hilton’ Songbook, BL Additional Manuscript 11608, demonstrates how a group of professional singers learned their ornamentation techniques from Italian sources such as Giulio Caccini, and how vocal expressivity could be achieved by breaking the customary rules of verbal rhetoric. Songs by Henry and William Lawes, Nicholas Lanier and Thomas Brewer, as well as theatrical music by Robert Johnson, are seen in varying stages of textual completion, allowing performers to insert themselves into the relationship between poets and composers. The results contradict the prevailing view of simplicity, artlessness and even musical decline that have often characterised descriptions of mid-seventeenth-century English song.
Atti di convegni sul tema "Addition – Songs and music – Texts"
1
Wang, Jiacheng, e Liangming Jia. "Usability of music application interface systems". In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003199.
Testo completoAbstract (sommario):
The mobile digitalization of music has been a part of people's lives for a few decades. As people enter the stage of transformation from Web 2.0 to 3.0, traditional Internet carriers and other major companies' apps are facing a change. In addition to the quality of the digital products that come with the apps themselves, the visual matching of the user interface, the logic of the operating framework and the adhesion of the user community have all become key factors. Purpose: This study aimed to examine the preferences, behaviors, and ease of use of music apps by students in tertiary institutions, the mainstream group of internet users, in order to provide reference suggestions for the future development of music apps in the Web 3.0 stage.Methods: In this study, the top three apps downloaded (Sample 1 "Spotify"; Sample 2 "QQ music," and Sample 3 "NetEase Cloud Music") were selected from the existing apps in China and Taiwan for the experimental design. The experiment consisted of five task steps: (A) bookmarking songs; (B) sharing songs with friends; (C) creating a new song list with a specific name; (D) searching for a specific song; and (E) changing personal information. Thirty subjects were recruited (purposive sampling), with 10 participants operating each app. Data were collected on task performance time and from the System Usability Scale (SUS), Post-Study System Usability Questionnaire (PSSUQ) and semi-structured interview results. The collected data were tested by one-way ANOVA and LSD post-hoc tests to confirm the significance between variables and specific analyses.Results: The results showed that (1) among the five operational tasks, Task A (p = 0.01 < 0.05) showed a significant difference in operational performance; then, according to the LSD post-hoc test results, the operational time of Sample 1 (M = 15.30, SD = 8.98) was significantly lower than that of Sample 3 (M = 33.67, SD = 16.77), which was not significantly different from that of Sample 2 (M = 23.11, SD = 9.89). There was no significant difference with Sample 2 (M = 23.11, SD = 9.89). (2) According to the SUS scale results, there was a significant difference in the participants' evaluation of the ease of use of the three apps (p = 0.01 < 0.05). According to the LSD post-hoc test results, Sample 1 (M = 85, SD = 8.82) was significantly higher than Sample 2 (M = 66.25, SD = 17.05) and Sample 3 (M = 69.75, SD = 13.15), with no significant difference between Samples 2 and 3. (3) According to the PSSUQ results, there was a significant difference in the interface quality profile, as seen in the LSD post-hoc test results, where Sample 2 (M = 2.93, SD = 0.72) scored significantly lower than Sample 1 (M = 3.9, SD = 0.85) and Sample 3 (M = 3.9, SD = 0.61).Discussions: The three apps are all music players, and the underlying logic of operation is the same, so there is little noticeable performance difference. Sample 1 is the only one of the three apps that has black as the primary visual color of the interface, with green accents. The darker color enhances the user's time to complete tasks and provides a better user experience. When performing tasks, the subjects would invariably look for the icon representing their data in the bottom right corner.
2
Oliveira, Gabriel P., e Mirella M. Moro. "Mining Exceptional Genre Patterns on Hit Songs". In Symposium on Knowledge Discovery, Mining and Learning. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/kdmile.2023.232412.
Testo completoAbstract (sommario):
The music industry has always been complex and competitive. Nowadays, combining different genres has become a common practice to promote new music and reach new audiences. Given the diversity of combinations between all genres, predictive and descriptive analyses are very challenging. Here, our goal is to mine frequent and exceptional patterns in music collaborations that have achieved success in both global and regional markets. We use the Apriori algorithm to mine genre patterns and association rules that reveal how music genres combine with each other in each market. The results show significant differences in the behavior of each market and a strong influence of the regional factor on musical success. In addition, we are able to use such patterns to identify and recommend promising genre combinations for such markets through the association rules.
3
Yeganeh, Nashmin, Ivan Makarov, Snorri Steinn Stefánsson Thors, Hafliði Ásgeirsson, Árni Kristjánsson e Rúnar Unnþórsson. "Vibrotactile Sleeve to Improve Music Enjoyment of Cochlear Implant Users". In ASME 2022 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/imece2022-95591.
Testo completoAbstract (sommario):
Abstract This study presents a new design of a wearable vibrotactile device — a tactile sleeve consisting of three voice coil actuators (Model: Lofelt L5). The device was made within an R&D project aimed at developing a wearable for enhancing the music perception of cochlear implant recipients. The aim is to provide tactile stimulation in addition to the cochlear implant stimulation — generating an audio-tactile music experience. We also present the results of an experiment performed to investigate whether the sleeve can be used to identify songs from tactile stimulation and investigate the effects of different encodings. Five short music segments were used, and the tactile stimulation provided by each voice coil actuator conveyed song information (Bass or drum). Participants had intact hearing. At the beginning of the experiment, the participants listened to one song via headphones. Afterward, they were presented with various tactile encodings of the songs in random order. Their task was to identify the encoding of the song that was played. In this experiment, an investigation of the best combination of information from the bass versus drums was conducted. The results confirm that the sleeve can provide tactile stimulation that can be used to identify songs without audio. The results also provide insights into which encodings are most useful for conveying music.
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Svobodová, Zdeňka, e Michaela Šilhavíková. "Současný stav hudebního vzdělávání v Maďarsku a Nizozemsku a postoje tamních učitelů k lidové písni (výsledky 1. výzkumné sondy)". In Musica viva in schola. Brno: Masaryk University Press, 2023. http://dx.doi.org/10.5817/cz.muni.p280-0272-2023-10.
Testo completoAbstract (sommario):
This paper looks at research on music teachers’ attitudes towards folk songs. The investigation of the Department of Music, Faculty of Education, Masaryk University in Brno began by looking at the situation in the Czech Republic and was subsequently extended to a broader European context. Our analysis compares the first results obtained in Hungary and the Netherlands, emphasizing the current state of cultural and social change and its impact on teaching folk songs in schools. In addition to the above, it also presents the current position of folklore in contemporary Hungarian and Dutch society.
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"Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]". In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.
Testo completoAbstract (sommario):
Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.
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Milić, Ivana. "VEŽBE DISANjA U FUNKCIJI RAZVIJANjA POJMA PRIRODNIH BROJEVA". In Metodički aspekti nastave matematike. University of Kragujevac, Faculty of Education in Jagodina, 2021. http://dx.doi.org/10.46793/manm4.225m.
Testo completoAbstract (sommario):
Today, there are many pedagogical-psychological and methodological research studies which highlight the importance of music education for the further development of preschool children. The goals of music education in preschool institutions, in addition to envisaging the harmonious development of each child and the engagement of his/her entire personality, greatly contribute to the creation of a basis for later musical education. These goals determine the role of music education, which must be multifunctional and achieved through specific activities in integration with other disciplines. Therefore, the paper presents examples of integrating content of music ed- ucation and initial mathematical concepts. Considering that singing children’s songs is one of the most common forms of work in music education, and that is necessary to prepare children’s singing apparatus at the beginning of each activ- ity, the paper presents breathing exercises as a tool for developing the concept of natural numbers.
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Weinberger, Maor, e Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]". In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.
Testo completoAbstract (sommario):
Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.
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Zhang, Hui, Xinjie Liang e Yingping Cao. "The Influence of Background Music Popularity on Consumer Online Shopping Behavior: A Model Analysis". In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005414.
Testo completoAbstract (sommario):
With the popularity of online shopping, online e-commerce is paying more attention to the impact of sensory marketing on consumer behavior. Previous studies suggest that music plays a significant role in enhancing the online shopping experience for consumers. However, the specific patterns of consumer impulse that music induces are yet to be fully discovered. Therefore, the study aims to explore the influence of music popularity on online shopping behavior in reference to the familiarity on emotion regulation. The results can create a better auditory environment for users' shopping experience and give a guidance for merchants to choose music that fits their brand positioning.MethodThirty participants (15 females) between the ages of 19 and 33 (M = 23.8, SD = 3.2) were recruited and all had years of online shopping experience. Participants were evenly assigned to three groups(no-music group, non-pop music group, and pop music group). The task scenario of participants is to buy a pair of sports shoes, so we simulated the current mainstream e-commerce shopping website to make online shopping pages of sports shoes. We first got 50 popular and 50 non-popular songs based on popularity on the charts of various music platforms. Then 10 of each the most popular and the least popular songs were selected from each of the two groups based on user feedback. Participants were asked to browse eight goods while listening to music in a quiet indoor environment. In terms of objective data collection, eye tracker was used to record participants' browsing time, browsing track and focusing position. After that, we used a questionnaire to collect the subjective evaluation. The questionnaire mainly includes three parts: recording emotions before shopping, recording behaviors during shopping (direct purchase, add shopping cart, share and collection), and recording experiences after shopping (ranking of purchase intention, emotions and music feelings). Finally, we conducted a qualitative analysis of semi-structured interviews to improve the experimental design.ResultsA t-test of the experimental data revealed that the duration of participant browsing markedly increased when shopping with music, in comparison to shopping without music (p<0.05). Compared with non-pop music, the subjects were more familiar with pop music and listened to it for a longer time. During the experience with popular music, the emotional arousal of the participants significantly increased in the shopping context (p<0.05). More precisely, the heightened shopping excitement contributed to an elevated rate of adding items to the cart and sharing these selections.ConclusionOur research shows that music popularity significantly influences online consumer behavior. Specifically, in terms of the connection between music types and shopping experience, pop music first increases users' attention to goods. In addition, familiar music enhanced the arousal dimension of mood, thus promoting the arousal of desire to buy. These insights enhance our comprehension of the strategic use of background music in e-commerce shopping contexts. Based on the conclusions of the research, a better auditory experience can be created for users in the shopping scene in the future. In terms of business application and marketing strategy, it can also guide merchants to strategically use music to influence mood changes and promote product consumption.
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Zhang, Hui, Wanyi Wei e Yingping Cao. "The effect of congruity between background music language and brand culture on consumer behavior". In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005449.
Testo completoAbstract (sommario):
Numerous research have explored how musical elements affect consumer behavior in the retail scenario. But this claim has not been fully proven in the online shopping scenario, which has become one of the current mainstream consumption methods. Some researchers have stressed the value of musical congruity, the majority of their discussions have focused on the structural characteristics (rhythm, volume, genre, etc.) or affective characteristics (style, familiarity, valence, etc.), and the cultural characteristics (nation, territory, language, etc.) of music seem to be less discussed. This study focuses on the different music languages to explore the influence of the context effect brought by the cultural characteristics of music on consumer behavior. Language variations in music are primarily represented in the lyrics. The study aims to explore how music enhances the online shopping experience by influencing users' cognitive and emotional responses. It also provides guidance on music selection for e-commerce brands to use music strategically to promote goods consumption.In this study, we simulated the current mainstream e-commerce shopping websites to make online shopping pages of sneakers and selected the music (music with Chinese lyrics, music with English lyrics) on the mainstream music platform charts as experimental materials. The experiment recruited 30 participants (15 females; all of them have online shopping experience); they were divided into three groups (no music, music with Chinese lyric, music with English lyric) and asked to choose a pair of sneakers for themselves from randomly given goods (Chinese brands *8, European and American brands *8) under different background music. We captured the participants' browsing duration, trajectory, and focus position with the eye tracker. Participants' cognitive responses (product purchase intention ranking, product evaluation, music experience), emotional response (PAD emotion), and final behavioral response (direct purchase, shopping cart addition, sharing, collection) were collected through questionnaires.According to the experimental data's T-test, from the perspective of brand, when the music language and brand culture are consistent, the sharing rate of goods will increase. From the perspective of music, goods that have the same nation with background music will get a higher share rate. Compared with the environment without music, the user's pleasure and arousal are significantly improved under both Chinese songs and European and American songs.Our research shows that congruity between music language and brand culture leads to higher levels of pleasure and significantly affects online consumer behavior. When the music culture is consistent with the brand, the rate at which consumers share the goods increases. The pleasant user experience brought by musical congruity increases consumers' evaluation of the cognitive response of the product, thus positively affecting consumers' purchase intention. The experimental results provide new insights into music selection in the online shopping scene in the field of auditory marketing. It enriches the existing literature on musical congruity and cultural characteristics.
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Constantin, Andreea raluca. "TEACHING AND LEARNING ENGLISH BY MEANS OF ONLINE SOURCES". In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-244.
Testo completoAbstract (sommario):
Learning foreign languages in the 21st century is a human necessity, a prerequisite for personal and professional success, an activity impossible to avoid. In addition, learning English, considered a lingua franca, a language so widely spread in the virtual world, mass media, advertising, music, TV shows, etc. can be easy, entertaining and accessible. Starting from the topic of this workshop, based on my own experience as a Foreign Language Teacher and backed up by specialised courses for teachers of English, this paper aims to review, in a development focused manner, several authentic materials that teachers can use in class and to discuss the variety of sources that students can resort to and use individually. On the one hand, teachers can tailor articles or stories from blogs, company websites, brochures, newspapers, magazines, etc, which, although not written for academic purposes, do contain real life situations, case studies, the genuine vocabulary of a specific field. This article will provide practical examples of online texts modified for the level of the students and the variety of activities derived from this adaptation, thus, matching reading, writing, speaking or vocabulary activities. On the other hand, students, fond of and familiar with the virtual world, and who possess the necessary "habits of mind associated with these technologies" (Beetham and Sharpe, "An Introduction to Rethinking Pedagogy for a Digital Age", 2007: 5) should be encouraged to use the Worldwide Web wisely in order to improve their language skills. Mobile apps for language learning (such as: http://freerice.com or https://www.duolingo.com/) or the inputs given by http://www.bbc.co.uk/learningenglish/ can be used by students on their own, in the comfort of their home. This paper will analyse the two apps and some Podcasts that can help learners to correct their pronunciation, giving them the confidence they need to express themselves in public.