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Articoli di riviste sul tema "Ecology – Songs and music"

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Autore: Grafiati

Pubblicato: 26 luglio 2024

Ultima modifica: 27 luglio 2024

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1

Sklavounakis, Georgios. "Semiotics on music charts: The signification of late-blooming hits in contemporary popular music". Punctum. International Journal of Semiotics 9, n. 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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Colares, Lucas, Ray Balieiro Lopes-Neto, Alexandre Sampaio de Siqueira, Camila Ferreira Leão, Arianne Flexa de Castro e Bárbara Dunck. "Functional diversity in human song". PLOS ONE 19, n. 7 (12 luglio 2024): e0307032. http://dx.doi.org/10.1371/journal.pone.0307032.

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Functional diversity–i.e., the diversity of morphophysiological characteristics of species in a biological community–revolutionized ecology in recent decades, shifting the focus of the field from species to ecosystems. While its ecological applications are known, its adaptability to other disciplines, specifically music, is explored here. We retrieved fourteen characteristics of 12,944 songs by the top 100 artists of the 2010s decade on four streaming platforms. Then, we calculated the three main components of functional diversity–richness, evenness, and divergence–to each artist using probabilistic hypervolumes. Furthermore, we investigated to what extent functional diversity and the traits of an artist, its albums and songs has an effect on their popularity across streaming platforms such as Spotify. High functional richness, where an artist’s songs differ greatly sonically, correlated with increased listens of up to 244,300,000. This would lead to estimated profit earnings exceeding $1,000,000 per richness gain. Danceable, highly-energetic, melodic, pop, and, notably, melancholic songs, albums, and artists are more listened to than their counterparts in streaming services. We captured how patterns in human song might reflects the social state of human societies in recent years and demonstrate the potential of applying functional diversity concepts and tools across scientific and economic domains, extending its relevance beyond ecology. By demonstrating applications of state-of-the-art functional diversity metrics using music as a case study, we intent to communicate the often-complex concepts of functional diversity using the familiar realm of music, which is an intrinsic trait of human cultures across the globe.

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Zang, Bailing. "A Study of the Modes and Characteristics of Using Song Narratives in the Animation <Coco> (2017): The Songs 'La Llorona' and 'Remember me' as Examples". Korean Society of Culture and Convergence 44, n. 11 (30 novembre 2022): 1065–82. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1065.

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To examine the pattern and characteristics of the animation Coco by song narratives in the article, the song La Llorona with a prototype of folk song and the original theme song Remember me was taken as object of study. The applied pattern of animation music was analyzed based on the music theory of John D. White. It was found that two songs were narrative with micro-musical motives, meso-melodic phrases, and macro-complete music combined with images. The results demonstrated that It is the most prominent feature and novelty of the narrative system in the Animation Coco.

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Aasgaard, Trygve. "An Ecology of Love: Aspects of Music Therapy in the Pediatric Oncology Environment". Journal of Palliative Care 17, n. 3 (settembre 2001): 177–81. http://dx.doi.org/10.1177/082585970101700310.

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This paper explores how music therapy can assist patients and relatives in the processes of making friendship and love audible in a child cancer ward. Four short patient histories are presented to illustrate a health-oriented, ecological music therapy practice. Two histories describe how texts, made by patients, become songs, and how the songs are performed and used. Another two histories deal with musical communication with dying children and their parents. The paper indicates that these interventions may involve more than palliation (making a disease less severe and unpleasant without removing its cause). Not least, such activities can make it possible for the sick child to expand from being “just a patient” into playing, if only for a moment, a more active social role. The processes of artistic interplay, in- and outside the sickroom, influence various relationships in the child's social environment.

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Giménez-Llort, Lydia. "‘You’re Not Alone for China’: The First Song in Times of COVID-19 to Keep the Faith in a World Crying in Silence". Behavioral Sciences 12, n. 4 (24 marzo 2022): 88. http://dx.doi.org/10.3390/bs12040088.

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Collective mourning is an expression of societal maturity, cohesion, and respect. The world is in grief, but in early January 2020, before nobody could even imagine that SARS-CoV-2 would turn into the COVID-19 pandemic, a music video version of a pop ballad about love and isolation was spread across a Chinese social network. The song ‘You Are Not Alone’ was adapted as a cover by young foreigners living in China to express their support to bereaved families and frontline workers and encourage the people of China, their second home. At that time, the rest of the world looked to distant China but could hardly expect to face the same adversity months later. The authors reported that the music video was a spontaneous artistic expression copying such traumatic events and the mourning process. The present work analyses how the music was blended with lyrics and images describing the outbreak in Wuhan to reach their goal. The original song and this shortened version for China were compared regarding musical and lyric structures and main characteristics. Additionally, an analysis of the two videos was done regarding cinemetric variables and non-verbal communication that emphasized the power of songs to express deep sorrow and sympathy but also to give hope. Psychological first aid, the five stages of the mourning process by Kübler-Ross, the dual-process model by Stroebe and Schut, and Taylor’s tend-to-befriend provided a better understanding of the translation from interpersonal to societal mourning. Finally, other memorable songs that society spontaneously chose to be performed alone or together to cope with sudden and dramatic situations, mitigate physical distancing, and alleviate human suffering are discussed. Music, lyrics, and artistic performance are playing a key role in building social and emotional ties during this pandemic, hampering individual and social pain and sorrow despite cultural barriers.

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Hong, Mei, Dapeng Liang e Teng Lu. "“Fill the World with Love”: Songs with Prosocial Lyrics Enhance Online Charitable Donations among Chinese Adults". Behavioral Sciences 13, n. 9 (4 settembre 2023): 739. http://dx.doi.org/10.3390/bs13090739.

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Research has shown that songs with prosocial lyrics can enhance individual prosociality. Building on the general learning model (GLM), this study demonstrated, through real-world charitable organizations, how songs with prosocial lyrics influence helping behavior that uses time as a currency. In Study 1, participants were randomly assigned to conditions of prosocial songs, prosocial lyrics, or neutral songs, and they were instructed to complete an online charity task. The results indicated that compared to the neutral songs, participants listening to prosocial songs and lyrics spent more time donating rice to the United Nations World Food Programme. This effect was replicated in Study 2, employing different media exposure from Study 1 (i.e., listening to background music). Furthermore, investigations into the underlying mechanisms revealed that this effect was mediated by interpersonal empathy. In summary, current findings suggest that songs with prosocial lyrics increase interpersonal empathy, subsequently influencing people’s online charitable donation behaviors in daily life.

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Yende, Sakhiseni Joseph. "Harnessing the Power of Indigenous Zulu Music to Promote Language, Culture, and Diversity". Forum for Linguistic Studies 6, n. 3 (21 giugno 2023): 171–83. http://dx.doi.org/10.30564/fls.v6i3.6603.

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Indigenous Zulu music is a reflection of the Zulu people’s cultural and environmental surroundings, incorporating natural sounds and rhythms that highlight their close relationship with nature. This article explores how this music promotes language, culture, and diversity within the Zulu community. Drawing on Cultural Ecology Theory, which underscores the link between culture and the environment, the study examines how Zulu music adapts to these contexts. Methodologically, this qualitative study relied on secondary data from accredited scholarly sources, including journals, books, online government bulletins, and academic databases. The systematic review process ensured data reliability and validity, emphasising the role of indigenous Zulu music in preserving language and cultural identity. The findings reveal that Zulu music, through its songs and performances, celebrates the Zulu language and conveys significant stories and myths. This cultural expression serves as a means of preservation, ensuring the continuity of Zulu heritage. Moreover, the article discusses how integrating Zulu music into modern contexts sustains cultural diversity in South Africa. By blending traditional and contemporary music, Zulu musicians broaden their audience and share their cultural richness. This integration fosters cultural sustainability and dialogue, enriching the cultural landscape. In conclusion, indigenous Zulu music plays a vital role in preserving language, culture, and diversity among the Zulu community. Through its celebration of language and cultural heritage, Zulu music fosters intercultural understanding and represents the cultural richness of the Zulu people.

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Sakakibara, Chie. "‘No whale, no music’: Iñupiaq drumming and global warming". Polar Record 45, n. 4 (ottobre 2009): 289–303. http://dx.doi.org/10.1017/s0032247408008164.

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ABSTRACTThis article explores how climate change has recently influenced the Iñupiaq cultural identity as the people of the whales. Their traditional whaling cycle reveals strong indivisibility of music, emotions, and place based human identity. To illustrate such integrity of the Iñupiat and their culturally critical bowhead whale (Balaena mysticetus), a search was made for specific ways in which climate change influences Iñupiaq spiritual and physical ties with the whale in relation to traditional music making. Traditionally, the Iñupiat say that it is the whale who brings them music, thus no whale harvest means no music production. However, when the environment is less predictable, the homeland eroded, place based songs gone, and human-whale integrity threatened, how specifically are these changes manifested in the Iñupiat-whale relationship? Providing detailed descriptions of 2005–2006 nalukataq (midsummer whale feasts), this article examines how contemporary Iñupiat respond to environmental changes in the emotional and cultural dimensions through their music making.

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Bharadwaj, Brijgopal, Ramani Selvanambi, Marimuthu Karuppiah e Ramesh Chandra Poonia. "Content-Based Music Recommendation Using Non-Stationary Bayesian Reinforcement Learning". International Journal of Social Ecology and Sustainable Development 13, n. 9 (gennaio 2022): 1–18. http://dx.doi.org/10.4018/ijsesd.292053.

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This paper presents a music recommendation system for the offline libraries of songs that employs the concepts of reinforcement learning to obtain satisfactory recommendations based on the various considered content-based parameters. In order to obtain insights about the effectiveness of the generated recommendations, parallel instances of single-play multi-arm bandit algorithms are maintained. In conjunction to this, the concepts of Bayesian learning are considered to model the user preferences, by assuming the environment’s reward generating process to be non-stationary and stochastic. The system is designed to be simple, easy to implement, and at-par with the user satisfaction, within the bounds of the input data capabilities.

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Ross, Lawrence. "The Rong Ngeng of the Andaman Coast: History, Ecology, and the Preservation of a Traditional Performing Art". Manusya: Journal of Humanities 23, n. 3 (23 dicembre 2020): 389–406. http://dx.doi.org/10.1163/26659077-02303008.

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Abstract This article examines recent grassroots strategies for preserving traditional performing arts along southern Thailand’s Andaman Sea Coast, focusing on rong ngeng, an idiomatic form of social dance and music, widely popular there in the post-World War Two years. Between 1935 and 1960 a small, mixed cohort of rural performing artists created networks of communities, scattered on Thai-Andaman, with a distinctive regional culture based in the shared repertoire of songs and dances they adapted, created an innovative lyrical style called phleng tanyong (Tanyong song), and a star system that turned village performers into local celebrities (Ross 2017, 68). More than a mere vibrant, short-lived micro-tradition which declined in the wake of a growing, hegemonic pan-Thai performing arts culture, however, rong ngeng has, since the 2000s, experienced a revival. The new incarnation was tied to economics, nostalgia, and a reawakening of local identity. Using a broadly cultural ecology approach which draws on more than a decade of fieldwork in the Thailand-Malaysia border region, oral accounts of rong ngeng performers, past and present, and comparisons with performance practices across the regions, this paper argues that efforts toward revival and sustainability have seen their greatest success among communities that possess several characteristics, including strong historical and genealogical links to erstwhile cultural practices, participatory forms of entertainment, and the ability among its members to articulate the relevance of performing arts to the society-at-large.

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Hoesing, Peter J. "Nabuzaana Omunozzi w’Eddagala: Hearing Kiganda Ecology in the Music of Kusamira Ritual Healing Repertories". History in Africa 45 (giugno 2018): 347–71. http://dx.doi.org/10.1017/hia.2018.16.

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Abstract:This article argues that ritual performances of song by a guild of healers called basamize situate humans and other-than-human familiars in an ecology that has a strong impact on ethnic identification in southern Uganda. An idiomatic song, ubiquitous throughout the region in focus, helps define the contours of this ecology. Primary and secondary sources link the song to oral traditions that suggest a move beyond descent as an organizing principle in Africanist discourses on ethnicity and ethnic formation.

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Wu, Xiaoqing. "Withered Rose Petal, a Scent Still on the Early Chinese Popular Song Rose, Rose, I Love You and Others". Communications in Humanities Research 3, n. 1 (17 maggio 2023): 823–30. http://dx.doi.org/10.54254/2753-7064/3/20221020.

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Rose, Rose, I Love You is a very important representative of early Chinese popular music. This paper applies the method of historical research to analyze Rose, Rose, I Love You in a specific historical and cultural context through four dimensions: song background, songwriter, music analysis, and historical evaluation. This paper tries to partly reflect the creation ecology, creation style, and characteristics of early Chinese popular music through the case of Rose, Rose, I Love You.

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Nelson, Peter. "Cohabiting in Time: Towards an ecology of rhythm". Organised Sound 16, n. 2 (28 giugno 2011): 109–14. http://dx.doi.org/10.1017/s1355771811000045.

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Most accounts of rhythm focus on notions of duration, pulse and metre, to explore the practices and constructs by which those involved in music performances co-ordinate their involvement. Yet there is a significant body of musical practice where sounds co-habit in time, without the same sorts of constraints found in metric co-ordination: from the gentle singing of Joseph Beuys during his Action Piece I Like America and America Likes Me, to Paul McCartney's song ‘Blackbird’. This is similar, say, to the improvisation practice of composer and trombonist George Lewis in his work with the computer programme Voyager. Starting from some ideas laid out by Gaston Bachelard and Gregory Bateson, and recent writings on critical post-humanism, this paper explores ways of considering ecologies of sounds in time, and their consequences for human musical experience.

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Ocaña-Fernández, Almudena, e Mª Luisa Reyes-López. "‘My Favorite Song’: understanding a music learning ecology of children from interaction among media, family and school contexts". British Journal of Music Education 36, n. 02 (17 maggio 2019): 113–23. http://dx.doi.org/10.1017/s0265051719000081.

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AbstractIn the present case study, we used observation and interviews to investigate the musical experience of a group of children of 3–4 years old. We look into the uniqueness of music in the child’s environment which belongs to the media, family and school contexts. The present study allows us to understand some implications of musical experiences for building social identity and the need to link formal music learning processes with those taking place in non-formal and informal spaces. Through this paper, we provide a vicarious experience that will enable the reader to understand our findings and raise new questions and interpretations.

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Grushka, Kathryn, Miranda Lawry, Kim Sutherland e Charissa Fergusson. "A Virtual Choir Ecology and the Zoom-machinic". Video Journal of Education and Pedagogy 5, n. 1 (11 gennaio 2021): 1–16. http://dx.doi.org/10.1163/23644583-bja10013.

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Abstract covid-19 has changed the way we sing in choirs and has seen the extraordinary uptake of Zoom as a video chat platform across society. This is a reflective tale of four choirs members and their insights into how they improvised with traditional choir singing in a Zoom space. It consideres how zoom pedagogies allowed them to bridge social isolation during the pandemic. It includes the voices of the conductor; music teacher/technician; the voice of a media savvy artist choir member and finally the voice of a singing visual educator. The article embeds Deleuzoguattarian thinking. It draws on the concepts of the machinic assemblage and becoming as choir participants who embraced Zoom to facilitate song. Singing in a zoom virtual choir brings forth a burgeoning new relational way of being. To find ways to sing and imagine life and self without physical, temporal and spatial borders.

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Hartshorne, Charles. "THE RELATION OF BIRD SONG TO MUSIC". Ibis 100, n. 3 (3 aprile 2008): 421–45. http://dx.doi.org/10.1111/j.1474-919x.1958.tb00406.x.

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Datsyshyn, Khrystyna. "Oral speech in the professor Oleksandra Serbenska’s scientific concept". Proceedings of Research and Scientific Institute for Periodicals, n. 10(28) (gennaio 2020): 209–21. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-14.

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The article analyzes the concept of oral speech, set out in the works of Ukrainian linguist Oleksandra Serbenska. Emphasizing the primacy of oral speech, professor O. Serbenska analyzes the live word in the context of socio-ecology, language culture, communication and linguophilosophy. She explores the sources of melodiousness of the Ukrainian language, studies the phenomenon of voice. Serbenska emphasizes an importance of preserving and nurturing authentic Ukrainian oral speech as a spirit of the people, its history and culture. The scholar tries to find origins of various phenomena of spiritual life of the people and an individual in the oral speech. Serbenska’s works attract attention by their motifs to outline sound speech as a phenomenon, to immerse themselves in music that conveys us tone and rhythm of the spoken word from ancient generations. The connection between oral speech and music, between oral and print text reveals the deep essence of orality. It serves as a special way of reproducing and creating a world where tones and rhythms sound in unison with sounds and rhythms of nature and man. Orality in the Ukrainian language is immersed in the song. The melody of the Ukrainian spoken word enables to speak of melodiousness as one of its key characteristics. An instrument of oral speech is a voice. It has a mystical essence in an interpretation of many cultures; its strength is filled with deep spirituality, its tones and intonations open wide opportunities for communication in various fields, including a professional practice of journalists. O. Serbenska’s ideas give an impetus for further scientific research in this field. Keywords: Ukrainian language, oral speech, orality, melody, sound, voice, journalism.

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Kang, Stella. "Analysis of practical and popular music as contemporary music: Focusing on elementary school music textbooks". Korean Association For Learner-Centered Curriculum And Instruction 24, n. 5 (15 marzo 2024): 77–93. http://dx.doi.org/10.22251/jlcci.2024.24.5.77.

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Objectives The need for an accurate understanding of the concepts of contemporary music, practical music, and popular music, and the recognition of the necessity for changes in music education based on individual music tastes and preferences, are affirmed. This aims to advocate for a reassessment of music textbooks, particularly in elementary music education, through a quantitative evaluation of practical and popular music content. Furthermore, the proposal emphasizes the necessity for changes in music textbooks through individual assessments of multi-frequent songs. Methods Analyze the popular music area included in elementary school music textbooks. We analyzed the songs included in 32 textbooks from 8 different publishers, established the multi-frequent songs, and looked into the characteristics and contents of each song. The need for changes to the songs included in textbooks is confirmed through individual evaluation of the distribution of songs included in music textbooks and the multi-frequent songs. Results First, animation music accounts for 26.4% and movie music 25.8%, which accounts for more than 50%. Second, there are 121 foreign songs and 61 domestic songs, with POP (13.2%) followed by K-POP (9.9%), and there are many POP in the singing field. Third, there are differences between textbooks, Fourth, the content related to the music industry is insufficient, and it is included in 5 textbooks (out of 32), and Fifth, there are problems with the content and release period of multi-frequent songs. Lastly, since multi-frequent songs are repeatedly included in middle and high school textbooks, a feasibility study on this aspect is also necessary. Conclusions There is a need to realistically reflect the songs included in textbooks, and for this, it is necessary to reexamine the songs included in textbooks. There is a need for a change in perception of popular music education due to scientific development, and a practical approach to the methods and content needed for future popular music education is needed.

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Verma, Shalini. "Indian Folk Music". RESEARCH REVIEW International Journal of Multidisciplinary 8, n. 4 (14 aprile 2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language. Abstract in Hindi Lanaguage: लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है। Keywords: लोक संगीत, कजरी, लोक वाद्य

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Banfield, Stephen. "Songs". Musical Times 127, n. 1720 (agosto 1986): 445. http://dx.doi.org/10.2307/965170.

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Anderson, Robert. "Songs". Musical Times 126, n. 1714 (dicembre 1985): 734. http://dx.doi.org/10.2307/965204.

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Miller, Philip Lieson, e Charles T. Griffes. "Songs". American Music 3, n. 3 (1985): 375. http://dx.doi.org/10.2307/3051492.

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Perrin, Peter, e Charles Martin Loeffler. "Songs". American Music 5, n. 1 (1987): 115. http://dx.doi.org/10.2307/3051875.

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Crichton, Ronald, e Alan Blyth. "Songs". Musical Times 128, n. 1732 (giugno 1987): 335. http://dx.doi.org/10.2307/1193743.

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MacLachlan, Heather. "Music and Incitement to Violence: Anti-Muslim Hate Music in Burma/Myanmar". Ethnomusicology 66, n. 3 (1 ottobre 2022): 410–42. http://dx.doi.org/10.5406/21567417.66.3.05.

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Abstract This article examines a corpus of Burmese-language anti-Muslim hate songs archived on YouTube. Burma/Myanmar is the site of recent genocidal violence perpetrated against Muslims, and these songs are part of the hate speech campaign that undergirds this violence. Using the definition of incitement articulated by the International Criminal Tribunal for Rwanda, the article shows that the lyrics of these songs constitute incitement to violence. Further, the comments written by YouTube listeners provide evidence that the songs provoke additional dehumanizing speech. The songs and their creators are therefore complicit in the recent violent persecution of Muslims in Myanmar.

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26

Smith, Richard Langham, Guillaume Lekeu, Rachel Yakar e Ensemble Musique Oblique. "Chamber Music and Songs". Musical Times 136, n. 1826 (aprile 1995): 203. http://dx.doi.org/10.2307/1004183.

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27

Knappert, Jan. "Swahili songs and music". South African Journal of African Languages 10, n. 4 (gennaio 1990): 212–21. http://dx.doi.org/10.1080/02572117.1990.10586852.

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28

Vickers, Paul, e James L. Alty. "Siren songs and swan songs debugging with music". Communications of the ACM 46, n. 7 (luglio 2003): 86–93. http://dx.doi.org/10.1145/792704.792734.

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29

Till, Benedikt, Ulrich S. Tran, Martin Voracek e Thomas Niederkrotenthaler. "Music and Suicidality". OMEGA - Journal of Death and Dying 72, n. 4 (9 marzo 2015): 340–56. http://dx.doi.org/10.1177/0030222815575284.

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In recent years, the question whether personal suicidality is reflected in individual music preferences has been discussed. We assessed associations of preferred music genres and cumulative exposure to and rating of 50 preselected songs, including 25 suicide-related songs, with suicide risk factors in an online survey with 943 participants. Preferences for sad music were associated with high psychoticism, while fanship of music genres with predominantly joyful contents was linked to low psychoticism. There was a dose-response relationship of positive rating of suicide songs with high life satisfaction and low hopelessness. Music preferences partly reflect suicide risk factors, but enjoyment of suicide songs is negatively associated with risk factors of suicide, which may indicate a psychological defense mechanism against suicidal impulses.

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30

Ann Savours (Mrs A.M. Shirley). "Plasmon". Polar Record 48, n. 2 (19 maggio 2011): 198. http://dx.doi.org/10.1017/s0032247411000143.

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Those readers of Polar Record who are familiar with the narratives of Scott, Shackleton and Mawson during the ‘heroic age’ of Antarctic exploration, will have come across a sledging food called ‘plasmon’. Here, therefore, for their amusement is an outside page of an advertisement for that product, probably of the 1890's or early 1900's (Fig. 1). It measures 12 × 9 inches. Only the front and back pages form the advertisement which indicates on the back page that plasmon is available from all groceries and that a teaspoon a day ‘will prove a great aid to health and strength’. The centre pages carry the words and music of a song entitled ‘Humpty and Dumpty’ said to have been sung by Miss Ellaline Terriss (1871–1971), the well known, and long lived, actress and singer.

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31

Hafner, Klaus. "Handel Songs". Musical Times 128, n. 1736 (ottobre 1987): 546. http://dx.doi.org/10.2307/965379.

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32

Whittall, Arnold, e Glenn Watkins. "Battle Songs". Musical Times 144, n. 1884 (2003): 60. http://dx.doi.org/10.2307/3650703.

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33

Fujie, Linda, e Laura Boulton. "Navajo Songs". Yearbook for Traditional Music 25 (1993): 193. http://dx.doi.org/10.2307/768732.

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34

Swift, Richard, e John Harbison. "Mirabai Songs". American Music 6, n. 3 (1988): 357. http://dx.doi.org/10.2307/3051902.

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35

Cox, Kevin L. "Hermit Songs". American Music 16, n. 3 (1998): 360. http://dx.doi.org/10.2307/3052646.

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36

Smith, Richard Langham, Claudette Leblanc e Valerie Tryon. "Debussy: Songs". Musical Times 134, n. 1807 (settembre 1993): 528. http://dx.doi.org/10.2307/1002759.

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37

Rushton, Julian, Julianne Baird e Colin Tilney. "Mozart: Songs". Musical Times 134, n. 1807 (settembre 1993): 528. http://dx.doi.org/10.2307/1002760.

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38

Bradshaw, Susan, e Adrian Thomas. "Desert Songs". Musical Times 138, n. 1857 (novembre 1997): 33. http://dx.doi.org/10.2307/1004230.

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39

MacDonald, Hugh. "Rare Songs". Musical Times 126, n. 1707 (maggio 1985): 291. http://dx.doi.org/10.2307/961322.

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40

Criswick, Mary. "Guitar Songs". Musical Times 126, n. 1703 (gennaio 1985): 33. http://dx.doi.org/10.2307/962449.

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41

Hund, Marianne. "Cricket songs". Early Music 33, n. 4 (1 novembre 2005): 749. http://dx.doi.org/10.1093/em/cah180.

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42

Dobrota, Snježana, e Maja Gusić. "Glasbene preference šolarjev glede otroških pesmi v duru in molu". Revija za elementarno izobraževanje 13, n. 3 (2020): 311–24. http://dx.doi.org/10.18690/rei.13.3.311-324.2020.

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Students' musical preferences in childrens' major- and minor-key songs. This paper explores elementary school students’ music preferences in terms of songs authored for children and traditional major- and minor-key songs and the influence of familiarity of the music on their music preferences. The questionnaire and sound questionnaire were administered to 216 students attending the second, third, seventh and eighth grades of elementary school in Sinj, Croatia. The results confirm the influence of age and gender on students’ music preferences concerning songs authored for children and traditional songs in major and minor keys. Furthermore, all the participants prefer major-key songs to minor-key songs. Finally, it was established that familiarity with a piece of music is a significant factor affecting the music preferences of the participants.

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43

Lin, Tse-Hsiung. "Mountain Songs, Hakka Songs, Protest Songs: A Case Study of Two Hakka Singers from Taiwan". Asian Music 42, n. 1 (marzo 2011): 85–122. http://dx.doi.org/10.1353/amu.2011.a407118.

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44

Hitchcock, H. Wiley. "Ives's "114 [+ 15] Songs" and What He Thought of Them". Journal of the American Musicological Society 52, n. 1 (1999): 97–144. http://dx.doi.org/10.2307/832025.

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This essay reflects work toward a critical edition of 129 Ives songs (all those in whose publication he was directly involved)-mainly 114 Songs (1922) and the New Music issues of Thirty-Four Songs (1933) and Nineteen Songs (1935). It explores his value judgments of them, and also of 50 Songs (1923), containing unaltered reprints from 114. 114 Songs is eclectic and inclusive, a retrospective exhibition of various song types, including ones drastically foreign to conventional notions of a song. In 50 Songs, Ives responded to adverse reactions to 114 Songs and sought to reprint songs of "more general interest." For the New Music collections, he revised many songs, especially those initially arranged from pre-114 chamber-ensemble works. To the latter he typically restored material from the "parent pieces," increasing the songs' dissonance (not, however, to falsify their modernity). He also reprinted conservative songs, as well as adding nine previously unpublished ones, and in both collections chose the songs' order carefully.

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45

Zilmi, Fauziatus, Abdul Rachman e Moh Muttaqin. "Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang". Jurnal Seni Musik 10, n. 1 (30 giugno 2021): 17–24. http://dx.doi.org/10.15294/jsm.v10i1.46812.

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Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.

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46

Barbiere, J. Michael, Ana Vidal e Debra A. Zellner. "The Color of Music: Correspondence through Emotion". Empirical Studies of the Arts 25, n. 2 (luglio 2007): 193–208. http://dx.doi.org/10.2190/a704-5647-5245-r47p.

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College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a “happy” or “sad” song. Each participant listened to two “happy” and two “sad” songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.

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47

Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS". International Journal of Research -GRANTHAALAYAH 3, n. 1SE (31 gennaio 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.

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Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi music. The country or caste of which a sensitive human was oriented to express the feelings of his heart, on the same occasion, the self-proclaimed tone, rhythm, nature emerged from his mouth and the classical development which he developed by binding the same tone, song and rhythm Gaya became the only country music. भारतीय लोक जीवन सदैव संगीत मय रहा है। भारत वर्ष का कोई अंचल कोई जाति ऐसी नहीं जिसके जीवन पर संगीत का प्रभाव न पड़ा हो। भारतीय संगीत के लिए कहा जाता है कि साहित्य से ब्रह्म का ज्ञान और संगीत से ब्रह्न की प्राप्ति होती है। भारत में पुरातन काल से विभिन्न पर्वो एवं अवसरों पर गायन, वादन व नृत्य की परंपरा रही है। लोकगीत प्राचीन संस्कृति एवं सम्पदा के अमिट वरदान है जिसमें अनेकानेक संस्कृतियों की आत्माओं का एकीकरण हुआ है। लोक संगीत जन-जीवन की उल्लासमय अभिव्यक्ति है। पद्म श्री ओंकारनाथ के मतानुसार-‘‘देवी संगीत के विकास की पृष्ठभूमि लोक संगीत है। जिस देष या जाति का सम्वेदनषील मानव जिस समय अपने हृदय के भावों को अभिव्यक्त करने के लिए उन्मुख हुआ उसी अवसर पर स्वयंभू स्वर, लय, प्रकृत्या उनके मुख से उद्भूत हुए और उन्हीं स्वर, गीत और लय को नियम बद्ध कर उनका जो शास्त्रीय विकास किया गया वही देषी संगीत बना।‘‘

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48

Lortat-Jacob, Bernard, e Wolfgang Laade. "Corsica: Traditional Songs and Music". Yearbook for Traditional Music 23 (1991): 156. http://dx.doi.org/10.2307/768419.

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49

Hertz, Paul, e Barry Truax. "Song of Songs: Computer Music". Leonardo 31, n. 1 (1998): 74. http://dx.doi.org/10.2307/1576551.

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50

Austern, Linda Phyllis, John Taverner e Hugh Benham. "Ritual Music and Secular Songs". Notes 43, n. 2 (dicembre 1986): 403. http://dx.doi.org/10.2307/897398.

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