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Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 30 luglio 2024

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1

Christian, Yuriko, e I. Dewa Made Bayu Atmaja Darmawan. "Wavelet Transformation and Spectral Subtraction Method in Performing Automated Rindik Song Transcription". Jurnal Ilmu Komputer dan Informasi 15, n. 1 (27 febbraio 2022): 9–19. http://dx.doi.org/10.21609/jiki.v15i1.1009.

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Rindik is Balinese traditional music consisting of bamboo rods arranged horizontally and played by hitting the rods with a mallet-like tool called "panggul". In this study, the transcription of Rindik's music songs was carried out automatically using the Wavelet transformation method and spectral subtraction. Spectral subtraction method is used with iterative estimation and separation approaches. While the Wavelet transformation method is used by matching the segment Wavelet results with the Wavelet result references in the dataset. The results of the transcription were also synthesized again using the concatenative synthesis method. The data used is the hit of 1 Rindik rod and a combination of 2 Rindik rods that are hit simultaneously, and for testing the system, 4 Rindik songs are used. Each data was recorded 3 times. Several parameters are used for the Wavelet transformation method and spectral subtraction, which are the length of the frame for the Wavelet transformation method and the tolerance interval for frequency difference in spectral subtraction method. The test is done by measuring the accuracy of the transcription from the system within all Rindik song data. As a result, the Wavelet transformation method produces an average accuracy of 83.42% and the spectral subtraction method produces an average accuracy of 78.51% in transcription of Rindik songs.

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2

Satoh, Masayuki, Toru Yuba, Ken-ichi Tabei, Yukari Okubo, Hirotaka Kida, Hajime Sakuma e Hidekazu Tomimoto. "Music Therapy Using Singing Training Improves Psychomotor Speed in Patients with Alzheimer's Disease: A Neuropsychological and fMRI Study". Dementia and Geriatric Cognitive Disorders Extra 5, n. 3 (4 settembre 2015): 296–308. http://dx.doi.org/10.1159/000436960.

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Background/Aims: To investigate the effect of singing training on the cognitive function in Alzheimer's disease (AD) patients. Methods: Ten AD patients (mean age 78.1 years) participated in music therapy using singing training once a week for 6 months (music therapy group). Each session was performed with professional musicians using karaoke and a unique voice training method (the YUBA Method). Before and after the intervention period, each patient was assessed by neuropsychological batteries, and functional magnetic resonance imaging (fMRI) was performed while the patients sang familiar songs with a karaoke device. As the control group, another 10 AD patients were recruited (mean age 77.0 years), and neuropsychological assessments were performed twice with an interval of 6 months. Results: In the music therapy group, the time for completion of the Japanese Raven's Colored Progressive Matrices was significantly reduced (p = 0.026), and the results obtained from interviewing the patients' caregivers revealed a significant decrease in the Neuropsychiatric Inventory score (p = 0.042) and a prolongation of the patients' sleep time (p = 0.039). The fMRI study revealed increased activity in the right angular gyrus and the left lingual gyrus in the before-minus-after subtraction analysis of the music therapy intervention. Conclusion: Music therapy intervention using singing training may be useful for dementia patients by improving the neural efficacy of cognitive processing.

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3

Bennett, Betsy K. "Now & Then: Counting On the Air: Time through the Age". Mathematics Teaching in the Middle School 1, n. 8 (gennaio 1996): 630–36. http://dx.doi.org/10.5951/mtms.1.8.0630.

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Now … “I play music. I sing. I talk, but mostly I do math,” Kenny Curtis replies when asked about his work as a disc jockey. “Mostly math” is probably not what his audience expects this twenty-six-year-old entertainer to say, but when he describes the careful counting, adding, and subtracting of times essential to live radio broadcasting, his description of his work during his time on the air seems accurate. The preparation for his radio show includes selecting music, taping segments, gathering information from a variety of sources, and organizing them all into a show that will entertain and inform his audience. Once on the air, he is a disc jockey, actor, public speaker, comedian, director, and manager of the radio's stage. While presenting the content of the show, he constantly checks his computer clocks showing the current time and the times for airing pretaped commercials, adds and subtracts the exact times of songs and taped reports, and adjusts his live segments so that the time required for the material and the time available between commercials match exactly. His accurate arithmetic in units of minutes and seconds is extremely important because he has only a ten-second window of time during which he must act on the computer's directions to play a commercial. He is a talented entertainer who uses both his college training in theater and mass communication and his basic mathematics skills during every minute of the five hours each day that he is on the air.

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4

Surismiyati, Surismiyati, e Muhammad Irfan. "Prototipe Rancangan Pembelajaran Matematika untuk Siswa Sekolah Dasar". Ideguru: Jurnal Karya Ilmiah Guru 8, n. 3 (10 maggio 2023): 485–90. http://dx.doi.org/10.51169/ideguru.v8i3.570.

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In this paper, the process for creating high-quality prototypes for teaching mathematics in elementary schools is explained. Research and development is the method of research employed (R&D). Using Sugiyono's six development phases, which are: 1) potential and problems, 2) data collecting, 3) product design, 4) design validation, 5) design modification, and 6) product trials, the prototype was created. Both questionnaires and interviews were utilized as data gathering methods. Following the distribution of a questionnaire to 27 SD grade 15 students, the researcher discovered that 60% of the students had trouble comprehending fractional information. These findings inspired the researcher to connect the fractions-related material to the music. Experts and practitioners certify prototypes. It's worth evaluating because the three validators' combined average score falls into the "very good" range, which is 3.5. Researchers only tested 27 elementary school kids in the fourth grade. The evaluation's findings showed that 90.9% of pupils achieved scores in addition and subtraction of whole numbers that were higher than the KKM. According to the findings of reflection, children are content to learn fractional concepts using song media. The fractional materials' thematic learning design, which incorporates song media, meets the very good standards and is suitable for students' comprehension. Included in line with excellent standards and practicable for use. This was determined based on the validation scores of 3.15 from mathematicians, 3.41 from musicologists, and 3.21 from grade IV elementary school teachers. The three validators' combined average validation result is 3.25.

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Ferryka, Putri Zudhah, e Nela Rofisian. "Prototipe Rancangan Pembelajaran Matematika Untuk Siswa Sekolah Dasar". Edukasi: Jurnal Penelitian dan Artikel Pendidikan 14, n. 2 (30 dicembre 2022): 99–110. http://dx.doi.org/10.31603/edukasi.v14i2.8056.

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This study aims to explain the procedure for developing prototypes and producing quality prototypes for learning Mathematics in Elementary Schools. The research method used is Research and Development (R&D). The prototype was prepared using Sugiyono's six development steps including: 1) potential and problems, 2) data collection, 3) product design, 4) design validation, 5) design revision, 6) product trials. Data collection techniques used were interviews and questionnaires. The results of the questionnaire which were distributed to 22 students in grade 15 of SD, the researcher obtained data that 60% of students had difficulty understanding fractional material. From these data the researcher was motivated to relate the material containing the concept of fractions to the song. Prototypes are validated by experts and practitioners. The average score of the three validators is 3.5 in the "very good" category, so it's worth testing. Limited trials were conducted by researchers to 22 fourth grade elementary school students. From the results of the evaluation, the researchers obtained data that 90.9% of students scored above the KKM for addition and subtraction of whole numbers. From the results of reflection, students are happy to learn fractional material using song media. The quality of the thematic Mathematics learning design for fractional materials using song media is included in the very good criteria and is appropriate for students' understanding. included in the very good criteria and feasible to use. This was obtained based on the results of validation by mathematicians 3.15, from music experts it was 3.41 and from grade IV elementary school teachers it was 3.21. The average validation result of the three validators is 3.25.

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6

Zhang, Shenghuan, e Ye Cheng. "Masking and noise reduction processing of music signals in reverberant music". Journal of Intelligent Systems 31, n. 1 (1 gennaio 2022): 420–27. http://dx.doi.org/10.1515/jisys-2022-0024.

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Abstract Noise will be inevitably mixed with music signals in the recording process. To improve the quality of music signals, it is necessary to reduce noise as much as possible. This article briefly introduces noise, the masking effect, and the spectral subtraction method for reducing noise in reverberant music. The spectral subtraction method was improved by the human ear masking effect to enhance its noise reduction performance. Simulation experiments were carried out on the traditional and improved spectral subtraction methods. The results showed that the improved spectral subtraction method could reduce the noise in reverberant music more effectively; under an objective evaluation criterion, the signal-to-noise ratio, the de-reverberated music signal processed by the improved spectral subtraction method had a higher signal-to-noise ratio; under a subjective evaluation criterion, mean opinion score (MOS), the de-reverberated music signal processed by the improved spectral subtraction method also had a better evaluation.

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7

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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9

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

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10

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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14

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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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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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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17

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

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

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

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

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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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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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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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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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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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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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35

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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36

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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37

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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38

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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39

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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40

Studwell, William E. "Circus Music and Drinking Songs". Music Reference Services Quarterly 4, n. 3 (12 giugno 1996): 57–62. http://dx.doi.org/10.1300/j116v04n03_04.

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41

Doucet, Sharon Arms. "Cajun Music: Songs and Psyche". Journal of Popular Culture 23, n. 1 (giugno 1989): 89–99. http://dx.doi.org/10.1111/j.0022-3840.1989.2301_89.x.

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42

Hawthorne, Shannon. "Songs in General Music Classes". General Music Today 11, n. 1 (ottobre 1997): 28–29. http://dx.doi.org/10.1177/104837139701100109.

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43

Park, Young Shin, Hyunjin Moon e Yunhee Seung. "A Study on the Aspects of Children's Song Festival Winning Songs Included in Elementary School Music Textbooks". Korean Association For Learner-Centered Curriculum And Instruction 22, n. 19 (15 ottobre 2022): 533–50. http://dx.doi.org/10.22251/jlcci.2022.22.19.533.

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Abstract (sommario):

Objectives Looking back at the 100-year history of creative children's songs, the ‘Children's Song Festival’ proves to have had a great influence on the development of children songs. The first purpose of this study is to investigate all Children's Song Festival winning songs included in elementary school music textbooks according to the educational curriculum change. The second purpose is to analyze the aspects of those winning songs published in music textbooks. Methods To do so, this study conducted a combination of literature reviews and research study methods, and analyzed Children's Song Festival winning songs in music textbooks. These songs were those that were included in 3~6 grade elementary school music textbooks from the fifth curriculum period (1987~1991) until the current 2015 revised curriculum; meaning all winning songs in elementary school music textbooks since the first Children's Song Festival of 1983 were analyzed. Results First, an analysis on ‘Children's Creative Song Festival Winning Songs and Number of Songs’ shows that out of the total 96 winning songs, the majority of winning songs were from the MBC Children's Song Festival - a total of 69 songs (71.9%). Second, upon analyzing the ‘Number of Times Festival Winning Songs were Published’, it was found that the number increased as the curriculum changed and as textbooks went up to an older grade level. The textbook publisher ‘Genius Education’ had the most winning songs within their textbooks - a total of 43 times (15.8%) were winning songs published. Third, after analyzing the ‘Name and Number of Overlapping Winning Songs’, it was revealed that there were 51 overlapping songs, the song that was published multiple times in music textbooks was <On a Train Ride> from the 1st KBS Children's Song Festival - a total of 13 times. The songs <Island Village> and <Walking in the Woods> were published 11 & 10 times respectively - both songs were from the 4th MBC Children's Song Festival. Songs that are continuously included in music textbooks are <On a Train Ride> and <Walking in the Woods>. Conclusions The act of singing creative children songs gives children hope, courage, the chance to dream, and holds an educational meaning that allows them to experience the beauty of music. Thus, continuing discovery and supply of creative children's songs are of great significance. Since Children's Song Festivals, which has played a huge role in the development of creative children's songs, are no longer as common as before, a new developing method that fits current society criteria must be sought out.

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44

Cholij, Irena. "Defesch's 'Tempest' Songs". Musical Times 127, n. 1719 (giugno 1986): 325. http://dx.doi.org/10.2307/965070.

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45

Magro, Agostino, Colinet de Lannoys e F. Fitch. "Mass and Songs". Revue de musicologie 88, n. 1 (2002): 243. http://dx.doi.org/10.2307/947492.

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46

LeSueur, Richard. "Songs of America". American Music 7, n. 4 (1989): 485. http://dx.doi.org/10.2307/3051927.

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47

Browner, Tara, e Wes York. "Three Native Songs". American Music 13, n. 3 (1995): 394. http://dx.doi.org/10.2307/3052632.

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48

Harrison, Robert J., James Dashow, Bruce Saylor e Ezra Sims. "Some Dream Songs". American Music 16, n. 3 (1998): 362. http://dx.doi.org/10.2307/3052647.

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49

Joseph, Jeffrey, Deutsche Sinfonie, Eisler, BA Zimmermann, Vlatka Orsanic, James Johnson, Michael Rotschopf et al. "Songs of Freedom". Musical Times 137, n. 1837 (marzo 1996): 32. http://dx.doi.org/10.2307/1003898.

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50

Byron, Carl. "Songs and Romances". Latin American Music Review / Revista de Música Latinoamericana 21, n. 1 (2000): 79. http://dx.doi.org/10.2307/780420.

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