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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 (30.04.2021): 209–28. http://dx.doi.org/10.30832/jmes.2021.47.209.
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A study on the analysis of Park Tae-joon s art song is the first step in studying the process of transforming from early composing song to Korean style art songs in the early modern era of Korea. IIt focused on changing musical factors of his pieces from his initial period of time until the time when he established matured technique. I analyzed how the music expressed the lyrics when it sings a poem and how Korean elements were used in Park Tae-joon s music works.
Generally Park Tae-joon composed simple music with regular phrase such as children s songs and hymns. Sometimes he tried to express the meaning of poetry matching texts with music by using musical elements like word painting, figurations of piano accompaniment and using irregular time. In addition, although he composed art songs that are western musical forms, he tried to use Korean musical idioms, which commonly used in Korean traditional songs called “Min-yo” such as a pentatonic scale, triple meter and Saeya harmony. This study finds that Park Tae-joon tried to find his identities of Korean art songs in the early modern era of Korea.
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Jacob, Uri. "A Musical Stereotype? Repetitive Formations of Women’s Voices in the Trouvère Repertory". Journal of Musicology 40, nr 4 (2023): 456–84. http://dx.doi.org/10.1525/jm.2023.40.4.456.
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This article focuses on the effects of extensive melodic repetition in twelve Old French monophonic songs preserved in chansonniers (song books) from the thirteenth century. All these songs share a specific formal pattern: at least three initial poetic verses (or pairs of verses) set to the same melody. While the methodological point of departure for this study revolves around musical form and melodic construction, five songs within this group of twelve involve women speakers within their poetic texts—a relative rarity in medieval song. In addition to reviewing the cultural, cognitive, emotional, and performative implications of repetition, the article considers how repetitive melodic patterns intersect with and complement the feminine emphases of the text, arguing that this combination is not coincidental. As demonstrated by a close reading of these five songs, repetition has the potential to depict deliberately distinct female figures, ranging from a woman who longs for the touch of her absent crusading lover to the Virgin Mary herself. Repetition thereby serves in these songs to destabilize both the widespread trope of courtly love and the gendered implications of the chanson as a poetic and musical genre.
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Baruah, Sudarshana. "Indian Devotional Music: Its Relation with the Religious Concept of People and Iconography". BL College Journal 4, nr 2 (1.12.2022): 129–34. http://dx.doi.org/10.62106/blc2022v4i2e5.
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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, nr 1 (21.06.2024): 44–58. http://dx.doi.org/10.37742/jela.v6i1.121.
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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, nr 2 (17.01.2023): 191–219. http://dx.doi.org/10.54103/2037-3597/19657.
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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 (20.08.2022): 392–97. http://dx.doi.org/10.34256/irjt22s854.
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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 i Ida Bagus Rai Putra. "Exploring the Educational Values of Oral Texts of Balinese Oral Tradition". International Journal of Linguistics, Literature and Culture 2, nr 2 (1.07.2016): 120. http://dx.doi.org/10.21744/ijllc.v2i2.140.
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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 (17.11.2022): 130–47. http://dx.doi.org/10.31318/2522-4212.2022.17.270936.
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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, nr 1 (29.03.2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.
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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, nr 1-2 (30.03.2000): 221–79. http://dx.doi.org/10.1163/18796583-90000707.
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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.
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, nr 1 (6.06.2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.
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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
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KÜTÜK, YASİN. "NEŞET ERTAŞ TÜRKÜLERİNDE DUYGULANIM BOYUTUNUN İNCELENMESİ: BİR DUYGULAR ENDEKSİ UYGULAMASI". Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (3.12.2022): 329–48. http://dx.doi.org/10.34189/hbv.104.019.
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This article aims to highlight the emotional characteristics of the lyrics and compositions of the folk songs sung by Neşet Ertaş. For this purpose, the lyrics of 339 songs and the musical information of 264 compositions were crawled. There is also a speech among them. Three different sources have been used to obtain the lyrics and text of speech. Besides, an additional process on to them has been applied; finally, verse-based or sentence-based texts have been obtained. In this process, these texts have been removed from certain words that do not have a meaning on their own, such as unnecessary punctuations, stopwords, onomatopoeic words, question suffixes, and transformed into a plain form. After this stage, verses or sentences have been made processable. First of all, to find the Turkish sentiments of each lyric, state-of-the-art machine learning techniques have been applied to them, and the sentiment scores of each lyric have been computed. Three different machine learning models have been used to calculate sentiment scores. These three different models are re-trained for the Turkish sentiments, which are of the models developed by Google. Only a single sentiment score has been obtained for each verse or sentence. The average of this sentiment score obtained from three different models has been calculated and used to satisfy consistency. Afterward, a sentiment vector consisting of the verse of each song or each sentence of the speech text has been created. The average of this sentiment vector is the overall score of that text (song or speech). The variance of this sentiment vector has also been calculated, in which this variance has been used to measure the sentiment tides in the song or speech text. Later, some valuable variables from a widely used music listening platform have been obtained as a basis for composition information. Here, 10 variables named acousticness, danceability, energy, instrumentalness, liveness, loudness, speechiness, tempo, valence, popularity have been obtained. Three of them, danceability, energy, and valence variables have been taken into account to estimate the emotional score of the composition by getting the average of these three variables. These scores are going to be matched then with the musical information of compositions of each unique song which are 169 intersectional sets of them, and an emotional map has been drawn statistically, which can be modeled with the dimension of sentiments of lyrics and sentiments of composition showing Neşet Ertaş's emotional map. In the map of emotions, the axes have been set in the range of (-1, +1). Therefore, the scores obtained for both texts and compositions have been rescaled in the range of (-1, +1) with a formula generated for this purpose, which makes the scores of both texts and compositions are made comparable. After this stage, the sentiments of the texts are placed on the x-axis for the map of emotions while composition sentiments are placed on the y-axis. On the x-axis, which is called the lyrics scale, a score of -1 is indicated by feelings of "sorrow", and a score of +1 is indicated by feelings of "happy". The composition scale, on the other hand, shows -1 score as “melancholic” and +1 score as “cheerful” on the y-axis. According to the results obtained, it has been determined that the dominant characteristic of Neşet Ertaş's lyrics is based on sorrow words and that most of his folk songs are grouped in sorrowful lyrics and melancholic compositions. In addition, it has been found that his words are characterized by emotional changes and emotional tides; it has been also determined thanks to word cloud analysis that he often has given humane and moral advice in phrases in the lyrics. Keywords: Neşet Ertaş, Sentiment Analysis, Sentiment Index, Machine Learning, Deep Learning.
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Soares Vanalli, Marilani, André Luís de Oliveira Siribeli, Elaine Cristina Paris i Valéria Novaes Domingues. "O DESAFIO DO ENSINO DA LITERATURA: O PAPEL DA MÚSICA COMO ESTRATÉGIA PEDAGÓGICA". COLLOQUIUM HUMANARUM 15, nr 3 (1.09.2018): 171–85. http://dx.doi.org/10.5747/ch.2018.v15.n3.h381.
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This article aims to reveal literature as a source of pleasure to the reader, and that in addition to reading and theoretical / semantic analysis of literature texts, when in conjunction with music, can potentiate the teaching of it, in order to make it more meaningful. Therefore, it is necessary to contextualize literature teaching and discuss the importance of music in the school context; presenting proposals for this dialogue and intertextual teaching. The poetic texts "The old man of Restelo" -Luís Vaz de Camões, "Talking of the Old Man of Restelo to the astronaut" -José Saramago "and" Astronaut "-Gabriel Pensador. A qualitative research was carried out, with bibliographical support elaborated from already published materials. The literary styles and the popular song deal with different compositions, but possessing an intimate, almost complementary relation. The intertextuality between the poems and the lyrics of the music are confirmed, in a parody condition. It turns out that it can be veryeasy to like music and it will be difficult to find someone who does not enjoy a song. After these more vertical studies, it can be affirmed that the literature x music brings an inestimable wellbeing, awakening the sensitivity and creativity of the students. In the classroom, this approach can be very beneficial and lead to learning in a more sensitive, fluid and effective way.
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Литвин, Евгения Александровна. "Greek Songs of Southern Italy: Music Festivals as an Ethnocultural Marker of the Region". ТРАДИЦИОННАЯ КУЛЬТУРА, nr 1 (24.04.2021): 97–106. http://dx.doi.org/10.26158/tk.2021.22.1.008.
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В статье автор анализирует способы конструирования территориального «брендинга» деревень Салентийского полуострова (Южная Италия) во время музыкальных и театрально-поэтических представлений, содержащих тексты на локальном диалекте греческого языка. Наличие этнолингвистического анклава на территории региона является одним из факторов привлечения туристов при условии, что последние знают о его существовании. Поэтому стратегии репрезентации этноязыкового меньшинства во время различных культурных мероприятий напрямую зависят от целевой аудитории зрителей. В процессе включенного наблюдения на концертах и фестивалях, проходивших на Салентийском полуострове и за его пределами в 2014-2018 гг., были выделены три основные репрезентативные стратегии. Целью проведения мероприятия для представителей локального сообщества оказывается укрепление ослабленных связей между его членами. Во время представлений акцентируются связи между прошлым и настоящим деревни или между ее пространством и ее обитателями. Кроме того, такого рода мероприятия служат языковым активистам способом напомнить землякам о необходимости поддерживать локальную культуру. Во время представлений, направленных на «внешнюю» публику, ключевой стратегией оказывается информирование ее о наличии в регионе элементов греческих деревень и демонстрация их культурного наследия. Если же мероприятие проводится в географически удаленном месте, то наблюдается тенденция к использованию более знакомых образов, используя для этого музыкальные и хореографические традиции Греции, которая выступает здесь в роли своего рода «культурной метрополии». The article focuses on the methods of territorial “branding” in villages of the Salentian Peninsula (Southern Italy) by examining musical, theatrical and poetic performances that contain texts in the local Greek dialect. The presence of an ethnolinguistic enclave in the region is one of the factors attracting tourists, provided that the latter are aware of its existence; the strategy for representing this ethnolinguistic minority at various cultural events directly depends on the target audience. The fieldwork held on the Salentine Peninsula. The goal of holding an event for the local community is to strengthen the ties among its members. Here the main emphasis is put on the connections between past and present, and the local area and its inhabitants. In addition, such events serve as a way for language activists to remind fellow countrymen about the need to maintain local culture. During performances aimed at an “outside” audience, the main strategy is to inform them about the presence of Greek elements in the region and demonstrate their cultural heritage. If the event is held in a place geographically remote from the Salentine Peninsula, there is a tendency to use more familiar images, using musical and choreographic traditions of the Greek motherland.
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Somfai, László. "The Béla Bartók Thematic Catalog in progress". Studia Musicologica 53, nr 1-3 (1.09.2012): 21–40. http://dx.doi.org/10.1556/smus.53.2012.1-3.3.
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At the Bartók International Congress 2000 in Austin, Texas, I discussed basic questions related to the forthcoming Bartók thematic catalog with the temporary text of the entry BB 50 Fourteen Bagatelles as a sample. Thank to the interest of G. Henle Verlag, in addition to the continuation of the research on new items, basic reediting of the already written work entries have been carried out. The visual concept and typography of the forthcoming Bartók catalog, planned to be one large volume in English, is similar to Henle’s new Reger Werkverzeichnis. With the item BB 83 Improvisations on Hungarian Peasant Songs op. 20 for piano as a sample, here I investigate problems of a catalog caused by the quickly growing number of reprints, new sheet music editions following the end of copyright protection of the composition in the USA, Japanese revised editions, and editions revised or first published by Peter Bartók.
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Lukashenko, Larysa. "Areology of the Birth and Christening Tunes of the West of the Ukrainian Ethnic Territory and Adjacent Lands: the Perspective from Northern Pidlassia". Problems of music ethnology 16 (29.12.2021): 65–86. http://dx.doi.org/10.31318/2522-4212.2021.16.249649.
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The considerable progress of Ukrainian ethnomusicology in the field of structural and typological researches in the recent decades has generally clarified the melotypology and melogeography of the most ritual genre cycles of ethnic Ukraine and the adjacent areas, except the birth and christening songs. This is due to the small number or complete absence of recordings of this kind of songs in most regions of Ukraine.
However, there are some areas where birth and christening songs exist in more than a few numbers and form a sufficiently integral melotypological complex. These areas are Northern Pidlassiaand Nadsyannia (the Syan river region). Generally, Western Ukraine is represented by a small number of records of birth and christening songs, but this nevertheless dominate over the rest of the territory, which is represented mainly by single samples. In the represented study, an attempt to fill the existing gap in the typological study of birth and christening songs of the western territories of Ukraine is made. The sources are published recordings, the author’s own materials, as well as materials from the Archive of the Laboratory of Music Ethnology at the Lviv National Music Academy named after Mykola Lysenko.
Musical and folklore studies of birth and christening rites are not numerous. Among them it is necessary to mention a sizable monograph of Anatolyi Ivanytsky «Songs are from Birth and Christening» (Ivanytsky, 2013) and also collections of Halyna Sokil, Stephan Copa and others.Iryna Klymenko dedicated a special paragraph to this genre in the monograph «Ritual Melodies of the Ukrainians in the Context of the Slavic-Baltic Early-Traditional Melomassive: Typology and Geography» (2020).
The comparative analysis of the total amount of the birth and christening tunes reveals a significant role in this genre cycle of the melotypological group on the basis of the spondeic seven-component structure, which is the most represented in the western Ukrainian and adjacent territories.
The next melotypological group combines various forms based on the five component structure. Melodic type with a lyric structure V(5+5)2 has two rhythmic versions. Quite often, the same texts can be performed in different rhythmic variants. It has been observed that the tunes of the first rhythmic type are connected mainly with ritual lyrics. Instead, the second type combines mainly with common plots.
A unique type based on a five-component structure, which has no analogues, is a three-part form V(5+5+5)2, which spreads on Nadsianna, less on Opillia territories. These melodies usually are combined with the same poetic lines «Early on Sunday, early on Sunday as a white day» rarely with some slight variants in the first line.
Speaking of five-syllable structures we should mention songs with the so-called «arrow-like» rhythm. Although only a few fixations are known in Western Ukraine, the central and eastern territories of Ukraine and Belarus are represented more richly. Instead, the West part represents a kind of «hybrid» form based on this rhythmic structure.
Perhaps the most widely used ritual melodic type in Eastern Europe with the verse structure V(5+5+7)2 and birth and christening function distribute on the territory of north-western Ukraine with a concentration on Nadsyannia.
Another widespread ritual rhythmical form based on the iambic six-component structure is represented in tirade and strophic compositions, but the records of these songs, unfortunately, are rare.
Summarizing the melotypological and meloareological characteristics of the birth and christening melodic types of the ethnic west of Ukraine, it should be noted that the two densest centers of their existence are Northern Pidlassiaand Nadsyannia. However, Northern Pidlassiais characterized by a richer melotypological set: six melotypes, while in Nadsyannia there are only three ones. In addition, the folk melodic types of these two areas actually differ.
In general, the birth and christening genre cycle of Nadssiannia seems to be separated from the surrounding territories with its «unique» song «Early on Sunday», which partially spread to neighboring territories. Additionally, there is no any recorded sample based on the seven-component structure, as well as no samples of six-syllable melodies were encountered.
The range of melotypes based on the five-component structure is the most numerous and most widespread in the territory of the ethnic west of Ukraine. A group of related seven-components melodic types is spread in the BelarusianUkrainian area. The melodic basis of the vast majority of the birth and christening songs is a system of stable tones at a distance of a fifth with a minor inclination of the scale.
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Иванова, Л. И., i В. П. Миронова. "Karelian Rune Songs as Intangible Cultural Heritage: Traditional and Modern Forms of Popularizing the Genre". ТРАДИЦИОННАЯ КУЛЬТУРА 24, nr 3 (25.09.2023): 11–22. http://dx.doi.org/10.26158/tk.2023.24.3.001.
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В статье рассматриваются карельские руны в качестве объекта нематериального этнокультурного достояния Республики Карелия и формы их популяризации. На протяжении многих столетий руническая поэзия была одним из основных жанров устного народного творчества карелов, выполняя магическую, лечебную, педагогическую и эстетическую функции. Носителем рун было крестьянское сообщество, хорошо владевшее карельским языком. Изменение социально-экономического строя, сужение языковой среды стали причинами угасания эпической традиции. Однако в настоящее время в Карелии активно проходят процессы, направленные на актуализацию и популяризацию данного жанра посредством различных форматов. Из традиционных способов следует отметить издание новых или переиздание ранее опубликованных научных сборников. Представители изобразительного искусства пишут новые картины, иллюстрируют новые издания, организуют выставки, с которыми есть возможность познакомиться и виртуально. В музыкальном творчестве наряду с традиционными формами исполнения рун применяются новые вокальные приемы. Для привлечения детской, подростковой и молодежной аудитории создаются прозаические пересказы и комиксы рунических текстов, настольные игры и квесты на их основе, а также используются интернет-платформы. Активно подключились к популяризации рунической традиции общественные организации, занимающиеся поисками материала об известных сказителях и увековечиванием памяти о них. Адаптация архаичной рунической поэзии к новым условиям, повсеместное привлечение инновационных форм дает возможность охватить широкий круг населения. This article focuses on Karelian “runes” (epic songs) as a component of the Republic of Karelia’s intangible heritage and on ways used to popularize them. Rune poetry has for centuries remained one of the main oral folk-art genres among Karelians, performing magical, curative, didactic, and esthetic functions. The bearers of the rune song tradition were the Karelian-speaking peasantry. Changes in the social and economic system and shrinking of the language environment have caused the epic song tradition to decline. At present, however, there are active efforts to revitalize and popularize it in a variety of ways. As far as traditional methods, new collections of scientific papers and republication of previously ones are issued. In addition, artists produce pictures based on runes, illustrate new editions of them, and organize exhibitions, which are also available online. In the realm of music, new vocalization techniques are employed in addition to traditional forms of rune singing. The youth audience is involved by the re-telling and comic-book rendition of rune texts, tabletop games and contests based on them, and by using online platforms. The efforts to promote rune singing have been enthusiastically supported by NGOs, which seek material on renowned performers and help perpetuate their memory. Adaptation of archaic rune poetry to current realities and the use of innovative formats facilitate wider public interest.
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Davitadze, А. G. "Ukrainian song «Ikhav Kozak za Dunaj» arranged by L. van Beethoven for piano trio and voice: genre and stylistic metamorphoses". Aspects of Historical Musicology 13, nr 13 (15.09.2018): 60–73. http://dx.doi.org/10.34064/khnum2-13.05.
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The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of the already existing “psychogram of the artist” (see Varnava’s thesis, for more details). In addition, the chosen theme will help to expand the idea of musical and cultural life development in the early 19th century Objectives. The paper will consider and analyze, fi rstly, the history of writing and the subsequent fate of the author’s Ukrainian song «Ikhav Kozak za Dunaj» in European culture at the end of the eighteenth and early nineteenth centuries; secondly, harmonization of I. Prach from the «Collection of Folk Russian Songs with their voices set to music by Ivan Prach» as the one that could be known to the German master; thirdly, L. van Beethoven’s vocal-instrumental arrangement of this song in the collection «The Songs of Different Peoples» – No. 19 «Air Cosaque». Methods. The methods applied in this work are hermeneutic, structural, historiographical and genre-stylistic. The historiographical method in the article represents the problem of «composer and folklore». Hermeneutic method is universal, and its task is to interpret texts and understand their meanings. The use of the structural method is necessary for simultaneous presentation of the whole, its parts and their interaction with each other. The systematic use of the above-mentioned methods will help to enrich the analytical part and reveal genre-stylistic metamorphoses in the Ukrainian song arrangement. Results. The results of the analytical part are as follows. As the article says, the Ukrainian song «Ikhav Kozak za Dunaj» was taken by L. Van Beethoven from the Russian collection «Folk Russian Songs with their voices set to music by Ivan Prach». So, we think it is necessary to make its thorough analysis. I. Prach’s arrangement (harmonizer and arranger of this collection) is a four-voice harmonization of the Ukrainian melody. In general, the harmonic sequence in the arrangement consists of quarto-quintal basses in the left hand and chords of main degrees in the right hand. Harmonious peculiarities of the song are directly interconnected with the rhythmic component of the work, both musical and verbal. The well-known content of the song (the Cossack sets off on the horse beyond the Danube leaving his girlfriend) contains the rhythm of the pace (in this case, this is the horse’s pace), which leads to the appearance of a uniformly accented rhythm in the song – the entire melody of the song moves in eighths. In addition, piano accompaniment in the right hand part echoes the main melody, and all its structure in the form of two-voice texture moves in eighths, too. L. van Beethoven goes in the opposite direction. The process of musical arrangement occurs at all levels of musical content – from the intonation through composition to the dramaturgy. The German composer’s arrangement features phrasing slurs in violin, piano, rarely cello parts; dynamic markings, including piano, pianissimo, crescendo, diminuendo. Besides, in the cello part we fi nd the composer’s remarks on the methods of sound production, such as alternating between pizzicato and arco (as a return to the main method). Then the German master creates a great instrumental part for the song – introduction and conclusion. The introduction of a non-square, monolithic structure has an unfi nished character and ends with a dominant harmony before the basic a-moll tonality. The fourth stanza is complemented with a three-bar expansion (instrumental break) on the introduction material, but it is a bit modifi ed – it is a pattern in the form of three subsequent segments of the descending motion (melodic and harmonic complex). This addition is made in the form of instrumental breaks after imperfect cadence, and after that come 12 bars of trio-conclusion. In general, the form of the song is a long period of two sentences of the verse-chorus structure a – C – a (a tonal plan). The instrumental part of the song makes up 29 bars, and the vocal one – 16 bars, so the proportions are actually closer to the defi nition of 2:1, which indicates a signifi cant role of the trio-accompanient (46 bars overall). The thorough analysis of the instrumental part of the whole song reveals the following: the arrangement has fi ve motifs and thematic elements, three of which belong to L. van Beethoven: «E – F – E» lamenting motif, quarto-quintal response to it – «E - A – B» or «E - B – C», and the last one, which gets its development at the end of the fi nal part of the trio accompaniment in somewhat varied form (melodic variation): «Gsharp - A – G» and the response «G-sharp - A – D». The other two – melodic pattern «E – G-sharp - E – G-sharp» (pedaling of the dominant function) and descending tetrachord between the third and seventh ascending degrees («C - A – G-sharp») – belong to the author of the Ukrainian song Semen Klymovsky. These motives are combined into dialogical formulas. This can be explained by the content of the song lyrics, where there are several characters, who the Cossack addresses in a virtual dialogue – this is his girl, and also his true companion – the horse. A deeper dialogue can be seen in the combination of classical and folk arts. Adding professional academic means of musical expression to the song the composer enriches his piece with classical stylistic attributes. When he elaborates genre features of lament in the song, he turns the Ukrainian song into a kind of arioso in German language. Conclusions. L. van Beethoven’s arrangement was primarily intended for homemade music, but at the same time, it is imbued with features of classical style, and its elegy, intense sensory lyricism refer the researcher to the Romantic period, which turned out to be close to the consciousness of the Beethoven’s genius. However, the nature of the fi ndings remains open, because the theme «Beethoven and folklore» is the subject of further research. In addition, special attention should be paid to other arrangements of the song «Ikhav Kozak za Dunaj», created both by L. van Beethoven and his contemporaries.
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Balan, Elena G., i Olga S. Chesnokova. "Semiotics of Song Discourse During the Spanish Civil War (1936-1939)". RUDN Journal of Language Studies, Semiotics and Semantics 14, nr 3 (15.10.2023): 785–800. http://dx.doi.org/10.22363/2313-2299-2023-14-3-785-800.
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Song discourse, as a type of discourse, represents a special field research. A piece of music related to a certain historical context is part of the expression of culture, memory and identity of the nation. The aim of the study is the interpretation of song and poetry works from the period of the Spanish Civil War (1936-1939), one of the difficult stages in the history of the country, as well as a semiotic analysis of the song texts of the two fighting parties. The analysis of the lyrics makes it possible to determine the key features of the depiction of the military conflict within the linguocultural, linguocognitive, social and political context. The role of song discourse as part of propaganda and a way to rally the population against the designated enemy is defined. In addition, the relevance of the study is consonant with the socio-political course of Spain in the last few years to deal with the traumatic past of the Civil War and the consequent dictatorship of F. Franco. The material of the study is Spanish-language song texts about the period of the Spanish Civil War (1936- 1939). The main research methods are lexical-semantic, contextual, corpus analysis, methods of semantic and pragmatic interpretation. In addition to the study of the song discourse of the Civil War period, the song discourse of the post-war period is also analyzed. The authors conclude that song and poetry texts acted as an effective tool for rallying the people and quickly conveying the position of the conflicting parties, strengthening propaganda. To date, the musical works of the supporters of the Republic who lost the war in 1939 and after 1939, which were censored in Spain, basking in the popularity, given the campaigns of Spanish public organizations to search for the remains of soldiers and perpetuate the memory of the victims of the Civil War of 1936-1939 and the dictatorship.
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Sosani, Yuga Anggana. "Transformasi Musik Pada Ritual Tradisi Kebangru’an". Sophist : Jurnal Sosial Politik Kajian Islam dan Tafsir 3, nr 2 (3.11.2021): 60–80. http://dx.doi.org/10.20414/sophist.v3i2.46.
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This paper discusses the role of artists in society as things that influence the creative process of artists in transforming works of art in the Kebangru'an ritual, as well as the form of presentation, functions and values that are contained in Kebangru'an Music. The method of this research uses a qualitative research paradigm with a sociology of art study approach to find out how the role of artists in society as a matter of influencing the creative process of artists in transforming works of art in the Kebangru'an ritual, as well as the form of presentation, functions and values that are contained in Kebangru'an Music. The data was collected by means of observation and in-depth interviews. The observations are carried out by observing various actions that are patterned and reflected the thinking system of the Kebangru'an Music artist which includes speech, expression, statement, outlook on life, and his life history. The result of the study shows that the social status of artists as civil servants and community leaders is a factor that affects the work of artists, the role of artists in society is also a factor in changing the paradigm of society towards Kebangru'an Music. Kebangru'an music is presented with the addition of song texts that function as a means of communicating advice, moral messages in life, also a media that strengthen conformity to social norms. Kebangruan music has values of worship and tolerance or community harmony.
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Kodzokuma, Vincent, Selorm Divine Ndah i Ruben Kpesese. "Egbanegba Musical Type as Medium of Communication among People of Alavanyo in Ghana". International Journal of Research and Innovation in Social Science VIII, nr VI (2024): 573–82. http://dx.doi.org/10.47772/ijriss.2024.806044.
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The primary aim of this paper is to explore how Egbanegba musical type could serve as a communicative medium among the people of Alavanyo traditional area as well as to highlight the socio-cultural values of the music, and its effect and the structural relationship between the music and the life of the people. Through observation and interview, it is evident that the thematic content of Egbanegba song texts and their interpretations form an integral part of the components of performance which is indicative of its communication channels. The population of the study consisted of Musicians, Historians and cultural co ordinators in the area. The paper concludes by portraying the artistic cultural values in the music and how the people express their sentiments through the musical type. The study recommended that Egbanegba musical ensemble should be well packaged to help promote cultural values of the people in Alavanyo. In addition, the youth should be encouraged to take active part in its performance so as to ensure its continuity and for social benefits. Besides, Cultural festivals in both the schools and the community should be strengthen so that this musical type could continue to showcase the cultural assets of the people
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Bekmuratov, Aibek, Mukhan Issakhan, Sakhipzhamal Uzakpayeva, Saule Zholdasbekova i Zhanna Ospanova. "Innovations in audiovisual translation – thematic analysis of national art texts". XLinguae 15, nr 2 (kwiecień 2022): 156–63. http://dx.doi.org/10.18355/xl.2022.15.02.12.
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The article discussed innovations in audiovisual translation: from reproduction to perception of music or film texts. Cinematography is an integral part of world art, representing a universal way of interaction between different cultures. Audiovisual translation is currently a popular type of translation activity since foreign films form the basis of film distribution in the country. Today, over 50% of the cross-cultural exchange of information is carried out through films, television programs, shows, and video games. Audiovisual translation requires special skills and abilities from translators since the actions they perform are radically different from their usual experience of working only with a verbal (text/speech) series. Recipients of an audio-visual work process message are received simultaneously through several information channels. This imposes a special responsibility on audio-visual translation. The work aims to identify the main features of audiovisual translation as a particular type of translation activity. The object of the research is the process of audiovisual translation as a special type of translation activity. The subject of the study is the features of subtitling as a type of audiovisual translation. The research is based on the method of linguistic translation analysis, which includes such components as observation, description, generalization, comparison, and systematization. In addition, the methods of contextual and interpretative analysis, discourse analysis, and comparative analysis of film discourses were used. The practical results of the research are the systematization, generalization, and application of existing methodological recommendations for working on an audiovisual translation (in particular, over-subtitling), the linguistic translation analysis of the film "Searching for Sugar Man,” as well as the creation of the text of the translation of this film into Russian using subtitling. The choice of the material is due to its novelty and the diversity of social, historical, and cultural realities and the song component, which are of interest from the point of view of linguistic translation analysis.
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Rockell, Kim. "MUSIC(S) OF THE WORLD AS AN ONLINE EFL RESOURCE: A Japanese EFL classroom experience". Englisia: Journal of language, education, and humanities 7, nr 2 (2.07.2020): 102. http://dx.doi.org/10.22373/ej.v7i2.6325.
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This research considers how the study of musical performances from around the world can be drawn upon as a useful resource for language instruction, particularly in EFL Japanese university classrooms. This study shares the insights gained from literature reviews combined with the researcher’s teaching experiences on the advanced English elective course of Computer Assisted Ethnomusicology. This work was carried out over a five-year period between 2013–2018 at a university in the Tohoku region of Japan, based on a course that focused on the music and culture found in Oceania, South East Asia, East Asia, Africa and North America. This study identifies the language resources present within the ethnomusicological content, and identifies the ways it can help awaken learners to the rich variation that exists among the cultures of the world, and highlighting the way local and global features combine in the ‘glocal.’ In addition to digital applications, approaches introduced in the study also include the combination of high and low contact activities based on ethnomusicological resources. This helps to emphasize how Massive Open Online Courses (MOOCs), and open source multimedia make it possible to approach musical song texts and discourses that surround musical practice and performance and apply these to EFL teaching.
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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world". Aspects of Historical Musicology 17, nr 17 (15.09.2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.
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Tawa, Nicholas E., i Frederick A. Hall. "Songs I to English Texts". American Music 5, nr 4 (1987): 452. http://dx.doi.org/10.2307/3051454.
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Tawa, Nicholas, i Lucien Poirier. "Songs II to French Texts". American Music 7, nr 1 (1989): 103. http://dx.doi.org/10.2307/3052061.
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Chykalova, Olha. "The spiritual concept “Hope in God!” in the psalms by F. Mendelssohn-Bartholdy". Aspects of Historical Musicology 34, nr 34 (10.04.2024): 7–24. http://dx.doi.org/10.34064/khnum2-34.01.
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Statement of the problem. The spiritual music by Felix Mendelssohn-Bartholdi remains insufficiently covered in domestic scientific research. To a greater extent, the interest of musicologists is observed in his secular work – large symphonic or chamber-instrumental compositions (the overture “A Midsummer Night’s Dream”, “Songs Without Words” for piano etc.). However, the musical embodiment of religious texts by F. Mendelssohn testifies to how deeply they were heard by the author. Since the composer was a religious person, spiritual choral music occupies a significant place in his legacy. In addition to psalms, it is represented by oratorios, cantatas, motets, hymns. Nevertheless, compared to oratorios, other genres (psalms, motets, cantatas, hymns) have not been studied enough in scientific works. In fact, spiritual concepts in the sacred music of F. Mendelssohn also remain unexplained. However, it is precisely the considering certain leading ideas that can combine different works that is the key to a deeper understanding of the composer’s spiritual music. Objectives, methods, and novelty of the research. The purpose of this article is to consider the specifics of implementation of the spiritual concept “Have hope in God!” in the psalms by F. Mendelssohn-Bartholdi. The term “concept” is used in a meaning close to its original understanding by the “father of conceptology” P. Abelard – as higher than even the “category” the result of the vivid activity of the exalted spirit. The specificity of the chosen topic required the application of an interdisciplinary approach to the subject of research and methods of spiritual-semantic, comparative, genre-stylistic analysing the musical material. The scientific novelty of the research lies in the fact that for the first time in the musicological thought, the concept of hope in God was revealed in F. Mendelssohn’s psalms and the ways of its embodiment in various examples of this genre in the composer’s work were explored. Research results and conclusion. During his lifetime, the composer wrote nine psalms, which we propose to divide into two groups based on their structure and composition: 1) large-scale psalms for choir, soloists, and orchestra; 2) more chamber ones, for a cappella performance. As a result of the study of these works at different levels (verbal, tonal and harmonic, intonation-thematic, timbre) it was found that the studied spiritual concept is actualized through a verbal text that is identical (“Harre auf Gott!” – “Have hope in God!”) or similar (common ideological content of the text – the hope in God), through musical intonations (use of separate melodic and rhythmic constructions of leit-theme “Harre auf Gott!”), certain common tonal principles (major key), performance staff (choral rendition). Degree of conformity may be varied. The highest degree of similarity is observed between two parts of the psalm № 42. № 4 and № 7 are characterized by equal text, thematic material, key, and scale (F-major). Connection between the psalm № 42 (№ 4 and № 7) and psalm № 43 (Final) is almost the same, but the scales are different (F-major and D-major). There are more distant parallels between the psalm № 42 and psalms №№ 2, 22, 115. The conclusion states that the spiritual concept of hope in God combines not only different numbers within one psalm and psalms within one cycle, but also works that belong to different groups of psalms and periods of the composer’s work.
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S. A., Shagaeva. "The Acoustic Image of the Begging of the 20th Century in I. Grekova Novels". Institute for Russian and Altaic Studies Chungbuk University 27 (31.08.2023): 271–300. http://dx.doi.org/10.24958/rh.2023.27.271.
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The article deals with a linguo-conceptual analysis of the Soviet writer I. Grekova's (1907-2002) novels. The individual worldview is presented in the stories. They describe the events that took place in Russia at the beginning of the 20th century, the article is devoted to the concepts WAR and REVOLUTION represented in lexical units with the seme ‘sound’.
A special place in the individual author's worldview is connected with the concept of MUSIC, which finds various expressions in the writer's texts. Music as an element of the culture in a certain period makes a significant contribution to the formation of an acoustic image of the describing era. Linguistic representations of the acoustic image form the special “sounding” of the historical period in the stories and also help to reconstruct author’s worldview.
The linguo-conceptual analysis of the I. Grekova’s texts allows us to draw the following conclusions regarding the author's worldview, presented in the space of the stories. The acoustic image of each of the periods is a representation of the children's worldview (the acoustic image of historical events is made up of words perceived by ears (from the conversations of adults) that describe historical changes; each of the stages is marked by the transmission of educational processes). This is due to the fact that the writer herself was a child during the years of the events described, and in her thoughts, the speech of her characters reflected the personal memories of the author.
The author is a woman, and this fact is also reflected at the level of the acoustic image, for example, in various expressions describing children's crying, as well as in describing еру peaceful life not on the front line.
It can be concluded that the acoustic image of the beginning of the century (for I. Grekova from 1907, the year of the birth of the writer) forms the sound of the peaceful life. The space of cities is represented by sounds: languages and dialects (Russian, German, Estonian, Ukrainian languages; Moscow, St. Petersburg dialect); nature (sea, insects, birds); city streets (transport, churches). The sound of people in the stories is associated with the type of work performed (sewing, washing, playing the piano) and the emotions experienced during the work (sigh, moan); features of the educational process (laughter, home games, language games, music); governmental educational process (names of school realities, children's behavior).
Music in the acoustic image of this period is associated with the performance of work (accompanying, auxiliary function), with the upbringing and education of children (a means of forming a harmonious personality); with the expression of love experiences through singing (communicative function); with spare activities (background for another business).
In addition, a musical instrument can be a symbol of belonging to a certain social group, and the repertoire can indicate the level of education. The historical context of the era is conveyed by representatives of the socio-cultural zone of the concept MUSIC (song titles, names of performers), as well as words and names that mark political changes (republic, red, Bolsheviks, etc.; Rasputin, Shtrymer, etc.).
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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, nr 2 (2023): 189–208. http://dx.doi.org/10.18680/hss.2023.0025.
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Eliseo Verón’s approach to circulation focuses on the gap between production and recognition and the consideration of texts in relation to their contexts of production and consumption. In this paper, we employ Veron’s concepts of grammar of production and grammar of recognition to examine popular songs that reached their peak of success several years after their release. Drawing our case studies from the Hot 100 American singles chart, we combine social semiotics and semiotics of popular music to examine the contexts of the initial songs’ release and their eventual commercial peak while considering changes in the media ecology and how these songs re-entered popular culture. The corpus of songs examined is split into three major categories: Songs that re-entered popular culture after their performer’s passing, recurring Christmas- themed songs, and hits featuring in audiovisual productions like films and television series.
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CHRISTODOULAKIS, MANOLIS, COSTAS S. ILIOPOULOS, M. SOHEL RAHMAN i WILLIAM F. SMYTH. "IDENTIFYING RHYTHMS IN MUSICAL TEXTS". International Journal of Foundations of Computer Science 19, nr 01 (luty 2008): 37–51. http://dx.doi.org/10.1142/s0129054108005528.
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A fundamental problem in music is to classify songs according to their rhythm. A rhythm is represented by a sequence of “Quick” (Q) and “Slow” (S) symbols, which correspond to the (relative) duration of notes, such that S = 2Q. In this paper, we present an efficient algorithm for locating the maximum-length substring of a music text t that can be covered by a given rhythm r.
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Spracklan-Holl, Hannah. "Noblewomen’s Devotional Song Practice in ‘Patiençe veinque tout’ (1647–1655), a German Manuscript from the Mid-seventeenth Century". Context, nr 48 (31.01.2023): 35–51. http://dx.doi.org/10.46580/cx78832.
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"Devotional song in the German vernacular was a large repertory in the seventeenth century; as Robert Kendrick points out, the more than two thousand printed collections of these songs produced at this time attest to a relatively musically literate public that engaged with the repertoire. Most published devotional songs appeared in collections, usually consisting of a foreword or dedications, other poetry, and songs. The songs themselves often appeared without printed musical notation, indicating the use of contrafactum. Both men and women contributed to the German devotional song repertoire; however, there is a notable number of original song texts written by women. The 1703 publication Glauben-schallende und Himmel-steigende Herzens-Music, for example, contains 1,052 devotional songs, of which 211 have texts written by women. Women’s performance of devotional texts—whether by singing, recitation, or reading—was a practice that demonstrated their deep internalisation of the text itself whilst also providing a socially acceptable means of self-expression. This article focuses on a mid-seventeenth century manuscript songbook compiled by Duchess Sophie Elisabeth of Braunschweig-Lüneburg (1613–1676). It suggests that at least three songs in the manuscript have poetry and/or music written by noblewomen other than the duchess, including Juliane of Oldenburg-Delmenhorst (1615–1691) and Maria Magdalena of Waldeck-Wildungen (1606–1671). This suggestion is based on two notable features of Sophie Elisabeth’s meticulous recording practices in ‘Patiençe veinque tout’ that are missing from the songs in question. First, the authorship of these three songs is ambiguous, whereas the text and music for all other songs in the source are either made clear by Sophie Elisabeth’s own annotations accompanying each song, or are easily traceable. Second, none of the three songs include the duchess’s monogram, a date of composition, nor any other note stating her authorship (one or more of these notations are included for the songs in ‘Patiençe veinque tout’ that are of her own creation). In investigating the provenance of these songs, this article highlights the fact that women’s original texts, which are often overlooked, form a sizeable and significant body of musical literature from the early modern period. The two complementary practices of writing and performance paint an intimate portrait of women’s confessional and personal identity and the role music played in forming this identity, while also reflecting broader cross-confessional trends towards spiritual interiority and personal piety in the seventeenth century."
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Lee, Jonathan Rhodes. "Texts, Drugs, and Rock ’n’ Roll". Journal of Musicology 38, nr 3 (2021): 296–328. http://dx.doi.org/10.1525/jm.2021.38.3.296.
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Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyrics/musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters/situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.
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MapurangaChitando, TapiwaEzra. "Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe". Religion and Theology 13, nr 1 (2006): 72–89. http://dx.doi.org/10.1163/102308012x13397496507667.
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AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study also describes how artists look forward to a new era of Africa's prosperity and progress. Throughout, reference is made to specific biblical passages that have inspired the different songs.
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Stallsmith, Glenn. "Protestant Congregational Song in the Philippines: Localization through Translation and Hybridization". Religions 12, nr 9 (31.08.2021): 708. http://dx.doi.org/10.3390/rel12090708.
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Historically, the language of Protestant congregational song in the Philippines was English, which was tied to that nation’s twentieth-century colonial history with the United States. The development of Filipino songs since the 1970s is linked to this legacy, but church musicians have found ways to localize their congregational singing through processes of translation and hybridization. Because translation of hymn texts from English has proven difficult for linguistic reasons, Papuri, a music group that produces original Tagalog-language worship music, bypasses these difficulties while relying heavily on American pop music styles. Word for the World is a Pentecostal congregation that embraces English-language songs as a part of their theology of presence, obviating the need for translation by singing in the original language. Day by Day Ministries, the third case study, is a congregation that translates beyond language texts, preparing indigenous Filipino cultural expressions for urban audiences by composing hybridized songs that merge pre-Hispanic and contemporary forms.
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Važanová, Jadranka. "Functions of Ceremonial Wedding Tunes, Svadobné Nôty, in the Context of Traditional Culture in Slovakia and in a Cross-Cultural Perspective". Yearbook for Traditional Music 40 (2008): 21–32. http://dx.doi.org/10.1017/s0740155800012078.
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Within the varied repertoire of songs sung in the course of the traditional village wedding ceremony in Slovakia, specific songs were performed—usually by women without instrumental accompaniment—at particular, mostly ritual moments with context-appropriate texts to one or two recurring, locally identified wedding tunes called svadobné nôty. Today, these songs are still known by village people and are occasionally also performed within or outside the wedding context. Moreover, this phenomenon of a common local wedding melody seems to be spread among the wedding traditions of central, southern, and eastern Europe, sharing the name (svadobný hlas, svadbarski glas, svatovski glas) and similar features (Važanová 1999).
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Shrestha, Tara Lal. "Music as therapy in Bhim Birag’s selected songs". Nepal Journal of Multidisciplinary Research 5, nr 5 (31.12.2022): 17–30. http://dx.doi.org/10.3126/njmr.v5i5.51799.
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An art or an artist is not beyond influences of the dominant historical- politico-cultural- forces. However, an art is a platform of meditation, where an artist can remain beyond historicity and exists as a healer. Birag lived an enduring painful physical life, but he used music as a therapy. In his simple looking serious songs he exists as a therapist, and it looks as if beyond his ideological ‘I’. In search of an escape from his painful life, he engaged his moments in composing serious songs, which embody certain level of therapeutic essence. This paper presents an outcome of the qualitative research on Bhim Birag’s biography and his selected songs primarily connecting his painful life with his creative life. On the basis of interviews and discussions along with published documents, it shows evidences about how he played some eclectic roles as a therapist persona via his celebrated songs. Finally, this research tries to connect the therapeutic essence of his serious songs to historicity from the eclective approach, where his ideological ‘I’ converses with his therapist persona and his texts (songs) negotiate to the politico-cultural contexts.
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Porras, J. Yuri. "Contextualizing Extant Music for Song-texts in Selected Plays by Lope de Vega". Comedia Performance 21, nr 1 (kwiecień 2024): 166–83. http://dx.doi.org/10.5325/comeperf.21.0166.
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Abstract: In recent years, there has been an expanded effort to identify, rescue, and transcribe Iberian early-modern theatrical music scattered in Cancioneros––period anthologies of secular music and song-texts attributed to a range of named and anonymous composers. Some of these songbooks are the primary sources of songs that appear in composer Jesús Bal y Gay’s (1905–1993) Treinta canciones de Lope de Vega. Although the scores’ song-texts derive from various lyric, prose, and dramatic works, in honor of Donald R. Larson, this article will focus on the latter. The extant music in Treinta canciones cries out for analysis, particularly from a contextualized theatrical and performance perspective within the fabric of the plays. Therefore, centering on extant music whose song-texts are linked to some of Lope de Vega’s plays, this article will contextualize the relevant transcriptions as well as highlight potential performative aspects to demonstrate not only the overall significance of music on the early modern stage but also the songs’ possible contribution to how the musical component can enhance modern productions and maximize the genre’s structural and ideological significance for today’s audiences.
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Nikoriak, Nataliia. "Intermedia Poetics of the Biographical Film Story of I. Drach and I. Mykolaichuk “Kyiv Fantasy on the Theme of a Wild Rose-Hip”". Pitannâ lìteraturoznavstva, nr 107 (30.06.2023): 185–215. http://dx.doi.org/10.31861/pytlit2023.107.185.
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The trend of syncretization of arts in the modern world is spreading and this causes interest in the method of intermedia analysis in literary studies. Today we can observe a kind of “intermedia boom” (H. Levchenko); studies on the problems of synthesis and interaction of arts have become relevant, an intermedia code is actively offered for understanding problems, architecture, artistic means, narrative strategies, images of a literary work. Intermediality is relevant to the methodology of modern literary studies and also offers a new perspective on those artistic texts that are on the periphery of theoretical interests due to the uncertainty regarding their inter-artistic identification. A film story about a composer is an interesting phenomenon of intermedial synthesis, since different channels of intermedial communication, such as literature, cinema and music, are simultaneously involved. The intermedial poetics of Ivan Drach and Ivan Mykolaichuk’s film story “Kyiv Fantasy on the Theme of a Wild Rose-hip” (1984), which is about the founder of Ukrainian classical music, public figure, musician-virtuoso and outstanding scientist-ethnographer Mykola Lysenko, is analyzed. Perfectly combining the private and creative beginnings, the successful tandem of I. Drach and I. Mikolaichuk is managed to present a rich and difficult life of a talented person and a brilliant composer from early childhood to his death. Using a two-level composition of the unfolding of events, the reader/spectator is presented with the journey of Mykola Lysenko in adulthood, where memories are retrospectively used: first childhood, then youth, and then student years, etc. The artists also tried to find out the complicated relationship of the composer with his wife Olga O’Connor and the mother of his children – Olha Lypska. In addition to this, the film story presents the image of the artist in the discourse of contemporary historical events, social processes, in the discourse of events that had significant cultural value, thus presenting the composer as a citizen-patriot, and as a public figure, and as an important cultural figure. The image of a rose-hip stands out as a symbol and a metaphor that combines saturated biographical material into a single whole – a symbol of the “people’s soul, song”.
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Hascher-Burger, Ulrike. "Music and Meditation: Songs in Johannes Mauburnus's Rosetum exercitiorum spiritualium". Church History and Religious Culture 88, nr 3 (2008): 347–69. http://dx.doi.org/10.1163/187124108x426538.
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AbstractThe Rosetum exercitiorum spiritualium et sacrarum meditationum of Johannes Mauburnus is considered the most extensive and influential treatise on meditation in the circles of the late Devotio Moderna. It was printed in five editions from the late fifteenth to the early seventeenth century. Besides instructions for numerous meditations of varying length, this treatise contains seven religious songs which were intended to stir up the emotions and facilitate the correct disposition for meditation. These songs were created as contrafacts, meaning that the newly composed texts were sung to well-known melodies of liturgical hymns and religious songs. In song rubrics, Mauburnus gives precise instructions about their function as an aid to summoning the motivation for the great number of spiritual exercises that had to be accomplished by the adherents of the Devotio Moderna every day. A unique feature of the Rosetum is the combination of a concrete meditation with a corresponding written song. These songs have not yet been examined systematically. The texts were edited by Guido Maria Dreves in Analecta hymnica on the basis of the edition printed in Paris in 1510. The melodies have not yet been reconstructed. In this article, the seven contrafacts are studied for the first time from the point of view of their structure and function, and their melodies are reconstructed on the basis of liturgical sources associated with the Devotio Moderna.
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Ziv, Naomi. "Reactions to “patriotic” and “protest” songs in individuals differing in political orientation". Psychology of Music 46, nr 3 (30.06.2017): 392–410. http://dx.doi.org/10.1177/0305735617713119.
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Music is commonly used in political contexts, to strengthen attitudes and group cohesion. The reported research examined reactions to music representing national values or contesting them in individuals with different political orientations, on issues related to national pride, cohesion and free expression. In Study 1, 100 Israeli participants heard three “patriotic” or “protest” songs and rated their agreement with statements regarding them. Beyond a number of main effects of music and of political orientation, several interactions between these two variables were found. For right-wing participants, patriotic music increased pride whereas protest music increased shame and fear of social disintegration. For left-wing participants, protest music led to higher agreement with the right to free expression. Study 2 included 78 participants and repeated the procedure with parallel texts. Main effects of texts were found, but no main effects of political orientation or interactions were found. Results are discussed in terms of the role and impact of music in political settings.
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Shreffler, Anne C. ""Mein Weg geht jetzt vorüber": The Vocal Origins of Webern's Twelve-Tone Composition". Journal of the American Musicological Society 47, nr 2 (1994): 275–339. http://dx.doi.org/10.2307/3128880.
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The essay explores Anton Webern's earliest encounters with the twelve-tone method in the context of his previous decade-long preoccupation with vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16, Three Traditional Rhymes, op. 17, Three Songs, op. 18, and sketches and drafts from 1922 to 1925 suggests that Webern did not accept Arnold Schoenberg's method uncritically, but alternately rejected and embraced it. The religious and folk texts that Webern set during these years, hardly anonymous ciphers, were essential in helping him to articulate his own twelve-tone technique.
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Ye, Ye, i Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective". Journal of Chinese Literature and Culture 8, nr 1 (1.04.2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.
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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
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Nagode, Aleš. "Benjamin Ipavec‘s Solo Songs on German Texts: Slovenian Patriot to German Muse". Musicological Annual 54, nr 1 (29.06.2018): 23–30. http://dx.doi.org/10.4312/mz.54.1.23-30.
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Benjamin Ipavec is deemed to be the key composer of Slovenian nationalistic movement in the 19th Century. But he also composed solo songs with piano accompaniment on German texts. He is typical representative of musical “biedermeier”. He attempted to achieve the synthesis of perfect form and profound emotional expression.
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Metzer, David. "Reclaiming Walt: Marc Blitzstein's Whitman Settings". Journal of the American Musicological Society 48, nr 2 (1995): 240–71. http://dx.doi.org/10.2307/3128815.
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Between 1925 and 1928, Marc Blitzstein composed nine songs to texts by Walt Whitman. These settings highlight homoerotic and corporeal thematics, which dominant views of the poet had either obscured or denied. Challenging such interpretations, Blitzstein advanced a reclaiming of Whitman by homosexual readers. Subtitled "songs for a coon shouter," four of these settings introduce African American elements, either through "coon song" gestures or through incorporation of jazz idioms. These appropriations were intended to enhance Whitman's eroticism. They also create tensions between the "primitive" and the "civilized," high and low art, and white and black bodies.
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Kupina, Darina, i Galyna Smirnova. "Music interpretation of Shakespeare’s plays poetry in the beginning of the XX century into the solo song genre". Музикознавча думка Дніпропетровщини, nr 19 (30.12.2020): 46–56. http://dx.doi.org/10.33287/222033.
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The purpose of this scientific article is to prove the potential of Shakespeare’s poetry „Fear no More” for giving rise to multiple interpretations in a genre of a solo song. Methods. This study is based on a historical approach, which is used to determine the types of musical genres present in Shakespeare’s plays and trace the history of setting playwright's texts by British composers. The systems approach, comparative and analytical methods are used by investigator to determine the specifics of the form and music interpretation of texts. The scientific novelty of this investigative article is determined by the fact that the comparative analysis of the songs „Fear no more the heat o’ the sun” by British composers of the beginning of the XX century R. Quilter and G. Finzi is, for the first time, carried out and described in this publication. The main target, in this case, is to link the literary component to the music of the song and confirm the possible existence of multiple interpretations of songs from Shakespeare’s plays. Conclusions. Nearly all Shakespeare's plays call for music of some kind which often bears a direct connection to the action of the play; thus is created by the characters on stage in the form of a song. These songs often transgress the boundaries of the plays becoming independent works that are combined together and published as such in separate opuses. For instance, Shakespeare’s song „Fear no More” from the play „Cymbeline” exists in more than a hundred of music versions; the most well known of which are those by R. Qulter and G. Finzi. Comparison of these interpretations proofs the great intrinsic value of Shakespeare’s texts and potential for producing its various readings, as well as the possibility of existence of these songs beyond the narrow confines of the stage action.
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Gramit, David. "Orientalism and the Lied: Schubert's "Du liebst mich nicht"". 19th-Century Music 27, nr 2 (2003): 97–115. http://dx.doi.org/10.1525/ncm.2003.27.2.97.
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Franz Schubert's "Du liebst mich nicht" (D. 756) has often been discussed as an extreme example of chromatic harmony, but one important possible motivator of the song's extravagance--its representation of one of the most exotic of the Orientalizing texts that Schubert set--has largely been overlooked. By considering the song and its interpretation by several recent critics, this essay suggests that the exotic is here represented not by overtly Orientalistic stylistic features, but rather by a pervasive ambiguity, which parallels the features ascribed to the Oriental in a variety of contemporary sources, including a review by Schubert's acquaintance Matthaus von Collin. Unlike such public evaluative texts, however, Schubert's song directly evokes the patterns of emotion and experience associated with the Orient rather than describing and critiquing from a critical distance. A brief consideration of the other songs of op. 59, "Dass sie hier gewesen" (D. 775), "Du bist die Ruh" (D. 776), and "Lachen und Weinen" (D. 777), reveals that "Du liebst mich nicht" opens the collection with an extreme representation of otherness from which the remaining songs gradually retreat.
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Sladký, Aleš. "Blues lyrics in teaching music and Czech at the grammar school". Musica paedagogia pilsnensis 1, nr 1 (2021): 96–103. http://dx.doi.org/10.24132/zcu.musica.2021.01.96-103.
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My study is entitled: “Blues lyrics in teaching music and Czech at the grammar school” and now I will outline its fundamental contents, the basic conclusions of my study and the meth- ods used to help me reach these conclusions. The study is conceived as a comparison of five American and five Czech blues compositions, which are considered the most popular and basic works of the genre. I did this by analyzing several available charts focused on foreign blues songs and then compiled my list of the five “most popular” American blues songs based on the number of occurrences and locations of the songs in specific charts. For Czech songs, this procedure was more difficult, because I could not find any survey, discussion or ranking that focused specifically on blues songs. So, I proceeded here more or less intuitively and I put together a list of five songs according to my own knowledge of songs, according to the popularity of songs on the youtube music portal and the popularity of the artists who presented the songs. I analyzed the compositions mainly from the textual point of view; however, I did not forget the musical aspect. I was mainly looking for basic identical and different elements in the text area. I found several identical elements, not only in terms of themes, but also in the construction of texts and poetic turns. However, I also found certain textual differences in the Czech and foreign compositions. I will discuss these identical and different elements in more detail in the following text.
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Tiron, Ekaterina L. "Fly agaric songs of the Koryaks-Nymylans". Sibirskiy filologicheskiy zhurnal, nr 1 (2023): 26–45. http://dx.doi.org/10.17223/18137083/82/2.
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The tradition of singing songs under the influence of fly agaric intoxication has been recorded among many peoples of Siberia. However, this topic still needs to be studied, with publications of texts, translations, and sheet music being scarce. This paper presents samples of Koryak-Nymylan fly agaric songs recorded in the 1990s–2000s in the Karaginsky and Olyutorsky districts of Kamchatka. There are two types of songs associated with different stages of interaction with fly agarics. When fly agarics are found, special songs-dances of a joyful character are sung due to the beliefs about the correct behavior of welcoming a mythical tribe of dancing fly agaric women. When using fly agarics, personal songs are performed, manifested in the commonality of poetic texts and melodies. This paper describes for the first time the modal-melodic structure of the melodies and the versification of the Koryak fly-agaric songs. The specificity of the flapper songs is caused by the special state, reflected in the timbre change of personal songs and the inclusion of “fly agaric” themes in the texts. The following semantic markers can be distinguished: the statement of the fly agaric state, the traditional speech dialogue with people from the real world, the transmission of messages from deceased ancestors, the description of the fly agaric dance, and the elements of the fly agaric journey. Fly agaric songs should be considered in the context of mythological representations of interaction with other worlds where deceased ancestors and special fly agaric creatures live.
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YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING". Eighteenth Century Music 2, nr 2 (wrzesień 2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.
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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, little has been said about her apparent penchant for reflecting on and preparing for death through the medium of her personal musical notebook. By reading these poetic texts and their musical settings against the voluminous writings on the art of dying to be found in the family’s theological library, this essay argues for the centrality of the ars moriendi in the Bachs’ domestic life and in their music-making.
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Borčak, Lea Wierød. "The sound of nonsense - on the function of nonsense words in pop songs". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, nr 1 (21.12.2017): 27–43. http://dx.doi.org/10.7146/se.v7i1.97177.
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Nonsense words in songs challenge the common assumption that song meaning resides in song texts. Songs containing verbal nonsense thus make evident that meaning cannot be deduced from one element (e.g. text), but rather emerges as a constant negotiation between the different medialities involved: music, text, the visual, the aural etc. It has been pointed out by several musicologists that content analysis of texts, despite having had a long historical tradition, is nonetheless insufficient or even downright misleading as a methodological approach to interpreting songs. The extensive use of nonsense words in pop songs affirms this stance, as verbal sense is simply stripped away, forcing the analyst to look for other kinds of sense. Researchers from various fields have dealt with nonsense, and quite a few of their insights are very similar – although this theoretical convergence is often not explicated, probably due to disciplinary borders. This article juxtaposes different observations about nonsense for the purpose of illuminating their mutual concordance and contributing to a systematic and comprehensible framework for understanding types and functions of verbal nonsense in songs.