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Data publikacji: 26 lipca 2024

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1

Anderson, Martin. "Estonian Composers (combined Book and CD Review)". Tempo 59, nr 232 (kwiecień 2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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2

MacLachlan, Heather. "Music and Incitement to Violence: Anti-Muslim Hate Music in Burma/Myanmar". Ethnomusicology 66, nr 3 (1.10.2022): 410–42. http://dx.doi.org/10.5406/21567417.66.3.05.

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Abstract This article examines a corpus of Burmese-language anti-Muslim hate songs archived on YouTube. Burma/Myanmar is the site of recent genocidal violence perpetrated against Muslims, and these songs are part of the hate speech campaign that undergirds this violence. Using the definition of incitement articulated by the International Criminal Tribunal for Rwanda, the article shows that the lyrics of these songs constitute incitement to violence. Further, the comments written by YouTube listeners provide evidence that the songs provoke additional dehumanizing speech. The songs and their creators are therefore complicit in the recent violent persecution of Muslims in Myanmar.
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3

Stallings, Stephanie N. "Aesthetic Wit(h)nessing in Anti-lynching Songs by Silvestre Revueltas and Carlos Chávez". Journal of the American Musicological Society 76, nr 2 (2023): 463–501. http://dx.doi.org/10.1525/jams.2023.76.2.463.

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Abstract Mexican composers Silvestre Revueltas and Carlos Chávez each wrote one song that execrates the lynching-murder of Black persons in the United States. In them, the composers pit a Mexican aesthetics of death against violent spectacle and social inequities to assert a universal dignity of life and to situate an antiracist position within the context of a broader international class struggle. In the process of airing fresh interpretations of the songs, I imply that the composers’ divergent experiences in the United States—Chávez’s relative proximity to establishment structures of power and Revueltas’s intimacy with working-class struggle and race-based discrimination—informed their translation of Black suffering into the (differently historically colonized) context of Mexico. Both composers effected an artful indirection: a displaced deictic center from which to mediate their social thought concerning Mexico’s own problems of penal excess and extrajudicial lynching. Bracha Ettinger’s aesthetically activated Matrixial dimension sets a theoretical and analytical stage for an exploration of these anti-lynching songs and offers a way of understanding aesthetic expressions of allyship in a transhistorical mode.
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4

Mutch, Caleb. "‘Something else is possible’: transcultural collaboration as anti-apartheid activism in the music of Juluka". Popular Music 40, nr 3-4 (grudzień 2021): 450–69. http://dx.doi.org/10.1017/s026114302100043x.

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AbstractThis article illuminates the musical activism of Juluka, an interracial South African band active in the late 1970s through the mid-1980s. Its analyses of three songs focus on intersections between Western popular music and a Zulu song genre called maskanda. By examining these cross-cultural interactions in the domains of harmonic progressions, formal structures and metric and rhythmic organisation, I demonstrate that the artistic fruitfulness of the band's collaboration was a powerful rebuke to the government's apartheid ideology, which sought to segregate not just people, but even their artistic expressions.
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Subekti, Arif, i Hervina Nurullita. "Singing the Memories: Songs about the 1965 Anti-communist Violence in Banyuwangi". Indonesia 116, nr 1 (sierpień 2023): 153–70. http://dx.doi.org/10.1353/ind.2023.a910155.

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Abstract: Within post-genocide societies and in the aftermath of mass killings, music functions beyond entertainment. It serves to reconcile, remember, and convey a message of peace or even criticize how authorities deal with the effects of atrocities. Music also functions to remember and preserve memory of violence, particularly in the context where violence is not part of the official narrative and historiography. By taking the case study of Indonesia's anticommunist violence in 1965, this article would like to analyze critically the perspective that perceive music as counter memory. Focusing on Banyuwangi, East Java, the area where intense violence against the communists and leftists took place, we study how locality affected the production of songs with 1965 themes. The historical construction of local identity, violence and stigmatization of local artists, all affected the choices to compose songs related to 1965. We argue that music about violence is not simply a counter narrative against the dominant memory, but a process of negotiation between locality and the national construction of the past.
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6

Ingram, Paul. "Songs, Anti-Symphonies and Sodomist Music: Dadaist Music in Zurich, Berlin and Paris". Dada/Surrealism 21 (17.07.2017): 1–33. http://dx.doi.org/10.17077/0084-9537.1334.

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7

Putra, Yonarius Widyo, i I. Gusti Ayu Mahatma Agung. "Interpersonal Meaning Analysis of Taylor Swift’s Song “Anti-Hero”". J-Lalite: Journal of English Studies 4, nr 2 (31.12.2023): 83. http://dx.doi.org/10.20884/1.jes.2023.4.2.8919.

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Song is a work of art created by humans and used for entertainment or a means to express and reveal the contents of the heart. By using songs, many people try to say something or convey a message to someone from the bottom of their hearts. The purpose of this research is to find out the interpersonal meaning of Taylor Swift’s Song “Anti-Hero”. This research applied a qualitative method to analyze 15 lyrics of the “Anti-Hero” song. This research is based on the theory of interpersonal meaning proposed by Halliday. The result showed that the song “Anti-Hero” by Taylor Swift used interpersonal meaning elements of Mood and Residue in the lyrics. Therefore, it can be concluded that the song “Anti-Hero” used interpersonal meaning to explain the meaning of the song to the listeners to show the feelings, emotions, and ideas of the songwriter. This helped the songwriter in creating a more meaningful connection between the music and the listeners.
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8

Moon, Krystyn R. ""There's no Yellow in the Red, White, and Blue": The Creation of Anti-Japanese Music during World War II". Pacific Historical Review 72, nr 3 (1.08.2003): 333–52. http://dx.doi.org/10.1525/phr.2003.72.3.333.

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This article focuses on the production of anti-Japanese music during World War II through the frameworks of popular culture, consumption, and propaganda and by analyzing the music itself, as well as lyrics and sheet music covers. Anti-Japanese music codified certain racial beliefs while distinguishing among Asian nationalities. Portraying Japan in racialized and gendered terms told Americans something about themselves and white male superiority. These musical images also demonstrated the dialogue between the music industry and its consuming audience. Publishers and composers tried to describe the nation's emotions toward the enemy. Although their early efforts were somewhat successful, overall, anti-Japanese songs were not. Consumers looked to other musical forms and lyrics to embody the war, not necessarily voting against racism, but for more innovative music.
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9

Migeon-Lambert, Camile. "Translations, adaptations, quotations from Baudelaire’s poetry into metal music: an anti-alchemy?" Punctum. International Journal of Semiotics 06, nr 01 (16.10.2020): 221–42. http://dx.doi.org/10.18680/hss.2020.0011.

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This study examines how metal musicians appropriate Baudelaire’s poetry, one of the favorite sources of metal lyrics’ intersemiosis. We will consider several levels of intersemiosis, from the reference to the literal quotation, including the music inspired by Baudelaire’s life, inquiring what metal music, which is both counter-cultural and popular, does to a great classic of French poetry. Moreover, we intend to look closer at Baudelairean intersemiosis in the work of non-French-speaking metal musicians. When they retain the original French text, the lyrics reflect the vocalist’s relation to the foreign language. Eventually, the translation processes are all brought together in those cases involving an adaptation into the band’s own language. Some of the songs we analyze belong to the most extreme genres of metal. Given the French post-Romantic poet’s controversial reception and his sense of scandal, this partiality is far from being surprising. We propose using Baudelaire’s theory of correspondences to explain the adaptation of his verses into weighty, violent notes, and sounds. Finally, the case of Baudelaire’s reception allows us to analyze the many translations at stake when a contemporary music genre such as metal incorporates literary works into its lyrical material.
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10

de, Almeida. "The anti-war voice of Buffy Sainte-Marie". New Sound, nr 58-2 (2021): 161–72. http://dx.doi.org/10.5937/newso2158161f.

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Universal soldier (1964), Soldier Blue (1970), and The War Racket (2017) represent some of Buffy Sainte-Marie's most prominent anti-war songwriting, where she demonstrates her poietic process as an artist and activist. Considering her anti-war utterance, I will analyze these selected songs and place them in Buffy Sainte-Marie's work as an activist and performer. Additionally, I intend to interpret her musical production through semiotics and hermeneutics that center her contemporary voice as an artist of First Nations descent. By charting the contemporary landscape of her work in both the 1960s to 1970s and the 2000s, I will seek relationships between the process of representation (of the feminine and indigenous identities) and assimilation (mainstream music and the media) within her anti-war utterance.
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Evans, Janet. "Human Rights issues linked to War, Conflict and Peace Reflected in Picturebooks Through Art, Music and Song Lyrics". Journal of Literary Education, nr 1 (8.12.2018): 39. http://dx.doi.org/10.7203/jle.1.12442.

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This article will look at the relationship of the arts: fine arts, music, song and other kinds of artistic expression in picturebooks, prior to considering how the arts have been used to communicate human rights issues linked to war, conflict and peace in picturebooks. It will briefly consider what is meant by “the arts”, prior to considering how some award winning picturebook creators have been influenced by fine art in their book illustrations, and how others have taken lyrics from songs dealing with conflict, peace and human rights and illustrated them to create picturebooks as art objects which are both emotive and emotional. A particular focus will be on books affiliated to Amnesty International with special reference to Imagine by John Lennon. Keywords: Human Rights, Peace, Music, Picture Books, Art Resum Aquest article fa una mirada a la relació entre les arts: belles arts, música, cançó i altres tipus d’expressió artística en àlbums il·lustrats, abans de considerar com han sigut utilitzades les arts per a comunicar els problemes respecte dels drets humans lligats a la guerra, el conflicte i la pau en aquests àlbums. Es considerarà breument què s’entén per “les arts” abans de considerar com alguns autors premiats d’àlbums com a objectes artístics són tant emotius com emocionals. Es farà una incidència particular en els llibres publicats per Amnistia Internacional amb especial referència a Imagine de John Lennon. Paraules clau: Drets humans, Pau, Música, Àlbums il·lustrats, Art Resumen Este artículo contempla la relación entre las artes: bellas artes, música, canción y otros tipos de expresión artística en álbumes ilustrados antes de considerar cómo han sido utilizadas las artes para comunicar la problemática respecto de los derechos humanos ligados a la guerra, el conflicto y la paz en estos álbumes. Se considerará brevemente qué se entiende por “las artes” antes de considerar omo algunos autores premiados de álbumes en tanto que objetos artísticos son tanto emotivos como emocionales. Se incidirá particularmente en los libros publicados por Amnistía Internacional con especial referencia a Imagine de John Lennon. Palabras clave: Derechos humanos, Paz, Música, Álbumes ilustrados, Arte
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GOMES, CAIO DE SOUZA. "“Por toda América soplan vientos que no han de parar hasta que entierren las sombras”: anti-imperialismo e revolução na canção engajada latino-americana (1967-69) * Anti-imperialism and revolution in Latin American protest song (1967-69)". História e Cultura 2, nr 1 (19.08.2013): 146. http://dx.doi.org/10.18223/hiscult.v2i1.944.

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<p><strong>Resumo:</strong> Este artigo tem como objetivo analisar como o ano de 1967 significou um momento de ruptura particularmente importante no processo de consolidação dos movimentos de canção engajada na América Latina por conta da realização em Cuba do I Encuentro de la Canción Protesta, primeiro evento de grandes proporções a buscar institucionalizar e articular os movimentos que vinham surgindo nos vários países do continente, e que teve grande impacto na produção discográfica engajada produzida no período entre 1967 e 1969, marcando uma abertura de horizontes e a incorporação de novos diálogos e referências nas sonoridades da nueva canción latino-americana.</p><p><strong>Palavras-chave:</strong> Música Popular – Canção engajada – Conexões transnacionais.</p><p> </p><p><strong>Abstract:</strong> The objective of this article is to analyze how the year of 1967 was a rupture moment particularly important in the process of consolidation for the movements of protest songs in Latin America due to the I Encuentro de la Canción Protesta, the very first event that tried to institutionalize and articulate the musical movements that have emerged in Latin America, and that had great impact on the discography produced in the period between 1967 and 1969, scoring the incorporation of new dialogues and references on the sounds of nueva canción.</p><p><strong>Keywords:</strong> Popular music – Protest song – Transnational connections.</p>
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Tian, Ye. "Teaching Application of Anti-Japanese Amalgamated Army Songs in Mudanjiang River Basin During the Anti-Japanese War Based on Computer Music Production Technology". Journal of Physics: Conference Series 1533 (kwiecień 2020): 022051. http://dx.doi.org/10.1088/1742-6596/1533/2/022051.

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Martin, Alison. "Groundhog Summers and the Search for the Black Messiah Noname. “Song 33.” Song 33—Single. Noname, 2020. - Adia Victoria. “South Gotta Change.” South Gotta Change—Single. Atlantantic Recording Corporation, 2020. - Mickey Guyton. “Black Like Me.” Black Like Me—Single. UMG Recordings, Inc., 2020. - Nana Adjoa. “National Song.” Big Dreaming Ants. Bloomer Records, 2020." Journal of the Society for American Music 15, nr 3 (sierpień 2021): 357–59. http://dx.doi.org/10.1017/s1752196321000250.

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França, Vera Regina Veiga, i Vanrochris Vieira. "Sertanejo universitário: expressão e valores de jovens urbanos no Brasil contemporâneo // Sertanejo universitário: expression and values of urban youths in contemporary Brazil". Contemporânea Revista de Comunicação e Cultura 13, nr 1 (1.06.2015): 106. http://dx.doi.org/10.9771/contemporanea.v13i1.13138.

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A migração da música caipira, profundamente enraizada no mundo rural, para o meio urbano, no Brasil, deu origem à música sertaneja. Nos últimos anos, tem surgido uma nova variação deste gênero, o sertanejo universitário, voltado mais especificamente para um público jovem e caracterizado pela mistura melódica e pelo afastamento do cenário e dos valores da tradição rural. As temáticas exploram a importância do dinheiro para garantir conquistas sexuais, o universo das “baladas” (festas noturnas frequentadas pelos jovens), a sensualidade. Tais músicas têm alcançado um estrondoso sucesso de público no Brasil e no exterior. Entre seu público, e como propagandistas desse novo gênero musical, há celebridades do futebol (Neymar no Brasil, Cristiano Ronaldo em Portugal), cujo estilo de vida tem sintonia com as letras das músicas. Mais do que as características musicais do sertanejo universitário, procuramos refletir sobre aquilo que ele expressa enquanto quadro de valores e comportamentos de parcela da juventude contemporânea. The migration of caipira music, deeply rooted in rural areas, to urban areas in Brazil, has given rise to sertanejo music. In recent years, it has emerged a new variation of this rhythm, the sertanejo universitário, turned more specifically to a young public and characterized by melodic mix and a large removal of rural tradition scene and values. The themes explore the importance of money to ensure sexual conquests, the universe of "baladas" (evening parties attended by young people), sensuality. Such songs have been achieved a resounding success of public in Brazil and abroad. Among its audience, and as propagandists of this new musical genre, there are celebrities from soccer (Neymar in Brazil, Cristiano Ronaldo in Portugal), whose lifestyle has line with the lyrics. More than musical features of the sertanejo universitário, we try to reflect on what it expresses as a set of values and behaviors of a portion of contemporary youth.
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Carter, Dale. "Surf Aces Resurfaced: The Beach Boys and the Greening of the American Counter-Culture, 1963-1973 // Los Beach Boys y el ecologismo en la contracultura americana, 1963-1973". Ecozon@: European Journal of Literature, Culture and Environment 4, nr 1 (25.04.2013): 44–60. http://dx.doi.org/10.37536/ecozona.2013.4.1.499.

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Abstract The rise of the American counterculture between the early- to mid-1960s and early- to mid-1970s was closely associated with the growth of environmentalism. This article explores how both informed popular music, which during these years became not only a prominent form of entertainment but also a forum for cultural and social criticism. In particular, through contextual and lyrical analyses of recordings by The Beach Boys, the article identifies patterns of change and continuity in the articulation of countercultural, ecological, and related sensibilities. During late 1966 and early 1967, the group’s leader Brian Wilson and lyricist Van Dyke Parks collaborated on a collection of songs embodying such progressive thinking, even though the music of The Beach Boys had previously shown no such ambitions. In the short term, their efforts floundered as the risk-averse logic of the commercial music industry prompted group members to resist perceived threats to their established profile. Yet in the long term (and ironically in the name of commercial survival), The Beach Boys began selectively to adopt innovations they had previously shunned. Shorn of its more controversial associations, what had formerly been considered high risk had by 1970 become good business as once-marginal environmentalism gained broader acceptability: thus did ‘America’s band’ articulate the flowering, greening, and fading of the counterculture. Resumen El auge de la contracultura americana entre principios y mediados de las décadas de 1960 y 1970 guarda una estrecha relación con la expansión del movimiento ecologista. Este artículo explora el modo en que ambas corrientes dieron forma a la música popular, un medio de expresión que se convirtió en una destacada forma de entretenimiento y un foro de crítica cultural y social durante el período analizado. Más específicamente, se emplea el análisis contextual y lírico de las grabaciones de los Beach Boys para identificar patrones de cambio y continuidad en los movimientos contracultural y ecologista, y otros afines a ellos. Entre finales de 1966 y principios de 1967, Brian Wilson (el líder del grupo) y el letrista Van Dyke Parks colaboraron en un variado conjunto de canciones que encarnaban tales ideas progresistas, aun cuando la música de los Beach Boys nunca había puesto de manifiesto este tipo de ambiciones hasta entonces. A corto plazo, sus esfuerzos fueron en vano, ya que la lógica conservadora de la industria discográfica comercial instó a los miembros del grupo a resistir ante las amenazas que recibía su perfil. Más a largo plazo (e, irónicamente, en nombre de la supervivencia comercial) los Beach Boys comenzaron a adoptar, de un modo más bien escrupuloso, novedades que antes habían evitado debido a las controvertidas asociaciones que permitían establecer. En 1970, lo que antes se consideraba de alto riesgo se había convertido en un gran negocio debido en buena medida a que el ecologismo, otrora marginal, había ganado en aceptación popular; ello llevó a la “Banda de América” a expresar el florecimiento, la madurez y el desvanecimiento de la contracultura.
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Monti, Ednardo Monteiro Gonzaga do. "Música da terra dos faraós: aprendizagens de Anttonieta de Souza numa viagem ao Egito". Revista de História e Historiografia da Educação 1, nr 2 (1.05.2017): 106. http://dx.doi.org/10.5380/rhhe.v1i2.51169.

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O presente estudo tem como horizonte as aprendizagens da professora Anttonieta de Souza na viagem que realizou ao Egito na década de 1950. Com base na série de artigos intitulada “Minhas impressões sobre o Egito”, as perguntas que norteiam o texto são: quais tradições e culturas musicais egípcias a artista apresentou aos leitores da Revista do Conservatório Brasileiro de Música? O que aprendeu com os estudos arqueológicos e históricos sobre a música e os músicos da terra dos faraós? Os escritos da cantora dos palcos de concerto do Rio de Janeiro, publicados no periódico oficial da instituição de ensino superior de música que ela dirigia, permitem interpretar que as bases da tradição musical daquele povo eram os rituais religiosos, os mitos, as festas populares, as canções de trabalho, as fanfarras militares e as lendas. E que os estudos musicológicos sobre a antiguidade, com os quais Anttonieta teve contato na viagem, ressaltam que os instrumentos achados nos sítios arqueológicos possibilitaram repercutir timbres que há milhares de anos não soavam; e também conhecer as vestimentas e adornos feitos com flores de lótus que cantores e instrumentistas utilizavam; e ainda, adquirir informações sobre as grandes famílias de músicos que funcionavam como espécies de dinastias artísticas.Music from the pharaoh's land: learning of Antoinetta de Souza on a trip to Egypt. This study focuses on the learnings of Professor Anttonieta de Souza during her trip to Egypt in the 1950s. Based on the series of articles entitled “Minhas impressões sobre o Egito” (My impressions about Egypt), the questions guiding the study are as follows: What Egyptian traditions and musical culture did the artist present to the readers of the Revista do Conservatório Brasileiro de Música (Brazilian Conservatory of Music’s Magazine)? What did she learn from archaeological and historical studies about music and musicians of the Pharaohs’s Land? The writings of the singer who graced the stages of Rio de Janeiro, published in the official journal of the Conservatório Brasileiro de Música that she directed herself, allow for the impression that the nucleus of the Egyptian musical culture were the religious rituals, myths, the popular parties, Work songs, military fanfare and legends. What’s more, her work that focuses on the antique music culture of Egypt emphasizes that instruments found on archaeological sites made the reverberation of timbres possible that for thousands of years did not sound; investigates the garments and accessories made from lotus flowers that singers and instrumentalists used; and considers the large families of musicians who functioned as if they were, to some extent, artistic dynasties. Keywords: Travel; Music education; Egyptian culture.
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Adinkrah, Mensah. "Anti-suicide themes in popular Ghanaian music". International journal of linguistics, literature and culture 9, nr 3 (17.05.2023): 102–10. http://dx.doi.org/10.21744/ijllc.v9n3.2277.

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The current article presents the results of a content analysis of a popular Ghanaian gospel song with anti-suicide themes and lyrics that have great potential to prevent suicidal behavior among listeners. The analysis was conducted against a backdrop of public intimations that suicide rates in the country were rising. The results of the analysis show that several lines in the lyrical text implore the listener to resist suicide while offering messages of patience, hope and encouragement, that can serve as preventative to suicide. It is impossible to quantify the full impact of the song on listeners and there is no way of knowing how many suicides have been prevented by the lyrical text of the song and the accompanying video presentation of events captured in the video. That the song has had a powerful impact on people who listen to it is evident in the listeners/viewers comments left at the site of the song/video. The final segment of the article provides excerpts from some individuals’ experiences with the song. The message of hope in the song, that things will get better has had a major effect on people.
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Kang, Stella. "Analysis of practical and popular music as contemporary music: Focusing on elementary school music textbooks". Korean Association For Learner-Centered Curriculum And Instruction 24, nr 5 (15.03.2024): 77–93. http://dx.doi.org/10.22251/jlcci.2024.24.5.77.

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Objectives The need for an accurate understanding of the concepts of contemporary music, practical music, and popular music, and the recognition of the necessity for changes in music education based on individual music tastes and preferences, are affirmed. This aims to advocate for a reassessment of music textbooks, particularly in elementary music education, through a quantitative evaluation of practical and popular music content. Furthermore, the proposal emphasizes the necessity for changes in music textbooks through individual assessments of multi-frequent songs. Methods Analyze the popular music area included in elementary school music textbooks. We analyzed the songs included in 32 textbooks from 8 different publishers, established the multi-frequent songs, and looked into the characteristics and contents of each song. The need for changes to the songs included in textbooks is confirmed through individual evaluation of the distribution of songs included in music textbooks and the multi-frequent songs. Results First, animation music accounts for 26.4% and movie music 25.8%, which accounts for more than 50%. Second, there are 121 foreign songs and 61 domestic songs, with POP (13.2%) followed by K-POP (9.9%), and there are many POP in the singing field. Third, there are differences between textbooks, Fourth, the content related to the music industry is insufficient, and it is included in 5 textbooks (out of 32), and Fifth, there are problems with the content and release period of multi-frequent songs. Lastly, since multi-frequent songs are repeatedly included in middle and high school textbooks, a feasibility study on this aspect is also necessary. Conclusions There is a need to realistically reflect the songs included in textbooks, and for this, it is necessary to reexamine the songs included in textbooks. There is a need for a change in perception of popular music education due to scientific development, and a practical approach to the methods and content needed for future popular music education is needed.
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Verma, Shalini. "Indian Folk Music". RESEARCH REVIEW International Journal of Multidisciplinary 8, nr 4 (14.04.2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language. Abstract in Hindi Lanaguage: लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है। Keywords: लोक संगीत, कजरी, लोक वाद्य
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21

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

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

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

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

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

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

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27

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

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28

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

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Till, Benedikt, Ulrich S. Tran, Martin Voracek i Thomas Niederkrotenthaler. "Music and Suicidality". OMEGA - Journal of Death and Dying 72, nr 4 (9.03.2015): 340–56. http://dx.doi.org/10.1177/0030222815575284.

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In recent years, the question whether personal suicidality is reflected in individual music preferences has been discussed. We assessed associations of preferred music genres and cumulative exposure to and rating of 50 preselected songs, including 25 suicide-related songs, with suicide risk factors in an online survey with 943 participants. Preferences for sad music were associated with high psychoticism, while fanship of music genres with predominantly joyful contents was linked to low psychoticism. There was a dose-response relationship of positive rating of suicide songs with high life satisfaction and low hopelessness. Music preferences partly reflect suicide risk factors, but enjoyment of suicide songs is negatively associated with risk factors of suicide, which may indicate a psychological defense mechanism against suicidal impulses.
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Hafner, Klaus. "Handel Songs". Musical Times 128, nr 1736 (październik 1987): 546. http://dx.doi.org/10.2307/965379.

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

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32

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

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

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

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35

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

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

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

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

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

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40

Hund, Marianne. "Cricket songs". Early Music 33, nr 4 (1.11.2005): 749. http://dx.doi.org/10.1093/em/cah180.

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41

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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42

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

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Students' musical preferences in childrens' major- and minor-key songs. This paper explores elementary school students’ music preferences in terms of songs authored for children and traditional major- and minor-key songs and the influence of familiarity of the music on their music preferences. The questionnaire and sound questionnaire were administered to 216 students attending the second, third, seventh and eighth grades of elementary school in Sinj, Croatia. The results confirm the influence of age and gender on students’ music preferences concerning songs authored for children and traditional songs in major and minor keys. Furthermore, all the participants prefer major-key songs to minor-key songs. Finally, it was established that familiarity with a piece of music is a significant factor affecting the music preferences of the participants.
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43

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

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44

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

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This essay reflects work toward a critical edition of 129 Ives songs (all those in whose publication he was directly involved)-mainly 114 Songs (1922) and the New Music issues of Thirty-Four Songs (1933) and Nineteen Songs (1935). It explores his value judgments of them, and also of 50 Songs (1923), containing unaltered reprints from 114. 114 Songs is eclectic and inclusive, a retrospective exhibition of various song types, including ones drastically foreign to conventional notions of a song. In 50 Songs, Ives responded to adverse reactions to 114 Songs and sought to reprint songs of "more general interest." For the New Music collections, he revised many songs, especially those initially arranged from pre-114 chamber-ensemble works. To the latter he typically restored material from the "parent pieces," increasing the songs' dissonance (not, however, to falsify their modernity). He also reprinted conservative songs, as well as adding nine previously unpublished ones, and in both collections chose the songs' order carefully.
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45

Zilmi, Fauziatus, Abdul Rachman i Moh Muttaqin. "Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang". Jurnal Seni Musik 10, nr 1 (30.06.2021): 17–24. http://dx.doi.org/10.15294/jsm.v10i1.46812.

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Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.
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46

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

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College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a “happy” or “sad” song. Each participant listened to two “happy” and two “sad” songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.
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47

Bhatt Saxena, Archana. "MUSIC IN MALVI FOLK SONGS". International Journal of Research -GRANTHAALAYAH 3, nr 1SE (31.01.2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3469.

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Indian folk life has always been music. There is no caste in India which does not have any influence on music. For Indian music, it is said that knowledge of Brahm comes from literature and Brahm is obtained from music. In India, there has been a tradition of singing, playing and dancing on various festivals and occasions since ancient times. Folklore is the indelible boon of ancient culture and wealth in which the souls of many cultures have been united. Folk music is a joyous expression of public life. According to Padma Shri Omkaranath-Folk music is the background to the development of Devi music. The country or caste of which a sensitive human was oriented to express the feelings of his heart, on the same occasion, the self-proclaimed tone, rhythm, nature emerged from his mouth and the classical development which he developed by binding the same tone, song and rhythm Gaya became the only country music. भारतीय लोक जीवन सदैव संगीत मय रहा है। भारत वर्ष का कोई अंचल कोई जाति ऐसी नहीं जिसके जीवन पर संगीत का प्रभाव न पड़ा हो। भारतीय संगीत के लिए कहा जाता है कि साहित्य से ब्रह्म का ज्ञान और संगीत से ब्रह्न की प्राप्ति होती है। भारत में पुरातन काल से विभिन्न पर्वो एवं अवसरों पर गायन, वादन व नृत्य की परंपरा रही है। लोकगीत प्राचीन संस्कृति एवं सम्पदा के अमिट वरदान है जिसमें अनेकानेक संस्कृतियों की आत्माओं का एकीकरण हुआ है। लोक संगीत जन-जीवन की उल्लासमय अभिव्यक्ति है। पद्म श्री ओंकारनाथ के मतानुसार-‘‘देवी संगीत के विकास की पृष्ठभूमि लोक संगीत है। जिस देष या जाति का सम्वेदनषील मानव जिस समय अपने हृदय के भावों को अभिव्यक्त करने के लिए उन्मुख हुआ उसी अवसर पर स्वयंभू स्वर, लय, प्रकृत्या उनके मुख से उद्भूत हुए और उन्हीं स्वर, गीत और लय को नियम बद्ध कर उनका जो शास्त्रीय विकास किया गया वही देषी संगीत बना।‘‘
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48

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

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49

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

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50

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

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