Artykuły w czasopismach na temat „Song”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Song.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „Song”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.
1
Stoddard, Philip K., Michael D. Beecher, S. Elizabeth Campbell i Cynthia L. Horning. "Song-type matching in the song sparrow". Canadian Journal of Zoology 70, nr 7 (1.07.1992): 1440–44. http://dx.doi.org/10.1139/z92-200.
Pełny tekst źródłaStreszczenie:
Song playback to song sparrows (Melospiza melodia) in a resident population in Washington state showed that the tendency of birds to respond with the same song type (match) depended on the identity of the singer. Matching rates were high to 'self song (60%) and 'stranger' song (50%) and low to 'neighbor' song (20%, not significantly above chance level). The higher matching rate to stranger song was particularly interesting, since the neighbor test songs were generally more similar to the subjects' songs than were the stranger test songs (the self songs, of course, were the most similar). The importance of the neighbour–stranger contrast, in addition to song similarity, in eliciting song matching confirms similar conclusions from earlier studies on the great tit (Parus major) and western meadowlark (Sturna neglecta).
2
Nakano, Tomoyasu, Kazuyoshi Yoshii i Masataka Goto. "Musical Similarity and Commonness Estimation Based on Probabilistic Generative Models of Musical Elements". International Journal of Semantic Computing 10, nr 01 (marzec 2016): 27–52. http://dx.doi.org/10.1142/s1793351x1640002x.
Pełny tekst źródłaStreszczenie:
This paper proposes a novel concept we call musical commonness, which is the similarity of a song to a set of songs; in other words, its typicality. This commonness can be used to retrieve representative songs from a set of songs (e.g. songs released in the 80s or 90s). Previous research on musical similarity has compared two songs but has not evaluated the similarity of a song to a set of songs. The methods presented here for estimating the similarity and commonness of polyphonic musical audio signals are based on a unified framework of probabilistic generative modeling of four musical elements (vocal timbre, musical timbre, rhythm, and chord progression). To estimate the commonness, we use a generative model trained from a song set instead of estimating musical similarities of all possible song-pairs by using a model trained from each song. In experimental evaluation, we used two song-sets: 3278 Japanese popular music songs and 415 English songs. Twenty estimated song-pair similarities for each element and each song-set were compared with ratings by a musician. The comparison with the results of the expert ratings suggests that the proposed methods can estimate musical similarity appropriately. Estimated musical commonnesses are evaluated on basis of the Pearson product-moment correlation coefficients between the estimated commonness of each song and the number of songs having high similarity with the song. Results of commonness evaluation show that a song having higher commonness is similar to songs of a song set.
3
Lennox, Stephen J. "Song of Songs". Bulletin for Biblical Research 22, nr 3 (1.01.2012): 428–29. http://dx.doi.org/10.2307/26424583.
Pełny tekst źródła
4
Kreutzer, Michel L., i Laurent Nagle. "Song Tutoring Influences Female Song Preferences in Domesticated Canaries". Behaviour 134, nr 1-2 (1997): 89–104. http://dx.doi.org/10.1163/156853997x00296.
Pełny tekst źródłaStreszczenie:
AbstractLaboratory experiments were designed to examine the influence of previous acoustic experience on later song preferences in female domesticated canaries (Serinus canaria). Young females were reared in acoustic isolation (five groups). In these five groups, one was reared without tutoring and four were exposed to taped tutoring songs (playbacks of three different songs, two conspecific and one heterospecific). One of the four tutored groups was exposed to all three songs, while each of the remaining groups was exposed to one of the three songs. When adult, all females were tested using copulation solicitation displays as an index of their song preferences. We demonstrated that females reared without tutoring were especially responsive to a particular domesticated canary song. This song contained a special song phrase type (Vallet & Kreutzer, 1995) that elicits high levels of sexual response. In general, a similar preference was also observed in the groups reared with tutoring. In addition, the females' preferences in tutored groups were also positively and strongly affected by conspecific songs, when these songs had been heard during the previous tutoring. In fact, females seemed to be able to selectively respond to a song containing a special song phrase, but were also able to learn conspecific songs.
5
Щітова, С. А., i О. М. Якимець. "THE INNOVATIVE INTERPRETATION OF THE CHAMBER-VOCAL GENRE IN THE LATE WORKS OF SCHUBERT". Музикознавча думка Дніпропетровщини, nr 15 (4.11.2019): 163–71. http://dx.doi.org/10.33287/221913.
Pełny tekst źródłaStreszczenie:
The purpose of the study is to prove the innovative approaches of F. Schubert in vocal works on the example of his later opuses – the vocal cycle „Winterreiseˮ, op. 90 („Winter Roadˮ) and the song collection „Der Schwanengesangˮ („Swan Songˮ). The methods of this proposed scientific article are based on the research approaches (historical, compare, analytical), which allow to us to follow the path of dramatization of the song in the late works of F. Schubert, as well as to determine the conformity of the vocal intonation to the poetic text. The material of scientific intelligence there are ten separate songs, namely, five songs from the vocal cycle „Winter Pathˮ and five songs on the lyrics by G. Heine from the collection „Swan Songˮ. In our opinion, they are not only indicative, but also similar in form, methods and content. The scientificnovelty of this research is to in the treatment to the issues of determining the correspondence of vocal intonation to a poetic text. Conclusions. Lyrics by Wilhelm Muller and Heinrich Heine are the peak of Schubertʼs vocal lyrics, the starting point for the further development of the song (romance) genre. Simplicity and the associated „sociability” of song intonation, on the one hand, naturally continue the traditions of the Austro-German song Lied. However, while the melody of Schubert reveals time fundamentally new qualities caused by the composerʼs innovative attitude to its formation. The reason for this is a great attention to the verbal text. The close interaction of poetic words and music, especially in the late works of the composer romantic, gives rise to a fundamentally new type of vocal intonation, a new level of voice and accompaniment and, as a final result, the emergence of a new quality of the chamber-vocal work – „poems with music”, thereby pushing on the further path of development of chamber vocal genres.
6
Sigler Ficken, Millicent, Kathryn M. Rusch, Sandra J. Taylor i Donald R. Powers. "Blue-Throated Hummingbird Song: A Pinnacle of Nonoscine Vocalizations". Auk 117, nr 1 (1.01.2000): 120–28. http://dx.doi.org/10.1093/auk/117.1.120.
Pełny tekst źródłaStreszczenie:
Abstract Little is known about the structure and function of hummingbird vocalizations. We studied the vocalizations of Blue-throated Hummingbirds (Lampornis clemenciae) at two sites in southeastern Arizona. Songs were produced by males and females. Male songs consisted of arrays of notes organized in clusters of “song units.” Within sites, all males shared the same song units. Individual differences occurred in some temporal aspects of song, and slight but consistent differences in note structure occurred between the two sites. The organization of units within songs was marked by rigid syntax, and long songs were produced by agglutination of units. Male songs may function in territorial advertisement and mate attraction. Female songs were very different acoustically from those of males and typically were given when females were within a few centimeters of a male. In these situations, the female's song often overlapped temporally with the male's song. Of the hummingbird species studied so far, the Blue-throated Hummingbird has the most complex songs and is the only known species with complex female songs. Blue-throated Hummingbirds show convergence with oscines in vocal complexity, song organization, song function, and possible learning of some song elements.
7
Nowicki, Stephen, i Jared Strote. "Responses To Songs With Altered Tonal Quality By Adult Song Sparrows (Melospiza Melodia)". Behaviour 133, nr 3-4 (1996): 161–72. http://dx.doi.org/10.1163/156853996x00099.
Pełny tekst źródłaStreszczenie:
AbstractPure-tone sounds are a common and distinctive feature of many birdsongs. We used field playback experiments to test whether this tonal quality is perceptually salient to adult male song sparrows in the context of song recognition, by comparing responses to playback of normal songs with responses elicited by songs that had harmonics added. This species was chosen for study based on the recent finding that young song sparrows do not show a preference for songs with pure tones over songs with harmonics when choosing model songs to copy during their sensitive phase for learning. We found adult song sparrows to be significantly more responsive to normal song than to harmonic song, consistent with results from adult birds of other species. We conclude that the perceptual salience of the tonal quality of song changes during ontogeny or is context-dependent.
8
Rizqy, Titis. "Creativity of Teachers in Creating Java Song in Industrial Era 4.0". International Conference of Moslem Society 3 (12.04.2019): 296–304. http://dx.doi.org/10.24090/icms.2019.2332.
Pełny tekst źródłaStreszczenie:
Javanese literature includes a Javanese song which should remain popular among the millennial generation today which will meet the industrial era 4.0. The limitations of Javanese songs require teachers to increase innovation by means of continuous creativity to create Javanese songs where poetry and songs use compilation of existing songs. As well as the process of preserving Javanese songs, so that the growing age of Javanese, especially Javanese songs, is not left behind but still follows. Teacher creativity in the creation of Javanese song lyrics in the industrial revolution 4.0 era is based on song inspiration, the contents of song lyrics and the process of song lyrics.
9
Garland, Ellen C., Luke Rendell, Luca Lamoni, M. Michael Poole i Michael J. Noad. "Song hybridization events during revolutionary song change provide insights into cultural transmission in humpback whales". Proceedings of the National Academy of Sciences 114, nr 30 (24.07.2017): 7822–29. http://dx.doi.org/10.1073/pnas.1621072114.
Pełny tekst źródłaStreszczenie:
Cultural processes occur in a wide variety of animal taxa, from insects to cetaceans. The songs of humpback whales are one of the most striking examples of the transmission of a cultural trait and social learning in any nonhuman animal. To understand how songs are learned, we investigate rare cases of song hybridization, where parts of an existing song are spliced with a new one, likely before an individual totally adopts the new song. Song unit sequences were extracted from over 9,300 phrases recorded during two song revolutions across the South Pacific Ocean, allowing fine-scale analysis of composition and sequencing. In hybrid songs the current and new songs were spliced together in two specific ways: (i) singers placed a single hybrid phrase, in which content from both songs were combined, between the two song types when transitioning from one to the other, and/or (ii) singers spliced complete themes from the revolutionary song into the current song. Sequence analysis indicated that both processes were governed by structural similarity rules. Hybrid phrases or theme substitutions occurred at points in the songs where both songs contained “similar sounds arranged in a similar pattern.” Songs appear to be learned as segments (themes/phrase types), akin to birdsong and human language acquisition, and these can be combined in predictable ways if the underlying structural pattern is similar. These snapshots of song change provide insights into the mechanisms underlying song learning in humpback whales, and comparative perspectives on the evolution of human language and culture.
10
Kaplan, Jonathan, i Aren M. Wilson-Wright. "How Song of Songs Became a Divine Love Song". Biblical Interpretation 26, nr 3 (4.09.2018): 334–51. http://dx.doi.org/10.1163/15685152-00263p03.
Pełny tekst źródłaStreszczenie:
Abstract The origin of the interpretation of Song of Songs as a description of God’s relationship with God’s beloved community has been a persistent question in the work’s history of interpretation. Earlier scholarship has provided a number of possible solutions to this problem, none of them conclusive. This article offers another possible answer: the language and imagery of the Northwest Semitic combat myth in Song 8:6-7, which identifies love with Yhwh as the victorious divine warrior, triggers the work’s interpretation as a divine love song. This argument receives support from some of the earliest allusions to Song of Songs in Revelation, which interpret Song of Songs in the context of apocalyptic discourse that likewise draws heavily on the combat myth.
11
Searcy, William, Rindy Anderson i Stephen Nowicki. "Testing the function of song-matching in birds: responses of eastern male song sparrows Melospiza melodia to partial song-matching". Behaviour 145, nr 3 (2008): 347–63. http://dx.doi.org/10.1163/156853908783402876.
Pełny tekst źródłaStreszczenie:
AbstractSong-matching has been hypothesized to be a signal of aggressive intentions whereby matching an opponent signals that the singer is likely to attack. Theory predicts that an aggressive signal should impose a cost that enforces the signal's reliability. A receiver-dependent cost imposed by the matched bird's aggressive retaliation has been proposed for song-matching. We tested for such a cost for partial song-matching in an eastern population of song sparrows where males lack the shared song types necessary for song type matching, but can perform partial song-matching using shared song segments. We tested aggressive response, as measured by average distance to a playback speaker, to partial-matching songs and non-matching songs. We predicted a stronger aggressive response to partial-matching songs, as has been shown for whole song-matching in western song sparrow populations. The birds in our study responded no differently to partial-matching and non-matching songs. Neither the distance to the playback speaker nor singing responses differed between playback treatments. Our results do not support a receiver-dependent cost to partial song-matching, as would be expected if partial-matching is a direct threat. Instead, we suggest that partial song-matching functions as a signal of attention.
12
Fujii, Tomoko G., i Kazuo Okanoya. "Auditory and sexual preferences for a father’s song can co-emerge in female Bengalese finches". PLOS ONE 17, nr 3 (10.03.2022): e0254302. http://dx.doi.org/10.1371/journal.pone.0254302.
Pełny tekst źródłaStreszczenie:
Birdsong is an important communication signal used in mate choice. In some songbird species, only the males produce songs. While the females of those species do not sing, they are sensitive to inter- and intra-species song variations, and the song preferences of females depend on their developmental experiences and/or genetic predispositions. For example, in Bengalese finches and zebra finches, adult females prefer the song to which they were exposed early in life, such as the father’s song. In the current study, we aimed to test whether the preference for the father’s song, as reported in previous Bengalese finch studies, can be interpreted as a mating preference. For this purpose, the subjects were raised exclusively with their family until they became sexually mature and then tested as adults. We measured copulation solicitation displays during playbacks of the father’s song vs. unfamiliar conspecific songs and found that across individuals, the father’s song elicited more displays than other songs. In addition, we analyzed if a bird’s response to a given song could be predicted by the level of similarity of that song to the father’s song. Although the birds expressed more displays to songs with greater similarity to the father’s song, the effect was not statistically significant. These results suggest that female Bengalese finches can develop a strong mating preference for the father’s song if they are exclusively exposed to the father’s song early in life. However, it is not clear if such a preference generalizes to other cases in which birds are exposed to multiple male songs during development. In order to fully elucidate the possible contribution of experience and genetic factors in the development of female song preference in this species, future studies will need more detailed manipulation and control of the rearing conditions, including cross-fostering.
13
Jolliffe, Capri D., Robert D. McCauley i Alexander N. Gavrilov. "Variability in Temporal Characteristics of the South Eastern Indian Ocean Pygmy Blue Whale Song". Animal Behavior and Cognition 10, nr 3 (1.08.2023): 211–31. http://dx.doi.org/10.26451/abc.10.03.02.2023.
Pełny tekst źródłaStreszczenie:
The temporal characteristics of whale song are considered to be amongst the most stable elements of song production, though very few studies have looked at the timing of discrete sounds or the silences between them. This study indicates that the temporal characteristics of the song of the southeast Indian Ocean pygmy blue (SEIOPB) whale are highly variable. While the song repetition interval, or inter-song interval (ISI), appeared to remain consistent within a song event, defined as a consistent bout of singing presumed to come from an individual animal, it was found to be variable between song events. Song structure was a confounding factor in the analysis of variability in ISI with songs comprised of longer phrases naturally having a longer song repetition interval. The songs of the SEIOPB whale are characteristic of the species with only three primary song types. The three-unit song (units I, II and III) has the longest mean ISI of ~ 200 s, approximately twice that of songs composed of only two units (II and III) at a mean of ~ 100 s ISI which is approximately twice the ISI of a one-unit song (unit II only). The results of this study suggest that variability in ISI cannot be attributed to change in one element of a song but is driven by temporal changes in all elements of the song including phrase structure, unit duration and the length of the intervals between song units. Thus, the temporal characteristics of blue whale song appear to be under the control of the animal and may vary between individual whales, and within songs of an individual. It is concluded that the temporal characteristics of song potentially encode contextual information about the singer and may be influenced by audience effects, including audience composition and singer density.
14
N, Badamtsetseg. "Ховогсайрын Торгуудын уртын дуун дахь морины зүсмийн бэлгэдэл". Монгол судлал 47, nr 1 (20.07.2024): 355–62. http://dx.doi.org/10.22353/ms20234726.
Pełny tekst źródłaStreszczenie:
In this article I have analyzed three long songs “Alia tsavidar morin”, “Galzan Hoo”, “Nariihan saikhan kheer” of Hovogsair’s torguts. In long songs related to Mongolian horses, the colors of those horses are symbolized and various meanings are expressed. Namjav Namjaa is a unique singer who was born among the Torgut people of Hovogsair, Xinjiang, and his long songs are still sung at weddings. Among the songs Namjav sings, three songs are about the color of horses, and we have analyzed these three songs. The characters of the horse and the color of the horse and in the long song of Hovogsair’s Torguts conveys important and deeply ideas In the song “Alia tsavidar mori”, the state is symbolized by “buural” color and buddizm is symbolized by “bumba (cupping glass)” stamp. He also song a song combining the state and religion, symbolizing religion with the “khürd (wheel)” stamp and the monastery. In general, this song symbolizes peace for all. Also in the song “Galzan hoo”, the Hoo galzan and Galzan hoo horses are used as symbolic characters, clearly expressing the feelings of a person who misses his mother and country. In the song of the third song, “Nariikhan saikhan kheer”, the lover’s song shows the feeling of longing for a loved one who is sitting far away with the symbol of three horse colors: “kheer”, “khar” and “khüren”. These songs are symbolized pease for all.
15
Goodale, Eben, i Jeffrey Podos. "Persistence of song types in Darwin's finches, Geospiza fortis , over four decades". Biology Letters 6, nr 5 (14.04.2010): 589–92. http://dx.doi.org/10.1098/rsbl.2010.0165.
Pełny tekst źródłaStreszczenie:
Learned bird songs evolve via cultural evolution, with song patterns transmitted across generations by imitative learning. In Darwin's finches of the Galápagos Islands, males learn songs from their fathers, and song types can be maintained across multiple generations. However, little is known about the time frame over which specific song types are preserved, in the face of copy errors and corresponding modifications to song structure. Here we investigate cultural evolution in songs of male Geospiza fortis , at Academy Bay, Santa Cruz Island, comparing songs recorded in 1961 by R. Bowman (20 individuals) to those recorded in 1999 by J. Podos (16 individuals). For each individual, we characterized four timing and six frequency parameters, and assessed inter-individual variation in song structure using multivariate analysis. Several 1961 song types persisted into 1999, some with remarkable fidelity. Variation among song types was extensive during both years, and we detected no changes in 10 vocal parameters across the sampling period. These results illustrate temporal continuity in a culturally acquired trait, and raise questions about mechanisms that promote stability in song structure.
16
Kreutzer, Michel, Gerard Leboucher i Nathalie Beguin. "Sexual Preferences for Mate Song in Female Canaries (Serinus Canaria)". Behaviour 135, nr 8 (1998): 1185–96. http://dx.doi.org/10.1163/156853998792913500.
Pełny tekst źródłaStreszczenie:
AbstractRecent studies have shown that female passerine birds give more sexual displays for songs of their mates than for songs of other males. The present study aimed to determine to what extent familiarisation with a song may account for females' song preferences. Ten female canaries were paired with a male during 3 days before egg laying; females were subsequently left alone to incubate and rear their young. Females were subjected to the familiarisation procedure when nestlings were 9 days old, until they were 17 days old. During the familiarisation period, twice a day, each female was successively exposed to the playback of three successive song records: (a) The mate song (M), a song frequently emitted by their previous sexual partner; when this song was played back, females were concurrently exposed to the sight of their previous mate. (b) The song of a non-mate accompanied by the sight of the mate (NMAS), a song emitted by a non-mate male; when this song was played back, females were also exposed to the sight of their previous mate. (c) The song of a non-mate not accompanied by the sight of the mate (NMNAS). At the end of this familiarisation period, the sexual preferences of the females for these songs were studied. Sexual responses were elicited by the emission of the M, NMAS and NMNAS songs, without male presentation. We analysed the total number of copulation solicitation displays (CSDs) elicited by each song. Females displayed more for M song than for NMAS or NMNAS songs. Eight of the 10 females gave at least half of their displays to M song. In a separate experiment, females without reproductive experience with the males failed to present a preference for any of these songs. Taken together, these results strongly suggest that mate recognition is not a mere effect of familiarisation with songs but is closely associated with previous reproductive experience. Song preferences that develop as a result of association with a particular male may be important in the maintenance of pair bonds and could influence future copulation acceptance with this mate.
17
McGregor, Peter, José Tavares, Claire Latruffe i Paulo Gama Mota. "MICROGEOGRAPHIC VARIATION IN CORN BUNTING (MILIARIA CALANDRA) SONG: QUANTITATIVE AND DISCRIMINATION ASPECTS". Behaviour 137, nr 9 (2000): 1241–55. http://dx.doi.org/10.1163/156853900502628.
Pełny tekst źródłaStreszczenie:
AbstractGeographic variation in bird song that is described as local song dialects refers to a mosaic pattern of distribution of songs in a population within the dispersal capacities of the species. Corn buntings (Miliaria calandra) in the region of Alentejo, Portugal, show such local dialects. However, an interesting aspect of this population is that song types are restricted to sub - groups of males within each dialect rather than all males singing all song types as in other populations. After describing the pattern of song type variation qualitatively (i.e. classifying spectrograms by eye), we used cross - correlation of spectrograms in quantitative comparisons. This confirmed the qualitative classification of songs into song type categories and showed a tendency for neighbouring males to have most similar songs. Males did not respond significantly more or less strongly to playback of different song types; however males clearly discriminated between different song types in a habituation paradigm.
18
Lamoni, Luca, Ellen C. Garland, Jenny A. Allen, Jennifer Coxon, Michael J. Noad i Luke Rendell. "Variability in humpback whale songs reveals how individuals can be distinctive when sharing a complex vocal display". Journal of the Acoustical Society of America 153, nr 4 (kwiecień 2023): 2238–50. http://dx.doi.org/10.1121/10.0017602.
Pełny tekst źródłaStreszczenie:
Individually distinctive acoustic signals in animal vocal communication are taxonomically widespread, however, the investigation of these signal types in marine mammals has focused only on a few species. Humpback whale songs are a stereotyped, hierarchically structured vocal display performed by males, and hence thought to be sexually selected. Within a population, whales conform to a common version of the song despite the song constantly evolving. While humpback songs have been studied extensively at the population level, individual level variation has been rarely described, with inconclusive results. Here, we quantified inter- and intra-individual variability at different levels in the song hierarchy using songs from 25 singers across two song types from the eastern Australian population song of 2002 (12 singers), and the revolutionary song introduced in 2003 (13 singers). Inter-individual variability was found heterogeneously across all hierarchical levels of the song structure. In addition, distinct and individually specific patterns of song production were consistently recorded across song levels, with clear structural differences between the two song types. These results suggest that within the constraints of song conformity, males can produce individually distinctive patterns that could function as an advertisement to females to convey individual qualities.
19
Anggraeni, Putri, i Syarif Hidayatullah. "BENTUK LIRIK LAGU ANAK DI TAMAN KANAK-KANAK JAKARTA TIMUR:KAJIAN INTERTEKSTUAL". SeBaSa 5, nr 2 (13.11.2022): 201–11. http://dx.doi.org/10.29408/sbs.v5i2.6220.
Pełny tekst źródłaStreszczenie:
Children's song lyrics in kindergarten always have their own characteristics. Children's song lyrics found in kindergarten are usually song lyrics adapted from previous song lyrics. Children's song lyrics are taught in kindergarten to train children or teach children various things such as religious values, independence, introduction to animals and others. The purpose of this study was to describe the form of the lyrics of children's songs sung in Kindergarten based on the types of hypograms. The subjects in this study were the lyrics of children's songs at the Kindergarten PG/RA Al Bakiriyah East Jakarta, TK Laboratory Jakarta, and PAUD Harapan Mulya. This research is a qualitative research with content analysis technique. The content analysis technique of this research is by collecting data and describing it by collecting data, presenting data, and conclusions. The result of this research is that there are 14 songs from 3 kindergartens in Jakarta. 1 song is included in the expansion hypogram, there are 7 songs included in the convention hypogram, there are 6 songs included in the hypogram, and none of the songs are included in the Ekserp hypogram.Keywords: Intertextual, Children's Song Lyrics, Hypograms
20
Conrad, Frederick, Jason Corey, Samantha Goldstein, Joseph Ostrow i Michael Sadowsky. "Extreme re-listening: Songs people love . . . and continue to love". Psychology of Music 47, nr 2 (30.01.2018): 158–72. http://dx.doi.org/10.1177/0305735617751050.
Pełny tekst źródłaStreszczenie:
Despite the lack of surprise each time they listen to their favorite song, people re-listen to these songs many times. We explored “extreme re-listening” by conducting a survey about the song to which participants were “listening most often these days.” We questioned participants about their listening experience, e.g., the deepness of their connection to the song, which aspects of the song draw them back, how much of the song they were able to hear in their heads, and how (in their own words) the song made them feel, which we classified as “happy,” “calm,” and “bittersweet.” More participants whose favorite song made them feel happy reported being drawn back because of its beat/rhythm. Participants whose favorite song made them feel bittersweet reported having a deeper connection to the song than those whose favorite song evoked other feelings. These patterns held irrespective of musical training. Finally, we found that the more times they listened to their favorite song, the more of the song listeners could hear internally. People’s affection for songs to which they voluntarily listen at high rates appears not to wane as it does for songs to which their exposure is ambient as is the case with the hit parade.
21
Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)". Linguistics, nr 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.
Pełny tekst źródłaStreszczenie:
Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.
22
Hunter, Jannie H. "The Song of Protest: Reassessing the Song of Songs". Journal for the Study of the Old Testament 25, nr 90 (wrzesień 2000): 109–24. http://dx.doi.org/10.1177/030908920002509008.
Pełny tekst źródła
23
Šmidchens, Guntis. "A HERITAGE OF BALTIC SONG CELEBRATION SONGS". Culture Crossroads 9 (10.11.2022): 7–19. http://dx.doi.org/10.55877/cc.vol9.147.
Pełny tekst źródłaStreszczenie:
This attempt to inventory all 1,964 songs performed at the seventy Estonian, Latvian and Lithuanian National Song Celebrations (1869 to 2014) identified twelve songs which are most representative of Song Celebrations tradition as a whole. These are songs which were remembered and repeated across diff erent epochs of Celebration history (Tsarist, Independence, Soviet, and Renewed Independence). Song Celebrations heritage is measurable, in retrospect. At any Song Celebration, the number of songs from previous Celebrations can be counted to assess if the concert is more or less heritage-oriented.
24
Emerton, J. A., i Athalya Brenner. "The Song of Songs". Vetus Testamentum 40, nr 4 (październik 1990): 501. http://dx.doi.org/10.2307/1519235.
Pełny tekst źródła
25
Disch, Thomas M. "The Song of Songs". Hudson Review 51, nr 2 (1998): 367. http://dx.doi.org/10.2307/3853061.
Pełny tekst źródła
26
Cameron, Bradley S. "Ecclesiastes, Song of Songs". Bulletin for Biblical Research 31, nr 3 (październik 2021): 401–4. http://dx.doi.org/10.5325/bullbiblrese.31.3.0401.
Pełny tekst źródła
27
Snaith, J. G. "Review: Song of Songs". Journal of Theological Studies 54, nr 1 (1.04.2003): 195–96. http://dx.doi.org/10.1093/jts/54.1.195.
Pełny tekst źródła
28
Landry, Gardner. "The Song of Songs". Cream City Review 39, nr 2 (2015): 106–11. http://dx.doi.org/10.1353/ccr.2015.0098.
Pełny tekst źródła
29
Payne, Robin. "The Song of Songs". Expository Times 107, nr 11 (sierpień 1996): 329–33. http://dx.doi.org/10.1177/001452469610701103.
Pełny tekst źródła
30
Carr, David. "Song of Songs (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 21, nr 3 (2003): 162–64. http://dx.doi.org/10.1353/sho.2003.0009.
Pełny tekst źródła
31
Landy, Francis. "Song of Songs (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 25, nr 2 (2007): 196–98. http://dx.doi.org/10.1353/sho.2007.0033.
Pełny tekst źródła
32
O'Connor, Stephen. "5. Song of Songs". Missouri Review 30, nr 4 (2007): 99. http://dx.doi.org/10.1353/mis.2008.0016.
Pełny tekst źródła
33
Petrinovich, Lewis. "Individual Stability, Local Variability and the Cultural Transmission of Song in White-Crowned Sparrows (Zonotrichia Leucophrys Nuttalli)". Behaviour 107, nr 3-4 (1988): 208–40. http://dx.doi.org/10.1163/156853988x00359.
Pełny tekst źródłaStreszczenie:
The songs of 306 territorial male white-crowned sparrows were recorded between 1975 and 1983 in two study areas in San Francisco, California. Nestlings were banded and 47 sons whose father's songs had been recorded acquired territories. Some fathers had more than one son who acquired a territory. The songs of 263 territorial neighbours of the sons were also recorded. In addition, there were 32 females for whom both the father's and the mate's songs were available. The songs that were sung on the two study areas differed in a number of qualitative and quantitative aspects. For each area, there was change across years, in qualitative composition of song types, as well as considerable variability in the properties of the songs within dialect areas throughout the course of the study. There were 49 instances in which the song of a territory holder was recorded for more than one year. These individuals exhibited considerable stability of song across years. The song types of sons and fathers and of sons and neighbours were compared; Analysis of these songs indicated that some sons sang the song of the father, some adopted a song similar to that of the neighbours, and some had song with idiosyncratic elements that, in a few cases, remained in the population during succeeding generations. These data provided no support for the hypothesis that sons learned song preferentially from the father: there was no tendency for the quantitative characteristics of the songs of sons and fathers to be more similar than those of sons and neighbours, and when a father had two sons whose song was known, there was little tendency for the three songs to resemble one another. Finally, the songs of a father and his daughter's mate did not tend to resemble one another, indicating that females of this species do not choose as mates males that sing the same song as their father's. These results suggest that variability in transmission of song types may play a role in individual recognition, which in turn might aid a male to acquire a territory.
34
Secondi, Jean, Carel Ten Cate i Merijn De Bakker. "FEMALE RESPONSES TO MALE COOS IN THE COLLARED DOVE STREPTOPELIA DECAOCTO". Behaviour 139, nr 10 (2002): 1287–302. http://dx.doi.org/10.1163/156853902321104163.
Pełny tekst źródłaStreszczenie:
AbstractBirdsong is one of the main models in sexual selection studies. Most investigations focused on oscines in which male song and female preference learning occur. Yet, some non-oscines are well suited for such studies as well. In Columbidae song learning does not occur. However, like in oscines, song is involved in inter- and intra-sexual interactions. Surprisingly, experimental evidence of female song-based preferences are still largely lacking in this group. We conducted playback tests on wild-caught Streptopelia decaocto females. We tested for the sexual function of song by playing decaocto songs versus songs of an unrelated species. We then investigated female responses to trill. Although they do not produce this trait, males react more strongly to artificially trilled decaocto songs, i.e. to conspecific songs in which a trill from a S. roseogrisea song has been inserted, than to normal decaocto songs. We also tested female responses to S. roseogrisea songs. Females flew more often and with a shorter latency during decaocto songs than during wren songs, suggesting that species recognition occurred, but we found no evidence of preference for trilled decaocto songs. The low activity observed during the experiment might have obscured actual preferences. Nevertheless, females consistently reacted more to normal decaocto songs than to trilled decaocto or roseogrisea songs. This contrasts with the strong responses for trilled decaocto songs and the virtual lack of reaction to S. roseogrisea songs observed in males. Thus, female collared doves, as receivers, may have different characteristics from males and impose constraints on the evolution of song.
35
Andrieu, Julie, Samuel G. Penny, Hélène Bouchet, Suchinda Malaivijitnond, Ulrich H. Reichard i Klaus Zuberbühler. "White-handed gibbons discriminate context-specific song compositions". PeerJ 8 (3.08.2020): e9477. http://dx.doi.org/10.7717/peerj.9477.
Pełny tekst źródłaStreszczenie:
White-handed gibbons produce loud and acoustically complex songs when interacting with their neighbours or when encountering predators. In both contexts, songs are assembled from a small number of units although their composition differs in context-specific ways. Here, we investigated whether wild gibbons could infer the ‘meaning’ when hearing exemplars recorded in both contexts (i.e. ‘duet songs’ vs. ‘predator songs’). We carried out a playback experiment by which we simulated the presence of a neighbouring group producing either its duet or a predator song in order to compare subjects’ vocal and locomotor responses. When hearing a recording of a duet song, subjects reliably responded with their own duet song, which sometimes elicited further duet songs in adjacent groups. When hearing a recording of a predator song, however, subjects typically remained silent, apart from one of six groups which replied with its own predator song. Moreover, in two of six trials, playbacks of predator songs elicited predator song replies in non-adjacent groups. Finally, all groups showed strong anti-predator behaviour to predator songs but never to duet songs. We concluded that white-handed gibbons discriminated between the two song types and were able to infer meaning from them. We discuss the implications of these findings in light of the current debate on the evolutionary origins of syntax.
36
Nugraheny, Amanina, i Mia Rahmawati Yuwita. "Conceptual Metaphor in SZA's Song Lyrics". Mahadaya: Jurnal Bahasa, Sastra, Dan Budaya 3, nr 2 (30.10.2023): 257–70. http://dx.doi.org/10.34010/mhd.v3i2.11289.
Pełny tekst źródłaStreszczenie:
The purpose of this study is to examine how conceptual metaphors are used by SZA in her song lyrics. Finding the source domain and target domain of the conceptual metaphors used in song lyrics is the main goal of this study. A descriptive qualitative research approach is used, which includes semantic analysis and conceptual metaphor mapping in song lyrics. The information used consists of five well-known SZA songs that were specifically chosen. The author defines conceptual metaphors in 5 lyrics from SZA's song. In the “Kill Bill” song there is 1 conceptual metaphor, in the “Snooze” song there are 2 conceptual metaphors, in the “The Weekend” song there 3 conceptual metaphors, in the “Nobody Gets Me” song there are 4 conceptual metaphors, and in the “Open Arms” song there is 1 conceptual metaphor. The research provides our understanding of how conceptual metaphor is used in song lyrics and shows the depth of creativity and artistic expression found in SZA's songs. The findings of this study may be helpful for future semantics and cultural studies research, as well as for developing a deeper understanding of both the complexity and the beauty of SZA's song lyrics.
Keywords: Conceptual metaphor, Lyrics, Songs, Semantics
37
Rose, Evangeline M., Avery J. Scofield, Autumn M. Wenstrom, Katherine A. Stennette, Benjamin D. Shank i Gregory F. Ball. "Male and female red-cheeked cordon bleus sing similar yet individualistic songs". Journal of the Acoustical Society of America 155, nr 3 (1.03.2024): 1909–15. http://dx.doi.org/10.1121/10.0025236.
Pełny tekst źródłaStreszczenie:
Birdsong is an excellent system for studying complex vocal signaling in both males and females. Historically, most research in captivity has focused only on male song. This has left a gap in our understanding of the environmental, neuroendocrine, and mechanistic control of female song. Here, we report the overall acoustic features, repertoire, and stereotypy of both male and female Red-Cheeked Cordon Bleus (Uraeginthus bengalus) (RCCBs) songs in the lab. We found few sex differences in the acoustic structure, song repertoire, and song stereotypy of RCCBs. Both sexes had similar song entropy, peak frequency, and duration. Additionally, individuals of both sexes sang only a single song type each and had similar levels of song and syllable stereotypy. However, we did find that female RCCBs had higher song bandwidth but lower syllable repertoires. Finally, and most strikingly, we found highly individualistic songs in RCCBs. Each individual produced a stereotyped and unique song with no birds sharing song types and very few syllable types being shared between birds of either sex. We propose that RCCBs represent a promising species for future investigations of the acoustic sex differences in song in a lab environment, and also for understanding the evolutionary driving forces behind individualistic songs.
38
Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music". Music Therapy Perspectives 37, nr 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.
Pełny tekst źródłaStreszczenie:
Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making and is therefore crucial to take into account. The purpose of the present investigative essay is to encourage music therapists to give attention to the music of recorded songs as they plan to facilitate song discussion. Herein I present a conceptualization of recorded popular songs and consider how one makes meaning from song listening processes. I urge therapists to prepare for song discussion through careful phenomenological listening and introspective interpretation. Finally, I describe procedures of a developing model for aural song analysis and interpretation based on Bruscia’s Improvisation Assessment Profiles (IAPs) with an abbreviated example viewed through multiple theoretical perspectives.
39
Park, Young Shin, Hyunjin Moon i Yunhee Seung. "A Study on the Aspects of Children's Song Festival Winning Songs Included in Elementary School Music Textbooks". Korean Association For Learner-Centered Curriculum And Instruction 22, nr 19 (15.10.2022): 533–50. http://dx.doi.org/10.22251/jlcci.2022.22.19.533.
Pełny tekst źródłaStreszczenie:
Objectives Looking back at the 100-year history of creative children's songs, the ‘Children's Song Festival’ proves to have had a great influence on the development of children songs. The first purpose of this study is to investigate all Children's Song Festival winning songs included in elementary school music textbooks according to the educational curriculum change. The second purpose is to analyze the aspects of those winning songs published in music textbooks. Methods To do so, this study conducted a combination of literature reviews and research study methods, and analyzed Children's Song Festival winning songs in music textbooks. These songs were those that were included in 3~6 grade elementary school music textbooks from the fifth curriculum period (1987~1991) until the current 2015 revised curriculum; meaning all winning songs in elementary school music textbooks since the first Children's Song Festival of 1983 were analyzed. Results First, an analysis on ‘Children's Creative Song Festival Winning Songs and Number of Songs’ shows that out of the total 96 winning songs, the majority of winning songs were from the MBC Children's Song Festival - a total of 69 songs (71.9%). Second, upon analyzing the ‘Number of Times Festival Winning Songs were Published’, it was found that the number increased as the curriculum changed and as textbooks went up to an older grade level. The textbook publisher ‘Genius Education’ had the most winning songs within their textbooks - a total of 43 times (15.8%) were winning songs published. Third, after analyzing the ‘Name and Number of Overlapping Winning Songs’, it was revealed that there were 51 overlapping songs, the song that was published multiple times in music textbooks was <On a Train Ride> from the 1st KBS Children's Song Festival - a total of 13 times. The songs <Island Village> and <Walking in the Woods> were published 11 & 10 times respectively - both songs were from the 4th MBC Children's Song Festival. Songs that are continuously included in music textbooks are <On a Train Ride> and <Walking in the Woods>. Conclusions The act of singing creative children songs gives children hope, courage, the chance to dream, and holds an educational meaning that allows them to experience the beauty of music. Thus, continuing discovery and supply of creative children's songs are of great significance. Since Children's Song Festivals, which has played a huge role in the development of creative children's songs, are no longer as common as before, a new developing method that fits current society criteria must be sought out.
40
Nagle, L., M. L. Kreutzer i E. M. Vallet. "A chorus song style influences sexual responses in female canaries". Canadian Journal of Zoology 75, nr 4 (1.04.1997): 638–40. http://dx.doi.org/10.1139/z97-079.
Pełny tekst źródłaStreszczenie:
We examined whether the playback of a chorus song style (i.e., two songs presented simultaneously from a single speaker) influences sexual song preferences of female domesticated canaries, Serinus canaria. Six females were treated with estradiol and their responses to the different types of song were measured as the frequency of copulation solicitation displays. Females responded preferentially to a chorus song style and reacted less to presentation of single songs (conspecific and heterospecific). These observations suggest that females sexual responses are elicited by two songs heard simultaneously. Our results are discussed in relation to current views on the song preferences of females and the phenomenon of chorus singing in songbirds.
41
Tsvelykh, A. N., i E. D. Yablonovska-Grishchenko. "Song Repertoire of the Crimean Chaffinch, Fringilla Coelebs (Fringillidae), and Comparative Analysis of the Vocalization Features of F. C. Solomkoi, F. C. Coelebs and F. C. Caucasica Subspecies". Vestnik Zoologii 46, nr 6 (1.12.2012): 55–63. http://dx.doi.org/10.2478/v10058-012-0047-4.
Pełny tekst źródłaStreszczenie:
Abstract Song repertoire of chaffinch F. c. solomkoi subspecies from Crimea was analyzed. We discerned 38 song types in Crimean chaffinches’ repertoire, 27 of them were more frequent. Comparing Crimean chaffinches’ songs with those of nominative subspecies from Eastern Europe showed no common songs. Comparison of individual song elements showed that songs of F. c. solomkoi consisted of 108 elements, of which 18 were distinctive to Crimean birds, 18 were specific to Crimean chaffinches and Carpa-thian F. c. coelebs population while absent in songs of chaffinches from Eastern Europe plains. Comparison of F. c. solomkoi songs with songs of Caucasian subspecies F. c.caucasica revealed no common types of songs. There are certain similarities in song structures between some Crimean chaffinches and hybrid popula-tion of F. c. caucasica and F. c. solomkoi from Northwest Caucasus. Other specifics of vocalization showed drastic differences in rain-call structures of all subspecies and no after-song “kit“ element for Caucasian sub-species
42
Zhang, Dezhi, Huihui Liao, Xiaowen Zhu, De Li i Min Zhu. "English Publicity of Chinese Folk Songs—With the Tea Picking Dance as an Example". Journal of Education, Teaching and Social Studies 6, nr 1 (3.03.2024): p95. http://dx.doi.org/10.22158/jetss.v6n1p95.
Pełny tekst źródłaStreszczenie:
Chinese folk songs have unique inheritance and dissemination value. While actively developing the local dissemination of folk songs, we should constantly expand the transmission of Chinese folk songs overseas and enhance the international influence of Chinese folk song culture. Utilizing folk song micro-lesson to popularize the knowledge of Chinese folk songs, conducting surveys and analyzing the attitudes of international students from different countries towards four folk song micro-lesson videos, we have obtained over 30 valid survey data. The survey found that 96.77% of respondents believe that this series of micro-lesson plays a certain role in spreading Chinese folk songs, and the majority of the audience is interested in folk song micro-lesson and willing to share them. Micro-lessons of folk songs is one of the media for disseminating Chinese folk songs and folk song culture in the new era, providing a reference for the new approach to the external dissemination of Chinese culture.
43
Tyasrinestu, Fortunata. "Pemakaian Kosakata Tema Kesehatan dalam Penciptaan Lirik Lagu Anak". Resital: Jurnal Seni Pertunjukan 22, nr 3 (28.02.2022): 180–86. http://dx.doi.org/10.24821/resital.v22i3.5227.
Pełny tekst źródłaStreszczenie:
The Use of Health-Themed Vocabulary in Creating Children's Song Lyrics. Children's songs can convey the songwriter's messages and describe the children's lives and the environment through their perspective in the lyrics. In this context, the song is the unity of the melody and lyrics. In addition, songs can also function as a means of exploration, information, expression, and entertainment. This research was conducted to determine the description of health-themed vocabulary uses in children's song lyrics. How health vocabulary, especially in children's song lyrics, is used by children's songwriters. The study sample was a set of songs from a collection of the best children's songs, Dendang Kencana. The research used a descriptive-analytical method, which was preceded by a literature study followed by determining the lyrics of the health-themed song lyrics created by the songwriters of Dendang Kencana song album. Data collection was carried out by using the ten-song lyrics with scores. Those songs were the best songs chosen from the Dendang Kencana album. The two songs were the best-selected songs in the Dendang Kencana Children's Songwriting Competition in 2017. The lyrics were observed and recorded, and analyzed to determine the vocabulary used within the children's song lyrics. The vocabulary was then grouped and interpreted according to the purpose of this study. The results show that in children's songs, the vocabulary of the health-themed is often used by the songwriters to emphasize the importance of being healthy and healthy since childhood. The vocabulary is related to children's daily activities, such as bathing, washing hands, washing hair, maintaining a healthy body, exercising, eating nutritiously, and other movement activities.
44
O'Connell, Peter A. "“Charaxus Arrived with a Full Ship!” The Poetics of Welcome in Sappho's Brothers Song and the Charaxus Song Cycle". Classical Antiquity 37, nr 2 (1.10.2018): 236–66. http://dx.doi.org/10.1525/ca.2018.37.2.236.
Pełny tekst źródłaStreszczenie:
By analyzing the parallels between Sappho's Brothers Song and archaic Greek songs of welcome, especially Archilochus fr. 24 West, this essay offers a new interpretation of the Brothers Song. It clarifies that ἔλθην in the first preserved stanza represents an original aorist indicative. The chatterer repeats over and over a welcome song that begins, “Charaxus arrived with a full ship.” The rest of the song continues to engage with the welcome song tradition, anticipating the welcome song that will celebrate Charaxus' return to Mytilene, when and if that occurs. By pointing beyond itself to other, real or notional, songs about Charaxus, the Brothers Song also demonstrates Sappho's nonlinear method of storytelling that relies on her audiences' imaginations.
45
Foote, Jennifer R., i Colleen A. Barber. "High Level of Song Sharing in an Eastern Population of Song Sparrow (Melospiza Melodia)". Auk 124, nr 1 (1.01.2007): 53–62. http://dx.doi.org/10.1093/auk/124.1.53.
Pełny tekst źródłaStreszczenie:
Abstract Using shared songs is believed to be an integral part of neighbor communication and territory establishment strategies among many avian species with repertoires. Previous studies of two western subspecies of Song Sparrows (Melospiza melodia) reported a high level of song sharing among neighboring males, whereas studies of an eastern subspecies have reported a very low level. The purpose of our study was to investigate another population of the eastern subspecies to determine whether higher song-sharing levels existed within its range. Every song in the repertoire of 29 males was compared with the songs of all other males to assess the number of shared songs. For each male, we calculated the mean song-sharing level with neighbors and non-neighbors. Males shared, on average, 33% of their repertoire with neighbors, significantly more than they shared with non-neighbors (27% of their repertoire). Two first-year males learned whole song types from several individuals and preferentially learned the song types shared among those individuals. Our results suggest that the eastern and western subspecies may not differ genetically in the way they learn songs, because song-sharing levels and song learning in our population were more similar to those of the western subspecies than to those of other populations within its own subspecies. Song-sharing differences among eastern populations may be explained instead by factors acting at the level of individual populations. Niveau Élevé de Chants Partagés chez une Population de l'Est de Melospiza melodia
46
Diez, Adriana, i Scott A. MacDougall-Shackleton. "Zebra finches go wild! Experimental cultural evolution of birdsong". Behaviour 157, nr 3-4 (20.03.2020): 231–65. http://dx.doi.org/10.1163/1568539x-00003588.
Pełny tekst źródłaStreszczenie:
Abstract Vocal learning in songbirds is guided by experience and experience-independent factors. Previously, lineages of zebra finches founded by isolate-reared tutors showed cultural evolution to wild-type song. This suggests that experience-independent biases affect song development even in the absence of wild-type song. We hypothesized that cultural evolution of song depends on both experience-independent biases and tutor songs available. We predicted that songs more distant from wild-type would take longer to culturally evolve toward wild-type features. We bred zebra finches in three groups of lineages in which offspring of each generation served as tutors for the next. Lineages were founded with males singing wild-type song, isolate song, or heterospecific song. The two experimental lineages exhibited rapid cultural evolution of song with many temporal and spectral features converging to wild-type within two generations. However the rate of change differed depending on song features measured, and took longer for lineages founded with heterospecific song.
47
Ratcliffe, L., i Christopher Naugler. "A Field Test of the Sound Environment Hypothesis of Conspecific Song Recognition in American Tree Sparrows (Spizella Arborea)". Behaviour 123, nr 3-4 (1992): 314–24. http://dx.doi.org/10.1163/156853992x00075.
Pełny tekst źródłaStreszczenie:
AbstractThe sound environment hypothesis predicts that the features of song that are important for conspecific recognition should be those that overlap least with the songs of other species in the same location. We tested this hypothesis with song playbacks to free-living male American tree sparrows (Spizella arborea). We first used a discriminant function analysis to determine which song features best separated American tree sparrow songs from the songs of heterospecific avian species at two locations representing different sound environments. Based on this analysis we predicted which song features should be most important for conspecific recognition at each location. We then produced synthetic songs containing alterations in these features. Males, however, did not respond to playbacks of altered features as predicted. Thus, our results do not support the sound environment hypothesis of conspecific song recognition.
48
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.
Pełny tekst źródłaStreszczenie:
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.
49
Edwards, Brandon, Allison Binley, Willow English, Emma Hudgins i Samuel Snow. "A highly anomalous Red-winged Blackbird (<i>Agelaius phoeniceus</i>) song". Canadian Field-Naturalist 136, nr 1 (29.07.2022): 1–4. http://dx.doi.org/10.22621/cfn.v136i1.2877.
Pełny tekst źródłaStreszczenie:
Red-winged Blackbird (Agelaius phoeniceus) is a highly vocal species with a repertoire of similar, yet acoustically distinct songs. These songs may be altered drastically if, as a nestling, the male goes deaf or becomes acoustically isolated. In deaf Red-winged Blackbirds, these dramatic song alterations may present as songs bearing slight resemblance to the introductory phrase of their normal song. Here, we present a Red-winged Blackbird song observed in Ottawa, Ontario, Canada, that is far outside any normal variation in Red-winged Blackbird songs. Given the individual’s age and the consistency of the anomalous song, it is possible that this is a deaf bird.
50
Sandoval, Luis. "Male–male vocal interactions in a territorial neotropical quail: which song characteristics predict a territorial male's response?" Behaviour 148, nr 9-10 (2011): 1103–20. http://dx.doi.org/10.1163/000579511x596570.
Pełny tekst źródłaStreszczenie:
AbstractMales singing within their territories can change their song characteristics in order to interact with conspecifics; males may respond to territorial intrusions by vocalizing, approaching the intruder and/or displaying. I studied male–male interactions by quantifying vocal and behavioural responses of male spot-bellied bobwhites (Colinus leucopogon) toward playback of conspecific male songs. Male responses toward playback song depended on the quality of the territorial male's song relative to the playback stimulus. In this species males who sang songs with higher peak and low frequency, longer song duration, and lower song rate were less responsive to simulated territorial intrusions. Spot-bellied bobwhite males that sang in response to the playback increased the low frequencies of their songs relative to pre-playback song, a vocal behaviour related to dominance in males of other species. Males that approached the speaker sang longer songs, a characteristic associated with increased aggression or motivation to fight in other bird species. The results of this playback experiment suggest that male spot-bellied bobwhite song characteristics according to playback characteristics predict response to territorial intrusions and may, therefore, play an important role in male–male interactions.