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Artigos de revistas sobre o assunto "Pigeons – Songs and music – Texts"
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Tawa, Nicholas E., e Frederick A. Hall. "Songs I to English Texts". American Music 5, n.º 4 (1987): 452. http://dx.doi.org/10.2307/3051454.
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Tawa, Nicholas, e Lucien Poirier. "Songs II to French Texts". American Music 7, n.º 1 (1989): 103. http://dx.doi.org/10.2307/3052061.
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Sklavounakis, Georgios. "Semiotics on music charts: The signification of late-blooming hits in contemporary popular music". Punctum. International Journal of Semiotics 9, n.º 2 (2023): 189–208. http://dx.doi.org/10.18680/hss.2023.0025.
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Eliseo Verón’s approach to circulation focuses on the gap between production and recognition and the consideration of texts in relation to their contexts of production and consumption. In this paper, we employ Veron’s concepts of grammar of production and grammar of recognition to examine popular songs that reached their peak of success several years after their release. Drawing our case studies from the Hot 100 American singles chart, we combine social semiotics and semiotics of popular music to examine the contexts of the initial songs’ release and their eventual commercial peak while considering changes in the media ecology and how these songs re-entered popular culture. The corpus of songs examined is split into three major categories: Songs that re-entered popular culture after their performer’s passing, recurring Christmas- themed songs, and hits featuring in audiovisual productions like films and television series.
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CHRISTODOULAKIS, MANOLIS, COSTAS S. ILIOPOULOS, M. SOHEL RAHMAN e WILLIAM F. SMYTH. "IDENTIFYING RHYTHMS IN MUSICAL TEXTS". International Journal of Foundations of Computer Science 19, n.º 01 (fevereiro de 2008): 37–51. http://dx.doi.org/10.1142/s0129054108005528.
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A fundamental problem in music is to classify songs according to their rhythm. A rhythm is represented by a sequence of “Quick” (Q) and “Slow” (S) symbols, which correspond to the (relative) duration of notes, such that S = 2Q. In this paper, we present an efficient algorithm for locating the maximum-length substring of a music text t that can be covered by a given rhythm r.
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Spracklan-Holl, Hannah. "Noblewomen’s Devotional Song Practice in ‘Patiençe veinque tout’ (1647–1655), a German Manuscript from the Mid-seventeenth Century". Context, n.º 48 (31 de janeiro de 2023): 35–51. http://dx.doi.org/10.46580/cx78832.
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"Devotional song in the German vernacular was a large repertory in the seventeenth century; as Robert Kendrick points out, the more than two thousand printed collections of these songs produced at this time attest to a relatively musically literate public that engaged with the repertoire. Most published devotional songs appeared in collections, usually consisting of a foreword or dedications, other poetry, and songs. The songs themselves often appeared without printed musical notation, indicating the use of contrafactum. Both men and women contributed to the German devotional song repertoire; however, there is a notable number of original song texts written by women. The 1703 publication Glauben-schallende und Himmel-steigende Herzens-Music, for example, contains 1,052 devotional songs, of which 211 have texts written by women. Women’s performance of devotional texts—whether by singing, recitation, or reading—was a practice that demonstrated their deep internalisation of the text itself whilst also providing a socially acceptable means of self-expression. This article focuses on a mid-seventeenth century manuscript songbook compiled by Duchess Sophie Elisabeth of Braunschweig-Lüneburg (1613–1676). It suggests that at least three songs in the manuscript have poetry and/or music written by noblewomen other than the duchess, including Juliane of Oldenburg-Delmenhorst (1615–1691) and Maria Magdalena of Waldeck-Wildungen (1606–1671). This suggestion is based on two notable features of Sophie Elisabeth’s meticulous recording practices in ‘Patiençe veinque tout’ that are missing from the songs in question. First, the authorship of these three songs is ambiguous, whereas the text and music for all other songs in the source are either made clear by Sophie Elisabeth’s own annotations accompanying each song, or are easily traceable. Second, none of the three songs include the duchess’s monogram, a date of composition, nor any other note stating her authorship (one or more of these notations are included for the songs in ‘Patiençe veinque tout’ that are of her own creation). In investigating the provenance of these songs, this article highlights the fact that women’s original texts, which are often overlooked, form a sizeable and significant body of musical literature from the early modern period. The two complementary practices of writing and performance paint an intimate portrait of women’s confessional and personal identity and the role music played in forming this identity, while also reflecting broader cross-confessional trends towards spiritual interiority and personal piety in the seventeenth century."
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Lee, Jonathan Rhodes. "Texts, Drugs, and Rock ’n’ Roll". Journal of Musicology 38, n.º 3 (2021): 296–328. http://dx.doi.org/10.1525/jm.2021.38.3.296.
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Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyrics/musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters/situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.
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MapurangaChitando, TapiwaEzra. "Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe". Religion and Theology 13, n.º 1 (2006): 72–89. http://dx.doi.org/10.1163/102308012x13397496507667.
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AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study also describes how artists look forward to a new era of Africa's prosperity and progress. Throughout, reference is made to specific biblical passages that have inspired the different songs.
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Stallsmith, Glenn. "Protestant Congregational Song in the Philippines: Localization through Translation and Hybridization". Religions 12, n.º 9 (31 de agosto de 2021): 708. http://dx.doi.org/10.3390/rel12090708.
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Historically, the language of Protestant congregational song in the Philippines was English, which was tied to that nation’s twentieth-century colonial history with the United States. The development of Filipino songs since the 1970s is linked to this legacy, but church musicians have found ways to localize their congregational singing through processes of translation and hybridization. Because translation of hymn texts from English has proven difficult for linguistic reasons, Papuri, a music group that produces original Tagalog-language worship music, bypasses these difficulties while relying heavily on American pop music styles. Word for the World is a Pentecostal congregation that embraces English-language songs as a part of their theology of presence, obviating the need for translation by singing in the original language. Day by Day Ministries, the third case study, is a congregation that translates beyond language texts, preparing indigenous Filipino cultural expressions for urban audiences by composing hybridized songs that merge pre-Hispanic and contemporary forms.
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Važanová, Jadranka. "Functions of Ceremonial Wedding Tunes, Svadobné Nôty, in the Context of Traditional Culture in Slovakia and in a Cross-Cultural Perspective". Yearbook for Traditional Music 40 (2008): 21–32. http://dx.doi.org/10.1017/s0740155800012078.
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Within the varied repertoire of songs sung in the course of the traditional village wedding ceremony in Slovakia, specific songs were performed—usually by women without instrumental accompaniment—at particular, mostly ritual moments with context-appropriate texts to one or two recurring, locally identified wedding tunes called svadobné nôty. Today, these songs are still known by village people and are occasionally also performed within or outside the wedding context. Moreover, this phenomenon of a common local wedding melody seems to be spread among the wedding traditions of central, southern, and eastern Europe, sharing the name (svadobný hlas, svadbarski glas, svatovski glas) and similar features (Važanová 1999).
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Shrestha, Tara Lal. "Music as therapy in Bhim Birag’s selected songs". Nepal Journal of Multidisciplinary Research 5, n.º 5 (31 de dezembro de 2022): 17–30. http://dx.doi.org/10.3126/njmr.v5i5.51799.
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An art or an artist is not beyond influences of the dominant historical- politico-cultural- forces. However, an art is a platform of meditation, where an artist can remain beyond historicity and exists as a healer. Birag lived an enduring painful physical life, but he used music as a therapy. In his simple looking serious songs he exists as a therapist, and it looks as if beyond his ideological ‘I’. In search of an escape from his painful life, he engaged his moments in composing serious songs, which embody certain level of therapeutic essence. This paper presents an outcome of the qualitative research on Bhim Birag’s biography and his selected songs primarily connecting his painful life with his creative life. On the basis of interviews and discussions along with published documents, it shows evidences about how he played some eclectic roles as a therapist persona via his celebrated songs. Finally, this research tries to connect the therapeutic essence of his serious songs to historicity from the eclective approach, where his ideological ‘I’ converses with his therapist persona and his texts (songs) negotiate to the politico-cultural contexts.
Teses / dissertações sobre o assunto "Pigeons – Songs and music – Texts"
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Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts". Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.
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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
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Garcia-Saavedra, Vivian. "The efficacy of folk songs versus songs composed for music education texts as determined by the primary grades music skills test scores of kindergarten and first grade students". FIU Digital Commons, 2002. https://digitalcommons.fiu.edu/etd/3927.
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The purpose of this research was to determine whether folk songs versus songs composed for music education texts would improve the music memory and performance skills of kindergarten and first grade students in a Miami Dade County Public School as measured by “The Primary Grades Music Skills Test” (PGMST). The folk songs selected for this study are multi-ethnic.
A sample of 80 students, 40 from kindergarten and 40 from first grade was drawn from the Lincoln-Marti School, an affiliate private school of the Miami Dade County Public School System. Within each grade level, 20 students composed the Experimental group and 20 the Control group (N=80).
Before attempting this project, a Primary Grades Music Skills Test designed and piloted by myself was administered to determine reliability. Results were positive, students understood and were able to perform all tasks in the pilot test.
Both, Experimental and Control groups for kindergarten and first grade were then administered the PGMST to determine baseline skills. An instruction period consisting of 20 consecutive daily music lessons of 20 minutes duration each, followed the Pretest. All lessons included 10 minutes of rudimentary music drills and 10 minutes of teaching four folk songs to the Experimental group and four songs composed for music education texts to the Control group. Upon completion of the instruction period, both the Experimental and Control groups were administered the PGMST as a Posttest in order to measure acquired musical achievement.
Posttest findings showed positive gains in the mean scores for correct responses in both groups. On the Posttest, the kindergarten Experimental group exceeded the kindergarten Control group by a margin of 20.31%. The first grade Experimental group exceeded the first grade Control group by a margin of 18.43%.
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Lebaka, M. E. K. (Morakeng Edward Kenneth). "Psalm-like texts in African culture : a Pedi perspective". Thesis, University of Pretoria, 2009. http://hdl.handle.net/2263/25129.
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Up to now there has been no attempt by Biblical scholars to compare the book of Psalms in the Old Testament with Pedi psalm-like songs. This study aims to fill that gap in the research and so contribute to the development of the African cultural heritage – especially that of the Pedi culture, by using indigenous knowledge systems. The research commences with a descriptive analysis of the various genres within the Book of Psalms. A variety of psalms types are discussed, including: Hymns of praise; Thanksgiving songs (communal and individual); Laments (communal and individual); Royal psalms; Hymns of Zion; Psalms of Yahweh’s kingship; Wisdom psalms; Liturgical psalms; Entrance liturgies; Judgement liturgies; Psalms of trust; Imprecatory psalms; Creation psalms; Torah (Law)-psalms; and Festival psalms. Each of these genres is described with reference to structural elements, characteristics and function(s). Then follows a descriptive assessment of numerous types and specific examples of Pedi Psalm-like songs via the provisioning of text, translation and a detailed commentary pertaining to contents and function. These include: Songs of Praise (e.g. Kgoparara); Thanksgiving songs (e.g. Mogale wa marumo - thanksgiving birth poem); Lament songs (e.g. Madi a manaba - a funeral song); Royal songs (e.g. Kgoshi - an inauguration song) Liberation songs (Ga e boe Afrika - a liberation song); Wisdom songs (Mokgoronyane - initiation song for boys and Kgogedi - initiation song for girls); Prayers of trust (e.g. Salane - a song of trust); Imprecatory songs (e.g. Leepo - song with irony); Law songs (e.g. Bana ba Modimo, thaetsang melao ya Modimo ka badimo - instruction song); Feasts (e.g. Ngwana malome nnyale - a lobola song and Hela Mmatswale, tlogela dipotwana - a wedding song). Finally the thesis provides a critical comparision between biblical psalms and Pedi psalm-like songs. The research demonstrates that, on the one hand, there are numerous interesting similarities between the two cultures’ songs with regard to a variety of aspects. On the other hand, the assessment also reveals substantial differences between the two musical traditions pertaining to an equally great number of issues.Thesis (PhD)--University of Pretoria, 2009.
Biblical and Religious Studies
unrestricted
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FORRESTER, ELIZABETH HARTLEIGH. "Musical Semantics within Modern Literature: A Study of Seven American Art Songs Set to the Texts of Gertrude Stein". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211255987.
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Monsalve, Mejía Juana. "María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609097/.
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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.
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Gross-Mejía, Jennifer Anne. "The working hour: A rhetorical analysis of the lyrics of Tears for Fears". CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2477.
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Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological symbolism to explore the idea of destiny. This thesis uses a combined rhetorical and psychological approach to analyze the manner in which the ethos and pathos inherent in the lyrics generated recognition, understanding, and sympathy in the listener.
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene". Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.
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Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia.Thesis (DMus)--University of Pretoria, 2005.
Music
Unrestricted
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"Automatic lyric alignment in Cantonese popular music". 2006. http://library.cuhk.edu.hk/record=b5892755.
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Wong Chi Hang.Thesis submitted in: October 2005.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 89-94).
Abstracts in English and Chinese.
Abstract --- p.ii
摘要 --- p.iii
Acknowledgement --- p.iv
Chapter 1 --- Introduction --- p.1
Chapter 2 --- Literature Review --- p.5
Chapter 2.1 --- LyricAlly --- p.5
Chapter 2.2 --- Singing Voice Detection --- p.6
Chapter 2.3 --- Singing Transcription System --- p.7
Chapter 3 --- Background and System Overview --- p.9
Chapter 3.1 --- Background --- p.9
Chapter 3.1.1 --- Audio Mixing Practices of the popular music industry --- p.10
Chapter 3.1.2 --- Cantonese lyric writer practice --- p.11
Chapter 3.2 --- System Overview --- p.13
Chapter 4 --- Vocal Signal Enhancement --- p.15
Chapter 4.1 --- Method --- p.15
Chapter 4.1.1 --- Non-center Signal Estimation --- p.16
Chapter 4.1.2 --- Center Signal Estimation --- p.17
Chapter 4.1.3 --- Bass and drum reduction --- p.21
Chapter 4.2 --- Experimental Results --- p.21
Chapter 4.2.1 --- Experimental Setup --- p.21
Chapter 4.2.2 --- Results and Discussion --- p.24
Chapter 5 --- Onset Detection --- p.29
Chapter 5.1 --- Method --- p.29
Chapter 5.1.1 --- Envelope Extraction --- p.30
Chapter 5.1.2 --- Relative Difference Function --- p.32
Chapter 5.1.3 --- Post-Processing --- p.32
Chapter 5.2 --- Experimental Results --- p.34
Chapter 5.2.1 --- Experimental Setup --- p.34
Chapter 5.2.2 --- Results and Discussion --- p.35
Chapter 6 --- Non-vocal Pruning --- p.39
Chapter 6.1 --- Method --- p.39
Chapter 6.1.1 --- Vocal Feature Selection --- p.39
Chapter 6.1.2 --- Feed-forward neural network --- p.44
Chapter 6.2 --- Experimental Results --- p.46
Chapter 6.2.1 --- Experimental Setup --- p.46
Chapter 6.2.2 --- Results and Discussion --- p.48
Chapter 7 --- Lyric Feature Extraction --- p.51
Chapter 7.1 --- Features --- p.52
Chapter 7.1.1 --- Relative Pitch Feature --- p.52
Chapter 7.1.2 --- Time Distance Feature --- p.54
Chapter 7.2 --- Pitch Extraction --- p.56
Chapter 7.2.1 --- f0 Detection Algorithms --- p.56
Chapter 7.2.2 --- Post-Processing --- p.64
Chapter 7.2.3 --- Experimental Results --- p.64
Chapter 8 --- Lyrics Alignment --- p.69
Chapter 8.1 --- Dynamic Time Warping --- p.69
Chapter 8.2 --- Experimental Results --- p.72
Chapter 8.2.1 --- Experimental Setup --- p.72
Chapter 8.2.2 --- Results and Discussion --- p.74
Chapter 9 --- Conclusion and Future Work --- p.82
Chapter 9.1 --- Conclusion --- p.82
Chapter 9.2 --- Future Work --- p.83
Chapter A --- Publications --- p.85
Chapter B --- Symbol Table --- p.86
Bibliography --- p.89
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Esdaille, Elroy Alister. "The Notion of Song, Identities, Discourses, and Power: Bridging Songs with Literary Texts to Enhance Students’ Interpretative Skills". Thesis, 2020. https://doi.org/10.7916/d8-39kn-9s34.
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Sometimes students struggle to interpret literary texts because some of these texts do not lend themselves to the deduction of the interpretative processes with which they are familiar, but the same is not true when students pull interpretations from songs. Is it possible that students’ familiarity with songs might enable them to connect a song with a book and aid interpretation that way? This study attempted to explore the possibility of bridging songs to literary texts in my Community College English classroom, to ascertain if or how the use of song can support or extend students’ interpretive strategies across different types of texts. I investigated how songs might work as a bridge to other texts, like novels, and, if the students use songs as texts, to what extent do the students develop and hone their interpretative skills? Because of this, how might including songs as texts in English writing or English Literature curriculum contribute to the enhancement of students’ writing? The students’ responses disclosed that the songs appealed to their cognition and memories and helped them to interpret and write about the novels they read. Moreover, the students’ responses revealed that pairing or matching songs with novels strengthened interpretation of the book in a plethora of ways, such as meta-message deduction, applying contexts, applying comparisons, and examining thematic correlations. When a novel is bridged or paired with a song, interpretation can also be derived by examining different perspectives, characterizations, personal connections, and life experiences. Exploring emotional connections as well as signs and symbolism can also enable interpretation. Another way to deduce interpretation, according to the students, is to locate a reoccurring issue or thread in a song and transfer the analysis from the song to the novel. However, although a few students might not use songs to interpret literary texts, they might still be able to recognize that the possibility exists to grasp meaning that way.
Livros sobre o assunto "Pigeons – Songs and music – Texts"
1
Dean, Gene. Country songs and talk songs. [Virginia]: Goodway Pub., 1998.
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2
Judith, Pasamanick, Collins Temma ill e Dicke Karen ill, eds. Rhyme, rhythm, and music. Cleveland, Ohio: Modern Curriculum Press, 1991.
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3
Castiglione, Janice. Christmas songs. New York: Modern Pub., 1996.
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4
Niedecken, Wolfgang. BAP: Neue Songs 2007-2011. Hamburg: Hoffmann und Campe, 2011.
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5
Linus, Joe. Songs from the ZebraBook. Carson City, Nev: Acquisition Management & Design, 1996.
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6
Porter, Cole. Let's do it. San Francisco: Chronicle Books, 1993.
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7
Paresh, Shah Jyotsana, ed. Music masti: An encyclopedia of 2100 songs. 3a ed. Navi Mumbai: Jyotsana Paresh Shah, 2003.
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8
Jeremy, Taylor. Ag pleez deddy!: Songs and reflections. [Pretoria: J. Taylor Pub., 1992.
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9
Harlan, Moore, e Taylor Steven V, eds. Lead the way: 50 contemporary songs. Kansas City, MO: Lillenas Pub. Co., 1993.
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Milne, A. A. Disney's Winnie the Pooh Sing along. Burbank, CA, USA: Walt Disney Records, 1995.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Pigeons – Songs and music – Texts"
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Frith, Simon. "Songs as Texts". In Performing Rites, 158–82. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198163329.003.0008.
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Abstract Most contemporary popular music takes the form of song (even acid house), and most people if asked what a song “means” refer to the words. In examining what the words do mean we can follow two obvious strategies, treating songs either as poems, literary objects which can be analyzed entirely separately from music, or as speech acts, words to be analyzed in performance. But in listening to the lyrics of pop songs we actually hear three things at once: words, which appear to give songs an independent source of semantic meaning; rhetoric, words being used in a special, musical way, a way which draws attention to features and problems of speech; and voices, words being spoken or sung in human tones which are themselves “meaningful,” signs of persons and personality. In this chapter I will focus on words and rhetoric; in the following chapter I will consider the voice.
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Boulton, Maureen. "Intermedial Texts". In The Edinburgh Companion to Literature and Music, 78–85. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0008.
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The term ‘intermediality’ is applied to texts that incorporate an independent medium, and in medieval contexts may refer to the combination of text and image or of literature and music. Experimentation in thirteenth- and fourteenth-century France led to the creation of a variety of hybrid works. Several romances (Guillaume de Dole, Roman de Perceforest, Roman du Castelain de Couci and Gerbert de Montreuil’s Roman de la Violette) incorporate songs described as sung but without melodies in the surviving copies. Others (Roman de Tristan en prose, Aucassin et Nicolete) include musical notation in at least one manuscript, while Jean de Lescurel and Guillaume de Machaut wrote first-person narratives as contexts for the inserted music. In addition, Machaut wrote explicitly about the composition of words and music.
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Thym, Jürgen. "Reading Poetry Through Music". In The Songs of Fanny Hensel, 195–216. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0011.
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In an extension of Stephen Rodgers’s efforts to turn “an analytical lens” on Fanny Hensel, this chapter focuses on selected Hensel settings whose texts have also inspired other composers: “Verlust” after Heine (“Und wüssten’s die Blumen”), also set by Robert Schumann and Robert Franz; “Frühling” (Eichendorff) with Schumann’s and Curschmann’s “Frühlingsnacht” as companions; and “Du bist die Ruh” (Rückert), also set by Schubert (and many others). In order to avoid comparing stylistically incompatible settings, the selection has been limited to Lieder between ca. 1825 and ca. 1850. Taking stock of Hensel’s interpretations and comparing them with those of other composers will allow musicologists and music theorists to assess her place in the history of the Lied in the first half of the nineteenth century.
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Low, Peter. "Translating the Texts of Songs and Other Vocal Music". In The Cambridge Handbook of Translation, 499–518. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108616119.026.
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O’Connor, Michael. "Hymns, Songs, and the Pursuit of Freedom". In Theology, Music, and Modernity, 217–44. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0011.
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The most recent biographer of Richard Allen (1760–1831) calls him a ‘Black Founding Father’, and the hymn books he published played their part in supporting his unyielding conviction that life, liberty, and the pursuit of happiness belonged no less to black Americans than to whites. The hymn texts bear witness to Christian faith at a crucial period in the history of American Christianity, but they cannot be appreciated without the wider context of performance practice and social customs. Central to this context is the tension in Allen’s day between ‘Methodist enthusiasm’ and ‘law-and-order religion’—especially where this is racially encoded. The article will consider representative contributions from opposing sides, published in Philadelphia during Allen’s lifetime, by John Watson and Thomas Everard. Embedded in debates about the repertoire of hymns and songs, and the attendant performance practice, is an argument about human freedom before God. Within and beyond the covers of his hymnbooks, Richard Allen promoted an integral sense of Christian freedom that is inextricably religious, ecclesiastical, cultural, social, political, and eschatological.
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Callahan, Mat, Robin D. G. Kelley e Kali Akuno. "Abolitionist Songs". In Songs of Slavery and Emancipation, 68–71. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496840172.003.0005.
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This chapter focuses on abolitionist songs and shows how the author used three main sources for these songs: The Anti-Slavery Harp: A Collection of Songs for Anti-Slavery Meetings (1848), compiled by William Wells Brown; The Emancipation Car: Being an Original Composition of Anti-Slavery Ballads Composed Exclusively for the Under Ground Rail Road (1854), compiled by Joshua McCarter Simpson; and American Anti-Slavery Songs (1988) by Vicki L. Eaklor. It also mentions some other sources that the author used which include songs from The Sacred Harp (1844), a songbook using shape-note music notation. The chapter notes that some of these texts are set to what were known at the time as minstrel songs, “comic negro songs,” or “Ethiopian melodies” intended to mock and degrade Black people. As the chapter highlights, blackface minstrelsy was repudiated by notable figures such as Frederick Douglass. The chapter also narrates how Joshua McCarter Simpson used “Dandy Jim” tune as a setting for “A Song for Freedom.” This choice of music served the double purpose of putting a popular tune to abolitionist use and turning a tune perpetuating the enslavement of Black people into a weapon for their emancipation.
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Taruskin, Richard. "In Stravinsky’s Songs, the True Man, No Ghostwriters". In Russian Music at Home and Abroad. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520288089.003.0020.
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Stravinsky’s songs are viewed as a barometer of his changing stylistic orientation. The songs written to folk texts during Stravinsky’s residence in Switzerland during World War I are viewed as a particularly important watershed for his style as it evolved from this “Russian” period into his “neoclassical” one.
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Brown, Steven. "Music". In The Unification of the Arts, 273–320. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198864875.003.0007.
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2The defining feature of music as a cognitive function is tonality (scale structure), since rhythmic structure is a shared feature with dance and poetry. In this chapter, the author develops a 4T (tonality/timing/texture/text) model of music, which views music as a suite of coordinative features in which rhythm provides time slots for interpersonal coordination and scale structure provides pitch slots for coordination. An important topic for the study of music’s evolution is its connection with both speech and language. Music and speech share a significant number of prosodic properties. However, a unique feature of music that is not found in speech is the process by which scale types are able to convey emotional meanings. Such scale/emotion associations allow music to modulate the interpretive meaning of narrative artforms, such as film, dance, and written texts (i.e. songs).
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Pinzino, Mary Ellen. "For Songs". In Giving Voice to Children's Artistry, 96–118. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197606520.003.0009.
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Etude 3 offers a wide variety of songs that give voice to children’s artistry, clustered by difficulty, and guides the process of selecting songs for children. A Song Selection Guide helps in choosing songs that meet the musical needs of children through various levels of development. Comments about the musical, vocal, and expressive challenges of each song inform the process of choosing a comprehensive set of songs for each group of children that includes a variety of tonalities, meters, texts, expressions, and vocal challenges. Repertoire presented in this Etude serves like a song reading session for professional development. Songs selected in this Etude can be used in the classroom, children’s chorus, and concert, and can be used with a broad variety of ages and stages. Insights gained from this Etude can be applied to all levels of song literature for the music classroom and children’s chorus.
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Lalonde, Amanda. "The Wilderness at Home". In The Songs of Fanny Hensel, 15–34. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0002.
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Fanny Hensel’s songs on the theme of the German Romantic forest emphasize the transportive and emotive functions of music in Waldromantik (woods-romanticism) literature. In works by Joseph von Eichendorff and Ludwig Tieck, music announces the merging of the woods with the supernatural or the transcendent and also suggests human bewilderment or ecstasy in the midst of that experience. This chapter shows how, in “Morgenständchen” and the Anklänge cycle, Hensel accordingly centers her songs on the texts’ moments of sonic revelation, and creates a sense of expansiveness through harmonic adventurousness, dramatic ascents, textural juxtapositions, and musical allusions. Furthermore, these songs extend the worlds of their texts by providing glimpses of the unknown or by suggesting that domestic music performances are themselves implicated in the narrative. By enfolding distant realms into the home, these songs might be understood as subtly defying the gendered containment of domestic music culture.