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Готові списки джерел за темами / American songs

Добірка наукової літератури з теми "American songs"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 3 березня 2023

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Статті в журналах з теми "American songs":

1

Stølen, Marianne. "Om Grundtvigs sanges liv i Nordamerika." Grundtvig-Studier 59, no. 1 (January 1, 2008): 170–93. http://dx.doi.org/10.7146/grs.v59i1.16532.

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Om Grundtvigs sanges liv i Nordamerika[On the life of Grundtvig’s songs in North America]By Marianne StølenThe article discusses three important conditions for that rich life which Grundtvig’s songs have enjoyed among Danish-Americans in North America. Treated first is the songbook of Frederik Lange Grundtvig, Sangbog for det danske Folk i Amerika [Songbook for the Danish folk in America] (1888), commonly known as “the red one,” with focus upon F. L. Grundtvig’s selection of familiar and unfamiliar songs and hymns gathered from his father’s treasury of song and his reworking of some of these with regard to their relevance for use among the Danish immigrants. Next is described the production of songs among the migrants, especially the Danish pastors, with examples of the word-choice which reveals an assimilation of key conceptwords from Grundtvig’s writings along with readily recognisable echoes of lines from the Grundtvig classics. There follows a description of the Hymnal for Church and Home (1927) and the Danish-American A World of Song (1941), each of which in its way collaborated in building a bridge between successive generations of users. Particular attention is drawn to the translations contributed to the songbook by the Danish-American translator and pastor S. D. Rodholm, with use of examples from Grundtvig’s authorship.Finally a glimpse is offered into the role played today by Grundtvig’s songs in the song-repertoire of Danish-American conventions and among the present members of two singing groups in the Pacific Northwest.

2

Leger, Daniel W., and D. James Mountjoy. "Geographic Variation in Song of The Bright-Rumped Attila (Tyrannidae: Attila Spadiceus): Implications for Species Status." Auk 120, no. 1 (January 1, 2003): 69–74. http://dx.doi.org/10.1093/auk/120.1.69.

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Abstract Bright-rumped Attilas (Attila spadiceus) have two song forms, one sung primarily at dawn, the other primarily during the rest of the day. Both songs consist of a main phrase and an optional terminal phrase. Our recordings of dawn and day songs in Costa Rica were very similar to those made elsewhere in Central America. However, Central American dawn songs were significantly different than dawn songs from South America, both in terms of quantitative features (temporal and frequency variables) and qualitative characteristics (note shape). Day songs from Central and South America were similar. Song differences suggest that the Bright-rumped Attila may be two species, one in Central America, the other in South America.

3

Waseda, Minako. "Looking Both Ways: Gi Songs and Musical Exoticism in Post-World War II Japan." Yearbook for Traditional Music 36 (2004): 144–64. http://dx.doi.org/10.1017/s0740155800020506.

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GI songs or shinchū-gun songu in Japanese are legacies of the U.S. occupation of Japan, which started in 1945 with Japan's defeat in the Pacific War. Although the occupation officially ended in 1952, many American soldiers continued to arrive and remained in Japan even after 1952. This was due to the outbreak of the Korean War (1950-53), which made Japan America's advance base. GI songs generally refer to compositions addressed to American soldiers stationed in Japan during this occupation period and through the 1950s.

4

Ratcliffe, L., and Christopher Naugler. "A Field Test of the Sound Environment Hypothesis of Conspecific Song Recognition in American Tree Sparrows (Spizella Arborea)." Behaviour 123, no. 3-4 (1992): 314–24. http://dx.doi.org/10.1163/156853992x00075.

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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.

5

Schneider, Jason. "Another Side of “Born in the U.S.A.”: Form, Paradox, and Rhetorical Indirection." Biannual Online-Journal of Springsteen Studies 1, no. 1 (August 10, 2014): 9–35. http://dx.doi.org/10.26443/boss.v1i1.15.

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“Born in the U.S.A.” has been one of the most important and controversial songs of Bruce Springsteen’s career. For some listeners, the song is a pro-America anthem; for others, it is a scathing commentary on American government and society. This paper challenges both of those views, arguing that the song’s apparently contradictory musical form and lyrical content interact to produce a collective rhetorical effect. In this view, “Born in the U.S.A.” is not an argument for a specific political ideology but rather a multilayered and multidirectional interrogation of the paradoxes of national belonging.

6

McGuire, Kenneth M. "Common Songs of the Cultural Heritage of the United States: A Compilation of Songs That Most People “Know” and “Should Know”." Journal of Research in Music Education 48, no. 4 (December 2000): 310–22. http://dx.doi.org/10.2307/3345366.

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Recently, there have been attempts to identify songs common to the heritage of the United States. Although researchers in previous investigations have studied songs that are common to specific geographical areas, this studys purpose was to determine which songs are familiar to U.S. citizens across several regions and also to uncover various epistemological definitions of what it means to “know” a song. By cross-referencing modern lists with the contents of two songbooks popular during the community song movements of the World Wars I and II, I sought to determine which songs were common across the eras studied. Also important to this study was finding out how many of the 42 songs listed in MENC's Get American Singing … Again! (1996) appeared in previous investigations and in either of the community song movement books. Results indicated that there is a disparity between the songs that Americans actually know and those that experts say they should be learning. Experts seem to be more in agreement with songbook editors of previous eras than with people who are currently learning and re-creating a new generation of common songs. Finally, 38% of the songs included on MENC's list were not found in any previous study or in either of the community songbooks, raising questions about their inclusion on a national list.

7

Morris, Nancy. "Canto Porque es Necesario Cantar: The New Song Movement in Chile, 1973–1983." Latin American Research Review 21, no. 2 (1986): 117–36. http://dx.doi.org/10.1017/s0023879100015995.

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“Para el camino” Canto a la angustia y a las alegrias. Canto porque es necesario can tar para ir dejando una huella en los dias, para ir diciendo cosas prohibidas.“For the Road” I sing of anguish and joy. I sing because it's necessary to sing to leave my mark on time, to say forbidden things.Latin American New Song is distinct from the usual stereotypes of Latin American popular music. Songs such as “Para el camino” do not fit into the common categories of salsa, ballads, Spanish-language versions of U.S. hit songs or popularized traditional styles such as the ranchera and cumbia. Although New Song is not as well known as the more typical styles, its greater social significance has achieved an impact in Latin America far beyond the musical realm.

8

Stephenson, Jean. "“Quizás, quizás, quizás”. Translators’ dilemmas and solutions when translating spanish songs into english." DEDiCA Revista de Educação e Humanidades (dreh), no. 6 (March 1, 2013): 139–51. http://dx.doi.org/10.30827/dreh.v0i6.6968.

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Rendering songs into another language poses numerous difficulties for translators. Songs may be considered as poems set to music, and in translating them, these professionals confront not only routine translation problems such as expressing the meaning, ambience and style of the original work, but they also have to attend to other requisites such as creating a new version of the song within the restrictions of rhythm and rhyme. In this article, I examine songs from Spanish literature and from Spanish and South American popular music, and explore translators’ ways of converting the original texts into English. We shall see that sometimes they have captured meaning by translating virtually word for word, while on other occasions translated songs manage to encapsulate only the general sense and atmosphere of the original Spanish song. In some cases, sounds from the original have acted as a catalyst for the topic of a new song, while in others the song’s main topic has been discarded altogether. As a result of these perhaps inevitable adjustments and shifts in topic and atmosphere there will nearly always be some kind of ‘loss’ in the translation of songs, but on rare occasions their rendition into English almost seems to ‘improve’ on the Spanish version. I will outline Low’s (Low, 2005) “Pentathlon Principle” which offers five criteria for assessing song translation, and examine specific translations from this persective. Song examined are María Josefa’s song “Ovejita, niño mío” from Federico García Lorca’s “La Casa de Barnada Alba”, Luis Aguilé’s “Cuando salí de Cuba”, Agustín Lara’s “Granada”, and Osvaldo Farrés’s “Quizás, quizás, quizás.”

9

Studwell, William E. "American Patriotic Songs:." Music Reference Services Quarterly 1, no. 3 (August 2, 1993): 55–64. http://dx.doi.org/10.1300/j116v01n03_03.

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10

Dirksen, P. B. "Song of Songs Iii 6-7." Vetus Testamentum 39, no. 2 (1989): 219–25. http://dx.doi.org/10.1163/156853389x00093.

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AbstractAB The Anchor Bible; AT An American Translation (1923, 1951 15); A TD Das Alte Testament Deutsch; BHS Biblia Hebraica Stuttgartensia (Stuttgart, 1967/77); BKAT Biblischer Kommentar Altes Testament; COT Commentaar op het Oude Testament; BJér La Bible de Jérusalem (Paris, 1973); Buber M. Buber, Die Schrift verdeutscht (Heidelberg, 1980); CBA The Holy Bible, Translated... by Members of the Catholic Biblical Association of America (Paterson, New Jersey, 1955); GB W. Gesenius and F. Buhl, Hebräisches und Aramäisches Handwörterbuch über das Alte Testament (Berlin/Göttingen/Heidelberg, 1949 17); GK W. Gesenius/E. Kautzsch, Hebräische Grammatik (Leipzig, 1896 16) ; GNB Good News Bible (London, 1976); HAT Handbuch zum A lten Testament; HkA T Handkommentar zum Alten Testament; JerB The Jerusalem Bible (London, 1966); KAT Kommentar zum Alten Testament; KB L. Koehler and W. Baumgartner, Lexicon in Veteris Testamenti Libros (Leiden, 1958, 19743); KHkAT Kurzer Handkommentar zum Alten Testament; Moff. J. Moffatt, A New Translation of the Bible (London, 1950); NBE Nueva Biblica Española (Madrid, 1975); NEB The New English Bible (Oxford, 1970); Pl La Bible, Bibliothèque de la Pléiade (1959); NV Nieuwe Vertaling (Amsterdam, 1951); RSV Revised Standard Version (New York, 1952); SB La Sainte Bible, Version Synodale (Paris, 1929 3); SBMar La Sainte Bible. Texte intégral établi par les moines de Maredsous (1977).

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Дисертації з теми "American songs":

1

Snydacker, Sarah Elizabeth. "The new American song: a catalog of published songs by 25 living American composers." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1265.

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The purpose of this dissertation is to create a catalog of the published, solo vocal songs of 25 living American composers. Through this project, visibility will be given to a significant amount of contemporary literature that is currently unknown and / or underused by many singers and voice teachers today. Exposure to the literature in this project will encourage singers and teachers to give deserving attention to a wealth of contemporary American song literature, and will help to stimulate the study, practice and performance of other contemporary songs and composers. I have selected 25 living American composers. The composers represent a variety of compositional styles, and the songs vary in level of difficulty. The songs chosen are examined based upon criterion for vocal study at the collegiate level, and the entire repertoire is appropriate for traditional classical vocal training. Many of these composers' songs are readily available in public and collegiate libraries across the country. There are some composers, however, whose songs are currently not available in libraries, but are deserving of attention. The unpublished songs of the selected composers are not included because the purpose of this project is to increase accessibility. The composers for this dissertation include: Dominick Argento, Daniel Asia, Robert Baksa, Seymour Barab, Jack Beeson, William Bolcom, John Bucchino, Tom Cipullo, John Corigliano, John Frantzen, Zina Goldrich and Marcy Heisler, Ricky Ian Gordon, Daron Hagen, John Harbison, Jack Heggie, Lee Hoiby, Richard Hundley, Anne Kilstofte, Lori Laitman, Libby Larsen, John Musto, Thomas Pasatieri, Andre Previn, Gene Scheer, and Richard Pearson Thomas. The body of the dissertation consists of a brief biography of the individual composers followed by analyses of the composers' music. Each published song is analyzed according to a set of criterion for vocal study at the collegiate level. The annotations include: title, poet, publisher and date, dedication, vocal range, tessitura, recommended voice type, level of difficulty of the vocal and piano accompaniment, possible uses, brief musical and textual description, and other pertinent information for the study and performance of the music. This dissertation will encourage the study, practice and performance of contemporary American music. The annotated catalog will include vital information for the quick selection of songs, and the information I compile will be invaluable to singers and voice teachers searching for contemporary American literature. The composers included in this project will also benefit from the exposure of their work. There are, of course, many more composers whose songs are deserving of inclusion in this project. Annotated catalogs of larger scope or of differing perspectives should be created as further study.

2

Davidson, Jill D. "Prayer-songs to our elder brother : Native American Church songs of the Otoe-Missouria and Ioway /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841275.

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3

Mowery, Samantha. "Stephen Foster and American song a guide for singers /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234810817.

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4

Chang, Debra Wei Kwen. "Songs of the wind." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332464/.

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Songs of the Wind is a five-movement composition for reader, chamber choir, and chamber orchestra. The work is approximately twenty-five minutes in duration. The title describes the programmatic nature of the piece, which depicts an animistic ritual invoking the wind as a deity. The texts are drawn from translations of American Indian poetry as well as original poems by the American Indian scholar Hartley Alexander.

5

Nelson, Michael. "Songs for cripples." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002952.

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6

Lin, Yi-Cherng. "The essence of twentieth century American art songs." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9698.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

7

Talbott, Christy Jo. "The French art song style in selected songs by Charles Ives." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000455.

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8

Bateson, Catherine Victoria. "Culture and sentiments of Irish American Civil War songs." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33216.

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During the American Civil War, an approximate 200,000 Irish-born soldiers, and an even greater number of subsequent generation descended soldiers, fought for the Union and Confederate causes. Their experience, opinions, military actions and attitudes of their families were the subject of American Civil War songs, with songwriters penning numerous ballads about them. The conflict witnessed the mass production of wartime ballad culture, with over 11,000 pieces written and composed between 1861 and 1865 alone. An estimated 150 were by and about the Irish American wartime experience specifically. This thesis focuses on these Irish American Civil War songs and analyses the sentiments they expressed. Overall, the main topic written onto songsheet pages and in songbooks was the battlefield actions of Irish-born and descended soldiers. This study explores how military history was reported through song, following traditional oral practice patterns of using balladry to sing war reports. In particular, attention will be drawn to the proliferation of lyrical dedication and focus on specific Irish-dominated units such as the Union Army's Irish Brigade and 69th New York State Militia, and how their actions, along with other Irish soldiering units, came to dominate Irish American Civil War articulations and history. Within this lyrical attention the figures of Irish-born commanding officers, namely Generals Michael Corcoran and Thomas Francis Meagher, come to the fore. This study also analyses how their own wartime experiences and articulations corresponded with song lyrics. Beyond the battlefield focus, this thesis explores the way in which song lyrics sang about Irish loyalty and devotion to the American Union - and in a few examples Confederate nation - and particularly adopted symbols of the American nation, such as the Star Spangled Banner, as embodiments of the causes and ideals fought for by soldiers. Alongside this were lyrics that referred to symbols of Irish cultural heritage, language and a history of foreign military service. Irish identity can be seen on the surface of some songs, including references to Irish nationalism and the desire to gain Irish independence one day. Yet, as this thesis will argue, Irish American Civil War song lyrics reveal complicated support and sympathy for the Irish nationalist cause in the United States during the 1860s. Running through the songs of this study is a pervading sense and sentiment of American identity - that the Irish fighting and living through the war were stressing to society through song that they were committed to the United States as Americans first and foremost. In addition to assessing wartime views of Civil War politics and military actions, this thesis will also explore the way Irish song played a critical part in the formation of American musical culture, with traditional Irish music forming the foundation for American tunes, and blending Irish culture into the American wartime zeitgeist. This thesis will demonstrate the way in which Irish songs were written, published and disseminated through American society and crucially circulated beyond the confines of the Irish diaspora. Traditional and wartime Irish songs became a fundamental part of American culture because they were American cultural outputs. Thus this thesis will demonstrate the important evidential role Irish American Civil War songs play in singing an unexplored areas of mid-nineteenth century Irish American transnational history.

9

Yancey, Eddie. "Rhythm and Blues protest songs: voices of resistance." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2007. http://digitalcommons.auctr.edu/dissertations/610.

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This study was an investigation of seven selected rhythm and blues black protest songs, from 1964 to 1975, and their relationship to black empowerment during the era of the Black Power Movement. The songs were analyzed using content analysis and revealed three expected themes of self/black identity, racial equity and self-determination. A fourth theme, social change, evolved during the study. The study focused on the political, cultural and economic ramifications, especially of black music, as a form of protest against a system that proved to be one of inequality, and prejudicial segregation in every aspect of the black life. The rhythm and Blues black protest songs were seen as efforts to empower the black community to take responsibility for its own survival. Of the seven artists who participated in the Black Power Movement, Nina Simone, Curtis Mayfield and Sam Cooke were the most prolific musical contributors to the protest movement of Student Nonviolent Coordinating Committee (SNCC) in its efforts to deal with segregation. The four musicians wrote and performed music that was geared specially for transformations in social justice and to engage the American society, both black and white people, in substantial and lasting social change. The music of the other artists was instrumental in bringing Rhythm and Blues into a revolution. The musical revolutionaries were James Brown, Marvin Gaye, Aretha Franklin, and Stevie Wonder. The analysis, however, did not reveal whether or not the rhythm and blues black protest songs contributed to or led to black empowerment during the Civil Rights Black Power era.

10

Cardwell, Robert Ewell. "A Survey of 21st Century Gay-Themed American Art Songs for Baritone." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703289/.

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The majority of repertoire catalogs for singers, printed and digital, often list works by voice type, language, and/or genre. The 21st century has seen an emergence of online classical music catalogs where the user can seek repertoire by searching composers from underrepresented communities (i.e., women, Black, LGBTQ, Latinx). What does not currently exist is a resource that catalogs songs for solo voice dealing specifically with gay subject matter. This dissertation surveys seventeen 21st century gay-themed art songs by four living American composers: David Del Tredici, Ben Moore, Clint Borzoni, and Gary Schocker. Each chapter introduces a different composer and a select representation of their gay-themed art songs. Each entry includes text analysis based on the composer's and author's intentions and a brief analysis to determine pedagogical and musical difficulty. It is my intent that this document will facilitate a much-needed resource and encourage further study, promotion, and performance of voice works with gay themes. Moreover, I hope that it will serve as a tool for the applied voice teacher to assist in the vocal and artistic development of their students through broader repertoire choices.

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Книги з теми "American songs":

1

name, No. American folk songs. Saint-Nicolas: ditions Doberman-Yppan, 2003.

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2

Ellis, Brian. Frog songs. Peoria, IL: Fox Tales International, 2000.

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3

Livingston, Myra Cohn. Sea songs. New York: Holiday House, 1986.

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4

Torre, Vincent. Songs & fables. New York: Inkwell Press, 1990.

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5

Silverman, Jerry. Children's songs. New York: Chelsea House Publishers, 1993.

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6

Pines, Paul. Charlotte songs. East Rockaway: Marsh Hawk Press, 2015.

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7

Livingston, Myra Cohn. Space songs. New York: Holiday House, 1988.

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8

Livingston, Myra Cohn. Earth songs. New York: Holiday House, 1986.

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9

Jim, Harrison. Songs of unreason. Port Townsend, WA: Copper Canyon Press, 2011.

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10

Friedberg, Ruth C. American art song and American poetry. Lanham: The Scarecrow Press, Inc., 2012.

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Частини книг з теми "American songs":

1

Ramey, Lauri. "Slave Songs as American Poetry." In Slave Songs and the Birth of African American Poetry, 97–121. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610163_4.

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2

Rayl, David. "Songs of “Little Dixie”:." In Legacies of Power in American Music, 179–204. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003275695-11.

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3

Tomiyama, Hidetoshi. "Neil Young: Some Complexities in His Songs." In Canadian Music and American Culture, 61–76. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50023-2_4.

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4

Ramey, Lauri. "Border Crossing in Slave Songs." In Slave Songs and the Birth of African American Poetry, 123–50. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610163_5.

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5

Ramey, Lauri. "Slave Songs and the Lyric Poetry Traditions." In Slave Songs and the Birth of African American Poetry, 17–55. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610163_2.

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6

Ramey, Lauri. "Theology and Lyric Poetry in Slave Songs." In Slave Songs and the Birth of African American Poetry, 57–95. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610163_3.

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7

Wilder, Alec. "Outstanding Individual Songs." In American Popular Song, 433–92. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190939946.003.0012.

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Hundreds of individuals have contributed to the American Songbook, many of whom did not even consider themselves songwriters. They might have been bandleaders. arrangers, instrumentalists, singers, or rank amateurs. Some wrote only a handful of notable songs, some just one or two. Songs that would likely elicit a puzzled look if their authors were revealed include “April Showers,” “Just Friends,” “I’m Getting Sentimental over You,” “How High the Moon,” “Moonlight in Vermont,” and “You Make Me Feel So Young.” True, the artist who made the song famous is likely to come to mind immediately, but the intrinsic merit of these songs cannot be denied. This chapter discusses more than one hundred songs that are likely to be far more famous than their authors.

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Graham, T. Austin. "Songs Not in Thy Songs." In The Great American Songbooks, 34–75. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199862115.003.0002.

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"Native American Healing Songs." In Healing Songs, 34–48. Duke University Press, 2006. http://dx.doi.org/10.1215/9780822387671-003.

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"Native American Healing Songs." In Healing Songs, 34–48. Duke University Press, 2006. http://dx.doi.org/10.2307/j.ctv120qsfk.6.

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Тези доповідей конференцій з теми "American songs":

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Hishida, Hirotoshi, Yoshihiro Komatsu, Tomohiro Nomura, Yasuhiro Hishida, and Keiko Hishida. "Music Database for Earphone Hearing Loss Prevention and Music Therapy - American Musical Songs -." In 13th International Multi-Conference on Complexity, Informatics and Cybernetics. Winter Garden, Florida, United States: International Institute of Informatics and Cybernetics, 2022. http://dx.doi.org/10.54808/imcic2022.02.40.

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Kieu Trung, Son. "The Phenomenon of Writing new Lyrics for Folk Songs to Broadcast on Mass Media in Vietnam." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.5-3.

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The phenomenon of creating new lyrics for folk songs provides an interesting combination between the two fields of linguistics and ethnomusicology (or performing arts) and is highly applicable for life in Vietnam. This research aims at the meaning of choosing folk melodies to express language and to express an ideological content. Based on the thesis of linguistic anthropology, considering language to be a reflection of the human being, this study considers the choice of the way language is transmitted as part of that reflection. To conduct this study, we will look at the Voice of Vietnam Radio. From the material found, the number, content, purpose, context analysis and frequency of creating new lyrics for folk songs were broadcast during the history of anti-American war to teh preent date. The results of the study indicate that language has a number of ways of expressing each of its strengths and cultural and social meanings. This research refers to an innovation in the use of familiar folk melodies to express and promote language content in Vietnam that has been applied effectively in the mass media.

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Tyryguina, Valentina A. "The Reflection Of American Values In Song Discourse." In International Forum «Freedom and responsibility in pivotal times». European Publisher, 2022. http://dx.doi.org/10.15405/epsbs.2022.03.67.

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Bowo, Tri, Anindya Pradipta, and Widyarini Putri. "Environmental Issues and Politics in Indonesian and American Song Lyrics." In Proceedings of the 10th UNNES Virtual International Conference on English Language Teaching, Literature, and Translation, ELTLT 2021, 14-15 August 2021, Semarang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.14-8-2021.2317650.

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Wright, Brian. "African American Fathers, Mentors, and Sons: Strengthening Their Lives Through Literacy." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1583979.

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Nedyalkov, Ivaylo. "The Fluids Rap: It’s All About Flow." In ASME 2020 Fluids Engineering Division Summer Meeting collocated with the ASME 2020 Heat Transfer Summer Conference and the ASME 2020 18th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/fedsm2020-20303.

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Abstract Most of the currently-enrolled undergraduate engineering students grew up with exposure to social media websites like Facebook and Youtube. Making sure that students are not distracted by their mobile devices in class has become more challenging, and one way to address the issue is to present engineering in a more entertaining and engaging way. A rap song about fluid mechanics was created by the author for entrainment, outreach, and education purposes. The song covers the fundamentals of fluid mechanics and mentions some theoretical basics, as well as some of the most widely used computational fluid dynamics and experimental fluid dynamics techniques. The song was written with the intention to be entertaining and educational — the goal was that someone with no prior fluid mechanics background will be able to understand it after spending 10–20 minutes reading through the lyrics explanations. A music video was produced for the song. The video production was sponsored by the American Society of Mechanical Engineers and includes visuals of experimental facilities and equipment. The paper provides the background of the project, marketing plans, some of the lessons learned, the lyrics, and the explanations of the lyrics.

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Tello Collado, Santiago. "Abd al Malik: le fluide vital du rap." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3022.

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Uno de los aspectos más llamativos, al tiempo que complejos de la música rap es lo que conocemos como flow. Diferentes autores como Marc (2008) o Béthune (2004), sobre la estética del rap, hacen referencia a este concepto difícil de definir. Partiendo de su sentido más orgánico, en tanto que líquido en movimiento, el flow en el rap requiere estar provisto de enorme y cristalina vitalidad en el recitado de los versos, lo que le confiere uno de los aspectos más atractivos, al tiempo que complejos, en este tipo de música. Procedente de la locución americana to rap, entre chismorrear o darle al pico o, simplemente contar cualquier cosa, el rap song puede definirse como la dicción medio cantada y medio hablada de textos elaborados, rimados y ritmados producida sobre una base musical de mezclas de extractos de otras fuentes sonoras, denominadas samplers. Esta manifestación como tal se materializa en una performance que se lleva a cabo en la calle, surgida en los 70 en Nueva York (Lapassade et Rousselot, 1998, p.9). El rap debe su exégesis a la música popular jamaicana, siendo el género demandado en los 70 entre la militancia negra estadounidense. Ya casi en los 80, observamos el resultado de esta música capaz de mezclar baile y política. No olvidemos que, al igual que el jazz, el blues, el soul o el rhythm and blues, el rap es parte integrante del arte negro americano. A diferencia de lo que pasó en los EEUU, el rap francés no comienza en la calle, sino que estaba dirigido o bien a los media o al show. Abd Al Malik, uno de los raperos más líricos, sensibles y delicados en la escena francesa, imprime a sus canciones un tratamiento cristalino y personal con su particular flow. DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3022

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De Gregorio, Chiara, Daria Valente, Valeria Torti, Anna Zanoli, Dario Colaci Cirillo, Greta Bazzano, Simone Sugliano, Rose Marie Randrianarison, Cristina Giacoma, and Marco Gamba. "Song structure and sex specific features in the indris." In 177th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001021.

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Dörr, Jéfer Benedett, and Linnyer Beatrys Ruiz Aylon. "Um Estudo sobre Técnicas utilizadas para o Reconhecimento de Sons com o uso de Inteligência Artificial e Python." In Congresso Latino-Americano de Software Livre e Tecnologias Abertas. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/latinoware.2022.227845.

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Este artigo apresenta uma introdução de conceitos e práticas para aprender o inicial de como trabalhar com Reconhecimento de Sons. Será apresentado o embasamento teórico necessário, os conceitos e as ferramentas para trabalhar na prática em um projeto prático de Reconhecimento de Padrões em áudio utilizando Inteligência Artificial com a linguagem de programação Python.

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VanDam, Mark, Carsen Jessup, and Tracy Tully. "Mothers’ and Fathers’ differential talk to daughters and sons with hearing loss." In 172nd Meeting of the Acoustical Society of America. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000532.

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Звіти організацій з теми "American songs":

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Weller, Joel, Harris Lewin, Micha Ron, and George Wiggans. Detection and Mapping of Genes Affecting Traits of Economic Importance in Dairy Cattle with the Aid of Molecular Genetic Markers. United States Department of Agriculture, December 1995. http://dx.doi.org/10.32747/1995.7613024.bard.

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Forty-seven poly-TG microsatellites were developed at the U of IL, and 11 genetic markers were developed at ARO, nine of which were poly-AGC microsatellites. Markers were typed on the reference families of CSIRO, Australia; GRANADA, Texas; and IRRF, Illinois, for chromosome assignment and linkage mapping. Nine North American al organizations contributed semen to the Dairy Bull DNA Repository (DBDR), which currently has 65,743 units from 3366 bulls. Semen was obtained for 31 out of 35 grandsires. Semen of 28 and 23 sons of two Israeli bulls was also collected. Eighteen grandsires were genotyped for 75 microsatellites. One thousand, three hundred and sixty-two sons with evaluation from 17 families were genotyped for 24 markers. Eleven thousand, six hundred and twenty sons genotypes were determined, of which 8,802 were informative. The genotype data was matched to the bulls' daughter yield deviations (DYD) for seven traits; milk, fat, and protein production; fat and protein percent; somatic cell concentration (SCS); and productive herd life. Seven loci had significant effects at p<0.05, but only two loci, TGLA263 and MGTG7, had significant effects at p<0.01, and the effect of TGLA263 on fat percentage was significant at p<0.0001. There was at least one significant effect for each of the seven traits analyzed.

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Heynderickx, Haley. A Musical Analysis of the Past: America is in the Heart by Carlos Bulosan Re-told through the Craft of Folk Songs. Portland State University Library, January 2015. http://dx.doi.org/10.15760/honors.179.

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