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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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
Анотація:
“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.
Анотація:
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.
Анотація:
“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.
Анотація:
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.
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.
Анотація:
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).
11
Chang, Hyun Kyong Hannah. "A Fugitive Christian Public: Singing, Sentiment, and Socialization in Colonial Korea." Journal of Korean Studies 25, no. 2 (October 1, 2020): 291–323. http://dx.doi.org/10.1215/07311613-8551992.
Анотація:
Abstract Well-known songs of colonial Korea such as “Kagop’a” and “Pongsŏnhwa” appear to be secular songs, but their origins lie in the complex intersection of North American Christian missions, Korean cultural life, and Japanese colonial rule. This article explores the historical significance of secular sentimental songs in colonial Korea (1910–45), which originated in mission schools and churches. At these sites North American missionaries and Christian Koreans converged around songwriting, song publishing, and vocal performance. Missionary music editors such as Annie Baird, Louise Becker, and their Korean associates relied on secular sentimental songs to cultivate a new kind of psychological interior associated with a modern subjectivity. An examination of representative vernacular song collections alongside accounts of social connections formed through musical activities gives a glimpse into an intimate space of a new religion in which social relations and subjective interiors were both mediated and represented by songs. The author argues that this space was partly formed by Christianity’s fugitive status in the 1910s under the uncertainty of an emergent colonial rule and traces the genealogy of Korean vernacular modernity to the activities of singing in this space, which she calls a fugitive Christian public.
12
Ginting, Daniel, and Eldana Reza Levana. "Cultural Views of a Society Through Taylor Swift’s Song." INTERACTION: Jurnal Pendidikan Bahasa 8, no. 1 (May 6, 2021): 34–49. http://dx.doi.org/10.36232/jurnalpendidikanbahasa.v8i1.945.
Анотація:
Songs as cultural products function to help people to fulfil their needs. When people listen to the songs, they both enjoy the melody and also lyrics of the songs. Songs serve as tools to achieve different essential objectives such as changing moods, relating, and shaping their own identity. In this research, the writer studies deixis in song lyrics from the selected song in Taylor Swift's Folklore album: Cardigan, the Last Great American Dynasty, August, Illicit Affairs, and Betty. The analysis deixis of this study reveals a variety of life issues is treated directly or is strongly involved in the content of the lyrics of songs. This study found that lyrics have undergone dramatic changes when the influence of other cultures is unavoidable. This is an issue of significant interest and concern for parents and educators.
13
Kroodsma, Donald E., Robin W. Woods, and Elijah A. Goodwin. "Falkland Island Sedge Wrens (Cistothorus Platensis) Imitate Rather Than Improvise Large Song Repertoires." Auk 119, no. 2 (April 1, 2002): 523–28. http://dx.doi.org/10.1093/auk/119.2.523.
Анотація:
Abstract Among songbirds, does reduced fidelity to a breeding site lead to vocal improvisation? Data for Cistothorus wrens suggest it does, because North American Sedge Wrens (C. platensis) have low breeding-site fidelity and improvise their large song repertoires, but sedentary or site-faithful populations of this and other Cistothorus species in the Neotropics and North America all imitate. We attempted to falsify this hypothesis by studying extreme south-temperate zone populations of Sedge Wrens in the Falkland Islands. We banded and recorded males on Kidney Island and Carcass Island, and then compared song matching among males both within and between islands. Birds on those islands were highly site-faithful from one breeding season to the next. Song repertoires were large, up to 400 in one bird, and songs of birds within an island were more similar to each other than to songs on the other island, showing that these birds do imitate. These results further support the idea that site fidelity promotes imitation of neighbors, and continue to highlight the unique correlation between reduced site-fidelity and song improvisation in the North American Sedge Wren.
14
Fulmer, Mimmi. "Finnish Songs for American College-Age Singers." Journal of Singing 79, no. 2 (October 25, 2022): 163–79. http://dx.doi.org/10.53830/cwvf2781.
Анотація:
Finland has a long, rich history of music culture and song. The seriousness and love with which Finnish people regard their musical heritage and the culture of supporting composers and performances help define Finland as a nation. Music played a crucial role in giving the Finnish people an identity and unifying them in the drive toward independence in 1917, and has helped lead to a significant international artistic profile in the years since then. The names and music of Sibelius, Merikanto, and Kilpinen are familiar to many American musicians. While there is a treasure trove of beautiful Nordic songs suitable for students, American singers are just beginning to develop a foundation in repertoire and diction. This article will introduce the reader to a selection of songs as the springboard to explore Finnish repertoire for the college-age American singer. These songs were chosen based on vocal range, dynamics, complexity, phrase length, and accessibility of style. Resources for recordings, music, and diction are included to provide an introduction to this wealth of singable repertoire.
15
Varnum, Michael E. W., Jaimie Arona Krems, Colin Morris, Alexandra Wormley, and Igor Grossmann. "Why are song lyrics becoming simpler? a time series analysis of lyrical complexity in six decades of American popular music." PLOS ONE 16, no. 1 (January 13, 2021): e0244576. http://dx.doi.org/10.1371/journal.pone.0244576.
Анотація:
Song lyrics are rich in meaning. In recent years, the lyrical content of popular songs has been used as an index of culture’s shifting norms, affect, and values. One particular, newly uncovered, trend is that lyrics of popular songs have become increasingly simple over time. Why might this be? Here, we test the idea that increasing lyrical simplicity is accompanied by a widening array of novel song choices. We do so by using six decades (1958–2016) of popular music in the United States (N = 14,661 songs), controlling for multiple well-studied ecological and cultural factors plausibly linked to shifts in lyrical simplicity (e.g., resource availability, pathogen prevalence, rising individualism). In years when more novel song choices were produced, the average lyrical simplicity of the songs entering U.S. billboard charts was greater. This cross-temporal relationship was robust when controlling for a range of cultural and ecological factors and employing multiverse analyses to control for potentially confounding influence of temporal autocorrelation. Finally, simpler songs entering the charts were more successful, reaching higher chart positions, especially in years when more novel songs were produced. The present results suggest that cultural transmission depends on the amount of novel choices in the information landscape.
16
Chen, Xi. "When the classic speaks for children." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (October 5, 2020): 780–95. http://dx.doi.org/10.1075/babel.00175.che.
Анотація:
Abstract Bob Dylan has significantly influenced American song tradition and popular music for more than five decades. As his songs are famous for the creative poetic expressions, they are not merely song lyrics, but also can be regarded as lyric poems. This paper aims to investigate the retranslation of Bob Dylan’s songs in bilingual picture books to explore how his classic musical works are repackaged both verbally and visually for contemporary children. The data for analysis are selected from two bilingual picture books on Dylan’s songs published in China in 2018. Firstly, it conducts a detailed textual analysis of the English and Chinese song lyrics to analyze the appropriate translation strategies and methods for song translation. Secondly, based on visual narratives (Painter, Martin and Unsworth 2013), it analyzes the intersemiotic relations between texts and images in picture books to discuss how the emotions and narratives in Dylan’s songs are visually represented.
17
Lemon, R. E., and E. M. Date. "Sound Transmission: a Basis for Dialects in Birdsong?" Behaviour 124, no. 3-4 (1993): 291–312. http://dx.doi.org/10.1163/156853993x00623.
Анотація:
AbstractThe environmental adaptation hypothesis (EAH) regarding birdsong dialects or ncighbourhoods states that song similarities between neighbouring individuals arise because of common influences on their songs exerted by the acoustic environment of their habitat. An assumption of the hypothesis is that sounds are distorted differently by different types of habitat. A prediction of the hypothesis is that some songs or parts of songs transmit better than others, depending on the habitat of their origin. We tested the assumption and prediction by comparing the attenuation and differential attenuation of pure tones, decreases in modal frequencies of computer simulated songs of American redstarts (Setophaga ruticilla), and the decay of redstart songs and white noise at deciduous, coniferous and open forest sites. The songs were representative of those used by redstarts living in thc three habitats. Results supported the assumption of acoustic differences between habitats but did not support the prediction that some songtypes transmit with less distortion in specific habitats than in others. The EAH also predicts that individuals which inhabit similar vegetation should share more song features than individuals which inhabitat dissimilar vegetation. To test this prediciton samples of songs were taken from the three habitats in different years. There were significant associations by habitat in both samples, but only one of several variables measured was significant and the discriminating variable was not the same for the two periods. Considering together the tests of the assumption and the two predictions, we conclude that for American redstarts evidence of the influence of the acoustic features of habitat on the formation of song dialects is mixed and not convincing.
18
Alpatova, A. S. "OLIGOTONICS AND CHASMATONICS IN TRADITIONAL SONGS OF NORTH AMERICAN INDIANS (on the 145th anniversary of the birth of Natalie Curtis)." Arts education and science 1, no. 2 (2020): 181–89. http://dx.doi.org/10.36871/hon.202002022.
Анотація:
The article is dedicated to the memory of the famous American ethnomusicologist Natalie Curtis Burlin (1875–1921), who made a significant contribution to the study of traditional music of North American Indians. This is the first experience in Russian musicology that addresses the theoretical issues of studying Native American vocal music. The main research problem of the article is the identification of the basic qualities of oligotonics and chasmatonics in traditional songs of North American Indians by the example of expeditionary records of Natalie Curtis. The author reveals that unichords, dichords and trichords, both in themselves and in their combinations, have semantic, symbolic and structure- forming significance for the formation of intonational structure of traditional Indian songs (lullaby, medicine, song-insert in mythological legend). The methodological base was formed by approaches of modern ethnomusicology (analysis of song genres of traditional ethnic music) and music theory (theory of mode and modal archetypes).
19
Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 79, no. 3 (December 30, 2022): 413–16. http://dx.doi.org/10.53830/tjdv9385.
Анотація:
This music review covers new (2022) song and aria publications. These include operatic arias excerpted from the chamber opera, Uncovered, by American composer Lori Laitman; a two volume collection of operatic arias by American composer Stephen Paulus; the song, “Partridge Sky”, by Chinese composer Fang Man; and a collection of encore songs created by 20th century comedienne Anna Russell, in a new edition by American pianist and editor, Dace Gisclard.
20
Vaitonytė, Julija, and Julija Korostenskienė. "FEMININE IMAGERY IN CONTEMPORARY AMERICAN POP SONGS: A CONTRASTIVE ANALYSIS." Sustainable Multilingualism 6 (2015): 109–31. http://dx.doi.org/10.7220/2335-2027.6.6.
21
Riazanov, I., and V. Yakuba. "CONCEPTS OF RELIGION IN MODERN AMERICAN RAP LYRICS." Studia Philologica, no. 2 (2019): 57–61. http://dx.doi.org/10.28925/2311-2425.2019.13.9.
Анотація:
The article studies verbalization mean of religious concepts in Kendrick Lamar’s songs of his 2017 album DAMN. After introducing the inventory of lexemes representing themes of religion, the authors argue for correlations with basic concepts and explain the structure of the thematic field, representing religion in all fourteen songs of the album. The album structure and each song of it include over a hundred tokens referring to various religious concepts – mainly GOD, SIN, and PRAY, each of them being verbalized by a group of lexemes, fifteen total, which share certain semantic components. The micro-contexts with biblical quotes will be regarded as convergence points of the album’s text and analyzed individually for their stylistic value, but in general contributing to the general view of the album as a spiritual challenge. Through each next song a new aspect of religious concepts adds to the existing inventory, certain repetitions and cross-contextual allusions confirm and support them, adding coherence and continuity to the album’s structure. Out of fourteen songs of the album seven directly verbalize basic religious concepts through the notions of God, pride, humility, lust, love, loyalty, fear. This explicit structural feature together with the ambiguous title offer a series of logical steps in evaluating the sinful vs virtuous choices. This contrast is identified and sustained through such stylistic devices as repetitions, allusions, rhetorical questions and others.
22
Arbain, Arbain. "Critical Discourse Analysis of Eminem’s “Love the Way You Lie Part II”." Script Journal: Journal of Linguistic and English Teaching 1, no. 1 (September 30, 2016): 1. http://dx.doi.org/10.24903/sj.v1i1.19.
Анотація:
<p class="abstrak">This study is to analyze songs from Eminem which is related to his life story. In examining the songs, the researchers used the three inter-related processes of analysis tied to three inter-related dimensions of discourse proposed by Faiclough’s model of CDA. This study applied qualitative design with the content analysis approach. The analysis of this research focused on the words used such as African American Vernacular English variety, Informal language and American slang in the lyrics of the song Love The Way You Lie Part II and explain them. The result findings showed that there was a transcultural process or cross cultural in the song lyrics. There was a hiphop culture which was moved, changed and reused to create a new identity of the Eminem. There were 25 words and clauses of AAVE, 3 words of Informal language and 1 word of American slang language in the lyrics of the song of Love The Way You Lie.</p>
23
Hisama, Ellie M. "The Ruth Crawford Seeger Sessions." Daedalus 142, no. 4 (October 2013): 51–63. http://dx.doi.org/10.1162/daed_a_00236.
Анотація:
Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often remain unacknowledged. This article underscores the link between her work in American traditional music and Bruce Springsteen's best-selling 2006 album “We Shall Overcome: The Seeger Sessions” in order to give Crawford Seeger due credit for her contributions. By examining her prose writings and song settings, this article illuminates aspects of her thinking about American traditional music and elements of her unusual and striking arrangements, which were deeply informed by her modernist ear.
24
Dahal, Arvind. "Anti-War Messages in the Songs of John Lennon." JODEM: Journal of Language and Literature 12, no. 1 (August 7, 2021): 1–16. http://dx.doi.org/10.3126/jodem.v12i1.38709.
Анотація:
This study endeavors to explore Lennon’s songs as an expression of rage and rebellion of the common Americans against the bitter realities of the contemporary American war politics of the 1960s and 70s and of the prevailing socio-economic and cultural injustices. It illumines a reality that alternative cultures like drugs, alcohol, homosexuality, nomadism and mystic vision, perceived reprehensible by the contemporary mainstream culture, were in fact manufactured out of harsh American socio-political context. By projecting the painful experiences of the victims during the time of war, the research engages with the extraction of themes like terror of the nuclear arms race and poverty, racism, prison and war, buried in Lennon’s compositions and thereby revealing Lennon’s association with such subcultures to counter and to subvert the mundane, the rationality and material hunger of the mainstream culture in the then America.
25
Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (May 1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.
Анотація:
The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and struggle’, enshrined in the titles of two Spanish American anthologies (C. W. 1967 and Gac Artigas 1973), which nicely stresses both their ‘combative’ and their ‘constructive’ aspects, while one of the best of their singers – the Uruguayan Daniel Viglietti – describes his own songs as being ‘in some measure both de protesta and de propuesta’ (i.e. as much ‘proposing’ as they are ‘protesting’). The document with which this article is chiefly concerned uses the term ‘revolutionary song’, which clearly covers both those aspects, but such songs may be seen to perform a far more complex range of tasks than any of those labels might suggest, as soon as their functions are examined ‘on the ground’ within the immediate context of the predominantly oral cultures of Latin America to which they are addressed: cultures in which traditional folksong has retained its power and currency largely undiminished by the changes of the twentieth century, and in which the oral nature of song (with the message of its lyrics reinforced by music) helps it to gain a wider popular diffusion than the more ‘literary’ but unsung texts which make up the greater part of the genre of so-called ‘committed poetry’ (‘poesía de compromiso’) to which the lyrics of such songs clearly belong (see Pring-Mill 1978, 1979).
26
Stashko, Halyna. "An American woman through the prism of the epithet: semasiological aspect in creating images." Lege Artis 2, no. 2 (December 1, 2017): 356–91. http://dx.doi.org/10.1515/lart-2017-0019.
Анотація:
Abstract The paper describes the use of epithets in creating female images in American folk songs. The results of the stylistic analysis show how different types of epithets intensify female images and testify to the connection between semantics and culture. Multifunctionality of the epithet tends to be of paramount importance in creating and interpreting images and backgrounds to them in folk song texts. This synergy provides valuable and handy clues, which help understand the evolution of a woman in America.
27
Holmes, Dr Gloria Kirkland. "African Children’s Songs: A Legendary Teaching Tool." Journal of Education and Culture Studies 3, no. 3 (July 8, 2019): p250. http://dx.doi.org/10.22158/jecs.v3n3p250.
Анотація:
This paper presents a multicultural perspective of the historical and legendary analysis of African American children’s songs highlighting the important interpersonal familial relationships that have been noted teaching tools for African American children. The data includes multiple songs that have been used for generations to teach children values, history and cultural experiences with life enhancing strength and determination.These diverse experiences are characterized by historical practices that called for African American families to find multimodal means of teaching their children when it was against the law for African Americans to learn to read or to become educated.This research reveals that at various stages in the lives of African American children, parents and extended family members found ways to culturally educate their children. This was done through use of historical and generational African American songs and games. They have been instrumental in providing hope of a better life for those who were oppressed and often denied some of life’s inalienable rights.Teachers at all grade levels including ESL and Special Education could enhance children’s learning through use of multimodal thinking and learning activities.
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Guerrini, Susan C., and Mary C. Kennedy. "Cross-Cultural Connections: An Investigation of Singing Canadian and American Patriotic Songs." Bulletin of the Council for Research in Music Education, no. 182 (October 1, 2009): 31–40. http://dx.doi.org/10.2307/27861460.
Анотація:
Abstract The purpose of this study is to compare American and Canadian high school choral students’ knowledge of their respective patriotic songs. The questions of the study are as follows: (a) do students sing accurately their respective national anthems relative to melody and lyrics; (b) do students sing accurately "America" and "God Save the Queen" relative to melody and lyrics; (c) do students sing accurately the national anthems of each other’s country relative to melody and lyrics; and (d) is there a difference in the accuracy when students sing their respective and each other’s patriotic songs? The sample consisted of 102 secondary school students who were enrolled in non-auditioned choir classes and audio taped singing unaccompanied versions of their respective national anthems and "America" or "God Save the Queen." Results indicated that overall, Americans were significantly more proficient than Canadian singers. When converted to percentages, 77% of American students and 41% of Canadian students were judged as proficient when singing lyrics and melody of their own National Anthem. American students were significantly more accurate (p < .0001) in melody and lyrics when singing "America" than Canadian students who performed "God Save the Queen." Implications for practical application indicate that more emphasis should be placed on giving choir students the opportunity to sing their own national anthems, with special attention to typical lyric mistakes.
29
Peters, Penelope. "Deep Rivers: Selected Songs of Florence Price and Margaret Bonds." Canadian University Music Review 16, no. 1 (March 1, 2013): 74–95. http://dx.doi.org/10.7202/1014417ar.
Анотація:
This essay examines the songs of two African-American women, Florence Price (1888–1953) and Margaret Bonds (1913–72), who embarked upon their compositional studies and careers only a couple of generations after the emancipation. Both discovered in the poetry of Langston Hughes (1902–67) the means for reconciling the musical traditions of their African-American heritage with those of their European training. Through detailed analysis of the textual and musical symbolism in Price's Song to a Dark Virgin and Bonds's The Negro Speaks of Rivers and Three Dream Portraits, the author demonstrates the influence of spirituals ("plantation songs"), blues, and jazz and reveals how these African-American idioms are integrated with the melodic and harmonic idioms from the early twentieth-century European tradition.
30
Siebenaler, Dennis J. "Student Song Preference in the Elementary Music Class." Journal of Research in Music Education 47, no. 3 (October 1999): 213–23. http://dx.doi.org/10.2307/3345780.
Анотація:
In 1996, the Music Educators National Conference (now MENC—The National Association for Music Education) published a list of 42 songs that “every American should know” as part of a nationwide campaign to promote singing. The purpose of the present study was to determine student preferences for several songs on the list, as well as how familiarity with a song may be related to that preference. In addition, possible interactions of gender, grade level, language spoken at home, rehearsal, and self-evaluations of singing were also examined. Ten songs, all limited to a one-octave range, were selected from the MENC list of songs. Subjects ( N =160) were nine intact classes of third, fourth, and fifth graders (three classes at each grade level) in an urban school. During their regularly scheduled music class, subjects listened to the 10 recorded songs and rated each on a 5-point Likert-type scale for both preference and familiarity. In 10 subsequent classes, each song (one song per class) was rehearsed for 10 minutes, followed by another preference rating and a self-evaluation of performance quality. This investigation examined possible relationships between students' familiarity with a song and their subsequent preference for the song. Correlations for individual songs ranged from .40 to .64 with a mean correlation over all 10 songs at .57. A significant difference ( p < .01) between grade levels was found for both familiarity and preference. The youngest subjects responded most positively. Boys indicated a consistent decline in both song familiarity and preference from Grades 3 to 5. Grade level, gender, and language spoken at home (English or Spanish) interacted significantly ( p < .01) in their effect on song preference for these elementary students. Mean preference ratings were consistently higher after the 10-minute rehearsal with one exception (“De Colores”). The student subjects rated themselves consistently high in self-evaluations of singing.
31
Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.
Анотація:
American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.
32
Duinker, Ben. "Song Form and the Mainstreaming of Hip-Hop Music." Current Musicology 107 (January 27, 2021): 93–135. http://dx.doi.org/10.52214/cm.v107i.7177.
Анотація:
Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).
33
Garrett, Charles Hiroshi. "Chinatown, Whose Chinatown? Defining America's Borders with Musical Orientalism." Journal of the American Musicological Society 57, no. 1 (2004): 119–74. http://dx.doi.org/10.1525/jams.2004.57.1.119.
Анотація:
The music of Tin Pan Alley has proven an extremely rich source for investigations of race, ethnicity, and identity in America, most clearly with respect to Jewish American identity-making and the cultural history of black/white racial relations. The existence of a large body of Asian-themed Tin Pan Alley songs suggests, however, that other important trajectories involving the construction of ethnic and racial identity have been overlooked. To illuminate the role of music in molding ideas of Asia and Asian America, this essay focuses on the song "Chinatown, My Chinatown" by lyricist William Jerome and composer Jean Schwartz, offering detailed accounts of its origin, its 1910 Broadway debut, its presentation as sheet music, and its extensive performance history. By caricaturing local Chinatowns as foreign, opium-infested districts within U.S. borders, the song exemplifies turn-of-the-century musical orientalism as it was directed toward a local immigrant community. Yet the popular standard continues to resonate today in performance, recordings, film, television, cartoons, advertising, and the latest entertainment products. To account for the song's enduring cultural impact, this essay traces its history across diverse performance contexts over the last century.
34
Suryani, Ade Nine. "BANGTAN SONYEONDAN (BTS) AS NEW AMERICAN IDOL." Rubikon : Journal of Transnational American Studies 6, no. 1 (November 21, 2020): 48. http://dx.doi.org/10.22146/rubikon.v6i1.61489.
Анотація:
South Korean pop songs or colloquially K-pop has spread globally. America also has a massive impact on this K-pop wave phenomenon. America now gives its enormous attention to the Bangtan Sonyeondan group or BTS group because this K-pop group is prevalent and becomes the new idol in America. In the beginning, K-pop is not successful, but until BTS comes and becomes a global sensation there. This paper tries to analyze which factors enable BTS to be the new idol in America. The writer uses a qualitative method to conduct the data and reception theory from Stuart Hall in the analysis. This analysis results in BTS, as the most popular K-pop group in America nowadays, has two factors that enable them to dominate American fans. The first one is through their androgyny physical appearance that redefines American traditional macho masculinity. The second one is through messages in their songs that raise social issues and mental health problems, helping their fans survive in their harsh lives.Keywords: BTS; decoded; encoded; k-pop; reception theory
35
RICHTER-IBÁÑEZ, CHRISTINA. "Latin American Songs in the GDR and the East German Singer-Songwriter Repertoire (1970–2000): Gerhard Schöne's ‘Meine Geschwister’ in the Light of Translation Studies." Twentieth-Century Music 17, no. 3 (October 2020): 401–17. http://dx.doi.org/10.1017/s1478572220000195.
Анотація:
AbstractLatin American folkloric-popular music had an impact on the music scenes of both Germanies, where singer-songwriters emerged and became interested in Chilean Nueva Canción, the Argentinian Movimiento del Nuevo Cancionero, and Cuban Nueva Trova in the 1970s. Particularly interesting in this context is the contact of some Latin American countries with the German Democratic Republic (GDR). Based on translation theory and articles on Nueva Canción in Europe, this article examines the Latin American presence at the Political Song Festival in East Berlin and analyses some publications that focus on this annual event. The article focuses on the singer-songwriter Gerhard Schöne, who during the 1980s, took Nicaragua as a political example, as is shown in songs, and who also composed German lyrics to melodies by Violeta Parra, Atahualpa Yupanqui, and Silvio Rodríguez, transferring the songs into a new context.
36
Lilik suryani and Rajid Khurniawan. "The Impoliteness Strategies of Eminem's Song." Karangan: Jurnal Bidang Kependidikan, Pembelajaran, dan Pengembangan 3, no. 2 (September 6, 2021): 116–21. http://dx.doi.org/10.55273/karangan.v3i2.130.
Анотація:
ABSTRACT
Eminem is a famous American singer. He is one of the greatest Rapper in the world. With over 47.4 million albums and 107.5 million singles sold in America and 220 million records globally. Eminem is declared one of the best and one of the most influential writers in the history of music industry. But Eminem music was very controversial. Eminem’s songs are controversial and full of dirty lyric. And in this world, Eminem is perhaps the most successful musician who is able to use dirty lyric or impolite utterance to hypnosis his listener. This research investigated the impoliteness in the Eminem songs title Kill You, Marshall Mathers and Kim. This research used a qualitative descriptive method. The researcher used the theory of impoliteness from Culpeper (1996) to analyze Eminem’s songs. This research investigated what kinds of impoliteness strategies used by Eminem in his songs and what is the most frequently impoliteness strategies used by Eminem in his songs. The researcher took three of Eminem songs to be analyzed title Kill you, Marsahall Mathers and Kim. The research results that have been found include the following. The total number of impoliteness found is 42 data. In Kill You song are bald on record (1) data 2,38 %. Accusation (1) data 2,38 %.Taboo word (2) data 4,7% . Sarcasm (5) data 11,9 % . Ridicule (1) data 2,38 % . In Kim song are taboo word (1) data 2,38 % . Ridicule (2) data 4,7 %. Sarcasm (2) data 4,7 %. In Marshall Mathers song are sarcasm (3) data 7,14 %. Ridicule (6) data 14,2 %. Taboo word (4) data 9,5 %. Bald on record (1) data 2,38 %. Sarcasm (1) data 2,38 %. There were (2) data 4,7 % of bald on record. That was (10) data 23,8 % of sarcasm. Threat (1) data 2,38%.Taboo word (7) data 16 %.Ridicule (8) data 19 %.Accusation (1) data 2,38 %.The total impoliteness strategies found were (42)data 100 %. Based on data analysis, there are three impoliteness strategies used, namely bald on record, negative impoliteness and sarcasm. The theory of impoliteness that is the most frequently used by Eminem in his songs is sarcasm.
37
Peshek, Kathleen R., and Daniel T. Blumstein. "Can rarefaction be used to estimate song repertoire size in birds?" Current Zoology 57, no. 3 (June 1, 2011): 300–306. http://dx.doi.org/10.1093/czoolo/57.3.300.
Анотація:
Abstract Song repertoire size is the number of distinct syllables, phrases, or song types produced by an individual or population. Repertoire size estimation is particularly difficult for species that produce highly variable songs and those that produce many song types. Estimating repertoire size is important for ecological and evolutionary studies of speciation, studies of sexual selection, as well as studies of how species may adapt their songs to various acoustic environments. There are several methods to estimate repertoire size, however prior studies discovered that all but a full numerical count of song types might have substantial inaccuracies associated with them. We evaluated a somewhat novel approach to estimate repertoire size—rarefaction; a technique ecologists use to measure species diversity on individual and population levels. Using the syllables within American robins’ Turdus migratorius repertoire, we compared the most commonly used techniques of estimating repertoires to the results of a rarefaction analysis. American robins have elaborate and unique songs with few syllables shared between individuals, and there is no evidence that robins mimic their neighbors. Thus, they are an ideal system in which to compare techniques. We found that the rarefaction technique results resembled that of the numerical count, and were better than two alternative methods (behavioral accumulation curves, and capture-recapture) to estimate syllable repertoire size. Future estimates of repertoire size, particularly in vocally complex species, may benefit from using rarefaction techniques when numerical counts are unable to be performed.
38
Crowther, Gregory J., Jason Wessels, Lawrence M. Lesser, and Jennifer L. Breckler. "Is memorization the name of the game? Undergraduates’ perceptions of the usefulness of physiology songs." Advances in Physiology Education 44, no. 1 (March 1, 2020): 104–12. http://dx.doi.org/10.1152/advan.00112.2019.
Анотація:
The possible benefits of using music to enhance learning of STEM content are numerous, diverse, and largely unproven. We sought to determine which (if any) of these possible benefits are commonly experienced by undergraduate students and are thus especially worthy of further investigation. Four hundred ninety-three students in nine physiology courses at two midsized American universities rated the usefulness of short instructor-penned mathematical physiology songs and explained in their own words why each song would or would not be a useful study aid. The students collectively perceived the usefulness of each song to depend on both academic factors (e.g., the lyrics’ clarity or relevance to the course) and aesthetic values (e.g., the appeal of the rhythm or the quality of the singing). Most strikingly, although students’ free responses were brief (median length: 18 words in study phase 1, 16 words in study phase 2), nearly one-half of them (1,039 of 2,191) concerned memory, suggesting that many students see educational songs primarily as mnemonic devices. A second major theme of students’ comments concerned the conciseness and information density of the songs. Though all 10 songs were brief, lasting 17–54 s, students seemed to prefer shorter songs (perhaps better called “jingles”). This first-of-its-kind data set on student perceptions of educational songs should inform the creation and usage of such songs, as well as further research on their possible value.
39
Kramer, M. J. "Life Flows On in Endless Song: Folk Songs and American History." Journal of American History 97, no. 4 (March 1, 2011): 1102. http://dx.doi.org/10.1093/jahist/jaq091.
40
Browner, Tara, Mickey Hart, and Thomas Vennum. "American Warriors: Songs for Indian Veterans." Ethnomusicology 43, no. 2 (1999): 385. http://dx.doi.org/10.2307/852751.
41
GARBER, MICHAEL. "“Some of These Days” and the Study of the Great American Songbook." Journal of the Society for American Music 4, no. 2 (April 15, 2010): 175–214. http://dx.doi.org/10.1017/s1752196310000027.
Анотація:
AbstractSupporting a new methodology for the study of classic American popular songs, this article offers a history of both the print editions and recorded versions of “Some of These Days” (1910) by Shelton Brooks. This saga commences with a hitherto unanalyzed precursor to Brooks's famous song that shares nearly the same opening words and melody, the 1905 “Some o' Dese Days” by Frank Williams. It continues through nine major print editions and numerous recorded performances, of which this study examines forty-six, including ten as the theme song for Sophie Tucker. Performers are clearly influenced by both performed and printed variations; more surprisingly, print editions are also influenced by performers. Thus, Tin Pan Alley songs are best viewed as products of collaboration within a community of songwriters, publishers, and performers. Brooks fills “Some of These Days” with compositional details that are conducive to effective performance variations. This elusive intrinsic adaptability represents, for 1910, a modern, innovative quality and is central to any understanding of this song genre. Oft-neglected, such early popular standards—poised at the juncture of musical cultures, oral and print, amateur and professional, live and mediatized—help the critical historian pinpoint aspects that make this repertoire valuable.
42
Metzer, David. "Reclaiming Walt: Marc Blitzstein's Whitman Settings." Journal of the American Musicological Society 48, no. 2 (1995): 240–71. http://dx.doi.org/10.2307/3128815.
Анотація:
Between 1925 and 1928, Marc Blitzstein composed nine songs to texts by Walt Whitman. These settings highlight homoerotic and corporeal thematics, which dominant views of the poet had either obscured or denied. Challenging such interpretations, Blitzstein advanced a reclaiming of Whitman by homosexual readers. Subtitled "songs for a coon shouter," four of these settings introduce African American elements, either through "coon song" gestures or through incorporation of jazz idioms. These appropriations were intended to enhance Whitman's eroticism. They also create tensions between the "primitive" and the "civilized," high and low art, and white and black bodies.
43
Gudmundsdottir, Helga, and Sandra Trehub. "Adults recognize toddlers’ song renditions." Psychology of Music 46, no. 2 (July 1, 2017): 281–91. http://dx.doi.org/10.1177/0305735617711762.
Анотація:
The present study explored the singing ability of toddlers 16 months to 3 years of age by examining North American adults’ ability to identify toddlers’ renditions of familiar tunes sung with foreign lyrics. After listening to each toddler’s song, half with familiar melodies and half with unfamiliar melodies, adults attempted to name the songs. Their identification was highly accurate, refuting the prevailing view that toddlers focus on words at the expense of tunes. The singing range of these non-English-speaking toddlers and that of their English-speaking counterparts approximated the pitch range of the target songs, which is inconsistent with the reportedly small singing range of toddlers. Toddlers’ apparent singing proficiency in the present context may stem from the use of home-based recordings and child-selected songs.
44
HAMBERLIN, LARRY. "Visions of Salome: The Femme Fatale in American Popular Songs before 1920." Journal of the American Musicological Society 59, no. 3 (2006): 631–96. http://dx.doi.org/10.1525/jams.2006.59.3.631.
Анотація:
Abstract This article documents representations of Salome, an archetypal exotic femme fatale, in American popular songs of the early twentieth century. The production of Salome songs began shortly after the sensational 1907 U.S. premiere of Richard Strauss's Salome at New York's Metropolitan Opera. Vaudeville performers, beginning with the Met's own prima ballerina, capitalized on the ensuing fad for Salome dances, which the New York Times called “Salomania.” Relevant songs and dances figured in musical comedies and revues until some time after the return of Strauss's opera to the New York stage, in the 1909 Manhattan Opera Company production with Mary Garden in the title role. Through the next decade, musical, lyrical, and illustrative tropes that originated in the Salome songs became disassociated from the figure of Salome, gradually merging into “oriental fox-trots” and exotic romance songs. The topical humor of the Salome songs suggests that American audiences were skeptical of the allure of orientalist fantasy, then at its height in Europe, and that an unwillingness to grant artistic legitimacy to Salome's religious-themed eroticism is an important marker of the American reception of works such as Strauss's.
45
MONGE, LUIGI. "Their eyes were watching God: African-American topical songs on the 1928 Florida hurricanes and floods." Popular Music 26, no. 1 (January 2006): 129–40. http://dx.doi.org/10.1017/s0261143007001171.
Анотація:
This study focuses on the five known African-American topical songs dealing with the two hurricanes and ensuing floods that took place in Florida in the summer of 1928. The first is a commercially recorded blues song and the others are unreleased Library of Congress sacred recordings, which are transcribed and analysed here for the first time.
46
Juravich, Tom. "“Bread and Roses”." Labor 17, no. 2 (May 1, 2020): 81–100. http://dx.doi.org/10.1215/15476715-8114769.
Анотація:
This paper traces the history of the song “Bread and Roses” to examine labor culture and the role of song in the labor movement. In the late 1930s and early 1940s, “Bread and Roses” was included in several of the first generation song books produced by unions that reflected an expansive and inclusive labor culture closely connected with the Left. With the ascendance of business unionism and the blacklisting of the Left after the war, labor culture took a heavy blow, and labor songbooks became skeletons of the full-bodied versions they had once been. Unions began to see singing not as part of the process of social change but as a vehicle to bring people together, and songs such as “Bread and Roses” and other more class-based songs were jettisoned in favor of a few labor standards and American sing-along songs. “Bread and Roses” was born anew to embody a central concept in the women’s movement and rode the wave of new music, art, and film that were part of new social movements and new constituencies that challenged business unionism and reshaped union culture in the 1980s.
47
Zavracky, Gregory. "John Musto’s Viva Sweet Love: An Exploration of Love in All its Forms." Journal of Singing 79, no. 4 (February 22, 2023): 457–67. http://dx.doi.org/10.53830/ybwt3883.
Анотація:
Viva Sweet Love is a cycle of five songs by American composer John Musto, settings of poetry by E.E. Cummings and James Laughlin. It provides detailed information on the cycle, including biographic information on the composer and poets, along with details about Musto’s general music style, technical considerations for the singer and pianist, poem synopses, and song analyses.
48
LEE, JUNG-MIN MINA. "Minjung Kayo: Imagining Democracy through Song in South Korea." Twentieth-Century Music 20, no. 1 (February 2023): 49–69. http://dx.doi.org/10.1017/s1478572222000470.
Анотація:
AbstractDuring South Korea's authoritarian period (1961–87), student activists employed songs to express their anti-government and pro-democratic views. Known as minjung kayo (people's songs), these protest songs can be traced to the modern American folk music embraced by South Korean youth in the 1960s. By the late 1980s, however, minjung kayo carried emphatically anti-American, nationalistic, and socialist tones, echoing the minjung ideals that strove to achieve authentic ‘Koreanness’. This article unravels the complexities underlying the process of minjung kayo's development into an emblem of the pro-democratic movement, which entailed a shift away from its initial reflective and poetic style inspired by American folk music (exemplified in the songs of Kim Min-ki) and a move towards the militant style influenced by the Marxist composer Hanns Eisler. It argues that minjung kayo embodied the complex relationship South Korean activists held with their colonial past and autocratic present, as well as visions of their democratic future.
49
Neubarth, Kerstin, and Darrell Conklin. "Identification and Description of Outliers in the Densmore Collection of Native American Music." Applied Sciences 9, no. 3 (February 7, 2019): 552. http://dx.doi.org/10.3390/app9030552.
Анотація:
This paper presents a method for outlier detection in structured music corpora. Given a music collection organised into groups of songs, the method discovers contrast patterns which are significantly infrequent in a group. Discovered patterns identify and describe outlier songs exhibiting unusual properties in the context of their group. Applied to the collection of Native American music collated by Frances Densmore (1867–1957) during fieldwork among several North American tribes, and employing Densmore’s music content descriptors, the proposed method successfully discovers a concise set of patterns and outliers, many of which correspond closely to observations about tribal repertoires and songs presented by Densmore.
50
Schrader, Arthur F., and Vicki L. Eaklor. "American Antislavery Songs: A Collection and Analysis." Journal of the Early Republic 8, no. 4 (1988): 472. http://dx.doi.org/10.2307/3123195.