Дисертації: "Song language"

1

Stewart, Andrew Philip. "Participant identity in the Song of songs." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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2

Black, Fiona Catherine. "The grotesque body in the Song of Songs." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311696.

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3

Rodrigo, Lasantha. "Firefly Song." Thesis, Illinois State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623457.

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Chethiya is a brown, gay, disabled (ultimately), abused young man from Sri Lanka, who comes to the U.S. on a full scholarship. His dream is to be a Broadway star, but after coming out of his first relationship with an emotionally abusive, alcoholic man, he is diagnosed with multiple sclerosis, a chronic, degenerative neurological disease that results in demyelination, causing progressive debilitation. The story is divided into six chapters that narrate his life under various marginalizations he is subjected to, culminating in traumatization. The story, however, ends on a positive note of redemption with the narrator looking forward to his days to come.

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4

Marcus, Diveena Seshetta. "Sounds from the heart: Native American language and song." Thesis, Montana State University, 2011. http://etd.lib.montana.edu/etd/2011/marcus/MarcusD0511.pdf.

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Our world is witnessing the rapid extinction of indigenous cultures through colonization. This thesis is presented not to amplify decolonization but to honor the value and meaning of the oral society and its indigenous peoples through their culture's traditional and necessary components of language and song. The basis of this thesis pertains to the author's tribal relatives, the Coast Miwok original people of California known as Tamal Michchawmu which literally translates as the People of the West Coast. The author chooses to use this work as an advocacy for the worldview of indigenous peoples, particularly to matriarchal societies in which the Tamal Michchawmu are included. In this thesis, stories and interviews with scholars and with Native Americans studying their language and singing their songs as well as the author's personal experiences are included as support to the theory that language and song are formed from the foundation of a philosophy that is grounded within a peoples relationship with the land. My thesis question is: If this worldview is resurrected, how can it contribute to its indigenous people in a modern society?

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5

Campbell, Genevieve. "Ngarukuruwala - we sing: the songs of the Tiwi Islands, Northern Australia." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10520.

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Through an analysis of Tiwi song composition techniques and comparison between performances recorded over the last hundred years, I give, for the first time in the literature, a comprehensive musical description of the Tiwi song repertory, showing that while it is primarily based on innovation, it forms a continuum of oral tradition, relying upon the acquisition of complex musical, linguistic and poetic composition skills. I place the Tiwi initiation ceremony, Kulama, as the centre-point of song creativity and instruction and suggest that its near-disappearance, along with social and linguistic change, have put the future of Tiwi extemporised song practice in jeopardy. The framework for this study is the repatriation to the Tiwi community of ethnographic field–recordings of Tiwi songs, made between 1912 and 1981, archived at the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) in Canberra. Drawing from the corpus of approximately 1300 recorded song items, I find that the fundamentally contemporary, topical and current nature of the Tiwi song culture has resulted in a rich social, cultural and historical oral record being preserved amongst the song texts. Documenting the physical, emotional and artistic journeys of a particular group of elders who travelled to Canberra to reclaim the recordings, I recount some of the outcomes of the reclamation and I discuss the impact the recordings’ return is having on the current performance practice, the future of song knowledge transmission and the future of improvisatory composition skills. In the context of Ngarukuruwala- we sing songs, a collaborative music project involving a group of song-women from the Tiwi Islands and jazz musicians from Sydney, I also report on new music projects instigated by a group of Tiwi women who are working to maintain and develop song and language skills in young Tiwi people, negotiating new forms of music while maintaining Tiwi song traditions.

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6

Ingram, Catherine. "Word and Song: The Paradox of Romanticism." TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/805.

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Among the various outcomes of the Romantic period, an interest in the relationship of the arts remains a widely recognized yet rarely examined field of study. Music and literature seemed to develop a particular kinship, yet to identify the exact relationship is as difficult as defining Romanticism itself. In this study, I attempt to do both. In exploring the concept of Romanticism, its paradoxical development from Classicism is examined through the comparison of six great composers and poets of the period. By tracing the similarities and differences in style of Beethoven/Wordsworth, Schumann/Keats, and Brahms/Tennyson, hopefully a clearer understanding of the evolution of Romanticism is achieved. These artists, although creating through different mediums, address the apparent rejection of Neoclassicism, the apex of Romanticism, and the realization of its limitations. The result is the revelation of the paradox of Romanticism. For each artist, the realization of the Romantic spirit presents contrasts. Ultimately, the rejection of Neoclassic thought becomes as important to Romanticism as its dependence on Neoclassic form. These six artists achieved success not only because of their talents but also because of their acknowledgement of this fact. In this study, I trace their development through the rise and fall of Romanticism as more than instances of shared techniques or borrowed texts; the similarities in thought, poetic vision, and style shared by these artists are explored as well. The paradox of Romanticism is revealed through the interrelationship of poetry and music.

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7

Hintz, Patricia Louise. ""Song of the Husbandman": A Critical Edition." W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625525.

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8

Nguyen, Song Huyen Chau. "Impact of digital game-based learning to support students’ cognitive skills development for English language learning in Vietnam." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206449/1/Song%20Huyen%20Chau_Nguyen_Thesis.pdf.

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This research examined how EFL students may enhance their EFL learning by developing cognitive skills through digital game-based learning in a Vietnamese higher education context. The research adopted a qualitative approach involving a cognitive task analysis approach with a pre- and post-test design. The findings indicated that the adoption of digital game-based learning in EFL learning might have had a positive impact on the participants’ cognitive skills development and learning outcomes. The findings of this study contribute to further understanding of the interrelationship between digital game-based learning and cognitive skills in enhancing teaching and learning in the EFL discipline.

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9

Stillman, Johanna. "Love Song." Thesis, Konstfack, Institutionen för Konst (K), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5791.

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Love Song is an essay about romance, passion, obsession, attraction, Eros, intoxication, infatuation, to fall in love and love. Love songs, as artworks, are almost always directed towards a nameless “you” and this essay wants to talk to you. The text might be seen as a way to create and rewrite something, a performance to understand other performances, a dwelling on past relationships, a love letter, or just a text for me to vent you with others that have been thinking about you. I would love to hear Elsa von Freytag-Loringhoven, Chris Kraus, Beyoncé, Bell Hooks, Anaïs Nin and Taylor Swift talk to each other about art and romances, but because that is an impossible dream I try to connect them and many other thinkers, artists and singers through language. One of them, Roland Barthes once wrote: "Language is a skin: I rub my language against the other. It is as if I had worlds instead of fingers, or fingers at the tip of my worlds."[1] Love Song is, more than anything else an attempted to touch you, a strategy to better understand the way you made and make me feel. [1] Roland Barthes, A Lover’s Discourse – Fragments, original: Fragments d’un discours amoureux, 1977, translation from French: Richard Howard, Edition du Seuil, 1978, p. 73.

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10

Stanovick, Lucy. "Popular song as text in the lives of young adults." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3052218.

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11

Myrseth, Denice. "Musik och språk i förskolan : En kvalitativ studie om hur sång och musik kan användas som ett språkutvecklande verktyg för barn." Thesis, Södertörns högskola, Lärarutbildningen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-28918.

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In this essay I have investigated how music and song can promote children’s language development. I have investigated what the preschool teachers think about music connected to language development and if they believe that they need to have the skills and experience for it to become a learning experience for children. I have done my research at two different preschools to support my findings. In each preschool I have interviewed a preschool teacher and also studied the children and teachers when they sang and made music together. The results I have gathered show that language and music have common components like rhythm, tone, pauses and melodies. During my observations I could see that the teachers used tools like movement, objects and sign language to promote the understanding of the words in the songs. In the result we also can see that the preschool teachers possess insight in the importance of music connected to children’s language development. Songs with movement are a commonly used tool which serves to lift children’s language development. This is because that through movement they can give meaning to the lyrics in the song. However it is important that the preschool teachers are devoted in their work with music with children. The educator must be aware of the importance of the social interaction and show an interest in the work with music. A danger can be that educators that aren’t aware of the importance of music or doesn’t show any interest in what’s being done will rub off their emotions onto the children that will increase a risk of little to no development or learning taking place.

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12

Stark, Nathalie. "Svenska är ett sjungande språk : utveckling av svenska som andraspråk genom sång och musik." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-33905.

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There are different ways of developing a second language. The purpose of this qualitative study is to investigate whether and possibly how music, focused on singing, can improve the development of Swedish as a second language. Through interviews with three vocal teachers, from three different schools in Sweden, and observations of one of the vocal teachers, information about how they work and think about the subject has been collected. The vocal teachers teach groups of second language learners by singing songs made especially for second language learning. The vocal teachers consider singing beneficial in the development of the pronunciation and improvement of the prosody, which affects the students’ capacity to sound like a native Swedish speaker. They also mention factors which contradict the positive improvement of the language learning, for example when the prosody in singing does not coincide with the prosody in speech, which inhibits learning. The teachers are however in agreement about singing being beneficial and the categories of prosody, joy and pleasure are emphasized.

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13

Fu, Xiaowei. "The LOVE IS A UNITY Metaphor in Love Song Lyrics." Thesis, Kristianstad University College, Department of Teacher Education, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-5803.

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14

Altabev, Mary. "Judeo-Spanish in the Turkish social context : language death, swan song, revival or new arrival?" Thesis, University of Sussex, 1996. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.482078.

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15

Ortiz, Camille. "Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984247/.

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Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.

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16

Zetzer, Emily E. "Examining Whether Instrument Changes Affect Song Recognition the Way Talker Changes Affect Word Recognition." Cleveland State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=csu1463321447.

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17

Musiyiwa, Mickias. "The narrativization of post-2000 Zimbabwe in the Shona popular song-genre : an appraisal approach." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80237.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: The study explores the post-2000 popular song genre (expressed in Shona) in order to analyze its rhetorical potential in its appropriation as a medium for the construction and contestation of meanings concerning land, history and selected (political, social and religious) identities. The goal is to discover how the turbulent post-2000 period in Zimbabwe is narrativized through the lyrics of popular songs. The rationale to focus on popular songs in the context of this period was my observation of the uniquely high level of appropriation of the popular song in the Zimbabwean public sphere by political parties and the ordinary people to communicate various discourses (of their interest). The period surpasses by far the pre-2000 era in its rate of output of songs. Old songs were revived and new ones composed while new musical genres emerged and existing ones thrived. I also noted in previous researches gaps in both theoretical and coverage of the analyses of popular songs in Zimbabwe. There is little in terms of linguistically-rooted approaches while analyses are largely limited to politically-inspired songs. I therefore, besides the politically-oriented songs, also explore socially and religiously-oriented songs. I adopt a multi-perspective approach combining APPRAISAL, genre, “small stories/voices” and the “rediscovery of the ordinary” frameworks to study the rhetorical property and capacity (to communicate) of the popular song. I employ the APPRAISAL theory to deal with the songs’ language of evaluation in terms of the authorial stances and ideological positions singers adopt. I utilize the genre theory in making a typology of the various popular song texts on the basis of their communicative properties (which determine their rhetorical purposes). I employ the remaining theories to classify the songs into three clusters (‘grand narrative songs’; ‘small stories/voices songs’ and ‘songs of ordinary life’) based the sources of their ideological concerns. In pursuit of the connection between the songs’ language and its communicative effects, I note in chapters two, four, five and six, the high level of intertextuality the post-2000 popular song has assumed. I argue that the unique intertextuality can be explained in relation to the high demands being placed on the language of the song texts by composers and singers in a context in which the state and opposition are pitted in an intense competition for the “power to mean”. The state appropriates the popular song to demonize and delegitimate the opposition at the same time legitimating its hegemony, based on patriotic discourses derived from chimurenga (nationalist) grand narrative values. On the other hand, the opposition manipulates the popular song to legitimate its struggle for change through counter-state discourses exposing Zanu-PF’s political vices and debasing its power. The ordinary people also appropriate the popular song in their struggle to resolve issues of personal concern in their attempt to give meaning to their lives. It is therefore the study’s main thesis that the popular song in post-2000 Zimbabwe narrativizes the period in unique ways as illustrated through the manipulation of its rhetorical potential to construct meanings concerning land, history and identities.
AFRIKAANSE OPSOMMING: Die studie het die populêreliedjiegenre (in Shona uitgedruk) ná 2000 verken om die retoriese potensiaal by die aanwending as ŉ medium vir die konstruksie en omstredenheid van betekenisse rakende grond, geskiedenis en geselekteerde (politieke, maatskaplike en godsdienstige) identiteite te ontleed. Die doel was om vas te stel hoe die turbulente tydperk ná 2000 in Zimbabwe deur die lirieke van populêre liedjies aangebied word. Die rasionaal om op populêre liedjies teen die agtergrond van hierdie tydperk te fokus was my waarneming van die buitengewoon hoë vlak van aanwending van die populêre liedjie in die Zimbabwiese openbare sfeer deur politieke partye en gewone mense om verskillende diskoerse (tot eie voordeel) te kommunikeer. Die tydperk oortref verreweg die tydperk voor 2000 wat betref die spoed waarteen liedjies verskyn. Ou liedjies is opgediep en nuwes is gekomponeer terwyl nuwe musiekgenres na vore gekom en bestaandes floreer het. Ek het ook leemtes in vorige navorsing opgemerk, beide ten opsigte van die teoretiese ontledings van populêre liedjies in Zimbabwe en die dekking daarvan. Daar bestaan min inligting ten opsigte van linguisties-begronde benaderings terwyl ontledings hoofsaaklik beperk is tot polities-geïnspireerde liedjies. Ek het dus, afgesien van die polities-georiënteerde liedjies, ook liedjies wat sosiaal en godsdienstig geïnspireer is, ondersoek. Ek het ŉ multiperspektiefbenadering ingeneem en raamwerke met betrekking tot WAARDEBEPALING, genre, “klein stories/stemme” en die “herontdekking van die gewone” gekombineer om die retoriese eienskap en kapasiteit (om te kommunikeer) van die populêre liedjie te bestudeer. Ek het die teorie van WAARDEBEPALING aangewend ten einde aan die liedjies se evalueringstaal ten opsigte van die standpunte wat die skrywers inneem en ideologiese posisies van die sangers aandag te gee. Ek het die genreteorie gebruik om ŉ tipologie van die verskillende populêre liedjietekste op grond van hulle kommunikatiewe eienskappe (wat hulle retoriese doelwitte bepaal) op te stel. Ek het die oorblywende teorieë gebruik om die liedjies in drie groepe te klassifiseer (‘meesternarratief-liedjies’, ‘liedjies oor klein stories/stemme’ en ‘liedjies oor die gewone lewe’) gebaseer op die bronne van hulle ideologiese besorgdhede. In ŉ soeke na die skakeling tussen die taal van die liedjies en die kommunikatiewe effekte daarvan, wys ek in hoofstukke twee, vier, vyf en ses op die hoë vlak van intertekstualiteit wat die populêre liedjie ná 2000 aangeneem het. Ek voer aan dat die unieke intertekstualiteit verklaar kan word in verhouding met die hoë eise wat deur komponiste en sangers aan die taal van die liedjies se tekste gestel word in ŉ konteks waarin die staat en opposisie in konflik verkeer in ŉ intense wedywering om die “mag om te beteken”. Die staat eien hulle die populêre liedjie toe ten einde die opposisie te demoniseer en te delegitimeer en terselfdertyd sy hegemonie te legitimeer, gebaseer op patriotiese diskoerse afgelei van chimurenga (nasionalistiese) waardes van die meesternarratief. Aan die ander kant, die opposisie manipuleer die populêre liedjie om sy stryd om verandering te legitimeer deur diskoerse te weerlê en so Zanu-PF se politieke gebreke aan die kaak te stel en sy mag te verminder. Jan Alleman en sy maat eien hulle ook die populêre liedjie toe in hulle stryd om kwessies van persoonlike kommer uit die weg te ruim in hulle poging om betekenis aan hulle lewens te gee. Dit is dus hierdie studie se hoofhipotese dat die populêre liedjie in Zimbabwe ná 2000 die tydperk op unieke wyses beskryf soos geïllustreer deur die manipulasie van die retoriese potensiaal daarvan om betekenisse rakende grond, geskiedenis en identiteite te konstrueer.

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18

Crawford, Candace. "A Song of Rape and Infanticide: "Sir John Doth Play"." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1962.

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The Middle English lyric, “Sir John Doth Play,” narrated in the female voice clearly depicts rape by a male authority figure and the narrator’s distress over her unplanned pregnancy, yet has been repeatedly interpreted and introduced by critics as a love song portraying the interaction of a seductive village priest and a gullible maiden. As such, the lyric provides a unique perspective on the patriarchal nature of the twentieth century and the value of critically re-examining literature rather than canonizing accepted interpretations of literary work.

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19

Jones, Natalie. "Lost in Translation : To what extent can sign language be used to translate the meaning of the text for hearing audiences in classical vocal music?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3625.

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The purpose of this project is to examine the extent to which sign language can be used as a means of communicating the text for hearing audiences attending classical vocal recitals. The project discusses historical practices for providing text translation of classical repertoire sung in foreign languages and gives an account of the increasing popularity of sign language interpretation for hearing audiences within the contemporary, commercial music industry. A trial performance is undertaken in order to examine the effectiveness of the idea in the context of classical vocal music. Feedback is gathered from the audience and singer’s perspective during performance and through observations made by studying the video documenting the performance.

The sounding part of the work consists of the following recording: NJones100619. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording may be supplemented.

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Manukyan, Kathleen L. "The Russian Word in Song: Cultural and Linguistic Issues of Classical Singing in the Russian Language." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308311801.

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21

Driskill, Qwo-Li. "Yelesalehe hiwayona dikanohogida naiwodusv God taught me this song, it is beautiful : Cherokee performance rhetorics as decolonization, healing, and continuance /." Diss., Connect to online resource - MSU authorized users, 2008.

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Thesis (Ph. D.)--Michigan State University. Dept. of Rhetoric and Writing, 2008.
Title page also has title printed in Cherokee syllabics. Title from PDF t.p. (viewed on July 10, 2009) Includes bibliographical references (p. 281-290). Also issued in print.

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22

Antonsson, Emelie. "Understanding the Meaning of English Idiomatic Expressions in Song Lyrics : A Survey Regarding Swedish University Students’ Understanding of Idiomatic Expressions in English Song Lyrics." Thesis, Högskolan i Halmstad, Sektionen för lärarutbildning (LUT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17887.

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The general field of interest for this study is the Swedish public’s level of awareness of non-literal and figurative language, such as idioms and metaphors, in English. The English language can be considered to be evolving into Sweden’s second language, since it is present in so much more than school, for example, on television, computers and radio. This study aims to gain an insight into the degree of understanding of common idiomatic expressions in popular English song lyrics by native Swedish speakers. University students were chosen as the sample group and twelve of them were asked to explain their understanding of selected English idioms which occur in songs with which they were likely to recognize. The results have then been analyzed and it was possible to establish the degrees of understanding, misunderstanding and failure to understand. Firstly, the participants have explained the expression out of context, and secondly they were asked to explain it in the context of the song. This was to see whether the expressions appear to have been easier to understand out of context or in context. Earlier research show difficulties in defining the term idiom, and in this survey the term idiomatic expression has been used and defined as a way of speaking or writing that does not make any literal sense, even though the expressions are used all the time and people familiar with the language generally recognize them and understand their meaning. Earlier research has facilitated the analysis by the use of terms, theories and definitions on various ways of understanding metaphors, metonymy and idioms, and how these might, or might not, differ between Swedish and English. The results of this survey show that most of the expressions appear to have been easier to explain and understand when seen and heard in the context of the song. Although, some expressions appear to have been very alien to the participants, which has resulted in misunderstandings and failure to understand both in and out of context of the song lyrics in question.

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Riggs, Rawlianne. "The Brazilian Art Song and the Non-Brazilian Portuguese Singer: A Performance Guide to Nine Songs by Alberto Nepomuceno." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505176/.

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Alberto Nepomuceno (1864-1920) is considered to be the father of the Brazilian art song. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His songs were innovative because they: (1) incorporated folk elements in his songs, (2) introduced Portuguese as a language acceptable in bel canto style and (3) established Brazilian songs in the tradition of the European vanguard. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), one of the most significant Latin American composers. The purpose of this research is to inform singers and teachers about one of Brazil's most significant art song composers, and to provide the necessary tools--Brazilian Portuguese diction guide, IPA and poem translations of the selected songs--for effective and accurate performances and interpretations.

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Johnson, Mikhail Maurice. "Jamaican Plight: A Song Cycle for High Voice and Piano." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1493917086021239.

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25

Kruger, Candace. "In The Bora Ring: Yugambeh Language and Song Project - An Investigation into the Effects of Participation in the ‘Yugambeh Youth Choir’, an Aboriginal Language Choir for Urban Indigenous Children." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/365270.

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Knowledge of Indigenous language and identity for Australian Indigenous children is vital. Despite this there has been little research into the effects that living culture practice affords Australian Indigenous children through learning heritage language. Yarrabil (to sing) is one way in which Indigenous youth can participate in learning Indigenous language. Through a series of surveys, wula bora (focus group) sessions, interviews and reflections, the jarjum (children) of the Yugambeh language region assisted to discover how the process of participation in an urban Aboriginal children’s language choir can play an integral part in youth leadership, language acquisition, well-being (self-efficacy), and Identity and Aboriginality. The research also demonstrates how a language choir can safe-guard language and culture whilst building socio-cultural capital within an Indigenous community. The National Indigenous Languages Survey Report of 2005 listed the Aboriginal language Yugambeh of the Gold Coast, Logan and Scenic Rim regions of South-East Queensland, Australia as endangered. This thesis investigates an alternate way to girrebba (wake up) a sleeping language and engage youth in the process of learning their heritage language. The ‘Yugambeh Language and Song project’ provides academic knowledge in a relatively unstudied field, supports living culture practice and provides a model to assist other Indigenous communities to sing their language alive.
Thesis (Masters)
Master of Arts Research (MARes)
School of Humanities, Languages and Social Science
Arts, Education and Law
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26

Ericsson, Linnea. "Musik och Språkutveckling : Musik som ett pedagogiskt redskap i förskola och förskoleklass." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31123.

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I den här uppsatsen har jag undersökt hur musik kan vara främjande för barns språkutveckling. Jag har studerat gemensamma aspekter mellan musik och språk och undersökt hur pedagoger arbetar med musik som en språkfrämjande metod i förskolan. Jag har besökt fyra förskolor, på varje skola har jag intervjuat en pedagog och observerat en musiksamling. Jag har observerat både yngre och äldre barn, från ett år till sex år gamla. Ingen av skolorna har musik som profil, men pedagogerna förklarade att de sjunger och musicerar regelbundet med barnen. De resultat jag har kommit fram till visar att musik och språk har gemensamma komponenter som ton, rytm, pauser och melodier. Genom observationerna kunde jag se att musiken skapade kommunikation mellan barn och pedagoger, att barnen imiterade melodier och rytmer i tal och sång, att de övade sitt lyssnande och att pedagogerna använde hjälpmedel som rörelser och bilder tillsammans med musiken, vilket kan främja ordförståelsen. Pedagogerna ansåg att de använder musik och sång för att kommunicera med barnen, att träna melodier i språket, de trummar rytmer på stavelser och som hjälp vid inlärningen av nya ord och begrepp.
In this essay I have investigated how music can promote children’s language development. I have studied common aspects between music and language and investigated how teachers in preschool work with music as a method for language development. I have visited four schools, in each school I made an interview with one preschoolteacher and one observation of children and teachers when they sang and made music together. I have observed both younger and older children, from one to six years old. None of the schools have music as a profile for their work, but the teachers explain that thay sing and make music with the children regularly. The results I have received show that music and language have common components like tone, rythm, pauses and melodies. During the observations I could see that the music created communication between the children and the teachers, that the children imitated melodies and rythms in speech and song, they practiced their ability to listen and the teachers used tools like movement, pictures and objects together with the music, which can be promoting for the understanding of words in the song. The teachers considered that they use music and songs as a way of communicating with the children, to practice melodies in the language, make rythms with syllables and as a support by learning new words and concepts.

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McGarry, Theresa. "The L1 in L2 learning - Teachers’ Beliefs and Practices by Yanan Song and Stephen Andrews." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/6160.

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28

Ahrling, Jane. "A Feminist Reading of The House of the Spirits, Song of Solomon, and One Hundred Years of Solitude." Thesis, Mittuniversitetet, Institutionen för humaniora, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-13840.

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Bergan, Caroline Patricia. "EDVARD GRIEGRecognizing the Importance of the Nationalist Composer on the International StageIPA Transliteration of Three Song Cycles." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1590059725731227.

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Rodrigues, Irailda Eneli Barros Silva. "THE ART SONG OF EDMUNDO VILLANI-CÔRTES: A PERFORMANCE GUIDE OF SELECTED WORKS." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/25.

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The purpose of this study is to present a performance guide for singers on twelve selected songs in Brazilian Portuguese for voice and piano by Brazilian composer, pianist, and arranger Edmundo Villani-Côrtes (b.1930). Since 1949, Villani-Côrtes has been active in the musical scene of Brazil. He has a unique compositional style that seamlessly combines elements of both art music and popular music. Villani-Côrtes’s body of works includes over two hundred compositions for solo instrumental music, orchestral music, choral music, and art song. He has written over sixty songs in Brazilian Portuguese, including the Ciclo Cecília Meireles (1987), winner of the 1988 Prize of the Associação Paulista de Críticos de Arte (A.P.C.A.), but most of these remain unpublished. This performance guide is the result of three years of research, study and personal communication between the author, Villani-Côrtes, and poets whose words the composer used as lyrics. It offers a comprehensive body of information relevant for both the performer and voice teacher who approach this new and untraditional repertoire. It includes a concise biography of the composer, biographical information for the poets, comments on the compositional style of Villani-Côrtes, an overview of the Brazilian Portuguese International Phonetic Alphabet (IPA)—with a chart of Brazilian Portuguese Sounds, IPA transcriptions with English word-by-word translations and poetic versions of all the lyrics, comments from the composer and the poets on each of the songs, and the technical information, pedagogical suggestions, and interpretative insights provided by the author.

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Stamper, Randall Lawrence. "Gonna Spread the News all Around: Early, African-American Popular Song as Spoken Newspaper." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2136.

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Gavelin, Emma. "Conceptual metaphors: a diachronic study of LOVE metaphors in Mariah Carey's song lyrics." Thesis, Umeå universitet, Institutionen för språkstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-116716.

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This essay is an account of an investigation of conceptual metaphors of LOVE in two albums by singer Mariah Carey. It also includes an investigation of if LOVE metaphors were used differently at the beginning of her career from how they are used twenty-four years later. The study is based on the singles of Carey's debut album and those of her latest album. The analysis showed that although the songs are separated by approximately twenty years the LOVE metaphors most reflected in the song lyrics were the same in both albums. The results also showed that the source concept which was most typically used overall was also reflected to describe the target concept in both albums. However, the variation of LOVE metaphors was greater in the singles of her debut album.

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Jerling, P. A. (Petra Adriana). "Music therapy for second language English-speaking learners in an english-medium school : a case study." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41587.

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In many South African schools where English is used as the language of instruction learners with a different mother tongue are accepted, yet they may experience many challenges. In this research study I investigated whether group music therapy sessions can have a positive impact on such learners in relation to particularly two of these difficulties. The first difficulty is social interaction and integration. The second difficulty is their negative attitude towards English, the school and their school work. This difficulty develops because of their weak competency in the language. The paradigm in which this study falls is interpretive and a qualitative approach was used. A case study design was utilised. Ten music therapy sessions were offered to a group of nine grade eight boys from three different linguistic backgrounds: three English home language speakers, three Portuguese home language speakers and three siSwati home language speakers. Music therapy offers a non-threatening environment in which group members can creatively interact. I made use of an array of techniques including improvisation, movement, song writing and musical games where group members had opportunities to express themselves in an unconventional way. Three different sources of naturally-occurring data were used. Questionnaires were filled in by all participants before the commencement of the sessions, five video excerpts were selected from the music therapy group sessions and a focus group was held with all participants after the last session. Data was analysed according to Ansdell and Pavlicevic’s (2001) qualitative content analysis. Responses from the questionnaires and focus group and thick descriptions from the selected video excerpts were coded and categorised according to Gibb’s (2007) proposed technique of open coding. Results generated from the analysed data indicated that, through the opportunities afforded to the group in music therapy sessions, social interaction was experienced in a novel way and integration was enhanced. Findings also indicated that, through this unique way of interacting, the attitude of some members towards English improved. There were also indications that improvement was not across the board and individuals reacted differently to the process. A much longer process could hold far more convincing results.
Dissertation (MMus)--University of Pretoria, 2013.
lmchunu2014
Music
unrestricted

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Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.

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35

Jensen, Karen. "Toni Morrison’s Depiction of Beauty Standards in Relation to Class, Politics of Respectability, and Consumerism in Song of Solomon." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1743.

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In Song of Solomon, published during a transitional moment in the history of U.S. feminism, Toni Morrison portrays the destructive forces of hegemonic female beauty standards, materialism, and consumerism in a Midwestern African-American community from the 1930s to the 1960s. She reveals a hierarchy in which men define standards of beauty and respectability that enforce white bourgeois ideals. Focusing on five female characters, this thesis examines this hierarchy; the agents who maintain it; and the ways in which it affects female characters who accept and/or reject it. While one of the characters, Hagar, perishes in her attempt to live up to normative beauty standards, her cousin Corinthians is liberated when she leaves her oppressive father and moves in with a working class male partner. Morrison thus creates a viable alternative to strict adherence to materialist values, while representing the destructive force of oppressive beauty norms and standards of respectability.

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Carter, Dennis Bernard. "Peculiar versions of the species song : aesthetic outworkings of language and literature in the middle years of childhood (8 to 12 years)." Thesis, Bangor University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332871.

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37

Bouchard, Sara. "Singing the Landscape: A Meditation on Song, Sound and Community at the Fall Line of the James River." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5916.

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I work in the medium of song. A multidisciplinary artist and composer, I make work that is immersive, time-based and often participatory. I interact with landscape and the complexities of American history, bringing into focus local ecologies through the lens of song. This document accompanies my thesis performance The Sound of a Stone, an immersive exploration of song, language, ecology and locational listening performed in a 4-channel surround format. In the semi-improvised composition, I sample live vocals, mandolin and found natural objects in a combination of roots music traditions and experimental techniques. Utilizing the software Ableton Live to process and layer the samples in real time, I build a series of "songscapes" which connect to a specific site: the fall line of the James River. The Sound of a Stone premiered April 8, 2019 at Sonia Vlahcevic Concert Hall, W. E. Singleton Center for the Performing Arts, Virginia Commonwealth University, Richmond, Virginia.

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Dahlberg, Camilla. "Lärandets sångsamling : En studie om vilket språkligt lärande som är möjligt i förskolans sångsamling." Thesis, University of Skövde, School of Humanities and Informatics, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-2914.

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Denna studie syftar till att ta reda på vilket språkligt lärande som blir möjligt iförskolans sångsamling för att därigenom kunna problematisera kring hur musicerandet kan bli till redskap för språkutveckling. För att kunna undersöka detta fenomen, söktes i olika typer av litteratur svaret på frågan hur barn lär sig talspråket. Litteraturen visade bland annat att språket är ett mycket komplext system som kan delas upp i olika komponenter för att lättare förstås. De komponenter denna studie behandlar är språkets: innehåll, form och användning. Dessa tre komponenter innehåller olika delar: semantik, fonologi, fonetik syntax, morfologi och pragmatik som alla är viktiga för språkutvecklingens helhet. För att få svar på frågan vilket språkligt lärande som blir möjligt i förskolans sångsamling videofilmades en förskoleavdelnings barn och pedagoger då de hade olika sångsamlingar. Videoinspelningarna analyserades sedan genom att vissa intressanta händelser ordagrant skrevs ned och sattes i relation till vad litteraturen sa om hur barn lär sig talspråket. Studien visade att det finns möjlighet att på olika sätt lära alla de delar av språket som tillsammans bildar den helhet som gör oss till språkande människor. Utifrån detta resultat diskuterades sedan på vilket sätt vi vuxna kan använda musiken som redskap för språkinlärning.

This study aims to find what linguistic learning can be possible during pre-school singing gatherings and so be able to examine how making music could be used as a tool in language development. To enable an examination of this phenomena, the answer to the question how children learn their colloquial speech was researched in various kinds of literature. These findings indicated that language is an extremely complex system, which could be divided into different components in order to simplify its understanding. The components of contents, form and usage will be considered in this study. These three again consist of different parts, as semantics, phonology, phonetics, syntax, morphology and pragmatics. These are all essential to language development as a whole. To be able to identify what kind of language learning would be possible to gain during musical activities, a class of pre-school pupils with their teachers was videotaped at various song gatherings. These recordings were later analysed and certain occasions and specific incidents or happenings were taken down word by word and then related to current literature on how children learn their colloquial speech. This study indicates that it might be possible learning, by means of various methods, all parts of a language, which together form this wholeness, that makes us speaking individuals. From these findings, the issue of how we as adults can use music, song activiries, as a tool in language was discussed.

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39

Ozaki-Graves, Margaret T. "A Performer’s Guide to Minoru Miki’s Sohmon III for Soprano, Marimba and Piano (1988)." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276532311.

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40

Gilmer, James. "The Song Remains the Same: Reconciling Nikephoros Bryennios’ Materials for a History." Wright State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wright1567338149373255.

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41

Joemets, Viivian. "Voice Outside the Verbal and the Musical. A Study on Human Voice in its relationto Body, Language, Writing, and Music in Western Culture." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040119.

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La thèse vise à clarifier la notion de la voix et sa place dans la culture occidentale. La multiplicité de la voix est ici étudiée à partir de son origine biologique, fondement de toute expressivité vocale. Cette multiplicité est distinguée du verbal et du musical, ses principales manifestations dans la civilisation humaine. Dans le Chapitre 1 nous proposons une réflexion sur les modes naturels de la vocalité non langagière dont la communication holistique des espèces proto-humaines et l’expression vocale des jeunes enfants forment les principales manifestations. Le Chapitre 2 analyse les rapports du corps avec la voix en tant que signe de l’identité personnelle et preuve de la présence corporelle. Dans le Chapitre 3 nous traitons du statut de l’oralité définie comme la dimension sociale de la voix. Nous étudions l’influence de l’écriture et la domination du visuel exercée sur la voix. Les rapports entre la voix, le langage et la musique sont observés dans le Chapitre 4: nous demandons dans quel sens la voix, en dehors des structures verbales et musicales, peut avoir une signification. Le dernier chapitre est consacré à la voix musicale : une histoire de la voix musicale non verbale dans la tradition savante occidentale est esquissée. Le chant y est défini en tant qu’un acte fondamental de l’expressivité vocale chez l’homme, et non pas comme un art susceptible de superposer des structures linguistiques et musicales. Nous proposons une réflexion sur quelques exemples de l’art vocal contemporain sélectionnés selon leur rapport aux questions théoriques traitées dans la thèse. La thèse se veut comme un outil théorique dans le cadre de la théorie de la culture
The present thesis aims at clarifying the notion of voice and its place in Western post-literacy culture from the aspect of vocal non-verbal expression and its artistization. The specificity of voice lies in its multiplicity, no single trait of voice may be viewed as representative of human vocality in its entirety. Rooted in human biology, vocal expressivity is inherently distinct from the verbal and the musical; Chapter 1 deals with natural modes of nonverbal vocality of proto-humans and pre-verbal children. A comparison of the functions of human and animal vocalization is made. In Chapter 2 the relation of voice to body is treated. We analyse voice as the mark of personal identity and physical presence. Chapter 3 looks into the question of orality, defined as the social dimension of voice, in post-literacy Western culture and analyse how the democratization of writing, printing, and recording may have influenced the status of voice. In Chapter 4 we ask whether voice outside the framework of language and music may convey meaning and whether such voice may be considered a sign. In the final chapter a brief historical overview of non-verbal vocal music is outlined and a proposition is made to define singing as a fundamental act of human vocal expressivity, not as an art form that superposes linguistic and musical structures. A selection of examples of contemporary voice art is subjected to theoretical reflection in the light of the issues related to vocal expressivity as discussed in the thesis. The aim of the thesis is to provide a theoretical tool for future researches on human expressive vocalization and its artistization in the field of culture studies

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Costa, Jos? Zilmar Alves da. "Um ser de l? do sert?o e a constru??o da(s) suas(s) identidade(s) no discurso cancionista nordestino." Universidade Federal do Rio Grande do Norte, 2005. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16308.

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Made available in DSpace on 2014-12-17T15:07:07Z (GMT). No. of bitstreams: 1 JoseZAC.pdf: 497779 bytes, checksum: 9f80017d6cd9cab319dcafaa91dc280b (MD5) Previous issue date: 2005-12-05
This work was formulated in order to study the use of words in a specific sphere of human communication - the world of music. From a selection of compositions by Luiz Gonzaga (1912 -1989) and partners, the research goes in search of the identity(ies) of the migrant from Brazilian Northeast's "sert?o". The work uses a discursive analysis based on a theoretical framework strongly supported by Mikhail Bakhtin's reflections and whose thread is the theme of migration discussed by Zygmunt Bauman. Thus, this qualitative and interpretivist research focuses on a particular type of text, originating from a specific sphere of human communication that is roughly known as "lyrics" ("words of songs")
Este trabalho foi formulado com o intuito de estudar o uso da palavra em uma esfera espec?fica da comunica??o humana - o mundo da m?sica. A partir de uma sele??o das composi??es de Luiz Gonzaga (1912 -1989) e parceiros, a pesquisa vai em busca da(s) identidade(s) do migrante do sert?o nordestino, numa an?lise discursiva feita sob um arcabou?o te?rico fortemente amparado pelas reflex?es de Mikhail Bakhtin e tendo como fio condutor o tema da migra??o discutido por Zygmunt Bauman. Deste modo, a presente pesquisa debru?a-se sobre um tipo especial de texto, o qual, grosso modo, se conhece por "letra de m?sica". Trata-se de uma pesquisa qualitativa e interpretativista

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43

Ekanayaka, Tanya Nissani Ilangakkone. "Theorising the practice of language mixing in music : an interdisciplinary (linguistic and musicological) investigation of Sri Lanka's leading genre of contemporary popular song and its community." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5518.

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This thesis represents the first ever study of Sri Lanka’s leading genre of contemporary popular song covering a period of over twelve years, and how its artists and principal audience interpolate ‘global’ and ‘local’ (linguistic and musical) elements in their invention and negotiation of the genre. The central objective is to articulate the collective linguistic identity of the genre’s artists and principal audience. They are shown to constitute a community of over 5.5 million youth and young adults of Sinhala ethnicity, more than a quarter of the country’s population. Notably, this is also the first ever study of macrosocietal linguistic identity in a musical context involving an interdisciplinary linguistic and musical-structure based approach. Underlying the central objective the thesis addresses broader questions about whether our perception of and response to language/language-mixing in music differs from our perception of and response to language mixing (language) in non-musical (i.e. conversational) contexts and if so, how such differences might be explained in terms of linguistic and/or musico-linguistic structure. The genre explored is termed ‘Post 1998 Leading Sri Lankan Popular Song’ (98+LSLPS): 1998 marks the symbolic year in which the first songs of the genre emerged and became hugely popular in Sri Lanka. At present, it includes around 300 songs. A community of practice model (Wenger 1998) is used to describe the three-way relationship between the artists, audience and songs. The song data analysed are in audio format. Musically, the songs are heterogeneous involving blends of styles, ranging from indigenous Sri Lankan folk tunes to hip hop rhythms to western classical melodies. These are delivered through four presentational techniques among which rap and singing are dominant. It is English and Sinhala mixed language lyrics which distinguish the songs as a genre. Not surprisingly, there is evidence that the community regard the songs as ‘mixed’: however, they are also found to regard the songs as simultaneously ‘not-mixed’. The portrait corresponds to the community’s identification of the songs as simultaneously homogeneous Sinhala and Sinhala-Sri Lankan systems on the one hand and heterogeneous multicultural systems on the other. Exploring the salience of this portrait at the level of the songs’ lyric organisation constitutes the major part of the thesis and is a crucial forerunner to articulating the collective linguistic identity of the community, which is based on interpreting the findings. Accordingly, I advance a novel musico-linguistic analytical framework based on the notion of the musical rhythm derived ‘line’ for analysing the songs. The framework is also a response to the fact that the song lyrics are in audio format rather than being assigned a predetermined structure by transcription. The analyses demonstrate that the songs’ lyric structure is entirely congruent with the portrait assigned to the songs by their community. Interpreted in relation to the community’s collective linguistic identity, it is described as representing a form of overarching monolingualism, deriving from active multilingualism in music. Drawing on the relationship between Sinhala ethnicity and the Sinhala language and the fact that the community members are of Sinhala ethnicity, the study concludes by suggesting that this linguistic profile may be indicative of the community’s definition of the ‘Sinhala’ language in this musical domain. Overall, the study establishes that musical structure governs the organisation of language/language mixing in music and that this is reflected in how communities perceive language/language mixing in music.

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Palti, Kathleen Rose. "'Synge we now alle and sum' : three fifteenth-century collections of communal song : a study of British Library, Sloane MS 2593; Bodleian Library, MS Eng. poet. e.1; and St John's College, Cambridge, MS S.54." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/15578/.

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The manuscripts British Library, Sloane MS 2593, Bodleian Library, MS Eng. poet. e.1, and St John’s College, Cambridge, MS S.54 are compact collections of song lyrics written during the fifteenth century, largely without notation. My thesis seeks to develop responsive ways of reading these anthologies and uses the manuscripts to illumine the creative processes that produced and circulated their songs. I integrate attention to song lyrics within the material books and exploration of wider textual networks. As many of the anthologies’ texts are in carol form, a combination of refrain parts and stanzas, the books provide an opportunity to examine the form’s identity and significance within fifteenth-century English songwriting. The thesis is in three parts and the first introduces critical approaches to the manuscripts and the carol, followed by an examination of the books and their contexts, especially manuscripts with which the anthologies have textual connections. The central section investigates the songs’ production and circulation by examining textual networks, how the anthologies were written, how the songs may have been performed, and the role of memory in shaping the songs and anthologies. The final part explores women’s role in the songs, the range of forms used, and the centrality of the many imagined voices and performances within the texts. This is the first extended study focused upon these three sources, which as anthologies offer insight into ways songs were shared and organised. I investigate the role of short collections and booklets in the construction of longer anthologies, and the possibility of an especially productive song culture within fifteenth-century East Anglia. Rather than repeating assertions familiar from earlier studies of carols that the anthologies’ songs are either popular or clerical productions, I suggest how the anthologies engage with communal performance cultures and participate in varied song traditions, from liturgy to lullaby.

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Valente, Tânia Sofia Gomes. "A língua portuguesa no canto lírico: um estudo de relações entre técnica vocal e fonética articulatória." Doctoral thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/12246.

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Esta investigação parte de um preconceito, generalizado entre a comunidade de cantores líricos, portugueses e estrangeiros, de que o português é uma língua difícil de cantar. Resolvemos tentar perceber de onde vinha este preconceito e se ele faria algum sentido em termos científicos. Tomando como ponto de partida G. R. Salvini, um prof. de canto do séc. XIX, pioneiro na preocupação com a questão do canto na Língua Portuguesa, numa época em que cantar ópera em italiano era uma prática quase instituída, olharemos para a relação entre canto e fonética portuguesa, ao longo de 4 capítulos. Cada capítulo tentará dar resposta a uma questão: 1- De onde vem o preconceito de cantar em português?2- Como funciona o aparelho fonador?3- Como funciona a língua portuguesa de um ponto de vista articulatório? 4- Como funciona o canto em língua portuguesa em termos acústicos? Por fim, utilizando a tecnologia e os conhecimentos modernos sobre fonética e técnica vocal, que se foram desenvolvendo nos séc. XX e XXI, vamos identificar alguns sons potencialmente difíceis para o canto na Língua Portuguesa, e sugerir estratégias para os ultrapassar; ### Title: The Portuguese language in lyrical singing: a case study of relationships between phonetics and vocal technique Abstract: The starting point of this research is a prejudice, widespread among the community of singers, both Portuguese and foreign, that Portuguese is a difficult language to sing. We decided to try to understand the origin of this prejudice and if it would make any sense in scientific terms. Taking as a starting point G. R. Salvini, a singing teacher from the 19th Century, who was a pioneer in the concern with the issue of singing in Portuguese, at a time when singing opera in Italian was almost an established practice, we will look at the relationship between singing and Portuguese phonetics, through four chapters. Each chapter will attempt to answer a question: 1 – From where does the prejudice of singing in Portuguese come from? 2 - How does the vocal tract work? 3 - How does the Portuguese language work from the point of view of articulation ? 4 – How does singing in Portuguese work in acoustic terms? Finally, using the technology and the modern knowledge of phonetics and vocal techniques that have been developed in the century. XX and XXI, we will identify some potentially difficult sounds for singing in Portuguese, and suggest strategies to overcome them.

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46

Vincenot, Matthias. "La poésie et la chanson, un cousinage compliqué." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040008.

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Après une introduction présentant un historique des rapports entre la poésie et la chanson, cette thèse tente de déterminer d’abord ce qui peut faire poésie, en s’arrêtant sur la mise en musique des poèmes, étudiant notamment comment un poème peut devenir une chanson ; ensuite, il sera question de la chanson, de la façon dont on peut la définir comme de son pouvoir évocateur, ce que le chanteur Eric Guilleton appelle « la bande originale de nos vies », qui n’est pas sans conséquences dans la culture et la mémoire populaires. La troisième partie s’arrête sur la musique des mots, et donc sur l’utilisation du son, dans la poésie comme dans la chanson. La quatrième partie présente le rapport des chanteurs à la poésie, ainsi que celui des poètes à la chanson. Les témoignages de poètes et de chanteurs permettent de déterminer si tel art est, ou non, étranger à ceux qui pratiquent l’autre. Enfin, il est question du débat ouvert par Jacques Roubaud au sujet de la poésie aujourd’hui, auquel cette thèse prend part, suivi d’un bref panorama qui amène à déterminer la nature et la place du slam
After an introduction explores the historical bond between poetry and song, the first part of this thesis tries to define what poetry is and how music is used to transform a poem into a song. The second part then discusses the definition of singing and in particular, its evocative power and its consequences on culture and popular memory : what Eric Guilleton calls “the soundtrack of our lives”. The third part focuses on the musicality of words themselves, and how it is used in both poetry and singing. The fourth part emphasizes the relationship that singers have with poetry and songs, by trying to determine whether artists practicing the poetry can understand and practice the music, and vice-versa. This is emphasized through testimonials of poets and singers. The thesis concludes with the debate initiated by Jacques Roubaud about what poetry is today, as well as the nature and place of this new form of performance called “slam”

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47

Loar, Patrice A. "“On the Cusp of Half-Remembered Prophecies”: Interpreting Prophecy in George R. R. Martin’s A Song of Ice and Fire." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2225.

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The prophecies in George R. R. Martin’s A Song of Ice and Fire series are unclear and often appear to have multiple possible fulfillments, or none at all. In addition, some of these prophesied events occur before they are introduced, which further contributes to the lack of clarity in interpreting them. My thesis will discuss the methods by which Martin offers readers clues to a prophecy’s fulfillment and argue that Martin’s use of these imprecise prophecies challenges high fantasy tropes about prophecies.

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48

Lidström, Shona. "High off her love - LOVE IS A DRUG : A comparative study of the use of love and sadness metaphors and their meaning in country and rap song lyrics." Thesis, Umeå universitet, Institutionen för språkstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-140210.

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This paper researches the use of conceptual metaphors in rap and country song lyrics. It looks specifically at conceptual metaphors for the concepts of LOVE and SADNESS, focusing on what source domains are proposed in each genre, what similarities there are in source domains between the genres and the style of language found in the linguistic expressions in the two genres. Song lists and lyrics were obtained from internet sites and then, using the Metaphor Identification Procedure (MIP), linguistic expressions were identified which were then subjected to a qualitative analysis. Those relating to SADNESS and LOVE were grouped according to proposed source domains for comparison. The results show that there are similarities, and some differences in the source domains identified within the genres and that they have a wide variety of sub-domains. Concrete concepts common to both genres do not exhibit the same mapping of correspondences to the target domains. There is no discernible difference in the style of language used in the linguistic expressions of the two genres. Nevertheless, the rap expressions tend to be more in the present, dynamic and at times sexually provocative whereas in country expressions they tend to be more reflective, virtuous and at times, depressing.

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Campelo, André. "SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/89.

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The articulation of Portuguese nasalized vowels poses some articulatory problems accompanied by negative acoustic effects for the performance of Brazilian art songs. The main objective was to find strategies that permit the singer to conciliate an idiomatic pronunciation of these vowels with a well-balanced resonance, a desirable quality in classical singing. In order to devise these strategies, the author examined sources dealing with nasalized vowels from varied perspectives: acoustic properties of vowel nasalization, phonetic and phonological aspects ofBrazilian Portuguese (BP), historical views on nasality in singing, and recent vocal pedagogy research. In addition to the overall loss of sonority, the main effect of nasalization is felt mainly in the first formant (F1) region of oral vowels, due to the introduction of nasal formants and antiformants, and to shifts in the tongue posture. Several sources report the existence of a nasality contour in BP, by which a nasalized vowel starts with an oral phase and transitions gradually to a nasal phase. The author concludes that the basic approach to sing nasalized vowels in BP is (1) to find the tongue posture corresponding to the oral vowel congener (the “core vowel”), and (2) to adjust the nasality contour in such a way that the oral portion remains prominent in order to keep the resonance balance consistent during the emission of the vowel. Once the core vowel is determined, standard vowel modification choices can be made according to voice type and the musical context in which the vowel is being sung. Some challenging excerpts from Brazilian art songs are examined, with suggestions for the application of the discussed strategies.

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50

Åkerman, Lena, and Beatrice Svensson. "An investigation into the impact of movement and music on learning." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36242.

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This essay investigates what impact different types of movement and music has on overall academic achievement and language learning, both when connected and unconnected to specific curriculum goals and lesson content. The essay looks at both a macro and a micro perspective of the two subject areas to investigate a wider range of possible language learning benefits to be gained from incorporating more movement and music in school, both in and outside of the English as a Second Language classroom. While researchers in these areas agree that academic achievement and language acquisition are benefitted by different types of movement and music, they vary in how and to what degree these benefits show in their results. The essay, therefore, provides a summary of these results and a discussion about what the sum of the results might mean for the Swedish school system.

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