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Статті в журналах з теми "Songs of Egypt"
Wolny-Abouelwafa, Edyta. "Socio-Political Events and Music: Egyptian Songs Supporting ʿAbd Fattāḥ al-Sīsī". Journalism and Media 4, № 4 (6 грудня 2023): 1182–97. http://dx.doi.org/10.3390/journalmedia4040075.
Повний текст джерелаKwon, JiSeong James, and Matthias Brütsch. "Das Hohelied als jüdische Version der Liebesdichtung innerhalb eines gemeinsamen intellektuellen Hintergrundes in der hellenistischen Zeit." Journal of Ancient Judaism 12, no. 2 (June 2, 2021): 149–74. http://dx.doi.org/10.30965/21967954-bja10010.
Повний текст джерелаWolny-Abouelwafa, Edyta. "The Heart of Arabs. Emirati Songs for Egypt." Nowa Polityka Wschodnia 37, no. 2 (2023): 278–94. http://dx.doi.org/10.15804/npw20233713.
Повний текст джерелаIlmi, Muhammad Bakhrul. "Egyptian Revolution Visualization in Arabic Song Syuhada 25 Yanayer and Sout El Horreya." Insyirah: Jurnal Ilmu Bahasa Arab dan Studi Islam 6, no. 1 (June 9, 2023): 52–63. http://dx.doi.org/10.26555/insyirah.v6i1.6735.
Повний текст джерелаPoppe, Donna. "Scribing Work Songs at an Archeological Dig in Egypt." General Music Today 24, no. 2 (October 5, 2010): 31–36. http://dx.doi.org/10.1177/1048371310385214.
Повний текст джерелаMassad, Joseph. "Liberating Songs: Palestine Put to Music." Journal of Palestine Studies 32, no. 3 (2003): 21–38. http://dx.doi.org/10.1525/jps.2003.32.3.21.
Повний текст джерелаKrzeszewska, Karolina, and Katarzyna Gucio. "Selected Elements of Animated Nature Associated with the Birth of Jesus in the Bulgarian Oral Culture and Apocryphal Narratives." Studia Ceranea 4 (December 30, 2014): 65–83. http://dx.doi.org/10.18778/2084-140x.04.05.
Повний текст джерелаGuerra, Paula, Carles Feixa Pàmpols, Shane Blackman, and Jeanette Ostegaard. "Introduction: Songs that Sing the Crisis: Music, Words, Youth Narratives and Identities in Late Modernity." YOUNG 28, no. 1 (January 14, 2020): 5–13. http://dx.doi.org/10.1177/1103308819879825.
Повний текст джерелаFrood, Elizabeth. "Book Review: Village Life in Ancient Egypt: Laundry Lists and Love Songs." Journal of Egyptian Archaeology 90, no. 1_suppl (December 2004): 39–41. http://dx.doi.org/10.1177/030751330409001s16.
Повний текст джерелаMUSTAFA, Mairna H. "Cultural Heritage: A Tourism Product of Egypt under Risk." Journal of Environmental Management and Tourism 12, no. 1 (February 21, 2021): 243. http://dx.doi.org/10.14505/jemt.v12.1(49).21.
Повний текст джерелаДисертації з теми "Songs of Egypt"
Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.
Повний текст джерелаENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
Mossallam, Alia. "Hikāyāt sha‛b - stories of peoplehood : Nasserism, popular politics and songs in Egypt, 1956-1973." Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/687/.
Повний текст джерелаEprile, Brendan Thabo. "Songs of Change: How Music Helped Spark the Arab Spring Revolutions in Egypt and Tunisia." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495732921517124.
Повний текст джерелаRoberts, Phillip Christopher. "Her em Iteru (On the Nile)." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491818188450595.
Повний текст джерелаYanikdaÄŸ, Yücel. "'Ill-fated' sons of the 'Nation' : Ottoman prisoners of war in Russia and Egypt, 1914-1922 /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544592298.
Повний текст джерелаFischer, Stefan 1966. "Die Aufforderung zur Lebensfreude im Buch Kohelet und siene Rezeption der ägyptischen Harfnerlieder." 1996. http://hdl.handle.net/10500/16788.
Повний текст джерелаText in German
The question is dealt with, whether or not the calls to joy in the book of Qoheleth are dependend from another source. Seven key-texts are taken as a basis (2:24-26; 3:12.13; 3:22; 5:17-19; 8:15; 9:7-10; 11,7-12,7) which have the form of ::titl"[i'~]-sayings and share the root "1.liU. Three further texts (2:1-11; 6:9; 7:14) are also relevant. In the exegesis the content, reasoning and contextual function of these texts are analyzed. Qoheleth quotes, comments on and corrects traditional views of wisdom. He sets them in polar structured arguments in which the calls to joy are significant since the arguments always lead to a double conclusion: a vanity statement and an ethical instruction. The latter form the books teaching on wisdom which consists of joy and the fear of God. In this way the calls to joy in the key texts function as a refrain which increases as the book progresses and becomes the main message. The theme of the joy of life is next examined in Old Testament, Egyptian, ancient Near Eastern, Greek and apocryphal texts. These leads to the conclusion that the call to joy in the book of Qoheleth comes closest to the Egyptian "heretical" harper's songs. These texts agree not only in the content and reasoning of joy, but also in the use of idioms und comparisons. These occur not just in the key texts but throughout the whole book. The "heretical" harper's songs were originally used in the cult of the dead. Later they were used at feasts and banquets. This makes it possible to interpret them in the same Egyptian complex of tradition as other belletristic texts, especially love songs. They can therefore be assigned with the calls to joy to the genre of feast and banquet poetry. Since the adoption of the Jove songs in the Song of Songs has already been shown, the same can now be said for the harper's songs. Presumably this happened through Canaanite influences in premonarchic times.
Es wird der Frage nachgegangen, ob in den Aufforderungen zur Lebensfreude des Buches Kohelet eine Vorlage rezipiert worden ist. Dazu werden sieben Kerntexte (2,24-26; 3,12.13; 3,22; 5,17-19; 8,15; 9,7-10; 11,7-12,7) zugrunde gelegt, welche durch die Wurzel n~tu und die Form des l11'"[1'~]-Spruchs miteinander verbunden sind. Drei weitere Texte gehiiren der Sache nach dazu (2,1-11; 6,9; 7,14). Diese Texte werden exegesiert, um sie nach ihren Inhalten, Begriindungen und ihrer kontextualen Funktion zu erfassen. Der Verfasser des Buches Kohelet zitiert, kommentiert und korrigiert traditionelle Ansichten der Weisheit. Dazu stellt er sie in polar strukturierte Argumentationseinheiten, in welchen die Aufforderungen zur Lebensfreude Signifikanz haben, da diese Argumentationseinheiten jeweils auf eine Nichtigkeitsaussage und eine ethische Anweisung hinaus laufen. Letzere bildet die Lebenslehre des Buches, die auf den Sii.ulen Lebensfreude und Gottesfurcht fuBt. Dabei bilden die Kerntexte der Lebensfreude einen Refrain, der im Fortgang des Buches gesteigert wird und am Ende als Hauptanliegen hervortritt. Dem Motiv der Lebensfreude wird daraufhin in alttestamentlichen, ii.gyptischen, altorientalischen, griechischen und apokryphen Texten nachgegangen. Dabei stellt sich heraus, da8 die Aufforderungen zur Lebensfreude im Buch Kohelet die griiBte Nii.he zu den "haretischen" Harfnerliedern Agyptens aufweisen. Zu diesen Texten gibt es Ubereinstimmungen nicht nur in den Inhalten und Beweggriinden des Lebensgenusses, sondern auch in der Verwendung einzelner Idiome und Vergleiche, und zwar nicht nur in den Kerntexten, sondern verstreut im Buch. In der Verwendungssituation der "hii.retischen" Harfnerlieder Iii.flt sich eine Verschiebung vom Totenkult zu Fest und Gelage aufzeigen. Dariiberhinaus lassen sie sich in Agypten in einen Traditionskomplex mit anderen Texten der schiinen Literatur, insbesondere den ii.gyptischen Liebesliedern stellen. So kann eine gemeinsame Gattungszuweisung mit den Aufforderungen zur Lebensfreude in der Fest- und Gelagepoesie erfolgen. Da fiir die Liebeslieder eine alttestamentliche Rezeption schon wahrscheinlich gemacht worden ist, kann diese nun auf die Harfnerlieder ausgedehnt werden. Dieser Traditionsweg verlief vermutlich iiber kanaanii.ische Vermittlung in vormonarchischer Zeit.
D.Th.(Old Testament)
Книги з теми "Songs of Egypt"
McDowell, A. G. Village life in ancient Egypt: Laundry lists and love songs. New York: Oxford University Press, 1999.
Знайти повний текст джерелаNancy, Shayne, ed. Through heaven's eyes: The Prince of Egypt in story and song. New York: Dutton Children's Books, 1998.
Знайти повний текст джерелаal-Mūsīqá, Dār al-Kutub al-Qawmīyah (Egypt) Qism. Fihris al-mūsīqá wa-al-ghināʾ al-ʻArabī al-qadīm al-musajjalah ʻalá isṭiwānat. [Cairo]: al-Hayʾah, 1991.
Знайти повний текст джерелаal-Mūsīqá, Dār al-Kutub al-Qawmīyah (Egypt) Qism. Fihris al-mūsīqá wa-al-ghināʼ al-ʻArabī al-qadīm al-musajjalah ʻalá isṭiwānat. [Cairo: al-Hayʼah al-Miṣrīyah al-ʻĀmmah lil-Kitāb], 1991.
Знайти повний текст джерелаWaugh, Earle H. The Munshidīn of Egypt: Their world and their song. Columbia, S.C: University of South Carolina Press, 1989.
Знайти повний текст джерелаRose, John. The sons of Re: Cartouches of the kings of Egypt. Warrington: Rose-Technology, 1985.
Знайти повний текст джерелаThe sons of Re: Cartouches of the kings of Egypt. Croft, Warrington, Cheshire: JR-T, 1985.
Знайти повний текст джерелаMcCaughrean, Geraldine. Casting the gods adrift: A tale of ancient Egypt. Chicago: Cricket Books, 2002.
Знайти повний текст джерелаZuhur, Sherifa. Asmahan's secrets: Woman, war, and song. London: Saqi, 2001.
Знайти повний текст джерелаartist, Smith Alison, ed. Song of Siwa: The Marzuk-Iskander Festival : Siwa Oasis, Western Desert, Arab Republic of Egypt. Bloomington, Ind.]: Xlibris LLC, 2013.
Знайти повний текст джерелаЧастини книг з теми "Songs of Egypt"
Cochran, Judith. "Sons of Ishmael." In Routledge Library Editions: Egypt, Vol10:1—Vol10:6. London: Routledge, 2021. http://dx.doi.org/10.4324/9780203079140-128.
Повний текст джерелаJyrkiäinen, Senni. "Loving Daughters, Devoted Sons and Kissing Protestors Online: Navigating Intimacy and Multiple Aspects of the Self Among Young Facebook Users in Egypt." In The Palgrave Handbook of Gender, Media and Communication in the Middle East and North Africa, 15–30. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11980-4_2.
Повний текст джерелаBombardieri, Luca. "Mill-songs." In Stone Tools in the Ancient Near East and Egypt, 71–80. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv6xd.9.
Повний текст джерела"V. SONGS AND ROYAL HYMNS." In The Literature of Ancient Egypt, 299–334. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300128567-008.
Повний текст джерелаOmran, Mohammed. "CHILDREN'S GAMES AND SONGS IN EGYPT." In Children in the Muslim Middle East, 425–30. University of Texas Press, 1995. http://dx.doi.org/10.7560/711334-037.
Повний текст джерела"Spindles and songs: women in urban occupations." In Women in Nineteenth-Century Egypt, 64–101. Cambridge University Press, 1985. http://dx.doi.org/10.1017/cbo9780511583506.004.
Повний текст джерела"Appendix: chronological list of songs examined." In Language and Identity in Modern Egypt, 363–65. Edinburgh University Press, 2014. http://dx.doi.org/10.1515/9780748689651-014.
Повний текст джерелаHeshmat, Dina. "The Poetics of Disillusion." In Egypt 1919, 38–58. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458351.003.0002.
Повний текст джерелаHeshmat, Dina. "Rewriting History in the 1990s." In Egypt 1919, 155–81. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458351.003.0007.
Повний текст джерела"Protest Songs from the Streets of Mamluk Cities." In Egypt and Syria under Mamluk Rule, 17–24. BRILL, 2021. http://dx.doi.org/10.1163/9789004459717_003.
Повний текст джерела