Готові списки джерел за темами / Traditional singers

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Добірка наукової літератури з теми "Traditional singers"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 29 січня 2023

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Статті в журналах з теми "Traditional singers"

1

Hongtao, Wang, and Gong Li. "A Method for Evaluating the Accuracy of Vocal Art Performance of Singers’ Voices Based on Sensor Space Localization Algorithm." Mobile Information Systems 2022 (July 9, 2022): 1–12. http://dx.doi.org/10.1155/2022/5248639.

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Recently, research on singing assessment has focused on analyzing singer characteristics rather than building an automated evaluating approach. Hence, there are many methods for evaluating the accuracy of singer’s singing performance. Traditional methods mostly use quantitative analysis approach for the accuracy analysis of vocal artistic performance, and the results have obvious ambiguity and correlation. Therefore, this paper proposes a method for evaluating the accuracy of vocal art expression of singers’ voices based on a sensor spatial localization algorithm. The adaptive cascade retrieval control approach is used to find and mine the singers’ performance based on their voice characteristics. The sensor spatial location algorithm and huge vocal music resources with high precision are utilized to locate the vocal music sources in the mining results. The vocal music of the singers is received through the vocal music preprocessing platform, which sends and controls musical compositions. The adaptive frequency’s shift filter and the wavelet transform method are used to filter out any noise in the music. Finally, the accurate evaluation of singer vocal artistic performance is realized from the aspects of music beat detection, note boundary accuracy analysis, and voiced segment accuracy detection. The experimental results show that our proposed method can reduce the error of the sound source’s localization and can effectively filter out the noise in the music signal.
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2

Cha, Junseo, Seong Hee Choi, and Chul-Hee Choi. "Can a natural singing voice be enhanced through digital processing? Implications of voice training and vocology in singers." Revista de Investigación e Innovación en Ciencias de la Salud 3, no. 2 (December 18, 2021): 72–86. http://dx.doi.org/10.46634/riics.119.

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Introduction. The traditional way of facilitating a good singing voice has been achieved through rigorous voice training. In modern days, however, there are some aspects of the singing voice that can be enhanced through digital processing. Although in the past, the frequency or intensity manipulations had to be achieved through the various singing techniques of the singer, technology today allows the singing voice to be enhanced from the instruments within recording studios. In essence, the traditional voice pedagogy and the evolution of digital audio processing both strive to achieve a better quality of the singing voice, but with different methods. Nevertheless, the major aspects of how the singing voice can be manipulated are not communicated among the professionals in each field. Objective. This paper offers insights as to how the quality of the singing voice can be changed physiologically through the traditional ways of voice training, and also digitally through various instruments that are now available in recording studios. Reflection. The ways in which singers train their voice must be mediated with the audio technology that is available today. Although there are aspects in which digital technology can aid the singer’s voice, there remain areas in which the singers must train their singing system at a physiological level to produce a better singing voice.
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3

Oras, Janika. "Individual Rhythmic Variation in Oral Poetry: The Runosong Performances of Seto Singers." Open Linguistics 5, no. 1 (December 31, 2019): 570–82. http://dx.doi.org/10.1515/opli-2019-0031.

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AbstractThe article explores the individual differences of rhythmic variation in traditional sung oral poetry. The analysed group of ritual songs is part of the Seto singing culture – a subtradition of Finnic oral trochaic tetrameter. The rhythmic variation, created by different positioning of stressed syllables in the song line, reveals itself on two levels, in linguistic verse structure and in musical performance. In the singers’ performances the verse and musical structures complement each other, having a cumulative rhythmic effect. By designing the rhythm at both levels, the singers systematically take into consideration the linguistic features of the used words. A statistical analysis shows a remarkable divergence in the rhythmic variation of different lead singers. The results are more homogeneous at the level of linguistic verse structure and more diverse at the level of musical performance. Also, the rhythmic choices of the lead singer and his or her choir in the course of the performance may differ. We may speculate that this divergence in individual rhythmic strategies could have been caused by the singers’ type of creativity and skills, their different perceptions of genre features and intergeneric relations, and the musical influences between more closely related singers.
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4

McKean, Thomas. "Equating traditional singers' terms with melodic adaptation." Acta Ethnographica Hungarica 47, no. 1-2 (July 2002): 91–98. http://dx.doi.org/10.1556/aethn.47.2002.1-2.11.

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Hassan, Scheherazade. "Female traditional singers in Iraq: A survey." International Journal of Contemporary Iraqi Studies 4, no. 1&2 (July 2010): 25–39. http://dx.doi.org/10.1386/ijcis.4.1-2.25_1.

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6

Syafniati, Syafniati. "PANDANGAN MASYARAKAT TERHADAP WANITA SEBAGAI PENDENDANG DALAM ACARA BAGURAU LAPIAK DI PAYAKUMBUH." Humanus 13, no. 2 (December 29, 2014): 146. http://dx.doi.org/10.24036/jh.v13i2.4724.

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Bagurau Lapiak is one of the types of saluang dendang (sing along with saluang—a type of recorder—play) performance conducted in the corridors of Payakumbuh stores, using lapiak (mat) for seat. Bagurau Lapiak is organized by a group ‘pagurauan’ (jokers) held on evenings starting at 21.00 until dawn. The singer (‘pendendang’) in the show is a woman who will fulfill the request of the audience to sing and play certain tunes by giving some amount of money to a committee called janang. Previously all singers in Minangkabau are men; women singers are considered to violate traitional and religious norms and it is not appropriate for women to sing along with the men in public let alone at night. However, in the case of saluang pendendang, women sungers play an important role in attracting the ‘joke addict’ in saluang bagurau (joking) activity. This paper aims to reveal the form of presentation of bagurau lapiak in Payakumbuh and the society's view of women as singer. This stuy used qualitative descriptive analysis method with cultural anthropology approach to music which can be seen through the behavior of musical physic and verbal as cultural facts of individuals and community groups. The music and the communities’ behavior have a very close relation. This study also uses feminimisme theory to explain women’s role in the saluang dendang show. The result shows that the tunes, the rhymed text that are sung by women are a kind of communication between the singers and the audience. In the other hand, people support as well as criticize the woman singer based on traditional, religious, and performing art values. Keywords: pendendang women, Bagurau Lapiak, community views
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7

Burman-Hall, Linda C., Thomas G. Burton, and Charles K. Wolfe. "Tom Ashley, Sam McGee, Bukka White: Tennessee Traditional Singers." Ethnomusicology 29, no. 3 (1985): 507. http://dx.doi.org/10.2307/851803.

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8

Porter, Gerald. "The English ballad singer and hidden history." Studia Musicologica 49, no. 1-2 (March 1, 2008): 127–42. http://dx.doi.org/10.1556/smus.49.2008.1-2.7.

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Drawing on Pierre Macherey’s location of ‘real history’ in the silences and gaps of the historical record, this paper studies the changing role of the paid singer in England. Although singers and musicians in England have been rewarded for their performances at all periods, more attention has been given in recent years to traditional singing as a recreational, even domestic activity than as a means of livelihood. Because of their constantly changing social status, the position of the paid singer has been ambiguous and frequently oppositional. A recent book sees their status as one of continuous decline. However, the process was not a continuous and inevitable one: the singer adapted to changes in society and found new sources of support.
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9

Frankel, A. S., C. W. Clark, L. M. Herman, and C. M. Gabriele. "Spatial distribution, habitat utilization, and social interactions of humpback whales, Megaptera novaeangliae, off Hawai'i, determined using acoustic and visual techniques." Canadian Journal of Zoology 73, no. 6 (June 1, 1995): 1134–46. http://dx.doi.org/10.1139/z95-135.

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Acoustic and visual methods were used to track and observe humpback whales off the island of Hawai'i. Sixty-two singing whales were located acoustically in water depths from 10 to 305 fathoms (mean 126 fathoms; 1 fathom = 1.828 m). This indicates that singers are not confined within the 100-fathom contour, although nearshore waters had a higher density of singers. The separation distance between singers (mean 5.1 km) was found to be significantly greater than that between nonsinging singletons (mean 2.1 km), supporting the hypothesis that song functions to maintain spacing between singers. The mean speed of singers determined from visual data was 1.79 km/h and from acoustic data 1.6 km/h. Some singers actively swam while singing. Other singers continued singing while affiliating with or being joined by other whales. The correlation between breaching and the cessation of singing suggests that the sounds of aerial behavior can convey information to other whales. These observations suggest the need to expand the traditional interpretations of the behavior of singing humpback whales obtained from visual observations alone.
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10

Baibek, Aigul Kydyrgalikyzy. "The Role of Ethnosolfeggio in the Preservation and Development of Kazakhs’ Song Heritage in the Conditions of Globalization." Ethnic Culture, no. 1 (1) (December 26, 2019): 19–23. http://dx.doi.org/10.31483/r-64072.

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The article is devoted to the problem of preserving the spirit and creative potential of the traditional music in the modern Europeanized education of folk musicians in Kazakhstan. In the modern ethnosolfeggio course, adapted for folk singers, the necessary basis is formed for understanding the historical development of traditional music and its role in modern cultural contexts, as well as the need for its preservation and further development. The purpose of the article is to offer the measures to preserve the valuable qualities of traditional music and ensure its further development. Based on the methods of generalizing pedagogical experience (observation, studying normative documentation, questionnaires), many years of experience in teaching a course of ethnosolfeggio adapted for folk singers are presented. As a result of the work, the necessary theoretical and practical basis was obtained for understanding the historical development of traditional music, understanding its role in modern cultural contexts and the need for its preservation and further development. The article concludes that ethnosolfeggio course include saturation with creative forms of work that rely on «verbalness» inherent to traditional singers, and emphasis on mastering improvisation that unfolds the composing potential.
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Більше джерел

Дисертації з теми "Traditional singers"

1

Schimmelpenninck, Antoinette Marie. "Chinese folk songs and folk singers : Shan'ge traditions in Southern Jiangsu /." Leiden : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967334t.

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2

Elwin, Anna. "Att skapa vägar för kommunikation genom sång : En kvalitativ studie av hur sångare använder och upplever olika verktyg för musikalisk kommunikation." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-9028.

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Studien syftar till att få en djupare förståelse för hur sångare använder och upplever olika verktyg för att forma och kommunicera musik, vilka verktyg de prioriterar samt vilken funktion dessa verktyg fyller. För att undersöka detta har jag utgått från olika teorier om musikalisk kommunikation samt ett multimodalt och socialsemiotiskt perspektiv med fokus på kommunikation som en social process av teckenskapande. Jag har genomfört åtta kvalitativa intervjuer med sångare som arbetar/arbetat professionellt med sång inom olika genrer. Resultaten visar att sångarnas musikaliska kommunikation formas och uttrycks genom ett användande av flera olika verktyg varav röstteknik, samspel, publikens förväntningar, personlighet och tradition är de viktigaste. Sångarnas användande och prioritering av dessa olika verktyg kan sammanfattas i olika övergripande förhållningssätt som sångarna har till sin musikaliska kommunikation, varav tradition och personlighet är de mest framträdande förhållningssätten. En slutsats är att en sångares musikaliska uttryck kan beskrivas som en väv av kommunikativa strukturer och att sångare strävar efter att gestalta helheter av dessa strukturer för att uppleva mening. En annan slutats är att sångare kan betona olika aspekter av den musikaliska kommunikationen vid olika tillfällen i musicerandet, att den sker på flera plan samtidigt samt att musikens sammanhang avgör hur den musikaliska gestaltningen formas. Jag vill slutligen tillägga att sångarens gestaltande av musikaliska helheter sker genom att skapa, tolka och imitera olika resurser i syfte att skapa en meningsfull kommunikation för både publik, medspelare samt med sångaren själv.
The study aims to demonstrate a deeper understanding in how singers can use different tools to shape and communicate music, and the order of priority and functions of these tools. To attain knowledge about this, I have applied different theories of musical communication, in addition to a multimodal and social semiotic perspective with focus on communication as a social process of sign making. This has been examined through qualitative interviews with eight active and former professional singers in various genres. The results show that the singers use many different tools to shape and communicate music, of which the most predominant are voice-technique, interplay, expectations from the audience, personality and tradition. The singers usage and priority of these tools can be summarised in different overall ways of musical communication, of which tradition and personality are the most conspicuous. One conclusion is that the musical expression of a singer can be described as a weave of communicative structures, and that the singers strive to achieve a wholeness of these structures to yield meaning. Another conclusion is that singers may emphasize different aspects of the musical communication at different stages in a performance, that this may occur at different levels simultaneously, and that the musical context decides how the musical communication is being shaped. Finally, I want to describe the singers’ function as achieving completeness in the musical expression by creating, interpreting and imitating different resources by using different tools, thereby creating a meaningful musical communication to the audience, in interplay with other musicians and the singer.
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3

Olson, Ted. "Book Review of Art Rosenbaum: The Mary Lomax Ballad Book: America's Great Twenty-first Century Traditional Singer." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1174.

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4

Su, Wen-hui. "An acoustic study of the singer's formant the comparison between Western classical and traditional Chinese opera singing techniques /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3354922.

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Анотація:
Thesis (Ph.D.)--Indiana University, Dept. of Speech and Hearing, 2009.
Title from PDF t.p. (viewed on Feb. 4, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1098. Adviser: Karen Forrest.
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5

Lynch-Thomason, Sara. "“I’ve Always Identified with the Women:” How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3488.

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This thesis explores how contemporary Appalachian women’s gendered experiences influence their choices of ballad repertoire. This inquiry is pursued through a feminist analysis of interviews with six women ballad singers from Madison County, North Carolina. In evaluating the women’s choices of ballads and their commentary on the songs, this thesis draws upon narratological theories as well as concepts from Appalachian traditional music studies. This study finds that women’s repertoire preferences reveal contemporary female concerns for physical safety and political agency. The singers also extract hidden transcripts from ballad texts and use ballads to educate audiences about women’s historic oppression. However, some singers find other factors, such as a song’s tune, or its significance as a part of regional heritage, to be more significant than the narrative content of the songs. This work affirms the contemporary influences of gendered concerns in ballad singing communities.
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6

Baldaque, Lourença Agustina Bessa-Luís Alves. "Da colecção privada ao museu público: o empreendedorismo cultural de Isabella Stewart Gardner e Gertrude Vanderbilt Whitney." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/11962.

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Анотація:
Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Estudos Norte-Americanos
Este trabalho pretende dar a conhecer a conjuntura na qual o empreendedorismo cultural das coleccionadoras de arte, Isabella Stewart Gardner e Gertrude Vanderbilt Whitney, teve lugar. Para tal temos em conta as particularidades que compõem os dois casos que contribuíram para o enriquecimento do panorama cultural estadunidense. Por outro lado, propomos perceber de que modo a atuação de ambas refletia os cânones do coleccionismo e estéticos contemporâneos. Mais ainda, iremos analisar como o facto de se tratar de duas mulheres que coleccionavam arte – sendo esta uma prática relacionada com o capital masculino – constituiu um contributo para a valorização do papel da mulher, em particular na cultura. E uma vez que é nos studioli ou gabinetes de curiosidades que encontramos semelhanças com o espírito do coleccionador estadunidense, nomeadamente no reflexo de uma aspiração expressa através de uma colecção, começamos, no capítulo I, por dar a conhecer diferentes casos de coleccionismo europeu, desde a criação dos studioli aos museus públicos. Os gabinetes de curiosidade, ao representarem um veículo privilegiado para a aquisição de conhecimento, são representativos do desenvolvimento de um modelo cultural desde a esfera privada ao museu público. Deste modo, propomos olhar a evolução deste modelo na Europa e, em contraste, os moldes em que este modelo veio a influenciar o coleccionismo privado nos Estados Unidos da América e como nele se inclui o contributo da mulher. Assim, e tendo em conta o contexto cultural e social analisado anteriormente, propomos olhar nos capítulos II e III o percurso das coleccionadoras e mecenas das artes Isabella Stewart Gardner e Gertrude Vanderbilt Whitney. Em Gardner focamos a sua dedicação ao conhecimento do mundo da arte, e na formação de uma colecção privada que deu origem a museu público. Destacamos o seu papel no campo do empreendedorismo cultural, o qual estava conotado com uma atividade masculina. A sua relação com a arte e os artistas foi também uma forma de valorizar o papel da mulher, e de quem destacamos John Singer Sargent. O pintor representa a tradição artística europeia, contudo contribuiu para a criação de uma identidade e de uma imagem da elite americana, e em particular da figura feminina. Em Whitney temos em conta o seu background cultural, numa família que contribuiu para a difusão de um estilo de vida sustentado nos costumes europeus dentro da genteel tradition. Gertrude Vanderbilt Whitney, conforme veremos, viria a usufruir do gosto pela arte, contudo, vocacionado para a arte americana do seu tempo. Além de coleccionadora e artista, a sua acção passou pela criação de espaços expositivos e ateliers e pela aquisição de obras de arte que constituíram o acervo pessoal da mecenas. O espólio deu origem ao Whitney Museum of American Art, reclamando o talento e a visão artística americana, tendo contribuído para a afirmação de uma identidade artística nacional.
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7

"Selected Russian Classical Romances and Traditional Songs for Young Singers: Introductory Materials with Teaching Strategies." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.27474.

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abstract: The purpose of this research is to assemble a collection of Russian Art song repertoire selected for beginner level training, with an exposition of the criteria for their appropriateness as teaching pieces. This examination defines the scope of vocal, technical, language and interpretive abilities required for the performance of Russian Art song literature. It also establishes the need for a pedagogical approach that is free from Eurocentric cultural biases against Russian language and culture. Intended as a reference for teachers and students to simplify the introduction of Russian Art song into the repertoire of the advanced secondary or beginning undergraduate student, it includes a discussion of learning priorities and challenges particular to native English speakers relative to successful Russian language lyric diction assimilation, with solutions. This study is designed to furnish material for a published edition of songs in the appropriate transpositions for high, medium and low voice including word-for- word and sense translations with IPA transcriptions, along with program notes for each piece. Repertoire is selected from the works of Alyab'yev, Gurilyov, Varlamov, Glinka, Dargomyzhsky, Tchaikovsky and Mussorgsky, as well as a few folk songs. The repertoire is grouped by difficulty and accompanied by English translations, interpretive analyses of the Russian Language poetry, and International Phonetic Alphabet (IPA) transcriptions modified for lyric diction. The degrees of difficulty are determined by vocal registration demands, word lengths and rhythmical text setting, as well as the incidences of unfamiliar phonological processes and complex consonant clusters occurring in the text. A scope and sequence chart is included, supplemented with learning objectives and teaching strategies, which organizes the repertoire according the order in which the pieces are to be taught. A palatalization guide is provided, to provide solutions for common pronunciation problems. Included in the appendices are listings of additional recommended Russian art song titles and recommended listening and viewing.
Dissertation/Thesis
Doctoral Dissertation Music 2014
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8

Dhliwayo, Elizabeth. "A critical study of the praise singer yesterday, today and tomorrow." Diss., 2007. http://hdl.handle.net/10500/1334.

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The study sets to establish trends with regard to the role of the praise singer, the changes with regard to the traditional praise singer's rendition/performance and the material or content of his/her poetry. Thus the study highlights the distinction observed between the praise singer of the past and the present praise singer. The study also shows that the praise singer's performance, in terms of his/her role and content, is in the state of flux. The study also demonstrates that the singer of the past and the present praise singer have the same role and their chants or poetry or songs have the same effect. It also highlights situations where praises are chanted in modern times. These are graduation ceremonies, weddings, political gatherings and traditional ceremonies, for example, the annual rain making ceremonies. These events or occasions are inextricably linked to traditional praises. The study also highlights the fact that traditional praises present the history and heroic deeds of members of the clan to which the beneficiary belongs. They also express the deep feeling of royalty and loyalty. Like in the past they boost morale.
African Languages
M.A. (African Languages)
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9

Johnson, Jerry Allen. "Peter Singer's proposed value of the "person" in "Rethinking Life and Death": A critical evaluation." Thesis, 2004. http://hdl.handle.net/10392/272.

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This dissertation examines Peter Singer's proposed ethical value of the "person" in Rethinking Life and Death . Chapter 1 introduces and outlines Singer's proposal, which argues for abortion, infanticide, euthanasia, and assisted suicide. His proposal consists of four key points. First, there is the foundation for his proposal--rejecting creation for evolution. Second, there is the substance of his proposal--replacing the value of the "human" with the value of the "person." Third, there is the criteria for his proposal--using "indicators" and "relevant characteristics" to identify the kinds of beings who qualify as "persons." Fourth, there are the consequences of his proposal--promising an ethical "Copernican Revolution." Chapters 2-5 critically evaluate the four key ideas from Singer above. The evaluation of the respective key idea in each chapter covers five steps: (1) the context of Singer's proposal; (2) the content of Singer's proposal; (3) positive evaluation; (4) negative critique; and (5) conclusion. The research methodology for the dissertation is to treat Singer's ethical proposal on the "person" as a hypothesis to be tested by his own truth standards of logical consistency, empirical evidence, and practicality. Following these four key chapters, Chapter 6 provides "Summary and Conclusions." The conclusion of this dissertation is that Peter Singer's proposal on life and death is not to be commended because its key elements are not supported by his own standards for testing truth. In fact, when examined by his own truth tests, Singer's program should be rejected because its foundation is faulty, its substance is illusory, its criteria are circular, and its consequences would be grave.
This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from http://disexpress.umi.com/dxweb or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.
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Книги з теми "Traditional singers"

1

Where songs do thunder: Travels in traditional song. Belfast: Appletree Press, 1991.

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2

Malyshev, Valeriĭ. Otkrovenii͡a︡ pevt͡s︡a i travnika. Sankt-Peterburg: "Nauka,", 2000.

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3

Malyshev, Valeriĭ Pavlovich. Otrovenii︠a︡ pevt︠s︡a i travnika. Sankt Peterburg: Nauka, 1999.

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4

Hood, Phil. Artists of American folk music: The legends of traditional folk, the stars of the sixties, the virtuosi of new acoustic music. New York: Quill, 1986.

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5

Epic singers and oral tradition. Ithaca: Cornell University Press, 1991.

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6

Schimmelpenninck, Antoinet. Chinese folk songs and folk singers: Shan'ge traditions in southern Jiangsu. Leiden: CHIME Foundation, 1997.

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7

Crispin, Edmund. Schwanengesang. Köln: DuMont, 2003.

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Crispin, Edmund. Swan Song. Newburyport: Ipso Books, 2015.

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Crispin, Edmund. Swan song. London: Mysterious Press, 1990.

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10

Cróinín, Dáibhí Ó. The songs of Elizabeth Cronin, Irish traditional singer: The complete song collection. Dublin: Four Courts, 2000.

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Частини книг з теми "Traditional singers"

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Nagy, Gregory. "Foreword." In Epic Singers and Oral Tradition, ix—x. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501731921-001.

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2

Ferrari, Sebastiano. "On some iconic strategies in concept albums within the Italian singer-songwriter tradition." In Iconic Investigations, 295–310. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/ill.12.22fer.

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Graham, Sandra Jean. "Blurring Boundaries between Traditional and Commercial." In Spirituals and the Birth of a Black Entertainment Industry. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041631.003.0008.

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By the late 1870s the jubilee marketplace was in full swing, and the term jubilee singer had become so diluted as to be essentially meaningless. All manner of jubilee singers represented themselves as tradition bearers, giving rise to frequent skirmishes over legitimacy that were played out in marketing. As traditional spirituals, contrafacta, parodies, answer songs, and parodies of parodies cycled back on each other, the boundaries between them and their performers blurred. Some troupes, like the Wilmington Jubilee Singers, began as concert artists but ended up as minstrel or variety entertainers. Others, like the Nashville Students, successfully incorporated variety entertainment in their programs while maintaining their reputation as concert artists. The career of Sam Lucas demonstrates the nexus between folk and popular song traditions as the boundaries between the altruistic and the purely commercial, between the folk and the popular, and between “high” and “low” began to dissolve.
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Firpo, Christina Elizabeth. "Ả Đào Singers." In Black Market Business, 136–61. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752650.003.0005.

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This chapter is a study of the sale of sex in ả Đào singing houses, a form of female performance art dating back to the fourteenth century. In its twentieth-century iteration, sex work in ả Đào singing houses appealed to those with a taste for traditional culture in an era of dynamic cultural change. The success of clandestine sex work in ả Đào venues lay in the ability of sex workers and their managers to capitalize on both the sensuality inherent to this genre of female performance art and the legitimacy associated with a revered traditional art form. The result was that ả Đào venues operated as ambiguous spaces that blurred the traditional lines separating art, sex, and commerce.
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Pooley, William G. "Singers and Storytellers." In Body and Tradition in Nineteenth-Century France, 49–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847502.003.0003.

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In order to understand the folk traditions that Félix Arnaudin recorded, it is important to consider who his informants were. Félix Arnaudin prided himself on his honesty in how he presented these informants, but this chapter suggests that this honesty was only ever partial. Research drawing on birth, marriage, and death certificates, notarial documents, and other sources suggests that Félix Arnaudin exaggerated the age of his informants, and put more emphasis on informants who worked in ‘traditional’ occupations, such as pastoralism, even though many of his singers and storytellers worked in ‘modern’ occupations, as employees of the state, for example.
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Constantine, Mary-Ann, and Gerald Porter. "Forgetting as in(ter)vention: memory and context in very short songs." In Fragments and Meaning in Traditional Song. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262887.003.0006.

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This chapter discusses memory and context in very short songs. Whenever a song is very short, the question of the failing memory of the source singer is always considered an issue. Instead of pondering the question of what is complete or not, the discussion considers singers and their milieu. One section looks at ‘re-memory’ in two Finnish ballads, while short songs in the folk revival are discussed in another section.
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"CHAPTER 5. Homer as an Oral-Traditional Poet." In Epic Singers and Oral Tradition, 72–103. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501731921-008.

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"CHAPTER 12. Narrative Themes in Bulgarian Oral-Traditional Epic and Their Medieval Roots." In Epic Singers and Oral Tradition, 195–210. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501731921-015.

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"Homer und Avdo Međedović als ‘post-traditional singers’?" In Homer, gedeutet durch ein großes Lexikon, 27–44. De Gruyter, 2012. http://dx.doi.org/10.1515/9783110292572.27.

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Constantine, Mary-Ann, and Gerald Porter. "‘God was in France all Friday’: incoherence from the inside." In Fragments and Meaning in Traditional Song. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262887.003.0004.

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This chapter discusses a comparison of the scholarly criteria used to describe ‘nonsense’ with the attitudes of singers, in the mutually related areas of lexical corruption and narrative collapse. The anxiety of corruption and nonsense and narrative collapse in the Child ballads of Nelson Ridley are examined in this chapter. The chapter concludes that incoherence is the state of not being whole or of being ‘not all there’.
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Тези доповідей конференцій з теми "Traditional singers"

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Ma, Wangyan, and Peng Yu. "Traditional Rebel, Ecological Singer- On Lawrence's poem: The subversion of the traditional image of qSnakeq of the western literature." In 2016 International Conference on Advances in Management, Arts and Humanities Science (AMAHS 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/amahs-16.2016.7.

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Ondříčková, Marie. "Churritský hymnus H6 – nejstarší píseň na světě." In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-78-96.

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The article was focused on the oldest description of the song on the world. In the paper was analysed content of the note score and introduced its some of translations. It also mention about its place of discovery and its discov erers. The notation was found in the North Syria at area Latákíja in Ras-as-Shamrá in the west-south royal pal ace and its courtyards. Around 1500–1158 BC there was well-known economical and cultural advanced center Ugarit with rich existing musical tradition. Some written sources put accent the temple´s singers and musicians the framework religious ceremonies. The problem of the cuneiform tablet rests on damaged some of parts, that they are not possible to translate exactly. In the tablet there are numbers whose meaning is not understandly. Today we have not to disposition only one transcription because experts are not in concordance of their metod ology and this reason why individual translations are significant different so much.
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Abbas, Naqaa, and Hend Taher. "Celebrating Culture - Literary Communities of Practice in Doha." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0264.

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Our paper focuses on the role of arts and culture in Doha. More specifically, we examine literary circles in Doha (both Arab and English speaking) and regard them as ‘communities of practice.’ According to Etienne Wenger, communities of practice are “groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” Moreover, such communities are seen as promoting innovation, developing social capital, facilitating and spreading knowledge within a group, and spreading existing knowledge. Recently, there has been a surge of active literary communities presenting their creative work in both English and Arabic attracting a variety of audiences and fans. For instance, young authors such as Kumam Al Maadeed, Eissa Abdullah, Buthaina Al-Janahi and Abdullah Fakhro not only have a huge online following, but they also have a significant fan base attending their events throughout the city. Besides these communities, there are also numerous organizations with which these celebrity authors are associated such as Qalam Hebr, Qatari Forum for Authors, and Outspoken Doha – we argue that such organizations can also be regarded as communities of practice. Our contention is that these ever-growing communities provide a performative space in which poets, singers, authors and artists can experiment with the fluidity of their assigned identities, cultures and traditions.
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Cheng, De, Yan Li, Dingwen Zhang, Nannan Wang, Xinbo Gao, and Jiande Sun. "Robust Single Image Dehazing Based on Consistent and Contrast-Assisted Reconstruction." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/119.

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Single image dehazing as a fundamental low-level vision task, is essential for the development of robust intelligent surveillance system. In this paper, we make an early effort to consider dehazing robustness under variational haze density, which is a realistic while under-studied problem in the research filed of singe image dehazing. To properly address this problem, we propose a novel density-variational learning framework to improve the robustness of the image dehzing model assisted by a variety of negative hazy images, to better deal with various complex hazy scenarios. Specifically, the dehazing network is optimized under the consistency-regularized framework with the proposed Contrast-Assisted Reconstruction Loss (CARL). The CARL can fully exploit the negative information to facilitate the traditional positive-orient dehazing objective function, by squeezing the dehazed image to its clean target from different directions. Meanwhile, the consistency regularization keeps consistent outputs given multi-level hazy images, thus improving the model robustness. Extensive experimental results on two synthetic and three real-world datasets demonstrate that our method significantly surpasses the state-of-the-art approaches.
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Aksenov, Viktor, Igor Nosakov, Yulia Chemodanova, and Nikolay Shimin. "Dynamics of organizational culture and behavior of commercial enterprises personnel in modern Russia." In Human resource management within the framework of realisation of national development goals and strategic objectives. Dela Press Publishing House, 2022. http://dx.doi.org/10.56199/dpcsebm.mfor5668.

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The article presents the materials of the study of organizational behavior, which the authors conducted from the mid-90s of the XX century to 2019. The authors of the article believe that the professional behavior of the personnel of commercial enterprises is largely determined by the organizational culture that has developed there and, above all, the value orientations of employees. The article presents the author’s view of Russian and foreign literature. The history of the development of views on organizational culture is touched upon. In addition to fairly well-known authors, Edgar Schein, Gerd Hofstede, the authors cite ideas of less well-known in Russia, Trompenaars F., Hampden-Turner C. Singer M.R, Hall E.T., M. Polanyi, revealing the internal contradictions of the paradigm that has developed in foreign historiography. Contradictions in the Russian historiography of organizational culture are revealed based on the analysis of supporters of classical foreign views, Blagov Yu.E., Katkalo V.S., Savchenko L.S., those who rely on traditional Russian concepts, Yadov, V.A., Avdoshina, N. V., Vaskina, Y. V. Gostev A. A. Huseynov A.A., Kagan M.S., and those who try to combine all the diversity of approaches and concepts in their research, Marshev V.I., Shklyaeva N.A., Salikhova E.R., Zakharova L.N. Based on this, the authors propose their own version of the model of organizational culture and methods for studying its dynamics, substantiate the advantages of using their model and methodology in the analysis of organizational processes in commercial enterprises. Based on the processing of some research results, certain assessments are proposed that relate to changes in value orientations in organizations of various types. The authors draw conclusions about the causes and nature of the changes that have occurred. Measures to improve public policy are proposed.
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Звіти організацій з теми "Traditional singers"

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Taela, Kátia, Taela, Kátia, Euclides Gonçalves, Catija Maivasse, and Anésio Manhiça. Shaping Social Change with Music in Maputo, Mozambique. Institute of Development Studies (IDS), February 2021. http://dx.doi.org/10.19088/ids.2021.020.

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In Mozambique, development programmes have traditionally drawn on music as a means to promote social transformation by educating citizens on key social development issues. Shifting the focus from music as a teaching medium to music as a rich source of information can provide vital insights into public opinion and political ideas, and significantly impact the development of citizen engagement projects. Maximum gains for development and civil society agencies can be achieved by mainstreaming gender into mutual learning activities between singers, audiences, and academics.
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