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Foote, Jennifer R., and Colleen A. Barber. "High Level of Song Sharing in an Eastern Population of Song Sparrow (Melospiza Melodia)." Auk 124, no. 1 (January 1, 2007): 53–62. http://dx.doi.org/10.1093/auk/124.1.53.
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Abstract Using shared songs is believed to be an integral part of neighbor communication and territory establishment strategies among many avian species with repertoires. Previous studies of two western subspecies of Song Sparrows (Melospiza melodia) reported a high level of song sharing among neighboring males, whereas studies of an eastern subspecies have reported a very low level. The purpose of our study was to investigate another population of the eastern subspecies to determine whether higher song-sharing levels existed within its range. Every song in the repertoire of 29 males was compared with the songs of all other males to assess the number of shared songs. For each male, we calculated the mean song-sharing level with neighbors and non-neighbors. Males shared, on average, 33% of their repertoire with neighbors, significantly more than they shared with non-neighbors (27% of their repertoire). Two first-year males learned whole song types from several individuals and preferentially learned the song types shared among those individuals. Our results suggest that the eastern and western subspecies may not differ genetically in the way they learn songs, because song-sharing levels and song learning in our population were more similar to those of the western subspecies than to those of other populations within its own subspecies. Song-sharing differences among eastern populations may be explained instead by factors acting at the level of individual populations. Niveau Élevé de Chants Partagés chez une Population de l'Est de Melospiza melodia
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Tracy, Claire B., Janet Nguyen, Rayna Abraham, and Troy R. Shirangi. "Evolution of sexual size dimorphism in the wing musculature of Drosophila." PeerJ 8 (January 17, 2020): e8360. http://dx.doi.org/10.7717/peerj.8360.
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Male courtship songs in Drosophila are exceedingly diverse across species. While much of this variation is understood to have evolved from changes in the central nervous system, evolutionary transitions in the wing muscles that control the song may have also contributed to song diversity. Here, focusing on a group of four wing muscles that are known to influence courtship song in Drosophila melanogaster, we investigate the evolutionary history of wing muscle anatomy of males and females from 19 Drosophila species. We find that three of the wing muscles have evolved sexual dimorphisms in size multiple independent times, whereas one has remained monomorphic in the phylogeny. These data suggest that evolutionary changes in wing muscle anatomy may have contributed to species variation in sexually dimorphic wing-based behaviors, such as courtship song. Moreover, wing muscles appear to differ in their propensity to evolve size dimorphisms, which may reflect variation in the functional constraints acting upon different wing muscles.
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Hatsenko, Halyna, Nataliia Kovmir, and Vadym Yurchuk. "Stage Performance of Pop Song: Set of Expressive Means in Contemporary Performance Practices." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 2 (December 9, 2024): 170–82. https://doi.org/10.31866/2616-7581.7.2.2024.316731.
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The art of pop singing includes not only vocal art but also a complex of expressive means, among which the performer’s acting skills play a prominent role; the extent to which additional expressive means are used depends on the performer’s individuality, the semantic, figurative, emotional and stylistic originality of the song. The purpose of the research is to describe the set of expressive means that a singer can use when creating an artistic image and performing a pop song on stage (vocal art, acting and the singer’s image (stage image), theatricalisation and scenography of a musical piece, the role of accompaniment). Research methodology. Musicological, stylistic, and contextual analysis is applied; a complex of expressive means of a stage performance of a pop song in modern socio-cultural conditions is considered, which is the basis for forming a musician (pop singer) – an artist of a new universal type. The scientific novelty of the study lies in the in-depth consideration of a complex of expressive means in the contemporary stage practices of pop singers, including the acting skills of pop performers, the theatricalisation of vocal pop works, etc., which makes it possible to determine the trend of development of contemporary pop song as a synthesis of acting and vocal art. Conclusions. When a song is sung in the name of a character, the main means of expression of the pop singer’s acting skill is transformation, the creation of the character of the character for whom the song is sung. The theatricalisation of a pop song requires the performer and the director to have a sense of proportion to understand that the meaning and image of the work are revealed primarily through singing; one of the most essential tasks of the director is to help the pop singer find an original and organic image. It is undeniable that the live accompaniment of a song provides an opportunity for a broader theatricalisation in the sense of communication between the singer and the concertmaster or orchestra. In the pyrotechnics of a pop singer’s performance, the leading positions belong to inner vision, imagination and penetration into the emotional and semantic construction of the material.
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Stinton, Nicole. "Recitativing the Song: Empowering the Singing Actor." Musical Theatre Educators Alliance Journal 5, no. 2024 (January 1, 2024): 25–36. http://dx.doi.org/10.62392/aepd5204.
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Conservatory training has relied largely on the separation of singing and acting classes (Burgess & Skilbeck, 2000, pp. 9-11). The separation of discipline-specific classes may be one reason why the singing-actor can lack authenticity in performance (Burgess & Skilbeck, 2000, pp. 111-112; Moor, 2018, p. 264). Authenticity, in this context, refers to the character being believable and where the actor appears to not be acting (Moor, 2018, p. 258)...
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Holmes, Shannon. "Acting the Song Performance: Skills for the Musical Theater." Voice and Speech Review 12, no. 3 (May 10, 2018): 369–78. http://dx.doi.org/10.1080/23268263.2018.1468299.
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Rodger, Gillian M. "When Singing Was Acting: Song and Character in Variety Theater." Musical Quarterly 98, no. 1-2 (March 2015): 57–80. http://dx.doi.org/10.1093/musqtl/gdv006.
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Kumar, Kavin. "Emotion Based Music Recommendation System." International Journal for Research in Applied Science and Engineering Technology 11, no. 5 (May 31, 2023): 5320–23. http://dx.doi.org/10.22214/ijraset.2023.52586.
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Abstract: Music has a powerful impact on people and is extensively utilised for relaxation, mood control, stress relief, and illness prevention, as well as to sustain mental and physical work. Music has been nowadays acting as an stress-buster for every human. However opting out the song on the mood is so essential. It would be so skeptical for a person to decide the song to listen from heavy existing choices. Human emotions have become increasingly important in recent years. Human sentiments underpin emotion, which can be expressed or not. Emotion represents the individual behavior of humans, which can take several forms. The extraction of emotion states the individual state of behavior of humans. In this presentation hitting those right tracks for desired person is Fisher’s Face algorithm (LDA) briefly. In our proposed system a mood based music player is created which performs real time mood detection and suggests songs based on the detected mood
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Effendy, Moh Hafid. "Nilai Religius pada Kearifan Lokal Tembang Macapat Madura." Khazanah Theologia 3, no. 1 (January 30, 2021): 1–12. http://dx.doi.org/10.15575/kt.v3i1.10959.
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The religious value of the local wisdom of the Madurese Macapat song is motivated by the variety of Madurese macapat songs that contain religious values which until now have been neglected by the Madurese ethnic in everyday life. This article examines the religious value of local Madurese wisdom in macapat songs. The method in this research uses a qualitative approach with a descriptive type. The techniques used in collecting data are through transcription, observation, documentation, and listening. Meanwhile, to analyze the data, researchers used identification, classification, and data description techniques. The results showed that the religious value of the local wisdom of the Madura macapat song contains the relationship between humans and God the creator of nature, namely Allah commands humans to carry out His good commands and stay away from His prohibitions. Meanwhile, the human-human relationship found symbolic meaning parèbhâsan with a reflection from Paul Recoer namely Kerras lamon ta’ akerrès which is intended for people who do not think before they act so that something happens less profitable for them. Madurese are advised to think before acting, so as not to be careless in doing something to others.
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Verosky, Niels J. "Essen as a Corpus of Early Musical Experience." Empirical Musicology Review 17, no. 2 (November 9, 2023): 154–64. http://dx.doi.org/10.18061/emr.v17i2.9266.
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Statistics derived from the Essen Folksong Collection have widely been used as a proxy for general stylistic norms familiar to Western listeners. Since the specific facets of contemporary musical experience best modeled by a corpus of nineteenth-century European folksongs remain ambiguous, this study tests whether Essen-like music might be familiar to North American listeners through common children’s songs. Comparison with a corpus of 38 English-language children’s songs highly popular in North America finds that scale degrees from Essen and the children’s song corpus have near-perfect correlations in frequency profiles as well as high to very high correlations in tonal expectations and 4-grams. Profiles of scale degrees’ downbeat probabilities and average durations have moderate to high correlations for the diatonic but not the total chromatic. Overall, profiles of scale-degree behavior from the children’s song corpus match profiles from Essen more closely than do profiles from another corpus of music widely familiar to contemporary listeners (Billboard Hot 100 songs) and similarly closely as a corpus of nineteenth-century common-practice German vocal music (Schubert songs). For contemporary North American listeners, studies relying on Essen might plausibly be reinterpreted in terms of Essen acting as a corpus of early musical experience although the generalizability of Essen-derived statistics likely depends on the precise statistics being measured.
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Nasim, Rafika M., and Ana Mariana. "An Analysis of Illocutionary Act on Song Lyrics by Sia Furler in The Album This is Acting." Indonesian Teaching English to Speakers of Other Languages Journal 1, no. 1 (February 6, 2024): 15. https://doi.org/10.30587/inatesol.v1i1.7363.
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This study examines the illocutionary acts present in the lyrics of the album "This Is Acting" by Sia Furler. Utilizing a qualitative research approach, the study categorizes and analyzes the various types of illocutionary acts found within the album's songs. The data collection process involves selecting song lyrics from the album and identifying instances of illocutionary acts, which are then classified into representative, directive, commissive, expressive, and declarative categories. The findings reveal that the representative type of illocutionary act is the most prevalent, with instances of describing situations, stating facts, and conveying truths forming a significant portion of the analyzed data. Following this, directive illocutionary acts, including commands and invitations, are also prominent within the lyrical content. Commissive acts, expressing hopes, rejections, threats, and offers, represent a smaller yet significant portion of the data. Additionally, the analysis identifies expressive acts, such as expressions of praise, thanks, and regret, as well as declarative acts, featuring expressions of confession. This research contributes to the understanding of linguistic expressions in song lyrics and sheds light on how illocutionary acts are employed to convey messages, emotions, and themes within the context of music. Furthermore, it suggests avenues for future research, including exploring alternative media forms and applying the analysis of speech acts to literary works. Overall, this study offers valuable insights into the intricate interplay between language and music in conveying meaning and emotion to listeners.
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Wheeldon, Amie, Katarzyna Kwiatkowska, Paweł Szymański, and Tomasz S. Osiejuk. "Male and female songs propagation in a duetting tropical bird species in its preferred and secondary habitat." PLOS ONE 17, no. 10 (October 3, 2022): e0275434. http://dx.doi.org/10.1371/journal.pone.0275434.
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Acoustic signals produced by animals must transmit through the environment to reach potential receivers and change their behaviour. Both the environment (vegetation, air properties, other animals) and the form of the signal affect the propagation process. Here we investigated how the transmission of different song types of a duetting songbird species inhabiting an extreme environment within African montane forest, varies between males and females as well as different types of micro-habitats. We hypothesised that male and female songs would have different transmission properties, reflecting known differences in signal form and function. We analysed signal-to-noise ratio (SNR), excess attenuation (EA) and tail-to-signal ratio (TSR) of songs of male and female Yellow-breasted Boubous (Laniarius atroflavus) that were played and re-recorded in a range of sites representing the species-typical habitats. We found significant effects of distance, site (habitat) and sex reflected in all three measures of sound degradation. The clearest, primarily distance-dependent pattern was found for SNR of songs propagated in level forest site. EA was substantially higher in shrubs than in forest habitats, while TSR reflecting longer echoes appeared at longer distances in forest sites. Thus, Yellow-breasted Boubou songs are better propagated in forests than in disturbed sites covered with shrubs. We found that all male song types used for broadcast singing propagated farther than female songs, with significantly higher SNR at all distances. The different male song types which are known to have different functions, also demonstrated a differentiated pattern of propagation reflecting their functionality. All signals that were tested propagated the furthest in the ideal condition described as forest with a level terrain. Signals degraded much faster during transmission through shrubs regrowing after forest burning. On this site, the differences in the propagation of male and female songs, as well as the differences between male song types, were relatively least pronounced. Transmission in typical mountain forest among streams and with substantial terrain variation revealed that degradation pattern in such habitat could be perturbed in a non-linear way. Streams acting as a source of high noise level also negatively affected transmission and may strongly limit the perception of birds staying close to them. However, stream noise did not affect sex differences in song propagation as was found for the site located in shrubs. Male songs showed more efficient transmission through all habitats (least in the shrubs) than female song. These differences were the result of male songs having a whistle structure that is better adapted for long-range propagation than the atonal, wideband frequency female vocalisations. Results support the idea that signals of males of the Yellow-breasted Boubous evolved under the pressure of long-range communication both with rivals and females, while females of the species are much more focused on within-pair communication or signalling together with their partner. The consequence of deforestation resulting in pushing back territories to the forest remnants along streams may be a shortening of the song’s active range, in particular, in females.
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Singh Naruka Phoolita, Yogendra. "DANCE, SONG ACTING MODE AND CHOREOGRAPHY OF SILENT ARTISTS (A STUDY)." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3450.
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It is difficult for normal artists to dance without music and music, but it is equally comfortable for deaf and dumb artists. Sound and music have no purpose for silent-deaf artists. The artist does not dance to the melody of the music, but rather to the chords of his choreographer. His dance forms are based on the notion of dance without music. A choreographer with a good knowledge of the sign language of the silent and deaf can master it in dance. is.
सुर व संगीत के बिना सामान्य कलाकारों के लिए नृत्य करना मुश्किल कार्य है लेकिन मूक-बधिर कलाकारों के लिए यह उतना ही सहज हैं। मूक-बधिर कलाकारों के लिए सुर व संगीत का कोई प्रयोजन नहीं है। यह कलाकार संगीत की किसी तान पर नहीं थिरकते अपितु यह अपने कोरियोग्राफर के ईशारों पर थिरकते है।इनकी नृत्य विधा डान्स विदआऊट म्यूजिक की धारणा पर आधारित होती हैं।मूक-बधिरांे की सांकेतिक भाषा का अच्छा ज्ञान रखने वाला केारियोग्राफर इन्हे नृत्य में पारंगत बना सकता है।
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Dunbar, Zachary. "Stanislavski’s system in musical theatre actor training: anomalies of acting song." Stanislavski Studies 4, no. 1 (January 2, 2016): 63–74. http://dx.doi.org/10.1080/20567790.2016.1155366.
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Ghaliyah, Bunga Dessri Nur. "Makna Pesan Verbal Lagu "Nasib Bunga" Karya Rhoma Irama." Metahumaniora 12, no. 1 (April 27, 2022): 105. http://dx.doi.org/10.24198/metahumaniora.v12i1.37798.
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ABSTRAKTulisan ini merupakan analisis terhadap lirik lagu “Nasib Bunga” yakni salah satu lagu dangdut yang diciptakan Rhoma Irama dan dipopulerkan oleh Noer Halimah. Penelitian berjenis kualitatif ini dilakukan untuk mengetahui makna pesan verbal dalam lagu tersebut melalui analisis semiotika-Michael Riffaterre yang terdiri atas pembacaan heuristik dan hermeneutik. Melalui analisis yang berbasis pada data-data yang dikumpulkan dari hasil studi pustaka dan wawancara, dapat diketahui bahwa lagu “Nasib Bunga” mengandung makna mendalam yang secara garis besar berpesan untuk senantiasa berpikir sebelum bertindak agar tidak terjerumus kepada hal yang dapat merugikan dan disesali di kemudian hari. Selain itu, dapat diketahui pula bahwa makna lagu Nasib Bunga dibalut menggunakan redaksi kata dan simbol yang “tepat” sehingga lagu ini menjadi karya dakwah yang dapat diterima di masyarakat. Kata Kunci : Nasib Bunga; Makna; Lirik; Semiotika; Michael Riffaterre ABSTRACTThis paper is an analysis of the lyrics of the song "Nasib Bunga" which is one of the dangdut songs created by Rhoma Irama and popularized by Noer Halimah. This type of qualitative research was conducted to determine the meaning of the verbal message in the song through the semiotic analysis of Michael Riffaterre which consists of heuristic and hermeneutic readings. Through analysis based on data collected from the results of literature studies and interviews, it can be seen that the song "Nasib Bunga" contains a deep meaning which in general is a message to always think before acting so as not to fall into things that can be detrimental and regret later. day. In addition, it can also be seen that the meaning of the song Nasib Bunga is wrapped using the "right" wording and symbols so that this song becomes a propaganda work that can be accepted by the community. Keywords : Nasib Bunga; Meaning; Lyric; Semiotics; Michael Riffaterre
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Rose, Evangeline M., Derek A. Coss, Casey D. Haines, Sheridan A. Danquah, Colin E. Studds, and Kevin E. Omland. "Why do females sing?—pair communication and other song functions in eastern bluebirds." Behavioral Ecology 30, no. 6 (August 3, 2019): 1653–61. http://dx.doi.org/10.1093/beheco/arz130.
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Abstract Female bird song has been underappreciated and understudied, especially in temperate species. Birdsong was originally thought to be a trait used primarily by male songbirds for mate attraction and male/male contest. However, ornithologists have long known that females sing in many tropical songbirds, often for similar functions to male song. Yet, studies of female song in temperate regions remain scarce. Increasing our understanding of the function of female song in temperate species is a powerful step towards discerning the selective pressures that maintain elaborate female signals. In the last few decades, studies of temperate species have highlighted five major functional categories of female song. Using a modeling framework, based on all known functions of song in other species, we tested the function of female song in eastern bluebirds. The modeling framework allowed us to test the effect of multiple complex behaviors simultaneously to predict female song function. Additionally, modeling mitigated issues of multiple testing across the five different functional categories. We found that female song in eastern bluebirds is primarily used in pair communication. Specifically, females sing to strengthen and maintain long-term pair bonds. Strengthening pair-bonds may be advantageous for eastern bluebirds as pairs that remain together between nesting attempts and between years have higher reproductive success. We demonstrate a clear link between the function of female song in pair communication and the likely selective force of long-term pair bonds acting on eastern bluebird reproductive success. Additionally, our study highlights a major function of female song in a temperate species.
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Zuk, Marlene, John T. Rotenberry, and Robin M. Tinghitella. "Silent night: adaptive disappearance of a sexual signal in a parasitized population of field crickets." Biology Letters 2, no. 4 (September 19, 2006): 521–24. http://dx.doi.org/10.1098/rsbl.2006.0539.
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Abstract Sexual signals are often critical for mate attraction and reproduction, although their conspicuousness exposes them to parasites and predators. We document the near-disappearance of song, the sexual signal of crickets, and its replacement with a novel silent morph, in a population subject to strong natural selection by a deadly acoustically orienting parasitoid fly. On the Hawaiian Island of Kauai, more than 90% of male field crickets ( Teleogryllus oceanicus ) shifted in less than 20 generations from a normal-wing morphology to a mutated wing that renders males unable to call (flatwing). Flatwing morphology protects male crickets from the parasitoid, which uses song to find hosts, but poses obstacles for mate attraction, since females also use the males' song to locate mates. Field experiments support the hypothesis that flatwings overcome the difficulty of attracting females without song by acting as ‘satellites’ to the few remaining callers, showing enhanced phonotaxis to the calling song that increases female encounter rate. Thus, variation in behaviour facilitated establishment of an otherwise maladaptive morphological mutation.
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Goldstein, Thalia R. "Feeling the Emotions of Acted Characters: Commentary on Heisel." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 111. http://dx.doi.org/10.18061/emr.v10i1-2.4587.
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<p>This commentary addresses the hypothesis that empathy is a tool for embodiment and skillful performance in the presentation of opera and art song. It discusses the need to clearly and effectively define the term “empathy,” and considers research from acting and theatre that speaks directly to how embodiment occurs in vocal performance, when that performance is attached to a character specifically. It concludes with some additional acting exercises singers may find useful.</p>
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Briand, Michel. "Mouvement, regard et son dans la Newest Sappho." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 13–48. http://dx.doi.org/10.1163/22129758-12341376.
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Abstract In Greek Archaic poetry song, dance, music and text interact through multisensorial emotions (empathy, pleasure) and synaesthesias (sound/sight/movement), represented and perceived in textual devices and real or imaginary performances. In a group of poems in the Newest Sappho (frs 15, 16, 16a, Kypris Song) eros prevails, connecting the audience/readers and ego, as feeling, thinking, and acting subjects. Frs 9, 17, 18, and the Brothers Song are more about public rituals, journeys, and family relations. Fr. 5 is composite: impulses of love share characteristics with addresses to deities or parents. These texts all have a unique sound-and-dance style, as confirmed by Sappho’s frs 1, 31, 44-44a, 58-59, 94, and this sensorial approach may support a transdisciplinary and sensitive conception of philology, by enhancing our appreciation of poetry as embodied experience: simultaneously emotional, aesthetic, cognitive, and intersubjective.
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Mulcahy, Sean Alexander, and Sean Mulcahy. "Acting Law | Law Acting: A Conversation with Dr Felix Nobis and Professor Gary Watt." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (April 30, 2017): 189–200. http://dx.doi.org/10.31273/eirj.v4i2.158.
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Dr Felix Nobis is a senior lecturer with the Centre for Theatre and Performance at Monash University. He has worked as a professional actor for many years. He previously played an assistant to the Crown Prosecutor in the Australian television series, Janus, which was set in Melbourne, Victoria and based on the true story of a criminal family allegedly responsible for police shootings. He also played an advisor to a medical defence firm in the Australian television series MDA. He is a writer and professional storyteller. He has toured his one-person adaptation of Beowulf (2004) and one-person show Once Upon a Barstool (2006) internationally and has written on these experiences. His most recent work Boy Out of the Country (2016) is written in an Australian verse style and has just completed a tour of regional Victoria. Professor Gary Watt is an academic in the School of Law at the University of Warwick where his teaching includes advocacy and mooting. He also regularly leads rhetoric workshops at the Royal Shakespeare Company. He is the author of Dress, Law and Naked Truth (2013) and, most recently, Shakespeare’s Acts of Will: Law, Testament and Properties of Performance (2016), which explores rhetoric in law and theatre. He also co-wrote A Strange Eventful History, which he performed with Australian choral ensemble, The Song Company, to mark the 400th anniversary of Shakespeare’s death.
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Nikitina, Alexandra. "The Song of Ouyang Hai." Archiv orientální 83, no. 1 (May 15, 2015): 117–36. http://dx.doi.org/10.47979/aror.j.83.1.117-136.
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This article sets out to analyze the novel The Song of Ouyang Hai by Jin Jingmai (1965), and to do so within the paradigm of poststructuralist literary criticism. The deconstruction of the text helps us to discover its intertextuality and simulacra and to reveal the contradictions between the author’s ideas and the image of the protagonist as actually presented to the reader. Through reference to intertextuality, we see that Ouyang Hai is incapable of thinking and acting independently, he is guided by set phrases and behavior patterns that he has gleaned from Communist literature. Slogans that pervade his speech do not represent real actions, but only simulate them, thus creating a hyperreal environment filled with signs that do not have a prototype in real life, i.e., simulacra. Ouyang Hai’s maturation, as he acquires political and ideological consciousness is, in the author’s opinion, the process of his evolution. I argue that, on the contrary, this transformation leads to the destruction of the image, which is mostly constructed of propaganda slogans. The image constituting the mere sum of these artificial elements is no longer an integral whole, it breaks down into its elements – destructs, dismantles, defragments itself. Finally, Ouyang Hai is not a copy of a real human being, but – in J. Baudrillard’s words – “its own pure simulacrum.”
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COSTA, C. T. A., and F. M. SENE. "Characterization of courtship sounds of species of the subgroup fasciola (Diptera, Drosophilidae, Drosophila repleta group): interspecific and interpopulational analyses." Brazilian Journal of Biology 62, no. 4a (November 2002): 573–83. http://dx.doi.org/10.1590/s1519-69842002000400003.
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The aim of this work was to characterize the male courtship song pattern of various species of the fasciola subgroup and to determine the level of variation both within and among species. The parameters analyzed were intrapulse interval (PI), interpulse interval (IPI), and intrapulse frequency (IF). Six different species were analyzed: D. coroica (three populations), D. ellisoni, D. fascioloides, D. moju, D. onca, and D. rosinae (one population each). There were significant differences among the six species for these three courtship song parameters. The IPI was the most variable parameter among these species, suggesting that this parameter is important for female discrimination. Four different hypotheses could explain this variation: 1. different selection pressures with absence of flow gene; 2. intraspecific sexual selection; 3. sympatric effects on song evolution; and 4. genetic drift. The PI was the only parameter that was significantly different among the three population of D. coroica. Low variability among populations within the same species was already observed for other subgroups and could be explained by the following hypotheses: strong selection acting on the song parameters, gene flow, or recent colonization from a common source. Additional studies of the courtship song of other species of the fasciola subgroup, as well as for other subgroups of the repleta group, and studies, using molecular makers, that focus on the genetic basis of the differences among these species in courtship song would allow us to evaluate the association of courtship song and sexual isolation in these species, and would also help us to understand the evolution of these behavioural differences.
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Jordan, Joseph P. "The aesthetics of surprise in Waller’s ‘Song’ (‘Go, lovely Rose’)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 100, no. 1 (August 2, 2019): 44–50. http://dx.doi.org/10.1177/0184767819864364.
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Edmund Waller’s ‘Song’ (‘Go, lovely Rose’) ends shockingly: when the rose, which had been acting as a gently chiding intermediary between the speaker and the beloved, is suddenly commanded to perish. But this surprise is prepared for by a host of imperceptible effects, making readers experience the surprise as, paradoxically, an inevitable one. The quietness of the anticipatory effects may account for why this poem has occasioned such scant critical commentary despite it being one of the masterpieces of the late English Renaissance.
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Primasari, Yusniarsi, and Winarsih. "A Improving The First Year Students’ Vocabulary Skill Using Song at SDN Mojoagung 3, Prambon, Nganjuk in the Academic Year 2021/2022." JOSAR (Journal of Students Academic Research) 8, no. 2 (September 28, 2022): 86–94. http://dx.doi.org/10.35457/josar.v8i2.2405.
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Vocabulary is one of the important components of language that must be taught to the students of Elementary School. It is usually taught in relation to four other language skills (listening, speaking, reading, and writing). The vocabulary teaching using song is very effective because children like to sing a song.
Based on the preliminary study, the students who passed the test were 57% and 43% were unsuccessful. It indicated that the student's achievement was low because they did not know the English name for anything about “Happy Birthday”. This problem makes the students lack motivation in learning English. Therefore, this study aimed to improve the students’ vocabulary skills using songs.
The design of this research is a Classroom Action Research. There are two cycles in this research, namely Cycle I and Cycle II. Each cycle consists of four steps: planning, acting (implementing), observing, and reflection. This research took two cycles because it's impossible to improve students’ vocabulary mastery it only took one cycle and also useful to compare the result of the test. The criteria of success of this research if there were that 75% of students scored 60 or higher. The result of the study showed that the number of students in the passing grade (60) has increased. The students who got 60 and more were 57% in the preliminary study. After being taught by song, the students who got 60 and more increased to 71%, and in cycle II increased to 85%.
The improvement could be gained when the student's performance during the learning-teaching process was satisfied. The classroom situation was enjoyable and the students were active during the learning-teaching process. The materials given were suitable for the lessons, attractive, or caught the students’ attention and contextual.
Based on the research analysis as explained above, the researcher concludes that teaching vocabulary through song effectively improves the students’ vocabulary mastery.
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Kopania, Lidia. "Zimna wojna w popkulturze. Czołówki festiwali piosenki Interwizji i propaganda sukcesu." Kultura Popularna 3, no. 57 (November 30, 2018): 31–40. http://dx.doi.org/10.5604/01.3001.0012.7287.
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The aim of the article is to point out that popular culture, in the framework of which popular song contests function, although associated with the practices, needs, experiences and traditions of ordinary people, is a form of the game of power and that the shape and the character of the Intervision Song Contest were influenced by the Polish United Workers' Party. The course of the Cold War was also meaningful for its organization. The analysis of two opening credits of the Intervision Song Contests of 1977 and 1979, partially animated, allows to show that the festival was planned thoroughly and was assessed by the party which used it for the propaganda. The post-colonial perspective appears to be proper for the analyses, although the term is ambiguous and explained by numerous opinions which exclude each other. However, it enables to deconstruct and expose the models of colonial thinking and acting, demonstrating that, despite the organizers’ declarations of political neutrality, the festival was both an artistic and political initiative.
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Chintia nainggolan, Feby. "An Analysis Of Figurative Language In The Song Lyrics of Map of The Soul : 7 Album." Explora 10, no. 1 (April 8, 2024): 7–13. http://dx.doi.org/10.51622/explora.v10i1.2468.
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This study aims to find the types and the meanings of figurative language used in the lyrics of BTS songs on the album Map of the Soul: 7. The writer uses Abrams's theory (1999) in identifying the types of figurative language used. This study uses a descriptive qualitative analysis method in analyzing the data. The data were obtained from BTS songs contained in the album Map of the Soul: 7. This album has 19 songs, there are Interlude: Shadow, Outro: Ego, Intro: Persona, My Time, Black Swan, On, Filter, Friends, Moon, Inner Child, 00:00, Respect, UGH !, We Are Bulletproof: The Eternal, Jamais Vu, Dionysus, Make It Right, Boy With Luv and Louder Than Bombs. There were 53 data found. From the analysis, the writer found several types of figurative language used, there are 1 data of Synecdoche (1.88%), 1 data of Paradox (1.88%), 1 data of Sarcasm (1.88%), 1 data of Allusion (1.88%), 3 data of Apostrophe (5.67%), 3 data of Symbol (5.67%), 5 data of Simile (9.44%), 5 data of Antithesis (9.44%), 10 data of Hyperbole (18.86%), 11 data of Metaphor (20.76%), and 12 data of Personification (22.64%). The most dominant type of figurative language in the data is Personification. The writer found that BTS used some imgery on non-human objects as if they were acting like humans. In the data (2) "but my growing shadow swallows me and becomes monster", as is a well-known shadow is an object that is dark in color and has properties. However, in the song Interlude: Shadow, the word shadow is described as something that can act like a human that is swallowing. In the data, BTS describes that the shadow is like the fear they have in the future that can later bring down their current career. Keywords: Semantics, Figurative language, Song Lyrics of Map of the Soul: 7 Album
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Ni Made Asri Suwandesi, Ni Made Ratminingsih, and Kadek Sintya Dewi. "Implementing English Kids’ Song Media to Improve Students’ Vocabulary Achievement." Jurnal Pendidikan Bahasa Inggris undiksha 10, no. 2 (November 16, 2022): 180–86. http://dx.doi.org/10.23887/jpbi.v10i2.54028.
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A song becomes a great English learning media in enhance students English skill, especially vocabulary achievement. This study was conducted to improve students’ vocabulary achievement through English kids’ song media in the first academic year. The subjects of this study consisted of 33 fifth-grade students. This study employed Classroom Action Research (CAR). The research design used in this study was a collaborative classroom action research, which means that the researcher collaborated with the real fifth-grade teacher as a collaborator and an observer. This study consisted of two cycles. Each cycle is consisted of two meetings that contained four phases; planning, acting, observing, and reflecting. The data for this study were acquired through observation, post-tests, and interviews. The result of the observations showed that all aspects of the observation checklist were fulfilled and completed well by the researcher in each meeting in the first and second cycles. The improvement could be seen in the increase of students’ mean scores from 64 in the preliminary study, 72 in the first cycle, to 79 in the second cycle. The result of the interview showed that all students gave positive responses to the implementation of English kids’ song media to improve students’ vocabulary achievement in teaching and learning process. Moreover, English kids’ song can be an alternative media in teaching and learning vocabulary.
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Colbert, Soyica Diggs. "Black Rage: On Cultivating Black National Belonging." Theatre Survey 57, no. 3 (August 10, 2016): 336–57. http://dx.doi.org/10.1017/s0040557416000314.
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In performances in Atlanta; Philadelphia; Washington, DC; Los Angeles; Rio de Janeiro; Chicago; and Denver in 2012, Ms. Lauryn Hill carved out space to voice black rage. In videos uploaded to YouTube, Hill sings, raps, talks, and riffs varied renditions of the song “Black Rage (Sketch),” a remix of Richard Rodgers and Oscar Hammerstein II's “My Favorite Things.” During her November performance at the Electric Factory in Philadelphia, drumbeats punctuated Hill's rapping and singing. Her performance took the audience on a journey meant to leave no one behind; it moved from the highly choreographed rendition of the song with musical accompaniment and Hill acting as lead vocalist and band conductor to her slowly speaking the lyrics of the song and occasionally offering analysis of her words over the shouts and applause of audience members. She explains the line “when I'm feeling sad,” saying “that's a depressive mood.” As the title of her song suggests, in each reiteration Hill issues a different draft of the song, sketching her sound, mood, tempo, and emphasis with each new audience. Although renditions of the song shift, the lyrics consistently recount the physical, psychic, economic, and environmental vulnerability of black people in the United States. The lyrics transform the original song's references to beloved objects—“blue satin sashes” and “snowflakes”—into ironic things such as “Black human packages tied up in strings,” which Hill described in her Philadelphia performance as a reference to bureaucracy but which also resonates with familiar images of lynching. Shifting from the original song's depiction of the curative capacity of things to offset feeling bad, Hill explains that her set of things prevents fear: “I simply remember all these kinds of things and then I don't fear so bad!”
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Hennig, R., T. Weber, T. Moore, F. Huber, H. Kleindienst, and A. Popov. "FUNCTION OF THE TENSOR MUSCLE IN THE CICADA TIBICEN LINNEI." Journal of Experimental Biology 187, no. 1 (February 1, 1994): 33–44. http://dx.doi.org/10.1242/jeb.187.1.33.
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The calling song and the disturbance squawk of the cicada Tibicen linnei (Insecta: Homoptera) are described in terms of their physical parameters. The calling song is composed of quiet parts, which are very similar to the disturbance squawk, and loud parts, which are amplitude- and rate-modulated. The role of the tensor muscle acting on the tymbal frame in modulating the sound pulse amplitude was investigated. We demonstrate by tensor nerve recordings, by mechanical mimicking of the tensor muscle action and by electrical stimulation of the tensor nerve, that the contraction of the tensor muscle is responsible for (a) initiating sound production and (b) modulating the sound pulse amplitude. These results allow us to construct a model which suggests that the tensor shifts the tymbal into a mechanical working range that enables sound production and modulation of the sound pulse amplitude.
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Enukidze, Natela I. "“In Her Own Repertoire”: Ksenia Kourakina on the Stage of the Cameo Theater Krivoe Zerkalo [Distorted Mirror]." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 128–39. http://dx.doi.org/10.56620/2782-3598.2023.2.128-139.
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This article presents an attempt to reconstruct the intermediate repertoire of the cameo theater Krivoe Zerkalo [Distorted Mirror]. During the Soviet period of the theater’s activity, the “singer of intimate songs” Ksenia Kourakina (1903–1988) enjoyed considerable success among the sideshow actresses, who, according to the press announcements, performed “in her own repertoire” (a Russian expression, meaning “behaving in her own typical manner”). The possibility of a partial reconstruction has been provided by materials of the State Museum of Musical and Theatrical Art (St. Petersburg). The funds of Kourakina’s archive comprise a repertoire list of 35 items, a number of musical materials (partly published, partly handwritten), as well as an autobiography written by the singer in 1950. Another source of information was the press of Petrograd (which was called Leningrad from 1924 to 1991), primarily, the journal Rabochiy i teatr [The Worker and the Theater]. The scarce amount of responses by reviewers to Kourakina’s performances, along with an analysis of the available part of the sources, allowed us to arrive at the following conclusions. Ksenia Kourakina’s overall repertoire was diverse both in terms of genre and of subject matter and, most importantly, reflected the tastes and preferences of the Soviet public in the late 1920s. The time-tested pre-revolutionary “hits” coexisted in it with new infatuations. Kourakina performed new songs about miners and street children, “street songs” and a particular song about a brick factory — the famous song Kirpichiki [The Little Bricks]. Some of them have subsequently become iconic in the history of Soviet culture. However, Kourakina herself maintained a preference of pre-revolutionary songs of the “era of tabby gowns,” — such as, Dolores, Latinsky kvartal [The Latin Quarter], etc. The most significant of them is Shumit nochnoy Marsel [Marseille is Bustling with Noise at Night] by Yuri Milyutin and Nikolai Erdman. Having been composed already in the Soviet era, it made use of the musical and literary cliches of the Silver Age, “referring” to the works of Alexander Blok, Vsevolod Meyerhold, Alexander Tairov, to Georges Bizet’s Carmen, an opera that was very popular in pre-revolutionary Russia. On the stage of Krivoe zerkalo Ksenia Kourakina did not limit herself to merely performing her songs as interludes. She “played out” the plotlines, making use of the so-called “declamatory singing” that combined “musical melodiousness, declamation and acting”. Thereby, Kourakina’s interludes presented “song theater,” the foundations of which had been previously laid by Alexander Vertinsky, Izabella Kremer and Ilia Ilsarov on the stages of Russian cabarets and cameo theaters even before 1917.
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Kate Arecchi. "Acting the Song: Performance Skills for the Musical Theatre, and: Acting in Musical Theatre: A Comprehensive Course (review)." Theatre Topics 19, no. 1 (2009): 111–12. http://dx.doi.org/10.1353/tt.0.0060.
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Hermida, Rita. "VOCABULARY ACQUISITION FOR YOUNG LEARNERS THROUGH SONGS." Gender Equality: International Journal of Child and Gender Studies 5, no. 1 (October 14, 2019): 95. http://dx.doi.org/10.22373/equality.v5i1.5381.
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Teaching English for Young Learner has been broadly discussed in many academic writings. Young learner is closely regarded to have a massive memory which can be potentially filled by any information. This potential age makes linguist attract to know more about how a language can be absorbed by children. Many theories are then occurred which are mostly stated that even a foreign vocabulary is possible to be learnt by the children. However, different place may give a different result. By this point, here, the writer was interested in identifying further information how the vocabulary acquisition in young learners. The place taken in this study was one of kindergarten in Banda Aceh which had nine classes, and each class consisted of 20 children. The choice was referred to the some conditions which made the researcher interested, namely, most of the students were not from local area where most people spoke Acehness language; and most of the students had not ever been aboard nor stayed in a country where English was speoken. The result shows that most of teacher used song to introduce the foreign vocabulary to the children. The children would sing the song and dance together by acting out what the lyrics if the song stated. The atmosphere of the classroom was encouraging.
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Wang, Duangui. "The fret-harmonic content of the Chinese melos (on the example of samples for the voice and piano in the modern arrangement)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 100–114. http://dx.doi.org/10.34064/khnum2-49.07.
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Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.
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Wang, Duangui. "The fret-harmonic content of the Chinese melos (on the example of samples for the voice and piano in the modern arrangement)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 100–114. http://dx.doi.org/10.34064/khnum1-49.07.
Full textAbstract:
Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.
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Wilson, Scott, and Peter Arcese. "Nest Depredation, Brood Parasitism, and Reproductive Variation in Island Populations of Song Sparrows (Melospiza Melodia)." Auk 123, no. 3 (July 1, 2006): 784–94. http://dx.doi.org/10.1093/auk/123.3.784.
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Abstract Theory suggests that the persistence of metapopulations will be influenced by the degree of synchrony in the dynamics of their component populations. Various studies have shown that climate can promote synchrony in the size of adjacent populations linked by dispersal, but fewer studies have examined the effects of climate on underlying demographic rates. We studied annual variation in the timing of breeding and reproductive rates in Song Sparrow (Melospiza melodia) on islands linked by dispersal to determine whether biotic factors acting at local scales or climatic factors acting at a regional scale were more influential of variation in demography. The onset of egg laying varied markedly among years but was roughly synchronous across islands within years. Despite this synchrony, island populations varied markedly in reproductive rate, mainly from spatial variation in nest depredation and brood parasitism. In general, populations farther from Vancouver Island and with fewer resident predators experienced less nest depredation and brood parasitism, and higher reproductive rates, than populations closer to Vancouver Island. Our results show that even when climate acts regionally to synchronize reproductive timing in adjacent populations, its effects on reproductive rate may be overridden by biotic factors that vary among populations. Depredación de Nidos, Parasitismo de Cría y Variación Reproductiva en Poblaciones Isleñas de Melospiza melodia
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Junaid, Syahruni, M. Dalyan, Syarifuddin ., Mastang ., Muhammad Akbar Nur Rasyid, and Muhammad Ashhabul Yamiin. "Unveiling the Structural Layers: An Interpretation of Kath Walker's 'A Song of Hope." Journal of Ecohumanism 3, no. 3 (July 6, 2024): 781–97. http://dx.doi.org/10.62754/joe.v3i3.3433.
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This research analyzes "A Song of Hope," a poem by Kath Walker, through a structural approach that meticulously examines each element of the poem to serve as a benchmark for interpretation. The study delves into the intricate structure, language, and stylistic devices employed by Walker, highlighting how these components collectively convey profound themes of freedom and hope. The researcher, acting as the primary instrument, uncovers the poem's deeper meanings and implications, particularly for the Aboriginal people of Australia. The poem eloquently expresses their enduring hopes for a brighter future, encapsulated in Walker's poetic style that subtly yet powerfully communicates their struggles and aspirations. Kath Walker, known for her career as a poet, political activist, and environmentalist, infuses her personal experiences and perspectives into her literary work. Her expertise and background as an Aboriginal woman lend authenticity and depth to "A Song of Hope," making it not just a piece of literature but a realistic and compelling narrative that resonates with readers. Through this structural analysis, the research underscores Walker's ability to craft a vivid portrayal of the Aboriginal experience, bringing to life their collective yearning for freedom and a hopeful future. The poem's realistic impression is a testament to Walker's skillful blending of her cultural heritage with her literary talent, making "A Song of Hope" a significant and impactful piece of Australian literature.
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Nuraini, Ririn, Nia Yunia Sari, and Ilma Umi Robiqoh. "Meningkatkan Hasil Belajar Mata Pelajaran Tauhid Melalui Metode Sing a Song di Kelas I Pondok Pesantren “Darul Muhajirin” Purwantoro." Tarbawi Ngabar: Jurnal of Education 1, no. 02 (January 10, 2022): 234–44. http://dx.doi.org/10.55380/tarbawi.v1i02.150.
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Penelitian ini bertujuan untuk mengetahui efektifitas metode pembelajaran Sing a Sing untuk meningkatkan hasil belajar siswa kelas I Pondok Pesantren“Darul Muhajirin” Purwantoro dalam mata pelajaran Tajwid melalui penerapan metode Sing a Song. Subjek penelitian adalah kelas I Pondok Pesantren“Darul Muhajirin” Purwantoro yang berjumlah 24 siswa, terdiri atas 10 laki-laki dan 14 perempuan. Penelitian ini merupakan penelitian tindakan kelas (PTK) yang terdiri atas dua siklus dengan desain setiap siklus terdiri atas empat tahapan, yaitu tahap pertama adalah Planning (merencanakan), tahap kedua adalah acting (melaksanakan), observing (observasi) dan tahap ketiga adalah reflecting (merefleksi). Data penelitian didapatkan selama penelitian tindakan sampai penilaian akhir tindakan. Hasil penelitian menunjukkan bahwa pada hasil tes awal setelah adanya tindakan pada siklus I dari 16 siswa terdapat 8 siswa yang tuntas (66, 67%), sedangkan pada siklus II jumlah siswa yang tuntas sebanyak 22 siswa (91,67%). Dengan demikian dapat dibuktikan bahwa penerapan metode Sing a Song pada mata pelajaran Tauhid kelas I Pondok Pesantren“Darul Muhajirin” Purwantoro dalam Tauhid Bab III Hal Nabi dan Rosul memberikan dampak positif dalam meningkatkan hasil belajar siswa.
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Nainggolan, Feby Chintya, and Rotua Elfrida. "An Analysis Of Figurative Language In The Song Lyrics of Map of The Soul : 7 Album." Explora 8, no. 2 (August 30, 2022): 7–13. http://dx.doi.org/10.51622/explora.v8i2.641.
Full textAbstract:
This study aims to find the types and the meanings of figurative language used in the lyrics of BTS songs on the album Map of the Soul: 7. The writer uses Abrams's theory (1999) in identifying the types of figurative language used. This study uses a descriptive qualitative analysis method in analyzing the data. The data were obtained from BTS songs contained in the album Map of the Soul: 7. This album has 19 songs, there are Interlude: Shadow, Outro: Ego, Intro: Persona, My Time, Black Swan, On, Filter, Friends, Moon, Inner Child, 00:00, Respect, UGH !, We Are Bulletproof: The Eternal, Jamais Vu, Dionysus, Make It Right, Boy With Luv and Louder Than Bombs. There were 53 data found. From the analysis, the writer found several types of figurative language used, there are 1 data of Synecdoche (1.88%), 1 data of Paradox (1.88%), 1 data of Sarcasm (1.88%), 1 data of Allusion (1.88%), 3 data of Apostrophe (5.67%), 3 data of Symbol (5.67%), 5 data of Simile (9.44%), 5 data of Antithesis (9.44%), 10 data of Hyperbole (18.86%), 11 data of Metaphor (20.76%), and 12 data of Personification (22.64%). The most dominant type of figurative language in the data is Personification. The writer found that BTS used some imgery on non-human objects as if they were acting like humans. In the data (2) "but my growing shadow swallows me and becomes monster", as is a well-known shadow is an object that is dark in color and has properties. However, in the song Interlude: Shadow, the word shadow is described as something that can act like a human that is swallowing. In the data, BTS describes that the shadow is like the fear they have in the future that can later bring down their current career.
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Simonova, Olga A. "Razin’s motif of the Princess’s drowning in the literature about the Russian Civil war (“Princess” by Andrey Sobol and “Povolniki” by Alexander Yakovlev)." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 97–109. http://dx.doi.org/10.17223/18137083/77/8.
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The motif of the Persian Princess’s drowning was central to the plot connected with the figure of the famous Cossack ataman Stepan Razin. The motif became popular in Russian literature. The most famous was a song based on the words of Dmitry Sadovnikov, “Iz-za ostrova na strezhen…” (“Round the island to the midstream...” (Stenka Razin Song)), which served as the basis for the subsequent perception of the motif. The story of A. Sobol, “Princess” (1924), and the novel of A. Yakovlev, “Povolniki” (1922), embody the text of Sadovnikov’s song. The character and action of the “ataman” were close to the Razin’s ones. However, the reasons that caused the action and the image of the Princess were different. The heroine turns from a faceless and nameless figure into a full-fledged character, actively acting (A. Sobol “Princess”) or playing a key role in changing the fate of the main character (A. Yakovlev “Povolniki”). Sobol’s “princess” Natasha Toropova only pretends to be submissive to the “ataman” who loves her: in fact, she has her own ideas and views and became a Chekist in order to implement them. Silly but pretty Ninochka from “Povolniki” brings the hero to the embezzlement, resulting in the death penalty for both of them. Thus, the traditional roles in Razin’s story are interpreted in a new way. The initiative of the heroine is directly due to the participation of women in the Civil war: during this period, the “princess” acquires subjectivity in literary works.
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McGRAW, TED. "The McNulty Family." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 451–73. http://dx.doi.org/10.1017/s1752196310000386.
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AbstractThe McNulty Family was known as the royal family of Irish entertainers. They were the hottest Irish entertainment act on the East Coast, and perhaps in all of North America, from the 1930s through the 1950s. Ann “Ma” McNulty was the leader; her son Peter played the violin and piano, sang, and danced; and her daughter Eileen sang and danced. They also acted and performed skits to accompany their songs and comedy routines. Their shows were a high-energy, fast-paced type of vaudeville event. Ann Burke was born in Kilteevan, County Roscommom, Ireland, in 1887 and emigrated to the United States in 1910. She married John McNulty in 1914 and was a widow by 1928. This emigrant, who played the melodeon, and her two talented children started to entertain people to make a living. At the height of their career in the early 1940s, in addition to appearing at several venues every week, they had two radio shows, wrote a weekly column for the Irish Advocate newspaper, and had released about eighty recordings. Their vaudeville style was an excellent compliment to their talents, where acting and dancing were part of the delivery of a song or comedy routine.
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ROTHENBERG, DAVID J. "The Marian Symbolism of Spring, ca. 1200-ca. 1500: Two Case Studies." Journal of the American Musicological Society 59, no. 2 (2006): 319–98. http://dx.doi.org/10.1525/jams.2006.59.2.319.
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Abstract As the season of earthly rebirth, spring in the high and late Middle Ages provided both an ideal setting for secular love songs and a symbolic underpinning for the liturgical season of Eastertide. With the Virgin Mary acting as a spiritual point of mediation, Eastertide liturgy and secular springtime song resonated symbolically with one another, a resonance seen nowhere more clearly than in polyphonic compositions in which Eastertide chants, Marian prayers, and secular springtime songs sound simultaneously. This essay presents two case studies that explore the confluence of these diverse elements within polyphonic music. The first examines thirteenth-century compositions on the widespread tenor In seculum, positing its origins in the Mass for Easter Sunday —and by extension its associations with spring—as the reason that it was used so often and combined with such diverse textual and musical materials as pastourelles, dances, courtly love songs, and Marian prayers. The second study examines the use of multiple cantus firmi in Isaac's Laudes salvatori (from Choralis Constantinus) and Josquin's Victimae paschali laudes, both paraphrase settings of Easter sequences that comment upon their primary cantus firmus by simultaneously quoting additional melodies. Isaac uses the chants Regina caeli and Victimae paschali laudes to emphasize the central role that Mary plays in the miracle of the Resurrection, while Joquin accomplishes this same goal by employing the well-known chansons D'ung aultre amer and De tous biens plaine as vernacular symbols of Christ and the Virgin Mary, respectively. The two case studies, taken together, illustrate a consistent mode of symbolic thought that endured for over three centuries.
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Sudaryanti, Sudaryanti. "Efektivitas Penanaman Nilai Karakter melalui Pembelajaran Menulis dengan Media Lagu." Ngaji: Jurnal Pendidikan Islam 2, no. 1 (May 25, 2022): 23–34. https://doi.org/10.24260/ngaji.v2i1.29.
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We must open our eyes to the less commendable behaviors that children often do. There is often a sense of concern to see it, even though they just want to express their ideas and feelings. Various efforts were made to minimize these impacts, including through learning in madrasas (schools). The education curriculum inserts character education in each subject. Likewise with Indonesian subjects. One of the basic competencies is writing poetry. In poetry, children can express their feelings and convey messages of humanity. This study aims to describe the application of song media in poetry learning, describe students’ activities in writing poetry and increase students’ skills in learning to write poetry with music and song lyrics.This study uses a Classroom Action Research (CAR) design with four stages of activity, namely planning, acting, observing and reflecting. The research was conducted in class VII A of MTs Negeri 2 Pontianak with 39 students consisting of 14 boys and 25 girls. Data collection techniques were carried out through observation by taking notes, recording, measuring and interviewing. Instruments used in the form of field notes, questionnaires, interview lists. From the results of research conducted in two cycles, it is known that music and song lyrics can improve students’ skills in writing poetry and students characters. Abstrak: Kita harus membuka mata terhadap perilaku-perilaku kurang terpuji yang sering dilakukan anak. Sering muncul rasa prihatin melihatnya padahal mereka hanya ingin mengekspresikan ide dan perasaannya. Berbagai upaya dilakukan untuk meminimalkan dampak tersebut diantaranya melalui pembelajaran di madrasah (sekolah). Kurikulum pendidikan menyisipkan pendidikan karakter pada setiap mata pelajaran. Demikian juga dengan mata pelajaran Bahasa Indonesia. Satu di antara kompetensi dasar adalah menulis puisi. Dalam puisi anak dapat mengekspresikan perasaannya dan menyampaikan pesan kemanuasiaan. Penelitian ini bertujuan mendeskripsikan penerapan media lagu dalam pembelajaran puisi, mendeskripsikan aktivitas siswa dalam menulis puisi dan peningkatan keterampilan siswa dalam pembelajaran menulis puisi dengan musik dan lirik lagu.Penelitian ini menggunakan desain Penelitian Tindakan Kelas (PTK) dengan empat tahap kegiatan yakni planning, acting, observing dan reflecting. Penelitian dilaksanakan di kelas VII A MTs Negeri 2 pontianak dengan siswa sebanyak 39 terdiri atas 14 putra dan 25 putri. Teknik pengumpulan data dilakukan melalui pengamatan dengan mencatat, merekam, mengukur dan wawancara. Instrument yang digunakan berupa catatan lapangan, angket, daftar wawancara. Dari hasil penelitian yang dilakukan sebanyak dua siklus diketahui bahwa musik dan lirik lagu dapat meningkatkan keterampilan siswa dalam menulis puisi dan karakter siswa. Kata Kunci: menulis puisi, karakter, media lagu
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Mikusi, Balazs. "Mendelssohn's "Scottish" Tonality?" 19th-Century Music 29, no. 3 (2006): 240–60. http://dx.doi.org/10.1525/ncm.2006.29.3.240.
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Several of Mendelssohn's minor-mode songs, duets, and choral songs feature a peculiar tonal move: a sudden shift takes us to the relative major (without a "modulation" proper), but the opening minor key soon returns equally abruptly (via its V). Closer examination of these pieces suggests that the composer used the major-mode excursus as a topos, whose associations include the ideas of farewell, wandering, and distance (the latter both in the geographical and chronological sense, in accordance with the shift's quasi-modal--thus equally exotic and archaic--character). I suggest that this topos may have influenced the tonal structure of at least three large-scale Mendelssohn compositions, all of which are closely related to the same exotic and historical ideas. In the Hebrides Overture the relationship between the primary B minor and the secondary D major is (for a sonata-form movement) exceptionally equal: rather than acting as sharply contrasting tonal areas, they almost appear as two sides of the same key. The first-act finale of the unfinished opera, Die Lorelei, elaborates the original topos in another way: the E-minor-G-major kernel is extended in both directions, resulting in a chain of third-related keys, which eventually takes us back to the opening E level (now turned into major). In the light of this example, the (less complete) third-layered tonal structure of the "Scottish" Symphony may also be understood as growing out from the same miniature song topos.
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Prasetya, Eska Perdana, Salati Asmahasanah, and Tohir Solehudin. "The Implementation of English Creative Writing Learning Based on Al Quran and Hadith." JPG: Jurnal Pendidikan Guru 5, no. 1 (January 5, 2024): 87–102. http://dx.doi.org/10.32832/jpg.v5i1.15850.
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This comprehensive study aims to investigate the English creative writing learning process at SMP LabSchool Kebayoran Baru. Employing the learning ethnography method, the research focuses on detailing the planning, implementation, and evaluation of creative writing education in English, as well as gauging students' appreciation for various approaches and models. The study reveals the integration of creative writing elements such as short stories, song lyrics, and biographies into the curriculum. Teachers employ diverse methods like the question-and-answer technique, discovery learning, and Project Based Learning (PBL). Poetry, short stories, and song lyrics developed by teachers constitute significant components of the creative writing classes. The roles of teachers encompass acting as informants, organizers, and motivators, while students are expected to listen attentively, adhere to school rules, and actively engage in classroom learning. Technological tools like language laboratories, e-learning applications, and supporting platforms such as wordwalls, quizizz, and kahoot, with the language lab as a central infrastructure, are utilized. Evaluation criteria include content, organization, vocabulary, language use, and creativity. Additionally, the study identifies a strong correlation between LabSchool's core values and the school culture, where the Merdeka Curriculum facilitates independent learning by providing ample time for concept deepening and competency strengthening.
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Chesnokova, Olga S., Roberta Alonzi, and Luiza N. Gishkaeva. "Song and poetic text Bella ciao in a mosaic of languages, cultures and arts." Russian Journal of Linguistics 28, no. 2 (June 7, 2024): 365–90. http://dx.doi.org/10.22363/2687-0088-37403.
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The development of textology and intertextuality opens up new perspectives in the interpretation of famous texts, including the song of the Italian Resistance participants Bella ciao . Its numerous polymodal representations in different languages and arts account for the need to systematize them on uniform methodological grounds. The material of the article is the song and poetic text in Italian dialects and in the common Italian neo-standard, its translations into Romance languages, interpretations in Russian, Caucasian and other languages, as well as multimedia and polychannel versions. The goal of the article is to discuss intertextual, semantic and semiotic parameters of the text; to establish the parameters of internal and external intertextuality of the versions of the original text; and to characterize the precedent phenomena serving as the basis for the development and transformation of their aesthetics. The study aims to build and interpret the precedent links and associations of the song Bella ciao in its intertextual transformations; to determine its specificity in the semiocultural conditions of reading and interpretation and at the same time to evaluate its place in the context of Italian and world culture. The methodology is based on a set of methods at the intersection of linguosemiotic, functional and semantic approaches focusing on such parameters of the text as precedence, variation, correlation of linguistic and non-linguistic codes, comparison of the original and translations, polycode, polymodal and translation transformations. The study has established that, as a result of numerous intertextual transformations, the original text expressing unique Italian cultural meanings acquires new interpretations acting as a starting point or the development of both precedent and new plots. It is used as a polycoded intersemiotic model for the creation of new interpretations and, in the long term, becomes a tool for the preservation and reproduction of cultural memory.
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Clark, Maribeth. "The Body and the Voice in La Muette de Portici." 19th-Century Music 27, no. 2 (2003): 116–31. http://dx.doi.org/10.1525/ncm.2003.27.2.116.
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This article explores changing attitudes toward actors' bodies at the Paris Opera through the performance history of D. F. E. Auber's opera La Muette de Portici from 1828 to 1879. Because a mime performed the role of Fenella and the chorus played an active role in the mise en scene, the opera placed unusual emphasis on the physical. Over this period, however, emphasis shifted from appreciation of acting to emphasis on singing. For example, during the tenor Adolphe Nourrit's tenure at the Opera critics admired his skill as an actor in the role of Masaniello. When replaced by Gilbert Duprez in 1837, critics praised the tenor's vocal power and lack of emphasis on the histrionic. During this same time, critics began to interpret the gestures of the mime playing Fenella as semantically empty, and her body as filling a space that a singer should occupy. The important role that the barcarolle plays in the opera allows in part for these transitions. Viewed as a chanson napolitaine, it accentuates the rocking of a boat and the physical body at work; however, interpreted as the song of a Venetian gondolier, the song emphasizes the enunciation of a singing voice at the expense of the body. Reviews of La Muette reflect this ambivalence toward performance styles that call attention to the body, particularly those that might be interpreted as belonging to the working classes.
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Hermintoyo, Muhamad. "Fungsi Rima dalam Lirik Lagu." Nusa: Jurnal Ilmu Bahasa dan Sastra 13, no. 1 (February 28, 2018): 26. http://dx.doi.org/10.14710/nusa.13.1.26-35.
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The lyrics of a song as a creative piece of poetry are made up of physical and mental elements. Physical elements include diction, image, rhetorical means, and rhyme, while the inner element is the meaning. Rima or poetry in the lyrics (poetry) in addition to acting as aesthetics also provides a comfortable atmosphere, fun called eufofoni sound and provide euasana otherwise called kakophoni. Eufofoni sounds in the form of vowel sound, while the sound of kakofoni in the form of consonant sound. The sounds are deliberately chosen by the author as a means of rhetoric to be enjoyed in accordance with the meaning and theme contained in the lyrics. Rima in the lyrics (poetry) aesthetically gives the neatness of sound at the end of the stan neatly with the pattern aaaa (full), abab (cross), abba (hug), aabb (spouse) and broken (abcd).
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Putera, Ade, Sunardi Sunardi, and Hanafi Arief. "Corporate Responsibility For Criminal Actions Of Song Copyright Under The 28 Law Of 2014." International Journal of Law, Environment, and Natural Resources 3, no. 1 (July 4, 2023): 75–83. http://dx.doi.org/10.51749/injurlens.v3i1.50.
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Research entitled "Corporate Responsibility for Crime of Song Copyright According to Law Number 28 of 2014" aims to analyze how copyright crimes are regulated in Indonesian positive law and to analyze corporate responsibility for copyright infringement according to the Copyright Law Number 28 of 2014. This research is normative legal research, which examines laws and regulations in a coherent legal system and unwritten legal values ??that live in society, which are related to corporate responsibility for copyright infringement according to the law 28 of 2014. The results of the study stated that copyright crimes, including song copyrights, are regulated in the Copyright Act as part of Indonesian positive law. Article 112 of the Copyright Law Number 28 of 2014 states that everyone who without rights commits the acts referred to in Article 7 paragraph (3) and/or Article 52 for commercial use, shall be punished with imprisonment for a maximum of 2 (two) years and/or a maximum fine of 300,000,000.00 (three hundred million rupiah). Because legal entities are equated with people, legal entities that commit criminal copyright infringements can also be punished under this article as a form of responsibility. Criminal acts by Corporations are regulated in Article 3 of MA RI Regulation 13/2016 which are criminal acts committed by people based on work relationships, or based on other relationships, both individually and jointly acting for and on behalf of Corporations inside and outside Corporate Environment.
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Semenikhina, M. V. "Images of the Moon and the Sun in the Poetry of F.H. Thompson." Discourse 9, no. 6 (December 21, 2023): 128–42. http://dx.doi.org/10.32603/2412-8562-2023-9-6-128-142.
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Introduction. The article considers the analysis of metaphorical models describing the Moon and the Sun, two key mythologems in the works of F.H. Thompson, a religious English poet of XIX-XX centuries. The research relevance is connected with the growing interest in the representation of the individual author's worldview in a poetic text and with the fact that the work of F.H. Thompson in Russian philology remains poorly studied.Methodology and sources. The research is based on the conceptual metaphor theory byLakoff and Johnson. The empirical basis of the study was the poems by F.H. Thompson “A Corymbus for Autumn”, “Orient Ode”, “Ode to the Setting Sun”, “The Mistress of Vision”, “An Anthem of Earth”, “Sister Songs”, “From the Night of Forebeing”, “The Hound of Heaven”, “The Song of Hours”, “The Sere of the Leaf”, “The Dead Astronomer”, “Ad Amicam”, “Ad Castitatem”, “Love Declared”, “Of Nature: Laud and Plaint”, “Nocturn”, “Assumpta Maria”, “To a Poet Breaking Silence”, “Arab Love-Song”, “Victorian Ode”.Results and discussion. The analysis revealed that in F.H. Thompson's poetry the images of the Moon and the Sun are contrasted as “passive – active”, “weak – strong”, “chastity – passion”, “cold – heat”, “water – fire”, to a lesser extent “death – life”, “female – male” and “pagan – Christian”. The Sun is a source of life, beauty and poetic inspiration, and, in addition, the movement of the Sun across the sky during the day helps people to understand the story of Christ’s death and resurrection and its sense. The Moon, despite its coldness and passivity, also plays a necessary role in the universe (for example, controlling natural cycles and acting as an intermediary between the Sun and mankind).Conclusion. The images of the Moon and the Sun fit seamlessly into the general system of images of Thompson's poetry, in which the author seeks to create an image of a spiritualized Universe filled with the presence of God. The Sun is the central image of Thompson's poetry, an active character, often likened to Christ; the Moon is more passive and more strongly associated with paganism and death (which, however, does not make its image negative).
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Rambing, Christy C., Maya P. Warouw, and Ivan R. B. Kaunang. "Physiological Motivational Meanings of Farmer's Chant 'Amang Kasuruan' During the Cap Tikus Production (Semiotic Analysis, Ethnolinguistic Approach)." Edumaspul: Jurnal Pendidikan 7, no. 2 (October 1, 2023): 5100–5110. http://dx.doi.org/10.33487/edumaspul.v7i2.7121.
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The cultural legacy holds a position of utmost richness in the collective human society. It manifests in diverse forms, with cultural traditions displaying unparalleled uniqueness across regions. These distinctive traits, deeply ingrained in the societal fabric, are exemplified by various customs, including the reverence for indigenous languages expressed through song. The significance of regional languages, especially in indigenous or cultural musical compositions, profoundly influences the everyday lives of communities. North Sulawesi, with its diverse tribes, epitomizes a cultural mosaic characterized by rich mores and customs. Among these, the South Minahasa tribe prominently utilizes the Tountemboan language as a linguistic emblem. This vernacular permeates daily discourse, not only in conversations but also resonating within the verses of songs and chants, inseparable from their artisanal endeavors. This study explores the motivational significance embedded in folk songs utilized during the intricate process of crafting Cap Tikus, a cultural artifact interwoven with the region's agricultural pursuits. The amalgamation of labor and lyrical expression in this context provides an intriguing subject for investigation, acting as a catalyst for instilling enthusiasm and fortitude among farmers, particularly those dedicated to cap tikus cultivation. Methodologically, the research employs a descriptive qualitative approach following Spradley's framework. It is supplemented by Semiotic analysis, drawing from Ferdinand Saussure's perspective on signs in the social milieu. Additionally, the study integrates Abraham Maslow's theory of motivational needs, outlining a hierarchical structure that encompasses physiological or basic needs. The explication of motivational underpinnings, ensuring the fulfillment of basic needs, unfolds through the impassioned rendition of folk songs during the cap tikus farming process. In essence, this research reveals the profound layers of motivation inherent in the ritualistic singing of folk songs, elucidating their role as markers and signifiers within the lyrical fabric. The comprehensive explication of these motivational meanings serves as a testament to the intricate interplay between cultural expressions, agricultural practices, and the fulfillment of fundamental human needs.
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Dwi Hastuti, Diah Retno, Mardia Mardia, Dewi Marwati Nuryanti, Muhammad Saleh Ali, Eymal B. Demmalino, and Rahmadanih Rahmadanih. "Pendekatan Perspektif Weber terhadap Tindakan Rasionalisme Pembuatan Perahu Pinisi." Indonesian Journal of Fundamental Sciences 4, no. 2 (October 1, 2018): 147. http://dx.doi.org/10.26858/ijfs.v4i2.7643.
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Indonesia's maritime triumph from history to being written in a song lyric is not a question, especially its reliability in making Pinisi boats whose processes are full of local wisdom and cultural values reflected in everyday life. The research conducted in Bira Village, Bontobahari Sub-district, Bulukumba District in May 2018 aims to examine the rationalism of making pinisi boats with Weber's perspective approach. The aim is to use qualitative methods with Weber's approach in the verstehen perspective. The findings show that the making of the Pinisi boat is still filled with mystical nuances of religion ranging from the determination of the day of manufacture to its launch in the sea even though the elements of modernization began to come in to streamline time and streamline costs as a form of rationality in acting, as in Weber's perspective, zwerk rational, werk rational, affectual action, and traditional actions