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Journal articles on the topic 'Alternate lyrics'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music." Music Therapy Perspectives 37, no. 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.

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Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making a

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2

Фолимонов, Сергей Станиславович. "Alternate Literary Composition in the Lyrical Poems by I.V. Severyanin." Philology & Human, no. 2 (2020): 86–98. http://dx.doi.org/10.14258/filichel(2020)2-07.

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Vrana, Laura. "Genre Experiments: Thylias Moss’s Slave Moth and the Poetic Neo-Slave Narrative." MELUS 46, no. 2 (2021): 111–30. http://dx.doi.org/10.1093/melus/mlab020.

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Abstract As histories of experimentation on the enslaved receive scholarly attention, so too are neo-slave narratives representing and commenting on this aspect of enslavement, in both their content and their form. This article examines Thylias Moss’s genre-troubling Slave Moth: A Narrative in Verse (2004), a neo-slave text that depicts an enslaved woman named Varl treated as an object of psychological experimentation. Varl develops a strong subjectivity through becoming a subject performing experiments: aesthetic experiments in how she chooses to represent her narrative in stitched cloths. Th

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Ahmadi, Fereshteh. "Song lyrics and the alteration of self-image." Nordic Journal of Music Therapy 20, no. 3 (2011): 225–41. http://dx.doi.org/10.1080/08098131.2010.522718.

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Gervin, A. P. "Music Therapy Compensatory Technique Utilizing Song Lyrics during Dressing to Promote Independence in the Patient with a Brain Injury." Music Therapy Perspectives 9, no. 1 (1991): 87–90. http://dx.doi.org/10.1093/mtp/9.1.87.

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6

Huyssen, Andreas. "Modernist Miniatures: Literary Snapshots of Urban Spaces." PMLA/Publications of the Modern Language Association of America 122, no. 1 (2007): 27–42. http://dx.doi.org/10.1632/pmla.2007.122.1.27.

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This essay focuses on a little–studied narrative form I call the modernist miniature. Its practitioners after Baudelaire include novelists like Kafka and Musil, poets like Rilke and Benn, social thinkers and critics like Kracauer, Benjamin, and Adorno. Central concerns of these modernist miniatures, written primarily for the newspaper feuilleton and published only later in book form, were the perceptions and image spheres of urban space, which were undergoing radical change in the late nineteenth and early twentieth centuries. Modernist miniatures can be alternately narrative or philosophical,

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Seago, Karen, and Lavinia Springett. "Dzikie bohaterki? Problematyka płci kulturowej i gatunku literackiego w przekładach Northern Lights Philipa Pullmana." Przekładaniec, no. 40 (2020): 22–50. http://dx.doi.org/10.4467/16891864pc.20.002.13165.

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Savage Heroines? The Treatment of Gender and Genre in Translations of Philip Pullman’s Northern Lights Philip Pullman’s Northern Lights is the first instalment of his award-winning trilogy His Dark Materials. In this alternate-worlds fantasy and children’s literature classic, Lyra and her daemon Pan are catapulted from the relative stability of Oxford to negotiate an increasingly threatening world in a quest to protect free will from cataclysmic adult zealotry. According to prophecy, Lyra is the chosen one; she conforms to the tropes of the fantasy quest performing the paradigmatic steps of th

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O’Brien, Emma. "“Their lives, their stories, in their words”: a workshop on lyric creations with clients." Nordic Journal of Music Therapy 25, sup1 (2016): 106. http://dx.doi.org/10.1080/08098131.2016.1180118.

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Kurniawan, Rama, and Syeilendra Syeilendra. "BENTUK MUSIK SALUANG SIROMPAK VERSI ABAH EMI PADA ACARA ALEK PEMUDA DI PARIK DALAM NAGARI TAEH BARUAH KABUPATEN LIMA PULUH KOTA PAYAKUMBUH." Jurnal Sendratasik 10, no. 1 (2020): 1. http://dx.doi.org/10.24036/jsu.v9i2.110538.

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This study aims to describe Saluang Sirompak music of Abah Helmi version at Alek Pemuda event in Parik Dalam, Taeh Baruah village, Lima Puluh Kota regency, Payakumbuh City. This research belongs to a qualitative research using a descriptive approach. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing tools and cameras. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted by collecting the data, clarifying the data, and summarizing the data. The results sho

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Silverman, M. J. "The Use of Lyric Analysis Interventions in Contemporary Psychiatric Music Therapy: Descriptive Results of Songs and Objectives for Clinical Practice." Music Therapy Perspectives 27, no. 1 (2009): 55–61. http://dx.doi.org/10.1093/mtp/27.1.55.

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Silverman, M. J. "The Effect of Lyric Analysis on Treatment Eagerness and Working Alliance in Consumers Who Are in Detoxification: A Randomized Clinical Effectiveness Study." Music Therapy Perspectives 27, no. 2 (2009): 115–21. http://dx.doi.org/10.1093/mtp/27.2.115.

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Baker, Felicity, and Robert E. Krout. "Collaborative peer lyric writing during music therapy training: a tool for facilitating students' reflections about clinical practicum experiences." Nordic Journal of Music Therapy 20, no. 1 (2011): 62–89. http://dx.doi.org/10.1080/08098131.2010.486132.

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13

Anderson, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.

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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's

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Romaniuk, Iryna, and Nataliia Mametova. "“LETTERS TO HER” FOR PIANO BY N. NYZHANKIVSKY AS AN EXAMPLE OF A SUITE GENRE IN THE UKRAINIAN MUSICAL CULTURE IN THE 1920S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 22–36. http://dx.doi.org/10.34064/khnum1-58.02.

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Background. Researchers have shown a high interest in creative work of great national cultural figures who lived in the 20th century. Nevertheless, it remains little-known to music scholars, musicians and in the cultural-art space in general. Thus, the topic of the study is relevant. Nestor Nyzhankivsky (1893–1940) was a composer, pianist and musical critic. His original creativity had a great impact on the Ukrainian musical culture (specifically on Halychyna region). Majority of N. Nyzhankivsky’s manuscripts were lost during his emigration. Moreover, during the World War II his manuscript arc

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Cherednychenko, O. V. "Concert genres for piano and orchestra in the works of Sergei Bortkiewicz." Aspects of Historical Musicology 15, no. 15 (2019): 138–57. http://dx.doi.org/10.34064/khnum2-15.07.

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Background. The last two decades testify to the fact that the music of the Ukrainian composer S. Bortkiewicz (1877–1952) has become popular in various countries not only in Europe, but also around the world, giving birth to a so-called multilingual “Bortkiewicziana”. It would be already enough to mention the works published in German, English, Bulgarian, Dutch, Italian, Portuguese, Polish, Russian, Ukrainian and Japanese. The literature and multi-genre musical heritage left by the composer provides vast opportunities for researchers. However, many creativity aspects of the “last romanticist”,

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Sivak, Allison. "Black Cat Bone: the Life of Blues Legend Robert Johnson by J. P. Lewis." Deakin Review of Children's Literature 2, no. 1 (2012). http://dx.doi.org/10.20361/g2n88b.

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Lewis, J. P. Black Cat Bone: the Life of Blues Legend Robert Johnson. Illus. Gary Kelley. Mankato: Creative Editions, 2006. Print.Although this book is designed as a large-format picture book, Black Cat Bone is more likely to appeal to older children (middle school and adolescents) as a poetic text, with its rich illustrations and unusual narrative flow. The foreword of the book addresses a reader who knows some about blues musicians, as well as has some hint of the history of blues music in the United States. The language of the text is not trying to tell a linear story, but to be more evocat

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Эйделькинд, Я. "Notes on How to Read the Song of Songs." Библия и христианская древность, no. 3(7) (November 9, 2020). http://dx.doi.org/10.31802/bca.2020.7.3.005.

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Эта статья содержит ряд соображений о том, как читать Песнь песней. Будучи сборником лирической поэзии, Песнь песней работает в первую очередь со звуком и не имеет сюжета. Важную роль играет принцип разнообразия и контраста. Серьёзный тон сменяется юмористическим, и наоборот. Гендерные стереотипы сохраняют свою силу в одних случаях, но подрываются в других. Сексуальная физиология, вопреки распространенному мнению, не находится на первом плане — гораздо важнее эмоции (факт, противоречащий как «духовным», так и «плотским» прочтениям). Отождествление читателя с лирическим голосом ведёт к субъекти

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Эйделькинд, Я. "Notes on How to Read the Song of Songs." Библия и христианская древность, no. 3(7) (November 9, 2020). http://dx.doi.org/10.31802/bca.2020.7.3.005.

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Эта статья содержит ряд соображений о том, как читать Песнь песней. Будучи сборником лирической поэзии, Песнь песней работает в первую очередь со звуком и не имеет сюжета. Важную роль играет принцип разнообразия и контраста. Серьёзный тон сменяется юмористическим, и наоборот. Гендерные стереотипы сохраняют свою силу в одних случаях, но подрываются в других. Сексуальная физиология, вопреки распространенному мнению, не находится на первом плане — гораздо важнее эмоции (факт, противоречащий как «духовным», так и «плотским» прочтениям). Отождествление читателя с лирическим голосом ведёт к субъекти

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19

Labaree, Robert. "Living With the I-Word: Improvisation and its Alternates." Critical Studies in Improvisation / Études critiques en improvisation 9, no. 2 (2014). http://dx.doi.org/10.21083/csieci.v9i2.2204.

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The word improvisation is burdened with limitations placed on it by changes occurring in Europe in the 19th century, the period when the model of the hyphenated performer-composer prevailing in Europe up to that point was being split into two specialties. By the 20th century, composition and improvisation had been cast in bronze as mutually defining opposites, the presumed starting point of any approach to how music is made and heard, regardless of historical period or cultural origin. As a way of creating a more critical approach to discourse dependent on the ubiquitous "I-word," this essay s

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20

Volpini, Andrea. "Songs of Silver Speech: “CareMusLy”: Song Writing in the Treatment of Psychosis." Music Therapy Perspectives, July 23, 2019. http://dx.doi.org/10.1093/mtp/miz009.

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Abstract Songwriting is commonly utilized in the clinical treatment of psychiatric patients suffering from a wide variety of psychoses. CareMusLy (CML) is a psychodynamic, systematically applied intervention combining music and lyrics to counteract and redefine the problems created by the psychotic dimension. The process starts from a free collective vocal improvisation, during which the music therapist transcribes scattered notes and from which he subsequently composes a piece of music. This composition, when played back to the participants, stimulates a slow, meditative search for words usin

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21

Sahril, Sahril. "TRADISI AKIKAH MASYARAKAT MELAYU PENTAS SASTRA LOKAL “SYAIR NYANYIAN ANAK” DALAM KAJIAN ETNOPUITIKA." JENTERA: Jurnal Kajian Sastra 3, no. 1 (2017). http://dx.doi.org/10.26499/jentera.v3i1.433.

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This study examines the Akikah tradition through performing “Syair Nyanyian Anak” to the Malay people of North Sumatra. The problem studied, namely how the concept stage “Syair Nyanyian Anak” is present in Akikah tradition. This study uses the theory ethnopoetics with qualitative research methods. Data was collected through observation, interviews, and literature. The findings of this study are, Akikah tradition is still often done by people, but with regard to the implementation stage “Syair Nyanyian Anak” by a group of very rare marhaban been implemented. The pattern of the local literary sc

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22

Burns, Alex. "'This Machine Is Obsolete'." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1805.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as

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23

Eubanks, Kevin P. "Becoming-Samurai." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2643.

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   Samurai and Chinese martial arts themes inspire and permeate the uniquely philosophical lyrics and beats of Wu-Tang Clan, a New York-based hip-hop collective made popular in the mid-nineties with their debut album Enter the Wu-Tang: Return of the 36 Chambers. Original founder RZA (“Rizza”) scored his first full-length motion-picture soundtrack and made his feature film debut with Ghost Dog: The Way of the Samurai (Jim Jarmusch, 2000). Through a critical exploration of the film’s musical filter, it will be argued that RZA’s aesthetic vision effectively deterritorialises the

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Brabazon, Tara. "Welcome to the Robbiedome." M/C Journal 4, no. 3 (2001). http://dx.doi.org/10.5204/mcj.1907.

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One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decade

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Stewart, Jonathan. "If I Had Possession over Judgment Day: Augmenting Robert Johnson." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.715.

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augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audi

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26

Cinque, Toija. "A Study in Anxiety of the Dark." M/C Journal 24, no. 2 (2021). http://dx.doi.org/10.5204/mcj.2759.

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Introduction This article is a study in anxiety with regard to social online spaces (SOS) conceived of as dark. There are two possible ways to define ‘dark’ in this context. The first is that communication is dark because it either has limited distribution, is not open to all users (closed groups are a case example) or hidden. The second definition, linked as a result of the first, is the way that communication via these means is interpreted and understood. Dark social spaces disrupt the accepted top-down flow by the ‘gazing elite’ (data aggregators including social media), but anxious users m

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27

Piatti-Farnell, Lorna. "“The Blood Never Stops Flowing and the Party Never Ends”: The Originals and the Afterlife of New Orleans as a Vampire City." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1314.

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IntroductionAs both a historical and cultural entity, the city of New Orleans has long-maintained a reputation as a centre for hedonistic and carnivaleque pleasures. Historically, images of mardi gras, jazz, and parties on the shores of the Mississippi have pervaded the cultural vision of the city as a “mecca” for “social life” (Marina 2), and successfully fed its tourism narratives. Simultaneously, however, a different kind of narrative also exists in the historical folds of the city’s urban mythology. Many tales of vampire sightings and supernatural accounts surround the area, and have contr

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28

Scholes, Nicola. "The Difficulty of Reading Allen Ginsberg's "Kaddish" Suspiciously." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.394.

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The difficulty of reading Allen Ginsberg's poetry is a recurring theme in criticism of his work and that of other post-WWII "Beat Generation" writers. "Even when a concerted effort is made to illuminate [Beat] literature," laments Nancy M. Grace, "doing so is difficult: the romance of the Beat life threatens to subsume the project" (812). Of course, the Beat life is romantic to the extent that it is romantically regaled. Continual romantic portrayals, such as that of Ginsberg in the recent movie Howl (2010), rekindle the Beat romance for new audiences with chicken-and-egg circularity. I explor

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