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Journal articles on the topic 'American songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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1

Stølen, Marianne. "Om Grundtvigs sanges liv i Nordamerika." Grundtvig-Studier 59, no. 1 (January 1, 2008): 170–93. http://dx.doi.org/10.7146/grs.v59i1.16532.

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Om Grundtvigs sanges liv i Nordamerika[On the life of Grundtvig’s songs in North America]By Marianne StølenThe article discusses three important conditions for that rich life which Grundtvig’s songs have enjoyed among Danish-Americans in North America. Treated first is the songbook of Frederik Lange Grundtvig, Sangbog for det danske Folk i Amerika [Songbook for the Danish folk in America] (1888), commonly known as “the red one,” with focus upon F. L. Grundtvig’s selection of familiar and unfamiliar songs and hymns gathered from his father’s treasury of song and his reworking of some of these w

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Leger, Daniel W., and D. James Mountjoy. "Geographic Variation in Song of The Bright-Rumped Attila (Tyrannidae: Attila Spadiceus): Implications for Species Status." Auk 120, no. 1 (January 1, 2003): 69–74. http://dx.doi.org/10.1093/auk/120.1.69.

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Abstract Bright-rumped Attilas (Attila spadiceus) have two song forms, one sung primarily at dawn, the other primarily during the rest of the day. Both songs consist of a main phrase and an optional terminal phrase. Our recordings of dawn and day songs in Costa Rica were very similar to those made elsewhere in Central America. However, Central American dawn songs were significantly different than dawn songs from South America, both in terms of quantitative features (temporal and frequency variables) and qualitative characteristics (note shape). Day songs from Central and South America were sim

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Waseda, Minako. "Looking Both Ways: Gi Songs and Musical Exoticism in Post-World War II Japan." Yearbook for Traditional Music 36 (2004): 144–64. http://dx.doi.org/10.1017/s0740155800020506.

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GI songs or shinchū-gun songu in Japanese are legacies of the U.S. occupation of Japan, which started in 1945 with Japan's defeat in the Pacific War. Although the occupation officially ended in 1952, many American soldiers continued to arrive and remained in Japan even after 1952. This was due to the outbreak of the Korean War (1950-53), which made Japan America's advance base. GI songs generally refer to compositions addressed to American soldiers stationed in Japan during this occupation period and through the 1950s.

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Ratcliffe, L., and Christopher Naugler. "A Field Test of the Sound Environment Hypothesis of Conspecific Song Recognition in American Tree Sparrows (Spizella Arborea)." Behaviour 123, no. 3-4 (1992): 314–24. http://dx.doi.org/10.1163/156853992x00075.

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AbstractThe sound environment hypothesis predicts that the features of song that are important for conspecific recognition should be those that overlap least with the songs of other species in the same location. We tested this hypothesis with song playbacks to free-living male American tree sparrows (Spizella arborea). We first used a discriminant function analysis to determine which song features best separated American tree sparrow songs from the songs of heterospecific avian species at two locations representing different sound environments. Based on this analysis we predicted which song fe

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Schneider, Jason. "Another Side of “Born in the U.S.A.”: Form, Paradox, and Rhetorical Indirection." Biannual Online-Journal of Springsteen Studies 1, no. 1 (August 10, 2014): 9–35. http://dx.doi.org/10.26443/boss.v1i1.15.

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“Born in the U.S.A.” has been one of the most important and controversial songs of Bruce Springsteen’s career. For some listeners, the song is a pro-America anthem; for others, it is a scathing commentary on American government and society. This paper challenges both of those views, arguing that the song’s apparently contradictory musical form and lyrical content interact to produce a collective rhetorical effect. In this view, “Born in the U.S.A.” is not an argument for a specific political ideology but rather a multilayered and multidirectional interrogation of the paradoxes of national belo

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McGuire, Kenneth M. "Common Songs of the Cultural Heritage of the United States: A Compilation of Songs That Most People “Know” and “Should Know”." Journal of Research in Music Education 48, no. 4 (December 2000): 310–22. http://dx.doi.org/10.2307/3345366.

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Recently, there have been attempts to identify songs common to the heritage of the United States. Although researchers in previous investigations have studied songs that are common to specific geographical areas, this studys purpose was to determine which songs are familiar to U.S. citizens across several regions and also to uncover various epistemological definitions of what it means to “know” a song. By cross-referencing modern lists with the contents of two songbooks popular during the community song movements of the World Wars I and II, I sought to determine which songs were common across

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Morris, Nancy. "Canto Porque es Necesario Cantar: The New Song Movement in Chile, 1973–1983." Latin American Research Review 21, no. 2 (1986): 117–36. http://dx.doi.org/10.1017/s0023879100015995.

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“Para el camino” Canto a la angustia y a las alegrias. Canto porque es necesario can tar para ir dejando una huella en los dias, para ir diciendo cosas prohibidas.“For the Road” I sing of anguish and joy. I sing because it's necessary to sing to leave my mark on time, to say forbidden things.Latin American New Song is distinct from the usual stereotypes of Latin American popular music. Songs such as “Para el camino” do not fit into the common categories of salsa, ballads, Spanish-language versions of U.S. hit songs or popularized traditional styles such as the ranchera and cumbia. Although New

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Stephenson, Jean. "“Quizás, quizás, quizás”. Translators’ dilemmas and solutions when translating spanish songs into english." DEDiCA Revista de Educação e Humanidades (dreh), no. 6 (March 1, 2013): 139–51. http://dx.doi.org/10.30827/dreh.v0i6.6968.

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Rendering songs into another language poses numerous difficulties for translators. Songs may be considered as poems set to music, and in translating them, these professionals confront not only routine translation problems such as expressing the meaning, ambience and style of the original work, but they also have to attend to other requisites such as creating a new version of the song within the restrictions of rhythm and rhyme. In this article, I examine songs from Spanish literature and from Spanish and South American popular music, and explore translators’ ways of converting the original tex

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Studwell, William E. "American Patriotic Songs:." Music Reference Services Quarterly 1, no. 3 (August 2, 1993): 55–64. http://dx.doi.org/10.1300/j116v01n03_03.

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Dirksen, P. B. "Song of Songs Iii 6-7." Vetus Testamentum 39, no. 2 (1989): 219–25. http://dx.doi.org/10.1163/156853389x00093.

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AbstractAB The Anchor Bible; AT An American Translation (1923, 1951 15); A TD Das Alte Testament Deutsch; BHS Biblia Hebraica Stuttgartensia (Stuttgart, 1967/77); BKAT Biblischer Kommentar Altes Testament; COT Commentaar op het Oude Testament; BJér La Bible de Jérusalem (Paris, 1973); Buber M. Buber, Die Schrift verdeutscht (Heidelberg, 1980); CBA The Holy Bible, Translated... by Members of the Catholic Biblical Association of America (Paterson, New Jersey, 1955); GB W. Gesenius and F. Buhl, Hebräisches und Aramäisches Handwörterbuch über das Alte Testament (Berlin/Göttingen/Heidelberg, 1949 1

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Chang, Hyun Kyong Hannah. "A Fugitive Christian Public: Singing, Sentiment, and Socialization in Colonial Korea." Journal of Korean Studies 25, no. 2 (October 1, 2020): 291–323. http://dx.doi.org/10.1215/07311613-8551992.

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Abstract Well-known songs of colonial Korea such as “Kagop’a” and “Pongsŏnhwa” appear to be secular songs, but their origins lie in the complex intersection of North American Christian missions, Korean cultural life, and Japanese colonial rule. This article explores the historical significance of secular sentimental songs in colonial Korea (1910–45), which originated in mission schools and churches. At these sites North American missionaries and Christian Koreans converged around songwriting, song publishing, and vocal performance. Missionary music editors such as Annie Baird, Louise Becker, a

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Ginting, Daniel, and Eldana Reza Levana. "Cultural Views of a Society Through Taylor Swift’s Song." INTERACTION: Jurnal Pendidikan Bahasa 8, no. 1 (May 6, 2021): 34–49. http://dx.doi.org/10.36232/jurnalpendidikanbahasa.v8i1.945.

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Songs as cultural products function to help people to fulfil their needs. When people listen to the songs, they both enjoy the melody and also lyrics of the songs. Songs serve as tools to achieve different essential objectives such as changing moods, relating, and shaping their own identity. In this research, the writer studies deixis in song lyrics from the selected song in Taylor Swift's Folklore album: Cardigan, the Last Great American Dynasty, August, Illicit Affairs, and Betty. The analysis deixis of this study reveals a variety of life issues is treated directly or is strongly involved i

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Kroodsma, Donald E., Robin W. Woods, and Elijah A. Goodwin. "Falkland Island Sedge Wrens (Cistothorus Platensis) Imitate Rather Than Improvise Large Song Repertoires." Auk 119, no. 2 (April 1, 2002): 523–28. http://dx.doi.org/10.1093/auk/119.2.523.

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Abstract Among songbirds, does reduced fidelity to a breeding site lead to vocal improvisation? Data for Cistothorus wrens suggest it does, because North American Sedge Wrens (C. platensis) have low breeding-site fidelity and improvise their large song repertoires, but sedentary or site-faithful populations of this and other Cistothorus species in the Neotropics and North America all imitate. We attempted to falsify this hypothesis by studying extreme south-temperate zone populations of Sedge Wrens in the Falkland Islands. We banded and recorded males on Kidney Island and Carcass Island, and t

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Fulmer, Mimmi. "Finnish Songs for American College-Age Singers." Journal of Singing 79, no. 2 (October 25, 2022): 163–79. http://dx.doi.org/10.53830/cwvf2781.

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Finland has a long, rich history of music culture and song. The seriousness and love with which Finnish people regard their musical heritage and the culture of supporting composers and performances help define Finland as a nation. Music played a crucial role in giving the Finnish people an identity and unifying them in the drive toward independence in 1917, and has helped lead to a significant international artistic profile in the years since then. The names and music of Sibelius, Merikanto, and Kilpinen are familiar to many American musicians. While there is a treasure trove of beautiful Nord

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Varnum, Michael E. W., Jaimie Arona Krems, Colin Morris, Alexandra Wormley, and Igor Grossmann. "Why are song lyrics becoming simpler? a time series analysis of lyrical complexity in six decades of American popular music." PLOS ONE 16, no. 1 (January 13, 2021): e0244576. http://dx.doi.org/10.1371/journal.pone.0244576.

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Song lyrics are rich in meaning. In recent years, the lyrical content of popular songs has been used as an index of culture’s shifting norms, affect, and values. One particular, newly uncovered, trend is that lyrics of popular songs have become increasingly simple over time. Why might this be? Here, we test the idea that increasing lyrical simplicity is accompanied by a widening array of novel song choices. We do so by using six decades (1958–2016) of popular music in the United States (N = 14,661 songs), controlling for multiple well-studied ecological and cultural factors plausibly linked to

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Chen, Xi. "When the classic speaks for children." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (October 5, 2020): 780–95. http://dx.doi.org/10.1075/babel.00175.che.

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Abstract Bob Dylan has significantly influenced American song tradition and popular music for more than five decades. As his songs are famous for the creative poetic expressions, they are not merely song lyrics, but also can be regarded as lyric poems. This paper aims to investigate the retranslation of Bob Dylan’s songs in bilingual picture books to explore how his classic musical works are repackaged both verbally and visually for contemporary children. The data for analysis are selected from two bilingual picture books on Dylan’s songs published in China in 2018. Firstly, it conducts a deta

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Lemon, R. E., and E. M. Date. "Sound Transmission: a Basis for Dialects in Birdsong?" Behaviour 124, no. 3-4 (1993): 291–312. http://dx.doi.org/10.1163/156853993x00623.

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AbstractThe environmental adaptation hypothesis (EAH) regarding birdsong dialects or ncighbourhoods states that song similarities between neighbouring individuals arise because of common influences on their songs exerted by the acoustic environment of their habitat. An assumption of the hypothesis is that sounds are distorted differently by different types of habitat. A prediction of the hypothesis is that some songs or parts of songs transmit better than others, depending on the habitat of their origin. We tested the assumption and prediction by comparing the attenuation and differential atte

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Alpatova, A. S. "OLIGOTONICS AND CHASMATONICS IN TRADITIONAL SONGS OF NORTH AMERICAN INDIANS (on the 145th anniversary of the birth of Natalie Curtis)." Arts education and science 1, no. 2 (2020): 181–89. http://dx.doi.org/10.36871/hon.202002022.

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The article is dedicated to the memory of the famous American ethnomusicologist Natalie Curtis Burlin (1875–1921), who made a significant contribution to the study of traditional music of North American Indians. This is the first experience in Russian musicology that addresses the theoretical issues of studying Native American vocal music. The main research problem of the article is the identification of the basic qualities of oligotonics and chasmatonics in traditional songs of North American Indians by the example of expeditionary records of Natalie Curtis. The author reveals that unichords,

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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 79, no. 3 (December 30, 2022): 413–16. http://dx.doi.org/10.53830/tjdv9385.

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This music review covers new (2022) song and aria publications. These include operatic arias excerpted from the chamber opera, Uncovered, by American composer Lori Laitman; a two volume collection of operatic arias by American composer Stephen Paulus; the song, “Partridge Sky”, by Chinese composer Fang Man; and a collection of encore songs created by 20th century comedienne Anna Russell, in a new edition by American pianist and editor, Dace Gisclard.

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Vaitonytė, Julija, and Julija Korostenskienė. "FEMININE IMAGERY IN CONTEMPORARY AMERICAN POP SONGS: A CONTRASTIVE ANALYSIS." Sustainable Multilingualism 6 (2015): 109–31. http://dx.doi.org/10.7220/2335-2027.6.6.

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Riazanov, I., and V. Yakuba. "CONCEPTS OF RELIGION IN MODERN AMERICAN RAP LYRICS." Studia Philologica, no. 2 (2019): 57–61. http://dx.doi.org/10.28925/2311-2425.2019.13.9.

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The article studies verbalization mean of religious concepts in Kendrick Lamar’s songs of his 2017 album DAMN. After introducing the inventory of lexemes representing themes of religion, the authors argue for correlations with basic concepts and explain the structure of the thematic field, representing religion in all fourteen songs of the album. The album structure and each song of it include over a hundred tokens referring to various religious concepts – mainly GOD, SIN, and PRAY, each of them being verbalized by a group of lexemes, fifteen total, which share certain semantic components. The

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Arbain, Arbain. "Critical Discourse Analysis of Eminem’s “Love the Way You Lie Part II”." Script Journal: Journal of Linguistic and English Teaching 1, no. 1 (September 30, 2016): 1. http://dx.doi.org/10.24903/sj.v1i1.19.

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<p class="abstrak">This study is to analyze songs from Eminem which is related to his life story. In examining the songs, the researchers used the three inter-related processes of analysis tied to three inter-related dimensions of discourse proposed by Faiclough’s model of CDA. This study applied qualitative design with the content analysis approach. The analysis of this research focused on the words used such as African American Vernacular English variety, Informal language and American slang in the lyrics of the song Love The Way You Lie Part II and explain them. The result findings sh

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Hisama, Ellie M. "The Ruth Crawford Seeger Sessions." Daedalus 142, no. 4 (October 2013): 51–63. http://dx.doi.org/10.1162/daed_a_00236.

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Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often remain unacknowledged. This article underscores the link between her work in American traditional music and Bruce Springsteen's best-selling 2006 album “W

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Dahal, Arvind. "Anti-War Messages in the Songs of John Lennon." JODEM: Journal of Language and Literature 12, no. 1 (August 7, 2021): 1–16. http://dx.doi.org/10.3126/jodem.v12i1.38709.

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This study endeavors to explore Lennon’s songs as an expression of rage and rebellion of the common Americans against the bitter realities of the contemporary American war politics of the 1960s and 70s and of the prevailing socio-economic and cultural injustices. It illumines a reality that alternative cultures like drugs, alcohol, homosexuality, nomadism and mystic vision, perceived reprehensible by the contemporary mainstream culture, were in fact manufactured out of harsh American socio-political context. By projecting the painful experiences of the victims during the time of war, the resea

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Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (May 1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.

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The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and

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Stashko, Halyna. "An American woman through the prism of the epithet: semasiological aspect in creating images." Lege Artis 2, no. 2 (December 1, 2017): 356–91. http://dx.doi.org/10.1515/lart-2017-0019.

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Abstract The paper describes the use of epithets in creating female images in American folk songs. The results of the stylistic analysis show how different types of epithets intensify female images and testify to the connection between semantics and culture. Multifunctionality of the epithet tends to be of paramount importance in creating and interpreting images and backgrounds to them in folk song texts. This synergy provides valuable and handy clues, which help understand the evolution of a woman in America.

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Holmes, Dr Gloria Kirkland. "African Children’s Songs: A Legendary Teaching Tool." Journal of Education and Culture Studies 3, no. 3 (July 8, 2019): p250. http://dx.doi.org/10.22158/jecs.v3n3p250.

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This paper presents a multicultural perspective of the historical and legendary analysis of African American children’s songs highlighting the important interpersonal familial relationships that have been noted teaching tools for African American children. The data includes multiple songs that have been used for generations to teach children values, history and cultural experiences with life enhancing strength and determination.These diverse experiences are characterized by historical practices that called for African American families to find multimodal means of teaching their children when i

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Guerrini, Susan C., and Mary C. Kennedy. "Cross-Cultural Connections: An Investigation of Singing Canadian and American Patriotic Songs." Bulletin of the Council for Research in Music Education, no. 182 (October 1, 2009): 31–40. http://dx.doi.org/10.2307/27861460.

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Abstract The purpose of this study is to compare American and Canadian high school choral students’ knowledge of their respective patriotic songs. The questions of the study are as follows: (a) do students sing accurately their respective national anthems relative to melody and lyrics; (b) do students sing accurately "America" and "God Save the Queen" relative to melody and lyrics; (c) do students sing accurately the national anthems of each other’s country relative to melody and lyrics; and (d) is there a difference in the accuracy when students sing their respective and each other’s patrioti

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Peters, Penelope. "Deep Rivers: Selected Songs of Florence Price and Margaret Bonds." Canadian University Music Review 16, no. 1 (March 1, 2013): 74–95. http://dx.doi.org/10.7202/1014417ar.

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This essay examines the songs of two African-American women, Florence Price (1888–1953) and Margaret Bonds (1913–72), who embarked upon their compositional studies and careers only a couple of generations after the emancipation. Both discovered in the poetry of Langston Hughes (1902–67) the means for reconciling the musical traditions of their African-American heritage with those of their European training. Through detailed analysis of the textual and musical symbolism in Price's Song to a Dark Virgin and Bonds's The Negro Speaks of Rivers and Three Dream Portraits, the author demonstrates the

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Siebenaler, Dennis J. "Student Song Preference in the Elementary Music Class." Journal of Research in Music Education 47, no. 3 (October 1999): 213–23. http://dx.doi.org/10.2307/3345780.

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In 1996, the Music Educators National Conference (now MENC—The National Association for Music Education) published a list of 42 songs that “every American should know” as part of a nationwide campaign to promote singing. The purpose of the present study was to determine student preferences for several songs on the list, as well as how familiarity with a song may be related to that preference. In addition, possible interactions of gender, grade level, language spoken at home, rehearsal, and self-evaluations of singing were also examined. Ten songs, all limited to a one-octave range, were select

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Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.

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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music a

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Duinker, Ben. "Song Form and the Mainstreaming of Hip-Hop Music." Current Musicology 107 (January 27, 2021): 93–135. http://dx.doi.org/10.52214/cm.v107i.7177.

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Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these se

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Garrett, Charles Hiroshi. "Chinatown, Whose Chinatown? Defining America's Borders with Musical Orientalism." Journal of the American Musicological Society 57, no. 1 (2004): 119–74. http://dx.doi.org/10.1525/jams.2004.57.1.119.

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The music of Tin Pan Alley has proven an extremely rich source for investigations of race, ethnicity, and identity in America, most clearly with respect to Jewish American identity-making and the cultural history of black/white racial relations. The existence of a large body of Asian-themed Tin Pan Alley songs suggests, however, that other important trajectories involving the construction of ethnic and racial identity have been overlooked. To illuminate the role of music in molding ideas of Asia and Asian America, this essay focuses on the song "Chinatown, My Chinatown" by lyricist William Jer

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Suryani, Ade Nine. "BANGTAN SONYEONDAN (BTS) AS NEW AMERICAN IDOL." Rubikon : Journal of Transnational American Studies 6, no. 1 (November 21, 2020): 48. http://dx.doi.org/10.22146/rubikon.v6i1.61489.

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South Korean pop songs or colloquially K-pop has spread globally. America also has a massive impact on this K-pop wave phenomenon. America now gives its enormous attention to the Bangtan Sonyeondan group or BTS group because this K-pop group is prevalent and becomes the new idol in America. In the beginning, K-pop is not successful, but until BTS comes and becomes a global sensation there. This paper tries to analyze which factors enable BTS to be the new idol in America. The writer uses a qualitative method to conduct the data and reception theory from Stuart Hall in the analysis. This analys

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RICHTER-IBÁÑEZ, CHRISTINA. "Latin American Songs in the GDR and the East German Singer-Songwriter Repertoire (1970–2000): Gerhard Schöne's ‘Meine Geschwister’ in the Light of Translation Studies." Twentieth-Century Music 17, no. 3 (October 2020): 401–17. http://dx.doi.org/10.1017/s1478572220000195.

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AbstractLatin American folkloric-popular music had an impact on the music scenes of both Germanies, where singer-songwriters emerged and became interested in Chilean Nueva Canción, the Argentinian Movimiento del Nuevo Cancionero, and Cuban Nueva Trova in the 1970s. Particularly interesting in this context is the contact of some Latin American countries with the German Democratic Republic (GDR). Based on translation theory and articles on Nueva Canción in Europe, this article examines the Latin American presence at the Political Song Festival in East Berlin and analyses some publications that f

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Lilik suryani and Rajid Khurniawan. "The Impoliteness Strategies of Eminem's Song." Karangan: Jurnal Bidang Kependidikan, Pembelajaran, dan Pengembangan 3, no. 2 (September 6, 2021): 116–21. http://dx.doi.org/10.55273/karangan.v3i2.130.

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ABSTRACT Eminem is a famous American singer. He is one of the greatest Rapper in the world. With over 47.4 million albums and 107.5 million singles sold in America and 220 million records globally. Eminem is declared one of the best and one of the most influential writers in the history of music industry. But Eminem music was very controversial. Eminem’s songs are controversial and full of dirty lyric. And in this world, Eminem is perhaps the most successful musician who is able to use dirty lyric or impolite utterance to hypnosis his listener. This research investigated the impoliteness

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Peshek, Kathleen R., and Daniel T. Blumstein. "Can rarefaction be used to estimate song repertoire size in birds?" Current Zoology 57, no. 3 (June 1, 2011): 300–306. http://dx.doi.org/10.1093/czoolo/57.3.300.

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Abstract Song repertoire size is the number of distinct syllables, phrases, or song types produced by an individual or population. Repertoire size estimation is particularly difficult for species that produce highly variable songs and those that produce many song types. Estimating repertoire size is important for ecological and evolutionary studies of speciation, studies of sexual selection, as well as studies of how species may adapt their songs to various acoustic environments. There are several methods to estimate repertoire size, however prior studies discovered that all but a full numeric

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Crowther, Gregory J., Jason Wessels, Lawrence M. Lesser, and Jennifer L. Breckler. "Is memorization the name of the game? Undergraduates’ perceptions of the usefulness of physiology songs." Advances in Physiology Education 44, no. 1 (March 1, 2020): 104–12. http://dx.doi.org/10.1152/advan.00112.2019.

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The possible benefits of using music to enhance learning of STEM content are numerous, diverse, and largely unproven. We sought to determine which (if any) of these possible benefits are commonly experienced by undergraduate students and are thus especially worthy of further investigation. Four hundred ninety-three students in nine physiology courses at two midsized American universities rated the usefulness of short instructor-penned mathematical physiology songs and explained in their own words why each song would or would not be a useful study aid. The students collectively perceived the us

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Kramer, M. J. "Life Flows On in Endless Song: Folk Songs and American History." Journal of American History 97, no. 4 (March 1, 2011): 1102. http://dx.doi.org/10.1093/jahist/jaq091.

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Browner, Tara, Mickey Hart, and Thomas Vennum. "American Warriors: Songs for Indian Veterans." Ethnomusicology 43, no. 2 (1999): 385. http://dx.doi.org/10.2307/852751.

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GARBER, MICHAEL. "“Some of These Days” and the Study of the Great American Songbook." Journal of the Society for American Music 4, no. 2 (April 15, 2010): 175–214. http://dx.doi.org/10.1017/s1752196310000027.

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AbstractSupporting a new methodology for the study of classic American popular songs, this article offers a history of both the print editions and recorded versions of “Some of These Days” (1910) by Shelton Brooks. This saga commences with a hitherto unanalyzed precursor to Brooks's famous song that shares nearly the same opening words and melody, the 1905 “Some o' Dese Days” by Frank Williams. It continues through nine major print editions and numerous recorded performances, of which this study examines forty-six, including ten as the theme song for Sophie Tucker. Performers are clearly influ

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Metzer, David. "Reclaiming Walt: Marc Blitzstein's Whitman Settings." Journal of the American Musicological Society 48, no. 2 (1995): 240–71. http://dx.doi.org/10.2307/3128815.

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Between 1925 and 1928, Marc Blitzstein composed nine songs to texts by Walt Whitman. These settings highlight homoerotic and corporeal thematics, which dominant views of the poet had either obscured or denied. Challenging such interpretations, Blitzstein advanced a reclaiming of Whitman by homosexual readers. Subtitled "songs for a coon shouter," four of these settings introduce African American elements, either through "coon song" gestures or through incorporation of jazz idioms. These appropriations were intended to enhance Whitman's eroticism. They also create tensions between the "primitiv

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Gudmundsdottir, Helga, and Sandra Trehub. "Adults recognize toddlers’ song renditions." Psychology of Music 46, no. 2 (July 1, 2017): 281–91. http://dx.doi.org/10.1177/0305735617711762.

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The present study explored the singing ability of toddlers 16 months to 3 years of age by examining North American adults’ ability to identify toddlers’ renditions of familiar tunes sung with foreign lyrics. After listening to each toddler’s song, half with familiar melodies and half with unfamiliar melodies, adults attempted to name the songs. Their identification was highly accurate, refuting the prevailing view that toddlers focus on words at the expense of tunes. The singing range of these non-English-speaking toddlers and that of their English-speaking counterparts approximated the pitch

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HAMBERLIN, LARRY. "Visions of Salome: The Femme Fatale in American Popular Songs before 1920." Journal of the American Musicological Society 59, no. 3 (2006): 631–96. http://dx.doi.org/10.1525/jams.2006.59.3.631.

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Abstract This article documents representations of Salome, an archetypal exotic femme fatale, in American popular songs of the early twentieth century. The production of Salome songs began shortly after the sensational 1907 U.S. premiere of Richard Strauss's Salome at New York's Metropolitan Opera. Vaudeville performers, beginning with the Met's own prima ballerina, capitalized on the ensuing fad for Salome dances, which the New York Times called “Salomania.” Relevant songs and dances figured in musical comedies and revues until some time after the return of Strauss's opera to the New York sta

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MONGE, LUIGI. "Their eyes were watching God: African-American topical songs on the 1928 Florida hurricanes and floods." Popular Music 26, no. 1 (January 2006): 129–40. http://dx.doi.org/10.1017/s0261143007001171.

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This study focuses on the five known African-American topical songs dealing with the two hurricanes and ensuing floods that took place in Florida in the summer of 1928. The first is a commercially recorded blues song and the others are unreleased Library of Congress sacred recordings, which are transcribed and analysed here for the first time.

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Juravich, Tom. "“Bread and Roses”." Labor 17, no. 2 (May 1, 2020): 81–100. http://dx.doi.org/10.1215/15476715-8114769.

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This paper traces the history of the song “Bread and Roses” to examine labor culture and the role of song in the labor movement. In the late 1930s and early 1940s, “Bread and Roses” was included in several of the first generation song books produced by unions that reflected an expansive and inclusive labor culture closely connected with the Left. With the ascendance of business unionism and the blacklisting of the Left after the war, labor culture took a heavy blow, and labor songbooks became skeletons of the full-bodied versions they had once been. Unions began to see singing not as part of t

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Zavracky, Gregory. "John Musto’s Viva Sweet Love: An Exploration of Love in All its Forms." Journal of Singing 79, no. 4 (February 22, 2023): 457–67. http://dx.doi.org/10.53830/ybwt3883.

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Viva Sweet Love is a cycle of five songs by American composer John Musto, settings of poetry by E.E. Cummings and James Laughlin. It provides detailed information on the cycle, including biographic information on the composer and poets, along with details about Musto’s general music style, technical considerations for the singer and pianist, poem synopses, and song analyses.

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LEE, JUNG-MIN MINA. "Minjung Kayo: Imagining Democracy through Song in South Korea." Twentieth-Century Music 20, no. 1 (February 2023): 49–69. http://dx.doi.org/10.1017/s1478572222000470.

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AbstractDuring South Korea's authoritarian period (1961–87), student activists employed songs to express their anti-government and pro-democratic views. Known as minjung kayo (people's songs), these protest songs can be traced to the modern American folk music embraced by South Korean youth in the 1960s. By the late 1980s, however, minjung kayo carried emphatically anti-American, nationalistic, and socialist tones, echoing the minjung ideals that strove to achieve authentic ‘Koreanness’. This article unravels the complexities underlying the process of minjung kayo's development into an emblem

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Neubarth, Kerstin, and Darrell Conklin. "Identification and Description of Outliers in the Densmore Collection of Native American Music." Applied Sciences 9, no. 3 (February 7, 2019): 552. http://dx.doi.org/10.3390/app9030552.

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This paper presents a method for outlier detection in structured music corpora. Given a music collection organised into groups of songs, the method discovers contrast patterns which are significantly infrequent in a group. Discovered patterns identify and describe outlier songs exhibiting unusual properties in the context of their group. Applied to the collection of Native American music collated by Frances Densmore (1867–1957) during fieldwork among several North American tribes, and employing Densmore’s music content descriptors, the proposed method successfully discovers a concise set of pa

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Schrader, Arthur F., and Vicki L. Eaklor. "American Antislavery Songs: A Collection and Analysis." Journal of the Early Republic 8, no. 4 (1988): 472. http://dx.doi.org/10.2307/3123195.

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