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Gross-Mejía, Jennifer Anne. "The working hour: A rhetorical analysis of the lyrics of Tears for Fears." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2477.
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Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological symbolism to explore the idea of destiny. This thesis uses a combined rhetorical and psychological approach to analyze the manner in which the ethos and pathos inherent in the lyrics generated recognition, understanding, and sympathy in the listener.
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Gobodwana, Anele. "An analysis of the lyrics of the top 10 African language pop songs on Umhlobo Wenene in 2016." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30525.
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In this dissertation I critically analyse the lyrics of the top 10 songs (sung in an indigenous African language) aired on uMhlobo weNene (the national broadcast station for the Xhosa language) during 2016. Before the analysis of the songs I discuss various academic works on pop lyrics generally – ranging from a discussion of the production of aesthetic difference, lyrics in global and local settings, the changing lexicon of pop lyrics over the years, the purpose of lyrics to teenagers and the issue of translation and code switching in the lyrics of bilingual popular songs. In the main body of the thesis I apply a thematic and detailed linguistic analysis of the top 10 songs after which I provide an analysis of interviews conducted with Xhosa-speaking teenagers
with regard to their linguistic preferences as applicable to contemporary lyrics. The conclusion includes a summary of the dominant themes of the lyrics studied and a focus on what the grammar of the songs (e.g. the predominance of the first person pronoun in all of the lyrics) can tell us about the increasingly individualistic nature of contemporary lyrics sung in African languages.
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Koonce, Richard S. "THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162098669.
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Baker, David B. "A PERFORMANCE GUIDE: AN ANALYSIS OF RICHARD FAITH’S SETTINGS OF MOTHER GOOSE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/113.
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This study provides a performance guide to the nine song settings of Mother Goose Lyrics and Mother Goose Lyrics II by American composer Richard Faith (b. 1926). Included is a biography of the composer. The primary purpose is to provide analysis that shows that these nine songs are accessible to undergraduate singers and that these are arguably Faith’s most approachable songs for the young singer. As is pertinent to each individual song the discussion may include information on the poetry, musical form, textual support, pedagogical issues, harmonic progressions, melodic ideas, rhythmic devices, character analysis, as well as information on text setting devices. This is accomplished through the author’s own analysis and study of Faith’s songs, interviews with the composer, and references to the three other dissertations covering Faith’s song compositions. This performance guide will provide an introduction to Richard Faith and his musical style, as well as provide a tool for teachers and singers seeking performance practice guidance.
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Evans, Keith McKay. "“One More Drinkin’ Song”: A Longitudinal Content Analysis of Country Music Lyrics Between the Years 1994 and 2013." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/5318.
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The lyrical content of pop music has rarely been studied, particularly for country music. The lyrics of the top 50 country songs for each year between 1994 and 2013 were coded for violent, sexual and substance use-related content. Violence had increased, as had sexual references, substance use, and substance use associated with sexual activity. Of particular note is the frequency of references to alcohol; 21% of the 1,000-song sampling frame contained alcoholic references, and the average for the final five-year period (2009-2013) was 1.01 references per song. This research should serve as a springboard into further studies about the lyrical content of pop songs as well as longitudinal changes.
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Kano, Mark Aaron. "A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/59.
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This study provides background information, International Phonetic Alphabet (IPA) transcriptions and pronunciations, poetic translations, and pedagogical analyses of ten Francesco Paolo Tosti songs. Included is the connection between the rhythm and meter of the poetry and its’ influence on Tosti’s setting of the text to music. In addition, a portion is devoted to an overview of pedagogy, specifically, appoggio, registers and passaggi in the lyric tenor voice, range and, as well as chiaroscuro. This document addresses potential vocal challenges presented for the lyric tenor voice within each song, as well as the benefits. In particular, suggestions for vowel modifications in the passaggi of the lyric tenor voice in relationship with the provided IPA transcription are addressed. Finally, by gathering all of the necessary information on Aprile, Non t’amo più, Luna d’estate, Preghiera, La serenata, Ideale, A vucchella, In van preghi, L’alba sepàra dalla luce l’ombra, and L’ultima canzone, this performance guide creates a concise tool for teachers and singers in the vocal studio seeking ideal performance practice suggestions.
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Miller, Ashley M. "Analyzing Songs Used for Lyric Analysis With Mental Health Consumers Using Linguistic Inquiry and Word Count (LIWC) Software." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/88.
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Lyric analysis is one of the most commonly used music therapy interventions with the mental health population, yet there is a gap in the research literature regarding song selection. The primary purpose of this study was to determine distinguishing linguistic characteristics of song lyrics most commonly used for lyric analysis with mental health consumers, as measured by LIWC2015 software. A secondary purpose was to provide an updated song list resource for music therapists and music therapy students working with the mental health population. The researcher emailed a survey to 6,757 board-certified music therapists, 316 of whom completed the survey. Respondents contributed 700 different songs that they deemed most effective for lyric analysis with mental health consumers. The researcher used the LIWC2015 software to analyze the 48 songs that were listed by five or more music therapists. Song lyrics contained linguistic indicators of self-focused attention, present-focused attention, poor social relationships, and high cognitive processing. Lyrics were written in an informal, personal, and authentic style. Some lyrics were more emotionally positive, while others were more emotionally negative. While results must be interpreted with caution, it may be helpful to consider linguistic elements when choosing songs for lyric analysis with mental health consumers.
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Nilsson, Simon. "Next stop is Vietnam! : En analys av historiebruk i låttexter om Vietnamkriget." Thesis, Karlstads universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-42667.
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The war in Vietnam was a conflict that happened during the Cold War. In the 1960s USA chose to join the war with the hope of stopping the spread of Communism. The war did not go as planned; instead the outcome was that the Americans lost. During and after the war in Vietnam several songs have been made. Some as protest of the war, others the opposite and had a positive attitude about USA and their participation in the war. In this thesis seven songs regarding the war in Vietnam have been analyzed. The aim of the thesis was to investigate the use of history in different lyrics about the war in Vietnam. An oriented interpretation textual analysis has been applied to the content. The theoretical part of the thesis that was chosen is the use of history as a theory. The theory of the thesis is based on Klas-Göran Karlsson’s typology where he list Scientific, Existential, Morally, Ideological, Non-use, Political-pedagogical and Commercial use of history. To search for the answer in how the artists applied a use of history, the typology of Karlsson and also added Robert Thorp’s four different ways which are Traditional, Exemplary, Critical and Genetic. The result of the thesis was that the war in Vietnam does not appear as clearly in the earlier songs as it did in the songs from the 1980s. Regarding the use of history the result showed that the songs apply the use of history in different ways to state their message.
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Bonzi, Francesco. "Lyrics Instrumentalness: An Automatic System for Vocal and Instrumental Recognition in Polyphonic Music with Deep Learning." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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Human voice recognition is a crucial task in music information retrieval. In this master thesis we developed an innovative AI system, called Instrumental- ness, to address the instrumental song tagging.
An extended pipeline was proposed to fit the Instrumentalness require- ments, w.r.t. the well known tasks of Singing Voice Detection and Singing Voice Segmentation. A deep research on the available datasets was made and two different approaches were tried. The first one involves strongly labeled datasets and tested different neural architectures, while the second one used an attention mechanism to address a weakly labeled dataset, experimenting on different loss functions.
Transfer learning was used to take advantage of the most recent architec- tures in the music information retrieval field, keeping the model efficient and effective.
This work demonstrates that the quality of data is as important as its quan- tity. Moreover, the architectures to address strongly labeled datasets achieved the best performance, but it is remarkable that the attention mechanism used to address the weakly labeled datasets seems to be effective, even if the dataset was imbalanced and small.
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Levine, Lauren E. "Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801944/.
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Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades. Sexism and feminism were then operationalized to construct a coding sheet to examine relevant dimensions. While the present study found no significant patterns of longitudinal increase or decrease in feminist or sexist themes, it revealed that feminist themes were consistently high across four decades and, furthermore, indicated a phenomenon of post-modern hybridity.
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Porchak, Aynsley. "“If I Could Only Win Your Love”: Lyrical Analysis of the Sacred and Secular Songs of the Louvin Brothers." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3687.
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In this thesis, I demonstrate how analysis through literary criticism can provide a commentary on Appalachian song. While literary analysis of both sacred and secular song lyrics is an approach that is largely overlooked in this region’s traditional music, it nonetheless provides insightful perspective on the art form itself. As I argue, one particular duo of Appalachian musicians, the Louvin Brothers, are uniquely suited to this inquiry. I propose that themes that are found in many of the Louvin Brothers’ songs, such as love, acceptance, and rejection, create a bridge between the historically documented theoretical gap between bluegrass and country music’s sacred and secular songs. I document how the Louvins successfully navigated these traditionally separate subgenres using these common subjects while offering a commentary on musical history, their own upbringing, and religion.
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Ringby, Anna. "Håkan, var du bättre förr? : En textanalytisk studie med fokus på utvalda texter av Håkan Hellström." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69904.
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Denna uppsats är en textanalytisk studie som studerar artisten Håkan Hellströms låttexter. Texterna i fokus är från två olika album från olika delar av hans karriär. Detta i syftet att utifrån tematiken, influenserna och den klingande texten visa vad texterna representerar i olika delar av Hellströms liv. Metoderna som har använts vid analys av texterna har utgått från begreppen närläsning, fonotext och intertextualitet där närlyssning och närläsning har varit den huvudsakliga metoden för att få fram material ur texterna. Konklusionerna av denna studie är att Hellström skildrar ämnen i respektive album som är relevanta för den aktuella plats i livet han är i samt att metoderna i låtskrivandet har visat sig sammanfattningsvis vara att använda liknande metaforer för att beskriva olika ämnen, intertextualitet används som en konstnärlig metod och att Hellströms karaktäristiska bräckliga röst är den huvudsakliga kärnan i förmedlandet av texterna.
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Gadley, Shawn A. "Hip-hop’s Tanning of a Postmodern America: a Longitudinal Content Analysis of Paradoxical Juxtapositions of Oppositional Identities Within Us Rap Song Lyrics, 1980-2013." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500206/.
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A longitudinal content analysis of top-chart hip-hop songs’ lyrics produced between 1980 and 2013 was conducted to investigate the degree and progression of the paradoxical juxtaposition, or postmodern hybridity, of oppositional modernist identities in terms of race/ethnicity, gender, sexual orientation, sexuality, and economic lifestyle, in addition to the longitudinal diversification of artist’s race and gender demographics. Demographically, the percentage of non-African-American artists increased as the percentage of African-American artists decreased. Additionally, the percentage of songs featuring either all male or all female artists decreased, while the percentage of collaboration between male and female artists increased over time. Although hybrid oppositional identities related to race/ethnicity and gender did not increase over time, those of sexual orientation, sexuality, and economic lifestyle increased over time. In addition, materialist identities were related to the hybridity of sexual orientation and sexuality, but not to that of gender and race/ethnicity. Overall, the research found increasing postmodern hybridity within the sexualization of hip-hop songs along with intensified materialism.
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Ortiz, Camille. "Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984247/.
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Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.
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Gong, Xiaolin, and 宮小琳. "A study of modern Chinese Song Lyrics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B38628600.
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Chawla, Rahul. "Filtering Social Tags for Songs based on Lyrics using Clustering Methods." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/272.
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In the field of Music Data Mining, Mood and Topic information has been considered as a high level metadata. The extraction of mood and topic information is difficult but is regarded as very valuable. The immense growth of Web 2.0 resulted in Social Tags being a direct interaction with users (humans) and their feedback through tags can help in classification and retrieval of music. One of the major shortcomings of the approaches that have been employed so far is the improper filtering of social tags. This thesis delves into the topic of information extraction from songs’ tags and lyrics. The main focus is on removing all erroneous and unwanted tags with help of other features. The hierarchical clustering method is applied to create clusters of tags. The clusters are based on semantic information any given pair of tags share. The lyrics features are utilized by employing CLOPE clustering method to form lyrics clusters, and Naïve Bayes method to compute probability values that aid in classification process. The outputs from classification are finally used to estimate the accuracy of a tag belonging to the song. The results obtained from the experiments all point towards the success of the method proposed and can be utilized by other research projects in the similar field.
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Gong, Xiaolin. "A study of modern Chinese song lyrics Zhongguo jin dai ge ci yan jiu /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/HKUTO/record/B38628600.
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Pritchard, Eleanor Mary. "Lyrics and the construction of Albanian identity in post-war Kosovar songs." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405950.
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Brunner, Isaac. "Taken to the Extreme: Heavy Metal Cover Songs – The Impact of Genre." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1155518980.
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Carr-Wilcoxson, Amanda Marie. "Protest Music of the Vietnam War: Description and Classification of Various Protest Songs." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1686.
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The Vietnam War and subsequent protest movement remains one of the most tumultuous times in U.S. history. This thesis is an attempt to define and describe the protest movement as well as the varied popular protest songs that came from this era. Building on a previous study written by Elizabeth Kizer, this thesis creates sub-categories in which the protest music falls into.
The first two chapters of this study help by giving historical context to the songs by describing the Vietnam War and then the protest movement in the U.S. The final chapter then deals with popular protest songs that appeared on the Billboard charts between 1960 and 1969.
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Johansson, Anna. "Conceptual Metaphors in Lyrics by Leonard Cohen." Thesis, Umeå universitet, Institutionen för språkstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-125400.
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The purpose of this study is to find and analyse conceptual metaphors in the lyrics, A Thousand Kissed Deep, Here It Is, and Boogie Street from the album Ten New Songs (2001) by Leonard Cohen using Conceptual Metaphor Theory (CMT). In order to detected the conceptual metaphors, the source and target domains were identified. Conceptual metaphors were found by mapping source domains onto target domains and viewing the lexical expressions in the lyrics. The result and analysis of the findings in this study show that linguistic expressions of LOVE, LIFE and DEATH are conceptually present in the lyrics.
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Kim, Young-Mi. "Didactic strategies for the use of lyrics in religious education." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49911.
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Thesis (PhD)--Stellenbosch University, 2004.ENGLISH ABSTRACT: The purpose of this study is to identify didactic strategies for the use of lyrics in children's religious education. This is done to enhance and facilitate children's spiritual growth by means of singing lyrics. The study pays particular attention to the recognition of the role of lyrics in Christian religious education as a maturing agent. Lyrics help to provide children with the opportunity to communicate with God by revealing God's characteristics through theoretical and doctrinal content in an artistic form. Lyrics enrich children's religious development by helping them to express their joy and praise of God. Lyrics can also help children to experience a special quality of fellowship when they sing together. Lyrics ease the stiffness which can occur during the process of education. The survey of lyrics in Christian history also reveals that lyrics played an essential role in the lives of Christians throughout history. Lyrics have been used for worship, education, evangelisation and fellowship. Lyrics have functioned as a medium in which people have conversations with God and worship Him. They have also been a delightful source through which people learn about God through joyful experiences. Lyrics have helped Christians to establish true fellowship in their faith by singing together. The study reveals, however, that lyrics today do not seem to be effective in supporting people, including children, in their encounters with God. As much as lyrics can help children, they can also be obstacles to children's spiritual growth because of their inappropriate contents or improper ways of presentation. Children might misunderstand religious concepts by acquiring "unfamiliar" doctrine from lyrics. It seems that children can also develop inappropriate ideas and attitudes about worshipping under the influence of self-oriented or fun-seeking styles of lyrics. This potential of lyrics to influence children either positively or negatively is often overlooked. The question that may be raised is: what should be done to facilitate the lyric's maturing role and to keep it from being a hindrance in children's religious education? This study attempts to identify systematic and scientific didactic approaches of teaching lyrics as a way of heightening the positive role of lyrics in children's spiritual growth. For the identification of didactic strategies which are best suited for children's spiritual growth, the study presents approaches in which systems of coherent ideas, findings, activities and views concerning instruction and learning are performed. The didactic strategies are illustrated in three main phases, i.e. introductory, executive and assessment phases. Essential characteristics of the instruction-learning phenomenon in all its facets are absorbed into the theory as an overall guide for every teaching situation. The study makes an effort to apply these didactic strategies to the practical situation of teaching lyrics. Korean children are chosen as the subjects for the teaching oflyrics and their religious development is empirically investigated as the basic research on the understanding of the learner in the didactic situation. The application of the general approaches to the definite and specific situation of teaching Korean children is explained. Didactic approaches are redesigned, taking the specific didactic situation of Korea, including Korean children's specific religious characteristics, into consideration. These programmes can be effectively applied to other didactic situations, keeping them flexible in the light of the uniqueness of each lesson. The ultimate aim of this study - the recognition of systematically organised didactic strategies and exemplification of their practical application to the detailed situation of teaching lyrics - is to maximise the effectiveness of lyrics for children's spiritual goodness, particularly in enriching children's religious knowledge and experience.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om didaktiese strategieë te identifiseer vir die gebruik van lirieke in kinders se religieuse opvoeding. Dit word gedoen om leerders se sprituele groei deur middel van die sing van liedjies te fasiliteer. Die studie fokus in die besonder op die herkenning van die rol wat lirieke, in hoofsaaklik Christelike religieuse onderrig, in die proses van volwassewording speel. Lirieke verskaf aan kinders die geleentheid om met God te kommunikeer deurdat God se eienskappe deur middel van teoretiese en dogmatiese inhoud as 'n vorm van kuns openbaar word. Lirieke verryk kinders se religieuse ontwikkeling deurdat dit hulle help om hul blydskap en eer vir God uit te druk. Lirieke kan kinders ook help om 'n besondere kwaliteit van gemeenskap ("fellowship") te ervaar wanneer hulle saam sing. Deur die gebruik van lirieke kan die stramheid wat dikwels met die opvoedingsproses gepaard gaan, in 'n groot mate verlig word. Die opname wat van lirieke in die Christelike geskiedenis gedoen is toon aan dat lirieke dwarsdeur die geskiedenis 'n baie belangrike rol gespeel het in die lewens van Christene. Lirieke is deur die eeue gebruik vir aanbidding, opvoeding, evangelisasie en geloofsgemeenskap. Lirieke funksioneer as 'n medium waardeur mense in gesprek tree met God en Hom aanbid. Dit dien ook as 'n bron waardeur mense deur vreugdevolle ervaring van God leer. Lirieke help Christene om ware geloofsgemeenskap deur hul samesang te bewerkstellig. Dit blyk uit die studie dat lirieke vandag nie meer effektief is om mense, insluitende kinders, in hulontmoeting met God te ondersteun nie. Alhoewel lirieke kinders kan help, kan hulle in dieselfde mate struikelblokke wees in kinders se sprituele groei weens onaanvaarbare inhoud of onvanpaste aanbieding. Kinders kan religieuse konsepte misverstaan deurdat hulle met "vreemde" dogmas vanuit lirieke gekonfronteer word. Dit blyk dat kinders ook onaanvaarbare idees en houdings oor aanbidding kan ontwikkel weens die invloed van die selfgeoriënteerde of pretsoekende styl van sommige lirieke. Die potensiaal van lirieke om kinders óf positief óf negatief te beïnvloed word dikwels misgekyk. Die vraag wat ontstaan is: Wat moet gedoen word om die lirieke se rol in die verwerwing van volwassenheid te fasiliteer en te verhoed dat dit 'n hindernis in kinders se religieuse opvoeding word? Hierdie studie poog om sistematiese en wetenskaplik-didaktiese benaderings te identifiseer om die onderrig van lirieke te bevorder ten einde die positiewe rol van lirieke in kinders se spritiuele groei te versterk. Om didaktiese strategieë te identifiseer wat die beste by kinders se spirituele groei pas, bied die studie benaderings aan wat stelsels van samehangende idees, bevindinge, aktiwiteite en sieninge betreffende onderrig en leer behels. Die didaktiese strategieë word in drie hooffases geïllustreer, nl. die inleidende fase, die uitvoerende fase en die assesseringsfase. Essensiële kenmerke van die onderrig-leerverskynsel in alle fasette daarvan is in die teorie opgeneem as 'n allesomvattende riglyn vir elke leersituasie. Die studie poog voorts om hierdie didaktiese strategieë toe te pas in 'n praktiese lirieke-onderrigsituasie. Koreaanse kinders is gekies as proefpersone vir die onderrig van lirieke, en hul religieuse ontwikkeling is empmes ondersoek as die basiese navorsing ten opsigte van die begrip van die leerder in die didaktiese situasie. Die toepassing van die algemene benaderings tot die bepalende en spesifieke situasie van onderrig aan Koreaanse kinders word verduidelik. Didaktiese benaderings word herontwerp met inagneming van die spesifieke didaktiese situasie in Korea. Koreaanse kinders se besondere religieuse karaktertrekke word tegelykertyd in aanmerking geneem. Hierdie plooibare programme kan ook effektief op ander didaktiese situasies toegepas word, wat beteken dat hulle by elke unieke les aangepas kan word. Die uiteindelike doel van hierdie studie - die erkenning van sistematies georganiseerde didaktiese strategieë en die toeligting van hul praktiese aanwending in die onderrig van lirieke - is om die effektiwiteit van lirieke vir kinders se sprituele welsyn te optimaliseer en veralom leerders se religieuse kennis en ervaring te verryk.
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Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.
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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
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Romanko, Rick. "The Vocabulary Demands of Popular English Songs." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/477651.
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Language ArtsEd.D.
Popular music is ever-present and widely available in students’ lives and the value of it as a factor in the language learning process has been a part of the pedagogical literature for many years. One of the often-discussed benefits is the potential for vocabulary learning through songs; however, few researchers have examined whether songs are a suitable source of input for vocabulary learning for English language learners. To address this need, this corpus-driven study investigated the vocabulary demands of popular English songs. A comprehensive corpus of popular English song lyrics was created for this study. Songs for the corpus were selected according to their impact and influence on culture. A song’s impact on culture was determined by its ranking from experts in the music industries in the United States and the United Kingdom and by its popularity based on radio airplay, sales data, and streaming data in the United States and sales and streaming data in the United Kingdom. The corpus contained 2,175 songs and 678,309 tokens. The total listening time was 135 hours and 22 minutes. The lyrics in the corpus were analyzed to determine the vocabulary size necessary to reach 95% and 98% coverage of the words in songs. The songs in the corpus were divided into two varieties of English—American and British, six decades—1950s to 2000s, and four genres—Urban Roots, Formative Rock, Progressive Rock, and Mainstream Listening. An analysis was first completed over the whole corpus and then over the songs from each variety of English, decade, and genre. This study also examined the potential to incidentally learn vocabulary from listening to songs and whether songs are more similar to spoken or written discourse. The results showed that knowledge of the most frequent 2,000 word families, proper nouns, and marginal words provided 96.05% coverage, and knowledge of the most frequent 5,000 word families, proper nouns, and marginal words provided 98% coverage of songs. Both American and British songs reached 95% coverage at the 2,000 word frequency level. However, the British songs reached 98% coverage at the 5,000 word frequency level, while the American songs reached 98% coverage at the 6,000 word frequency level. A vocabulary of the most frequent 2,000 word families, proper nouns, and marginal words was sufficient to reach 95% coverage in all six decades. However, the vocabulary size needed to reach 98% coverage in the six decades ranged from the most frequent 4,000 to 8,000 word families plus proper nouns and marginal words. A vocabulary of the most frequent 2,000 word families, proper nouns, and marginal words was adequate to reach 95% coverage in all four genre categories. However, the vocabulary size necessary to reach 98% coverage in the different genres ranged from the most frequent 5,000 to 6,000 word families plus proper nouns and marginal words. The results indicated that there would be a relatively low number of meetings of the same low-frequency word families if learners listened to a small or large number of popular songs. However, there would be a relatively high number of encounters of the same mid-frequency and high-frequency word families if learners listened to a large number of popular songs. This result suggests that there is a greater potential for incidental vocabulary learning of mid-frequency and high-frequency vocabulary through songs. Lastly, in terms of vocabulary, songs are more similar to unscripted spoken discourse than written discourse. Overall, the findings indicate that songs have the potential to be an appropriate source of input for English language learners and might be beneficial for incidental vocabulary learning, especially when listening to a large number of songs. This study provides insights into the kinds of vocabulary used in popular songs and suggests implications for teaching and learning with songs.
Temple University--Theses
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Adrian, Stephanie McClure. "The art songs of André Previn with lyrics by Toni Morrison : Honey and Rue and Four Songs for Soprano, Cello and Piano a performer's perspective /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486400446370597.
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Benson, Melinda Anne. "Noel Coward : a voice teacher's perspective." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3261.
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Leoni, Élio Romeiro. "As representações linguístico-sociais e a constituição do Ethos discursivo em letras de música de Gabriel, O Pensador." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14209.
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This essay has as its theme the study of social-linguistic representations, that propitiate the construction of the set design and the legitimacy and the legitimation of the discursive ethos in the lyrics produced by Gabriel, o Pensador. To develop our investigation, we examined, based in the Discourse Analysis of the French, precisely Dominique Manigueneau postulates (2005;2008), the link between the linguistic, the discursive and social, seeking in enunciation the way to build the set design and to what measure the speaker s ethos shows the political, social, ideological and cultural Brazilian aspects, in a discursive and interdiscursive dimension, exhibited in the protest discourse. In order to achieve the intended goal, we chose like model two lyrics written by Gabriel, o Pensador, considering that the composer produces verbal critical texts and that they contemplate contemporary Brazilian social practices. The discourses study of these song lyrics shows the construction of the enunciator s ethos o, taking into account the social link associated with the speech made about the axis of the political history of Brazil from the 90's, considering the behavior of the order representatives in Brazilian public institutions. Through certain situations illustrated in the lyric discourses, we observed that the speaker s ethos articulates towards the co- enunciator s ethical world and both are configured as participants guarantor in the social ethos of the values citizens, whose principles are based on the posture of honest men who believe in justice, in the ethical sense and human and they are indignant by attitudes of misgovernment in Brazilian public institutions
Este dissertação tem como tema o estudo das representações linguístico-sociais, que propiciam a construção da cenografia e a legitimação do ethos discursivo em letras de músicas produzidas por Gabriel, o Pensador. Para o desenvolvimento de nossa investigação, examinamos, à luz da Análise do Discurso de linha francesa, precisamente nos postulados de Dominique Maingueneau (2005; 2008), a articulação entre o linguístico, o discursivo e o social, buscando, na enunciação, o modo como se constrói a cenografia e em que medida o ethos do enunciador apresenta os aspectos políticos, sociais, ideológicos e culturais do homem brasileiro, numa dimensão discursiva e interdiscursiva, explicitado no discurso de protesto. A fim de atingirmos o objetivo pretendido, escolhemos como amostra duas letras escritas por Gabriel, o Pensador, considerando que o compositor produz textos verbais críticos de análises das práticas sociais contemporâneas brasileiras. O estudo dos discursos de letras de músicas mostra a construção do ethos do enunciador, levando-se em consideração a ancoragem social associada ao discurso constituído no eixo da história política do Brasil, a partir da década de 90, considerando o comportamento dos representantes da ordem nas instituições públicas brasileiras. Por meio das situações determinadas no fio discursivo das letras, pudemos observar que o ethos do enunciador articula-se com o mundo ético do co-enunciador e ambos configuram-se como fiadores partícipes do ethos social dos valores cidadãos, cujos princípios se fundamentam na postura de homens honestos que acreditam na justiça, no sentido ético e humano e que se vêem indignados com tantas atitudes de desgoverno nas instituições públicas brasileiras
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Kim, Young-Youn. "Traditional Korean children's songs : collection, analysis, and application /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11288.
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Wong, Melia. "“The air seems to infatuate the ear”: Confederate Anthems, Union Battle Cries, and their Respective Contrafacta." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2128.
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During the Civil War, musical fluidity led to an outpouring of songs written about the
conflict. With every popular song came at least one set of alternate lyrics known as
contrafacta. In this thesis, I analyze Northern anthem “The Battle Cry of Freedom,”and
Southern anthems “The Bonnie Blue Flag” and “Dixie” and their contrafacta. Through
the lens of contrafacta, I analyze how the North and the South understood the terms
“liberty” and “freedom.”
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Bateson, Catherine Victoria. "Culture and sentiments of Irish American Civil War songs." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33216.
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During the American Civil War, an approximate 200,000 Irish-born soldiers, and an even greater number of subsequent generation descended soldiers, fought for the Union and Confederate causes. Their experience, opinions, military actions and attitudes of their families were the subject of American Civil War songs, with songwriters penning numerous ballads about them. The conflict witnessed the mass production of wartime ballad culture, with over 11,000 pieces written and composed between 1861 and 1865 alone. An estimated 150 were by and about the Irish American wartime experience specifically. This thesis focuses on these Irish American Civil War songs and analyses the sentiments they expressed. Overall, the main topic written onto songsheet pages and in songbooks was the battlefield actions of Irish-born and descended soldiers. This study explores how military history was reported through song, following traditional oral practice patterns of using balladry to sing war reports. In particular, attention will be drawn to the proliferation of lyrical dedication and focus on specific Irish-dominated units such as the Union Army's Irish Brigade and 69th New York State Militia, and how their actions, along with other Irish soldiering units, came to dominate Irish American Civil War articulations and history. Within this lyrical attention the figures of Irish-born commanding officers, namely Generals Michael Corcoran and Thomas Francis Meagher, come to the fore. This study also analyses how their own wartime experiences and articulations corresponded with song lyrics. Beyond the battlefield focus, this thesis explores the way in which song lyrics sang about Irish loyalty and devotion to the American Union - and in a few examples Confederate nation - and particularly adopted symbols of the American nation, such as the Star Spangled Banner, as embodiments of the causes and ideals fought for by soldiers. Alongside this were lyrics that referred to symbols of Irish cultural heritage, language and a history of foreign military service. Irish identity can be seen on the surface of some songs, including references to Irish nationalism and the desire to gain Irish independence one day. Yet, as this thesis will argue, Irish American Civil War song lyrics reveal complicated support and sympathy for the Irish nationalist cause in the United States during the 1860s. Running through the songs of this study is a pervading sense and sentiment of American identity - that the Irish fighting and living through the war were stressing to society through song that they were committed to the United States as Americans first and foremost. In addition to assessing wartime views of Civil War politics and military actions, this thesis will also explore the way Irish song played a critical part in the formation of American musical culture, with traditional Irish music forming the foundation for American tunes, and blending Irish culture into the American wartime zeitgeist. This thesis will demonstrate the way in which Irish songs were written, published and disseminated through American society and crucially circulated beyond the confines of the Irish diaspora. Traditional and wartime Irish songs became a fundamental part of American culture because they were American cultural outputs. Thus this thesis will demonstrate the important evidential role Irish American Civil War songs play in singing an unexplored areas of mid-nineteenth century Irish American transnational history.
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Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.
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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice.
This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process.
The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Bowles, Kathleen E. "An Ahousat elder's songs : transcription and analysis." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42066.
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This study examines the development of a comprehensive
transcription method for Northwest Coast Native music. In the past,
ethnomusicologists have presented methodologies which sometimes lacked
data useful for present comparative studies. For this reason, research for
this study was conducted in the field to gain a more complete
understanding of both musical and cultural characteristics. Eighteen
songs were recorded for this study between November 1990 and February
1991. They were sung by Mr. Peter Webster, an Ahousat elder of the
Central Nuu-chah-nulth people located on Flores Island near Tofino on
Vancouver Island, British Columbia. Melodies, drum rhythms and song
texts were discussed in depth with Mr. Webster, thus providing many
musical and cultural insights from an 'emie' (inside) point of view. Much
of this information is included with the song transcriptions and analyses.
Song texts are presented in the T'aat'aaqsapa dialect of the Nuu-chah-nulth
language, together with English translations, Comparisons are also made
with Ida Halpern's 1974 recording, Nootka: Indian Music of the Pacific
Northwest to determine the extent of musical continuity and variation over
this brief period.
One of the limitations of my work has been the lack of opportunity to
record songs during the ceremonies in which they are usually performed,
such as potlatches or tlukwanas. Another limitation has been the Western
notation system, which, as received, is not sufficiently flexible for the
transcription of Native music. For this study, additional descriptive signs
have beau created to adapt the Native musical characteristics to the
Western notation system. While the method developed in this study has
facilitated the transcription of Nuu-chah-nulth music, there is still a need
for further development of an independent notation system.
A clear, comprehensive transcription method, flexible enough to
accommodate this music, has been the primary aim of this study. If this
transcription method is useful for transcribing other Native musics, then
future comparative music studies will benefit from it.Arts, Faculty of
Music, School of
Graduate
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Schwaner, Shawn Louis. "A content analysis of sexuality in popular music lyrics and videos." Connect to resource, 1991. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180455062.
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Langdon, Elizabeth A. "POPULAR MUSIC LYRICS AND ADOLESCENT SEXUAL BEHAVIOR AND ATTITUDES." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1336436590.
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Tarikci, Abdurrahman. "Analysis Of Turkish Art Music Songs Via Fractal Dimension." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611567/index.pdf.
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Forty songs are randomly selected from four randomly selected maqams. Songs are restricted to be in sofyan usül (sofyan rhythmic form) to check the statistical significance. Next, fractal dimensions of the these songs are calculated by using two different method and two different scattering diagrams. In the first method, fractal dimensions are calculated via two different box sizes. As for second method, successively decreased box sizes are used. In addition, standard deviation and mean values of the fractal dimensions are calculated to check the relation between fractal dimension and maqam. T test and F test are applied to check the statistical significance. After these calculations, it is verified that fractal dimension can be used as an information source concerning the Turkish art music songs which are nonlinear dynamical systems. Moreover, it is showed that maqams can have their own fractal dimension for low resolutions. On the other hand, it is seen that for high resolutions all songs have almost same fractal dimension.
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Wood, Kenneth Edward. "An investigation and analysis of selected Victorian art songs /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.
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Peterson, Lottie Elizabeth. "A Rhetorical Analysis of Campaign Songs in Modern Elections." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6718.
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Since the U.S. presidential election of 1800, candidates have selected campaign songs to underscore their political platforms. The literature on politics and music suggests that in modern campaigns, the significance of music rests not in the song itself but in the artist behind the song and the image associated with that particular artist. This analysis sought to convey how the very process of selecting a campaign song is a profound rhetorical act, and that songs chosen even in modern elections have a specific meaning and purpose tied to the political contexts in which they are embedded. Using an adaptation of Sellnow and Sellnow's "Illusion of Life" rhetorical perspective, which analyzes whether the musical score and lyrics of a single song form a congruent or incongruent relationship, this study analyzed the official campaign songs for both Republican and Democratic candidates for the 1972-2016 elections. The adaptation provided the opportunity to examine the intersection of music, rhetoric and politics, and explore evolving patterns and trends in campaign music.The primary findings of this research indicated that both Republican and Democratic candidates have predominantly made use of congruity in their campaign songs, with that congruity only increasing over time — a surprising result considering congruity can often diminish listener appeal. The song analyses also indicated that in general, Republican candidates tend to utilize songs that are positive and patriotic in nature, while their Democratic opponents incorporate songs that offer a critique of the nation. Additionally, findings also revealed a transition that began taking place in the 1970s to hit full stride in the 21st century, as campaign songs shifted from being a direct endorsement of candidates to focusing on universal themes that could appeal to both sides of the political spectrum.
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Kruckeberg, Lynell Joy. "Federico Mompou: a style analysis of thirty-five songs." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3486.
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Federico Mompou (1893-1987) was a Catalan composer known primarily for his piano compositions. In addition to his piano works, Mompou also composed thirty-seven songs for voice and piano, a ballet, a few choral works, and a guitar suite. Mompou's songs and piano pieces were well-received by critics and audiences in France, Spain, and even the United States during his lifetime, but since the mid-1970s, majority of his songs have been overlooked by Western performers and scholars. Mompou's songs, composed between 1915 and 1971, are settings of Catalan, Spanish, and French texts. They are characterized by their simplicity, expressiveness, and evocative style. The poetry represents a variety of subjects that range from expressions of simple, childlike pleasure, to those of a highly reflective and emotional mind. Federico Mompou's songs represent an important contribution to Catalan art song of the twentieth century. The songs are deserving of performance and study in any voice studio because they contain a variety of technical, linguistic, and interpretive challenges for a wide variety of singers.
The purpose of this doctoral essay for limited distribution is to provide a style analysis of thirty-five songs of Federico Mompou. The analysis divides the songs into three groups based on technical difficulty, progressing from the least difficult to the most difficult. Information about each song will include date of publication, language, poet, poem and translation. Prose analysis of each individual song is based on Jan LaRue's Guidelines for Style Analysis. Musical examples demonstrate important aspects of each individual song.
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Wright, Gary K. "Parody songs of the California Gold Rush, 1849-1860 : the music and lyrics of Mart Taylor, John A. Stone and Dr. David G. 'Yankee' Robinson." Scholarly Commons, 1992. https://scholarlycommons.pacific.edu/uop_etds/2232.
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A search of music history texts on American music, such as American Music: A Panorama, by Daniel Kingman, seems to ignore the music of 19th-century California. In Kingman's text, music of the Indians and of mission life is discussed, but music of California and, indeed, much of the western United States is left unexplored. I have found this to be the case in other texts as well. In fact, I have never found a text that discusses or even mentions music of the Gold Rush in California. Two reasons for this omission seem likely: the first is the paucity of information available and the second may be that the authors incorrectly assumed that, because all miners were emigrants, the music would not be original. The area of music I have chosen to discuss was, in fact, unique to the mining country of California in the first decade of the Gold Rush.
It is my hope that this thesis will be the starting point for further research on the music of the Gold Rush.
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Ko, Wing-shum, and 高穎森. "The Asian American voice: a Critical Discourse Analysis (CDA) approach to rap lyrics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46960235.
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Rapping has long been used by people who are from the margin of society as a way to give a voice (Campbell, 2005; Ibrahim, 1999). As a member of the marginalized group and as the first and only Asian who claimed a seven-time victory on Freestyle Friday on Black Entertainment Television (BET), Jin Au-Yeung has received a noticeable amount of attention. At the same time, he has faced a lot of unfavourable experience as an Asian rapper in American society. This study employs Fairclough’s (1989) model of CDA approach to find out how Jin constructs his identity and establishes his ideology through his lyrics, and how his construction of identity and establishment of ideology reflect the social practice in American society. Fifteen songs written by Jin were chosen for the analysis according to the three interrelated stages in CDA: description, interpretation and explanation. Results show that Jin constructs his personal identities as a professional rapper and as a Chinese American and establishes his ideology of having one human nation despite the difference in races through his rap lyrics. These are achieved through the co-occurrence of “I” and “to be”, and promoted through the use of rhyming and code-switching. It was also interpreted that Jin’s personal identities and ideology are shaped through the social ideology on Asian Americans, which is probably reflected through the social practice in American society.published_or_final_version
Applied English Studies
Master
Master of Arts in Applied Linguistics
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Niemi, Jarkko. "The Nenets songs : a structural analysis of text and melody /." Tampere : Tampereen yliopisto, 1998. http://catalogue.bnf.fr/ark:/12148/cb39035834z.
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Novak, Richard A. "Selected songs of Dan Beaty background, analysis, and performance guide /." connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12170.
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Novak, II Richard A. "Selected Songs of Dan Beaty: Background, Analysis, and Performance Guide." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12170/.
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Dan Beaty (1937-2002) was a prolific composer, pianist, researcher, educator, and writer. His large compositional output included chamber works, choral works, songs, orchestral pieces, electronic music, and keyboard works. Beaty was well versed in traditional Western music as well as the more avant-garde and perplexing idioms of the twentieth century. Beaty's compositions reflect the many fascinating, if not always popular, musical trends of his time. His music encompasses styles from serial to jazz, shows compositional influences from Arnold Schoenberg to Indonesian music, and demonstrates thought-provoking and highly intellectual craftsmanship. This document explores several of Beaty's songs through a discussion of the composer's life and compositional process. Songs included in this document are Three Weeks Songs, October, November, A Sappho Lyric, Love Song, That Night When Joy Began, and War Lyrics. This document was written to accompany the author's DMA Lecture-Recital at the University of North Texas. Unfortunately, Beaty's vocal music was never published and is mostly unknown. One goal of the project was to initiate interest in Beaty's songs. Through this document, Lecture-Recital, and additional performances, considerable strides have been made to bring Beaty's songs to new audiences throughout the United States. In addition, the author has received permission from the Beaty family to publish Dan Beaty's songs.
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Jackson, Christopher Michael. "Britten’s Op 47, Five Flower Songs: Breaking Trends in Analysis." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500181/.
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Benjamin Britten’s life and music have been the subject of study from early in his musical career. Current trends in psychological analysis of Britten’s music tend to focus on common themes, such as homosexuality, pacifism, the sense of the outsider, and the loss of innocence. Similarly, theoretical analyses tend either to provide general categorizations of the technical elements in Britten’s music or to apply a singular preconceived concept as a tool for understanding his compositions. These approaches have yielded significant information but leave aspects of Britten’s personality and music unilluminated. Britten’s Op. 47, Five Flower Songs, are a collection of five part songs for a cappella chorus that are often included within the canon of 20th century choral literature. This paper examines a new perspective on Britten’s music by examining the relationship between Britten’s friendships and their influence on his compositions. Through the examination of these relationships information is revealed that allows for a new method of analysis that is particularly relevant to the Five Flower Songs. The opus was dedicated to two botanists for the occasion of their 25th wedding anniversary. Contained within specific movements are extra-musical references to scientific characteristics of the flowers that are the subjects of the texts. By examining this work and important connections between other friendships and his compositional output this paper demonstrates the validity of this perspective in analyzing Britten’s life and music.
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Yun-HsuanChou and 周昀萱. "The Gender Analysis of Lyrics in Chinese Songs." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/32618948467832042029.
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碩士國立成功大學
教育研究所
101
This study focuses on the semantic gender analysis of the Mandarin popular songs. Our main goal is to realize the similarities and differences in depicting male and female idiosyncrasies among those lyrics. Our study analyzed 42 Mandarin songs from the annual top 100 pop songs voted by the broadcasting listeners. We probed the narrative contexts about depicting male with firmness and sense of responsibility and depicting female with submission and weakness respectively. The followings are our conclusions: (1) In the lyrics, the traits such as “firmness” and “sense of responsibility” were only used for depicting male. (2) The traits such as “submission” and “weakness” were only used for depicting female. Particularly, there are up to 24 songs describing the tears of women. (3)Concerning the emotional expression, the males were restrained and depressive while the females were natural and straightforward. From the study above, it is clear that it is widely divergent from the two genders about expressing and dealing with emotions. Besides, the gender characteristics of “strong male” and “weak female” were presented in different forms. From this study, we hope that we can raise the sensitivities of the readers and the audiences about the gender issues in the pop culture. We also hope that in the future, those pop lyrics may be used for designing teaching materials for education of gender and emotional issues.
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Sharma, Govind. "Sentiment-Driven Topic Analysis Of Song Lyrics." Thesis, 2012. http://etd.iisc.ernet.in/handle/2005/2472.
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Sentiment Analysis is an area of Computer Science that deals with the impact a document makes on a user. The very field is further sub-divided into Opinion Mining and Emotion Analysis, the latter of which is the basis for the present work. Work on songs is aimed at building affective interactive applications such as music recommendation engines. Using song lyrics, we are interested in both supervised and unsupervised analyses, each of which has its own pros and cons.
For an unsupervised analysis (clustering), we use a standard probabilistic topic model called Latent Dirichlet Allocation (LDA). It mines topics from songs, which are nothing but probability distributions over the vocabulary of words. Some of the topics seem sentiment-based, motivating us to continue with this approach. We evaluate our clusters using a gold dataset collected from an apt website and get positive results. This approach would be useful in the absence of a supervisor dataset.
In another part of our work, we argue the inescapable existence of supervision in terms of having to manually analyse the topics returned. Further, we have also used explicit supervision in terms of a training dataset for a classifier to learn sentiment specific classes. This analysis helps reduce dimensionality and improve classification accuracy. We get excellent dimensionality reduction using Support Vector Machines (SVM) for feature selection. For re-classification, we use the Naive Bayes Classifier (NBC) and SVM, both of which perform well. We also use Non-negative Matrix Factorization (NMF) for classification, but observe that the results coincide with those of NBC, with no exceptions. This drives us towards establishing a theoretical equivalence between the two.
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Lee, Hsin-Pei, and 李欣旆. "Analysis of J-POP lyrics－about frequent words,verb and sentence, song’s theme－." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/96529118577211191169.
Full textAbstract:
碩士淡江大學
日本語文學系碩士班
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This paper’s analysis of object is Top 5 singles that charted on Oricon’s year ranking between 1991-2010. The purpose is to find out how J-POP lyrics’s transform of the past 20 years, and to research the structure and the theme’s connection between songs from the grammar of noun and verb’s point of view. The first step was to collect the lyrics in the past 20 years, then to summarize those lyrics into four formats: lyrics’s format, frequent words, verb and sentence. According to the result of chapter 1, the basic of J-POP song’s format is “Verse+Bridge+Chorus”. Second, in chapter 2 and 3,the main point is to investigate the change of frequent words, verb and sentence from the format and the theme of song’s point of view. The verb and sentence didn’t affected by the song’s format, but the frequent words was increase at “Verse”. Besides, on Love songs, the utilization ratio of frequent words are much higher than others at “Verse”, non-love songs is at “Bridge”. On the other hand, the verb and sentence’s change can only seen on non-love songs at “Bridge”. Finally, The main point of chapter 4 is on song’s theme, to comprehend the vocabularies of personal pronoun, time/space, emotion in love songs and non-love songs. The vocabularies of emotion words wouldn''t affected by song’s theme, and were negative words. The vocabularies of pronoun and time/space have common point, which we can realize the standards of song’s theme. To divide love songs and non-love songs which depends on the using of personal pronouns of “you”, third person plural pronoun, season vocabulary, and adverb of time. This paper is the first paper try to challenge J-POP lyrics and song format. The results of this paper , we can figure out J-POP lyrics has regular format in past 20 years. Frequent words, verb and sentence were change depends on song’s theme. Love songs attach great importance to noun and “Verse”, non-love songs pays much attention to verb, sentence and “Bridge”.The result shows emotionally vocabularies are usually appeal in a negative way and there are some differences between love songs and non-love songs.
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Grevler, Kelly. "‘What makes songs catchy’: a cognitive analysis of melodic hooks in twenty-first century popular music." Diss., 2019. http://hdl.handle.net/10500/26148.
Full textAbstract:
Text in English with abstracts in English, isiZulu and XhosaPage numbering of table of contents inconsistent with dissertation. Appendix A : Full transcription only of Tip toe by Lacey May
What is it about the vocal melodies of popular music that make you want to listen again and again? This music-theoretical study applies principles of Gestalt psychology and theories of expectation to a study of melodic hooks in 21st-century popular music. The hypothesis tested here is that melodic hooks are a vital element in “catchiness”. Transcription and analysis of melodies by major recording artists is used to explore the note-to-note basis for melodic hooks. The analysis of recordings by Adele, Carly Rae Jepsen, Pharrell Williams and Robin Thicke shows how factors of repetition, familiarity, simplicity, resolution, ambiguity of key, and expectation all contribute to the sense of catchiness in music. A listener-response study was used to test the experience of catchiness in the case studies, and corroborates the hypothesis that catchiness depends principally on expectation as an overarching factor. The study also uses auto-ethnographic reflection on the practice of song-writing to give insight into strategies for creating catchy popular songs. The experience of composing a pop song, and releasing it on air, provides unique insight into the artistic process. The results of all these studies show that the perceptual principle of expectation is a crucial factor in the experience of catchiness.
Ingabe yini eyenza iminkenenezo yomculo odumile ikukhange futhi ikuhehe ufise ukuwulalela kaninginingi? Lolu cwaningo lwethiyori yomculo lusebenzisa imigomo ye-Gestalt psychology kanye namathiyori alokho okulindelekile (theories of expectation) ukucubungula nokuhlaziya amavesi eminkenenezo emnandi futhi ekhangayo yomculo odumile wekhulunyaka lama-21. Ihayiphothesisi ehlolwayo lapha wukuthi amavesi eminkenenezo emnandi futhi ekhangayo ayingxenye esemqoka kakhulu “ekukhangeni” komculo. Ukubhalwa nokuhlaziywa kweminkenenezo yabaculi abayizikhondlakhondla abaqopha umculo kuyasetshenziswa kulolu cwaningo ukucubungula inothi nenothi levesi lomnkenenezo omnandi futhi okhangayo. Ukuhlaziywa komculo oqoshiwe ka-Adele, Carly Rae Jepsen, Pharrell Williams kanye no-Robin Thicke kuyabonisa ukuthi izinto ezinjengokuphindaphinda, ukujwayeleka komculo othile, ubulula bomculo, ukuguquka kwenothi lomculo libe ngumnkenenezo ohlabahlosile (resolution), ukungaqondakali nokungaqiniseki ngokhiye womculo (ambiguity of key), kanye nalokho okulindelekile, konke kuyizinto ezilekelelayo futhi ezifaka isandla ekukhangeni komnkenenezo womculo. Ucwaningo lwendlela abazizwa ngayo abalaleli bomculo lwasetshenziswa ukuhlola ukuthi bakhangekile yini labo balaleli bomculo, kwizincwaningo-zigameko zokulalelwa komculo, futhi lolu cwaningo lwasekela lwaphinda lwaqinisekisa ihayiphothesisi ethi ukukhanga komnkenenezo womculo kuncike ikakhulukazi kulokho okulindelwe ngumlaleli womculo njengombandela-ngqangi wokuheheka nokukhangeka kwakhe. Ucwaningo lusebenzisa futhi nokuzibandakanya komcwaningi (auto-ethnographic reflection) enqubweni yokubhalwa kwamaculo ukuze athole ulwazi olunzulu futhi aqondisise kahle amaqhingasu okuqamba izingoma ezidumile ezinomnkenenezo omnandi futhi okhangayo. Ukuzibandakanya enqubweni yokuqamba ingoma yomculo we-pop, kanye nokuyikhipha ukuze idlalwe emisakazweni, kuhlinzeka ngethuba eliyingqayizivele lokuqonda ngokujulile inqubo yokwenza umculo. Imiphumela yazo zonke lezi zincwaningo iyabonisa ukuthi umgomo wendlela-kuhumusha izinto ngokwalokho okulindelekile wumgomo osemqoka kakhulu ekufikelweni komuntu ngumuzwa wokukhangwa nokuhehwa ngumnkenenezo.
Zingantoni izandi ezimnandi zokuvuma ezivakalayo zomculo odumileyo okubangela ufune ukuwuphulaphula njalo njalo? Olu phononongo lomculo ngokwenkcazelo eyingcingane lusebenzisa imigaqo-siseko yemeko yengqondo iGestalt (Gestalt psychology) kunye neengcingane (theories) zokulindelweyo kufundo lwezandi ezinomtsalane okubambayo kumculo wenkulungwane yama-21 Ulwazi oluyingcamango engenabungqina oluhlolwe apha kukuba izandi ezimnandi zokuvuma ingoma ziyinto ebalulekileyo "ekubambeni lula". Ukubhalwa kunye nohlalutyo lweengoma ezenziwa ngabaculi abaphambili bokushicilela kusetyenziselwa ukuphonononga isiseko senowuthi ukusuka kwenye ukuya kwenye inowuthi ngokwezibambo zokuvakala kwezandi. Uhlalutyo lokushicilela luka-Adele, Carly Rae Jepsen, Pharrell Williams kunye noRobin Thicke kubonisa indlela izinto eziphindaphindwayo, zokuqheleka, zobulula, ukusombulula, nobumbolombini kwikhi kunye nokulindelweyo konke kunegalelo kumba wokutsalwa ubanmbeke emculweni. Uphononongo lokusabela komphulaphuli lwasetyenziswa ukuvavanya amava okufumana ifuthe lomtsalane kwizifundo zabucala, kwaye zihambelana nengcinga yokuba ukubamba kuxhomekeka ikakhulu kulindelo njengeyona nto iphambili. Olu phononongo lukwasebenzisa imbonakalo ezenzekelayo kwinkcazo yenzululwazi ngeentlanga kumsebenzi wokubhalwa kwengoma ukunika ukuqonda ngeendlela zokuyila ingoma ezimnandi ezidumileyo. Amava okuqamba ingoma ye-pop, kunye nokuyikhupha emoyeni, inika ingqiqo eyahlukileyo kwinkqubo yobugcisa. Iziphumo zazo zonke ezi zifundo zibonisa ukuba umgaqo-siseko wengcingane yokulindelweyo luphawu olubalulekileyo kakhulu kumava okubamba.
Art History, Visual Arts and Musicology
M. Mus. (Musicology)