Relevant bibliographies by topics / Art song

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art song'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Art song"

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Mehmonovna, Radjabova Nodira. "ALLA - AN ANCIENT MASTERPIECE OF SINGING ART (COMPARATIVE ANALYSIS)." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 01 (January 1, 2022): 34–39. http://dx.doi.org/10.37547/history-crjh-03-01-08.

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This article examines the history of singing art with the birth of mankind, the influence of the song genre on the spiritual and moral state of peoples, the dynamics of the process of transferring singing art from generation to generation over the centuries. In addition, the genres of songs have a long history and have been passed down from generation to generation for centuries. The origins, stages of development and features of the song genre "Alla" are discussed. Many aspects are analyzed, such as the fact that the genre of Alla's singing is based on folklore, the uniqueness of this type of song, its narration in simple and understandable language. The article systematically describes the history of the song genre, its artistic features, philosophical and spiritual features. The stages of the genre of the song "Alla", the features of each stage, the role of children in the spiritual and aesthetic education of the cradle are scientifically substantiated. The text of the article summarizes the opinions of various experts in the field of the song genre "Alla". In conclusion, the article reveals the importance of the development of the song genre in the conditions of new thinking, the relationship between mother and child. Approaches to the question of the genre of the song differ, and it was analyzed that discussions on this issue continued both during the years of Soviet power and during the years of independence. It is shown that the height of a person's spirituality can be an important factor in raising a child at the level of the song genre that mothers sing, rocking the cradle at birth. It is revealed that in the genres of Alla songs it has become a tradition to pamper a child and compare him with powerful forces and historical figures. Alla song genre takes into account the influence of Asian and European natural factors. The importance of the mother's level, the pleasantness of the sound of the words used instead of them, and so on as the songs of God reach the baby in the cradle. At the end of the article, scientifically based recommendations are given for further popularization and improvement of the song genre.
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Bharadwaj, S. "Dylan Thomas’s “Over Sir John’s Hill”: The Motif of His Art Songs." International Journal of Applied Linguistics and English Literature 10, no. 1 (January 31, 2021): 9. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.1p.9.

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In the last dramatic art song “Over Sir John’s Hill,” Dylan Thomas reiterates that the motif of his art songs has been the Yeatsian introspective process of individuation and integration, transfiguration and transformation, the mortal vision of Grecian altruistic art song as seen in his early poem 18 Poems. His Yeatsian process of tragic happiness, his warm impersonal art, his paradoxical sensibility that makes him an artist of success and popularity in contrast to W.H. Auden’s Eliotian motif of metaphysical process of self-annihilation and immortal art, his aesthetic amoral impersonal art, his tragic vision of art song which deprives him of his grandeur and influence. However, the main thrust is extending to the dismembered and discontented Auden the very same process of regeneration that Thomas has offered to the victims of Auden’s art song while ignoring everything about … allegations of tilting, toppling and conspiracy against him. The song also testifies to his Yeatsian cosmopolitan culture maintaining his equanimity and magnanimity when he confronts an atmosphere of envy and ill-will, and hatred and violence.
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Risqi, Dini Permata, and Syahrul Syah Sinaga. "Musical Expression On The Ksyr Lestari Group’s The Sintren Art Of Luwijawa Village In Tegal Regency." Jurnal Seni Musik 11, no. 1 (June 30, 2022): 92–101. http://dx.doi.org/10.15294/jsm.v11i1.53017.

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The KSYR Lestari Sintren art group is an art group that has musical expressions in their performances with songs that are played and add various atmospheres to the performance of each scene. The songs of the Sintren art show involve the musical function of Sintren art dance performed by the KSYR Lestari group. This study aims to identify and explain the musical expression of the song type performed and the musical function of the Sintren art dance of the KSYR Lestari group. This study used a qualitative research method with a phenomenological approach and the data collection techniques used in this study are observation, interview, and documentation. The results of this study indicate that the musical expressions contained in the KSYR Lestari Sintren art through songs performed include; (1) Tempo, the song Dunung Ala Dunung is played at a slow tempo which expresses feelings of sadness, and the song Turun Sintren is played at a fast tempo which describes a happy expression. (2) Dynamic, in every song that is sung, there are dynamic changes (3) The style produces tones on four vocalists who have been selected according to the character of the voice and song. Sintren performance elements include; (1) Theme, (2) Dancer, (3) Fashion, (4) Makeup, (5) Movement, (6) Accompaniment, (7) Stage arrangement, (8) Lighting and sound system, (9) Property. The function of music in Sintren dance includes; (1) Music as a dance binder, and (2) Music as a dance illustration.
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Putra, Purniadi Adi. "Implementasi Pendidikan Karakter: Integrasi Lagu Melayu Sambas dalam Pembelajaran pada MIN Kabupaten Sambas." Sosial Budaya 16, no. 2 (December 22, 2019): 83. http://dx.doi.org/10.24014/sb.v16i2.6942.

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The lack of understanding and knowledge of children about the song and the type of song itself will have an impact on the character crisis, this is due to many who memorize the western-style romance songs compared to their own folk songs. The aim of learning Sambas Malay regional songs in the madrasa introduces directly to students and preserving Sambas Malay local culture especially at the elementary level children will sustain in the process of maintaining regional culture to stay alive, transfer and develop by means of learning processes contained in subjects and extracurricular regional art has implications for student character education. This study uses descriptive qualitative methods. The focus of this research is art teachers, students and madrasah principals with data sources from the MIN Sambas District of the Sambas Malay ethnic group. The results of this study are to strengthen the values of Sambas Malay character as a basic foundation in maintaining local wisdom, song art education as the basis of education in shaping the soul and personality of noble character (akhlakul karimah), the meaning of Sambas tandak song has religious value, bellale song ' having social values in collaboration, Sambas river songs flooded with environmental values, mak jage's rock songs having the value of peaceful love characters, and Allo 'Galing songs having social values and cooperation.
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Bharadwaj, S. "Dylan Thomas’s “In the White Giant’s Thigh”:A Wild Love of Art Song." Advances in Language and Literary Studies 12, no. 4 (August 31, 2021): 91. http://dx.doi.org/10.7575/aiac.alls.v.12n.4.p.91.

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In the poem “In the White Giant’s Thigh,” Dylan Thomas projects the contemporary poets’ wild passion for Eliotian amoral art song and their suffering and the contradistinction of his own occasional love of Yeatsian Grecian altruistic art song and his delight. The poem is at bottom optimistic as it offers the metaphysical and the metempirical wild lovers an alternative process of art song and also carries salvation to transcend their sorrowful failure. It is Thomas’s faith in the Yeatsian process of transfiguration and transformation, the possibility of deliverance from the bondage of experience and ignorance that assures him of success and appeal in his art songs, that Auden repudiates in his metaphysical process of transgression and transmigration and his immortal vision of aesthetic amoral art song. The poem implies that Auden, as a result of his continual ignorance of the human reality of life and death, his stoic love of metaphysical art and reality, loses his grandeur and literary reputation and stoops to the level of a common man susceptible to hatred and indignation, violence and vengeance like the victims of his art songs, the political, the war and the Movement poets who remain equally ignorant of the metaphysical process and the reality of breath and death.
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Atanasovski, Srđan. "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 31. http://dx.doi.org/10.25038/am.v0i13.185.

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The genre of the mass song is one of the fundamental phenomena in aesthetics and practice of socialist realism. Mass songs are supposed not only to be accessible to the lay audience, but also to be composed in a way that invites the participation of amateurs. Importantly, the institutions which have been disseminating the mass song under state socialism, such as various institutions of education, culture and art, have also served as mechanisms for the normalization of its ideological content. This article summarizes important aspects of the concept of the mass song in general and offers a multifaceted exemplification, before proceeding to discuss the history of mass songs in socialist Yugoslavia (including, by and large, what is usually referred to as partisan songs), with emphasis on the institutional framework through which they were practiced and disseminated, and on specificities that the genre had accrued within the Yugoslav framework. This historical framework of practicing mass songs in Yugoslavia provides a platform for opening the question of intrinsic incompatibility between the project of a classless society and the institution of art. In regards to this, article discusses contemporary practice of Yugoslav mass songs as practiced by self-organized choirs and their new political potential. Article received: May 6, 2017; Article accepted: May 14, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Atanasovski, Srđan. "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations." AM Journal of Art and Media Studies 13 (2017): 31-42. doi: 10.25038/am.v0i13.185
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.

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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
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Abd Wahab, Alia Farahin, and Khairunnisa Diyana Md Noor. "From Forest to a Song; A Process of Extracting the Soundscape of Nature into Art Songs." Formosa Journal of Applied Sciences 1, no. 3 (August 30, 2022): 285–92. http://dx.doi.org/10.55927/fjas.v1i3.1080.

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The art song is a genre performed mainly by piano and voice. This paper is about the process and the inspirational factor of creating art songs based on the Malaysian urban soundscape. The composer talks about the understanding of the sound and the process of recording certain inspirational sounds, transcribing them, and creating them into a motive. The soundscape chosen by the composer is also a contributing factor to the whole structure and meaning of the song. These motives that have been interpreted based on the recordings are then expanded and made into an art song. There are a few important features that triggered the interest of the composer upon choosing a certain sound as the main inspiration. Besides that, the paper also analyzes how these sounds affected the composer’s understanding of music and its surrounding. In order to write art songs inspired by the urban soundscape in Malaysia, there will be recording sounds of the surroundings and events that the composer feel is appropriate. The composer also includes the interpretation of sound from certain buildings or atmosphere. From these recordings or interpretations, notes are taken out to create a new motive or a short melody from it. The paper includes the process of creating the motives from the recording into a song.
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Chaloupková, Lenka. "The Chinese Art Song, yishu gequ: Between Tradition and Modernity." AUC PHILOLOGICA 2021, no. 3 (February 15, 2022): 29–46. http://dx.doi.org/10.14712/24646830.2022.2.

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The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level. As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole. The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.
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Johnson, Julian. "Present Absence: Debussy, Song, and the Art of (Dis)appearing." 19th-Century Music 40, no. 3 (2017): 239–56. http://dx.doi.org/10.1525/ncm.2017.40.3.239.

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Debussy's early song settings of Théodore de Banville and Paul Bourget foreground the Romantic topic by which the singing voice revokes lost presence. The closed aesthetic space of music becomes, in these songs, the space of the nocturnal garden in which the souls of lovers merge with the containing landscape. But Debussy's fascination with the poetry of Paul Verlaine, over a period of twenty-two years from 1882 to 1904, juxtaposes such evocations of intense sensuous presence with songs of alienated absence and ironic distance. The poems Debussy set from Verlaine's Fêtes galantes (1869) provoke both kinds of song, the latter embodied through the shadowy figures of the commedia dell'arte. In the case of two such poems, “En sourdine” and “Clair de lune,” Debussy produced two different settings of the same text, ten years apart. The usual account is that these show the composer's progression from Romantic lyricism to a more sophisticated but withdrawn style, a development paralleled by a biographical story moving from his youthful passion for the dedicatee of the early songs, Marie-Blanche Vasnier, to the breakdown of his first marriage in 1904. But neither the stylistic nor the biographical narrative provides an adequate account of the Verlaine songs, and both miss their exploration of the economy of desire at the heart of the piano song.
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Dissertations / Theses on the topic "Art song"

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Wakeley, Meghan A. "An evolution of song: Opera, Oratorio, and Art Song." Kansas State University, 2011. http://hdl.handle.net/2097/8864.

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Master of Music
Department of Music
Reginald L. Pittman
This master’s report is a discussion of the selections and composers presented on my graduate recital performed in All Faiths Chapel on Thursday, April 28, 2010. This report is also an in-depth look at the history and evolution of opera arias, oratorio, and art songs beginning in the Renaissance period. The first chapter discusses song in the Renaissance period and the origin of opera. Chapter two discusses oratorio and the Baroque period. Chapter three discusses art song and opera arias in the Classical period, with particular emphasis on Wolfgang Amadeus Mozart. Chapter four discusses art song and opera aria in the Bel Canto style and Romantic period. Chapter four will also include information about the operetta. Chapter five discusses art song and opera aria in the Modern period.
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Cardwell, Robert Ewell. "A Survey of 21st Century Gay-Themed American Art Songs for Baritone." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703289/.

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The majority of repertoire catalogs for singers, printed and digital, often list works by voice type, language, and/or genre. The 21st century has seen an emergence of online classical music catalogs where the user can seek repertoire by searching composers from underrepresented communities (i.e., women, Black, LGBTQ, Latinx). What does not currently exist is a resource that catalogs songs for solo voice dealing specifically with gay subject matter. This dissertation surveys seventeen 21st century gay-themed art songs by four living American composers: David Del Tredici, Ben Moore, Clint Borzoni, and Gary Schocker. Each chapter introduces a different composer and a select representation of their gay-themed art songs. Each entry includes text analysis based on the composer's and author's intentions and a brief analysis to determine pedagogical and musical difficulty. It is my intent that this document will facilitate a much-needed resource and encourage further study, promotion, and performance of voice works with gay themes. Moreover, I hope that it will serve as a tool for the applied voice teacher to assist in the vocal and artistic development of their students through broader repertoire choices.
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Igarashi, Yoko. "Japanese Poetry in Western Art Song." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12426.

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Thesis (D.M.A.)--Boston University
Western art songs written on Japanese poems, Tanka, appeared in the early twentieth century as a late manifestation of Japonisme, the Japanese influence on Western art and music. The songs discussed in this dissertation include Japanisches Regenlied (1909) by Joseph Marx, Three Japanese Lyrics (1912-13) by Igor Stravinsky, Petits Poi!mes Japonais (1919) by Francesco Santoliquido, and Romances on Texts by Japanese Poets (1928-32) by Dmitri Shostakovich. Japonisme emerged as a significant movement in late-nineteenth-century Western art when Japanese artworks were first exported to Europe. Under the influence of these works, Western painters soon adopted Japanese techniques especially from traditional wood-block prints (Ukiyo-e). The appreciation of Japanese art and culture eventually emerged in Western music as a part of Orientalism and exoticism, first in opera, then in Debussy's music, and lastly in art songs. The Japanese poems used in Western art songs examined here are most commonly referred to as Tanka (a short poem), a genre that flourished between the third and tenth centuries. Because of the unique characteristics of the Japanese language, translating Japanese poems into European languages requires a certain imagination. The purpose of this dissertation is to explore the relationship between the original Japanese poems and their translations into European languages, and to discuss their transformation. The introduction provides a brief overview of Japonisme in Western art in the late nineteenth century. Chapter One focuses on the basic elements of Japanese poetry in order to outline the characteristics unique to the Japanese language. Considering Japanese influence within the category of "Orientalism" and "Exoticism" in music, Chapter Two explores the evidence for Oriental and exotic influences on Western music. Chapter Three focuses more specifically on Japanese influences in Western music. A detailed study of poems and translations, and their relationship to music is the core focus of Chapter Four. Chapter Five concludes that Tanka vanished from Western art songs soon after the songs under consideration were composed.
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Talbott, Christy Jo. "The French art song style in selected songs by Charles Ives." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000455.

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Tuomi, Scott Lawrence. "Finnish art song for the American singer." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289889.

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Art song teachers are constantly seeking new repertoire for their students. Many countries outside those commonly represented in American vocal studios (for instance Spain and Russia) have rich art song traditions which merit inclusion in the vocal studio. In this era of increased cultural awareness, many other areas of music education are seeking to explore these repertoires. However, many art songs are unable to be utilized because of the lack of resources in this country concerning their acquisition, identification, history, pronunciation and performance. Finland has a vast art song repertoire that is largely unexplored by American singers and teachers for the reasons mentioned above. A relatively new nation, Finland has a rich past which has remained a mystery to the west because of its close connection to the former Soviet Union. In addition, prior to the twentieth century, Finland had been under the control of foreign governments including those of Russia and Sweden since the Middle Ages. This document seeks to identify and examine Finnish art songs while providing background information regarding their history, development, and relevance to Finnish culture. In addition, tools for acquiring and performing Finnish art song are included to facilitate the inclusion of these songs in American vocal studios. Various sections include the development of the art song genre in Finland, the connection of songs to the Finnish national epic, the Kalevala, and a brief examination of the Finno-Ugrian language group. Biographical information is provided for seven selected composers arranged in chronological order. A total of ten songs are analyzed from the selected composers and an English translation is also provided for each. In addition, a collection of appendices providing complete lists of published songs for each composer, a Finnish IPA pronunciation chart, contact information for Finnish music publishers and musical resources and a selected discography are included.
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Zhang, Tieyi. "The first generation of Chinese art song." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6900.

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Saunders, Jessica Anne. "Songs of the Kalevala: art song inspired by the Finnish national epic." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5622.

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The Kalevala, first published in 1835 by Elias Lönnrot, is the Finnish national epic and was fundamental in formalizing the Finnish language. It is a collection of stories Lönnrot collected over many years, pieced together to create a coherent epic. The stories in the Kalevala stem from an oral tradition, in which singing and music was integral. The stories in the epic contain many different characters, with Väinämöinen and his quest in to find a wife at the forefront. Other major characters discussed include Kullervo, Lemminkäinen, and Luonnotar. Extensive research exists about the history of the Kalevala itself, as well as its impact on music in Finland in the areas of pop music, symphonic music, choral music, and opera. However, little scholarship exists, regarding how the texts from the Kalevala have been incorporated into 19th and 20th century art song. The lack of research about the Kalevala in art song is due partly to the fact that no catalogue of related songs exists. Also, works based on the Kalevala are hard to obtain, as many are only available in manuscript form, or are found only in the Finnish National Archives. This essay aims to bridge the research gap on art song inspired by the Kalevala, while evaluating the works available in the context of their incorporation of the folk singing tradition that would have been used in the early performance of these Kalevala texts. Songs analyzed include works by Gabriel Linsén, Emil Kauppi, Jean Sibelius, Otto Kotilainen, and Erkki Melartin.
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Forbay, Bronwen M. "Afrikaans Art Song: A Stylistic Study and Performance Guide." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322705.

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Stillman, Johanna. "Love Song." Thesis, Konstfack, Institutionen för Konst (K), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5791.

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Love Song is an essay about romance, passion, obsession, attraction, Eros, intoxication, infatuation, to fall in love and love. Love songs, as artworks, are almost always directed towards a nameless “you” and this essay wants to talk to you. The text might be seen as a way to create and rewrite something, a performance to understand other performances, a dwelling on past relationships, a love letter, or just a text for me to vent you with others that have been thinking about you. I would love to hear Elsa von Freytag-Loringhoven, Chris Kraus, Beyoncé, Bell Hooks, Anaïs Nin and Taylor Swift talk to each other about art and romances, but because that is an impossible dream I try to connect them and many other thinkers, artists and singers through language. One of them, Roland Barthes once wrote: "Language is a skin: I rub my language against the other. It is as if I had worlds instead of fingers, or fingers at the tip of my worlds."[1] Love Song is, more than anything else an attempted to touch you, a strategy to better understand the way you made and make me feel.   [1] Roland Barthes, A Lover’s Discourse – Fragments, original: Fragments d’un discours amoureux, 1977, translation from French: Richard Howard, Edition du Seuil, 1978, p. 73.
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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.

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Books on the topic "Art song"

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Lakeway, Ruth C. Italian art song. Bloomington: Indiana University Press, 1989.

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Song of the earth. London: Orion Children's Books, 1995.

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Song: A Guide To Art Song Style And Literature. Milwaukee, WI: Hal Leonard Corporation, 2006.

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1963-, Yin Xiuzhen, Mao Christophe W, and Chambers Fine Art, eds. Chopsticks: Song Dong and Yin Xiuzhen. New York: Chambers Fine Art, 2002.

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Recent American art song: A guide. Lanham, Md: Scarecrow Press, 2008.

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Gitanjali: Offerings of Song and Art. Warren, CT, USA: Floating World Editions, 2006.

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author, Fisher Robin 1960, ed. American art song and American poetry. Lanham: The Scarecrow Press, Inc., 2012.

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Meister, Barbara. An introduction to the art song. 2nd ed. Houston, TX: Scrivenery Press, 2000.

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Art song: Linking poetry and music. Milwaukee, WI: Hal Leonard Corporation, 2013.

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Liu, Hui. Huang Shan song. [Peking]: Rong bao zhai, 1985.

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Book chapters on the topic "Art song"

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Doukhan, Abi. "The Art of Seduction." In Womanist Wisdom in the Song of Songs, 29–45. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30052-4_3.

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Code, David J. "The many voices of ‘art song’." In Higher Education in Music in the Twenty-First Century, 77–92. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586793-5.

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Cook, Karen M. "The Practical Art of Measured Song." In Music Theory in Late Medieval Avignon, 18–38. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367691295-3.

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Tateo, Luca. "Introduction: The Art of Psychology." In An Old Melody in a New Song, 1–11. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92339-0_1.

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Bennett, Benjamin. "A Song to Worry about: Verlaine’s “Chanson d’automne”." In The Defective Art of Poetry, 107–25. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137381880_6.

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Nissley, Nick, Steven S. Taylor, and Orville Butler. "The Power of Organizational Song: An Organizational Discourse and Aesthetic Expression of Organizational Culture." In Art and Aesthetics at Work, 93–114. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230554641_7.

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Silbergeld, Jerome. "On the Origins of Literati Painting in the Song Dynasty." In A Companion to Chinese Art, 474–98. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch23.

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Blandy, Doug, and Michael Franklin. "Following the Siren’s Song: Scott Harrison and the Carousel of Happiness." In Art Education Beyond the Classroom, 117–34. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137072382_7.

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Tambakaki, Polina. "‘Art-Popular’ Song and Modern Greek Poets – Interactions and Ideologies." In Made in Greece, 55–64. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315749075-7.

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McKenna, Tony. "The Song of Achilles: How the Future Transforms the Past." In Art, Literature and Culture from a Marxist Perspective, 91–97. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137526618_9.

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Conference papers on the topic "Art song"

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Walker, James Faure. "The Song of the Revolving Drawing." In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185970.

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Oakes, Steve. "A little curious (pad & pencil song)." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312849.

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Niftieva, U. N. kyzy. "A look at the song work of Suleiman Aleskerov." In Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/spc-26-11-2019-09.

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Wei, Huiling. "Research on the Inheritance and Development Strategies of Zhuang Folk Songs in the Song Creation." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.37.

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Wang, Qunying, and Guangtao Cao. "Music Narrative Research on Shitang Yuejie Song." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.34.

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Liu, Dongqing. "Discussions on the Performance Techniques of Pipa Song “Yunxiang·Huaxiang”." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.013.

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Santos, Arthur Nicholas dos, Karen Gissell Rosero Jácome, and Bruno Sanches Masiero. "Song Emotion Recognition: A Study of the State of the Art." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19449.

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Music is art, and art is a form of expression. Often, when a song is composed or performed, there may be an intent by the singer/songwriter of expressing some feeling or emotion through it, and, by the time the music gets in touch with an audience, a spectrum of emotional reactions can be provoked. For humans, matching the intended emotion in a musical composition or performance with the subjective perceptiveness of different listeners can be quite challenging, in account that this process is highly intertwined with people’s life experiences and cognitive capacities. Fortunately, the machine learning approach for this problem is simpler. Usually, it takes a data-set, from which features are extracted to present this data to a model, that will train to predict the highest probability of an input matching a target. In this paper, we studied the most common features and models used in recent publications to tackle music emotion recognition, revealing which ones are best suited for songs (particularly acapella).
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Chen, Hongshan. "The Origin and Artistic Style of Ceramic Art in the Song Dynasty." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.106.

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Xiang, Yu. "Analysis on the Creative Features of French Art Song in Impressionist Period." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.70.

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Gao, Chenchen. "The Development of Song-dynasty Guanben Zaju and Chinese Popular Literature and Art." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.24.

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Reports on the topic "Art song"

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Mizrach, Amos, Michal Mazor, Amots Hetzroni, Joseph Grinshpun, Richard Mankin, Dennis Shuman, Nancy Epsky, and Robert Heath. Male Song as a Tool for Trapping Female Medflies. United States Department of Agriculture, December 2002. http://dx.doi.org/10.32747/2002.7586535.bard.

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This interdisciplinaray work combines expertise in engineering and entomology in Israel and the US, to develop an acoustic trap for mate-seeking female medflies. Medflies are among the world's most economically harmful pests, and monitoring and control efforts cost about $800 million each year in Israel and the US. Efficient traps are vitally important tools for medfly quarantine and pest management activities; they are needed for early detection, for predicting dispersal patterns and for estimating medfly abundance within infested regions. Early detection facilitates rapid response to invasions, in order to contain them. Prediction of dispersal patterns facilitates preemptive action, and estimates of the pests' abundance lead to quantification of medfly infestations and control efforts. Although olfactory attractants and traps exist for capturing male and mated female medflies, there are still no satisfactorily efficient means to attract and trap virgin and remating females (a significant and dangerous segment of the population). We proposed to explore the largely ignored mechanism of female attraction to male song that the flies use in courtship. The potential of such an approach is indicated by studies under this project. Our research involved the identification, isolation, and augmentation of the most attractive components of male medfly songs and the use of these components in the design and testing of traps incorporating acoustic lures. The project combined expertise in acoustic engineering and instrumentation, fruit fly behavior, and integrated pest management. The BARD support was provided for 1 year to enable proof-of-concept studies, aimed to determine: 1) whether mate-seeking female medflies are attracted to male songs; and 2) over what distance such attraction works. Male medfly calling song was recorded during courtship. Multiple acoustic components of male song were examined and tested for synergism with substrate vibrations produced by various surfaces, plates and loudspeakers, with natural and artificial sound playbacks. A speaker-funnel system was developed that focused the playback signal to reproduce as closely as possible the near-field spatial characteristics of the sounds produced by individual males. In initial studies, the system was tasted by observing the behavior of females while the speaker system played songs at various intensities. Through morning and early afternoon periods of peak sexual activity, virgin female medflies landed on a sheet of filter paper at the funnel outlet and stayed longer during broadcasting than during the silent part of the cycle. In later studies, females were captured on sticky paper at the funnel outlet. The mean capture rates were 67 and 44%, respectively, during sound emission and silent control periods. The findings confirmed that female trapping was improved if a male calling song was played. The second stage of the research focused on estimating the trapping range. Initial results indicated that the range possibly extended to 70 cm, but additional, verification tests remain to be conducted. Further studies are planned also to consider effects of combining acoustic and pheromonal cues.
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Furbish, Glenn D., Daniel Chen, Whitney Miller, Hayden Morel, James Shafer, and Nadia Shamari. Sons of Iraq Program: Results Are Uncertain and Financial Controls Were Weak. Fort Belvoir, VA: Defense Technical Information Center, January 2011. http://dx.doi.org/10.21236/ada545951.

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Almond, Douglas, Lena Edlund, and Kevin Milligan. O Sister, Where Art Thou? The Role of Son Preference and Sex Choice: Evidence from Immigrants to Canada. Cambridge, MA: National Bureau of Economic Research, October 2009. http://dx.doi.org/10.3386/w15391.

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Vinter, Michael, Nina Helt Nielsen, and Mette Løvschal. Torskov udgravningsrapport (excavation report): FHM5654 Torskov, Århus sogn, Hasle herred, tidl. Århus amt. Sted nr. 15.03.11. Sb.nr. 11. Aarhus University Library, 2015. http://dx.doi.org/10.7146/aul.242.173.

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Vinter, Michael, and Mette Løvschal. Tårup Lund udgravningsrapport (excavation report): KTM840 Tåruplund, Frørup sogn, Vindinge herred, tidl. Svendborg amt. Sted nr. 09.06.06. Sb.nr. 63. Aarhus University Library, 2018. http://dx.doi.org/10.7146/aul.290.204.

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Løvschal, Mette, and Michael Vinter. Nørreris Skov udgravningsrapport (excavation report): FHM5733 Nørreris Skov, Folby sogn, Sabro herred, tidl. Aarhus amt. Sted nr. 15.05.01. Sb.nr. 80. Aarhus University Library, 2019. http://dx.doi.org/10.7146/aul.323.219.

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Jensen, Michael Vinter, and Mette Løvschal. Boes Skov prøveudgravningsrapport (trial excavation report): SBM 1531/ FHM5693 Boes Skov, Alken, Dover sogn, Hjelmslev herred, tidl. Skanderborg amt. Sted nr. 16.02.03. Aarhus University Library, 2017. http://dx.doi.org/10.7146/aul.204.147.

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Løvschal, Mette, and Michael Vinter. Sønderskov udgravningsrapport (excavation report): FHM5662 Sønderskov, Rugaard, Djursland, Rosmus sogn, Djurs Sønder herred, tidl. Randers amt. Sted nr. 14.02.11. Sb. nr. 112. Aarhus University Library, 2019. http://dx.doi.org/10.7146/aul.315.213.

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Løvschal, Mette, Louise Søndergaard, and Michael Vinter. Boes Skov I Boes Skov I udgravningsberetning (excavation report): SBM 1531 Boes Skov I, Alken, Dover sogn, Hjemlev herred, Skanderborg amt, 160203-335. Aarhus University Library, 2018. http://dx.doi.org/10.7146/aul.247.177.

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