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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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Zhang, Wen. "Exploring Chinese Vocal Art through the Lens of an Academician: A Guide to Performing Modern Chinese Art Songs." Journal of Singing 79, no. 3 (December 30, 2022): 313–30. http://dx.doi.org/10.53830/xknb2526.
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Chinese scholar and singer Wen Zhang in this article aims to introduce a standard repertoire of modern Chinese art song, analyze musical and linguistic elements of selected songs, and provide performance strategies to guide Western singers who wish appropriately to program music of that unique genre.
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Rinon, Yoav. "Mise en abyme and Tragic Signification in the Odyssey: The Three Songs of Demodocus." Mnemosyne 59, no. 2 (2006): 208–25. http://dx.doi.org/10.1163/156852506777069673.
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AbstractThis essay highlights some aspects of the tragic conception of the Odyssey in assertion of its generic identity, focusing on the three songs of the bard Demodocus recounted in Book 8 of the epic and using mise en abyme as the primary exegetical tool. Mise en abyme, a narratological term denoting a certain part of a literary work of art that represents the work as a whole, functions in Demodocus' first song to mark the Odyssey as an epic in dialogue with the Iliad. The second song functions as a mise en abyme of both the content of the Odyssey and its poetic form. The last of the bard's songs enhances the perception of mise en abyme, viewing the Odyssey as an act of communication between poet and audience where the song and its responding listeners suggest emotional and cognitive reactions to the narratees of the Odyssey. This song also reflects the two earlier ones, and it is this dialogical relationship that leads to the epic's tragic signification.
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Majumdar, Rochona. "Song Time, the Time of Narratives, and the Changing Idea of Nation in Postindependence Cinema." boundary 2 49, no. 1 (February 1, 2022): 105–35. http://dx.doi.org/10.1215/01903659-9615417.
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What changes in our understanding of Indian films when we treat the song sequence as a separate medium situated both within and outside the film text? I argue for treating the song text as operating simultaneously on multiple levels, both within the film and in its afterlife. Through a close reading of select song sequences from both popular and art cinema, I demonstrate how they may be read as allegories of temporal sensibilities at odds with the temporality presented in the main narrative of the film. Songs condense a heterogeneous variety of pasts and possible futures into a singular experience of the present, doing so by way of multiple registers of affect. This work is found not only in popular film songs but also in those of Indian art films; the anxieties over a transition to modernity is common to both varieties of filmmaking in the post-independence moment.
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Scheurer, Timothy E. "The Art of Popular Song." Popular Music and Society 22, no. 1 (March 1998): 130–34. http://dx.doi.org/10.1080/03007769808591701.
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Meconi, Honey. "Art-Song Reworkings: An Overview." Journal of the Royal Musical Association 119, no. 1 (1994): 1–42. http://dx.doi.org/10.1093/jrma/119.1.1.
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Broadly speaking, we can divide Renaissance polyphony into five groups: works not using any pre-existent material, and pieces based on sacred monophony, secular monophony, sacred polyphony or secular polyphony. This is not the common way to classify Renaissance compositions. The more normal breakdown is by the technique applied to the pre-existent material – cantus firmus, paraphrase, parody – regardless of what that material was. Yet much is to be gained by starting with the original material, and that was, after all, what the composer probably did at least some of the time.
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Mazuryna, N. G. "MANIFESTATIONS OF VARIANCE IN THE BELARUSIAN CALENDAR AND RITUAL TRADITION (ON THE EXAMPLE OF THE SPRING SONG “VOL BUSHUE – VIASNU CHUYE”)." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 3 (August 25, 2018): 348–54. http://dx.doi.org/10.29235/2524-2369-2018-63-3-328-354.
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The article is devoted to the study of the variation of the Belarusian calendar-ritual songs on the example of the ancient and widespread spring song “Vol bushyе – viasnu chuye”. Dozens of tunes and lyrics of songs recorded in various places of Belarus at the end of the 19th and the beginning of the 21st century were analyzed. In modern folklore, variation is understood as a specific feature of folklore which manifests itself in the existence of works of folk art in variants. The method of comparing options has become one of the main ones in the process of revealing the features and patterns of the existence of song folklore in variants. As a result of the research, the facts of the existence of a variant set of Belarusian folk songs “Vol bushyе – viasnu chuye”, differences of local styles and traditions, revealed a number of reasons that influence the occurrence of song variants (place, time, form of being, age and individual abilities of performer and other). The rich material made it possible to draw some conclusions about the structural and semantic laws of the existence of variations of songs, the nature of metrorhythmic, melodic types, modes, plot variants. Variation, as one of the primary features of folk art in the cycle of Belarusian ritual songs and directly in the spring songs has its own characteristics. The peculiarity of rhythmics and melodies give the songs plasticity, drama, perfectly convey the emotional states that artistically combine with the plot-shaped system of spring song-calls.
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Mukhopadhyay, Aju. "Communication in Art Song and Literature: Poems versus Novels." IJOHMN (International Journal online of Humanities) 4, no. 1 (February 14, 2018): 1–6. http://dx.doi.org/10.24113/ijohmn.v4i1.74.
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The primary urge of a poet or writer is to create according to his inspiration but close to it is the urge to communicate with the reader. A singer requires hearer, a painting requires connoisseur. Well, even without the other parties, a poem and a painting may be created or a song may be sung. Think of the wind flowing through the reeds or bamboo grove or a bird’s song reaching the ethereal height creating a symphony in the air which is perhaps enjoyed by the silent Nature. Nature exactly does that. It is neither responsible nor obliged to tell man what it enjoys, how it enjoys itself but when a man hears them they become songs touching the heart of the pure sympathizers away from the hullabaloo of the mundane world. Go further and there are the unheard songs, unheard sounds; they are very much there for every sound comes out of silence. When Nature creates such things on its own without waiting for anybody to appreciate the things remain unknown until someone hears or looks at them. Man creates to communicate. If we consider songs it is definitely a field for communication between the singer and the hearer. Man’s creation may be said to be, in general term, artificial whereas Nature’s creation is natural. Nature recreates itself Man creates imitating Nature or otherwise. But I don’t wish to stop telling that Art is imitation only like our great Greek predecessors. The seer poets created words the way they heard. The higher and highest sources, it may be said the Divine sources, create through man as through the Nature.
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Stein Kokin, Daniel. "The Pedagogy of Song." Israel Studies Review 36, no. 2 (September 1, 2021): 124–33. http://dx.doi.org/10.3167/isr.2021.360209.
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Drawing upon the author’s “Settlement in Israeli History” course, this essay argues that song can play a valuable and pedagogically economical role in Israel Studies and general humanities teaching, in both conveying meaning and initiating students in the art of close textual analysis. In particular, it showcases how the Israeli classics “Anu banu artzah” (We have come to the land), “The Ballad of Yoel Moshe Salomon,” and “Shir ha-‘emek” (Song of the Valley) can be deployed to stimulate vibrant and critical class discussions. In doing so, it also offers detailed readings of these songs and their place in Israeli culture.
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Ivanova, Tatyana. "POETICS OF GEOGRAPHICAL NAMES IN EPIC SONG GENRES OF RUSSIAN FOLKLORE." Проблемы исторической поэтики 20, no. 2 (June 2022): 47–66. http://dx.doi.org/10.15393/j9.art.2022.10863.
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The article examines the ideas about space that have developed in Russian historical and song folklore. In the poetics of the epic song genres of Russian folklore, namely, in epics and historical songs, space plays an important role, defining “one’s own” and “alien” (“other”) worlds within one of the main mythologemes. Natural space (forests, rivers, seas, mountains, caves, etc.) mark the “other” world; cities — “one’s own” (“human”) at the mythological level. Historical ideas about space arise in heroic ballads, which, according to the concept of V. Ya. Propp, are an example of the state epic. Accordingly, the “own”/“foreign” mythologeme is already determined by the content “Russian world”/“enemy world” and is filled with real toponyms. In historical songs, there is a fundamental replacement of the former generalized type of historicism (epic) by concrete historicism, which affects the toponymic system. A number of examples raise the question of the correspondence or non-correspondence of the toponym in epics and historical songs to geographical reality. With regard to the Caspian Sea toponym, the almost complete absence of connections between the geographical name and the real geographical object is emphasized. The notions of the Baltic Sea, as well as of the towns of the Neva-Baltic space (Shlisselburg, Derpt, Revel), turn out to be more firmly connected with real geography. Shifts in the naming of geographical objects are specially considered: Khvalynsk/Caspian Sea; Varangian/Virian/Baltic Sea; Oreshek/Shlisselburg; Yuryev/Dorpat; Kolyvan/Revel.
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Burmatov, Maksim Andreevich. "The theme of labor in the Soviet mass song of the 1930s." PHILHARMONICA. International Music Journal, no. 6 (June 2021): 9–19. http://dx.doi.org/10.7256/2453-613x.2021.6.36655.
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The article is devoted to the analysis of the theme of labor in the Soviet mass song of the 1930s. The purpose of the study is to reveal the poetics of mass song labor in the context of the Russian musical culture of the 30s of the twentieth century. The author points out that the mass song is one of the most interesting phenomena of Soviet culture. It is rightly noted that being a product of the socialist era, the mass song was designed to solve the tasks of mobilizing a significant number of people for labor feat, without which it was unthinkable to successfully build a new life in the young Soviet state in the first decades of its formation after the October Revolution of 1917. It is stated that the song of those past years reflected the typical features of song art aimed at developing an optimistic spirit, strong will and self-confidence among Soviet citizens. The article examines the characteristic features of the mass song of the 1930s, analyzes the goals of its dissemination, the main images popularized in the texts of this type of songs, as well as their influence on the consciousness of the Soviet people. The theoretical significance of the research is determined by his contribution to the development of the problems of pop music art as an integral part of Russian culture.
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Taurog, Joel D. "Song of an arthritis investigator." Arthritis & Rheumatism 37, no. 7 (July 1994): 1112. http://dx.doi.org/10.1002/art.1780370721.
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Li, Shengguo, and Sungkyoo Hong. "An Exploration of the Art Characteristics of Li ShuTong’s XueTang Music: Focusing in <Song Bie>." Korean Society of Culture and Convergence 44, no. 5 (May 31, 2022): 1215–28. http://dx.doi.org/10.33645/cnc.2022.5.44.5.1215.
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Western music officially entered China in 1842 and spread rapidly within several decades, becoming a means for Chinese people to save the country at that time. Intellectuals accepted Western ideas and at the same time emancipated the feudal thoughts of ordinary people, Xuetang music were born. This study will investigate the channels and acceptance process of Western music flowing into China, and analyze literature such as tunes and lyrics of school music songs, so as to understand the creation concept and purpose of Xuetang music songs. This study for the Xuetang music musician Li Shutong’s song “Song bie” creation background and investigation of the source of the melody and the lyrics on the surface of the mean. so as to grasp the song contains Chinese traditional aesthetics and artistic value. Li Shutong and other musicians of Xuetang Music combined Chinese traditional aesthetics with Western music, and derived many works containing Chinese and Western artistic flavor. It was the bold experimentation of artists like Li Shutong that helped advance Chinese music and inspired future generations.
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Hadi, Sumasno. "Estetika Lagu Banjar Populer: Suatu Representasi Kultural, Pengalaman Eksistensial, dan Nilai Sosial Masyarakat Banjar." KAMBOTI: Jurnal Sosial dan Humaniora 1, no. 2 (April 29, 2021): 106–13. http://dx.doi.org/10.51135/kambotivol1iss2pp106-113.
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Abstract The philosophical aspects of art (aesthetics) explored in this study refer to the popular Banjar songs (with a sample of 14 song titles). Therefore, the vision of discussing the aesthetics of the popular Banjar song is appropriate to expose, extract, and uplift its ontological, epistemological and axiological values. This study is a qualitative-descriptive type of research with aesthetic study approach (wetland environmental aesthetics), with the object of popular Banjar songs. From this design, the data analysis method uses two approaches, namely: music analysis and art philosophy analysis (philosophical aesthetics). The results of this study found that the aesthetic concept of the popular Banjar song refers to the following three philosophical aspects. First, the metaphysical value or substance of the popular Banjar song which lies in its two ontological realities, namely musical expressions and song lyrics in the Banjar language as a representation of Banjar culture. Second, the value of knowledge and art truth (aesthetic epistemology) of the popular Banjar song tends to be in the framework of the philosophy of empiricism, namely the knowledge and truth of art that prioritizes the existential experience of the subject. Third, the social value of the popular Banjar song that stands out is the discourse on work ethic which is based on the value of religiosity, while the prominent political value (social institution) is family education. Keywords: aesthetics, philosophy of beauty, Banjar song, beauty, music Abstrak Aspek-aspek filsafat seni (estetika) yang digali pada kajian ini menunjuk pada lagu-lagu populer Banjar (dengan sampel 14 judul lagu). Oleh karenanya, visi pembahasan estetika lagu Banjar populer ini adalah selayaknya usaha pendedahan, penggalian, dan pengangkatan nilai ontologis, epistemologis dan nilai aksiologisnya. Kajian ini merupakan penelitian berjenis kualitatif-deskriptif dengan pendekatan kajian estetika (estetika lingkungan lahan basah), dengan objek lagu-lagu Banjar populer. Dari desain ini, maka metode analisis datanya menggunkan dua pendekatan yaitu: analisis musik dan analisis filsafat seni (estetika filosofis). Hasil kajian ini menemukan bahwa konsep estetika lagu Banjar populer menunjuk pada tiga aspek filosofis berikut. Pertama, nilai metafisik atau substansi lagu Banjar populer yang berada pada dua realitas ontologisnya yaitu ekspresi musikal serta lirik lagu berbahasa Banjar sebagai representasi kultur Banjar. Kedua, nilai pengetahuan dan kebenaran seni (espistemologi estetik) lagu Banjar populer cenderung pada kerangka filsafat empirisme, yakni pengetahuan dan kebenaran seni yang mengutamakan pengalaman eksistensial subjekny. Ketiga, nilai sosial lagu Banjar populer yang menonjol adalah wacana tentang etos kerja yang didasari oleh nilai religiusitas, sedangkan nilai politis (pranata sosial) yang menonjol adalah pendidikan keluarga. Kata kunci: estetika, filsafat keindahan, lagu Banjar, keindahan, musik
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Zidanurrohim, Alfi, Olvy Mailandari, Yazidah Ichsan, M. Afif Nur Tajuddin, and Eviana Agustin. "The Importance of Islamic Educational Values in The Arts of Tembang Gambuh or Tembang Macapat." Al-Widad 1, no. 1 (December 5, 2022): 61–76. http://dx.doi.org/10.58405/aw.v1i1.14.
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This study aims to investigate the value of Islamic education in gambuh songs, as well as the effects gambuh songs have on Islamic education. Gambuh songs are part of the mocopat song, a walisongo tool for spreading Islam, especially in Java. Tembang gambuh had artistic value to attract the attention of the people at that time who were very open to art; from its entertainment value, the trustees also inserted scientific and Islamic values into it. This type of research is qualitative, with a literature review, descriptive analysis, and content analysis, namely scientific analysis based on communication messages. They begin with the data analysis process by interpreting the Javanese language as the content of the song Gambuh. Research findings; the gambuh song lyrics contain messages for proper behavior and behavior that is reluctant to accept advice. Someone without guidance and direction in life will be perverted. There is a relationship between cultural products (tembang gambuh) and religious values. The value of this tembang gambuh song can be used as a guide and a guide for life in society.
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Osypenko, V. "Ethnoaesthetics of the Ukrainian folk song tradition in the performance of the singer Oksana Mukha." Culture of Ukraine, no. 72 (June 23, 2021): 124–30. http://dx.doi.org/10.31516/2410-5325.072.17.
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The topicality is associated with the need for musicological understanding of the value categories of ethnoaesthetics in the creative activity of singers that represent the Ukrainian folk song tradition in modern variety vocal art.
The purpose of the article is to identify ethno-aesthetic value components in the performance of O. Mukha as a personification of the uniqueness of the Ukrainian national expression.
The methodology consists of scientific works of prominent Ukrainian scientists devoted to the study of ethno-aesthetic ideas and criteria in the traditional songs of Ukraine (Y. Harasym, T. Orlova, V. Lychkova), as well as genre-style and performance specifics of Ukrainian musical folklore (K. Kvitka, F. Kolessa, A. Ivanytskyi, S. Hryts).
The results. The artistic imagery of the iconic folk songs of O. Mukha repertoire, which is a part of the ethno-aesthetic fund of the Ukrainian folk song tradition, is considered. The general features of ethnoaesthetics of the folk song performing tradition of Ukraine, including its vocal and technical component are outlined.
The novelty. The article considers the performance of O. Mukha for the first time and reveals ethnoaesthetic value components in it.
The practical significance. The study of the essence of folk singing as an art with its own artistic and value component, based on an established system of qualitative components of ethnoaesthetics, as well as the study of performing experience of prominent Ukrainian folk singers are the necessary practical material for creating a scientific basis and general methodology of folk vocal art.
The conclusions. Musical ethnoaesthetics as a component of traditional culture covers the semantic field of songs, concentrating on the structure, rhythmics and size of a poem, the richness of national melos, its intonation and tonality basis. Ethnoaesthetics of the folk song tradition of Ukraine is manifested in the uniqueness of the national expression, namely: vocal-timbre color of sound, in the peculiarities of intonation, freedom of metro-rhythmic movement, variability and melismatic richness.
In O. Mukha’s works, the creation of the sound matter of the modern performance version of a folk song is based on the perception of song intonation as sound emotion and understanding of the boundless ocean of ancient symbols of the national musical language, which during centuries has crystallized in the folk song tradition. Her works grow out from the reflection on the national song culture and traditions of her family. Work on each ancient relict of tradition is based on discovering the potential of the power of its aesthetic, spiritual and emotional impact on listeners, perception of the stock of expressive possibilities.
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Turgeon, Melanie. "Broken Harp Strings: The Art Songs of Kyrylo Stetsenko and the Ukrainian Art Song Project." Kyiv-Mohyla Humanities Journal, no. 4 (July 10, 2017): 85–93. http://dx.doi.org/10.18523/kmhj106719.2017-4.85-93.
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Nosow, R. "Song and the Art of Dying." Musical Quarterly 82, no. 3-4 (January 1, 1998): 537–50. http://dx.doi.org/10.1093/mq/82.3-4.537.
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Nosow, R. "Song and the art of dying." Musical Quarterly 82, no. 3 and 4 (September 1, 1998): 537–50. http://dx.doi.org/10.1093/mq/82.3_and_4.537.
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SEMYCHOVA, N. "PEDAGOGICAL CONDITIONS OF FORMATION OF UNIVERSAL VALUES IN FUTURE TEACHERS OF ART BY MEANS OF UKRAINIAN FOLK SONG CREATIVITY." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (July 6, 2022): 364–71. http://dx.doi.org/10.31494/2412-9208-2022-1-1-364-371.
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The influence of the proclamation of Ukraine's independence on the formation of the national consciousness of the Ukrainian people and the revision of the approach to the content of the educational sector and the requirements for personal characteristics of teachers-practicians, including measures of development and manifestation of universal values, is emphasized. It is noted that an effective tool of national education of the individual is the Ukrainian folk song. The existing contradictions in the problem of formation of universal values in future art teachers by means of Ukrainian folk songs are determined. The purpose of the article is to analyze the pedagogical conditions for the formation of universal values in future Art teachers by means of Ukrainian folk songs. The process of professional training of future Art teachers in higher educational institutions is characterized. Requirements for professional and personal qualities of an Art teacher are stipulated. The importance of value orientations as factors, under the influence of which the future Art teacher is formed, is noted. The interpretation of the process of formation of universal values is indicated. The components of universal values are listed. The definition of the concept of «universal values of future Art teachers» is given. Forms and methods of formation of universal values in future Art teachers are presented. The model of methods of formation of universal values of future Art teachers. The pedagogical conditions of formation of universal values of future Art teachers in the process in the process of professional training are presented. The peculiarities of building and ensuring the functioning of the model of formation of universal values of future Art teachers are described, taking into account current trends in reforming the education system of Ukraine. The principles of model construction are described. The main elements of optimization of the educational process are outlined. The emphasis is placed on the method of «modeling» in the formation of universal values in future Art teachers. A set of pedagogical conditions effective for increasing the level of formation of universal values of future Art teachers is presented. Key words: value orientation, national heritage, Ukrainian song, patriotism, art, song creativity.
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DEM’YANKO, N. "COMPONENTS OF NATIONAL CULTURE IN PEDAGOGICAL HERITAGE AND ACTIVITY OF V. VERKHOVINETS." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 22 (November 7, 2018): 81–86. http://dx.doi.org/10.33989/2075-146x.2018.22.185019.
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The article considers the components of national culture as theoretical foundations of pedagogical heritage and activities of the outstanding Ukrainian teacher, musicologist, ethnographer, choreographer, conductor and composerV. Verkhovynets. These include folklore, musical, choreographic and dramatic art. The essence of Ukrainian folklore as a form of social consciousness and its national peculiarities is revealed. The criteria of distribution of folklore to genres are given (by discharges, means of artistic expressiveness and the nature of their combination). Epic prose and song genres are described. The specifics of using animal tales by the teacher are revealed. The author analyzes artistic features of lyrical genres: songs (labor, charm, anthem, heroic, elegiac, humorous); musical-choreographic (domestic dance, plot dance), song and choreography (dance song, round dance, choral and play song). Dramatic genres (ceremonial games, folk games, folk drama) are described. The educational value of Ukrainian folklore, musical and choreographic art is revealed. The peculiarities of their application by V. Verkhovynets in work with student and student youth, with artistic theatrical, choral and choreographic groups are analyzed. The role of choral art in the educational process was identified and its place in the work of the teacher was determined. The results of implementation national culture’s components in its theoretical activities (creation of scientific works "Ukrainian Wedding", "Theory of Ukrainian folk dance", "Vesnyanychka") are highlighted.
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Strijbosch, Carla. "‘Vare Wel Dur Luf’." Early Modern Low Countries 6, no. 1 (June 29, 2022): 51–70. http://dx.doi.org/10.51750/emlc12171.
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This article traces the phenomenon of tune indications from their beginning to their use in three sixteenth-century manuscripts which hover on the border between alba amicorum and songbooks. The tune indication, the reference that shows which melody the song can be sung to, forms part of ‘song literacy’, the art of conserving a song beyond the moment of performance. Songs written down in alba amicorum may fill a gap in existing theories about the rapid development of song literacy in the sixteenth century. In addition, concentrating on the tune indicators may help to sharpen the definition of an album-with-songs compared to a songbook. In the Low Countries, tune indicators began to be attached to religious songs in the last decades of the fifteenth century. They were used to communicate new religious texts to an audience and to facilitate overruling sinful worldly texts. In printed collections of secular songs tune indicators seems to have been introduced after 1550 – but it took well into the 1600s before they became conventional in printed song collections. In handwritten collections the tune indicator was not the norm, with one notable exception: in circles of chambers of rhetoric. As alba-with-songs from the sixteenth century show, in the century’s last decades it became fashionable, at least within a small circle of alba owners in the western Low Countries, to provide a tune indicator. In these circles a good tune functioned as an important creative impulse to write new songs, especially semi-religious ones. These alba-with-songs might be considered harbingers of the song-minded Dutch ‘Golden Age’.
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Gumelar, Aji Cahya, Fatihah Ekawati, Fitriani Intan Purnamasari, and Zharra Cynthia Dewi. "Ondel-Ondel Local Content Curriculum as A Vocational School of Betawi Cultural Preservation." Edunesia : Jurnal Ilmiah Pendidikan 2, no. 3 (July 6, 2021): 607–18. http://dx.doi.org/10.51276/edu.v2i3.150.
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The research objective was to implement the learning process ondel-ondel arts in local content in the form of music, dance, and fine art compositions at the Vocational High School level as an effort to preserve Betawi culture. This research was conducted using a qualitative approach with interview techniques, observation, literature study, and triangulation techniques. Music composition for ondel-ondel art only relies on the trumpet as an instrument that plays a melody or song. The song that was played was limited to only 2 songs, namely Leles and Mangle. Ondel-ondel art in terms of visual art, students are able to make ondel-ondel masks using recycled materials, besides that in terms of the ondel-ondel art dance uses free movements that can be pulled by students at a show using several musical instruments that are still maintained until now. The implementation of local content in schools provides provisions for knowledge, skills, behavioral orders and student behavior, in the form of insight into environmental conditions and local wisdom
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Liu, Zhihan. "The Artistic Characteristics of Chinese Guqin Songs." Art and Society 1, no. 2 (October 2022): 36–40. http://dx.doi.org/10.56397/as.2022.10.06.
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The Guqin is the oldest plucked instrument in China. As the first of the “Four Arts” of the ancient Chinese literati, the Guqin carries a great cultural significance. As the art of the Guqin has developed, two forms of art have emerged: the Guqin Music and the Guqin Songs. It is a distinct art form that arose approximately simultaneously with the Guqin and is an aesthetic representation of poetry and music. In order to uncover the Guqin Songs’ special appeal, this article will analyse their creative qualities in terms of tonality, melody, tempo, rhythm, song structure, and lyrical substance; explain the importance of historical context in the discovery, preservation, and promotion of Guqin Songs.
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Bramantyo, Triyono, and Winarjo Sigro Tjaroko. "Lagu Dolanan dalam Permainan Tradisional sebagai Strategi Inovasi Pendidikan Sendratasik." Resital: Jurnal Seni Pertunjukan 22, no. 3 (February 28, 2022): 137–45. http://dx.doi.org/10.24821/resital.v22i3.6823.
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Dolanan songs in traditional games as an innovation strategy for the art education of drama, dance, and music. This research focuses on constructing alternative learning in an innovation strategy of art education of drama, dance, and music through dolanan songs in traditional children's games. Alternative strategies are needed in providing diversification of learning because the problem that occurs in the art education of drama, dance, and music is the existence of cultural conflicts that impact the stagnation of the learning model. The choice of the dolanan song is due to its meaning and philosophy, which have aesthetic value in aspects of motion, drama, and music with the ability to adapt to the dynamics of science and technology. A library method is an approach used to construct an innovation strategy from the meaning contained in the text of children's traditional game songs. They implicitly have imaginative factors, particular messages, and aesthetic elements. Therefore, they can be relevant to the social conditions of society in the new cultural order. Based on the elaboration done in the study, three strategies are found which can answer the research problems, and are used in developing the art education of drama, dance, and music. They are as follows: firstly, the strategy of revitalizing the dolanan song in traditional children's games; secondly, the art education of drama, dance, and music is an appreciation education about aesthetic meaning; and thirdly, the formal transmission strategy of traditional transmission children's games through schools.
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Chaiyasit, Chayaporn. "Creation of Pari Tanyong." Asian Journal of Arts and Culture 22, no. 2 (December 25, 2022): 259786. http://dx.doi.org/10.48048/ajac.2022.259786.
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The objective of this creative research entitled “Creation of Pari Tanyong” was to compose Pari Tanyong using qualitative research methodology conducted by studying about the concepts, theories, academic subjects, related research, concepts and theories in Thai music, concepts and theories of Thai music composition, concepts and theories concept of aesthetics, concepts and theories of art creation, academic subjects about Tanyong songs including research related to Thai music composition in order to define the scope and process of composition. There were two types of tools in this research: unstructured interview forms and work assessment forms. Theresults were presented by using a traditional southern folk song (Rong-Ngeng).The researcher composed the melody using the amplified composition and creating an augmentation to 8 bars by dropping the melody to 8th bar which had the same sound at the end of the original melody. The newly composed melody was discussed by descriptive analysis. The results from the research process of creation of Pari Tanyong were
1) consisted of melodies of 6 songs as follows: Cheerful song (Lagu-Dua song): an instrumental song consisting of 3-verse melodies and 4 sentences per verse.
2) Joyous song (Soi Rakham): lyrics consisted of 1-verse melody and 6 sentences per verse.
3) Yahong song: the researcher used the original melody in order to conform the tradition of Tanyong
song consisting of 1-verse melody, 2 sentences per verse, and 2 bars.
4) Relaxing song (Jingli Nona): an instrumental song consisting of the main melody and the ending melody, totaling 8 sentences.
However, when assessing the suitability of the melody by 5 experts, it was found that there was a highly suitable level.
Keywords: Creation, Southern folk song, Pari Tanyong, Tanyong songs, Thai music composition
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Kemal, Edwar, and Muthia Damayanti. "AN ANALYSIS OF SELECTED ED SHEERAN’S SONGS LYRIC IN PERFECT, SHAPE OF YOU, AND PHOTOGRAPH DISCOURSE ANALYSIS APPROACH." Journal of Pragmatics and Discourse Research 1, no. 1 (March 23, 2022): 8–18. http://dx.doi.org/10.51817/jpdr.v1i1.136.
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Song is a kind of literature art that expresses many aspects of life. It can provides usmore than pleasure of imagination. Ed Sheeran’s is a musician and a music playing guitar at a young age and soon after started writing his own songs. Since signing with Atlantic, Sheeran has sold millions of records, had a song appear in the second installment of The Hobbit trilogy and won Grammys. The purpose of this research is to analyze the connotative meaning in selected Ed Sheeran’s songs lyric. The researcher uses content-analysis because the data that the researcher uses and takes is a song lyric. Result in this research is Ed Sheeran’s uses Frienliness and Happiness connotative in his lyrics to the listener in a encouraging way, something that makes the listener easy to understand knowing what is the connotation in the lyric.
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Potekhina, Alena Evgenevna, and Tatyana Ivanovna Kvashnina. "Peculiarities of the folk songwriting of China on the example of melodies of the northern province of Hebei and the southern province of Guizhou." SENTENTIA. European Journal of Humanities and Social Sciences, no. 1 (January 2022): 51–58. http://dx.doi.org/10.25136/1339-3057.2022.1.35691.
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This article examines the melodies of the northern province of Hebei and the southern province of Guizhou as an example for considering the features of Chinese folk songwriting. This work can serve as a reference material for those who study culture, in particular the musical art of China, as well as the translation of Chinese folk art materials. The author focuses on the influence of cultural and social features of the development of society on the folk art of China, and notes that it is very diverse. The first song of Hebei is called "Little cabbage" and tells the sad story of a little girl who lost her mother. The second song "Sun is shining on Baiyan" first appeared in the southern province of Guizhou and depicts the development of the relationship between a man and a woman through symbols and images. This article is first to provides commented translations of the two Chinese folk songs in Russian and English. Based on the analysis of the melodies and lyrics of "Little cabbage" and "Sun is shining on Baiyan", the author draws the following conclusions: natural and socio-cultural realities strongly influence the tunes of songs; symbolism and the use of metaphors are a specific feature of the Chinese folk songwriting; folk songs, as well as musical art overall in China, are built on a pentatonic scale; Chinese folk songs are characterized by unison singing.
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Naseri, Shahrzad, Sravana Reddy, Joana Correia, Jussi Karlgren, and Rosie Jones. "The Contribution of Lyrics and Acoustics to Collaborative Understanding of Mood." Proceedings of the International AAAI Conference on Web and Social Media 16 (May 31, 2022): 687–98. http://dx.doi.org/10.1609/icwsm.v16i1.19326.
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In this work, we study the association between song lyrics and mood through a data-driven analysis. Our data set consists of nearly one million songs, with song-mood associations derived from user playlists on the Spotify streaming platform. We take advantage of state-of-the-art natural language processing models based on transformers to learn the association between the lyrics and moods. We find that a pretrained transformer-based language model in a zero-shot setting -- i.e., out of the box with no further training on our data -- is powerful for capturing song-mood associations. Moreover, we illustrate that training on song-mood associations results in a highly accurate model that predicts these associations for unseen songs. Furthermore, by comparing the prediction of a model using lyrics with one using acoustic features, we observe that the relative importance of lyrics for mood prediction in comparison with acoustics depends on the specific mood. Finally, we verify if the models are capturing the same information about lyrics and acoustics as humans through an annotation task where we obtain human judgments of mood-song relevance based on lyrics and acoustics.
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (September 9, 2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.
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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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Wabyanga, Robert Kuloba. ""I Am Black and Beautiful": A Black African Reading of Song of Songs 1:5-7 as a Protest Song." Old Testament Essays 34, no. 2 (November 18, 2021): 1–22. http://dx.doi.org/10.17159/2312-3621/2021/v34n2a16.
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Adamo's article on Ebed-Melech's protest brings fresh insight into my earlier article on Song of Songs 1:5-7, prompting me to reread the text as a protest song (essay) against the racial stigmata that continue to bedevil black people in the world. The current article, using hermeneutics of appropriation, maintains the meaning of שְׁחוֹרָה as a black person, who in the Song of Songs protests against the racism, which transformed her status to that of a socioeconomic other. The study is informed by the contemporary and historical contexts of racial injustices and stigma suffered by Blacks for 'being' while Black. The essay investigates this question: In which ways does Adamo's reading of Jer 38:1-17 influence an African reading of Song 1:5-7 as a protest against racism? The article employs African Biblical Hermeneutics, as part of a creative and literary art in the protests against racism, to read the biblical text as our story-a divine story, which in the language of Adamo, has inherent divine power that can empower oppressed black people.
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Zhou, Yi. "Presentation of the Motherland image in the creativity of modern Chinese vocalists." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 285–97. http://dx.doi.org/10.34064/khnum2-19.16.
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Background. The mindset of people who inhabit one or the other country determines the process of formation and fixation of intonational vocabulary, which reflects and in the music culture, including songs. In such a case, phonetic and syntax particular qualities of verbal language intersect with national musical language. The proof of that is a vocal art, whose essential parameters (from intonational scale to the aspects of voice staging) present originality of national worldview. However, in recent decades, the preservation of the uniqueness of the artistic expression of peoples and ethnic groups is under threat. Culture integration increasingly unifies musical thinking of representatives of different countries. The striking instance of this is an art of modern China. Here, vocalists work either based on national traditions of singing, or developing the achievements of leading European schools. Moreover, choice, made once, determines a singer’s creative fate – his technique and repertoire. As a result, there is a gradual transformation of the entire system of musical culture in China, a rethinking of the basic intonation complexes, including those that embody the national image of the world. These facts define the purpose of given research – uncovering specificity of Motherland image presentation in modern China vocalists’ interpretation. The methodology of the research is determined by its objective, it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. Themes related to Motherland image are an integral part of China musical art. In folk art, these are songs that sing about China, about people living in this country, about love for the Motherland. Authors often recourse to allegories using synonymic emblematic row: dragon, red color, Yin and Yan signs, Beijing opera. These kinds of songs are gradually beginning to be accepted as the symbol of the country, where they were created. Exactly this way happened with one of the most famous in the world Chinese folksong «Jasmine Flower», which words for the first time were written down in the time of Ming dynasty. The version of «Jasmine Flower», which nowadays is the most times performed, is credited with composer He Fang. He Fang made some changes both in lyrics and in verbal text of the folksong. One of the greatest interpreters of «Jasmine Flower» is Song Zuying singing in the folk manner. It is revealing that song «Jasmine Flower» at her concert sounds exactly like a symbol of China, what characterize a lot of performing interpretation aspects. The song is construed by the singer not as a lyrical utterance, but as an “aria di sortita”. One more variant of Song Zuying’s «Jasmine Flower» interpretation was performed to the public together with Celine Dion at the «Spring Festival» in China (2013). According to the director design, the singers performing one song together appear as the embodiment of the images of their peoples that is reflected in the visual row. On deeper layers of understanding, this performance shows musical thinking specificity of representatives of different cultures. Consequently, ancient Chinese song «Jasmine Flower» appears in modern art as open text, which transformation process, obviously, will continue. One more composition, which became the symbol of China, is the song «Me and my Motherland» composed in 1985 by Qin Youngcheng (on Zhang Li lyrics). In our thinking, the song «Me and my Motherland» is illustrative of intonational transformation of music characterizing the Motherland image in the China art. Written in the last third of the twentieth century, the song is a vivid example of the refraction of European musical traditions, there is continuity with ideologically biased, but artistically distinctive and highly professional the Soviet pop. In this song, a person appears as a part of more important wholeness: nature, nation, a family. It is felt also in Liao Changyong’s performing version. His interpretation is characterized by happy combination of Chinese and West European traditions; bel canto singing and musical texture of song smooth out those Chinese language phonetic properties that usually demonstrate national arts specificity. Conclusions. Songs, presenting the image of China, are an integral part in Chinese vocalists’ work. These compositions inspired by love for their native land withstood the test of time, spread in sing repertoire and reflect that huge way that Chinese vocal school has passed over the past hundred years. Today, both the national tradition and the stylistics borrowed from a number of European countries organically coexist there. The demand for such compositions in concert world space testifies to the action of a centripetal force aimed at preserving national identity in conditions of cultural globalization.
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Almas, Moses Christian, Oktori Stenly Merang, Aan Surya Payunglangi, and Erik Jeansen. "Kritik Sosial dalam Musik." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 4, no. 2 (December 26, 2022): 76–84. http://dx.doi.org/10.24036/musikolastika.v4i2.91.
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Fourtwnty Music Group is an Indie music genre. This music group creates songs that are about life and some are about criticism, and this band is very popular with young people but not many understand the lyrics of every song that he creates. This study aims to examine a work of art, especially in our report on the song Realita created by the group band Fourtwnty, in which every work he creates conveys deep meaning to many people. The method we use in our research is using a qualitative method. And as for our conclusion on our criticism, namely how the song Reality conveys a message to many people through songs that are very characterized and classy. The fourtwnty music group has inspired many young musicians with their works and words. And from all of Fourtwnty’s works, he dedicates his music to spread the message of tolerance, peace and pluralism.
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Hasisah, Siti Nur, and Oktiva Herry Chandra. "The Relation of Human Being and Environment in the Cultural Event of Laesan Performance." E3S Web of Conferences 317 (2021): 01032. http://dx.doi.org/10.1051/e3sconf/202131701032.
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Laesan is a traditional art that comes from the word “laesun” which means “suwung” or empty. In the show, it tells the story of a human being from the womb to return to the grave which is told through a dance accompanied by songs according to the session. This study aims to describe the relationship between humans and elements of communication and communicative actions in the cultural event of laesan performance. This research applied a qualitative descriptive approach with ethnographic studies of communication. The research data were in the form of fragments of speech and actions involved in laesan performing arts. The research method was ethnographic and participatory. The results show that laesan art communication has a communication system related to the sequence of GASKENPI components. The forms of messages in laesan art are mantras and song lyrics. The act of communication in laesan art is divided into two: (1) the act of communication between laesan players and the empty atmosphere of the universe, (2) the act of communication between laesan players and the audience. These two forms of communication have functions related to environmental preservation which include the songs entitled Ella Ello, Bandhan, Luruo Sintren, and Santrine Dodol Gambir.
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Bhetuwal, Kamali Kanta. "Code Mixing in Folk Songs: A Journey towards Linguistic Creativity." KMC Research Journal 4, no. 4 (December 31, 2020): 91–102. http://dx.doi.org/10.3126/kmcrj.v4i4.46469.
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Folk song is a true gift of culture. It is one of the traditional, intangible and indigenous pieces of the art of performing the melodious expression with the help of soft pipes that are forever invaluable cultural assets and musical property as well. In view of making a brief survey of the use of multiple languages in folk songs, different folk melodies have been selected randomly from seven provinces of Nepal where the folk melodies are more fertile. This paper aims at exploring the use of multiple languages in folk songs I, myself as a researcher in the field, encountered with in written and audio- or video-recorded form. Therefore, the main source of relevant data includes me and other written and audio or video documents of folk songs I found. As a multicultural country, Nepal is rich in terms of its folk songs. In this paper, I analyze how folk song can be a creative space where linguistic boundaries are challenged and new language practices are invented. Taking of folk songs as a social and cultural identity, I examine how folk song embraces local diversity and redefines the use of language a creative tool for public.
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Sathiyajith, Thushyanthi. "The importance of Vasanthan Kooththu (Art Form) songs in revealing the existence of human social and professional life." International Research Journal of Tamil 3, no. 2 (March 30, 2021): 56–64. http://dx.doi.org/10.34256/irjt2128.
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The culture of a community plays a major role in narrating the history and life of that particular community. This culture includes various aspects such as religion, ritual, faith, food, customs or practices as well as art and culture. Among these aspects, art is not only for entertainment; but it is also for exposing the social character and tradition of that particular community. The undeniable thing here is the factor that art forms in every country, and in every region are not only to create entertainment but also to preserve the antiquity of their existence up to now. In that respect, Vasanthan Kooththu, one of the Sri Lankan Tamil art forms, is a notable art form in that category. Even though this art form is found in Batticaloa and Jaffna areas, they have differences between each other. This study focuses on the songs of Vasanthan Kooththu performed in the Katuthavalai area of Batticaloa. This type of Kooththu is an art form of tapping and dancing with two sticks in the hands; however, these sticks are also used to express the function of the meaning of the song with dance. Even though this type of Kooththu is a dance form, the greatness of the songs used in this Kooththu is significant. There are 62 types of Vasanthan poems have been in use in the Art Form performances. These have been compiled around the year 1940. These 62 genres of songs are divided into six genres and compiled, namely 'Kattiyam', 'Thoththiram', 'Sariththiram', 'Tholil', 'Vedikkai', 'Vilaiyaattu' and are still in the practice during Kooththu performance. As mentioned earlier, these Kooththu song systems emphasize the art expression of the culture of a community. The songs related to the professions or job involved in these Kooththu songs express the whole series of activities of the agricultural industry. The reason that these Kooththu songs to aim to explore only a specific industry is to be explored. It is vital to discover this factor; and this article explores about how these Kooththu songs are still in operation today as a popular form of folk music performance to describe a particular social professional life, beyond globalization trends, imposition and blends of colonization thinking. This article also explores the significance of these Kooththu songs hold, the importance they have gained in the life of people as well as the value that these Kooththu songs have even today.
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Vasylevska-Skupa, Liudmyla, Iryna Shvets, and Lidiia Ostapchuk. "WAYS OF FORMATION OF NATIONAL SELF-CONSCIOUSNESS OF THE GROWING GENERATION BY MEANS OF UKRAINIAN MUSICAL ART." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 99–103. http://dx.doi.org/10.36550/2415-7988-2022-1-204-99-103.
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The article considers the historical aspect of educating the national identity of the Ukrainian people. The views of scholars on the concept of «national identity», its features, significance in the socio-cultural and pedagogical context. The importance of Ukrainian folk art, its huge potential for educating the national identity of the younger generation is substantiated. The role of national song folklore in patriotic education of students, features of musical language (coded codes), which formed the «national musical genotype» as a set of hereditary musical structures and means passed down through the generations, forming its unique mentality and national character. It is determined that the song, influencing the emotional – sensory sphere of man, causes empathic experience of his artistic image. At the same time, there is a process of «inner intonation», ie reflexive, unconscious singing of the listener with the sounding work. Therefore, during individual classes of students in classes on «choral conducting», «voice» «future music teachers got acquainted with the peculiarities of Ukrainian folk culture», folk vocal music, educational influence of song folklore on the spiritual development of students, namely the education of patriots of our state. During the «Folk Singing Workshop» students had to record 5-10 songs of their region, learn about the peculiarities of the singing style of different regions of Ukraine, decipher their melodic coded codes and analyze the figurative content of the musical work. While studying the normative discipline «Theory and Methods of Music Education» students got acquainted with the features of musical folklore – the treasury of age-old traditions of the Ukrainian people, with types of folklore activities: folk epics (proverbs and sayings, fairy tales, legends, historical songs, etc.). At the same time, it is necessary to study folk songs, to continue the search for coded codes in the musical language of song folklore, which reported on the mentality, the characteristics of the national idea of the Ukrainian people. At the same time, it is necessary to study the peculiarities of the phenomenon of «national consciousness» and the ways of its development.
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Negus, Keith, and Pete Astor. "Songwriters and song lyrics: architecture, ambiguity and repetition." Popular Music 34, no. 2 (April 30, 2015): 226–44. http://dx.doi.org/10.1017/s0261143015000021.
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AbstractThis article argues for understanding popular songs and songwriting through the metaphor of architecture, an idea we draw from vernacular terms used by songwriters when comprehending and explaining their own creative practice, and which we deploy in response to those who have called for writing about music to use a non-technical vocabulary and make greater use of metaphor. By architecture we mean those recognisable characteristics of songs that exist as enduring qualities regardless of a specific performance, recording or sheet music score. We use this analogy not as a systematic model, but as a device for exploring the intricate ways in which words and music are combined and pointing to similarities in the composition of poetry and the writing of song lyrics. The art of repetition and play with ambiguity are integral to popular song architectures that endure regardless of the modifications introduced by performers who temporarily inhabit a particular song.
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Simon, Jules. "The Art of Interpretation: Rosenweig’s Midrash and Heidegger’s Hermeneutics." Journal of Chinese Philosophy 42, no. 1-2 (March 3, 2015): 99–124. http://dx.doi.org/10.1163/15406253-0420102008.
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The shared trajectory and thought between the phenomenological hermeneutics of Martin Heidegger and midrashic analysis of Franz Rosenzweig is established with respect to the task of taking up existing “classical” texts such as “The Song of Songs” and “The Ister” as well with respect to the embodied conditions of understanding through language with a view to delineating the motivating factors and the structural guidelines that determine our interpretive activities; specifically, intentional structures that distinguish communicative acts from one another that either brings them into conflict or into fruitful and harmonious communities.
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clover, joshua, ange mlinko, greil marcus, ann powers, and daphne a. brooks. "critical karaoke." Popular Music 24, no. 3 (October 2005): 423–27. http://dx.doi.org/10.1017/s0261143005000619.
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the critical karaoke project was a specific response to the endless parade of polls, lists and casual questions about ‘the greatest songs of all time’ – particularly to how that measure seems mismatched to pop, which bets everything on transitory pleasures, intensities, its own evanescence. a number of critics, scholars, poets and musicians were invited to the experience music project's annual pop conference in seattle, in the spring of 2004, to talk about any one song of their choosing, without making a case for its lasting worth, or cultural importance, truth, beauty, or any of the other high art values. they just had to take a song they had believed, once, for a minute or a decade, was the greatest song ever … and give an account of why they thought that, or how it felt to believe. one of the dreams was to ask for criticism under the sign of the top 40, not the canon. the other was to hear talented writers tell stories about songs, as they appeared in their daily lives. the trick was that all the participants were asked to tell their story in the span of time it took to listen to the song they had chosen – with the song playing behind them.
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Krylova, Alexandra V. "Promotional and song extravaganza of air: goods in art format." Observatory of Culture, no. 1 (February 28, 2014): 55–60. http://dx.doi.org/10.25281/2072-3156-2014-0-1-55-60.
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Is devoted to the promotional song - one of the most popular genres in advertising practice, the impact on the mass consciousness of which is predetermined by music format and reliance on archetypal meanings that bring to the mass consciousness the concepts "song", "music", "art." The author classifies the types of promotional song, highlights musical and stylistic priorities, analyzes the issues of motivation, aesthetics and mnemonic properties of genre