Relevant bibliographies by topics / Art songs

Contents

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

Academic literature on the topic 'Art songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Art songs"

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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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Azimova, Arzu. "Karakalpaks Songs Art." Eurasian music science journal 2020, no. 1 (2020): 44–50. http://dx.doi.org/10.52847/eamsj/vol_2020_issue_1/a2.

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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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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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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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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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Groenewald, H. C. "The role of political songs in the realisation of democracy in South Africa." Literator 26, no. 2 (July 31, 2005): 121–36. http://dx.doi.org/10.4102/lit.v26i2.231.

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The issue this article attempts to explore is whether a form of oral art – political songs – played a part in achieving democracy in South Africa, and, if so, how this aim was achieved. In this regard it should be kept in mind that political songs form part of the large, vibrant body of oral art in South Africa. An aspect of oral art that is particularly relevant to political songs is that it is often performed to be efficacious, that is, it is performed to achieve a desired result. Equally important is the attribute of performance. It is obvious that the political song derived much of its power from the dynamics of performance. Political songs evolved from church hymns with obscure references of suffering to power singing with an overt and belligerent political message. The conclusion arrived at is that political songs played a vital role in forging democracy from below.
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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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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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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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Dissertations / Theses on the topic "Art songs"

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Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.

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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.
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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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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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Romriell, Mackenzie Kay, and Mackenzie Kay Romriell. "Classically Unsung: The Art Songs of Alec Wilder." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/623029.

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The compositions of American composer, Alec Wilder, span multiple, often disparate, genres within the classical and popular music styles. During his lifetime, much of Wilder’s greatest success came from his popular songs. However, his body of work is much more vast, and some of his vocal work should be classified as art song. Wilder’s formal training, aptitude for learning, and experiences with popular music provided him with a diverse artistic palette and a unique musical voice. This resultant style is eclectic and includes modality, rhythmic motives, melodic figures, extended harmonies, and text painting.Wilder scholars, David Demsey and Ronald Prather categorized one hundred and seventeen of Wilder’s compositions as art songs. From this group, nine songs were selected and analyzed according to academically accepted characteristics of Art Song: poetry, harmony and melody, the relationship between the voice and the piano, text setting, phrasing and structure, form, and vocal demands in order to justify the songs’identification as art songs. Furthermore, this document contains brief biographical information on Alec Wilder’s life, career, and varied musical endeavors as well as a concise discussion of scholarly literature concerning the composer and his oeuvre.Alec Wilder composed music within multiple genres and styles. His output is prolific, yet his art songs remain relatively unknown. It is hopeful that this document will bring new attention to Alec Wilder, and, specifically, his art songs.
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Lin, Yi-Cherng. "The essence of twentieth century American art songs." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9698.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;
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Miguel, Nicholas Edward. "The art songs of Modesta Bor (1926-1998)." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.

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This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.
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Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.

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Tarikci, Abdurrahman. "Analysis Of Turkish Art Music Songs Via Fractal Dimension." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611567/index.pdf.

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Forty songs are randomly selected from four randomly selected maqams. Songs are restricted to be in sofyan usü
l (sofyan rhythmic form) to check the statistical significance. Next, fractal dimensions of the these songs are calculated by using two different method and two different scattering diagrams. In the first method, fractal dimensions are calculated via two different box sizes. As for second method, successively decreased box sizes are used. In addition, standard deviation and mean values of the fractal dimensions are calculated to check the relation between fractal dimension and maqam. T test and F test are applied to check the statistical significance. After these calculations, it is verified that fractal dimension can be used as an information source concerning the Turkish art music songs which are nonlinear dynamical systems. Moreover, it is showed that maqams can have their own fractal dimension for low resolutions. On the other hand, it is seen that for high resolutions all songs have almost same fractal dimension.
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Lin, Yanyan. "The Art Songs of Huang Zi: A Selective Study." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594938239554979.

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Wood, Kenneth Edward. "An investigation and analysis of selected Victorian art songs /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.

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Books on the topic "Art songs"

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Zhong, Mei. Contemporary Chinese art songs. Fayetteville, AR: Classical Vocal Reprints, 2018.

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Bradley, Jessica. Songs of experience. Ottawa: National Gallery of Canada = Musée des beaux-arts du Canada, 1986.

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Bradley, Jessica. Songs of experience =: Chants d'experience. Ottawa: National Gallery of Canada, 1986.

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Lucke, Sandra F. Long Songs. Bellingham, WA: S. F. Lucke, 2007.

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

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The art of writing love songs. New York: Allworth Press, 2003.

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name, No. Canadian art songs for low voice. Calgary, AB: Alberta Keys Music Publishing, 2003.

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name, No. Canadian art songs for high voice. Calgary, AB: Alberta Keys Music Publishing, 2003.

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name, No. Canadian art songs for medium voice. Calgary, AB: Alberta Keys Music Publishing, 2003.

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1964-, SanGregory Paul, Healey Derek 1936-, Chen Chin-Chin 1964-, Huang Zi 1904-1938, Li Qingzhu, Huang Youdi 1912-2010, Li Yinghai, and Liu Wenjin, eds. Traditional and modern Chinese art songs. Geneseo, N.Y: Leyerle, 2009.

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Book chapters on the topic "Art songs"

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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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Blofeld, John. "Poems and Songs of Tea." In The Chinese Art of Tea, 111–19. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003130871-9.

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Gibson, David. "Magic in Music, Songs, and Mixes." In The Art of Mixing, 227–30. Third edition. | New York, NY : Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9781351252225-9.

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Halpern, Megan K. "Negotiations and love songs." In Routledge Handbook of Art, Science, and Technology Studies, 319–34. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429437069-23.

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Dillon, Lorna. "Introduction to Violeta Parra’s Visual Art: Painted Songs." In Violeta Parra’s Visual Art, 1–45. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38407-4_1.

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Dillon, Lorna. "Conclusion to Violeta Parra’s Visual Art: Painted Songs." In Violeta Parra’s Visual Art, 137–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38407-4_5.

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Hoag, Melissa. "A Trio of Art Songs on Texts by Langston Hughes." In Expanding the Canon, 119–28. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003204053-15.

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Boucher, David. "Images and Distorted Facts: Politics, Poetry and Protest in the Songs of Bob Dylan." In The Political Art of Bob Dylan, 134–69. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230522541_7.

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"Swan Songs and Art Songs." In Deep River, 59–111. Duke University Press, 2001. http://dx.doi.org/10.1215/9780822383048-003.

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"Swan Songs and Art Songs:." In Deep River, 59–112. Duke University Press, 2001. http://dx.doi.org/10.2307/j.ctv11smqz5.6.

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Conference papers on the topic "Art songs"

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Yang, Qinwen. "Characteristics of Melodies in Bellini's Art Songs." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.58.

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Liu, Tse. "The main directions of development of patriotic education of students by means of vocal art in the People's Republic of China." In Наука России: Цели и задачи. НЦ "LJournal", 2021. http://dx.doi.org/10.18411/sr-10-04-2021-69.

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The purpose of the article is to show how modern technologies expand the educational possibilities of children's patriotic songs by enriching this genre with new means of expression, as well as the emergence of new forms of song representation (songs for movies, TV shows for children, laser shows, open-air performances, etc.). The direct participation of children in the preparation for participation in the events, performances in front of the audience, as well as the presence as spectators and the use of music teachers of these genres in the classroom have an effective educational impact on children of different ages for the purpose of patriotic education of young people in China.
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Jiang, Shanshan. "Discussion on the Singing Style of Schumann Art Songs." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.28.

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Yang, Qinwen. "The Value of Bellini's Art Songs in Vocal Music Training." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.167.

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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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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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Yu, Zhesong, Xiaoshuo Xu, Xiaoou Chen, and Deshun Yang. "Temporal Pyramid Pooling Convolutional Neural Network for Cover Song Identification." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/673.

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Cover song identification is an important problem in the field of Music Information Retrieval. Most existing methods rely on hand-crafted features and sequence alignment methods, and further breakthrough is hard to achieve. In this paper, Convolutional Neural Networks (CNNs) are used for representation learning toward this task. We show that they could be naturally adapted to deal with key transposition in cover songs. Additionally, Temporal Pyramid Pooling is utilized to extract information on different scales and transform songs with different lengths into fixed-dimensional representations. Furthermore, a training scheme is designed to enhance the robustness of our model. Extensive experiments demonstrate that combined with these techniques, our approach is robust against musical variations existing in cover songs and outperforms state-of-the-art methods on several datasets with low time complexity.
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Sobakina, Olga. "History of Creation and Publication of Songs by Chopin." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.012.

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Wei, Wei. "An Analysis of Educational Functions in Folk Songs of Mulao Nationality." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.104.

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Zhang, Pengyuan. "Cultural Value and Connotation of Yugur Folk Songs Heritage*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.265.

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Reports on the topic "Art songs"

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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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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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Weller, Joel, Harris Lewin, Micha Ron, and George Wiggans. Detection and Mapping of Genes Affecting Traits of Economic Importance in Dairy Cattle with the Aid of Molecular Genetic Markers. United States Department of Agriculture, December 1995. http://dx.doi.org/10.32747/1995.7613024.bard.

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Forty-seven poly-TG microsatellites were developed at the U of IL, and 11 genetic markers were developed at ARO, nine of which were poly-AGC microsatellites. Markers were typed on the reference families of CSIRO, Australia; GRANADA, Texas; and IRRF, Illinois, for chromosome assignment and linkage mapping. Nine North American al organizations contributed semen to the Dairy Bull DNA Repository (DBDR), which currently has 65,743 units from 3366 bulls. Semen was obtained for 31 out of 35 grandsires. Semen of 28 and 23 sons of two Israeli bulls was also collected. Eighteen grandsires were genotyped for 75 microsatellites. One thousand, three hundred and sixty-two sons with evaluation from 17 families were genotyped for 24 markers. Eleven thousand, six hundred and twenty sons genotypes were determined, of which 8,802 were informative. The genotype data was matched to the bulls' daughter yield deviations (DYD) for seven traits; milk, fat, and protein production; fat and protein percent; somatic cell concentration (SCS); and productive herd life. Seven loci had significant effects at p<0.05, but only two loci, TGLA263 and MGTG7, had significant effects at p<0.01, and the effect of TGLA263 on fat percentage was significant at p<0.0001. There was at least one significant effect for each of the seven traits analyzed.
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Shaba, Varteen Hannah. Translating North-Eastern Neo-Aramaic Idioms into English. Institute of Development Studies, January 2023. http://dx.doi.org/10.19088/creid.2023.002.

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North-eastern Neo-Aramaic (also known as NENA) languages and literature are a prosperous and encouraging field of research. They abound with oral traditions and expressions that incorporate various spoken forms including everyday language, tales, songs, chants, prayers, proverbs, and more. These are used to transfer culture, knowledge, and community values. Some types of oral forms are idioms and fixed expressions. Idioms are extremely problematic to translate for a number of reasons, including: cultural and linguistic differences between languages; their specific connection to cultural practices and interpretations, and the difficulty of transferring the same meanings and connotations into another language with accuracy. This paper explores how to define and classify idioms, and suggests specific strategies and procedures to translate idioms from the NENA dialect Bartella (a local Aramaic dialect in Nineveh Plain) into English – as proposed by Baker (1992: 63–78). Data collection is based on 15 idioms in Bartella dialect taken from the heritage play Khlola d baretle teqta (Wedding in the old Bartella). The findings revealed that only three strategies are helpful to transfer particular cultural conceptualisations: using an idiom of similar meaning and form; using an idiom of similar meaning but different form, and translation by paraphrasing. Based on the findings, the author provides individuals and institutions with suggestions on how to save endangered languages and dialects, particularly with regard to the religious minorities’ heritage. Key among these recommendations is encouraging researchers and scholars to direct translation projects and activities towards preserving minority languages with their oral heritage and cultural expressions, which are susceptible to extinction.
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Yablonskyy, Maxym. «NEW DAYS» WEEKLY AND PETRO VOLYNIAK, PUBLISHER AND AUTHOR. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11058.

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In the article on the material of the Salzburg weekly «New Days» (1945–1947) various spheres of activity of Peter Volyniak are presented. It is noted that this edition was a business card of the publishing house of the same name and had a history of continuation: in Toronto Petro Volyniak restored the publishing house of the same name and continued the publication in the format of the universal monthly «New Days» (1950–1969). The article also presents periodicals («Latest News», «New Days», «Timpani», «Our Way») and literary, artistic and scientific collection «Steering Wheel», which were published in the Salzburg publishing house of Peter Volyniak «New Days». The purpose of the publication is to trace the path of Petro Volyniak from a writer to a literary critic, journalist and publisher. This trend is reproduced in chronological order. Peter Volyniak as a writer is informed in the article «Literary Evening of P. Volyniak» (author – M. Ch-ka). O. Satsyuk’s literary-critical article is devoted to the coverage of ideological and artistic aspects of Petro Volyniak’s collection «The Earth Calls» (Salzburg, 1947). Petro Volyniak as a literary critic is presented in an article devoted to a collection of literary tales by A. Kolomiyets (Salzburg, 1946), which was published by «New Days». Petro Volyniak as a journalist presents the essay «This is our song…». With the help of content analysis it was observed that the text is divided into two parts: the first contains the author’s reflections on the Ukrainian song, its role in the life of the Ukrainian people; in the second, main, Peter Okopny’s activity abroad is presented. The publisher Petro Volyniak in 1947 in a separate publication of the February issue of the weekly summarizes the third year of activity, providing statistics on the publication of periodicals, books, postcards, calendars, various small format materials. The analyzed material demonstrated the experience of combining creative work and commercial activity.
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Weller, Joel I., Derek M. Bickhart, Micha Ron, Eyal Seroussi, George Liu, and George R. Wiggans. Determination of actual polymorphisms responsible for economic trait variation in dairy cattle. United States Department of Agriculture, January 2015. http://dx.doi.org/10.32747/2015.7600017.bard.

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The project’s general objectives were to determine specific polymorphisms at the DNA level responsible for observed quantitative trait loci (QTLs) and to estimate their effects, frequencies, and selection potential in the Holstein dairy cattle breed. The specific objectives were to (1) localize the causative polymorphisms to small chromosomal segments based on analysis of 52 U.S. Holstein bulls each with at least 100 sons with high-reliability genetic evaluations using the a posteriori granddaughter design; (2) sequence the complete genomes of at least 40 of those bulls to 20 coverage; (3) determine causative polymorphisms based on concordance between the bulls’ genotypes for specific polymorphisms and their status for a QTL; (4) validate putative quantitative trait variants by genotyping a sample of Israeli Holstein cows; and (5) perform gene expression analysis using statistical methodologies, including determination of signatures of selection, based on somatic cells of cows that are homozygous for contrasting quantitative trait variants; and (6) analyze genes with putative quantitative trait variants using data mining techniques. Current methods for genomic evaluation are based on population-wide linkage disequilibrium between markers and actual alleles that affect traits of interest. Those methods have approximately doubled the rate of genetic gain for most traits in the U.S. Holstein population. With determination of causative polymorphisms, increasing the accuracy of genomic evaluations should be possible by including those genotypes as fixed effects in the analysis models. Determination of causative polymorphisms should also yield useful information on gene function and genetic architecture of complex traits. Concordance between QTL genotype as determined by the a posteriori granddaughter design and marker genotype was determined for 30 trait-by-chromosomal segment effects that are segregating in the U.S. Holstein population; a probability of <10²⁰ was used to accept the null hypothesis that no segregating gene within the chromosomal segment was affecting the trait. Genotypes for 83 grandsires and 17,217 sons were determined by either complete sequence or imputation for 3,148,506 polymorphisms across the entire genome. Variant sites were identified from previous studies (such as the 1000 Bull Genomes Project) and from DNA sequencing of bulls unique to this project, which is one of the largest marker variant surveys conducted for the Holstein breed of cattle. Effects for stature on chromosome 11, daughter pregnancy rate on chromosome 18, and protein percentage on chromosome 20 met 3 criteria: (1) complete or nearly complete concordance, (2) nominal significance of the polymorphism effect after correction for all other polymorphisms, and (3) marker coefficient of determination >40% of total multiple-regression coefficient of determination for the 30 polymorphisms with highest concordance. The missense polymorphism Phe279Tyr in GHR at 31,909,478 base pairs on chromosome 20 was confirmed as the causative mutation for fat and protein concentration. For effect on fat percentage, 12 additional missensepolymorphisms on chromosome 14 were found that had nearly complete concordance with the suggested causative polymorphism (missense mutation Ala232Glu in DGAT1). The markers used in routine U.S. genomic evaluations were increased from 60,000 to 80,000 by adding markers for known QTLs and markers detected in BARD and other research projects. Objectives 1 and 2 were completely accomplished, and objective 3 was partially accomplished. Because no new clear-cut causative polymorphisms were discovered, objectives 4 through 6 were not completed.
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Великодна, Мар’яна Сергіївна. Psychoanalytic Study on Psychological Features of Young Men «Millionaires» in Modern Provincial Ukraine. Theory and Practice of Modern Psychology, 2020. http://dx.doi.org/10.31812/123456789/3873.

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The article is based on three cases of private psychoanalytic work with successful businessmen from central and northern parts of Ukraine. The research methodology was psychoanalytic theories devoted to the unconscious meanings of money and the role of money in the psychoanalytic setting, including object theory, drive theory, psychosexual development theory, narcissism theory, Oedipus complex, transference and resistance. What presents the interest of this study are the cases when those who grew up in poverty finally obtains such a desired object — money, wealth, however, something unconscious hinders this person to get satisfied by it and even to admit obtaining it. The presented clinical work was conducted as classic psychoanalysis in person with different duration: 5, 10 and 46 months. Men were asked to tell whatever comes to mind: thoughts, memories, dreams, phantasies, feelings etc. The role of psychoanalyst was to hear specific connections between patient’s stories and to analyze them together with the patient. The cases presented highlight several psychological features of young men «millionaires» who suffer from their own success. 1. Sensitivity to Father’s (real or symbolic) acceptance of their business and financial success. 2. Activation of unconscious Oedipus complex and Complex of castration because of the risk to dethrone the Father in reality, with experiences of guilt, fear and expectation of punishment. 3. Projection of their own envy, hate, wish to avenge and killing phantasies into external objects (friends, partners, psychoanalyst) with building individual defensive strategies from them. These psychological features were associated not only with suffering and psychopathological symptoms but also with impossibility to continue business development. In addition, the cases analyzed in the article show some difficulties in building business connected with the generations gap. Fathers from the USSR or the 90s teach their sons to act in the way that is not relevant for successful careers nowadays. This latent or manifested struggle between generations may be an important factor in abovementioned psychological features.
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