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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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Apter, Ronnie, and Mark Herman. "Translating Art Songs for Performance: Rachmaninoff'sSix Choral Songs." Translation Review 84, no. 1 (November 2012): 27–42. http://dx.doi.org/10.1080/07374836.2012.730315.
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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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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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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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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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H.K, Santhosh. "Poothan Kali Songs : an analysis of their types, themes and functions." Indian Journal of Multilingual Research and Development 2, no. 1 (March 30, 2021): 24–34. http://dx.doi.org/10.34256/ijmrd2114.
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'Panappoothan' is an art form performed by the Pana community at festivals at the Bhagvati temples in old Valluvanad district of Kerala.Unlike the Poothan performance of other castes, Panans also sing songs in their Poothan and Andi kali. They perform 'anchati pattukal', hymns and 'kummi pattukal' along with the performance. These songs have not yet been recorded in our folk song tradition or literary history. This essay analyzes these songs descriptively and determines the folk identity expressed in it.
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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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Yusnelli, Yusnelli, and Ferry Herdianto. "LANGGAM DAN ZAPIN GRUP MUSIK MELAYU SAYANG SENANDUNG." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 21, no. 1 (September 21, 2021): 51–62. http://dx.doi.org/10.33153/keteg.v21i1.3681.
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Malay art generally displays songs that have song ranges or tempo such as langgam and zapin. Likewise with the Malay art of Sayang Senandung always plays these two tempos in every show. However, there is something unique about Sayang Senandung where the two tempo forms are packaged using different instruments from other Malay forms. Tempo Langgam uses violin instruments (melodic instruments), bebano pasu, kompang, and tetawak as tempo control instruments, and in every show always plays the songs Dondang Sayang, Inang Cina and Serampang Laut. Tempo Zapin uses the string instrument, the violin as the carrier of the melody and filler and the Marwas and the tetawak as the instrument for cntrolling the tempo. The songs he often performed were zapin major and zapin minor.
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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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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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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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Kyrgys, Kira. "From the history of collecting Tuvan folk songs: Yrlar and Kozhamyks." Religación. Revista de Ciencias Sociales y Humanidades 7, no. 33 (September 26, 2022): e210944. http://dx.doi.org/10.46652/rgn.v7i33.944.
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The ancient history and culture of the inhabited tribes of Tuva attracted the attention of travelers, linguists, ethnographers, and musicians, especially in recent decades. The primary recordings of yrlar (tuvan songs) and kozhamyk (ditties) in the writing sources of scientists contained samples of ancient musical poetry, including one-thousand-year history images, plots, motifs, and archaic vocabulary. Owing to ethnocultural values and beliefs of Tuvan people in Southern-Central Siberia it preserved features of relict cultures in music traditions. Based on field works conducted in the late 20th century, via ethnographic, historical, and typological principles of systematic approaches to folklore music genres, all songs were divided into occasional rituals and non-occasional songs, according to musical stylistic characteristics folk songs were classified into long songs ʽuzun yrlarʼ, short songs ʽkyska yrlarʼ and traditional ditties ʽkozhamykʼ. Tuvan culture is rich with musical traditions, it includes various song types, melodic recitations, instrumental creativity, calendar, and ritual songs, epic genres, etc. The author considers the development of song art as the most mobile layer, which absorbs all from the surrounding sound world. Songwriting reflects the spiritual experience and national character of the Tuvan ethnos.
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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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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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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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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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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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Ramalho, Marcel. "Folkloric Nationalism and Essential Nationalism in José Siqueira’s Loanda and Maracatu." Per Musi, no. 42 (May 6, 2022): 1–24. http://dx.doi.org/10.35699/2317-6377.2022.38325.
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This article describes how Brazilian composer José Siqueira (1907-1985) used musical elements from the folkloric tradition known as Maracatu in the composition of the songs titled Loanda and Maracatu. A secondary goal is to suggest interpretative performance approaches that take into consideration the musical, textual, and sociocultural aspects of these songs. The methodology for the analyses was based on the categories and terms for examining the musical frameworks of art songs outlined by Carol Kimball in her two books about art song, as well as Siqueira’s own-devised Trimodal System. In Loanda and Maracatu, the composer uses several rhythmic cells that are characteristic of the Maracatu folkloric tradition, as well as a clear twentieth-century musical language, confirming Siqueira’s two aesthetic orientations: Folkloric Nationalism (when the composer uses the pure elements of folklore) and Essential Nationalism (when the composer draws inspiration from folklore to create his own musical language).
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Kim, Seon-ah. "From early composed art songs in Japanese occupation period to korean style art songs: the correlation between poetry and music in Park Tae-joon's art Song." Korean Society of Music Education Technology 47 (April 16, 2021): 211–30. http://dx.doi.org/10.30832/jmes.2020.47.211.
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Kim, Seon-ah. "From early composed art songs in Japanese occupation period to korean style art songs: the correlation between poetry and music in Park Tae-joon's art Song." Korean Society of Music Education Technology 47 (April 30, 2021): 211–30. http://dx.doi.org/10.30832/jmes.2021.47.211.
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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.
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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.
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Marino, Stefano. "Writing Songs after Auschwitz." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 62, no. 1 (2017): 26–41. http://dx.doi.org/10.28937/1000107634.
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Der Beitrag beginnt mit Adornos provokanter Aussage »Nach Ausschwitz ein Gedicht zu schreiben, ist barbarisch« und fragt, ob Kunst im Zeitalter der Völker- morde überhaupt noch möglich ist. Im Anschluss untersuche ich Adornos Begriff des Engagements in der Kunst, der ja eng mit dieser Frage verbunden ist, und die Bedeutung von »Auschwitz« in seiner Philosophie. Adornos Vorstellung von »wahrer« Kunst (d. h. Kunst mit einem relevanten »Wahrheitsgehalt«) führt dazu, den Gegenbegriff »falsche« oder »unwahre« Kunst, insbesondere Massenkultur und Popmusik, zu untersuchen. Adorno hätte es wahrscheinlich als eine Art Blasphemie angesehen, über Themen wie den Völkermord Pop- oder Rock-Songs zu schreiben und aufzuführen, aber das hier vertretene Argument ist, dass seine diesbezügliche Meinung auf Vorurteilen beruht, die seine Kunst- und Musikphilosophie negativ beeinflussen. Die Lieder über den Armenischen Völkermord, die von der Heavy Metal-Band System of a Down geschrieben und aufgeführt wurden, dienen dem Autor als ein Beispiel, das ein kritisches Überdenken einiger Aspekte von Adornos Ästhetik fördern soll. In this paper I start with Adorno’s famous and provocative statement “To write poetry after Auschwitz is barbaric”, aimed at asking whether art was still possible in the age of genocides. Then, I take into examination Adorno’s concept of commitment in art – which is closely related to these questions - and the meaning itself of the notion of “Auschwitz” in Adorno’s philosophy. Analyzing what Adorno called “true” art (i.e. art provided with a relevant “truth content”) leads to take into consideration what he understood vice-versa as false or untrue art, in particular mass culture and popular music. Adorno would have probably considered as a sort of blasphemy or heresy the idea itself to write and perform pop-rock songs about such subjects as genocide, but I argue that his views rely on some prejudices that negatively condition his philosophy of art and especially of music. The songs on the Armenian genocide written and performed by the heavy metal band System of a Down serve here as a profitable example that may be of help to foster a critical rethinking of some aspects of Adorno’s aesthetics.
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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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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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Liu, Zhihan. "The Historical Evolution of Chinese Guqin Songs." Studies in Social Science & Humanities 1, no. 3 (October 2022): 93–96. http://dx.doi.org/10.56397/sssh.2022.10.10.
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Guqin is the oldest plucked instrument in China and has a long history. Guqin music and Guqin Songs are two distinct art forms that have emerged during the history of the evolution of Guqin. The Guqin Songs not only reflect the development and changes of the Guqin over thousands of years from one side, but are also a remnant of traditional Chinese vocal art. This essay’s goal is to offer historical context for the creation and growth of Chinese Guqin Songs, as well as to highlight the Guqin Songs’ distinctive place in the development of traditional Chinese music and their worth as a stand-alone art form.
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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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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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Li, Shun. "Analysis of the Narrative Art and Emotional Expression of the "Crying Marriage Songs" of Guizhou Daozhen Gelo Ethnic Minority." BCP Social Sciences & Humanities 16 (March 26, 2022): 435–43. http://dx.doi.org/10.54691/bcpssh.v16i.499.
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As a traditional marriage custom of Gelo ethnic group, Crying Marriage Songs have shown their unique emotional power through historical development and cultural inheritance. The procedure can be divided into starting, crying, and parting. In terms of the narrative art, the performative act of crying and singing is characterized with diversified objects, improvised content based on inheritance, and multiple forms. As for the emotional expression, the songs of crying marriage custom reflect not only the social life and historical situation, but also crying women's thoughts and cognitive processes, indicting the feudal ethics such as arranged marriage and sale of marriage. As a poetic art, the crying songs that contain a rich emotional charm show the national psychology, temperament and aspirations of the Gelo people.
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Nurinsani, Bella, Rida Nurul Manilah, and Anita Anggareni. "THE ANALYSIS OF ED SHEERAN SONGS TO IMPROVE STUDENT’S LISTENING SKILL." PROJECT (Professional Journal of English Education) 1, no. 2 (October 22, 2019): 71. http://dx.doi.org/10.22460/project.v1i2.p71-76.
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This Study entitled “The Analysis of Ed Sheeran Songs to Improve Student’s Listening Skill”. The research was aimed to find out improved student’s listening skill ability. Wheather Ed Sheeran songs was founding increase student’s listening skill, because Ed Sheeran is a singer from England (UK) and his dialect of English is British English, so we were learning British English from the Ed Sheeran songs. In addition, Ed Sheeran was preferred many people in the world. People in the world had been understanding a lesson if a lesson had found for them, and we can’t deny if people in the world like songs and music. A song is the sound of art tone in the order, combination and the temporal relationship usually with accompanied by a musical instrument, the produce the music that has unity and continuity. The approach of this research is qualitative.
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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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Rosar, William H. "Theme Songs without Words." Journal of Film Music 9, no. 1-2 (February 24, 2022): 8–22. http://dx.doi.org/10.1558/jfm.21422.
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When Max Steiner arrived at RKO Studios in late December 1929, he came as a seasoned Broadway conductor and arranger to work on musicals. Applying the art and craft of song arranging from musical comedies on the Broadway stage to so-called “theme songs” that were sung in dramatic films in the early talkies, he developed what came to be known as “the big theme” in Hollywood Golden Age film scoring parlance in which a song-like theme was featured instrumentally as background music rather than sung on screen. In conjunction with this practice, Steiner and his Hollywood cohorts continued and adapted the existing dramatic techniques of silent film accompaniment to “talking pictures,” which, because of music playing under dialog, was given the name “underscoring.”
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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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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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Metzer, David. "Reclaiming Walt: Marc Blitzstein's Whitman Settings." Journal of the American Musicological Society 48, no. 2 (1995): 240–71. http://dx.doi.org/10.2307/3128815.
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Between 1925 and 1928, Marc Blitzstein composed nine songs to texts by Walt Whitman. These settings highlight homoerotic and corporeal thematics, which dominant views of the poet had either obscured or denied. Challenging such interpretations, Blitzstein advanced a reclaiming of Whitman by homosexual readers. Subtitled "songs for a coon shouter," four of these settings introduce African American elements, either through "coon song" gestures or through incorporation of jazz idioms. These appropriations were intended to enhance Whitman's eroticism. They also create tensions between the "primitive" and the "civilized," high and low art, and white and black bodies.
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Yue, Li. "Teaching Exploration of Ma Shuilong’s Ancient Chinese Poetry Art Songs – “Spring Silkworms are Dead,” “Loneliness,” and “Falling Flowers”." Journal of Contemporary Educational Research 5, no. 9 (September 30, 2021): 16–19. http://dx.doi.org/10.26689/jcer.v5i9.2509.
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Ma Shuilong was a famous composer in Taiwan, both at home and abroad. In 1986, the publication of his concerto, Bangdi, made him the first Chinese composer to have a full performance at the Lincoln Arts Center in New York. In the field of vocal music production, “Ma Shuilong Songs Collection” reflected the mutual infiltration and integration of Chinese and Western elements, especially the combination of modern techniques and classical poetry so that Chinese ancient poetry art songs would emit unique artistic conception. In view of his three works, this article elaborates the oriental connotation in their creation through the study of the poetries involved and further extracts the characteristics of the creation and singing of ancient poetry art songs in order to provide significant references for the teaching of Chinese art songs.
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Borlykova, B. Kh, and B. V. Menyaev. "Don Kalmyk Song Recordings Made by A. M. Listopadov." Nauchnyi dialog 11, no. 8 (October 30, 2022): 222–38. http://dx.doi.org/10.24224/2227-1295-2022-11-8-222-238.
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In spite of the previous two centuries of recording Kalmyk song folklore there are still unknown and littleknown manuscripts and audio recordings of Kalmyk song art, stored in Russian and foreign archives. The Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences has a handwritten collection of Don Kalmyk songs, recorded by musicologist Alexander Mikhailovich Listopadov in 1902 in the village of the Denisov Region of the Don Cossack Army. The first section of the manuscript contains seventeen songs and one excerpt from the heroic epic “Dzhangar”, the second section contains eleven songs of the Soviet period and two dance melodies. The records presented in the manuscript are valuable because they are the earliest examples of phonographic records of Kalmyk folklore. A preliminary review of the texts of Kalmyk songs from the first section of A. M. Listopadov revealed that the real collection seems to be extremely heterogeneous, it includes rare examples of hymn, historical, hunting, wedding and lyrical Kalmyk folk songs. Among the texts of the songs, the authors of the article found an excerpt from the epic “Dzhangar”, which refers to the Maloderbet cycle. Introducing the entire collection of A. M. Listopadov into scientific circulation will deepen understanding the Kalmyk folklore of the 19th — the first half of the 20th centuries, will serve as an additional source for its new interpretation, will contribute to comparative studies of the folklore of the Mongolianspeaking peoples.
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Lebaka, Morakeng Edward Kenneth. "The Art of Living is Living with the Art; Is it Essential that Bapedi People Are Able to Live with and embrace the past? Yes, Definitely." European Journal of Social Science Education and Research 8, no. 2 (August 15, 2021): 184. http://dx.doi.org/10.26417/656qjn23h.
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For many centuries, music has been used in different indigenous African religious rituals as part of communal and personal religious rites. In the Bapedi society, songs accompany every phase of the divination process and, also any other task which they perform communally, for example, ancestor veneration. The purpose of this study was to investigate how Bapedi traditional healers and their trainees create imprecatory songs, as well as their societal value. The main questions the study addressed are: a) how do Bapedi traditional healers create imprecatory songs; and b) what is the societal value of these songs in the Bapedi culture. The study used a naturalistic approach and the methods of data collection were video recordings of cultural and religious rituals, interviews and observations. The study has revealed that in the Bapedi society like in other African societies, narratives in imprecatory songs can be classified broadly into three, namely: segmental narrative; incremental cycle and multiple recycle forms. The results have also shown that Bapedi imprecation songs serve various functions such as education, upholding and promoting morals and customs through advice, insults and mockery. This paper is submitted for consideration for the ICMS XXV, 25th International Conference entitled “Ideas and Research on Recent Issues”; University of Southern California.
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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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Lipenga, Timwa. "La Traduction et l’alternance de code linguistique dans la musique de Yemi Alade." International Journal of Francophone Studies 24, no. 3 (December 1, 2021): 221–40. http://dx.doi.org/10.1386/ijfs_00039_1.
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This article focuses on the links between translation and code-switching in selected songs by Yemi Alade. The songs under study were originally composed and interpreted in English before being translated into French. The original lyrics do not translate the instances where Yoruba and Igbo code-switching occurs, whereas the French versions frequently translate such instances. The article argues that these translations of code-switching serve to re-examine preconceived notions about a song and its translation. The argument demonstrates that it is possible for a song to ‘gain’ in translation, and this is illustrated by Alade’s translated songs. The article also focuses on the extent to which the Derridean perspective of the supplement and that of différance can be applied to music translation. The four songs ‘Johnny’, ‘K-I-S-S-I-N-G’, ‘Africa’ and ‘Ferrari’ have been chosen because they feature instances of code-switching. The article looks at the degree to which one can talk about loss during translation and the supplementary meanings of language in the four songs. finally, it reflects on the implications of linguistic choices for a musician in postcolonial Africa; ordinarily, African writers are the ones who are interrogated regarding language choice, but the question of language is one which confronts every form of art on the continent.
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ALDEN, JANE. "Excavating Chansonniers: Musical Archaeology and the Search for Popular Song." Journal of Musicology 25, no. 1 (January 1, 2008): 46–87. http://dx.doi.org/10.1525/jm.2008.25.1.46.
Full textAbstract:
What constitutes popular song? This seems an unlikely question to raise in connection with chansonniers copied in the Loire Valley during the later decades of the fifteenth century. But in fact it was a special preoccupation with France's popular musical heritage that led to the discovery in the nineteenth century of the largest two such manuscripts——the Laborde and Dijon Chansonniers. A government-sponsored search for materials emblematic of national identity was directly responsible, in 1857, for bringing the Laborde Chansonnier to light. Although this manuscript was deemed ““unable to qualify for the distinction of popularity,”” when the Dijon Chansonnier emerged——at approximately the same time——there was a scholarly consensus regarding its popular contents. Since ancient popular songs were believed to represent the indigenous heritage of the French people, the ““Frenchness”” of the songs unearthed was of paramount importance. But as many of the composers found in the Loire Valley chansonniers were born in areas under Burgundian control, their Frenchness was not self-evident. The earliest explorations of the formes fixes chanson repertory were made as part of the search for the true songs of the people. Later scholars rejected the idea that polyphonic art songs, composed by known individuals, could be part of a popular song tradition. But in focusing on the composers in these manuscripts, rather than the artifacts themselves, they divorced this repertory from its historical context. In the 1920s, a group of scholars working in Paris offered a broader approach, one that considered the manuscripts as art objects in their own right. The pioneering work of these scholars suggested a type of inquiry that remains relevant today.