Relevant bibliographies by topics / Chorti language

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

Academic literature on the topic 'Chorti language'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Chorti language"

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Teo, Amos. "Sumi (Sema)." Journal of the International Phonetic Association 42, no. 3 (November 23, 2012): 365–73. http://dx.doi.org/10.1017/s0025100312000254.

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Sumi (also known by its exonym ‘Sema’) is a Tibeto-Burman language spoken in Nagaland, North-east India. It is one of the major languages of the state, with an estimated 242,000 speakers living primarily in Zunheboto district, as well as in the major cities of Kohima and Dimapur. Bradley (1997) places Sumi (referred to as Sema), among the ‘Southern Naga’ languages, which include Angami (also known as Tenyidie) and Ao, in contrast to the ‘Northern Naga’ languages such as Konyak and Nocte. Burling (2003) offers a more conservative classification, placing Sumi (referred to as Simi) in an ‘Angami-Pochuri’ group containing Angami, Chakhesang (Chokri and Kheza) and Mao. Four main dialects of Sumi have been identified: the Western dialect, the Eastern dialect, the Chizolimi dialect, and the Central dialect. The Central dialect is the standard dialect used in published works of Sumi (Sreedhar 1976: 4–5).
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BOUVIER-LAFFITTE, Béatrice. "Ying Chen, une certaine manière d’être aux langues." ALTRALANG Journal 5, no. 01 (June 10, 2023): 28–36. http://dx.doi.org/10.52919/altralang.v5i01.244.

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Ying Chen, a Certain Way of Being in Languages ABSTRACT: The language history of Ying Chen, a multilingual and itinerant French-speaking writer presents a certain way of being to languages. It reveals an inclusive approach to the appropriation of languages, a vision that brings together linguistic mobility and spatial mobility, new passages between languages and everyday life, between languages and writing. Through a selected corpus of the author’s texts, I want to show how the analysis of her language path can help to shed light on the processes of access to foreign languages with their discontinuity and detours. How stories of experience, through their reflexivity and subjectivity, promote awareness of plurality and otherness and are part of a process of decentralisation, of understanding oneself and the other. RÉSUMÉ : L’histoire langagière de Ying Chen, écrivaine francophone plurilingue et itinérante présente une certaine manière d’être aux langues. Elle révèle une approche inclusive de l’appropriation des langues, une vision qui fait converger mobilité linguistique et mobilité spatiale, des passages inédits entre langues et vie quotidienne, entre langues et écriture. Au travers d’un corpus choisi de textes de l’auteure, je souhaite montrer comment l’analyse de son parcours langagier peut contribuer à éclairer les processus d’accès aux langues étrangères avec leur discontinuité et leurs détours. Comment les récits d’expérience, par leur réflexivité et leur subjectivité, favorisent la prise de conscience de la pluralité et de l’altérité et s’inscrivent dans une démarche de décentration, de compréhension de soi et de l’autre.
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SEDDIKI, Zinab. "Langues Transmises, Langues Pratiquées : Une étude De Terrain à Partir D’entretiens Avec Des étudiants Berbérophones De Ouargla." Revue plurilingue : Études des Langues, Littératures et Cultures 4, no. 1 (November 19, 2020): 18–31. http://dx.doi.org/10.46325/ellic.v4i1.48.

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Abstract This article presents a study on the language practices of Algerian Berber-speaking students. The latter come from a minority linguistic group, in the sense that their language "Tamazight" is used in Algeria by a smaller number of the population than that which uses Arabic (darija). For our survey, which focuses on languages transmitted within the family and those practiced outside the family context, we chose 4 Berber speakers from the Ouargla region, having as their language of origin a variety of Tamazight, Righie in Blidet Amor and Tagargrent in Ksar in Ouargla. Résumé Cet article présente une étude sur les pratiques langagières d'étudiants algériens berbérophones. Ces derniers sont issus d'un groupe linguistique minoritaire, dans le sens où leur langue « le tamazight » est utilisée, en Algérie, par un nombre inférieur de la population au regard de celle qui emploie l'arabe (la darija). Pour notre enquête, qui se focalise sur langues transmises au sein de la famille et celles pratiquées hors contexte familial, nous avons choisi 4 berbérophones de la région d'Ouargla, ayant comme langue d'origine une variété du tamazight, la Righie à Blidet Amor et le tagargrent au Ksar d'Ouargla.
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Orožen, Martina. "Le cosonantisme de Ramovš dans l’optique structuraliste de Tesnière." Linguistica 34, no. 1 (December 1, 1994): 165–79. http://dx.doi.org/10.4312/linguistica.34.1.165-179.

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Vu mes connaissances limitées en françis, j'ai choisi d'examiner l'une des contributions de Tesnière sur la langue slovène, a savoir la critique faite à propos de l'ouvrage Konzanantizem II rédigé par Ramovš.
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Haokip, Pauthang. "Agreement in Kuki-Chin languages of Barak valley." Journal of South Asian Languages and Linguistics 5, no. 2 (November 27, 2018): 159–210. http://dx.doi.org/10.1515/jsall-2018-0008.

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Abstract This paper discusses the agreement system of five Kuki-Chin (KC) languages of Barak valley, viz. Saihriem, Hrangkhol, Chorei, Sakachep, and Ronglong. The paper has an introduction, and five sections dedicated to agreement in different contructions: intransitive structures, transitive structures, agreement with the same person, agreement with ditransitive verbs, and agreement in hortative and imperative constructions. The discussion of agreement is further divided into subparts by paradigm; non-future, future and negative; and by languages. As in most KC languages, the Barak valley KC languages exhibit both preverbal and postverbal agreement clitics. The preverbal agreement clitics are homophonous with the possessive pronouns which occur before a noun. In intransitive constructions, the future affirmative paradigm has the same subject agreement clitics as the non-future paradigm. But unlike the non-future paradigm, the agreement clitics occur mostly after the verb and before the future tense marker in the future paradigm. In intransitive constructions, the postverbal agreement clitic shows up only in the future negative paradigm. As in the case of preverbal agreement clitics, the subject NP of an intransitive verb in the future negative paradigm can be dropped, and it can be recovered from its corresponding postverbal agreement clitics. Across the Barak valley KC languages, a transitive verb agrees with its object for the 1st person. Saihriem is the only language which shows number distinction for the second person object. If a verb takes more than one object, one with an inanimate direct object and the other with an indirect human object, the human indirect object takes precedence over the inanimate direct object for agreement. The Imperative construction takes the regular pre-verbal subject agreement marker for 1st and 3rd person in both the singular and plural form. On the contrary, the second person does not take any agreement marker. However, the number (singular and plural of the person) is distinguished in the imperative marker itself.
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Marseglia, Rocco. "Le chœur entre spectacle et spectateurs." Hermes 151, no. 3 (2023): 267–85. http://dx.doi.org/10.25162/hermes-2023-0023.

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Üzüm, Melike. "The development and functions of the inferential marker chog‘i in Uzbek." Acta Linguistica Academica 70, no. 1 (March 15, 2023): 109–38. http://dx.doi.org/10.1556/2062.2023.00568.

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AbstractIn the evidential system of Uzbek, the speaker has different grammatical options in marking the source of information, such as -ibdi, ekan, emish, etc., although it is not compulsory to mark this category in the utterance. In addition to these established markers, new markers have developed into evidentials, and they encode specific sub-categories of evidentiality. In this study, after a brief overview of grammatical markers of evidentiality in Uzbek, the marker chog‘i is examined with a syntactic and semantic approach based on a corpus of selected texts. Its development into an inferential marker is evaluated with special attention to sources of evidentials.
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Ahmad, Rizwan. "'Graphic politics in Eastern India: Script and the quest for autonomy' Nishaant Choksi (2021)." Sociolinguistic Studies 17, no. 1-3 (August 7, 2023): 289–93. http://dx.doi.org/10.1558/sols.23360.

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Graphic politics in Eastern India: Script and the quest for autonomyNishaant Choksi (2021)London: Bloomsbury Academic. Pp. 224ISBN: 9781350215924 (pbk)ISBN: 9781350159587 (hbk)ISBN: 9781350159594 (Ebook)ISBN: 9781350159600 (Epub)
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Ryan, John Charles. "‘The Name Blossomed’: Landscapes, Habitats and the Botanical Poetry of South-West Australia." Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ) 2 (April 8, 2013): 26–42. http://dx.doi.org/10.60162/swamphen.2.10594.

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Habitat poetry represents the lives of plants, animals and the features of the natural world within their ecological networks. Commonly detailing physical contact with nature, habitat poetry narrates moments in which the senses engage with ecological processes. Additionally, habitat awareness in poetry tends to convey a sense of grappling with scientific discourses. These characterisations of habitat poetry will be articulated in the context of the biodiverse South-West of Western Australia. The works of South-West poets Alec Choate (1915-2010) (Gifts; A Marking; Mind); Andrew Lansdown (1954-); and John Kinsella (1963) (Poems; The New Arcadia) use sensory language to express something about nature and convey the dynamics between science and poetry. The concept of habitat provides an interpretative framework for reading Choate, Lansdown and Kinsella. The three could be described not only as landscape poets but more precisely as habitat poets, a distinction pursued in this discussion.
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LaFleur, William R., and Rajyashree Pandey. "Writing and Renunciation in Medieval Japan: The Works of the Poet-Priest Kamo no Chomei." Journal of Japanese Studies 25, no. 2 (1999): 457. http://dx.doi.org/10.2307/133338.

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Dissertations / Theses on the topic "Chorti language"

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Strauser, Matthew Lynn. "The classification of language of high school choral directors." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8335.

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Thesis (D.M.A.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 128-132). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Alaei, Bahareh B. "Producing as a listener| A choric approach to video as a medium of invention." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1526888.

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For over two decades, scholars in rhetoric and composition studies have been invested in helping to shape and adapt writing studies as institutions of higher learning negotiate conceptualizations of subjects and knowledge production in digital culture. The canon of invention, in particular, has propelled forth theories and practices that resist hermeneutic modes of knowledge production and instead advocate invention as performance. Inspired by the aforementioned scholarship, Victor Vitanza's call for knowledge production that relies on the language games of paralogy, Gregory Ulmer's heuretics, and Sarah Arroyo and Geoffrey Carter's participatory pedagogy, this thesis puts forth a method of invention entitled "producing as a listener." This methodology harnesses the potential of video editing software and video sharing ecologies as choric sites of invention, relies on the reconceptualization of subjects as whatever singularities, and invites electrate and proairetic lines of reasoning wherein video composers invent and write as listeners.

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Juraj, Suđi. "Delatnost i uticaj slovačke horske kulture na razvoj i širenje interkulturalnosti u Vojvodini." Phd thesis, Univerzitet u Novom Sadu, Doktorske disertacije iz interdisciplinarne odnosno multidisciplinarne oblasti na Univerzitetu u Novom Sadu, 2016. https://www.cris.uns.ac.rs/record.jsf?recordId=100575&source=NDLTD&language=en.

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Problem i predmet istraživanja ove doktorske disertacije jeste delatnost i uticajslovačke horske kulture na razvoj i širenje interkulturalnosti u Vojvodini. Putem analizeživota slovačke nacionalne zajednice, njihove migracije i istorijskog razvoja sagledava sepovezanost pevanja sa njihovim životom. Disertacija se bavi analizom celokupnog razvojavokalnog izvođenja od slovačke narodne pesme do horske kulture vojvođanskih Slovakaputem analize rezultata dosadašnjih istraživanja ali i pregledom delatnosti slovačkih horova, sa naglaskom na Vojvodinu. Putem istorijskog razvoja horskog pevanja Slovaka u Vojvodini prati se osnivanje pevačkih društava i horova u slovačkim sredinama, ali i njihovo trenutno stanje. Obostrani uticaj sredine i slovačkih horova u Vojvodini pruža mogućnost razmatranja problema multikulturalnosti i opredeljivanja za koncepciju interkulturalnosti. Detaljno je izrađena analizira delatnosti Kamernog hora Zvony, putem proučavanja članstva, repertoara, nastupa preko primera iz prakse ovog ansambla, ali i Udruženih horova „Zvony“ i „Neven“. Dolazi se do zaključka da delatnost slovačkih horova u Vojvodini ima interkulturni karakter koji se ogleda u kulturnim kontaktima, razmeni kulturnih sadržaja (horske muzike), ekumenskom delovanju i specifičnom vidu dobrovoljnog rada.
The issue and the subject of research this Ph. D thesis are activities and influences of Slovakian choral culture on the development and spreading of multiculturalism in Vojvodina. With a help of analysis of Slovakian national community, their life, migration and historical development , you can see connection between singing and their way of life. This thesis also deals with analysis their vocal performance development, starting from Slovakian folk song and ending with choral culture of Slovaks in Vojvodina, using the research analysis and also activities review of Slovak choirs in Vojvodina. Trough the historical development of their choral singing in Vojvodina, the foundation of Slovakian singing associations and their present status was followed. Mutual influence between living space and Slovakian choirs in Vojvodina , gives the possibility for discussion about multicultural problems and also choice of intercultural concept. The analysis of activities, member status, repertoire, performances(based on practice) of Chamber choir Zvony was detail conducted, but also the activities Joined choirs ''Zvony'' and ''Neven''. As a conclusion, I can say that activities of Slovakian choirs in Vojvodina has intercultural character which is based on cultural contacts, exchange of cultural contents (choral music), ecumenical activities and also on specific volunteering.
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Botha, Charlotte. "Confronting Afrikaans diction challenges in non-Afrikaans mother tongue choirs." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020956.

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This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.
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Smith, Jacqueline Marie. "Women's Narratives of Confinement: Domestic Chores as Threads of Resistance and Healing." Scholar Commons, 2015. https://scholarcommons.usf.edu/etd/5578.

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The term "narratives of confinement" redefines the parameters by which first-person, fictive and non-fictive, accounts of female captivity are classified, broadening the genre beyond Indian captivity narratives and slave narratives to include other works in which female narrators describe physical and/or psychological confinement due to tangible or non-tangible forces. Often these narratives exhibit the transformation of the drudgery of housewifery into powerful symbols of resistance and subversion, especially in reaction to traumatic events related to confinement. Needlework and food, including its preparation and distribution, frequently emerge as metaphors that express the ways in which disempowered women seek to regain control in their lives: sewing often represents an effort by women to seize power, blending the creative act with economic achievement; food preparation also relates to creativity and economic achievement and often represents love and nurturing. In this study, I examine three representative narratives of confinement, using close reading and scholarly evidence as support: Mary Rowlandson's 1682 Indian captivity narrative, A True History of the Captivity and Restoration of Mrs. Mary Rowlandson; Harriet Jacobs' 1861 slave narrative, Incidents in the Life of a Slave Girl: Written by Herself; and Toni Morrison's 1987 fictional neo-slave narrative, Beloved. My examination begins the dialogue regarding the connection between domestic metaphors and narratives of confinement, broadening scholarship to allow more consideration for the subtle, feminized language of domesticity.
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Woerly, Donatienne. "Quel morceau choisi(r) ? Poétique et didactique de corpus littéraires pour l’enseignement/apprentissage du français langue étrangère." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030005.

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Cette recherche explore les corpus littéraires mis en oeuvre dans le cadre de l’enseignement du français langue étrangère du point de vue des formats et de la variation des échelles des textes. Le primat de l’oeuvre intégrale et la condamnation du morceau choisi sont analysés à travers une approche historique qui met en lumière l’instabilité des valeurs données à l’extrait ou à la lecture longue en contexte d’enseignement. L’analyse de corpus éditoriaux français décontextualisés souligne que les formats proviennent d’un double héritage, celui du morceau choisi et celui du document authentique. La mise en extrait obéit à deux matrices, la classicisation, qui répond à des contraintes d’acceptabilité, et la standardisation, qui répond à des contraintes d’accessibilité : l’extraction suit un double continuum organisé autour de deux axes identité/transformation, et opacité/transparence. Le lien à l’oeuvre est majoritairement oublié. Les corpus d’enseignants, contextualisés, présentent des traits plus souples, idiosyncrasiques, une prise en compte des échelles des textes et de la réception. Nous étudions à travers une étude comparative les effets des formats de texte sur la réception par des lecteurs allophones en formation : l’extrait permet une restitution de l’échelle microstructurale, la lecture intégrale sans étayage crée une lecture partielle avec recomposition de la macrostructure, la lecture adaptée autorise une immersion fictionnelle faisant jouer toutes les échelles du lecteur. Nous proposons, pour la formation des futurs enseignants, une didactique de la variation des échelles prenant en compte les effets des formats sur la réception des textes par les apprenants
This research explores the literary corpora used in the context of the teaching of French as a foreign language from the point of view of formats and variation in text scales. The primacy of complete work and the condemnation of the chosen text extracts are analysed through a historical approach that sheds lights on the instability of the values given to the extract or long reading in the context of teaching. The analysis of out of context2French editorial corpora highlights that formats come from a dual heritage: chosen excerpts and authentic documents. Extraction obeys two matrices, classicisation, which responds to acceptability constraints, and standardisation, which responds to accessibility constraints. Extraction follows a double continuum organised around two axes, identity/transformation, and opacity/transparency. The link to the work is mostly forgotten. The corpora produced by teachers, once contextualised, present more flexible, idiosyncratic features, taking into account the scales of texts and their reception. Through a comparative study, we observe the effects of text formats on their reception by allophone readers: text extracts enable a restitution of the microstructural scale, integral readings without support create a partial reading with recomposition of the macrostructure and adapted readings allow a fictional immersion that plays all the scales of the reader. We offer, for the training of future teachers, didactics of the variation of scales that take into account the effects of formats on the reception of texts by learners
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Amrhein, Saundra Marie. "Cuba's Chords of Change: Music, Race, Class & Motherhood at the turn of the 21st Century." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4277.

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This thesis is an ethnography and biographical study that examines the impact of the immense socioeconomic changes underway in Cuba at the turn of the 21st century and the flexible identity categories through which individuals navigate a social crisis. The biography and ethnography in this thesis are centered on the life of Violeta Aldama, an aging revolutionary and Afro-Cuban mother who struggles to make ends meet while fighting to steer her son, Brian, through a classical music education and into a music career. Amid growing racial inequalities when many Afro-Cubans are locked out of the most lucrative jobs in the new tourism sector and less likely to have family abroad sending remittances, the booming dance music industry offers the greatest promise for advancement and wealth than possibly any other profession. With the retraction of the state in a growing market economy, Violeta must scramble to build new networks of support while also coming to terms with the idea that the system she fought for all of her life will no longer be able to sustain her son. This study argues that individuals navigate through social crises through identity categories that are both socially constructed and subjectively fluid. In the process, they rely on these identity categories to build new contacts for support while also finding in them meaning and agency. I frame this thesis around three broad identity categories - race, class and national identity. The study also shows how Violeta in turn experienced these categories - as well as motherhood and her revolutionary roles - and the ways that she used them to build networks of support. The thesis is guided by the theory on lo informal developed by scholar Damián Fernández: the split in individuals between ideals and passionate beliefs versus life on the black market to help loved ones survive. The study's methodology draws from feminist ethnography, examining not only Violeta's position in society as an Afro-Cuban woman and aging revolutionary, but also my relationship with her and her son as a white, middle-class American researcher during a time when relationships with foreigners became a crucial means of social advancement. This research bridges academic areas of study regarding Cuba's growing racial inequalities and the rising economic power of the music industry. It also contributes to the academic canon on social movements by highlighting roles of individuals - not just the state or opposition alliances - as social actors.
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Bogdan, Đaković. "Фунционални и стилско-естетски елементи у српској духовној хорској музици прве половине двадесетог века." Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2013. http://www.cris.uns.ac.rs/record.jsf?recordId=94803&source=NDLTD&language=en.

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Уводно поглавље садржи образложење наслова и предмета студије, као и критичку анализу досадашњих музиколошких радова о српској црквеној хорској музици између два светска рата. Следеће поглавље посвећено је Традиционалној црквеној уметности, њеним основним појмовима и тумачењима у 20. веку. У њему су теоријски разрађени теолошки аспекти аутентичногцрквеног уметничког стваралаштва, са посебним освртом на проблем уметничкогсимвола и његовог функционисања у литургијској перспективи, те месту музике убогослужењу као сложеној синтези више уметничких врста. Поглавље Црквено-уметничко стваралаштво и црквена хорска музика у српској култури између два светска рата доноси контекстуално сагледавање црквене хорске музике са црквеним сликарством и црквеном архитектуром тога времена, тумачећи достигнућа српских композитора као део укупног процеса развоја православне уметности под дејством традиционалних и модерних елемената. У четвртом поглављу Историја жанра кроз сагледавање богослужбених и концертних елемената – стилско-аналитички наратив као централном делу студије извршена је подела посматраних композиција према стваралачким принципима од наједноставнијих обрада и хармонизација напева до сложених и веома оригиналних поступака са и без сличности са црквеним мелодијама. Примарна анализа допуњена је сагледавањем жанровско-извођачких карактеристика (доминантно богослужбена или концертна пракса) које значајно доприносе одређивању односа између функционалних и уметничких елемената осматраних остварења. У последњем поглављу Закључак поред сумирања најзначајнијих релевантних чињеница из претходног тока студије, уз помоћ одређивања опште хијерархије односа између композиционих поступака (превласт западног или православног елемента), као и кроз препознавање типологије начина усвајања конвенција (спровођење композиционих решења) објективно се дефинишу достигнућа српских аутора црквене хорске музике међуратног периода.Успостављени критеријум третира оба својства ове музике: традиционалнувредност у домену литургијско-функционалне употребе, као и уметничкиквалитет по себи, у оквирима укупног развоја српске музике током прве половине 20. века.
Uvodno poglavlje sadrži obrazloženje naslova i predmeta studije, kao i kritičku analizu dosadašnjih muzikoloških radova o srpskoj crkvenoj horskoj muzici između dva svetska rata. Sledeće poglavlje posvećeno je Tradicionalnoj crkvenoj umetnosti, njenim osnovnim pojmovima i tumačenjima u 20. veku. U njemu su teorijski razrađeni teološki aspekti autentičnogcrkvenog umetničkog stvaralaštva, sa posebnim osvrtom na problem umetničkogsimvola i njegovog funkcionisanja u liturgijskoj perspektivi, te mestu muzike ubogosluženju kao složenoj sintezi više umetničkih vrsta. Poglavlje Crkveno-umetničko stvaralaštvo i crkvena horska muzika u srpskoj kulturi između dva svetska rata donosi kontekstualno sagledavanje crkvene horske muzike sa crkvenim slikarstvom i crkvenom arhitekturom toga vremena, tumačeći dostignuća srpskih kompozitora kao deo ukupnog procesa razvoja pravoslavne umetnosti pod dejstvom tradicionalnih i modernih elemenata. U četvrtom poglavlju Istorija žanra kroz sagledavanje bogoslužbenih i koncertnih elemenata – stilsko-analitički narativ kao centralnom delu studije izvršena je podela posmatranih kompozicija prema stvaralačkim principima od najednostavnijih obrada i harmonizacija napeva do složenih i veoma originalnih postupaka sa i bez sličnosti sa crkvenim melodijama. Primarna analiza dopunjena je sagledavanjem žanrovsko-izvođačkih karakteristika (dominantno bogoslužbena ili koncertna praksa) koje značajno doprinose određivanju odnosa između funkcionalnih i umetničkih elemenata osmatranih ostvarenja. U poslednjem poglavlju Zaključak pored sumiranja najznačajnijih relevantnih činjenica iz prethodnog toka studije, uz pomoć određivanja opšte hijerarhije odnosa između kompozicionih postupaka (prevlast zapadnog ili pravoslavnog elementa), kao i kroz prepoznavanje tipologije načina usvajanja konvencija (sprovođenje kompozicionih rešenja) objektivno se definišu dostignuća srpskih autora crkvene horske muzike međuratnog perioda.Uspostavljeni kriterijum tretira oba svojstva ove muzike: tradicionalnuvrednost u domenu liturgijsko-funkcionalne upotrebe, kao i umetničkikvalitet po sebi, u okvirima ukupnog razvoja srpske muzike tokom prve polovine 20. veka.
The introductory chapter contains anexplanation of titles and subjects of the paper,critical analysis of previous musicologicalworks on Serbian Church Choral Music of theperiod between two World Wars. The followingchapter is devoted to the Traditional ChurchArt, its basic elements and interpretations from20th century. This part of the study brings thecrucial theological aspects of the authenticChurch аrt, with the special attention to theproblem of artistic symbol and its function inthe liturgical perspective, as well as the positionof music in the liturgical service as synthesis ofseveral disciplines of art. The chapter namedChurch-artistic practice and Church ChoralMusic in the Serbian culture between the twoWorld Wars brings contextual view over theChurch Choral Music together with the Churchvisual art and Church architecture of the periodunderstanding the composers efforts as part ofthe whole artistic evolution of the Orthodox artunder traditional and modern influences. Thefourth chapter The history of the genre throughthe balance of the liturgical and concertelements as a central part of the study offerssegmentation of the composed music on thebasis of compositional approach from thesimple harmonisations to the original andcomplex attitudes with or without the usage ofthe chant. This kind of basic analyse is followedby the division of the performing characteristics(the dominant liturgical or concert practice)which can help in understanding the relationbetween functional and artistic elements of thischoral genre. The final chapter Conclusionbeside summaries of the most important factsfrom the previous parts of the study, through thedefinition of hierarchy of the relations betweencompositional approaches (the domination ofWestern or Orthodox elements) and recognitionthe typology of the usage of conventions (theguidance of compositional solutions) bringsobjective evaluation of the Church ChoralMusic composed by the Serbian authors of thisperiod. The final reached criteria offers theevaluation of both meanings of this music: itstraditional level of liturgical and functional roleand its artistic value as part of the generaldevelopment of the Serbian music of first partof 20th century.
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Jilek, Dwight. "Sven-David Sandström's Matthäuspassion: Examining J.S. Bach's Influence and Sandström's Compositional Language, Use of Symbolism, and Religious and Spiritual Motivations." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862768/.

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Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.
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Carrasqueira, Antonio Carlos Moraes Dias. "Estudos criativos para o desenvolvimento harmônico do instrumentista melódico: uma contribuição para a formação do músico." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-12032013-165946/.

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Esta tese trata da formação do flautista e de outros instrumentistas melódicos - de sopro, e de cordas não dedilhadas. Ilustrada com exercícios, prelúdios e estudos, consiste basicamente em uma metodologia de ensino que visa não somente ao desenvolvimento técnico-instrumental, mas também ao pleno entendimento da linguagem musical e ao desenvolvimento da consciência harmônica. Para isso, propõe uma forma de estudo baseada na criação de conteúdo, e não na repetição de padrões preestabelecidos.
This thesis is about the teaching of the flute and others melodic instruments - namely winds and strings. Illustrated with studies and etudes, it consists basically of a methodology that seeks not only technical development on the instrument, but also the complete understanding of the musical language and the development of harmonic awareness. With this aim, it proposes a way of practicing based on creativity, improvisation and composition, instead of the repetition of established patterns.
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Books on the topic "Chorti language"

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Ch'orti', Comunidad Lingüística, ed. Topop ojroner maya ch'orti. Guatemala: Academia de Lenguas Mayas de Guatemala, 2006.

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Ch’orti’, Comunidad Lingüística. Ustayaj tz'ijb' te ojroner Ch'orti': Gramatica normativa Ch'orti'. Guatemala: Academia de las Lenguas Mayas de Guatemala, ALMG, 2009.

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Ch'orti', Comunidad Lingüística, ed. Toponimias maya ch'orti'. Guatemala: Academia de Lenguas Mayas de Guatemala, 2002.

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Ch'orti', Comunidad Lingüística. Cha'wirna'r b'ijresyaj chinam murak: Toponimia mayas del Municipio de Jocotán. Jocotán, Chiquimula: Kʼulbʼil Yol Twitz Paxil, Academia de Lenguas Mayas de Guatemala, 2012.

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Martínez, Vitalino Pérez. Gramática del idioma ch'orti'. La Antigua Guatemala: Proyecto Lingüístico Francisco Marroquín, 1994.

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Martínez, Vitalino Pérez. Gramática del idioma ch'orti'. La Antigua Guatemala: Proyecto Lingüístico Francisco Marroquín, 1994.

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Ch'orti', Comunidad Lingüística. Pojp jun. Guatemala: Academia de Lenguas Mayas de Guatemala, 2001.

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Peres, Maruch Komes. Ta jlok'ta chobtik ta k'u'il. San Cristóbal de las Casas, Chiapas, México: Taller Tzotzil, INAREMAC, 1990.

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Drayson, Nicolás. Ja'yitaja'a na si'lij jla'yi ti jayamtijiena: Vamos a leer y escribir en chorote. Salta [Argentina]: Acompañamiento Social de la Iglesia Anglicana en el Norte Argentino, 1999.

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Pastore, Guillermo. Delitos y obsesiones. Salta [Argentina]: Editorial Hanne, 2000.

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Book chapters on the topic "Chorti language"

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"The Language of Music." In Choral Voices. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781501379864.0008.

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Foley, Helene P. "Envisioning the Tragic Chorus on the Modern Stage." In Visualizing the Tragic, 353–79. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199276028.003.0016.

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Abstract Many contemporary performances of Greek tragedy include a chorus of one to three actors that neither sings nor dances and, for an audience accustomed to realistic theatre, often appears to impede the action and awkwardly clutter the set. For example, in a 1998 Broadway production of Sophocles ‘ Electra starring Zoe Wanamaker and directed by David Leveaux that stressed psychological realism, a maternal chorus of three had little to do but prosaically underline the heroine ‘s heavily Freudian neuroses. By contrast, Sophocles ‘ chorus originally created an initially resistant but ultimately dynamic and politically engaged community of fellow lamenters and avengers. The style, movement, and language of larger tragic choruses can also appear painfully artificial and unfamiliar. Productions in contem- porary Greece typically include large, well-rehearsed choruses that both sing and dance choral odes and often take advantage of familiar native music and dance traditions; but outside Greece twentieth- and twenty-first-century directors rarely present tragedies in which the chorus comes close to competing with or even upstaging the actors dramatically.
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Nelson, Robert. "The Language of the Street: A Vocabulary of Communal Space." In Chora 7, 189–216. McGill-Queen's University Press, 2016. http://dx.doi.org/10.1515/9780773598799-010.

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Holmquist, Paul. "“More Powerful than Love”: Imagination and Language in the Oikéma of Claude-Nicolas Ledoux." In Chora 7, 95–116. McGill-Queen's University Press, 2016. http://dx.doi.org/10.1515/9780773598799-006.

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Swain, Joseph P. "Rhythms of Non-Functional Harmony." In Harmonic Rhythm, 129–47. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195150872.003.0011.

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Abstract The harmony of musical languages prevalent in the twentieth century, most of the Renaissance, the Middle Ages, and non-Western traditions is likely to be non-functional. “Nonfunctional” is a somewhat catchall term that covers music whose stable chords either are not triads at all or, if they are, do not have the syntactic relations of tonic, dominant, and subdominant that we hear in Bach, Mozart, and Chopin. Listeners therefore do not sense one chord leading to another in the same way as with the functional languages of the “common practice” period that concerned Walter Piston in his Harmony. Listeners may be entirely unable to predict the next harmonic event in a progression or have little in the way of expectation about it. If they can predict, they predict according to different rules of syntax.
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Artaev, S. N., and Zh A. Mukabenova. "Chort conversational course of kalmyk and korean languages." In The control program of an electronic load simulator. OFERNIO, 2017. http://dx.doi.org/10.12731/ofernio.2017.23437.

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Pinzino, Mary Ellen. "Awakening Artistry." In Giving Voice to Children's Artistry, 5–13. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197606520.003.0002.

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Chapter 1 offers the gateway to artistry in every child. It presents the musical mind, distinguishing it from the thinking mind, with the musical mind’s native language of rhythm, melody, and movement rather than words. It addresses the power of meter and tonality over the musical mind, how the musical mind develops a sense of meter and a sense of tonality, and how to teach to the musical mind. The journey unfolds seamlessly, taking the musical mind into the choral art and drawing artistry out of every child. This chapter lays the groundwork for subsequent chapters, rooting artistry in the process of music learning, and presenting the foundation for children’s artistry in both the music classroom and children’s chorus. Understanding gained from this chapter can be applied to singers of all ages and stages, and practices can be implemented with any methodology.
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Steinberg, Michael. "Charles Wuorinen." In Choral Masterworks, 317–21. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195126440.003.0029.

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Abstract Charles Wuorinen was born on 9 June 1938 in New York City, where he still lives. Genesis, completed on 1 December 1989, was commissioned by the Honolulu Symphony, the Minnesota Orchestra, and the San Francisco Symphony through a grant from Meet the Composer. On 26 September 1991, Herbert Blomstedt conducted the San Francisco Symphony Chorus and Orchestra in the first performance. Wuorinen dedicated Genesis to John Duffy, founder of Meet the Composer, “in personal affection and in admiration of his many good works on behalf of new music.” Herbert Blomstedt was the inspirer and godfather of Genesis as well as its first conductor. In one of Blomstedt’s conversations with Wuorinen during the four years (1985–1989) that Wuorinen was the San Francisco Symphony’s composer-in-residence and he its music director, Blomstedt said: “Wouldn’t it be nice if somebody wrote a new Genesis?” or words to that effect. Also, having conducted several of Wuorinen’s instrumental works, Blomstedt was curious as to what effect the challenge of writing for chorus might have on the composer’s musical language. From these exchanges came the impetus for Wuorinen to add his Genesis to the list of compositions on the subject by Haydn, Schoenberg, Milhaud, and others.
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ShrockP, Dennis. "The Modern Era." In Choral Repertoire, 559–710. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195327786.003.0006.

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Abstract The Modern era began during the early years of the twentieth century when composers felt that the genres, tonalities, scorings, and notational symbols of the Romantic era could no longer satisfy their creative needs. Traditional genres were too confining for new ideas of expres- sion, harmonic language based on functional tonality seemed to be exhausted, additional and unique colors were needed in scoring, and innovative elements of notation were required to manifest revolutionary concepts of communication. Consequently, dramatic changes affected virtually every element of music making. New genres ranged from stage productions that incor- porated dance (e.g., Claude Debussy’s Le martyre de St Sébastien ) to vocal chamber music scored for a large ensemble of highly skilled soloists (e.g., Olivier Messiaen’s Cinq rechants for twelve singers); experiments in new tonalities resulted in the dodecaphonic (twelve-tone) technique, pandiatonicism, bitonality, atonality, and divisions of the traditional chromatic scale into smaller units than half steps; scorings for uncommon colors included wordless chorus as an orchestral instrument, sprechstimme, numerous percussion instruments, and electronic sounds and instruments; and new notation consisted of a wide range of symbols to indicate such performance elements as variations in vibrato, speaking, singing in falsetto, producing the highest or lowest notes possible, and yelling, hissing, whispering, and so on.
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Shrock, Dennis. "The Modern Era." In Choral Repertoire, 636—C6.P1423. 2nd ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197622407.003.0006.

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Abstract The Modern era began during the early years of the twentieth century when composers felt that the genres, tonalities, scorings, and notational symbols of the Romantic era could no longer satisfy their creative needs. Traditional genres were too confining for new ideas of expression, harmonic language based on functional tonality seemed to be exhausted, additional and unique colors were needed in scoring, and innovative elements of notation were required to manifest revolutionary concepts of communication. Consequently, dramatic changes affected virtually every element of music making. New genres ranged from stage productions that incorporated dance (e.g., Claude Debussy’s Le martyre de saint Sébastien) to vocal chamber music scored for a large ensemble of highly skilled soloists (e.g., Olivier Messiaen’s Cinq rechants for twelve singers). Experiments in new tonalities resulted in the dodecaphonic (twelve-tone) technique, pandiatonicism, bitonality, atonality, and divisions of the traditional chromatic scale into smaller units than half steps. Scorings for uncommon colors included wordless chorus as an orchestral instrument, sprechstimme, numerous percussion instruments, and electronic sounds and instruments. New notation consisted of a wide range of symbols to indicate such performance elements as variations in vibrato, speaking, singing in falsetto, producing the highest or lowest notes possible, yelling, hissing, and whispering. In addition, aleatoric performance became a feature of a number of Modern-era compositions. This is especially evident in passages of indeterminate rhythm within traditionally metered music.
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Conference papers on the topic "Chorti language"

1

Cheng-Zhang Peng, Ze-Jun Jiang, Xiao-Bin Cai, and Zhi-Ke Zhang. "Implementing chord with declarative networking language." In 2012 International Conference on Machine Learning and Cybernetics (ICMLC). IEEE, 2012. http://dx.doi.org/10.1109/icmlc.2012.6358988.

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Korzeniowski, Filip, and Gerhard Widnaer. "Automatic Chord Recognition with Higher-Order Harmonic Language Modelling." In 2018 26th European Signal Processing Conference (EUSIPCO). IEEE, 2018. http://dx.doi.org/10.23919/eusipco.2018.8553600.

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Korzeniowski, Filip, David R. W. Sears, and Gerhard Widmer. "A Large-Scale Study of Language Models for Chord Prediction." In ICASSP 2018 - 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2018. http://dx.doi.org/10.1109/icassp.2018.8462285.

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Yang, Zixiaofan, Shayan Hooshmand, and Julia Hirschberg. "CHoRaL: Collecting Humor Reaction Labels from Millions of Social Media Users." In Proceedings of the 2021 Conference on Empirical Methods in Natural Language Processing. Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.emnlp-main.364.

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Raušerová, Andrea. "Mystical experience in late works by Julius Zeyer." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-7.

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Mystical experience is connected with ineffability. This paper proves it in works by various authors. It mentions some common phenomena associated with mysticism, such as stigma, levitation, appearance of light, religious anorexia, etc. Some of them are observed in late works by Julius Zeyer, a Czech novelist and poet, which represent the core of the analysis. Christine the Miraculous and The Three Memoirs of Vít Choráz both reflect mystical experience experienced by the main characters. The paper refers to accompanying aspects of the behaviour of the characters related to ineffable.
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Joshi, Abhinav, Areeb Ahmad, Umang Pandey, and Ashutosh Modi. "ScriptWorld: Text Based Environment for Learning Procedural Knowledge." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/566.

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Text-based games provide a framework for developing natural language understanding and commonsense knowledge about the world in reinforcement learning based agents. Existing text-based environments often rely on fictional situations and characters to create a gaming framework and are far from real-world scenarios. In this paper, we introduce ScriptWorld: a text-based environment for teaching agents about real-world daily chores and hence imparting commonsense knowledge. To the best of our knowledge, it is the first interactive text-based gaming framework that consists of daily real-world human activities designed using scripts dataset. We provide gaming environments for 10 daily activities and perform a detailed analysis of the proposed environment. We develop RL-based baseline models/agents to play the games in ScriptWorld. To understand the role of language models in such environments, we leverage features obtained from pre-trained language models in the RL agents. Our experiments show that prior knowledge obtained from a pre-trained language model helps to solve real-world text-based gaming environments.
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Dewi, Maya, and Mochamad Pratama. "The Inequality in Dividing Household Chores in Novels about Working Mothers." In Proceedings of the 9th UNNES Virtual International Conference on English Language Teaching, Literature, and Translation, ELTLT 2020, 14-15 November 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.14-11-2020.2310239.

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Wang, Yahui. "Yan’an Songs of “Laughtering Border City” and “Crying Out” The Yellow River Chorus During the Anti-Japanese War*." 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.191217.247.

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Min, Yiting, and Moddwyn Andaya. "Enhancing Student Writing Skills through Gamification: Evaluating the Effectiveness of Textopia, an AI-Driven Platform for Personalized Writing Prompts and Feedback." In 5th International Conference on Advanced Natural Language Processing. Academy & Industry Research Collaboration Center, 2024. http://dx.doi.org/10.5121/csit.2024.141020.

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Textopia is an inventive platform addressing the decline in writing skills among students by combining writing with gaming to make learning enjoyable [1]. It leverages OpenAI's API for generating personalized writing prompts and provides instant feedback on writings to enhance students' skills [2]. The system includes components like PromptManager for prompt generation and FeedbackManager for offering constructive feedback and grammatical corrections. Moreover, Textopia integrates a gaming element where progress in writing unlocks new gaming features, linking educational achievements with gaming rewards. This approach aims to motivate students, making writing a rewarding activity. An experiment within the research illustrates significant improvement in writing quality through iterative feedback and writing exercises, suggesting Textopia's effectiveness in fostering writing skills [3]. By transforming writing from a chore into an engaging experience, Textopia addresses educational challenges, rekindles students' passion for writing, and opens avenues for academic and personal growth. This innovative blend of writing and gaming in education offers a promising solution to enhance student engagement and writing proficiency.
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Cazac, Radu. "Sound aspects in Sonata no. 1 for clarinet and piano by Oleg Negruţa." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.11.

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Abstract:
The author proposes to study some structural elements of the sound discourse, as well as their manifestation in the ideation of Sonata no.1 for clarinet and piano by Oleg Negruţa. The fact that this creation is written under the influence of jazz music and style is mentioned by the composer himself in the preface to the work – Sonata in Jazz Style. Following the detailed analysis of the first part, it can be observed that the element (language) of jazz is used to the maximum. Typical intonations as jumps, ornaments, trills, sonorous slides, delayed sounds, but also the genuistic sphere are used to the full: the swing dance, although it is the author's music, without resorting to citation, yet its melody corresponds to metrical patterns, rhythmic and expressive of the jazz style. Equally ingenious are the harmonies specific to African-American music – altered chords, unresolved seventh chords, arpeggios, sound overlaps, etc. As is natural, the improvisational manner has a massive presence in the work, which persists in the illustration of the basic themes.
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