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Journal articles on the topic 'Contextual song'
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1
Setiawati, Wilya, and Maryani Maryani. "AN ANALYSIS OF FIGURATIVE LANGUAGE IN TAYLOR SWIFT’S SONG LYRICS." PROJECT (Professional Journal of English Education) 1, no. 3 (June 11, 2018): 261. http://dx.doi.org/10.22460/project.v1i3.p261-268.
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AbstractThis research is entitled An Analysis of Figurative Language in Taylor Swift's song lyrics it aims to know the types of figurative language that are used in Taylor swift lyrics and describe the contextual meaning of the figurative language used in Taylor's lyrics. The research data is obtained from two songs from one albumof Taylor Swift. The album titled Red with three songs taken entitles Red and 22. This research uses descriptive qualitative method in observation and library research in collecting data of this research. Figurative language found consists of simile, metaphor, hyperbole, paradox, irony and personification. In this research, these findingsshow that hyperbole is the most dominant in Taylor Swift’s song and based on the contextual meaning of overall song lyrics of Taylor Swift tell about conflict, pain heart and deeply treachery.Keywords: song, lyric, figurative language, contextual meaning
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Rahmawati, Septi, and Ade Rahima. "MAKNA KONTEKSTUAL DALAM LAGU LUKAH GILO PADA MASYARAKAT KABUPATEN TEBO PROVINSI JAMBI (STRUKTURAL HERMENEUTIK)." Aksara: Jurnal Ilmiah Pendidikan Bahasa dan Sastra Indonesia 3, no. 2 (January 14, 2020): 243. http://dx.doi.org/10.33087/aksara.v3i2.137.
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This research is aimed at describing contextual meaning in the song lukah gilo of Tebo Regency society Jambi city. This research is qualitative descriptive. The data is the lyric of lukah gilo song of Tebo regency society Jambi city (Hermeneutics structural). Meanwhile the technique of collecting data is observation, interview, and recording. The result of this research shows the description of how contextual meaning in the song lukah gilo of Tebo regency society Jambi city (hermeneutics structural), they are: (1) Contextual meaning on the song lyric of lukah gilo related with lexical meaning, (2) Contextual meaning which is related with situational context (place and time), (3) Contextual meaning which is related with belief, (4) Contextual meaning which is related with animism, (5) Contextual meaning which is related with faith. The contextual meaning in the song lukah gilo consists of 72 lines and dan 11 verses.
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Pawley, Alisun, and Daniel Müllensiefen. "The Science of Singing Along: A Quantitative Field Study on Sing-along Behavior in the North of England." Music Perception 30, no. 2 (December 1, 2012): 129–46. http://dx.doi.org/10.1525/mp.2012.30.2.129.
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the study investigates contextual and musical factors that incite audiences in Western music entertainment venues to sing along to pop songs. Thirty nights of field research were carried out in five entertainment venues across northern England. The percentage of people singing along was recorded for each of the 1,054 “song events,” serving as the dependent variable. In addition, musical analysis was carried out on the songs of a subset of 332 song events. Nine contextual factors as well as 32 musical features of the songs were considered as different categories of explanatory variables. Regression trees and a random forest analysis were employed to model the empirical data statistically. Results indicate that contextual factors can account for 40% of the variability in sing-along behavior, while adding musical factors into the model – in particular those relating to vocal performance – was able to explain about another 25% of the variance. Results are discussed with respect to theoretical approaches on neo-tribal behavior.
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Eerola, Tuomas, and Micah Bregman. "Melodic and contextual similarity of folk song phrases." Musicae Scientiae 11, no. 1_suppl (March 2007): 211–33. http://dx.doi.org/10.1177/102986490701100109.
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Case, M. L. "Cunning Linguists: Oral Sex in the Song of Songs." Vetus Testamentum 67, no. 2 (March 17, 2017): 171–86. http://dx.doi.org/10.1163/15685330-12341277.
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As is typical of the metaphorical nature of poetry, the Song of Songs describes sexual activities indirectly, without giving any explicit references. As a result, interpreters often hesitate to define the exact practices portrayed in any given verse. For example, both Song 2:16 and 6:3 describe the male lover as “he who grazes among the lotuses.” Many scholars read these verses as some type of sexual activity, but do not specifically define the action. Using comparative evidence from Egyptian and Sumerian love poetry, as well as contextual analysis of these verses within the Song as a whole, I argue that these verses depict a particular type of love-making, cunnilingus. According to my reading, Song 2:16 and 6:3 focus exclusively on the sexual pleasure of the two partners, disregarding other potential benefits of sexual intercourse, such as reproduction, giving us a rare glimpse into a particular sexual practice in ancient Israel.
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Agustin, Tuti Dwi, Amri Tanduklangi, and Yulius Tandi Sapan. "AN ANALYSIS OF METAPHOR IN ONE DIRECTION ALBUM." Journal of Teaching English 4, no. 2 (June 29, 2019): 239. http://dx.doi.org/10.36709/jte.v4i2.13924.
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Lyrics in song are intended to send a message to the audience or music lovers. Composers use figurative language as the media to convey their message. One of the figurative languages that is mostly used in song’s lyrics is Metaphor. This study was intended to investigate the types of metaphor used in One Direction Album. The objective of this study to identify the types of metaphor found in the song lyrics and to analyze metaphor meaning in One Direction song. This study adopted a descriptive qualitative research design. Three songs by One Direction had been chosen as the data of this study; Story of My Life, Steal My Girl and Drag Me Down. The data were analyzed its metaphor by using Lakoff and Johnson theory, while in investigating the meaning, Chaer’s theory of contextual meaning was used. The result of the study showed that based on the three types of metaphor, structural metaphor becomes the most frequently used in the song lyrics, meanwhile 2 of 3 songs used all of the three types of metaphor; Orientation, Structural and Ontological Metaphor. In answering the second research question about the meaning of each metaphor, each lyric has been analyzed through content analysis to know the true meaning of what the song writer want to express in his/her lyrics and each lyric has different contextual meaning which is elaborated further in this study. Keywords: Metaphor, Meaning, One Direction’s Album
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Ardhyanti, Stella Vania, and Supriyatiningsih Supriyatiningsih. "FIGURATIVE LANGUAGE ANALYSIS IN CELINE DION’S SONG LYRICS FALLING INTO YOU ALBUM." PROJECT (Professional Journal of English Education) 3, no. 1 (January 26, 2020): 11. http://dx.doi.org/10.22460/project.v3i1.p11-19.
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Figurative language is the ways to show the writer’s thought use the special word, which have hidden meaning of it. This research analyzed Celine Dion’s songs, they are Fly and Falling into You. The objectives of this research are to find out the types of figurative language and meanings of the figurative language in Celine Dion’s songs. The writers take two songs from this album, they are Fly and Falling into You. The method of this research was qualitative descriptive. The data were taken from Genius.com website. Figurative language that the writers found in this research were six metaphors, two symbolisms, two imageries, two similes and one personification. In the Fly song there were four metaphors, and one symbolism. Besides in the Falling into You song there were two metaphors, one symbolism, two imageries, two similes, and one personification. The writers found the hidden meaning of these two songs. The Fly song told about parents who express deep sadness at the loss of her child. While, the Falling into You song told about someone who show his/her felling to someone they loved.Keywords: Figurative Language, Song Lyrics, Contextual Meaning
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Arifin, Win Listyaningrum. "A Discourse Analysis on “Under the Same Sun” from Scorpions." Journal of Pragmatics Research 1, no. 1 (April 26, 2019): 78–88. http://dx.doi.org/10.18326/jopr.v1i1.78-88.
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The song "Under the Same Sun" firstly released in 1993 is a song written by famous rock group music namely Scorpions. This group is coming from Hannover, Germany. Though renowned phenomenally as a music group with loud genre but this song is a ballad one because it really tells the story of real-life people in the war zone while citizens of the world just show a little caring concern. The song portraits a common view on the hopelessness of victimized people in war zone who need for sympathy and empathy. Otherwise, they get no positive response from other people who live in comfort. This paper is a library research with a descriptive qualitative approach to investigate the discourse analysis of a song lyric. The approach is then used to analyze the data from the song lyrics. The discourse aims at finding the discourse on its grammatical aspect, lexical aspects, situational aspect, and contextual aspect. The study’s discourse analysis on the song lyrics reveals several features. From the grammatical aspect of this song revealed the references in the form of pronoun and demonstrative, ellipsis and conjunction. While in the lexical aspects, it found only two components, namely reps and collocation. The contextual analysis showed the cultural context and the context of the situation. Meanwhile, the situational context itself is divided into physical context, epistemic context and social context.Keywords: Grammatical Aspect, Lexical Aspect, Contextual Aspect
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Story, Cullen. ""Another Look at the Fourth Servant Song of Second Isaiah"." Horizons in Biblical Theology 31, no. 2 (2009): 100–110. http://dx.doi.org/10.1163/019590809x12553238842989.
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AbstractThis essay argues for a contextual exegetical reading of the servant songs in Second Isaiah. By reading the songs in the literary context of references to the "second exodus" and hymns of celebration, several conclusions can be drawn. There are three servant figures in the four servant songs: one servant (Israel) in need of redemption, one servant (Second Isaiah) who proclaims redemption, and one servant (the Messiah) who procures redemption. This servant of the fourth song is not the prophet himself or Israel but a servant figure whose sacrifice will break the yoke of Babylon.
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Fajrin, Maudy Yaser, and Aseptiana Parmawati. "AN ANALYSIS OF FIGURATIVE LANGUAGE FOUND IN SONG OF BRUNO MARS ENTITLED “GRENADE”." PROJECT (Professional Journal of English Education) 4, no. 4 (July 12, 2021): 588. http://dx.doi.org/10.22460/project.v4i4.p588-594.
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Individuals use language as a means of communication everywhere and at all times. In today's world, figurative language is often encountered in everyday life, such as in song lyrics. Figurative language is a way of describing something without saying it directly. This research aims to investigate the figurative languages found in the lyrics of the song "Grenade" by analyzing their context and attempting to decipher their meaning. The data tool is song lyrics found on the internet, and the research approach is descriptive qualitative analysis. The results revealed that this album employs figurative language such as metaphor, hyperbole, and repetition. Furthermore, the most figurative words used in the lyrics is hyperbole. Each figurative language's contextual sense is often clarified in relation to the lyric's situation. Keywords: Figurative Language, Song lyrics, Contextual Meaning
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Howes-Jones, Daryl. "The complex song of the warbling vireo." Canadian Journal of Zoology 63, no. 12 (December 1, 1985): 2756–66. http://dx.doi.org/10.1139/z85-411.
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The song of the warbling vireo (Vireo gilvus) was described as a nested hierarchy consisting of four levels: song, figure patterns, figures, and figure regions. Song appeared to be organized as a set of nested undulations or cycles of tone of between 2 and 160 Hz. The dominant feature of song is its complex rhythmic structure. The complexity of song was considered to result from flexibility in the rules which governed how undulations on the various levels were combined. The first and last three figures of song showed characteristic shape. The figure repertoire was graded in form and similar among individuals. Figure patterns gradually changed in consecutive songs and during the season, forming what appeared to be a continuously changing set of themes with variations. Despite this variation, neighbouring males shared a greater number of figure patterns in their repertoires than more distant males. Redundancy, as measured in the first half of song, increased at the onset of nest building and was greatest when the male was sitting on the nest. Characters or structures in song that potentially encode species, individual, contextual, or motivational information were described.
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Nursolihat, Siti, and Evie Kareviati. "AN ANALYSIS OF FIGURATIVE LANGUAGE USED IN THE LYRIC OF “A WHOLE NEW WORLD” BY ZAYN MALIK AND ZHAVIA WARD." PROJECT (Professional Journal of English Education) 3, no. 4 (July 23, 2020): 477. http://dx.doi.org/10.22460/project.v3i4.p477-482.
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Language is a tool of communication used by people anywhere and every time. Now days people commonly find a figurative language in daily life, for example in a lyric of song. Figurative language is a way to express an idea in implicit way. This research is trying to analyze the figurative languages which exist in the lyric of song “A Whole New World” and trying to find out its meaning by analyzing its contextual meaning. This is a descriptive qualitative research. The data instrument is the song lyric which taken from Genius website. The result showed that this song consist of some figurative languages, such as alliteration, simile, personification, metaphor, and hyperbole. Furthermore, the most figurative language used in the lyric is metaphor. It is highly relatable with the imaginative theme of the song itself. The contextual meaning of each figurative language is also explained based on the situation of the lyric.
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Nuraeni, Syifa, Taufik Ismail, and Evie Kareviati. "THE ANALYSIS OF FIGURATIVE LANGUAGE USED IN THE LYRIC OF AWAKEN BY MAHER ZAIN." PROJECT (Professional Journal of English Education) 3, no. 2 (March 17, 2020): 187. http://dx.doi.org/10.22460/project.v3i2.p187-194.
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Figurative language is a part of semantic. This research analyzed the figurative language used in the lyric of Awaken by Maher Zain. The aims of this research are to figure out the figurative languages used in the lyric of Awaken and to analyze the contextual meaning of figurative language used in that song lyric. It is expected the result of this research will be useful for the reader especially in describing what figurative language is and what kinds of figurative language are. The design of this research is descriptive qualitative research. The lyrics of song is got from kapanlagi.com entitle Awaken. The result found that there are some kinds of figurative language used in Maher Zain’s song entitle Awaken, such as hyperbole, rhetoric, repetition and personification. The contextual meaning of each figurative language is also clarified. The conclusion of this research is there are some kinds of figurative language use by Maher Zain in his song entitle Awaken.
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Sopiansyah, Indra, and Ratih Inayah. "THE ANALYSIS OF FIGURATIVE LANGUAGE IN “GIRL ON FIRE” SONG LYRICS BY ALICIA KEYS." PROJECT (Professional Journal of English Education) 4, no. 2 (March 15, 2021): 208. http://dx.doi.org/10.22460/project.v4i2.p208-215.
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Figurative languages are languages that use figures of speech, not literal meanings. This research analyzed the figurative language used in the lyric of Girl on Fire by Alicia Keys. The purpose of this research is to find out the types of figurative language in the lyrics of the song Girl on Fire by Alicia Keys and to analyze the contextual meaning of figurative language used in that song lyrics. It is hoped that the results of this study will be useful for readers, especially in describing what figurative language and what kind of figurative language are. The method of this research is descriptive qualitative research. The lyrics of song is got from (Keys, 2012) entitle Girl on Fire. The result found that there are some kinds of figurative language used in Alicia Keys’ song entitle Girl on Fire, such as alliteration, cliché, hyperbole, idiom, imagery, metaphor, personification, repetition, similie, and symbol. The contextual meaning of each figurative language is also clarified. The conclusion of this research is there are some kinds of figurative language use by Alicia Keys in her song titled Girl on Fire.
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Benadon, Fernando. "More Rhythmic Interactions in Two (or Three) Aksak Performances." Empirical Musicology Review 10, no. 4 (January 28, 2016): 341. http://dx.doi.org/10.18061/emr.v10i4.4887.
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Goldberg (this issue) presents evidence of interactions between percussive timing and song structure in two 3+2+2-meter Balkan performances. Using interonset measurements and checking carefully for statistical significance, he shows that formal and contextual characteristics of each performance coincide with timing changes at the level of the beat and bar, with durations becoming slightly shorter or longer at consistent locations. I review Goldberg’s main findings and contribute brief supporting analyses. For one of the songs, I provide additional context regarding verse meter, melodic structure, anacrustic drive, links between timing and breathing, and offsets between taps and syllabic onsets. For the other song, I attempt to tease out the difference between shortened non-isochronous beats (an altered <em>aksak</em> ratio) and shortened bars (an accelerated tempo). I end with a brief analysis of a different song by the same performer as the first song, showing that the timing effects Goldberg observed in one are also present in the other.
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Gunawan, Anastasia Ema, and Eripuddin. "AN ANALYSIS OF IDIOMATIC EXPRESSION FOUND IN ADELE’S LYRICS SONG." JEE (Journal of English Education) 5, no. 2 (December 2, 2019): 84–99. http://dx.doi.org/10.30606/jee.v5i2.565.
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The purpose of the research was to find out the idiomatic expression and to find out the contextual meaning of idiom expression which are used in Adele’s lyrics song. The technique of analyzing the data the researcher used descriptive qualitative. Qualitative research referred to the meaning, concepts, definitions, symbols and description of the things. There are 56 idiomatic expression found in 3 types of idiom those are Phrasal verb idiom, Tournure idiom and Irreversible Binomial idiom. Whereas another idiom could not be found by the researcher during the analysis. This research found the menaing of idiom expression moast as a contextual meaning. The researcher hopes that’s this thesis will be useful for both theoretical and practical source in learning how to translateEnglish Idiom and also for those who conduct further study about analysis of idiomatic expression.
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Pinxten, Rianne, Denitza Pavlova, Marcel Eens, and Veerle Darras. "Effects of nestboxes and males on female song activity in the European starling: an experimental study." Behaviour 144, no. 10 (2007): 1255–71. http://dx.doi.org/10.1163/156853907781890968.
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AbstractEnvironmental, contextual or social factors influencing song in female songbirds have been little studied. Female European starlings Sturnus vulgaris sing robustly throughout most of the year, except during the breeding season when their song production dramatically decreases. Here we experimentally investigated the effect of the presence of males and/or nestboxes on song production in captive female starlings during the breeding season. Spontaneous song activity of two experimental groups and one control group (housed with nestboxes, but no males) was observed for one month from the end of March onwards. Additionally, we tested whether female song rate is related to oestradiol plasma levels. The experimental results showed that song rate significantly decreased with the progressing of the breeding season and this process seemed not to be regulated by oestradiol. Nestboxes clearly promoted song production, as previously found in male starlings, while the presence of males negatively affected female song rate. Taken together these results indicate that, in the course of the breeding period, the suppressive influence of the day length and the presence of males on female song production override the stimulating effect of nestboxes, and that engagement in breeding activities is largely incompatible with singing in female starlings.
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Elis N. M., Endang Retnaningdyah. "Analisis Wacana Lagu Dolanan Anak-Anak Dalam Lirik Lagu Ayo Padha Dolanan dan Kamit." Resital: Jurnal Seni Pertunjukan 17, no. 2 (August 15, 2016): 118–30. http://dx.doi.org/10.24821/resital.v17i2.2224.
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Lagu dolanan anak-anak merupakan salah satu bentuk warisan budaya bangsa yang perlu dipertahankan dan dilestarikan mulai dari sekarang. Hal ini mengingat semakin majunya peradapan di bidang alat-alat komunikasi yang mulai mengeser budaya lokal. Salah satunya media bermain anak-anak lewat syair lagu dolanan yang semakin langka. Lagu dolanan anak-anak merupakan salah satu media untuk membentuk karakter pendidikan pada anak-anak. Pembentukan karakter sangat diperlukan pada saat usia anak-anak karena akan mempengaruhi perkembangan jiwanya. Penelitian ini bertujuan untuk menganalisis aspek gramatikal, aspek leksikal, dan aspek kontekstual dalam lirik lagu Ayo Dolanan dan Kamit. Penelitian ini menggunakan penelitian deskriptif kualitatif dengan menggali berbagai aspek gramatikal, leksikal, dan kontekstual dalam lirik lagu dolanan Ayo Dolanan dan Kamit.Children dolanan song is one of the nation's cultural heritage which needs to be maintained and preserved from now. This is due to the rapid advancement of civilization in the field of communication which began to shift the local culture. One of these children play media through the lyrics of dolanan song is increasingly scarce. Children dolanan song is one of the media to shape the character of the children's education. The formation of character is indispensable at the age of children because it will affect the development of his soul. This study aims to analyze aspects of grammatical, lexical aspectss, and contextual aspects in the lyrics of the song Ayo Dolanan and Kamit. This study uses a qualitative descriptive study to explore various aspects of the grammatical, lexical, and contextual in dolanan song lyrics Ayo Dolanan and Kamit.
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Motschenbacher, Heiko. "A corpus linguistic study of the situatedness of English pop song lyrics." Corpora 11, no. 1 (April 2016): 1–28. http://dx.doi.org/10.3366/cor.2016.0083.
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This study uses corpus linguistic methods to investigate how the situatedness of pop song lyrics may affect their linguistic make-up. For this purpose, I compare a corpus of Eurovision lyrics (ESC-ENG) to a general pop lyrics corpus (G-Charts) which is used as a reference corpus. This is done to detect specificities of the Eurovision lyrics, which can be related to the contextual salience of Europeanness in the Eurovision Song Contest. The major focus is on semantic keyness analyses carried out with the help of Wmatrix. These analyses highlight semantic fields that occur unusually frequently or infrequently in the Eurovision lyrics in comparison to the general charts corpus. The semantic keyness analyses are further complemented by keyword analyses and a closer examination of lexical items within particular semantic fields. The results show that Eurovision lyrics construct a discursive world that differs in various respects from that of commercially successful pop songs.
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Bradley, C. Randall. "Congregational Song as Shaper of Theology: A Contemporary Assessment." Review & Expositor 100, no. 3 (August 2003): 351–73. http://dx.doi.org/10.1177/003463730310000304.
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The faith and identity of Christian communities are formed and defined in large degree by musical forms and patterns. Music shapes and conveys theology, and is a point of engagement with broader culture. This is especially true in Free Church evangelicalism, where musical styles have nearly replaced denominational distinctives as the demarcating lines among various groups. This essay argues that music and worship are “active theology.” Worship and its music should over time express the full range of Christian truth and form worshipers truthfully. The essay explores and catalogues principal influences and concerns pertaining to musical form, style, and content. Church musicians are encouraged to see themselves as shapers of contextual theology in their communities.
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Risdianto, Faizal. "Discourse Analysis of a Song Lyric Entitled "We Will Not Go Down”." Register Journal 9, no. 1 (September 23, 2016): 90. http://dx.doi.org/10.18326/rgt.v9i1.524.
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This library research aimed at finding the three aspect of discourse analysis: contextual, grammatical and lexical aspect of Michael Heart’s song lyrics entitled “We will not go down (Song for Gaza). After analysis it can be found that the life experience and background of the song writer and singer is closely related to the idea proposes within the song lyrics. Whereas, the result of the grammatical and lexical analysis gives a depiction of cohesion and coherence of the song discourse of “We will not Go Down (Song for Gaza)”. There are eight (8) forms of first plural personal pronoun of “We”, four (4) second plural personal pronoun of ‘You” and seven (7) third personal pronouns in various forms. On the other side, it is difficult to find lexical aspects of this song discourse. There is only one form of anaphoric repetition. The repetition of the sentence “We Will Not Go Down” seven times is to influence the hearers whether they are supporters or opponents of the idea brought by the singer/the author that whatever happens Palestinian people will not surrender to every force, nation or people that want to colonialize them.
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Risdianto, Faizal. "Discourse Analysis of a Song Lyric Entitled "We Will Not Go Down”." Register Journal 9, no. 1 (September 23, 2016): 90. http://dx.doi.org/10.18326/rgt.v9i1.90-105.
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This library research aimed at finding the three aspect of discourse analysis: contextual, grammatical and lexical aspect of Michael Heart’s song lyrics entitled “We will not go down (Song for Gaza). After analysis it can be found that the life experience and background of the song writer and singer is closely related to the idea proposes within the song lyrics. Whereas, the result of the grammatical and lexical analysis gives a depiction of cohesion and coherence of the song discourse of “We will not Go Down (Song for Gaza)”. There are eight (8) forms of first plural personal pronoun of “We”, four (4) second plural personal pronoun of ‘You” and seven (7) third personal pronouns in various forms. On the other side, it is difficult to find lexical aspects of this song discourse. There is only one form of anaphoric repetition. The repetition of the sentence “We Will Not Go Down” seven times is to influence the hearers whether they are supporters or opponents of the idea brought by the singer/the author that whatever happens Palestinian people will not surrender to every force, nation or people that want to colonialize them.
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Mahar, William J. ""Backside Albany" and Early Blackface Minstrelsy: A Contextual Study of America's First Blackface Song." American Music 6, no. 1 (1988): 1. http://dx.doi.org/10.2307/3448343.
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Alexandre Dos Santos, Armando. "Na sequência da Cançó de l´Orifany, a queda moral do herói." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 13 (June 27, 2019): 45. http://dx.doi.org/10.7203/scripta.13.15475.
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Resumo: Análise textual, contextual e psicológica de um episódio colateral, mas de grande importância da novela de cavalaria Curial e Guelfa (século XV): a Canção do Elefante e a queda moral do herói.
Palavras-chave: Curial e Guelfa, literatura catalã, cavalaria, novelas de cavalaria, queda moral
Abstract: Textual, contextual and psychological analysis of a collateral but important episode of the novel of chivalry Curial and Guelfa (15th. century): the «Song of the Elephant» and the hero´s moral decadence.
Keywords: Curial and Guelfa, Catalan literature, chivalry, novels of chivalry, moral decadence
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Riazanov, I., and V. Yakuba. "CONCEPTS OF RELIGION IN MODERN AMERICAN RAP LYRICS." Studia Philologica, no. 2 (2019): 57–61. http://dx.doi.org/10.28925/2311-2425.2019.13.9.
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The article studies verbalization mean of religious concepts in Kendrick Lamar’s songs of his 2017 album DAMN. After introducing the inventory of lexemes representing themes of religion, the authors argue for correlations with basic concepts and explain the structure of the thematic field, representing religion in all fourteen songs of the album. The album structure and each song of it include over a hundred tokens referring to various religious concepts – mainly GOD, SIN, and PRAY, each of them being verbalized by a group of lexemes, fifteen total, which share certain semantic components. The micro-contexts with biblical quotes will be regarded as convergence points of the album’s text and analyzed individually for their stylistic value, but in general contributing to the general view of the album as a spiritual challenge. Through each next song a new aspect of religious concepts adds to the existing inventory, certain repetitions and cross-contextual allusions confirm and support them, adding coherence and continuity to the album’s structure. Out of fourteen songs of the album seven directly verbalize basic religious concepts through the notions of God, pride, humility, lust, love, loyalty, fear. This explicit structural feature together with the ambiguous title offer a series of logical steps in evaluating the sinful vs virtuous choices. This contrast is identified and sustained through such stylistic devices as repetitions, allusions, rhetorical questions and others.
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Hutahaean, Sorta, and Edward Edward. "KOHESI LEKSIKALI DALAM LIRIK LAGU CRAIG DAVID." Jurnal Ilmu Budaya 11, no. 2 (February 3, 2015): 80–100. http://dx.doi.org/10.31849/jib.v11i2.1100.
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The purpose of this analysis is to describe the lexical cohesion in five Craig David song lyrics. The data were taken from the words, phrases, sentences of the song lyrics which contain the elements of lexical cohesion. Lexical cohesion described are repetition, synonymy, antonymy, equivalent, hyponymy, metonymy, and collocation. Data analysis is descriptive qualitative. The analysis is based on the semantic relation. The lexical cohesion in the lyrics are supported by the cohesiveness of the text. The aims of using lexical cohesion is to make the text harmony and to tie the text in order to have contextual meaning. The finding shows that repetition is the dominant devices used.
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Molina, Mariya. "SIMILATIVE CONSTRUCTIONS IN HITTITE «SONG OF ULLIKUMMI»." Izvestia of Smolensk State University, no. 1 (49) (May 26, 2020): 60–73. http://dx.doi.org/10.35785/2072-9464-2020-49-1-60-73.
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The article is aimed at the analysis of similative constructions with the semantics «X like Y» in Hittite epos the «Song of Ullikummi». Contextual analysis allows the author to detect this type of collocations without any markers like asyndetic
constructions (with juxtaposition, a chain of accusatives).
The author of the article has studied the word order in these constructions. It has been shown that the similarity phrase regularly takes place in the immediate preverbal position after the object and the adverbial modifier of place in a linear
structure. It is interesting to find contexts with a standard of comparison in the initial position of the clause, which points out to the upper (and marked) focus position. This type of placement mostly correlates with right dislocations, frequent in
the Hittite poetic language. As for the linear word order, constructions with conjunction «like X», as a rule, appear as a sequence «a comparee – a standard of comparison – a marker of
the standard». The rare sequences «a standard – a comparee – a marker» show markedness connected to the needs for information structure, which demands further research. In asyndetic constructions the standard sequence appears as «a comparee – a standard». In the paper it has been shown that similative constructions in the «Song of Ullikummi» actually lost the proper similarity semantics and serve as markers of certain qualities of poetic images.
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Wilhelm, Lindsey A. "Using Contextual and Visual Cues to Improve Sung Word Recognition in Hearing Aid Users." Journal of Music Therapy 57, no. 4 (June 23, 2020): 379–405. http://dx.doi.org/10.1093/jmt/thaa009.
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Abstract Older adults commonly experience hearing loss that negatively affects the quality of life and creates barriers to effective therapeutic interactions as well as music listening. Music therapists have the potential to address some needs of older adults, but the effectiveness of music interventions is dependent on the perception of spoken and musical stimuli. Nonauditory information, such as contextual (e.g., keywords, picture related to song) and visual cues (e.g., clear view of singer’s face), can improve speech perception. The purpose of this study was to examine the benefit of contextual and visual cues on sung word recognition in the presence of guitar accompaniment. The researcher tested 24 community-dwelling older adult hearing aid (HA) users recruited through a university HA clinic and laboratory under 3 study conditions: (a) auditory stimuli only, (b) auditory stimuli with contextual cues, and (c) auditory stimuli with visual cues. Both visual and contextual nonauditory cues benefited participants on sung word recognition. Participants’ music background and training were predictive of success without nonauditory cues, and visual cues provided greater benefit than contextual cues. Based on the results of this study, it is recommended that music therapists increase the accessibility of music interventions reliant upon lyric recognition through the incorporation of clear visual and contextual cues.
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Prkić-Palavra, Kristina, and Izet Pehlić. "Value Characteristics of Sevdalinka And Turbo-folk as Musical Genres." Društvene i humanističke studije (Online), no. 1(14) (February 4, 2021): 201–22. http://dx.doi.org/10.51558/2490-3647.2021.6.1.201.
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This paper has started from the fact that contextual analysis of song lyrics underlines that the meaning in lyrics is never completely clear, and its functional value and peculiarities are emphasized. This fact is based on insight into the relevant scientific and theoretical sources. The aim of this research was to establish the peculiarities and differences between sevdalinka and turbo-folk genres through a comparative analysis of sevdalinka lyrics and songs written in the spirit of sevdalinka, and turbo-folk songs lyrics. The research started from the assumption that the features of sevdalinka and turbo-folk music as musical genres are very different. The research methods used were the method of theoretical analysis and the method of content analysis, and the dataset consisted of 8 representative sevdalinka songs and songs based on the model of sevdalinka, and 8 turbo-folk songs, which were analyzed for conclusions. The results of the research showed how sevdalinka and turbo-folk songs promote different values. It was concluded that the positive values promoted by sevdalinka songs should be used to a greater extent for educational purposes.
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I Gusti Ayu Nila Wijayanti, I. Gusti Ayu. "Makna Bahasa Figuratif pada Lirik Lagu Kiss From A Rose Oleh Seal." Pustaka : Jurnal Ilmu-Ilmu Budaya 18, no. 2 (June 20, 2020): 89. http://dx.doi.org/10.24843/pjiib.2018.v18.i02.p04.
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Figurative language is language that uses words or expressions with a meaning that is different from literal interpretation. When a writer uses literal language, he or she is simply stating the facts as they are. Figurative language is very common in poetry, but is also used in prose and non fiction writing. The aims of this research are to find out the figurative language used in Kiss From a Rose song which is very popular in the era 90’s and sang by Seal and to analyze the contextual meaning of figurative language used in that song. This research used descriptive qualitative research method. The theory used in this research is theory figurative language.
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Rati Hidayah, Ati, I. Dewa Kompiang Gede Kompiang Gede, I. Putu Yuda Haribuana Yuda Haribuana, Rochtri Agung Bawono, Jatmiko Jatmiko, Thomas Sutikna Sutikna, I. Gusti Made Suarbhawa Made Suarbhawa, and Nyoman Arisanti. "Song Gede: Situs Gua Hunian Sejak Masa Pleistosen Akhir di Pulau Nusa Penida, Bali." PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 10, no. 1 (July 8, 2021): 103–18. http://dx.doi.org/10.24164/pw.v10i1.398.
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Prehistoric archaeological research in Indonesia recently showed the existence of dwelling caves from the late Pleistocene, starting from Sumatra, Java, Sulawesi to East Nusa Tenggara. The Song Gede site is one of the dwelling caves from the late Pleistocene which was very interesting to be discused, especially when tracing the distribution of early modern humans in Southeast Asia. The location of the Song Gede site is considered to have a very strategic position because it was located at the eastern end of the Sunda Shelf towards Wallacea. The purpose of this paper is to study the chronology of the Song Gede Site and review the results of research at the Song Gede Site as an ocupation site that is on the migration route in the southern part of the Sunda Shelf to the Wallacea region or vice versa. The research method used was stratigraphic analysis, contextual and carbon dating methods. The results showed that the Song Gede Site has been inhabited since the late Pleistocene to the Holocene. The human living in the cave uses various natural resources to meet their daily needs, such as the use of rock materials, and the rest of the animal remains for tools and the use of animal and plants to fulfill their daily consumption.
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Solovyeva, Evgeniya A. "Conceptual features of the French military song discourse (corpus-based study)." NSU Vestnik. Series: Linguistics and Intercultural Communication 18, no. 2 (2020): 13–27. http://dx.doi.org/10.25205/1818-7935-2020-18-2-13-27.
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This paper presents a corpus-based empirical research, which uncovers the key concepts structuring the French military song discourse. We view this type of discourse as an integral element of military discourse containing institutional and non-institutional segments. The actualization of statutory relationships is the most striking example of institutionalization. Therefore, we have started our research from the hypothesis that the officially regulated (statutory) and less regulated parts of the military song discourse may manifest some conceptual differences. The selection of this subject is determined by its contribution to understanding the French military's cultural peculiarities, as well as by the lack of exploitations regarding the French military song discourse. Within the contemporary cognitive paradigm, the designatum is regarded as a pointer to the concept, which allows grasping a concept globally, without reconstructing its elements. Thus, the analysis of lexemes frequency may serve to identify the inherent concepts structuring some kind of discourse. Using a freely distributed textometric platform TXM (version 0.7.9), we have created a linguistic corpus of 462 texts of French service songs totaling 88305 tokens. Then, we have divided our corpus into two parts, depending on the statutory belonging of the texts. The statistical scores were calculated by applying the hypergeometric probability distribution law. The analysis of statistically significant lemmas has permitted to draw the lexical profile of each part and to identify thereby the most specific concepts. Moreover, we have complemented our research by routine frequency and contextual analysis in order to reveal the additional basic background concepts. Our study leads us to the conclusion that the French military song discourse foregrounds 8 main concepts, but the conceptual structure of each part reveals some differences due to the specifics of the institutional requirements and the military ethos.
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Sobaskie, James William. "Conversations within and between two early lieder of Schubert." Nineteenth-Century Music Review 13, no. 1 (March 28, 2016): 83–102. http://dx.doi.org/10.1017/s1479409815000531.
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Biographical background and musical analysis reveal a remarkable relationship between Franz Schubert’s early lieder ‘An die Geliebte’ and ‘An die Nachtigall’. In ‘An die Geliebte’, tonal ambiguity underscores the indeterminate nature of its narrative, permitting multiple coexistent and contrasting expressive meanings while favouring an ironic interpretation and an intriguing subtext. In ‘An die Nachtigall’, whose introduction and first phrase are similar to the opening of ‘An die Geliebte’, multiple expressive meanings also may be discerned, including an ironic interpretation that emerges when the song is considered in the context of its predecessor. Proceeding from a prior discussion of these lieder by Susan Youens, this essay will reveal unsuspected layers of meaning and a contextual process that unfolds in these unassuming yet engaging songs of Schubert, which uniquely converse with one another and frame an important episode in the composer’s life.
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Macaryus, Sudartomo, and Yoga Pradana Wicaksono. "LAGU “JOGJA ISTIMEWA”: REPRESENTASI IDENTITAS DAERAH ISTIMEWA YOGYAKARTA." Widyaparwa 47, no. 2 (December 31, 2019): 193–206. http://dx.doi.org/10.26499/wdprw.v47i2.368.
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This paper is to explain the contents of the song poem "Jogja Istimewa" which contains information, descriptions, imperatives, and messages that show the identity of Yogyakarta (DIY). Verbally formulated lyrics reflect the writer's knowledge, experiences, hopes, and ideology that appear through the mention of names of places, characters, events, interactions, and invitations. Explanations were made using qualitative and qualitative, contextual, and intertextual methods. Textual explanation by interpreting song-poems that have been formulated verbally written. Contextual explanation by linking song lyrics with the historical, cultural and social background of the DIY community. Intertextual explanation by linking the contents of the lyrics with other texts, namely assumptions that are the crystallization of the wisdom of the community. This explanation is done by placing each phenomenon as a cultural sign that all represent the cultural identity and the people of Yogyakarta (DIY). Meaning is done by linking relationships between data to get the full conclusion. The analysis shows that the song poem "Jogja Istimewa" represents Yogyakarta's identity as a city of history, culture, and struggle that continues to be lived and developed by supporting communities and bureaucratic competition in the Government of DIY.Tulisan ini bertujuan menjelaskan isi syair lagu “Jogja Istimewa” yang memuat informasi, deskripsi, imperasi, serta pesan yang menunjukkan identitas Yogyakarta (DIY). Lirik yang diformulasikan secara verbal mencerminkan pengetahuan, pengalaman, harapan, dan ideologi penulis yang tampak melalui penyebutan nama tempat, tokoh, peristiwa, situasi, dan ajakan. Penjelasan dilakukan dengan pendekatan kualitatif dan metode tekstual, kontekstual, dan intertekstual. Penjelasan tekstual dengan memaknai syair lagu yang telah diformulasikan secara verbal tulis. Penjelasan kontekstual dengan mengaitkan lirik lagu dengan latar belakang sejarah, budaya, dan sosial masyarakat DIY. Penjelasan intertekstual dengan mengaitkan isi lirik dengan teks lain, yaitu ungkapan-ungkapan yang merupakan kristalisasi kearifan masyarakat. Penjelasan tersebut dilakukan dengan menempatkan setiap gejala sebagai tanda budaya yang secara keseluruhan merepresentasikan identitas budaya dan masyarakat Yogyakarta (DIY). Pemaknaan dilakukan dengan mengaitkan hubungan antardata secara keseluruhan untuk mendapatkan simpulan secara komprehensif. Hasil analisis menunjukkan bahwa syair lagu “Jogja Istimewa” merepresentasikan identitas Yogyakarta sebagai kota sejarah, budaya, dan perjuangan yang terus dihidupi dan dikembangkan oleh masyarakat pendukung dan kalangan birokrat di lingkungan Pemerintah DIY.
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Capra, Rudi. "Raising Questions, Cutting Fingers: Chan Buddhism and the Cultivation of Creativity through Ritual Dialogues." Culture and Dialogue 7, no. 1 (May 7, 2019): 31–45. http://dx.doi.org/10.1163/24683949-12340055.
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Abstract The present paper identifies creativity as a crucial component in the pedagogical process envisaged by Chan masters in the Song era. In particular, the paper considers ritual dialogues between masters and students involving questions and answers (wenda 問答) taken from the renowned collection known as the Blue Cliff Record (biyan lu 碧巖錄). The first section is concerned with the definition of creativity and its role within the contextual framework of Chan pedagogy in the Song era. The second section analyses some significant ritual dialogues included in the Blue Cliff Record with the aim of exploring a variety of different creative expressions in the considered Chan narratives. The third and last section illustrates how the ritualized performance of dialogical encounters, and by extension the use of gongan literature, entails and promotes the recourse to creativity as a functional strategy in Chan practice.
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Dushi, Arbnora. "On Collecting and Publishing the Albanian Oral Epic." Approaching Religion 4, no. 1 (May 7, 2014): 37–44. http://dx.doi.org/10.30664/ar.67535.
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The aim of this paper is to examine how the Albanian epic known as the ‘Cycle of the Frontier Warriors’ has been presented in Albanian folklore collections. I will examine seven written versions of the song ‘The Wedding of Ali Bajraktari’, which belongs to this epic cycle. The ‘Cycle of the Frontier Warriors’, has been an object of collection since the beginning of the twentieth century. There are now dozens of volumes published, but the studies published to date concentrate on historical, thematic and comparative rather than contextual and textual issues.
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Grimshaw, Michael. "‘Redneck religion and shitkickin' saviours?’: Gram Parsons, theology and country music." Popular Music 21, no. 1 (January 2002): 93–105. http://dx.doi.org/10.1017/s0261143002002052.
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The country singer Gram Parsons (1946-73) has in the last decade been increasingly cited as a seminal influence upon the development of contemporary alt.country and the roots/americana revivial. This article critiques Parsons and his music within the realm of contextual theology, using him as a bridge to examine the wider issue of what a theology of country music might entail. Both Parsons and Country Music in general are strongly religious in language, ethos and culture, yet the theology articulated both explicitly and implicitly is not evangelical as those outside the genre and culture might assume. Rather, the theology of country music involves a gospel of liminality, a theology of redemptive transgression that is expressed in ‘white spirituals’ where the song is a locus of grace. The article asks if Parsons was a locus of grace; are his songs those of liminal presence; does country music employ a theology of redemptive transgression?
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Kopanski, Reinhard. "‘Auschwitz awaits’: Different readings on Sabaton’s ‘The Final Solution’ (2010) and the question of irony." Metal Music Studies 6, no. 3 (September 1, 2020): 337–57. http://dx.doi.org/10.1386/mms_00022_1.
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The Swedish power metal band Sabaton can be referred to as an established act within the international metal scene. Though the band is known for the utilization of war in most of its songs, it is remarkable that Sabaton is one of the few bands in the metal ‘mainstream’ that also address the Holocaust in their output. In this article, I will trace Sabaton’s musical treatment of the Holocaust in the song ‘The Final Solution’, and subsequently question it critically. Using Linda Hutcheon’s model for the analysis of irony in aesthetic products as a frame for this investigation, a trans-medial music analysis of visual, auditive and contextual aspects will be carried out. With the resulting observations on the phenomenon, I will broaden the focus to present four suggestions on how ‘The Final Solution’ can be read, taking into account both metal insider and outsider perspectives, as well as German and non-German points of view.
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Mazlan, Chamil Arkhasa Nikko. "Utilizing Pragmatism Approach in Learning Jazz Guitar Reharmonization Technique using Malay Asli Song." JURNAL SENI MUSIK 9, no. 1 (June 18, 2020): 50–57. http://dx.doi.org/10.15294/jsm.v9i1.37376.
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Details of developing jazz guitar reharmonization learning book using Malay Asli song will not discuss here, however, this article divulges pragmatism approach that can be transcending in explaining logic between learning jazz guitar reharmonization techniques using Malay Asli Song. Although music is a universal language, traditional music and western music educators do not come to an agreement diffusing learning western music elements such in traditional music or vice versa. As a result, reharmonization technique only become known on western music repertoires. While traditional music practitioners presenting the same old repertoires, with deep-rooted dogmatic excuses to maintain what they called traditional authentic values. To conduct this study, relevant data on pragmatism was done through document analysis. The result show pragmatism approach can help music educators to reconceptualize teaching and learning traditional music using jazz reharmonization technique to recreate and innovate a new sound and contextual of learning jazz harmony, not just using on jazz standards repertoires, in making music theory beneficial to both traditional and modern music educators and students.
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Sulistyo, Hary. "Politik Spasial dalam Lirik Lagu Bengawan Solo Karya Gesang dan Di Tepinya Sungai Serayu Karya Soetedja: Analisis Pascakolonial Sara Upstone." ATAVISME 23, no. 2 (December 18, 2020): 147–60. http://dx.doi.org/10.24257/atavisme.v23i2.633.147-160.
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Tulisan ini membahas politik spasial Gesang dan Soetedja dalam lirik lagu “Bengawan Solo” dan “Di Tepinya Sungai Serayu”. Persoalan tersebut menarik dikemukakan karena menghadirkan konsepsi baru melalui redefinisi atas kedua objek. Tujuan penulisan ini adalah menunjukkan bentuk-bentuk place, space, dan postspace kedua lagu terhadap objek yang telah menghadirkan definisi baru atas pengetahuan. Teori yang digunakan adalah pascakolonial Sara Upstone mengenai place, space, dan postspace. Metode penelitian ini adalah mengamati aspek tekstual di dalam teks dan mengorelasikannya dengan persoalan kontekstual berdasarkan aspek-aspek teoretis. Hasil penelitian menunjukkan bahwa politik spasial melalui kedua lirik lagu menghadirkan kebaruan informasi mengenai objek yang berbeda dengan realitas kedua sungai sebagai bentuk place. Jejak-jejak space yang ditinggalkan oleh kedua pengarang menunjukkan bahwa penciptaan lagu lebih pada kepentingan estetis dan romantik. Postspace yang dihasilkan dengan kehadiran lagu itu memberikan legitimasi atas konsepsi administratif dalam penyebutan asal sumber mata air Bengawan Solo dan hilangnya sisi mistisme yang terdapat di Sungai Serayu.Kata kunci: politik spasial; Bengawan Solo; Sungai Serayu[Spatial Politic in The Song Lyrics of “Bengawan Solo” and “Di Tepinya Sungai Serayu” : Sara Upstone’s Postcolonial Analysis] This paper discusses Gesang and Soetedja’s spatial politics in the song lyrics of “Bengawan Solo” and “Di Tepinya Sungai Serayu”. The issue is interesting to be raised because it presents a new conception through redefinition of the two objects. The purpose of this paper is to show forms of place, space, and postspace in both songs toward the object that have presented a new definition of knowledge. The theory used is Sara Upstone’s post-colonialism about place, space, and postspace. The method in this study is to observe textual aspects in the text and correlate them with contextual issues based on theoretical aspects. The results show that spatial politics through both song lyrics presents new information about objects that are different from the reality of the two rivers as a form of place. The traces of space left by the two authors through their songs show the creation of songs more in the interests of aesthetic and romantic aspects. The postspace produced by the presence of the two songs gives legitimacy to the administrative conception in the mention of the origin of the Bengawan Solo spring and the loss of the mysticism found in the Serayu River.
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Dyadyshcheva-Rosovetska, Juliya. "Methodological notes on the complex linguofolkloristic analysis of the poetics of the Methodius's translation of the Song of Songs." Current issues of Ukrainian linguistics theory and practice, no. 42 (2021): 121–39. http://dx.doi.org/10.17721/apultp.2021.42.121-139.
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The article is devoted to some methodological issues that arise in the linguistic and folklore analysis of the poetics of the Methodius's translation of the Song of Songs, which we consider as an orally poetic text, later elaborated in literature. The parameters of interlingual, interfaith and interethnic transmission under conditions of considerable time duration are outlined. Problems related to layers not only temporal, but also within several ethnic traditions, namely: ancient Egyptian, ancient Jewish, ancient Greek, ancient Slavic. There are a number of tropes and stylistic figures that are used as a means of organizing the text or used as components for stylistic symmetry. These are permanent epithets, different types of repetitions, anaphora and epiphora, tautological combinations, pleonastic combinations, allegories, comparisons, ekphrasis, specific composites, etc. It is possible to involve in the study of common in folklore hyperbole, personifications, paraphrases. The range of methodological difficulties is outlined. The article warns about the counterproductiveness of the study of literary tropes in isolation from the contexts of specific works, in the abstract non-ethnic continuum, although in synchrony and diachrony. If in the national literatures, especially in the early stages of their development, there are peculiar genre systems, then in folklore there are differences in genres of even related ethnic groups. Hence, the need to take into account the differences between the genres of wedding poetry in ancient Aramaic folklore and in the oral traditions of the peoples whose scribes translated the poem. The importance of a specific contextual study of the tracks of the Song of Songs is emphasized, because the movement of its texts in time and space is a change in their perceptions by translators, editors, transcribers, which leads to changes in understanding and aesthetic acceptance of the monument by readers. It is stressed that the full picture can be obtained only by examining all the national and ethnic branches of the family tree of the monument. The question of place in such a comprehensive study of religious allegorical and symbolic interpretations is also delivered in the article.
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Hasanah, Risalatul, and Mosleh Habibullah. "Analysis of Lexical and Contextual Meaning in Raef’s Song Lyric of the Path Album as the Holy Qur’an Values." PANYONARA: Journal of English Education 2, no. 1 (March 23, 2020): 49. http://dx.doi.org/10.19105/panyonara.v2i1.3150.
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Moe, David Thang. "A Critical Reading of C.S. Song’s Asian Third-eye Liberation Theology for a Myanmar Intercontextual Liberation Theology of Pyithu-dukkha." Interreligious Studies and Intercultural Theology 2, no. 2 (October 9, 2018): 193–215. http://dx.doi.org/10.1558/33364.
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Choan-Seng Song appeared when Asian theology was largely unknown to the world. He is one of the foremost Asian theologians to sing an Asian melody in a contextual key. His theology, however, is largely ignored today. This article rediscovers a new voice in Song for Asian contemporary theology. It pays particular attention to Song’s conceptualization and contextualization of Christology and its implications for his renowned hermeneutics of Asian Third-eye liberation theology. The author puts Song in a dialectical dialogue with his new hermeneutics of a Myanmar intercontextual liberation theology of Pyithu-dukkha and argues that liberation theology is deeply grounded in our spiritual and social reflection on God’s orthopathy (heart) and orthopraxy (hand). The article concludes by going with and beyond Song’s vision of Asian liberation as limited to the oppressed by proposing an inclusive liberation of both the oppressed and the oppressors. It shows how such an inclusive liberation can be attainable for a mutual vision of liberation from and liberation for. It is suggested that Asian Third-eye liberation theology should be reconceptualized and recontextualized as an orthopathic and orthopraxic theology that gives witness to the compassion and passion of Jesus Christ who takes a stand with the oppressed, resists and reconciles the oppressors for an embracive communion with him and with one another by the healing power of the Spirit.
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Ogoanah, Felix Nwabeze. "The Emergent Properties of ‘Song’ as a Metaphor in August Wilson’s Joe Turner’s Come and Gone." Revista Alicantina de Estudios Ingleses, no. 27 (November 15, 2014): 143. http://dx.doi.org/10.14198/raei.2014.27.09.
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Most works on August Wilson's Joe Turner's Come and Gone have emphasized its enigmatic African elements that have stunned white audiences since the play was first produced in 1984. Such elements are manifested in characters such as Bynum and Loomis, or in rituals such as the Juba and blood sacrifice (Shannon, 1995; Wolfe, 1999; Elam Jr., 2006; Harrison, 1991; Richards, 1999; Pereira, 1995). These images confront the reader at first glance and produce that feeling of strangeness characteristic of the African world. However, underneath these images is the most subtle element or trope on which the events of the play are anchored − the 'song', which has been described as “that all important quest for self-affirmation in black life” (Harrison, 1991: 309). Applying the Relevance-theoretic framework of inferential pragmatics, this study explores the concept 'song' by examining its salient properties based on reader's inferences or contextual assumptions. The study claims that through an inferential analysis, the metaphor, 'song,' in Joe Turner's Come and Gone can be realised as an ontological construct which signifies the individual's quest for spiritual transcendence and personal development and that through this metaphor Wilson privileges the need for the African American to take responsibility for what becomes of his life rather than seeing himself as a victim of the white hegemony.
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BEARD, DANIJELA Š. "Soft Socialism, Hard Realism: Partisan Song, Parody, and Intertextual Listening in Yugoslav Black Wave Film (1968–1972)." Twentieth-Century Music 16, no. 1 (February 2019): 95–121. http://dx.doi.org/10.1017/s1478572219000112.
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AbstractIn this article I examine the use of music in modernist and politically engaged Yugoslav cinema of the 1960s through three groundbreaking black wave films: Želimir Žilnik'sRani radovi(Early Works, 1969), Dušan Makavejev'sWR: Misterije organizma(WR: Mysteries of the Organism, 1971), and Lazar Stojanović’sPlastični isus(Plastic Jesus, 1971). With a specific focus on the use of Partisan songs, I analyse how key political moments are encoded with new levels of meaning in these films, often through parody, irony, and satire. I identify a ‘sonic turn’ within black wave cinema and propose a method of ‘intertextual listening’ to reflect the importance of contextual knowledge in identifying and interpreting the cultural and political baggage trafficked into these movies. I ask how does music shape the discursive strategies and communicative potential of these films, rendering pre-composed music a powerful medium for social and political critique? And in what ways does film music construct the Yugoslav socialist experience more broadly, reflecting how ideals of reform socialism found musical expression in Yugoslavnovi film?
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.., Suroto. "Efektifitas Pembelajaran Kontekstual Untuk Meningkatkan Prestasi Belajar Materi Luas Bangun Datar Kelas Vi Di Min Malang I." MADRASAH 7, no. 2 (January 29, 2016): 22. http://dx.doi.org/10.18860/jt.v7i2.3322.
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<span><em>One of the causes of those unsuccessfull students is the monotonous learning </em><span><em>model. The learning process of the concept, it cannot well associate the </em><span><em>abstract ideas to the real world. One of the learning models that can solve </em><span><em>this problem is the contextual learning. The procedures of the contextual </em><span><em>learning done in this research involve the process of : (1) exploring and </em><span><em>using the students’ concept which have been achieved by the students in the </em><span><em>opening learning; (2) creating a study society in mastering new concepts;</em><br /><span><em>(3) utilization of learning medias in learning process; (4) reflction of the </em><span><em>concepts which have been studied; and (5) testing the concept acquisition by </em><span><em>personal student. From this results, if it use the contextual learning model,</em><br /><span><em>the students’ achievement will increase.</em><br /><span><strong>Keywords: </strong><span><em>Contextual Learning, song of flt structure, various table of </em><span><em>flt structure, Learning Achievement</em></span></span></span></span></span></span></span></span></span></span></span></span><br /><br class="Apple-interchange-newline" /></span></span>
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Ratri, Deasy Ade. "A Semantic Analysis of Metaphors Found In “Dream Theatre’s” Selected Lyrics." LUNAR 1, no. 02 (November 6, 2017): 10–22. http://dx.doi.org/10.36526/ln.v1i02.454.
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Metaphor is an implicit comparison in which two unlike objects are compared by identification or substitution of one for the other to suggest common quality shared by the two. It is an implied analogy in which a word or phrase is applied to a person, object, idea or concept to which it is literally or semantically inapplicable. Many students in English Department are still confused in interpreting metaphors’ meaning whereas they have learned semantics. The research aims to find the types of metaphors which are used in Dream Theatre’s selected lyrics then interpret its contextual meaning. There are five song lyrics are chosen. They are, As I am, Endless Sacrifice, Pull Me Under, The Spirit Carries On, and Through Her Eyes. This research uses theory of Chrystal that classifies the metaphors into three types. They are Conceptual Metaphor, Mixed Metaphor, and Poetic Metaphor.
To achieve the research purposes, this research uses content analysis by deductive category application. The steps in deductive category application are collecting the theory related to metaphors, identifying the concepts of metaphors, coding Dream Theatre’s selected lyrics, classify the metaphors according to Chrystal theory, and interpreting the contextual meaning of metaphors. The result shows that forty three cases of metaphors which are found in Dream Theatre’s selected lyrics. There are three thirty two metaphors that included to Conceptual metaphor, Tens metaphor are Mixed metaphor, and one metaphors are Poetic metaphor. According to the result above, conceptual metaphor are higher and more often than mixed metaphor and poetic metaphor, mixed metaphor ranks second and Poetic metaphor appears as the least type
Based on the result, it is suggested to the readers use the information to know widely and deeply about the types of metaphors classified by Chrystal, as the reference or study more about metaphors. For the students who are learning about metaphors or students who are in English Department are suggested to use songs in learning and improving their capability in language and interpreting the meaning. While for the lecturer, it is suggested to use songs as a resourches in teaching semantics especially in teaching metaphors
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Umran, Maria, and Hafiz Mohd Sarim. "Knowledge Transfer About Earthquake Disaster Mitigation To Children Through TF-IDF." Elkawnie 6, no. 2 (December 30, 2020): 165. http://dx.doi.org/10.22373/ekw.v6i2.7281.
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Abstract: Past observations during a disaster identify that when children are separated from parents, they suffer due to the inability to comprehend disaster mitigation concepts. This study proposes a process from the existing framework K-Nearest Neighbor (KNN) and Term Frequency - Inverse Document Frequency (TF-IDF) for extracting a large body of knowledge in the form of documents into simple words. Those simple words can be arranged into contextual lyrics utilizing an Artificial Intelligence lyrics generator and then orchestrated into a song using a music generator. The piece, which is the output of the proposed process, is utilized to transfer the knowledge about earthquake disaster mitigation to children. A quantitative analysis of questionnaires on students aged 9-10 in Banda Aceh shows the song's highly significant effect in transferring the knowledge about earthquake disaster mitigation to children.
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Aymerich Goyanes, Guillermo. "Conectando energía sonora y visualidad." AUSART 4, no. 1 (July 12, 2016): 129–41. http://dx.doi.org/10.1387/ausart.16690.
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Conexión pintura y música construyendo una serie de cuadros sonoros, implicando literatura, performance, danza y robótica en clave transdisciplinar e inmersa en un contexto pseudo-metropolitano. Partiendo del poema Bā yīn “Ocho sonidos” contenido en la joya literaria Sanzijing, “El Libro de los Tres Caracteres” (Dinastía Song del Sur), que encarna el ideal neo-Confucionismo aunando educación, moral y filosofía. Cualquier aspecto en la cultura china no es un fenómeno aislado, sino parte contextual referida a aspectos vitales: emergen peculiares sistemas cosmogónicos. Experiencias visuales y sonoras en un resultado mixto usando conceptos chinos presentados con soluciones Occidentales en mutua simbiosis. Se crea un sistema bā yīn careando música y pintura mientras surgen, desarrollan, desenvuelven y muestran al unísono. Vinculantes pero siguiendo una maniobra de recíproca anulación que alude a la energía del eterno ciclo vital. Tecnología y cultura presentadas bajo 4 formatos audiovisuales y 8 formatos meramente visuales.Palabras-clave: PINTURA/MÚSICA; PINTURAS SONORAS; TRANSDISCIPLINIDAD; BALLET ROBOTS; ARDUINO; CHINA VS OCCIDENTE Connecting sound energy and visualityAbstractConnecting painting and music building a series of sonorous-paintings. Involving literature, performance, dance and robotics, also, in a transdisciplinary way and within a pseudo-metropolitan environment. Based on the poem Bā yīn “Eight sounds”, part of the literary gem The Sanzijing, The Three-Character Classic (Southern Song Dynasty), which embodies the neo-Confucian ideal of uniting education, moral and philosophy. Any aspect in Chinese culture isn´t an isolated phenomenon but rather a contextual part related to diverse aspects of life: emerging special kind of cosmogonist systems. Visual and sound experiences as a mixed result by using different Chinese concepts, but presented alongside Western solutions in symbiosis. The project makes a system just taking those approaches to face music and painting, each other, while both of them emerge, develop, demonstrate and perform in unison, in a parallel and mutually binding manner. Linked but following a mutual destruction which summon the energy of an eternal vital circle. Technology and culture are showed under 4 audiovisual formats and 8 strictly visual formats, as well.Keywords: PAINTING/MUSIC; SONOROUS PAINTINGS; SOUND ART; ROBOTICS BALLET; ARDUINO; CHINA VS OCCIDENTE
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Passmore, Oliver. "PRESENT, FUTURE AND PAST IN THEHOMERIC HYMN TO APOLLO." Ramus 47, no. 2 (December 2018): 123–51. http://dx.doi.org/10.1017/rmu.2018.11.
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Within Classics, there is growing interest in the nature of reperformance, particularly in relation to archaic and classical Greek poetry and drama. Developing out of the now well-established ‘performative turn’ in studies of early Greek song, and gaining impetus from a series of publications focussing on the contextual specificity of archaic lyric and drama, those interested in reperformance ask what it means for a song or a play, composed for a specific occasion, to be reperformed in another time and (potentially) another place. While interest in reperformance is certainly not new, the debate is now increasingly taking place in dialogue with parallel studies of reperformance in other disciplines. Research in performance studies has articulated a paradox at the heart of reperformance: since aperformanceis imagined as a singular event that exists only in that moment, and in a specific context,reperformance is an attempt to repeat the unique. Theorists and practitioners have in turn explored this paradox in relation to the restagings and re-enactments of one-time events and performances, such as battle re-enactments, the reconstruction of ballet choreographies before the days of film and live performance art. These examples reveal the complex temporalities involved in reperforming notionally one-time events, as an attempt to capture the ephemeral and collapse the present and the past (as well as the there and the not-there) in the ‘syncopated time’ of the reperformance.