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Relevant bibliographies by topics / Fight songs

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Academic literature on the topic 'Fight songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Fight songs"

1

Studwell, William E. "College Fight Songs." Music Reference Services Quarterly 3, no. 4 (October 3, 1995): 33–38. http://dx.doi.org/10.1300/j116v03n04_03.

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2

Sandoval, Luis. "Male–male vocal interactions in a territorial neotropical quail: which song characteristics predict a territorial male's response?" Behaviour 148, no. 9-10 (2011): 1103–20. http://dx.doi.org/10.1163/000579511x596570.

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AbstractMales singing within their territories can change their song characteristics in order to interact with conspecifics; males may respond to territorial intrusions by vocalizing, approaching the intruder and/or displaying. I studied male–male interactions by quantifying vocal and behavioural responses of male spot-bellied bobwhites (Colinus leucopogon) toward playback of conspecific male songs. Male responses toward playback song depended on the quality of the territorial male's song relative to the playback stimulus. In this species males who sang songs with higher peak and low frequency, longer song duration, and lower song rate were less responsive to simulated territorial intrusions. Spot-bellied bobwhite males that sang in response to the playback increased the low frequencies of their songs relative to pre-playback song, a vocal behaviour related to dominance in males of other species. Males that approached the speaker sang longer songs, a characteristic associated with increased aggression or motivation to fight in other bird species. The results of this playback experiment suggest that male spot-bellied bobwhite song characteristics according to playback characteristics predict response to territorial intrusions and may, therefore, play an important role in male–male interactions.

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Studwell, William E. "American college fight songs: History and historiography." Popular Music and Society 19, no. 3 (September 1995): 125–30. http://dx.doi.org/10.1080/03007769508591602.

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Karmilawati, Karmilawati. "Kepahlawanan dalam Lagu-Lagu Perjuangan Nahdlatul Wathan Karya Hamzanwadi." Jubindo: Jurnal Ilmu Pendidikan Bahasa dan Sastra Indonesia 3, no. 3 (December 19, 2018): 118–23. http://dx.doi.org/10.32938/jbi.v3i3.348.

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This study aims to describe the forms of the heroes' characteristics and describe the heroic messages contained in the struggle songs of Nahdlatul Wathan (NW) by T.G.K.H. Muhammad Zainuddin Abdul Madjid (also known as Hamzanwadi). This research method is descriptive qualitative with content analysis technique which focuses research on the latent content of song texts as research data. This technique is done by reading, recording, and coding, which determines the themes of each form and the heroic message found in each song. The results of this study indicate that the form of heroism contained in the songs of struggle is the attitude of love of knowledge which is realized by diligently demanding knowledge, as well as the attitude of love for religion and nation which is realized through willingness to fight. The heroic message found is a call as well as an invitation to the ummah to have a noble character that is based on the knowledge of the realization of good relations between humans and God, humans and humans, and humans with nature.

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Erlmann, Veit. "‘Horses in the race course’: the domestication of ingoma dancing in South Africa, 1929–39." Popular Music 8, no. 3 (October 1989): 259–73. http://dx.doi.org/10.1017/s026114300000355x.

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On a Saturday night of January 1930 several thousand African men clad in loin cloths and the calico uniforms of domestic servants thronged a concert in the Workers' Hall of the Durban branch of the Industrial and Commercial Workers' Union (ICU) in Prince Edward Street. To the pounding sounds of hundreds of sticks, successive teams of dancers, some of them trained by Union officials from the rural hinterland, rushed to the stage performing the virile, stamping ingoma dance. The Zulu term ingoma (lit. ‘song’) covers a broad range of male group dances like isikhuze, isicathulo, ukukomika, isiZulu, isiBhaca, umzansi and isishameni. The kinesic patterns of ingoma are inseparably linked to choral songs in call-and-response structure and, as such, constitute a complex statement of the unity of dance and song in Zulu performance culture. The peak of Zulu-speaking migrants' dance culture, ingoma evolved out of the profound transformation of traditional rural Zulu culture through impoverishment, dispossession and labour migration around the first World War. But on that night of January 1930, at the climax of the spectacle, the ingoma dancers struck a particularly defiant note:Who has taken our country from us?Who has taken it?Come out! Let us fight!The land was ours. Now it is taken.We have no more freedom left in it.Come out and fight!The land is ours, now it is taken.Fight! Fight!Shame on the man who is burnt in his hut!Come out and fight! (Perham 1974, p. 196

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Alan, Suna. "Kurdish music in Turkey." Memory Studies 12, no. 5 (October 2019): 589–92. http://dx.doi.org/10.1177/1750698019870713.

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Musician and journalist Suna Alan gives an account of some of the songs she performs and loves. These are mainly Kurdish music. Suna describes the Dengbej tradition to which much of the music belongs. However, her summary of some songs, and excerpts from the lyrics, also draws on music by Sephardi Jews and the Armenians, other cultural groups who lived, like the Kurds, under the Ottoman Empire. The lyrics and Suna’s contextualization of them in terms of the history they tell and from which they emerge reveal the oppression and suffering of these transcultural groups under the Ottoman Empire, but also their fight against injustice. The music remembers their loves as well as their losses.

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7

Rillich, Jan, Edgar Buhl, Klaus Schildberger, and Paul A. Stevenson. "Female crickets are driven to fight by the male courting and calling songs." Animal Behaviour 77, no. 3 (March 2009): 737–42. http://dx.doi.org/10.1016/j.anbehav.2008.12.009.

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8

Apter, Andrew. "Discourse and its disclosures: Yoruba women and the sanctity of abuse." Africa 68, no. 1 (January 1998): 68–97. http://dx.doi.org/10.2307/1161148.

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If ritual songs of obscenity and abuse have become a familiar topic in Africanist ethnography since Evans-Pritchard's first discussion of their ‘canalising’ functions in 1929, few studies have paid sufficient attention to the socio-political and discursive contexts of the song texts themselves. The present article moves in that direction by relocating abusive songs of the Oroyeye festival in an Ekiti Yoruba town within the local forms of history and knowledge that motivate their interpretation and performative power. After reviewing the cult's historical interventions in local political affairs, the article examines the repressed historical memory of a displaced ruling dynasty and its associated line of civil chiefs as invoked by the song texts in two festival contexts. In the first—the Àjàkadì wrestling match—which occurs at night, male age mates from different ‘sides’ of the town fight to stand their ground and topple their opponents while young women praise the winners and abuse the losers with sexual obscenities. In the second festival context, during the day, the elder ‘grandmothers’ of Oroyeye target malefactors and scoundrels by highlighting their misdeeds against a discursive background of homage and praise. In this fashion the female custodians of a displaced ruling line bring repressed sexual and political sub-texts to bear on male power competition, lineage fission, and antisocial behaviour. More generally, they mobilise the fertility and witchcraft of all Yoruba women to disclose hidden crimes and speak out with impunity.

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9

Dickey, Sara. "The Politics of Adulation: Cinema and the Production of Politicians in South India." Journal of Asian Studies 52, no. 2 (May 1993): 340–72. http://dx.doi.org/10.2307/2059651.

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Popular south Indian cinema is a highly melodramatic entertainment form, plotted around improbable twists of fate and set in exaggerated locales, filled with songs, dances, and fight scenes. Patronized primarily by the poor, it is typically dismissed by critics, who find its vast popularity either bemusing or indicative of viewers moral and intellectual degradation. Even more confounding for many observers has been cinema's critical role in state and national politics.

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10

Cooper, B. Lee. "I'll fight for God, country, and my baby: Persistent themes in American wartime songs." Popular Music and Society 16, no. 2 (June 1992): 95–111. http://dx.doi.org/10.1080/03007769208591479.

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Dissertations / Theses on the topic "Fight songs"

1

Wolters-Fredlund, Benita. ""We shall go forward with our songs into the fight for better life" : identity and musical meaning in the history of the Toronto Jewish Folk Choir, 1925--1959 (Ontario)." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=370833&T=F.

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Books on the topic "Fight songs"

1

Eloise, Vaughn, and Brodeur Nicole, eds. Keep singing: Two mothers, two sons, and their fight against Jesse Helms. Los Angeles: Alyson Books, 2001.

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2

The Rood and the Torc: The song of Kristinge, son of Finn. San Antonio, Texas: Wings Press, 2014.

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3

Shameless: The fight for adoption disclosure and the search for my son. Toronto, Canada: Between the Lines, 2015.

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Curtis, Sky. A gut reaction: A true story about a mother's fight to save her son's life and his amazing recovery from Crohn's disease. Toronto: Inanna Publications and Education Inc., 2013.

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5

Studwell, William E., and Bruce R. Schueneman. College Fight Songs. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774.

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Studwell, William E., and Bruce R. Schueneman. College Fight Songs II. Routledge, 2013. http://dx.doi.org/10.4324/9780203048108.

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(Compiler), William E. Studwell, and Bruce R. Schueneman (Compiler), eds. College Fight Songs: An Annotated Anthology. Haworth Press, 1998.

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8

College Fight Songs: An Annotated Anthology. Haworth Press, 1998.

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9

College Fight Songs II: A Supplementary Anthology. Haworth Press, 2001.

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10

(Editor), Dawn M. Krisko, ed. College Fight Songs II: A Supplementary Anthology. Haworth Press, 2001.

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Book chapters on the topic "Fight songs"

1

Fosl, Peter S. "Anarchism and Authenticity, or Why SAMCRO Shouldn't Fight History." In Sons of Anarchy and Philosophy, 201–13. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118641712.ch18.

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"The Gridiron King." In College Fight Songs, 79–83. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-10.

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"Director." In College Fight Songs, 84–85. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-11.

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4

"Indiana, Our Indiana." In College Fight Songs, 86–87. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-12.

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5

"Iowa State Fights." In College Fight Songs, 88–89. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-13.

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6

"Wildcat Victory." In College Fight Songs, 90–93. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-14.

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7

"Solid Men to the Front." In College Fight Songs, 94–96. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-15.

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8

"Miami University Fight Song." In College Fight Songs, 97–99. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-16.

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9

"Michigan State Fight Song." In College Fight Songs, 100–104. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-17.

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10

""Huskie Fight Song" (Northern Illinois University)." In College Fight Songs, 105–10. Routledge, 2013. http://dx.doi.org/10.4324/9780203047774-18.

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