Relevant bibliographies by topics / Four Love Songs

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  2. Dissertations / Theses
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Academic literature on the topic 'Four Love Songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Four Love Songs"

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Chonghaile, Deirdre Ní. "‘listening to this rude and beautiful poetry’: John Millington Synge as Song Collector in the Aran Islands." Irish University Review 46, no. 2 (November 2016): 243–59. http://dx.doi.org/10.3366/iur.2016.0225.

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To date, little attention has been given to the songs in Synge's The Aran Islands, items that Tim Robinson imagines are not ‘fully thought into the texture of the work’. They come from a collection of songs in Irish and in English that was created by Synge in Inis Oírr in 1901 in the company of the local poet Mícheál Ó Meachair. This essay investigates Synge's song collection and the local singers and poets whom he met, including Seághan Seoige of Baile an Fhormna, Inis Oírr and Marcuisín Mhichil Siúinéara Ó Flaithbheartaigh of Cill Rónáin, Árainn. It examines how the music of Aran impacted on Synge during his four visits between 1898 and 1901, what his collection tells us about the song tradition of Aran, and what inspired him to collect songs there. Did Douglas Hyde's Love Songs of Connacht prompt him to create his own collection? What parts did Lady Gregory and W.B. Yeats play? Considering Synge was a trained musician and composer, why did he not collect the airs that accompanied the songs? Recognising the influence of sean-nós song on Synge's dramatic oeuvre, this essay questions whether or not the songs of Aran affected his work.
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Ower, Geoffrey, Rebecca Smith, Kyle Caron, and Scott Sakaluk. "When Love Comes Calling: Measuring Sexual Selection on Sagebrush Crickets." UW National Parks Service Research Station Annual Reports 32 (January 1, 2009): 49–53. http://dx.doi.org/10.13001/uwnpsrc.2009.3747.

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Male sagebrush crickets exhibit differential mating success based on their previous mating experience: virgin males have a higher probability of obtaining a mating than do non-virgin males. Measures of lifetime mating success in male sagebrush crickets have revealed that the median mating frequency is one, with many males failing to secure a mate at all and a small minority obtaining two to four mates. The purpose of this study was to investigate the acoustic and morphological characteristics that make male sagebrush crickets attractive to females. Male crickets were captured from Deadman’s Bar in Grand Teton National Park and their songs were recorded on subsequent evenings. Five song characteristics were measured including pulse duration, interpulse duration, dominant frequency, train duration, and intertrain duration. Multivariate selection analysis revealed significant linear and nonlinear selection on male song, with each of the five measured song characters contributing to male attractiveness. There was significant directional selection favoring longer pulse durations and shorter interpulse durations, which could be an honest indicator of male quality because these song characters likely impose high energetic costs. Significant stabilizing selection favored males with ~ 13.2 kHz calls and intermediate intertrain durations, which may be imposed by the auditory sensitivity of females.
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Skinner, Anthea. "‘I love my body’: Depictions of sex and romance in disability music culture." Sexualities 21, no. 3 (April 19, 2017): 350–63. http://dx.doi.org/10.1177/1363460716688676.

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The international disability music scene is a thriving musical subculture consisting of performers self-identifying as disabled who use their performances to explore experiences of living with disability. As a genre predominantly written by, about and for people with disabilities, it provides a space for discourse about life with disability which is largely unmediated by governmental policy, political correctness or able-bodied facilitators. As such, it is a medium through which people with disability are free to express opinions about sex and romance rarely seen in mainstream media. This article examines the ways in which the topics of sexuality and romance are explored within disability music culture. It will focus on four case study songs, I Love My Body (1988) by Johnny Crescendo, Vagina Ain’t Handicapped (2011) by Laura Martinez, Def Deaf Girls (2012) by Sean Forbes and No Goodbyes (2012) by Rory Burnside and Rohan Brooks from Rudely Interrupted. These four songs will be used to explore the themes of body image, cultural expectations of the disabled body, the benefits of dating fellow members of the disability community and relationships. This article also draws on the author’s own experience as a person with disability and a musician in a band that regularly performs on the disability music scene.
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Khoirunnisa, Ayu Rini, Idah Hamidah, and Hartati Hartati. "Analisis Stilistika Pada Lirik Lagu Album Jumping Car Oleh HEY! SAY! JUMP." J-Litera: Jurnal Kajian Bahasa, Sastra dan Budaya Jepang 2, no. 1 (May 29, 2020): 1. http://dx.doi.org/10.20884/1.jlitera.2020.2.1.2104.

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This research examines the style of language in song lyric entitled “A Stylistic Analysis of Hey! Say! Jump’s Song Lyrics in Jumping Car Album”. This research aims to find out the kinds of language style and describe the meaning of the song lyrics. Language style theory used in this research is theory proposed by Keraf. This research used a descriptive research with qualitative approach. The data collection technique employed in this research was listening and note taking technique. Collected data were analyzed by using equivalent technique and technique of immediate constituent analyst. Data source used in this research is twelve song lyrics in Jumping Car album. The kinds of language style found consists of 3 (three) metaphor, 5 (five) personification, 7 (seven) simile, 16 (sixteen) allegory, 1 (one) eponym, 1 (one) synecdoche, 4 (four) metonymy, 1 (one) epithet, 1 (one) antonomasia, 1 (one) cynicism and 1 (one) sarcasm. The dominant kinds of language in this research is allegory. All of the meaning of the kinds of language which found shows songs in Jumping Car album describing love and life story in which contain happiness and sadness.
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Stephenson, Jackson. "Love me for the Sake of the World: “Goddess Songs” in Tantric Buddhist Maṇḍala Rituals." Religions 11, no. 3 (March 12, 2020): 124. http://dx.doi.org/10.3390/rel11030124.

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The presence of Apabhraṃśa in tantric Buddhist texts has long been noted by scholars, overwhelmingly explained away as an example of “Twilight language” (saṃdhā-bhāṣā). However, when one looks closer at the vast number of Apabhraṃśa verses in this canon, one finds recurring patterns, themes, and even tropes. This begs for deeper study, as well as establishing a taxonomy of these verses based on their place and use. This paper focuses on a specific subset of Apabhraṃśa verses: “goddess songs” in maṇḍala visualization rituals. These verses are sung by yoginīs at specific moments in esoteric Buddhist ritual syntax; while the sādhaka is absorbed in enstatic emptiness, four yoginīs call out to him with sexually charged appeals, begging him to return to the world and honor their commitments to all sentient beings. When juxtaposed with other Apabhraṃśa verses in tantric Buddhist texts, these songs express an immediacy and intimacy that stands out in both form and content from the surrounding text. This essay argues that Apabhraṃśa is a conscious stylistic choice for signaling intimate and esoteric passages in tantric literature, and so the vast number of Apabhraṃśa verses in this corpus should be reexamined in this light.
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Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.

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Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is clear that at the very beginning of his work Zhu Jian’er had the skill of a versatile depiction of inner experiences and difficulties encountered in the life of the hero. The second number or. 1 No. 2 “Waves washing sand” – imbued with a lyrical and philosophical mood. In the musical-figurative sphere, the landscape poetry occupies a central place with philosophical overtones, symbolically revealing the images of waves on the sand, characterizing the lyrical experiences of the hero and his sadness. op. 1 No. 3 “Lullaby” – the lyrical center of the cycle, a song of meditation with a predominant shade of sadness and philosophical overtones – the theme of enlightenment, the general meaningful canvas corresponds to the genre of lullabies, the appeal to the child, full of tender feelings. The fourth song Or. 1 No. 4 “I want to return to my homeland”, serves as a kind of finale. The basis of the song is the topic of separation, which is very popular in the songwriting of Chinese composers. The content of the song is symbolic: it is not only dreams of a distant friend, family and friends, but also a reflection of emotional feelings of separation from the motherland. Songs “Spring, when you return” and “Dream” were created by the composer in 1944, are devoted to events from the life of the composer. Zhu Jian’er saturates the musical fabric of the song with unstable harmonies, offers a more complex texture solution to the piano part (alternating polyphonic and homophonic-harmonious presentation) and gives it greater independence as an independent layer of musical tissue. The vocal melody also acquires a new look. An arioso-declamatory by nature, it embodies all the nuances of a poetic text that is pronounced with a special sentimental feeling (“Spring, when you return”) or a joyful hope (“Dream”). The analysis completes the generalized characterization of the composer’s early song-writing, in which the inherent features are distinguished. The skill and artistic significance of his songs testify to the fact that Zhu Jian’er succeeded in original compositions with vivid national characteristics. In the early chamber-vocal works of Zhu Jian’er, musical embodiment was achieved both in luminous, lyrical, and sad, even grim character themes related to the reflection of deep emotional, indeed – philosophical aspects of being revealed through a change of experiences. The theme of many songs is associated with the embodiment of the thoughts and feelings of a person, with the chanting of a beautiful nature. Conclusions. The least studied early period of creativity, in particular, the sphere of chamber-vocal music formed the individuality of the compositional style of Zhu Jian’er. Zhu Jian’er’s songs are characterized by vivid musical images and colorful writing, vividly representing the individuality of the composer’s musical language. These works alone allow us to say that in his early years the composer Zhu Jian’er was a high-level musician.
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Mehr, Norman, and Lu Elrod. "Two! Four! Six! Eight! How do we Appreciate? Music Appreciation – Perceiving it, Understanding it." British Journal of Music Education 3, no. 2 (July 1986): 129–33. http://dx.doi.org/10.1017/s0265051700005271.

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An accountable program of elementary classroom music must have an educational function. In other words, it must perform an educational service. This involves more than the singing of songs or the attempt to hold the interest of children with ‘fun’ activities.The educational assumption behind most elementary classroom music programs is that the children through their musical experiences in the classroom will somehow learn to ‘appreciate’ music. The term ‘appreciate’, however, is vague and means different things to different people. Does it mean that children will learn to love the music of the masters by listening to great music on recordings and being told stories about the meaning of the music and the lives of composers? Does appreciating music mean identifying instruments and labeling the form? Does it mean identifying the composer and the period of the music from hearing it? Does it mean naming a certain number of composers and a certain number of the works of each? Does it have anything to do with preference for and liking of the music of the masters?
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Neill, Lindsay, Nigel Hemmington, and Luca Sturny. "We’d love to turn you on: Considering Bakhtin and the music of The Beatles, ‘A Day in the Life’." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 81–95. http://dx.doi.org/10.1386/jepc_00002_1.

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From the Sgt. Pepper’s Lonely Hearts Club Band album, this article re-reads The Beatles’ classic song ‘A Day in the Life’. Our re-reading uses Bakhtin’s chronotope. While ‘A Day in the Life’ was released in 1967, our chronotopic perspectives of it are timely. In using the chronotope to re-read this classic, we have developed an equation linking utterance to culture, time, history, the individual and interpretation. In those ways, our article not only reveals how texts are interpreted within socio-temporal constructs, but through our equation also shows how other texts may be understood and interpreted. Indeed, our equation explains the process of interpretation. Applied to ‘A Day in the Life’, our interpretation reveals the relevance of the songs lyric and music to contemporary understanding that transcends ways of being and becoming. That understanding also reflects The Beatles’ own change from four ordinary Liverpudlians to global mega-stars. Our interpretation of ‘A Day in the Life’ shows how, through lyric, The Beatles addressed their celebrity by reinstating their ordinariness within the music and lyric of the tune. Consequently, and while we concentrate on ‘A Day in the Life’ our article provides a wider view and understanding of how text and music combine to generate a timeless understanding of both meaning and interpretation.
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Ntabo, Victor Ondara, Naom Moraa Nyarigoti, and Moses Gatambuki Gathigia. "Interpreting the Human Being Metaphors in Ekegusii Pop Songs Using the Cognitive Semantics Framework." Issues in Language Studies 7, no. 2 (July 3, 2019): 73–86. http://dx.doi.org/10.33736/ils.1612.2018.

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The paper explores the human being metaphors in Ekegusii pop songs (EPS). Composers of EPS use human being metaphors to convey their message in different perspectives. It is possible for the meaning of the human being metaphors to elude the audience of EPS because language is both embodied and situated in a specific environment. Therefore, the meaning of the metaphors need to be objectively interpreted to reveal the message of the composers. The study purposively sampled Christopher Mosioma’s (Embarambamba) EPS amasomo (education) and the late Ontiri Bikundo’s obwanchani (love) based on the songs’ richness in metaphors. The Metaphor Identification Procedure Vrije Universiteit was used to identify 54 metaphors in the EPS by four coders (including the researchers). The concept of conceptual mapping, which is a fundamental tenet of the Conceptual Metaphor Theory, was employed to understand the source domains in terms of the target domains. The identified metaphors were classified into four conceptual domains of human being, animal, plant and object using the principle of the Great Chain of Being Metaphor. The paper then identified eight human being metaphors for the present study. The research found that human being metaphors are important ways of conceptualizing other human beings in society. In addition, metaphors are important tools of communication and should be explained using a cognitive semantics framework. The findings of the study will benefit the audience of the EPS, ethnographers and metaphor theorists to conceptualise EPS and culture.
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Tortoriello, Gregory K., and William Hart. "Blurring the Dichotomy of Good and Evil: The Idiosyncratic Helping Strategies Associated with Unmitigated–Agentic and Unmitigated–Communal Personalities." European Journal of Personality 33, no. 6 (November 2019): 674–701. http://dx.doi.org/10.1002/per.2223.

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We theorized that unmitigated–agentic personality constructs (UAPs)—prioritizing ‘getting ahead’ over ‘getting along’—and unmitigated–communal personality constructs (UCPs)—prioritizing getting along over getting ahead—are associated with distinct affect–regulatory helping strategies. In Study 1 ( N = 179), UAPs, on average, related to greater negative–affect versus positive–affect induction helping tactics. In two experiments, UAPs, on average, related to a greater likelihood of selecting anger–inducing versus love–inducing or sadness–inducing songs to help a target overcome a breakup (Study 2; N = 313) and greater selection of anger–inducing and hubris–inducing messages versus authentic–pride–inducing and love–inducing messages to help a teammate struggling in a game (Study 3; N = 246). UCPs manifested the opposite patterns. Generally, these associations corresponded with helping–strategy utility beliefs and were robust to moderators of helping target (self or other; Study 2) or altruistic versus selfish motives (Study 3). Study 4 ( N = 205) provided some evidence of ecological validity in contexts of recalled everyday helping. Associations between personality constructs and relative helping strategies were about moderate in size ( rs ∼ .20) across these four studies. Findings suggest that UAPs are associated with helping strategies believed to promote ‘contemptuous’ self–enhancement relative to ‘innocuous’ self–enhancement and self–transcendence, and vice versa for UCPs. © 2019 European Association of Personality Psychology
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Dissertations / Theses on the topic "Four Love Songs"

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Thomas, Eric Sanders. "An Examination of the Solo and Duet Vocal Repertoire of Kenneth Mahy." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/105.

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This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son of missionaries in China and the Philippines, among other influences, have affected and shaped his compositions. Resources include source material gathered from Mahy's personal archives, manuscripts and scores, and personal interviews with Mahy. This information provides comprehensive insight into a unique and deserving composer of modern American art song.
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Beasley, Rebecca Choate. "The influence of Sister Helen Prejean on the life and work of Jake Heggie as seen in the song cycle The Deepest Desire: Four Meditations on Love." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9795.

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Nelson, Michael. "Songs for cripples." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002952.

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Seville, Douglas J. S. "A simple love song, for soprano, tenor and orchestra : analytical commentary." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399799.

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Burnley, Toni. "The struggle for verbal consciousness : the development of Lawrence's analysis of man and human relationships in 'Sons and lovers', 'The rainbow' and 'Women in love'." Thesis, University of Sheffield, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284830.

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Gross-Mejía, Jennifer Anne. "The working hour: A rhetorical analysis of the lyrics of Tears for Fears." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2477.

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Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological symbolism to explore the idea of destiny. This thesis uses a combined rhetorical and psychological approach to analyze the manner in which the ethos and pathos inherent in the lyrics generated recognition, understanding, and sympathy in the listener.
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Viberg, Olga. "“Do I Dare Disturb the Universe?” A Dantean Quest for Meaning in Prufrock’s Liminal World : A Hermeneutical Reading of T.S. Eliot’s “The Love Song of J. Alfred Prufrock”." Thesis, Högskolan Dalarna, Engelska, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3240.

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Vojtěšek, Jiří. "MORAVSKÉ VINAŘSKÉ CENTRUM BRNO." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-354946.

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The city of Brno has always been a center of Moravian wine. The new draft of wine center responds to this reality and represents the grandeur of wineries in its full glory. Respect for nature, love for traditions and love for order/system are the main aspects of the design. The proposal is essentially open to the public, however, the necessary modesty is preserved. Conversely taciturnity of production part of buliding holds the secrets of the deep traditions of Viticulture and Enology. Designed buildings are used for production, wine storage, administration associated with the production, tasting and selling wine, conferences, accommodation and, finally, wellness and other activities. The size of the building is the result of an optimal design that does not interfere with nearby historical buildings. The emphasis is on minimizing costs both during construction and during operation. Flor plan shape resembling the letter L is oriented towards the west courtyard. This raises a unique viticultural area court with a wide staircase. The amphitheater can be used for seasonal exhibitions, pilgrimages or feast of local entertainment. The yard is connected with the street Hlinky, which paraphrases the historic entrance portals into winecellars. The northern part of the building bites into the ground and connects the original winecellars with new facilities. Small narrow windows reflects the desired taciturnity, just as it was with winecellars in South Moravia for centuries.
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Coppalle, Renaud. "Mise en lumière des capacités préservées d'apprentissage des personnes malades d'Alzheimer à un stade modéré à sévère à l'aide de l'art : un autre regard pour un autre accompagnement New long-term encoding in severely amnesic Alzheimer’s disease patients revealed through repeated exposureto artistic items Does multiple format presentation of songs increase encoding in patients with Alzheimer’s disease at a moderate to late stage? Preserved familiarity-based recognition for music and paintings in patients with Alzheimer’s disease at a moderate to late stage with extensive damages to the medial temporal lobe L’accompagnement des aidants depersonnes atteintes de maladies d’Alzheimerou apparentées : renouveler les approchesthéoriques de l’accompagnement en France Suivi de la situation et des ressentis des proches aidants de personnes avec maladie d’Alzheimer et troubles apparentés: Le cas particulier du confinement lié au Covid 19 Apports respectifs de la clinique et de la rechercheà la neuropsychologie Preservation of musical memory throughout the progression of Alzheimer’s disease? Toward a reconciliation of theoretical, clinical, and neuroimaging evidence Do musicians have better mnemonicand executive performance than actors? Influence of regular musical or theater practice in adults and in the elderly." Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC018.

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La maladie d’Alzheimer (MA) est considérée depuis plus de 30 ans comme une pathologie de la mémoire empêchant l’apprentissage d’informations nouvelles en mémoire déclarative. Cependant, l’Histoire de la neuropsychologie rapporte des cas de patients présentant des capacités d’encodage résiduelles malgré une amnésie non-dégénérative avec des lésions pourtant proches de celles de la MA. Si les tâches de laboratoire échouent à montrer ces capacités dans la MA dès les stades légers en utilisant des stimuli verbaux et picturaux neutres, nous avons étudié dans quelle mesure la musique et d’autres types de stimuli artistiques peuvent permettre de les révéler dans des conditions plus écologiques, notamment par l’exposition passive répétée. En utilisant une échelle d’apprentissage construite pour étudier l’évolution du sentiment de familiarité dans la MA, nous avons pu révéler et décrire des apprentissages nouveaux chez ces patients à des stades modérés à sévères, ainsi qu’en inférer la nature au regard des modèles de mémoire classiques et contemporains. Pour finir, nous proposons de discuter en quoi la prise en compte de ces capacités pourrait changer les représentations associées à la MA, et améliorer l’accompagnement proposé aux patients et à leurs aidants familiaux et professionnels
For the past 30 years, Alzheimer’s disease (AD) has been considered as a crippling memory disorder impairing any possibility of new learnings in declarative memory. However, in the history of neuropsychology, cases of residual encoding have been reported with amnestic patients presenting different etiologies despite showing lesions very similar to AD. Although using neutral verbal and pictural items in laboratory settings failed to report preserved learning capacities from the mild stages, we investigated how using music and other artistic items in ecological settings may reveal these capacities in AD patients at a moderate to late stage, notably by passive repeated exposition. By relying on a behavioral scale designed to study the evolution of the sense of familiarity in these patients, we were able to show and describe new learnings in this population, and inferring their nature in view of both classical and contemporary memory models. Finally, we offer suggestions to discuss how acknowledging these capacities could change the way AD is perceived, and how it could help caring for people affected by it and their familial and professional caregivers
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Thorngate, Russell. "The choral cycle : a conductor’s guide to four representative works." 2011. http://liblink.bsu.edu/uhtbin/catkey/1639728.

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This study explores the choral cycle as a genre and analyzes in depth four representative choral cycles, all of them American, and all composed in the twentieth century. Choral cycles are multi-movement choral works intended by their composers to be performed as sets. The term “choral cycle” has been used for only about a hundred years; similar genres include song cycles, for solo voice, and cantatas, usually for soloists and choir. Choral cycles, however, typically use several poetic texts unified by common theme or common author, and do not typically contain solo movements. The evolution of the use of the term by some composers and publishers has been inconsistent, but it seems to have been an effort to describe compositions that were inadequately described by other genre names. This study shows that composers and musicologists have used the term with increasing frequency. The four choral cycles analyzed in this study are The Hour-Glass by Irving Fine, American Madrigals by Kirke Mechem, Voices by Stephen Paulus, and Five Hebrew Love Songs by Eric Whitacre. These four cycles demonstrate widely divergent compositional techniques, performing force requirements, and uses of text. As such, they illustrate the wide range of possibilities within this genre. In addition to the detailed analysis of the aforementioned choral cycles, this study also provides background into the historical predecessors of choral cycles. An appendix offers a list of numerous other choral cycles for consideration.
Choral cycles in historical context -- The hour glass by Irving Fine -- American madrigals by Kirke Mechem -- Voices by Stephen Paulus -- Five Hebrew love songs by Eric Whitacre -- Summary and conclusions.
School of Music
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Books on the topic "Four Love Songs"

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Smith, Peter Fox. North Pomfret poems: Songs of life, love, and death for four seasons, 1968-1993. [North Pomfret, Vt.]: P.F. Smith, 1995.

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For the sender: Four letters, twelve stones one story. Carlsbad, Cal: Hay House Inc, 2012.

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Marley, Cedella. One love. San Francisco, Calif: Chronicle Books, 2011.

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Love songs for the dead. Beverly Hills, Calif: Laredo Pub. Co., 2000.

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group), Queers (Musical. Love songs for the retarded. Berkeley, Calif: Rad Girlfriend Records, 2017.

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Oguibe, Olu. Songs for Catalina. London: Savannah, 1994.

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Marley, Cedella. One love. San Francisco, Calif: Chronicle Books, 2011.

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ill, Mason Janeen I., ed. John Denver's For baby (for Bobbie). Nevada City, Calif: Dawn Publications, 2009.

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For her son's love. New York: Steeple Hill Books, 2007.

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Love songs for a tender god. Lantzville, B.C: Oolichan Books, 2002.

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Book chapters on the topic "Four Love Songs"

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Dell, Helen. "Dying for love in trouvère song." In Singing Death, 119–35. Abingdon, Oxon; New York: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315302119-9.

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"The Bird with Four Feathers." In Moral Love Songs and Laments, 255–88. Medieval Institute Publications, 1998. http://dx.doi.org/10.2307/j.ctv13gvjjq.9.

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"The Four Leaves of the Truelove." In Moral Love Songs and Laments, 161–254. Medieval Institute Publications, 1998. http://dx.doi.org/10.2307/j.ctv13gvjjq.8.

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"3. The Four Sampradbys and the Commonwealth of Love." In A Storm of Songs, 99–147. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674425262-006.

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Manning, Jane. "HANS WERNER HENZE (1926–2012)Three Auden Songs (1983)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 125–27. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0036.

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This chapter studies songs for the tenor repertoire by Hans Werner Henze. Henze’s three songs, based on texts by the poet W. H. Auden, are a key example of his fastidious and beautifully-crafted vocal writing. Henze sets these three contrasting poems with utmost sensitivity. The fast-moving texts contain layers of subtlety, couched in a concise, freely chromatic musical language which sits easily in the voice. The settings build cumulatively in proportion and weight. A tiny, poignant tribute to a dead cat leads to a powerfully intuitive, four-verse portrait of the poet Arthur Rimbaud. This is followed by a substantial love song, full of tenderness and passion, yet controlled with consummate skill. The work is written in standard notation (without bar-lines) and should prove a rewarding vehicle for singers of relatively modest attainment as well as mature artists.
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"Love Song for Love Songs." In Alternative Medicine, 85. Duke University Press, 2013. http://dx.doi.org/10.1215/9780822377139-053.

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"Love Song for Love Songs." In Alternative Medicine, 85. Duke University Press, 2013. http://dx.doi.org/10.2307/j.ctv1220qpn.55.

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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer at the End." In Madeleine Dring, 205–54. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0008.

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The letters sent to American composer and pianist Eugene Hemmer allow Dring to speak in her own voice for the first time since the early diaries, documents that allow a glimpse into her musical as well as her personal life. There is a brief discussion of The Florida International Music Festival, which featured the US premiere of her most popular instrumental composition, the Trio for Flute, Oboe, and Piano, a work which provides a splendid example of her later musical style. Other works that are discussed include The Real Princess, a ballet written for Mari Bicknell’s Cambridge Ballet Workshop, and four song cycles: Dedications, Love and Time, Five Betjeman Songs, and Four Night Songs. Also documented are the first professional recordings of her compositions and the spiritual journey she undertook in her last years, the latter illustrated by talks that she gave at the Centre for Spiritual and Psychological Studies. Finally, her sudden death from a brain aneurysm is related through letters of Roger Lord and other documents, followed by her memorial service and concerts in her honor at the RCM.
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van der Wal, Adri. "THE SONG OF SONGS:." In The Song of Songs in its Context. Words for Love, Love for Words, 533–40. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26kv6.28.

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Exum, J. Cheryl. "WHITHER SONG OF SONGS RESEARCH?" In The Song of Songs in its Context. Words for Love, Love for Words, 25–44. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26kv6.6.

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Conference papers on the topic "Four Love Songs"

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Aritonang, Hanna Dewi, Bestian Simangunsong, and Adiani Hulu. "Love Your Enemy: A Christian Response to Embrace Others." In International Conference of Education in the New Normal Era. RSF Press & RESEARCH SYNERGY FOUNDATION, 2020. http://dx.doi.org/10.31098/iceiakn.v1i1.240.

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This article addresses the issue of conflict between religious communities that cause enmity amid society. Hostilities must be overcome and resolved in accordance with the call of Christianity to live in love and peace. The study used the qualitative paradigm as the method of the research and the descriptive-analyses as the writing method by describing the research problems based on data collected from related publications.One of the powerful messages of Jesus's teaching is "Love your enemies." It’s one of the greatest challenges in life. Jesus Christ gave an important doctrine about loving the enemy because love is more powerful than evil, hurtful deeds. Loving the enemy means canceling hostilities and violence, but instead, it promises acceptance of each other. The title of this study is "love your enemies": A Christian Response to Embrace Others. As the title of this study is "love your enemies," the reason for the selection of this article is because the author sees that "loving the enemy is a commandment from God that must be obeyed. This research question emphasizes how to realize "loving the enemy" amid hostility. This paper argues that Jesus's command to love the enemy is a proper Christian lifestyle choice in the midst of hostility. We use CS Song thoughts, which elaborated with other scholars' views on theology, loving, and embracing others. The purpose of the research was to gain understanding and build a theological reflection on Jesus' commandment to love the enemy. In this article, we first briefly discuss the portrait of life among religious people in Indonesia. Secondly, we discuss the conflict between religious people in Indonesia. Finally, we apply the command of Jesus to love our enemy as a Christian lifestyle in the midst of hostility to construct harmony amid hostility. We propose the command of Jesus to ‘love your enemy’ as a response to establishing sustainable peace by embrace others. Finally, the Christians must become a loving community because God so loved us, and we also ought to love and embrace others.
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Kilpiö, Kaarina. ""We listened to our mix-tapes of love songs, talking about boys": Young Finns as a target group for cassette technology." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.21.

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