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Journal articles on the topic 'Hindi Songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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1

Viswamohan, Aysha Iqbal. "English in film songs from India: an overview." English Today 27, no. 3 (2011): 21–24. http://dx.doi.org/10.1017/s0266078411000332.

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‘C-a-t, cat. Cat mane billi; r-a-t, rat mane chooha’ went a song from a Hindi film of the fifties (mane = ‘means’, billi = ‘cat’, chooha = ‘rat’). The song, enormously popular with Indian youth of that generation, was scoffed at by the then contemporary purists who found it hard to accept such ‘blatant’ dilution of the Hindi language. This song, like a few more of its times, was merely an exception to the largely acceptable language of songs, then largely a mix of Hindi, Urdu and Persian. English was, thus, used in songs either when it depicted (literally, since songs are acted out as autonomo
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2

Morcom, Anna. "Performance, performativity and melodrama as dramatic substance in Hindi film song sequences." Studies in South Asian Film & Media 10, no. 2 (2019): 129–47. http://dx.doi.org/10.1386/safm_00010_1.

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Abstract In this article, I explore the dramatic substance of Hindi film songs through an approach based in performance studies, which presents performance as the very stuff of social life, social identities and social power. Given this, the enactment of song sequences in the Hindi film narrative cannot be dramatically benign, or just excess, or just pleasure (however intense). I describe how song sequences perform and thereby manifest and reify love and romance in the film narrative. Using work on public spectacle and power by Foucault and the public sphere by Vasudevan, I further analyse how
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3

Booth, Gregory. "Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs." Popular Music 19, no. 2 (2000): 125–45. http://dx.doi.org/10.1017/s0261143000000088.

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IntroductionThe commercial Hindi language cinema is among the largest and oldest music film traditions on the planet. One of the most widely remarked and inflexible conventions of this highly stylised popular film genre is the regular appearance of song and dance scenes in almost every commercial Hindi film. A huge body of over 40,000 film songs (filmī gīt, as they are known in Hindi) has grown along with the thousands of Hindi sound films produced since 1931; unlike the more recent development of music video in the west, Hindi film songs have been intimately connected with larger narrative tr
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Young, Katie. "Hindi Film Songs in the Home: Gendered Experiences of Singing Popular Songs in Tamale, Northern Ghana." Ethnomusicology 66, no. 2 (2022): 264–89. http://dx.doi.org/10.5406/21567417.66.2.05.

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Abstract Beginning in the 1950s, Dagbamba and Hausa women in Tamale listened to Hindi film songs in their homes, via gramophone records and through state-run women's radio programs. Hindi film songs were soon integrated into existing domestic singing practices, including songs meant for domestic labor (tuma-yila) and childcare (biyola-yila). Through an analysis of oral history interviews as well as recorded performances of Hindi film songs sung by women, men, and youth in Tamale, I show how everyday performances of Hindi film songs reveal gendered and intergenerational experiences of domestic
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Arnold, Alison. "Popular film song in India: a case of mass-market musical eclecticism." Popular Music 7, no. 2 (1988): 177–88. http://dx.doi.org/10.1017/s0261143000002749.

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The ubiquitous songs in India's commercial feature films play a dual role in Indian society: they serve as both film songs and pop songs for India's 800 million people. India is the largest film-producing country in the world and one fifth of its current annual production of approximately 750 films is made in Hindi, each film having an average of five to six songs (Dharap 1985). As the major form of mass entertainment available on a national scale, rivalled only by the government-run television network, Hindi cinema plays a prominent and influential role in Indian society. Yet its songs, which
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6

Dr. Jan Nisar Moin. "A Research Review of Urdu Language." Dareecha-e-Tahqeeq 2, no. 3 (2022): 1–70. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i3.23.

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Urdu originated in the 12th century AD from the Upabharmsha region of northwestern India, which served as a linguistic system after the Muslim conquest. His first great poet was Amir Khosrow (1253–1325), who wrote duets, folk songs, and riddles in the newly formed speech, which was then called Hindu. This mixed speech was spoken in different ways in Hindi, Hindi, Hindi, Delhi, Rekhta, Gujari, Dakshini, Urdu, Mullah, Urdu, or Urdu only. The great Urdu writers continued to call it Hindi or Hindi until the beginning of the 19th century, although there is evidence that it was called Indian in the
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7

Arora, V. N. "Popular Songs in Hindi Films." Journal of Popular Culture 20, no. 2 (1986): 143–66. http://dx.doi.org/10.1111/j.0022-3840.1986.2002_143.x.

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8

Kaur, Ravneet. "Framing the Body and the Body of Frame: Item songs in popular Hindi cinema." Acta Orientalia Vilnensia 12, no. 2 (2011): 101–24. http://dx.doi.org/10.15388/aov.2011.1.3929.

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University of DelhiThe basic framework of this paper is to deliberate upon the emergence of item songs as a reinstatement of the dominance of the ‘song and dance sequences’ in popular Hindi cinema, and its inferences as a sub-text in contemporary cultural forms. While doing so, the paper argues that the transition in consumption and the circulation/distribution of Hindi film songs, and other visual/ audio media has affectively facilitated the course. In the given context, the paper further attempts to address shifts in the filmic techniques that have consistently regulated the production of su
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9

Shope, Bradley. "Hindi Film Songs and the Cinema." Ethnomusicology Forum 20, no. 2 (2011): 271–73. http://dx.doi.org/10.1080/17411912.2011.589505.

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10

Mukherjee, Madhuja. "Hindi film songs and the cinema." South Asian Popular Culture 9, no. 2 (2011): 223–25. http://dx.doi.org/10.1080/14746689.2011.569077.

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11

SARRAZIN, NATALIE. "Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film." Popular Music 27, no. 3 (2008): 393–411. http://dx.doi.org/10.1017/s0261143008102197.

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AbstractIn Hindi cinema, love songs comprise the vast majority in an industry in which almost every film contains song and dance numbers. Often incorrectly characterised as narrative interruptions, these celluloid creations contain indigenous aesthetics and self-identifying cultural values, and employ contemporary cinematic techniques which impact film song content and context. How do these cinematic techniques intensify the viewing experience and allow traditional aesthetic ideals to coexist with contemporary codes relevant to a burgeoning Indian middle class and diaspora?Beginning with an ex
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Gurjar, Chatar Singh. "Carrier castes of folk songs and commercial songs." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 7 (2022): 31–34. http://dx.doi.org/10.53573/rhimrj.2022.v09i07.008.

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There are some castes in Rajasthan who make their living by singing folk songs. These professional singers get neg in return by singing occasion-specific songs at specific host castes. Dhadhi, Dholi, Manganiyar, Langa etc. are prominent among professional singer castes. These singers mainly sing more love based songs. The beautiful combination of song and music is mesmerizing. The main feature of these songs is the poignant portrayal of love in ragas like Mand, Sorath, Maru, etc.
 Abstract in Hindi Language:
 राजस्थान में कुछ ऐसी जातियाँ हैं, जो लोकगीत गाकर अपना गुजर-बसर करती हैं। ये
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13

Jayswal, Ajay. "Singer Identification in Indian Hindi Songs: A Review." International Journal for Research in Applied Science and Engineering Technology 6, no. 4 (2018): 743–48. http://dx.doi.org/10.22214/ijraset.2018.4126.

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14

Patra, Braja Gopal, Dipankar Das, and Sivaji Bandyopadhyay. "Multimodal mood classification of Hindi and Western songs." Journal of Intelligent Information Systems 51, no. 3 (2018): 579–96. http://dx.doi.org/10.1007/s10844-018-0497-4.

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15

Kothari, Rita, and Apurva Shah. "Dil Se: Love, Fantasy and Negotiation in Hindi Film Songs." Interventions 19, no. 4 (2017): 532–49. http://dx.doi.org/10.1080/1369801x.2017.1294101.

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16

Gacek, Tomasz. "Some Remarks on the Perso-Arabic Nominal Lexica in Bollywood Movie Song Lyrics." Acta Asiatica Varsoviensia 36 (2023): 39–67. http://dx.doi.org/10.60018/acasva.njyu2866.

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The Indian film industry releases thousands of movies every year, with those in the Hindi language forming a significant part of that number. These movies, and the songs used in them, have been the object of research within the scope of various scientific disciplines, including linguistics. The author of the present paper, however, believes that there are still numerous language phenomena to study within the lyrics of the Bollywood songs. The present text is dedicated to research of the Perso-Arabic lexica in these songs over the period of 80 years (1940–2020). It also analyses the frequency o
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17

JALILOVA, SHIRIN. "About the category of a noun in folk song texts in Awadhi." Sharqshunoslik. Востоковедение. Oriental Studies 02, no. 02 (2022): 40–43. http://dx.doi.org/10.37547/os/vol-01issue-02-06.

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This article is devoted to the grammatical category “the noun” in the folk songs texts of the eastern dialect of hindi – avadhi. There is given the description of the etimological classification of avadhi nouns. In the same way are described the some peculiarities of the noun’s word formation and fonetic changes are shown.
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18

GUPTA, CHARU. "‘Innocent’ Victims/‘Guilty’ Migrants: Hindi public sphere, caste and indentured women in colonial North India." Modern Asian Studies 49, no. 5 (2015): 1674. http://dx.doi.org/10.1017/s0026749x15000153.

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In this article footnote 70 on page 20 should include the following: ‘Quoted in Ashutosh Kumar, “Anti-Indenture Bhojpuri Folk Songs and Poems from North India”, Man in India, 93 (4), 2013, p. 512 [509–19].’On the same page, after the line ‘The victimized woman was glorified and acquired subjecthood only when she emulated the virtues and ideals of upper-caste Indian womanhood and wifely devotion, thereby overcoming the perceived stereotypes of Dalit woman’ the following footnote should have appeared: ‘Kumar, “Anti-Indenture Bhojpuri Folk Songs”, p. 513’.The author regrets the error.
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19

Beaster-Jones, Jayson. "Evergreens to Remixes: Hindi Film Songs and India’s Popular Music Heritage." Ethnomusicology 53, no. 3 (2009): 425–48. http://dx.doi.org/10.2307/25653086.

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20

Duggal, Vebhuti. "Imagining Sound through the Pharmaish: Radios and Request-postcards in North India, c. 1955–1975." BioScope: South Asian Screen Studies 9, no. 1 (2018): 1–23. http://dx.doi.org/10.1177/0974927618767270.

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In this essay, I look at the practice of writing requests for Hindi film songs to the radio, particularly during the first two decades after Independence. I attempt to reconstruct this radio-listening practice from narrative accounts of listeners, radio personnel and fan magazines produced during this period. The article argues that the pharmaish indicated practices of listening and publicity that provided the contours for (a) a mediatised form that emerges in a distinct manner on the radio, (b) a sonic map and (c) an act of ‘recognition’. It is in these ways that the pharmaish may illuminate
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21

Satyan, Urmi. "Content Analysis: Pop-Songs in the English Language Teaching Classes." Journal of NELTA Gandaki 3, no. 1-2 (2020): 36–44. http://dx.doi.org/10.3126/jong.v3i1-2.33143.

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Along with Hindi, English is given a status of an official language in India as per the Official Language Act, 1963.(Dept. of Official Language, India). English is studied in India as a Second Language and so English is the most sought after language in India. There are many university students who aspire to obtain a Bachelor’s and a Master’s degree in English. With a view to make the process of teaching English language interesting as well as enriching, some popular English songs were selected for the class of postgraduate students of English Language. It was realised, during and after the ac
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Mehta, Monika. "DVD compilations of Hindi film songs: (Re)shuffling sound, stardom, and cinephilia." South Asian Popular Culture 10, no. 3 (2012): 237–48. http://dx.doi.org/10.1080/14746689.2012.706014.

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23

Bakshi, Madhupa, and Soumya Sarkar. "‘Crazy Kiya Re’: Explaining the consumption and popularity of Hindi film songs." South Asian Popular Culture 13, no. 2 (2015): 141–53. http://dx.doi.org/10.1080/14746689.2015.1088497.

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24

Trivedi, Pragya. "A daydream and a nightmare in Muqaddar Ka Sikandar: Formulas, fantasies and 1970s action Hindi cinema." Studies in South Asian Film & Media 14, no. 1 (2022): 37–52. http://dx.doi.org/10.1386/safm_00055_1.

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1970s Hindi formula films have been described within Hindi film scholarship as melodramatic, and masochistic fantasies, the latter in terms of the hero’s desire to return to a pre-Oedipal state. In my analysis of Muqaddar Ka Sikandar (1978), the biggest hit of the year, I focus on its staging of scenes of fantasy and dream-like episodes and its foregrounding of childhood episodes involving father substitutes, primary figures I argue in the staging. By examining the film’s psychical–spatial terrain, I also consider the figure of the rival and villain, played by Amjad Khan, and I argue that Khan
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25

Gurjar, Chatar Singh. "Socio-cultural consciousness in folk songs of Dausa district." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 11 (2022): 54–61. http://dx.doi.org/10.31305/rrijm.2022.v07.i11.010.

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The folk songs sung in the rural areas are meant for the entertainment of the people as well as for awakening the social consciousness. The artists of these songs infuse a new zeal and positive energy in the rural masses. Through these songs, singers work to remove backwardness as well as create awareness in the society. There are many such songs which, along with following various traditions, have a direct impact on the living and lifestyle of the people. Along with imparting knowledge of folk songs, stories, Vedas and Puranas, they also teach the lesson of mutual love and patriotism. Along w
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Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.

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Folk songs have been a medium for the common people to express their feelings and emotions. There is a simple introduction of folk life in folk songs. Along with the external life of a person, they are also the reflection of his mental feelings. Folk music is short, simple, clear, natural, beautiful, emotional and musical. The real introduction to the natural relationship between life and music is through folk songs. In Indian folk music, its different types have been classified as follows – folk songs, folk instruments, folk dances. Folk songs are classified as follows: - Nature related, fami
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Shankar, Shalini. "Reel to real." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 14, no. 2-3 (2004): 317–35. http://dx.doi.org/10.1075/prag.14.2-3.12sha.

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Diasporic media, though widely discussed theoretically and occasionally ethnographically, are seldom explored with explicit attention to language. “Bollywood” films - feature-length movies produced and distributed in Bombay (Mumbai), India - are an excellent media source through which to examine linguistic anthropological topics of indexicality, bivalency, and identity in diasporic communities. In this paper, I analyze the circulation and consumption of Bollywood films - created in Hindi and subtitled in English - among South Asian-American (desi) communities in both Silicon Valley, CA and Que
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Young. "Hearing Sacred Sounds in Hindi Film Songs: Thoughts on the Mawlid in Tamale, Northern Ghana." Journal of Africana Religions 5, no. 2 (2017): 299. http://dx.doi.org/10.5325/jafrireli.5.2.0299.

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Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.

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This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as we
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DeNapoli, Antoinette Elizabeth. ""Write the Text Letter-by-Letter in the Heart"." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 1 (2010): 3–40. http://dx.doi.org/10.1558/post.v4i1.3.

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The performance of the Rāmāyan, a popular, medieval Hindi text composed by the Indian poet/saint Tulsidas, constitutes an important genre in the “rhetoric of renunciation” for female Hindu ascetics (sādhus) in Rajasthan. It is used by them, along with the singing of devotional songs (bhajans) and the telling of religious stories (kahānī), as integral to their daily practice of asceticism. This essay examines the performance and textual strategies by which non- and semi-literate female sādhus create themselves as “scriptural”—how they perform a relationship with the literate textual tradition o
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Yasrab, Zainab Iqra, Akhtar Hussain Jalbani, and Saima Siraj Soomro. "Singer and Genre recognition using deep learning." Pakistan Journal of Emerging Science and Technologies (PJEST) 4, no. 2 (2023): 1–12. http://dx.doi.org/10.58619/pjest.v4i2.102.

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In this paper, we try to solve the two mostly occurred problems which are genre recognition and singer identification from common pieces of music. For that, we use a system that helps us to achieve our target that is based on a music information retrieval system, in which the system can process our files and the system can generate the desired results. The system is divided into different phases and for the music recognition, first, there is a need to separate the vocal features of the singer from the music clip because, with the background music, it’s slightly difficult to analyze the vocal o
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Vuille, Rosine-Alice. "The Living Tree: Kr̥ṣṇā Sobtī’s Pre-Partition Punjab and the “Other History”". Cracow Indological Studies 23, № 1 (2021): 137–55. http://dx.doi.org/10.12797/cis.23.2021.01.05.

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Historical fiction covers a wide range of texts and presents a large variety of views on the subject of history. It is often seen as a way of narrating history from a perspective ignored by academic historiography, thus offering an alternative narrative of the past. This other way of writing history, namely by way of literary texts, is not always conscious or openly acknowledged. In her essays on literature, the Hindi writer Kr̥ṣṇā Sobtī (1925–2019) clearly formulates her views on the role of the writer when she commits herself to represent the past, differentiating her role from that of a his
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Pandey, Kamya, and Ruchi Jaggi. "Advertising Narratives of Society and Politics: A Semiotic Analysis of Amul’s Print Ads." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 5112–31. http://dx.doi.org/10.47059/revistageintec.v11i4.2552.

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Contextual knowledge is the most important aspect of language comprehension. We define contextual knowledge as both general knowledge and discourse knowledge, i.e., knowledge of the situational context, background knowledge, and co-textual context. In this paper, we will discuss the significance of contextual knowledge in comprehending the humor found in Amul's cartoon advertisements in India. Throughout the process, we will analyze these advertisements and determine whether humor is an effective tool for advertising and, as a result, marketing. These bilingual advertisements also assume that
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Julyandini, Luh Nurcahya, Ni Nyoman Sariyani, and Kadek Dwi Arlinayanti. "Feminist Language And Women’s Image In Balinese POP Song Entitled Wek Igis." International Journal of Multidisciplinary Sciences 1, no. 4 (2023): 450–62. http://dx.doi.org/10.37329/ijms.v1i4.2374.

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Balinese pop song has a simple characteristic and is easily remembered by the public because this song characterizes the expression of the author’s feelings, which are written into the content and the life phenomenon. Balinese pop song is highly favored among the Balinese people because it has its own characteristic of using the Balinese language and is easy to learn because it has simple lyrics. It has been proven that in Bali, many singers sing Balinese pop songs such as Widi Widiana, Panji Kuning, Yong Sagita, Dek Ulik, A.A. Raka Sidan, Putri Bulan, and Dek Arya. One of the most famous Bali
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Konch, Hemanta. "Nominal Inflection of the Tutsa Language." International Journal of Innovative Technology and Exploring Engineering 10, no. 4 (2021): 138–40. http://dx.doi.org/10.35940/ijitee.d8428.0210421.

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North-East is a hub of many ethnic languages. This region constitutes with eight major districts; like-Assam, Arunachal Pradesh, Nagaland, Manipur, Mizoram, Tripura, Meghalaya and Sikkim. Tutsa is a minor tribe of Arunachal Pradesh. The Tutsa was migrated from the place ‘RangkhanSanchik’ of the South-East Asia through ‘Hakmen-Haksan’ way to Arunachal Pradesh. The Tutsa community is mainly inhabited in Tirap district and southern part of Changlang district and a few people are co-exists in Tinsukia district of Assam. The Tutsa language belongs to the Naga group of Sino-Tibetan language family.
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Offredi, Mariola. "Educating the Young against Discrimination." Archiv orientální 82, no. 1 (2014): 59–116. http://dx.doi.org/10.47979/aror.j.82.1.59-116.

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The paper takes into consideration the Hindi textbooks of the National Council of Educational Research and Training (NCERT, set-up in 1961 and fully funded by the Central Government) for sixth to twelfth grade students (11/12 to 17/18 years of age) published in the 2000s. In accordance with the NCERT’s aim of seeking qualitative improvements in school education, these new generation textbooks are framed so as to bridge the gap between education and life. The literary texts of the collections – prose works, poetry, drama, songs, all introduced (with the exception of the syllabus for class 6) by
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Szczepanski, Beth. "Anna Morcom, Hindi Film Songs and the Cinema Aldershot, Hampshire: Ashgate, 2007 [xii, 281 pp. ISBN 9780754651987. $44.95 (paperback)]. SOAS Musicology Series." Journal of Film Music 7, no. 1 (2016): 99–100. http://dx.doi.org/10.1558/jfm.31222.

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Utami Dewi, Ida Ayu Putu. "PENGAJARAN TEOLOGI PADAANAK USIA DINI MELALUI LAGU TRI MURTI (NYANYIAN DHARMA)." PRATAMA WIDYA : JURNAL PENDIDIKAN ANAK USIA DINI 2, no. 2 (2019): 39. http://dx.doi.org/10.25078/pw.v2i2.1014.

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<p><em>Early childhood education is the main gateway in entering the next education. Conducting education as early as possible is an investment in further education as well as building a solid foundation of life. This period is a very important period, where at this time the human experience full development, so called as the golden age. Teaching theology can be done through songs. Chanting of children’s songs is a powerful weapon in building theological values towards the children. They can learn about the theological value contained in the song while they are singing happily. One
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Rajput, Gajendra Singh. "Creativity of Dr. Jagdish Chandra Gupta: Overall Evaluation." RESEARCH HUB International Multidisciplinary Research Journal 10, no. 2 (2023): 80–84. http://dx.doi.org/10.53573/rhimrj.2023.v10n02.017.

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Gupta ji is an accomplished creator. He neither blindly followed antiquity nor modernity. In his own words, "I have tradition in one hand and innovation in the other hand, if I am given the right to use this word in the name of new poetry, I can without hesitation say 'duhun haath mud-modak more' as well as for others. I can also offer half of the other Andhali. He has made a meaningful effort to mix antiquity and innovation. Dr. Gupta's work-pane is very wide. On the one hand it is targeted in the form of verses, songs and new poetry in Brajbhasha, and on the other hand in the form of many cr
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Jatiyasa, I. Wayan, and Ni Kadek Juliantari. "Language Creativity in Presenting Hindu Religion Material." Jurnal Penelitian Agama Hindu 8, no. 2 (2024): 182–92. http://dx.doi.org/10.37329/jpah.v8i2.2824.

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Teachers are required to be creative in packaging learning activities in various ways. One of the creativity carried out by prospective teaching students is modifying familiar songs into songs containing learning material about Hindu religion. Therefore, it is important to conduct this research to describe language creativity in presenting Hindu religious material and the obstacles faced in modifying songs. Creativity in presenting material is very important in order to achieve effective communication in learning activities. This research is classified as qualitative research with an empirical
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Souroukis, Konstantine, William H. Cade, and Gareth Rowell. "Factors that possibly influence variation in the calling song of field crickets: temperature, time, and male size, age, and wing morphology." Canadian Journal of Zoology 70, no. 5 (1992): 950–55. http://dx.doi.org/10.1139/z92-135.

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The structure of the calling song of the Texas field cricket, Gryllus integer, was studied. Pulse rates, percentage of missed pulses within a trill, numbers of pulses per trill or trill lengths, and intertrill intervals were measured for males singing in the field and in the laboratory. All song parameters were variable and were distributed normally. Intertrill intervals were longer in the laboratory, but all other parameters were similar in laboratory and field populations. Pulse rates varied in a linear fashion with ambient temperature in the laboratory and field. The percentage of missed pu
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Vedenina, Varvara, Nikita Sevastianov, and Evgenia Kovalyova. "New data on bioacoustics and courtship behaviour in grasshoppers (Orthoptera, Acrididae, Gomphocerinae) from Russia and adjacent countries." ZooKeys 1200 (May 2, 2024): 1–26. http://dx.doi.org/10.3897/zookeys.1200.118422.

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The songs of seven grasshopper species of subfamily Gomphocerinae from Russia, Ukraine, Georgia, and Kazakhstan were studied. We analysed not only the sound, but also the stridulatory movements of the hind legs to more entirely describe the songs. In Mesasippus kozhevnikovi, Chorthippus macrocerus, and C. hammarstroemi, the legs are moved in a relatively simple pattern; four other species, Myrmeleotettix palpalis, Stenobothrus newskii, C. pullus, and Megaulacobothrus aethalinus demonstrate more complex leg movements. In six of the seven species studied, the courtship songs contain more sound e
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TARASOVA, TATIANA A., NIKITA S. SEVASTIANOV, and VARVARA YU VEDENINA. "Songs and morphology in grasshoppers of the Stenobothrus eurasius group (Orthoptera: Acrdidae: Gomphocerinae) from Russia and adjacent countries: clarifying of taxonomic status." Zootaxa 4965, no. 2 (2021): 244–60. http://dx.doi.org/10.11646/zootaxa.4965.2.2.

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On the basis of the song and morphological analyses, we revised the status of the subspecies Stenobothrus eurasius eurasius Zubowsky, 1898, and S. eurasius hyalosuperficies Vorontsovskii, 1927. The status of the subspecies S. eurasius hyalosuperficies Vor. has been changed to the species level. The most striking difference between S. eurasius and S. hyalosuperficies lies in the song parameters. The calling songs differ not only in temporal parameters but are also produced by different mechanisms. S. eurasius generates calling songs by common leg stridulation, whereas S. hyalosuperficies produc
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VEDENINA, VARVARA, NIKITA SEVASTIANOV, and TATIANA TARASOVA. "Contributions to the study of the grasshopper (Orthoptera: Acrididae: Gomphocerinae) courtship songs from Kazakhstan and adjacent territories." Zootaxa 4895, no. 4 (2020): 505–27. http://dx.doi.org/10.11646/zootaxa.4895.4.3.

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Male courtship songs of 9 grasshopper species of Gomphocerinae from Kazakhstan and Orenburg region and Altai Republic of Russia were studied. We analyzed not only the sound, but also the stridulatory movements of the hind legs to more entirely describe the songs. We also analyze the frequency spectra of the songs and the whole visual display during courtship. The courtship songs of three species, Stenobothrus miramae, Chorthippus dubius and Ch. angulatus, were studied for the first time. In four species, Omocestus haemorrhoidalis, O. petraeus, Myrmeleotettix pallidus, Ch.karelini, we found cer
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Hornabrook, Jasmine. "Songs of the Saints: Song Paths and Pilgrimage in London's Tamil Hindu Diaspora." Asian Music 49, no. 2 (2018): 106–50. http://dx.doi.org/10.1353/amu.2018.0017.

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Lorier, Estrellita, M. Dolores García, M. Eulalia Clemente, and Juan José Presa. "Acoustic behavior of Metaleptea adspersa (Orthoptera: Acrididae)." Canadian Entomologist 134, no. 1 (2002): 113–23. http://dx.doi.org/10.4039/ent134113-1.

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AbstractThe sounds produced by Metaleptea adspersa (Blanchard 1843) were recorded in captivity with an analogical tape recorder. The signal was digitized in the laboratory and studied with a software. Three types of sound were described: copulation, rivalry, and crepitation. All three sounds were produced only by males. The frequency of the sounds occupied a broadband, from 3–4 to 16 kHz, although the main peak frequency for each type of song differed. We also studied the structures involved in sound production. Copulation and rivalry songs were produced by the rubbing of the subcostal, radial
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MÜRŞÜDOVA, U. B. "AZƏRBAYCANIN OĞUZ-TÜRK VƏ ŞİMALİ AMERİKANIN HİNDU XALQ NƏĞMƏLƏRİ: MÜQAYİSƏLİ TƏHLİL." Actual Problems of study of humanities 1, no. 2024 (2024): 134–40. http://dx.doi.org/10.62021/0026-0028.2024.1.134.

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Azerbaijan Oguz-Turk and North American Hindu Folk Songs: a Comparative Analysis Summary Folk songs of Oguz-Turk and Hindu people have addressed themes that are universal to most of humanity throughout history, including love, loss, treachery, and early death. They serve as a historical account of the circumstances that existed when they were written or oral traditions that were carried down orally. Folk songs are essential to music since they provide a brief overview of the musicians' lives. Important information is also frequently passed down from generation to generation through folk tunes.
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Dahal, Bishnu Prasad. "Women’s Sexuality through Ratauli Songs in Hindu Society." Journal of Asian Development 7, no. 1 (2020): 1. http://dx.doi.org/10.5296/jad.v7i1.18071.

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The aim of this research is to identify the voices of women, about their sub- ordination, oppression that has been practiced in Nepalese society and culture through the analysis of lyrics of Ratauli songs. The contradictions between the myths about gender and real experienced (by suffered in realist manner) is also over looked and tried to analyze the situation experience by Women and non-women in Nepali society. To understand the socio-cultural feeling, emotion, aspiration, lyrics of music may be the probable means to analyze what message is provided, what is understood by the people. How mes
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Qonita, Nurul Atsna, Citra Sonia, Nurul Embun Isnawati, Urfun Nadhiroh, Sania Rahmatika, and Ahmad Fauzan Hidayatullah. "Implementation of Sunan Kalijaga Dolanan Song Against Children Character Education." Tsaqofah dan Tarikh: Jurnal Kebudayaan dan Sejarah Islam 5, no. 1 (2020): 71. http://dx.doi.org/10.29300/ttjksi.v5i1.2778.

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This study aims to examine the relationship between the meaning of the song and sluku dolanan lir ilir-sluku bathok planting anak.Tembang children dolanan character is a creation of Sunan Kalijaga as one method of preaching. The method used in this study is the historical method with kualitatif.Sedangkan approach to data retrieval techniques do with literature and documentation. Sunan Kalijaga is one walisongo influential in the process of Islamization in Java. Java community who originally was held the belief that the ancestors of the Hindu-Buddhist belief is not merely willing to convert to
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Cartwright, Keith. "Tar-Baby, Terrapin, and Trojan Horse— A Face-the-Music Cosmo Song from the University's Hind Tit." Publications of the Modern Language Association of America 131, no. 1 (2016): 174–78. http://dx.doi.org/10.1632/pmla.2016.131.1.174.

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What do you do when you come to know that you're stuck to the intractable stuff of other folks' and other times' making, stuck more deeply the more you rail against it for not answering to your hailing? What do you do when you're busted to pieces and can't pull it all together with the hum of a song? What do you do when you find yourself outside a structure that won't let you (or your loves) inside its towered walls and gated communities? What follow are prescriptions divined from fabulous tales of tar babies, terrapins, and supersized machine-horses. Southern myth-science. To borrow from othe
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