To see the other types of publications on this topic, follow the link: Hindi Songs.
Journal articles on the topic 'Hindi Songs'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Hindi Songs.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Viswamohan, Aysha Iqbal. "English in film songs from India: an overview." English Today 27, no. 3 (August 18, 2011): 21–24. http://dx.doi.org/10.1017/s0266078411000332.
Full textAbstract:
‘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 autonomous scenes in Bollywood) a comic actor in a light-hearted situation or a semi-literate character desperate to accommodate to the urban ways of life. A celebrated song from Gopi, a Hindi film of the early seventies, goes a step forward with its novel coinage. The hero is a rustic who tries to impress his fellow villagers by dressing up in city (read English) style and sings:Gentleman gentleman, gentleman/London se aaya mein ban-than ke……Yeh dekh mera suita/Yeh dekh mera boota/Yeh dekh mera comba
2
Morcom, Anna. "Performance, performativity and melodrama as dramatic substance in Hindi film song sequences." Studies in South Asian Film & Media 10, no. 2 (December 1, 2019): 129–47. http://dx.doi.org/10.1386/safm_00010_1.
Full textAbstract:
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 they connect the public, emotions of love, and social or familial struggle in various ways, embodying key nodes of melodrama. I then reflect, in these terms, on the recent curtailment of performed songs in Hindi films. I thereby present a new method for analysing the dramatic agency of screened or background songs in films.
3
Booth, Gregory. "Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs." Popular Music 19, no. 2 (April 2000): 125–45. http://dx.doi.org/10.1017/s0261143000000088.
Full textAbstract:
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 traditions and visual images from their very inception. Filmī gīt comprise one of the most intensely consumed popular music repertoires on the planet. Across the range of visual and sound media and on into live performance, the audience for film song must be numbered in the hundreds of millions throughout the South Asian subcontinent and diaspora.
4
Young, Katie. "Hindi Film Songs in the Home: Gendered Experiences of Singing Popular Songs in Tamale, Northern Ghana." Ethnomusicology 66, no. 2 (July 1, 2022): 264–89. http://dx.doi.org/10.5406/21567417.66.2.05.
Full textAbstract:
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 space, labor, and social life in Tamale.
5
Arnold, Alison. "Popular film song in India: a case of mass-market musical eclecticism." Popular Music 7, no. 2 (May 1988): 177–88. http://dx.doi.org/10.1017/s0261143000002749.
Full textAbstract:
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 represent India's most popular music in the twentieth century, are relatively little known to non-Indians, either to scholars or to the general public. Musicologists and anthropologists have for the most part focused their attention on Indian classical and folk traditions to the neglect of film song. To counteract this imbalance I propose here to examine one important aspect of Hindi film song – its peculiarly eclectic nature – which plays a major role in the nationwide appeal of this popular music. I look at some of the ways in which these film songs are eclectic and possible reasons why they are so. Such a study provides insights into the role of this popular music in Indian society and culture and can thereby contribute to an understanding of the role of popular music generally in non-Western and developing countries.
6
Dr. Jan Nisar Moin. "A Research Review of Urdu Language." Dareecha-e-Tahqeeq 2, no. 3 (March 21, 2022): 1–70. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i3.23.
Full textAbstract:
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 late 17th century. This article presents a research overview of Urdu language.
7
Arora, V. N. "Popular Songs in Hindi Films." Journal of Popular Culture 20, no. 2 (September 1986): 143–66. http://dx.doi.org/10.1111/j.0022-3840.1986.2002_143.x.
Full text
8
Kaur, Ravneet. "Framing the Body and the Body of Frame: Item songs in popular Hindi cinema." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 101–24. http://dx.doi.org/10.15388/aov.2011.1.3929.
Full textAbstract:
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 such songs, revealing a spectrum of negotiations between and among the ‘body’, ‘performance’, and ‘frame’, with which the spectator becomes familiarized over a series of visual/ audio leaps that have taken place in the traditional media forms like that of television and in newer forms like the internet.
9
Shope, Bradley. "Hindi Film Songs and the Cinema." Ethnomusicology Forum 20, no. 2 (August 2011): 271–73. http://dx.doi.org/10.1080/17411912.2011.589505.
Full text
10
Mukherjee, Madhuja. "Hindi film songs and the cinema." South Asian Popular Culture 9, no. 2 (July 2011): 223–25. http://dx.doi.org/10.1080/14746689.2011.569077.
Full text
11
SARRAZIN, NATALIE. "Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film." Popular Music 27, no. 3 (October 2008): 393–411. http://dx.doi.org/10.1017/s0261143008102197.
Full textAbstract:
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 examination of traditional sources and contemporary values regarding music and emotion, I address the particularly important notion of displaying heart, often the centrepiece of thematic and dramatic tension as well as the love song soundtrack. As the primary emotional genre, I analyse the use of heart in romantic films and suggest a general typology of romantic film songs and their aesthetics, including commonly used musical motifs and codes.Finally, I compare musical, cinematic and narrative components of the Indian romantic genre with those aspects of the American film musical, particularly in relation to cultural values and ideological differences. The iconic use of a couple-centric narrative is examined in relation to Indian displays of emotion, and love song duets are contextualised through description of several pervasive cinematic techniques used to heighten the emotional impact of songs on the audience. I conclude with a focus on the relationship between the song sequence and the narrative structure, particularly how this serves to intensify the narrative flow rather than interrupt it.
12
Gurjar, Chatar Singh. "Carrier castes of folk songs and commercial songs." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 7 (July 31, 2022): 31–34. http://dx.doi.org/10.53573/rhimrj.2022.v09i07.008.
Full textAbstract:
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 पेशेवर गायक विशिष्ट यजमान जातियों के यहां अवसरानुकूल गीत गाकर बदले में नेग प्राप्त करते हैं पेशेवर गायक जातियों में ढाढी, ढोली, मांगणियार, लंगा आदि प्रमुख हैं। ये गायक मुख्य रूप से प्रेमाख्यान मूलक गीत अधिक गाते हैं। गीत और संगीत का सुन्दर संयोग मनमोहक होता है। मांड, सोरठ, मारु, आदि रागों में प्रेम की विहृलता का मार्मिक चित्रण इन गीतों की प्रमुख विशेषता है।
Keywords: लोकगीत, लोक देवता, बगड़ावत, देवनारायण, महागाथा, व्यावसायिक गीत।
13
Jayswal, Ajay. "Singer Identification in Indian Hindi Songs: A Review." International Journal for Research in Applied Science and Engineering Technology 6, no. 4 (April 30, 2018): 743–48. http://dx.doi.org/10.22214/ijraset.2018.4126.
Full text
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 (February 2, 2018): 579–96. http://dx.doi.org/10.1007/s10844-018-0497-4.
Full text
15
Kothari, Rita, and Apurva Shah. "Dil Se: Love, Fantasy and Negotiation in Hindi Film Songs." Interventions 19, no. 4 (March 10, 2017): 532–49. http://dx.doi.org/10.1080/1369801x.2017.1294101.
Full text
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.
Full textAbstract:
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 of the Perso-Arabic forms as opposed to native Indo-Aryan ones. Particular attention is paid to the forms of the highest frequency, especially the Persian word dil.
17
JALILOVA, SHIRIN. "About the category of a noun in folk song texts in Awadhi." Sharqshunoslik. Востоковедение. Oriental Studies 02, no. 02 (September 1, 2022): 40–43. http://dx.doi.org/10.37547/os/vol-01issue-02-06.
Full textAbstract:
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.
18
GUPTA, CHARU. "‘Innocent’ Victims/‘Guilty’ Migrants: Hindi public sphere, caste and indentured women in colonial North India." Modern Asian Studies 49, no. 5 (August 4, 2015): 1674. http://dx.doi.org/10.1017/s0026749x15000153.
Full textAbstract:
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.
19
Beaster-Jones, Jayson. "Evergreens to Remixes: Hindi Film Songs and India’s Popular Music Heritage." Ethnomusicology 53, no. 3 (October 1, 2009): 425–48. http://dx.doi.org/10.2307/25653086.
Full text
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 (June 2018): 1–23. http://dx.doi.org/10.1177/0974927618767270.
Full textAbstract:
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 the elusive terrain of cinematic reception, through the film song as metonym, away from the physical site and time of the cinema hall.
21
Satyan, Urmi. "Content Analysis: Pop-Songs in the English Language Teaching Classes." Journal of NELTA Gandaki 3, no. 1-2 (November 29, 2020): 36–44. http://dx.doi.org/10.3126/jong.v3i1-2.33143.
Full textAbstract:
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 activity, that pop songs can be effectively used in an English Language class. Songs and music have a natural quality to induce interest and enthusiasm to the listeners/learners and so it was aimed to redirect the students’ attention to the linguistic varieties present in the songs. As the songs are easy to memorise, they effortlessly develop English vocabulary of the students. These songs are selected to learn the use of adjectives, figures of speech and idioms. The whole process of learning English Language through popular songs also helped students to improve their listening comprehension. The present paper is an attempt to study how content analysis of the selected pop songs is proved effective and impactful in the postgraduate class of English Language. The songs for the present study are selected from a popular album named Imagined Dragon.
22
Mehta, Monika. "DVD compilations of Hindi film songs: (Re)shuffling sound, stardom, and cinephilia." South Asian Popular Culture 10, no. 3 (October 2012): 237–48. http://dx.doi.org/10.1080/14746689.2012.706014.
Full text
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 (May 4, 2015): 141–53. http://dx.doi.org/10.1080/14746689.2015.1088497.
Full text
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 (December 1, 2022): 37–52. http://dx.doi.org/10.1386/safm_00055_1.
Full textAbstract:
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’s villainy reworks scenes of staged enmity with the hero into reconciliation. I conclude with some observations on the contemporary circulation of formula films on YouTube, where the films and their songs remain remarkably popular and generate a large archive of likes, views and comments, and user-generated content.
25
Gurjar, Chatar Singh. "Socio-cultural consciousness in folk songs of Dausa district." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 11 (November 12, 2022): 54–61. http://dx.doi.org/10.31305/rrijm.2022.v07.i11.010.
Full textAbstract:
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 with performing various rites, these folk songs also serve as humor. In modern times, light communicates to a person suffering from mental stress and frustration.
Abstract in Hindi Lanaguge:
ग्रामीण क्षेत्र में गाये जाने वाले लोकगीत-लोगों के मनोरंजन के साथ-साथ समाज चेतना जगाने वाले गीत होते है। इन गीतों के कलाकार ग्रामीण जनता में एक नई उमंग व सकारात्मक ऊर्जा का संचार करते हैं। गायक इन गीतों के माध्यम से पिछड़ेपन को दूर करने के साथ-साथ समाज में जाग्रती का काम करते हैं। कितने ही ऐेसे गीत हैं जो विभिन्न परम्पराओं को निभाने के साथ-साथ लोगों के रहन-सहन व जीवन शैली पर सीधा प्रभाव डालते हैं। ये लोकगीत-कथाओं, कहानियेां, वेद पुराणों का ज्ञान करवाने के साथ-साथ आपसी प्रेम और देश-प्रेम का पाठ भी पढाते है। विभिन्न संस्कारों को निभाने के साथ-साथ ये लोकगीत हास-परिहास का भी काम करते हैं। आधुनिक समय मे ंमानसिक तनाव व कुण्ठा से ग्रस्त व्यक्ति में प्रकाश का संचार करते हैं।
Keywords: लोकगीत, संस्कृति, दंगली नाट्य, ख्याल, संस्कार, गणगौर।
26
Verma, Shalini. "Indian Folk Music." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 4 (April 14, 2023): 108–13. http://dx.doi.org/10.31305/rrijm.2023.v08.n04.013.
Full textAbstract:
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, family related, religious related, various subject related folk songs. Natural season-based songs are sung under nature related folk songs; Family-related folk songs in this, the heroine urges her hero to come to her home from another state. Under religious-related folk songs, songs are sung at the time of worshiping or praying and worshiping their favorite deity, folk songs on various topics in which animals-birds Songs based on clothes and ornaments are sung. Dholak, Harmonium, Ghungroo, Manjira Naal etc. are used as the main instruments. Simplicity is often found in folk songs. Folk songs are in folk language.
Abstract in Hindi Lanaguage:
लोकगीत जनसाधारण द्वारा अपने आमोद प्रमोद व अपनी भावनाओं को प्रकट करने का माध्यम रहा है। लोकगीतों में लोक जीवन का सीधा-साधा परिचय होता है। वे व्यक्ति के वाह्य जीवन के साथ-साथ उसके मानसिक भावों के परिचायक भी होती हैं । लोक संगीत संक्षिप्त, सरल, स्पष्ट स्वाभाविक, सुंदर, अनुभूतिमय और संगीतमय होता है। जीवन और संगीत के नैसर्गिक संबंध का वास्तविक परिचय हमें लोकगीतों के माध्यम से होता है।भारतीय लोकसंगीत में इन विधाओं के अन्तर्गत उसके विभिन्न प्रकारों को निम्न प्रकार से वर्गीकृत किया गया है – लोकगीत, लोकवाद्य, लोकनृत्य। लोकगीतों को निम्न प्रकार वर्गीकृत किया है:– प्रकृति सम्बन्धी,पारिवारिक सम्बन्धी,धार्मिक सम्बन्धी, विविध विषयक सम्बन्धी लोकगीत।प्रकृति सम्बन्धी लोकगीतों के अन्तर्गत प्राकृतिक ऋतु आधारित गीत गाए जाते हैं ; पारिवारिक सम्बन्धी लोकगीत इसमें नायिका अपने नायक को दूसरे प्रदेश से अपने घर आने का आग्रह करती है ।धार्मिक सम्बन्धी लोकगीतों के अन्तर्गत धर्म सम्बन्धी अपने इष्ट देव को रिझाने या प्रार्थना व पूजा करने के समय गीत गाए जाते हैं ,विविध विषयक लोकगीत जिसमें पशु – पक्षियों, वस्त्रों व आभूषणों पर आधारित गीत गाए जाते हैं। प्रमुख वाद्य के रूप में ढोलक, हारमोनियम, घुँघरू, मंजीरा नाल आदि का प्रयोग किया जाता है । लोकगीतों में प्रायः सरलता मिलती है । लोकगीत लोक भाषा में होती है।
Keywords: लोक संगीत, कजरी, लोक वाद्य
27
Shankar, Shalini. "Reel to real." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 14, no. 2-3 (June 1, 2004): 317–35. http://dx.doi.org/10.1075/prag.14.2-3.12sha.
Full textAbstract:
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 Queens, NY. Bollywood films are watched in family and peer groups, and portions of the films’ songs and dialogue become incorporated into everyday speech practices. I present and analyze instances of Hindi film dialogue interwoven into conversational exchanges between desi teens in ways that impact negotiations of style and identity. For many teens, the films provide narrative frameworks, prescripted dialogue, and socially recognizable registers and varieties of affect through which they enact their own dynamics of humor, flirting, conflict, and other types of talk. Drawing on ethnographic and sociolinguistic data, I contrast how these processes vary between these two diasporic communities.
28
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.
Full text
29
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 (January 16, 2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.
Full textAbstract:
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 well as efforts in Pakistan Movement. Daim Iqbal wrote on multifaceted in poetry including Naat, Poem, Ghazal, Songs, Kafi, C-Harfi, Translation, Elegy and storytelling.
30
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 (June 5, 2010): 3–40. http://dx.doi.org/10.1558/post.v4i1.3.
Full textAbstract:
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 of the Tulsi Rāmāyan—and thus engender female religious authority in the male-dominated institution of renunciation, in which men are often considered by Indian society as “the” experts in sacred texts. For these female sādhus, Rāmāyan performance functions as a rhetorical strategy with which they construct their tradition of devotional asceticism as a non-orthodox and vernacular alternative to the dominant (and orthodox) Sanskritic textual model of Brahmanical asceticism. The sādhus’ identification of Rāmāyan expressive traditions with Tulsidas’ written text contributes a new perspective on the concept of scripture, and their textual practices provide an alternative model of scripturality to current analytical models which equate it with individuals’ engagement with the written sacred text.
31
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.
Full textAbstract:
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 of the singer, then extract music features, here we work on some of the music features like tempo, RMS, song duration, frequency, dynamic range, and tonality. The RNN (recurrent neural network) has been used for training the model and testing our data set. After the training of the models, the test classifier with different unknown audio files, and the results are 91% accurate for singer identification and 90% for music genre recognition. The system will identify the singer as well as the genre of the song from the same segment of the file. For the data set, the training data used 10 different Indian and Pakistani male and female singers’ audio files in Sindhi, Hindi, and Urdu language for six types of genres like rock, pop, jazz, disco, hip-hop, and classic. The songs were sung by only one singer, the group singing and live concerts music are limitations of our system.
32
Vuille, Rosine-Alice. "The Living Tree: Kr̥ṣṇā Sobtī’s Pre-Partition Punjab and the “Other History”." Cracow Indological Studies 23, no. 1 (September 30, 2021): 137–55. http://dx.doi.org/10.12797/cis.23.2021.01.05.
Full textAbstract:
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 historian per se. Personally, as a writer, she is primarily interested in the perception of time of the people of a region and their understanding of their own past transmitted through tales, songs and other media; this constitutes what Sobtī calls the “other history”, a notion close to Jan Assmann’s “mnemohistory”. Through the example of Sobtī’s magnum opus, Zindagīnāmā, this paper explores what this specific way of narrating history reveals about the rural society of the pre-Partition Punjab.
33
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 (September 16, 2021): 5112–31. http://dx.doi.org/10.47059/revistageintec.v11i4.2552.
Full textAbstract:
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 the audience has the necessary linguistic knowledge, such as vocabulary, morphology, and syntax in English and Hindi. Various techniques such as punning, portmanteaus, and parodies of popular proverbs, expressions, acronyms, famous dialogues, songs, and so on are used to convey the message humorously. The current study will focus on these linguistic cues and the necessary context for understanding wit and humor. This study will also employ semiotics and sign methodology to analyze the message provided by the cartoons. According to the research findings, cartoons serve two purposes: political communication and advertising; however, advertising is camouflaged and not placed in an obvious manner.
34
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 (November 11, 2023): 450–62. http://dx.doi.org/10.37329/ijms.v1i4.2374.
Full textAbstract:
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 Balinese pop songs is Wek Igis. This song tells about how women are from the man's point of view and also contains love. Furthermore, this love song also expresses joy, sadness, and anger. There are two singers in this album entitled Wek Igis, namely Dek Arya, and Putri Bulan. This song is one of the songs that represent the feminist aspect or the image of women. The image of women is a form of mental-spiritual image and daily behavior expressed by women in various aspects, namely physical and psychological aspects as a woman’s self-image and family and community aspects as a social image. By the existence of the feminist language presented in the lyrics of the Balinese pop song entitled Wek Igis, it aims to preserve and develop modern Balinese literature, especially in Balinese pop songs, and to raise the degree of women’s image in society’s point of view. In this study, two theories were used in the manuscript: structural theory according to I.A. Richard (in Tarigan, 2004) and feminist psychoanalysis theory according to Marxists and Socialists (in Rosemarie, 2010). The research method was qualitative, while the supporting instruments were transcription, interviews, literature, and documentation. The data analysis used in this research was descriptive data analysis technique and qualitative data analysis technique. The results of this study discussed the structure of the lyrics in the song entitled Wek Igis. The lyrical structure of the song is divided into two, namely, method and essence. The data studied only focuses on diction (word choice), imagery, and rhyme, and the essence studied was only on the song’s message. The image of women is perceived from feminist psychoanalysis aspects, such as caring women and loyalty expressed through the song’s message. The feminist language in this song is also found in Hindu literature, specifically in the Manava Dharmasastra.
35
Konch, Hemanta. "Nominal Inflection of the Tutsa Language." International Journal of Innovative Technology and Exploring Engineering 10, no. 4 (February 28, 2021): 138–40. http://dx.doi.org/10.35940/ijitee.d8428.0210421.
Full textAbstract:
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. According to the Report of UNESCO, the Tutsa language is in endangered level and it included in the EGIDS Level 6B. The language has no written literature; songs, folk tales, stories are found in a colloquial form. They use Roman Script. Due to the influence of other languages it causes lack of sincerity for the use of their languages in a united form. Now-a-days the new generation is attracted for using English, Hindi and Assamese language. No study is found till now in a scientific way about the language. So, in this prospect the topic Nominal Inflection of the Tutsa Language has been selected for study. It will help to preserve the language and also help in making of dictionary, Grammar and language guide book.
36
Offredi, Mariola. "Educating the Young against Discrimination." Archiv orientální 82, no. 1 (May 18, 2014): 59–116. http://dx.doi.org/10.47979/aror.j.82.1.59-116.
Full textAbstract:
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 a critical note – differ as to the subject matter. Some of them are clearly intended to fight discrimination of every kind, be it against low caste people, women, or minorities, while others deal with the problem of discrimination in indirect, and even subliminal ways. In both cases, however, the critical introduction to each text and the associated exercises are meant to serve as a stimulus for reflexion and discussion. The paper focuses on woman as the main issue arising in the 15 analysed textbooks. The paper is subdivided into to parts. The first part deals with the textbooks for classes 6 to 10, the second part analyses the textbooks for classes 11 and 12. The dividing line is marked by the two examinations in the secondary education system, namely, the All India Secondary School Examination (class 10), and the All India Senior School Certificate Examination (class 12).
37
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 (October 4, 2016): 99–100. http://dx.doi.org/10.1558/jfm.31222.
Full text
38
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 (August 22, 2019): 39. http://dx.doi.org/10.25078/pw.v2i2.1014.
Full textAbstract:
<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 of the Hindu children’s songs is Tri Murti. This Tri Murti song indirectly adds positive stimulus to the growth of the child. The lyrics of the song imply the concept of divinity in Hinduism with language that is easily understood by young children without having to peel deeper. Where the God of Hinduism has three main manifestations consisting of the Lord Brahma, Lord Vishnu and Lord Shiva are referred to as the three main devātas. These three gods are described as having different tasks and mastering different elements and different scriptures. With this song, young Hindu youths have been installed early on in theology and need not worry about other people’s accusations that Hindus worship a lot of God; Hinduism is a religion of polytheism and so on. In this song is very clearly mentioned that there are three manifestations of God called Tri Murti with different names, different characters, and different tasks. However, in essence, it is one that is Brahman.</em></p>
39
Rajput, Gajendra Singh. "Creativity of Dr. Jagdish Chandra Gupta: Overall Evaluation." RESEARCH HUB International Multidisciplinary Research Journal 10, no. 2 (February 28, 2023): 80–84. http://dx.doi.org/10.53573/rhimrj.2023.v10n02.017.
Full textAbstract:
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 critical books, editions and magazines. Apart from this, there is also a third form of his creativity, which is seen in his sketches.
Abstract in Hindi Language:
गुप्त जी एक मंझे हुए रचनाकार है। उन्होंने न तो प्राचीनता का अन्धानुकरण किया और नहीं आधुनिकता का। उन्हीं के शब्दों में ’’मेरे एक हाथ में परम्परा रही है और दूसरे हाथ में प्रवर्तन, नयी कविता के नाम पर अगर इस शब्द का अधिकार मुझे दे तो मैं निस्संकोच कह सकता हूँ ’दुहूँ हाथ मुद-मोदक मोरे’ साथ ही दूसरों के लिए भी दूसरी अंधाली का आधा भाग अर्पित कर सकता हूँ। उन्होंने प्राचीनता और नवीनता को मिलाने का सार्थक प्रयास किया है। डाॅ. गुप्त का कृतित्व-फलक अत्यधिक व्यापक है। एक ओर वह ब्रजभाषा के छंदों, गीतों और नयी कविता के रूप में लक्षित होता है, तो दूसरी ओर कई आलोचनात्मक पुस्तकों, सम्पादनों और पत्रिकाओं के रूप में। इसके अतिरिक्त इनके कृतित्व का एक तीसरा रूप भी है, जो इनके रेखा-चित्रों में देखने को मिलता है।
Keywords: जगदीश चन्द्र गुप्त, नयी कविता, कृष्ण-काव्य, काव्य संग्रह, खण्ड-काव्य।
40
Jatiyasa, I. Wayan, and Ni Kadek Juliantari. "Language Creativity in Presenting Hindu Religion Material." Jurnal Penelitian Agama Hindu 8, no. 2 (April 17, 2024): 182–92. http://dx.doi.org/10.37329/jpah.v8i2.2824.
Full textAbstract:
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 approach. This research was carried out by collecting a number of songs containing Hindu Religious Education material developed by students of the Pendidikan Agama Hindu Study Program, STKIP Agama Hindu Amlapura in classroom management practices and interviewing students regarding the difficulties or obstacles experienced when being creative in modifying songs so that they contain Hindu religious material. The results of this research show that there are several songs that students tend to create and modify in classroom management, namely children's songs whose rhythms are very familiar, such as the songs Balonku, Pelangi-Pelangi, Lihat kebunku, Naik Becak, Satu-Satu Aku sayang Ibu. From the rhythm of these songs, they were modified into songs containing Hindu religious material, namely Panca Yadnya, Panca Sraddha, Tri Pramana, Three Basic Frameworks of Hindu Religion, Tri Kaya Parisudha, Holy Books and Holy Places Hindu religion. When carrying out this creativity, students also experience various difficulties or obstacles, such as using diction, adjusting rhythm, packaging material, and limitations for complex material.
41
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 (May 1, 1992): 950–55. http://dx.doi.org/10.1139/z92-135.
Full textAbstract:
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 pulses in a trill decreased with increasing temperature in the field and in the laboratory; intertrill intervals varied inversely with temperature only in the field. In field populations, immediately before and after sunrise male songs had fewer pulses per trill and a greater frequency of missed pulses than songs produced for a few hours following sunset. Song structure did not vary with age, weight, or hind-wing dimorphism. Most song parameters were correlated with each other. The data are discussed in terms of female choice and attraction to male song, male competition by way of acoustical interaction, and underlying genetic variation in G. integer.
42
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.
Full textAbstract:
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 elements than the calling songs. The highest number of courtship sound elements was found in M. palpalis and M. aethalinus. The different parts of a remarkably long stridulatory file in M. aethalinus are thought to participate in the production of different sound elements. The songs in S. newskii are shown for the first time. This species produces sound not only by common stridulation but also by wing beats. A relationship of S. newskii to some other species of the genus Stenobothrus, which are able to crepitate, is discussed. We also analyse the frequency spectra of the songs. A maximum energy of the song power spectra in six species studied lies in ultrasound range (higher than 20 kHz). In only M. aethalinus, the main peaks in the song power spectra lie lower than 20 kHz. The courtship behaviour in M. palpalis, C. macrocerus, and C. hammarstroemi was shown to include conspicuous visual display (movements of antennae, palps and the whole body).
43
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 (April 28, 2021): 244–60. http://dx.doi.org/10.11646/zootaxa.4965.2.2.
Full textAbstract:
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 produces sound by wing clapping. The courtship songs of both species are complex (contain several elements) and very different in temporal structure. The morphological differences between the two species are not as striking as the differences in bioacoustics: we found the only differences in the hind wing venation. At the same time, we suggest these differences to be important since they might be due to different mechanisms of sound production. We revised the ranges of the two species on the territory of Ukraine, Russia and Kazakhstan. We also reviewed the type localities of S. eurasius Zub. and designated lectotype and paralectotype of this species.
44
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 (December 17, 2020): 505–27. http://dx.doi.org/10.11646/zootaxa.4895.4.3.
Full textAbstract:
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 certain differences in temporal pattern of the courtship songs in comparison with the previous data on the respective species from other regions. In five species, O. viridulus, S. miramae, M. pallidus, Ch. dubius and Ch. karelini, various parts of elaborate courtship songs differed in the carrier frequency. In four species, O. haemorrhoidalis, O. petraeus, M. pallidus and Ch. dubius, the dominant frequencies of the courtship song were shown to lie in the range higher than 20 kHz. The conspicuous movements of antennae and legs during courtship were studied in M. pallidus, S. miramae and Gomphocerus sibiricus.
45
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.
Full text
46
Lorier, Estrellita, M. Dolores García, M. Eulalia Clemente, and Juan José Presa. "Acoustic behavior of Metaleptea adspersa (Orthoptera: Acrididae)." Canadian Entomologist 134, no. 1 (February 2002): 113–23. http://dx.doi.org/10.4039/ent134113-1.
Full textAbstract:
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, medial, and cubital 1 veins of the hind wing against the subcostal and radial veins of the tegmen; the enlarged cubital area of the hind wing acted as a resonator. Crepitation sound was produced by the cubital area of hind wing when its expanded membrane became taut.
47
MÜRŞÜDOVA, U. B. "AZƏRBAYCANIN OĞUZ-TÜRK VƏ ŞİMALİ AMERİKANIN HİNDU XALQ NƏĞMƏLƏRİ: MÜQAYİSƏLİ TƏHLİL." Actual Problems of study of humanities 1, no. 2024 (April 15, 2024): 134–40. http://dx.doi.org/10.62021/0026-0028.2024.1.134.
Full textAbstract:
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. Folk ballads narrate tales of a life that has been forgotten or is about to vanish. Traditional Oguz-Turk and Indian civilizations use music for a variety of purposes, such as religious rituals, healing rituals, social songs and dances, work songs, game songs, courting, storytelling, and songs to bring luck in hunting, agriculture, and warfare. Key words: Folksong, Comparative features, Main directions of folksongs, In-text conceptions, Characteristics of folksongs
48
Dahal, Bishnu Prasad. "Women’s Sexuality through Ratauli Songs in Hindu Society." Journal of Asian Development 7, no. 1 (December 15, 2020): 1. http://dx.doi.org/10.5296/jad.v7i1.18071.
Full textAbstract:
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 message can help to unite the people and what is the role performed by these lyrics of music in society and culture in physical as well as socio-cultural sphere in society and culture.General objectives of this research are to identify the nature, types and dimension of Ratauli songs. Specifically, the formation of Ratauli songs, their contents with various dimensions, culture, social context and time relative are also researched here. The conducted research explored more about different aspects of Ratauli songs their contexts and its formation in different time periods as well as carried contents and their messages. This research found comparisons between the context and content of Ratauli songs in different time.
49
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 (July 31, 2020): 71. http://dx.doi.org/10.29300/ttjksi.v5i1.2778.
Full textAbstract:
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 Islam, but with the method performed by Sunan Kalijaga namely cultural and educational approach to attract the Java community little by little. One method of propaganda Sunan Kalijaga namely the creation of a song-song dolanan which contains the meaning of moral values that can be used in the cultivation of character in children as human anak.Karakter not necessarily be obtained from birth but can be shaped by their environment. Therefore, planting the characters should be done as early as possible due to the nature / character of children who are still malleable and directed. Through songs of dolanan, Sunan Kalijaga slipping moral values that can be used as one of the media in the character formation of children. Human characters do not necessarily obtained at birth but can be shaped by their environment. Therefore, planting the characters should be done as early as possible due to the nature / character of children who are still malleable and directed. Through songs of dolanan, Sunan Kalijaga slipping moral values that can be used as one of the media in the character formation of children. Human characters do not necessarily obtained at birth but can be shaped by their environment. Therefore, planting the characters should be done as early as possible due to the nature / character of children who are still malleable and directed. Through songs of dolanan, Sunan Kalijaga slipping moral values that can be used as one of the media in the character formation of children.
50
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 (January 2016): 174–78. http://dx.doi.org/10.1632/pmla.2016.131.1.174.
Full textAbstract:
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 others in this collection: hum/animal songs from outer space(s).