Academic literature on the topic 'Illustrated songs'
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Journal articles on the topic "Illustrated songs"
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Napoletano, Margo A. "Teaching Adolescent Psychology Using Popular Song Lyrics." Psychological Reports 62, no. 3 (1988): 975–78. http://dx.doi.org/10.2466/pr0.1988.62.3.975.
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11 popular songs were evaluated by 14 students enrolled in a section of adolescent psychology. Songs were selected for their potential to illustrate psychological concepts, such as, identity crisis, psychotic behavior, and personal fable. After lecture on a particular topic, a song relevant to that topic was played and discussed. Lyrics that illustrated certain concepts were identified. Students evaluated each song for its effectiveness in aiding their understanding of concepts. End-of-semester evaluations indicated increased scores on measures of critical thinking and comprehension of subject matter, which would suggest continued use of songs is appropriate.
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Hudson, Stephen S. "Song form and storytelling in mainstream metal." Metal Music Studies 9, no. 1 (2023): 7–26. http://dx.doi.org/10.1386/mms_00092_1.
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This article builds on a new theory of metal song form () to show how different versions of compound AABA form can carry narrative meaning, illustrated by analyses of a number of famous metal songs in mainstream (i.e. not underground/extreme) styles. First, I discuss how some songs about rituals use conventional compound AABA form such that the ‘transformation’ event of the ritual occurs during the song’s B section, focusing on examples by Mercyful Fate and Ghost. Next, I show how several metal ballads use a shortened version of the conventional form (AAB) to depict a protagonist who loses control, getting ‘stuck’ at the same time as the form gets ‘stuck’ in the B section, focusing on examples by Metallica and Pantera. I end with a short analysis showing how aspects of these two established strategies are combined in a unique pairing of form and narrative in Iron Maiden’s ‘Run to the Hills’. As I analyse these songs, I explore how musical form can structure fans’ participation in the music and shape their experiences of these songs’ stories.
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ZEFA, EDISON, LUCIANO DE PINHO MARTINS, CHRISTIAN PETER DEMARI, et al. "Singing crickets from Brazil (Orthoptera: Gryllidea), an illustrated checklist with access to the sounds produced." Zootaxa 5209, no. 2 (2022): 211–37. http://dx.doi.org/10.11646/zootaxa.5209.2.4.
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The knowledge of bioacoustics of the Neotropical crickets (Orthoptera, Gryllidea) is incipient, despite the great species diversity in the region. There are few cricket song-files deposited in the major World Sound Libraries, compared to other groups such as birds and amphibians. In order to contribute to the knowledge of the bioacoustics of Brazilian crickets, we organize, analyze and make available at Fonoteca Neotropical Jacques Vielliard (FNJV) and Orthoptera Species File (OSF) our bank of cricket songs. We deposited 876 cricket’s song files in the FNJV, belonging to 31 species and 47 sonotypes. The songs were field/lab recorded, and all individuals were collected to improve species/sonotypes taxonomic determination accuracy. We present photos (in vivo) of most recorded crickets, as well as calling song spectrograms to facilitate the species/sonotype recognition. Samples of the songs can be found online on the FNJV website, using the codes available in this work, as well as on the OSF, linked to the species name. As a result, we advance the knowledge of the songs of crickets and the current perspective of the Brazilian cricket bioacoustics. We encourage researchers to share with the public their collections of their cricket file songs both in the FNJV and the OSF.
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Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.
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The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of film musicals are then illustrated with an analysis of the use of songs in the TV musical High School Musical 2.
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Khoshsaligheh, Masood, Fatemeh Sarvghadi, and Binazir Mohammad Alizadeh. "Impact of Song Dubbing on Characterization." Journal of Audiovisual Translation 5, no. 1 (2022): 186–206. http://dx.doi.org/10.47476/jat.v5i1.2022.189.
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Interventions in the extent and quality of the portrayal of characters in dubbed musical films can induce a change in the original characterization in the film as characters play the role of singers who reflect their inner emotions and thoughts through diegetic songs. To examine the impact of dubbed diegetic songs on the singer’s characterization, the study contains two main phases, theoretical and empirical. Initially, the development of the notions on characterization in dubbed films is illustrated to justify and present a merged model drawing on Bosseaux (2015) and Reus (2020) from the realm of Translation Studies, and the cinematic standpoints inspired by Dyer (1998). Then, to apply the model, the different dimensions of the merged model, including the visual dimension (synchrony and visual deixis) and the verbal dimension (sense, style, and voice quality) are investigated in a case of private sector, professional Persian dubbing (Khoshsaligheh, 2022). The case study was the Persian dubbed version of the diegetic songs of Frozen (Buck & Lee, 2013). The analysis reveals that the shifts in two dimensions lead to a fairly dissimilar presentation of the singers’ characterization. Lay Summary In musical films, songs by the characters are interwoven into the story. When characters sing, they reveal their inner emotions and thoughts using the song’s message. Any manipulation in dubbing of these songs into other languages can and does result in changes in how the original singers’ characterization is represented for the new audience. To study the impact of the dubbed songs on the singer’s characterization, we reviewed the previous studies and came up with a new way for characterization analysis in dubbed songs by merging and adapting some the models from translation studies and film studies fields. Next, we sued the model to study the Persian dubbed version of the songs of the hit musical animated film, Frozen (2013). The results reveal various changes in the dubbed version in terms of characterization through changing the visual and verbal aspects of the songs in a way that the Persian dubbed version portrays the singers’ characterization considerably dissimilarly.
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PERRY, ESTHER JOHN, and COLLIN JEROME. "‘A CURSE OR A BLESSING?’: THE FATE OF IBAN WOMEN IN ‘ADAT NGUAI’ AS ILLUSTRATED BY LITERARY DEVICES IN IBAN SONG LYRICS." Iasaýı ýnıversıtetіnіń habarshysy 122, no. 4 (2021): 20–26. http://dx.doi.org/10.47526/2021-4/2664-0686.02.
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Numerous studies have examined the depictions of men and women inIban songs. Such depictions revolve around the traditional roles of Iban men and women in both public and private domains. More studies, however, are needed to examine the nuances of these depictions, given the fact that many Iban popular songs portray gender in traditional Iban society. This paper aims to examine such nuances by exploring the fate of women in female Iban songs particularly on their rights and treatment by others as illustrated in the song lyrics. This study adopts the qualitative research design by using content analysis to analyze the description of Iban married women who decided to move out and live at their spouse home in two songs namely, ‘Tusah Belaki Nguai’ by Swaylin and ‘Tusah Nyadi Menantu’ by Linda Simai. The results show that the Iban women are 1) depicted as ‘nguai’ to her husband, who are submissive to the in laws and the husband, and 2) expected to display the quality of ‘indu tampun puji’ or ‘menantu ke dipilih’, that refers to the ideal concept of an Iban woman who is both hardworking and capable to manage the household.
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Moran, Perrine. "“I’ve got you under my skin”: borderline states in couple relationships." Musical Connections in Couple and Family Psychoanalysis 10, no. 1 (2020): 59–71. http://dx.doi.org/10.33212/cfp.v10n1.2020.59.
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Many couples who come for therapy are struggling with separating from unconscious phantasies and beliefs that enmesh each partner with the other, resulting in states that popular songs powerfully epitomise. While this borderline experience is common and functional in the early stages of being in love its persistence paralyses the development of the relationship. Facing separation from and loss of illusion is a challenge couple therapists are often asked to help with. The argument is illustrated by a case, and by references to some of Cole Porter’s best known songs.
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Minnullin, Kim Mugallimovich, and Liliya Minnullovna Giniyatullina. "The role of lexical repetition in the texts of Tatar songs." Philology. Issues of Theory and Practice 16, no. 10 (2023): 3597–601. http://dx.doi.org/10.30853/phil20230557.
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The aim of the study is to determine the role of lexical repetition in the formation of syntactic links between sentences in the texts of Tatar songs. The paper analyses the function of this linking means in the formation of a chain link. The scientific novelty of the study lies in carrying out a comprehensive analysis of the use of lexical repetitions in poetic texts and identifying the structural features of Tatar songs. It is the first time that the types of syntactic links that are established through lexical repetition between sentences in the texts of Tatar songs have been identified and illustrated with examples. As a result, the syntactic relations between the parts of sentences that are formed through lexical repetition have been determined; the following syntactic links between sentences that are most characteristic of song lyrics have been revealed: “subject – object”, “object – subject”, “subject – subject”, “object – object”, “attribute – subject”.
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Tomaszewski, Feliks. "Contrary Triptych with Ideological Songs." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 8 (November 1, 2023): 343–61. http://dx.doi.org/10.17951/en.2023.8.343-361.
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On January 27, 1898, the 17th issue of “Collier’s Weekly” published the Prologue to the famous novel by Henry James The Turn of the Screw. This novel about a difficult relationship between a young governess and two orphaned children (Flora and Miles) convinces the reader that Demons really exist and Evil embodies various characters. At times it takes the form of a benefactor. The paper is an attempt to reconstruct three mechanisms of ideology which after WWII modified collective awareness. These three mechanisms, as three vices, stabilized and enabled to rebuild the insight of the immature individuals. The first one – the ideological vice of the press – initiated every day and often banal press releases; the second one – ideological educational vise – evolved from the school curricula, especially of the Polish language; the third one – the ideological reading vice – was the most hidden and treacherous, oppressed in the context of extracurricular reading. The influence of the first of them is illustrated by the analysis of exemplary press releases on a summer camp of 1947, the second one talks about the curriculum of the Polish language teaching process in 1949 in the 11-grade high school, and the ideological influences are discussed in the comments about the message of Marian Brandys’s Wyprawy do Arteku (1953).
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S, Sureshkumar. "Semantic Theory in Ainkurunuru." International Research Journal of Tamil 4, S-19 (2023): 677–80. http://dx.doi.org/10.34256/irjt224s19101.
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The Tamil language can be said to be the oldest of the world's languages. Tamil literature deals with various aspects of life. They contain a variety of literature, grammar, stories, essays, poems, proverbs, etc. Moreover, the Sangam literature depicts everyday life. From the Sangam age to the present period, a variety of writers and books have appeared. The Sangam literature consists of a large number of sections viz., Ettutthokai, Patthuppaattu, and Pathinen Kilkanakku books. Though there is Akam and Puram in the Ettutthokai of Sangam literature, in the third of Ainkurunooru ten songs to each of five thinais, that is five hundred songs are found. All of these songs were sung by different poets at different times and in different contexts. Though all the Pulavars are Tamils, they all belong to different periods. The Tamil language can vary from time to time. Therefore, the vocabulary of each scholar can vary. It was the Ettutthokai that beautifully illustrated the conditions of life of the people of the Sangam age and compiled them as well as illustrated them clearly. Moreover, the Ettutthokai volume of books has shown the true feelings of the people of the Sangam age such as valour, love, justice, benevolence, humanity, pride, and warmth. In Sangam literature, the imaginary lines about love are classified as Akam and the fields of life such as heroism, love, charity, etc., are classified as Puram.
Dissertations / Theses on the topic "Illustrated songs"
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Herendeen, David Warren. "Lanes of Severn: Ivor Gurney, as illustrated by his war songs, 1915-1918." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186264.
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Ivor Gurney was born in Gloucester on August 28, 1890; he died on December 26, 1937, age 47, in a London asylum. Though he had a relatively short life, he lived during a most dynamic time in British history; he was a part of the rebirth of British song and the trauma of World War One. These events, by dint of his experiences, are given a unique voicing through his songs, for Gurney was in no way a normal composer. He was an unbalanced genius whose turbulent life and endearing personality touched many of the central figures of British music in this period. His 300 songs and song sketches fall into roughly four periods of composition and parallel this dramatic life from schooling, to war, to mental breakdown. This study examines his considerable song output through the investigation of his second and most intense period of composition: 1915-1918, the war years. Although the war period is nowhere near his most prolific, the songs composed during war's chaos provide a good departure point for ordered investigation; they are a microcosm and in many ways his best and most innovative work. Six songs from this period are investigated: 'By a Bierside', 'The Fiddler of Dooney', 'In Flanders', 'The Folly of Being Comforted', 'The Scribe', and 'Severn Meadows'. These songs, written "in the trenches" strongly reflect Gurney's stylistic tendencies, define his compositional importance and personal values. The analysis for each song will begin with the circumstance in which it was composed. Gurney's choice of text, approach to declamation, harmonic language, use of the piano, and aesthetic intent will then be related to his environment, as this significantly influenced his song composition. Since he was an avid writer and also considered one of Britain's best war poets, Gurney's war correspondence and poetry will be used to support and clarify these analytical and aesthetic observations.
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Cauche, Robin. "Des lanternes magiques aux lyric videos : chansons lumineuses écrites (XIXè - XXIè)." Electronic Thesis or Diss., Lyon 2, 2024. http://www.theses.fr/2024LYO20007.
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L’objectif principal de cette thèse est de postuler, pour l’étudier, la série culturelle des « chansons lumineuses écrites », soit une étude diachronique de la pratique consistant à écrire à l’écran les paroles d’une chanson, du XIXe au XXIe siècle. Ce faisant, notre second objectif, d’ordre théorique et méthodologique, est de mettre le concept de « série culturelle », forgé par André Gaudreault et précisé avec l’aide de Philippe Marion , à l’épreuve d’un cas particulier, et ainsi d’un ensemble d’exemples.Deux ensembles médiatiques donnent ses bornes chronologiques à la série culturelle : les plaques pour lanterne magique produites et commercialisées par la maison française Lapierre dans la deuxième moitié du XIXe siècle, et les lyric videos, des clips textuels officiels apparus sur YouTube vers 2010.Dans une première partie, on s’intéressera aux « vues sur verre en bande » Lapierre, des plaques de verre peintes à la main destinées à la projection domestique et illustrant des sujets populaires, dont des chansons. On documentera d’abord le fonctionnement des lanternes magiques en général et des séries de plaques commercialisées par les Lapierre en particulier, dans le but d’en proposer une méthode d’analyse esthétique pertinente. En retour, ce modèle pourra être éprouvé en s’appuyant sur le corpus spécifique des chansons illustrées Lapierre.Dans la deuxième partie, on montrera que la pratique des chansons écrites à l’écran ne disparaît pas au XXe siècle, et qu’une série culturelle se forme bel et bien, du XIXe au XXIe siècle. On s’intéressera donc à l’apparition des chansons lumineuses écrites selon trois types de médiums : lanterne de projection, pellicule cinématographique et vidéo. Par un dernier chapitre précisément consacré aux bouncing balls, on prouvera la permanence de notre série culturelle, sur le temps long et par-delà les médiums.Dans la troisième et dernière partie, on se penchera sur l’émergence des lyric videos, des clips officiels apparus vers 2010 sur YouTube, et illustrant surtout des chansons pop. Deux chapitres théoriques s’attacheront d’abord à révéler comment les lyric videos forcent à reconsidérer la théorie, l’histoire et l’esthétique des clips à l’ère de YouTube et des plateformes numériques. Trois chapitres s’efforceront ensuite de décrire et de comprendre le vaste corpus des lyric videos grâce à des approches comparative, générique puis génétique<br>The main goal of this thesis is to examine a cultural series that we designate as “chansons lumineuses écrites” (“written luminous songs”), hence producing a diachronic study of the cultural practice of writing the lyrics of a song on screen, from the 19th to the 21st century. In doing so, our second goal – of a theoretical and methodological nature – is to put the concept of “cultural series,” created by André Gaudreault and refined with the help of Philippe Marion , to the test of a case study, while working with a set of relevant examples.Two sets of examples give this cultural series its chronological boundaries: the magic lantern slides produced and marketed by the French firm Lapierre, in the second half of the 19th century, and lyric videos, official textual music videos which appeared on YouTube around 2010.In the first section of this thesis, we will focus on the Lapierre “vues sur verre en bande” (“glass views in strips”), hand-painted glass slides intended for domestic projection which illustrate popular subjects, including songs. We will document the technical functioning of magic lanterns in general and the series of slides marketed by the Lapierre firm in particular, to propose a relevant method of aesthetic analysis of these slides. In turn, we will put this method to the test as we examine the corpus of the Lapierre illustrated songs.In the second section, we will show that the practice of writing song lyrics on screen did not disappear in the 20th century, and that a cultural series exists, from the 19th to the 21st century. We will then focus on three types of medium: magic lantern, film, and video. A fourth chapter will discuss the particular practice of the bouncing ball and, through this example, we will prove the permanence of our cultural series, over the long term, and beyond changes of medium.The third and final part of this work will examine the emergence of lyric videos, official music videos which started appearing around 2010 on YouTube, illustrating mostly pop songs. Two theoretical chapters will first discuss how lyric videos force us to reconsider the theory, history and aesthetics of music videos in the era of YouTube and digital platforms. Three chapters will then attempt to describe and understand the vast corpus of lyric videos, using comparative, generic and genetic approaches. André Gaudreault and Philippe Marion, « The Unfinished Business of History: Defense and Illustration of the Concept “Cultural Series” », in The Oxford Handbook of Silent Cinema, edited by Rob King and Charlie Keil (Oxford: Oxford University Press, 2024), 95‑115
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Gilbert, Gillian. "Vocal individuality as a census and monitoring tool : practical considerations illustrated by a study of the bittern Botaurus stellaris and the black-throated diver Gavia arctica." Thesis, University of Nottingham, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282621.
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蔡欣青. "The Illustrated Works of Plants in the Book of Songs Based on the Art Nouveau Style." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/82090675935497313599.
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碩士<br>國立臺灣藝術大學<br>視覺傳達設計學系碩士班<br>98<br>The theme of my thesis bases on the examples of the Art Nouveau works, while the plant
forms depicted in the Book of Songs are also employed. All the designs of my illustrations
follow the Art Nouveau style and the one-dimensional and vigorous elements of plants from
Nature which was portrayed in the Book of Songs are blended into my works. I try to catch the
supple postures of plants in my touch, with the analysis of the semiotics, to create illustrations
on the Art Nouveau-and-Book of Songs aesthetics.
The content includes the followings:
1. I studied, analyzed, and compared various Art Nouveau works. The result is the foundation
of my own works.
2. I searched the Book of Songs and sorted out those containing particular plants. Then I read
each poem carefully in order to understand its meaning fully. They become the themes of
my works.
3. Through the analysis of the semiotics, I made the illustrations of plants portrayed in the
Book of Songs.
4. The supple curve forms and visual effects of the Art Nouveau works were revealed to me
when I began to create my own works. I added them into my illustration works.
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Lin, Yi-lin, and 林怡伶. "A Study on the Relationship Among Musical Perception, Place Attachment and Flow Experience--Illustrated by the Songs Possessing Local Images." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/92532236773558154837.
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碩士<br>南華大學<br>旅遊事業管理學系碩士班<br>98<br>The purpose of this research is to explore whether the peculiar local images can create the flow experience in the listeners through the activities of listening to folk songs and thus allow them, haunted with the musical conditions describing the place, time and affairs, to experience the intense local feeling and to further arouse their attachment to the place.
This research is conducted by analizing and exploring the three aspects of musical perception, flow experience and place attachment with the survey of questionaires. 450 copies of questionnaires are distributed and 386 copies of questionaires retrieved are valid. According to the outcomes from the valid questionaires conducted by the softwares of SPSS and AMOS, the analysis is proceeded in the statistical approaches of the descriptive statistics, the confirmatory factor analysis and the structural equation. The statistical figures reveal that the credibility validity, and structural models of the questionaires all correspond to the requirements of the basic satisfying standards, the overall model suitability and suitability of model inner structure questionaires.
The result of the research reveals: A）Musical perception definitely exerts a positive influence on flow experience; B）The stronger level of musical perception and flow experience one achieves, the more intense attachment one will have to the place. Based on the result of the research, it’s discovered that by appreciating folk songs, local images can obviously obsess the people with the atmosphere of the space and time and them make them create the flow flow experience, and therefore, arouse the attachment to the place. So the travel activities may follow.
Here is a suggestion to the travel activities and the hosting administration of travel activities. The introduction of the creating backgrounds, historical allusions, local customs of the songs possessing local images and the appreciation of the lyrics and melodies of the folk songs can be applied to interact and match perfectly with the tourist attractions. Not only can people’s cultural capabilities be enhanced but their willingness to go traveling can be reinforced as well.
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Pessanha, Joana Araújo. "Caixa de sonos." Master's thesis, 2012. http://hdl.handle.net/10437/3615.
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Orientação : Patrícia Gouveia<br>Esta dissertação aborda questões relativas aos conceitos de narrativa e de narrativa
processual no contexto da experiência lúdica em espaços de configuração. Para este
efeito, sugere-se um sistema, a caixa de sonos, que visa a implementação prática de uma
narrativa visual processual enquanto terreno de experiência lúdica em meios tecnológicos.
Este sistema procura tirar partido de diferentes media para proporcionar, de forma
acessível, novos palcos e rituais performativos, através de narrativas visuais processuais
customizáveis e partilháveis. Em concreto, a caixa de sonos, propõe um sistema jogável
que possibilita, através da monitorização do comportamento do jogador ao longo da noite,
compor interactivamente um retrato simbólico da noite do mesmo. O processo de
composição é partilhado a partir de uma projecção direccionada para o tecto por cima da
cama do jogador, quando este se encontra acordado; sendo possível que a interacção
ocorra de forma activa ou passiva, dependendo do estado de vigia do jogador. Todas as
experiências simbólicas, bem como a totalidade das linguagens gráficas (base de dados
das composições processuais), são personalizáveis e passíveis de serem partilhadas
através de uma plataforma comunitária na rede digital.<br>This dissertation touches upon the concepts of narrative and procedural narrative in the
context of playful experience in configurable spaces. To this purpose, it presents a
system, the sleepy box [caixa de sonos], which aims to implement a procedural visual
narrative in the form of a playful experience that uses technological means. This system
seeks to leverage media in order to make possible new performative rituals and stages,
through customizable and sharable visual narratives. In a word, the sleepy box [caixa de
sonos], advances a playable system that symbolically portrays the player’s night time,
trough the monitoring of its behaviour as the night goes by. The composition process is
shared through a projection in the ceiling above the player’s bed while he’s awake;
thereby rendering it possible either a passive or an active interaction, depending on the
player’s state of alertness. Every symbolic experience is customizable, as are all graphical
languages (database of procedural composition); also sharable by means of a community
platform on the web.
Books on the topic "Illustrated songs"
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1938-, Aldridge Alan, and Beatles, eds. The Beatles illustrated lyrics. Macdonald, 1990.
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Barry, Mann, and Paris Sisters, eds. I love how you love me: The illustrated lyrics. Andrews McMeel Pub., 2000.
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group), Orleans (Musical, ed. Still the one: The illustrated lyrics. Andrews McMeel Pub., 1999.
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Marilyn, Bergman, and Hamlisch Marvin, eds. The way we were: The illustrated lyrics. Andrews McMeel Pub., 2000.
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McGrath, Robin, writer of introduction, writer of added text and Paddon Harry 1881-1939, eds. The illustrated Ode to Labrador. Creative Publishers, 2016.
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Robert, Burns. The complete illustrated poems, songs & ballads of Robert Burns. Chancellor Press, 1990.
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Thomas, Moore. Moore's Irish melodies: The illustrated 1846 edition. Dover Publications, 2000.
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ill, O'Brien John 1953, ed. The twelve days of Christmas: Illustrated by John O'Brien. Boyds Mills Press, 1993.
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ill, Wolff Ashley, ed. She'll be comin' 'round the mountain: By Philemon Sturges ; illustrated by Ashley Wolff. Little, Brown, 2004.
Find full textBook chapters on the topic "Illustrated songs"
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Rimas, Juozas, and Juozas Rimas Jr. "Voice and Sound." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_6.
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AbstractThe principles of rhetoric were transferred from vocal music to instrumental music. Song is an extension of speech, while instrumental music is the transfer of song to an instrument (A. Maceina). Pursuit of song-like instrumental expression (“thinking in terms of song”—C. P. E. Bach) is one of the most important forms of musicality. If the externality of the instrument disappears, in this virtuosity the foreign instrument appears as a perfectly developed organ of the artistic soul (G. Hegel).Discovering a love of singing in his teens, the author developed a vocal orientation. Later, in concert halls, in addition to performing on the oboe, he started to sing Lithuanian folk songs, returning to the singing expression engendered in his childhood. Two pairs of recordings of the author’s performances at various times between 1973 and 2019 are referenced: Grave from the Oboe Concerto in C major by F. Dall’Abaco, and the Lithuanian folk song Vai tu, aglala (“O, you little fir tree”); Largo by the Lithuanian composer J. Indra (1918–1968) and the Lithuanian folk song Rūta žalioj (“Green rue”).Brief discussion of various aspects of vocal quality of sound expression and historical examples: messa di voce, portamento, instrumental obligatos of the arias of cantatas of J. S. Bach, and music of W. A. Mozart for clarinet inspired by A. Stadler. German instrumental culture, which moved in the direction of singende Denken, is illustrated by recordings of three works of W. A. Mozart, performed with the author on oboe—String Quartet No. 12 (KV 172)—Adagio, Three German Dances (KV 605), and German Dance (KV 611). As instrumental music has developed, it has deviated from the principles of ars cantandi.
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Sharma, Manvi, Ajay K. Chaubey, and Surendra Singh. "The Anthropocene in South Asian Popular Music: A Critical Examination of Papon’s “Waise Hi Rehna, Waise Hi Behna” Through an Ecomusicological Lens." In Asia in Transition. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-3933-2_14.
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AbstractThrough storylines dealing with catastrophic changes, visual media has much been celebrated and appreciated for its efforts to evoke the perils of the Anthropocene in South Asia. But as the crises escalate, other cultural artefacts, especially popular songs, are being explored and harnessed by musicians, bands, and singers across the region to promote environmental awareness. Over the past decade, as popular music culture has mushroomed in the Indian Sub-continent, its extraordinary potential to grasp the attention of consumers towards environmental concerns is being utilized by renowned Indian musicians. These artists have yoked the potential of popular music to reflect issues of environment and sustainability. Exploring the trajectory and topoi of ecomusicology and drawing theoretical insights from it, this chapter examines singer and music composer Papon’s song ‘Waise hi Rehna, Waise hi Behna’—a plea for river conservation. The work brings together music and environment to address the anthropogenic environmental crisis that has gripped the Indian sub-continent. Through a detailed examination of individual sections of the song, the chapter emphasizes that the pollution of rivers in India, that Papon alludes to, fits well into Rob Nixon’s understanding of “slow violence” and Dipesh Chakravarty’s perceptions of the “planetary crisis.” The chapter further scrutinizes the elements—ecologically-charged lyrics and cinematography—that the song employs to provoke public awareness of the human-induced ecological catastrophe. The chapter also explores the various aspects of listening to songs and music within the framework of ecology and environment, strengthening the argument that eco-songs illustrate music as a reliable medium to promote environmental sustainability.
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Böni, Pascal, and Tim Kröncke. "Ten Common Investing Myths Laid Bare." In The Evidence-Based Investor. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-88675-1_3.
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Abstract The practice of investing is reminiscent of the saga of Odysseus’s sailors. The destination is known, as is the route. But the songs of the sirens are seductive and can lead to calamity on the rocks of misfortune. Just as Odysseus was seduced by the sirens’ song and distracted from his ultimate goal of reaching Ithaca, so investors succumb to recurring investment myths and lose sight of their investment objective of continuous capital appreciation. We lend from extant academic research to illustrate why investment myths are seductive, yet engender sub-optimal investment decisions.
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Chen, Ting. "Arts of the Five Dynasties, the Northern Song and the Southern Song Dynasties." In Illustrated History of Chinese Art. Springer Nature Singapore, 2024. https://doi.org/10.1007/978-981-97-5292-8_6.
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Leach, Robert. "Beeston’s Boys and the Sons of Ben." In An Illustrated History of British Theatre and Performance. Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-36.
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Powrie, Phil. "The Acoustic Wound: Reflections on the Crystal-Song in Five American Films." In When Music Takes Over in Film. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_3.
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AbstractThis chapter develops the concept of the ‘crystal-song’ which crystallises turning points in a film. It does not illustrate or echo what we see; rather, it articulates a privileged musical moment of intense affect, ‘wounding’ the image/music nexus as does Barthes’s punctum for the photograph. The crystal-song is the piece that stands out from the others by a combination of intensity and critical insistence. The chapter explores such moments in five recent US films. The first is the diegetically performed song that gives its title to the film in American Honey (2016) and Beautiful Boy (2018). The second explores references in the dialogue to the music we hear: a diegetic song that is referred to by the characters but not performed by them (Lady Bird, 2017); the third, a non-diegetic song in a film where performed music is constantly present and talked about (Call Me by Your Name, 2017). The final and more sustained case is a diegetically performed piano piece from La La Land (2016) which demonstrates that the musical moment does not have to be a single song with lyrics, nor the spectacular performance that is usually found in film musicals, La La Land included, but can also be a much-repeated musical motif. All of these musical moments have a critical and focal function, shaping audience affects and our perception of the narrative.
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"Of the Sorrow Songs." In Illustrated Souls of Black Folk. Routledge, 2015. http://dx.doi.org/10.4324/9781315634043-24.
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Morgan, Alison. "‘Rise Britons, rise now from your slumber’: the revolutionary call to arms." In Ballads and songs of Peterloo. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0002.
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This section begins by briefly examining the historical provenance of the poetic trope of awakening and its significance within radical culture prior to Peterloo, as well as those poems and songs written in the immediate aftermath of the massacre, thereby highlighting the intertextual dialogue between the poems which is illustrated not only by an ideological unity but also by the commonality of motifs, forms, styles and even tunes. Shelley’s Masque of Anarchy provides a well-known example of this trope and is used in the introduction to this section as an illustration of how radical poems and songs in the Romantic period utilised revolutionary discourse dating back to the sixteenth century. The section comprises ten poems which are exhortatory ballads or apostrophes. At times of national crisis, poets have called on their readers to ‘arise’ and awaken’, often drawing on those past events to prove that, if England could get rid of two kings, it could certainly get rid of a third.
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Maloney, Paul. "Burns and Music Hall." In Performing Robert Burns. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474457149.003.0004.
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Music hall’s emergence in mid-nineteenth century Scotland brought enormous change in urban entertainments, as older pre-industrial traditions faced an influx of new cosmopolitan styles. This chapter explores how Burns was performed in the new urban contexts of Scottish music hall and its successor, variety theatre. These contexts included 1860s free-and-easies and singing saloons where Burns songs and recitations offered both continuity with older Scottish song traditions and subjects for parodies and satirical updating; his championing by Scotch comics and concert singers of the 1880s, like James Houston and WF Frame, who maintained working-class engagement with Burns through performances at temperance and trades union soirees; popular concerts, rural tours, illustrated lantern shows and comic sketches; Burns tribute songs; Burns songs in Rob Roy; and the promotion, from the 1890s, of Burns’s diasporic appeal by Scottish comedians performing to Canadian and US expatriate audiences. The chapter argues that, while music hall played a significant part in mediating and shaping the changing place of Burns in popular culture, by Scottish variety’s twentieth-century heyday Burns was elided into a constructed ‘national’ performance, predicated on tartan, Highland music and dance where, paradoxically, the lowland Burns emerged as the central bardic voice.
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Morgan, Alison. "‘Base brat of reform’: the victimisation of mother and child." In Ballads and songs of Peterloo. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0004.
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A quarter of all casualties at Peterloo were women, even though they comprised only 12% of those present. This apparent victimisation of women by the Manchester Yeomanry Cavalry resulted in the widespread use of the motif of mother and child across a range of poems, other print media and cultural artefacts produced in response to Peterloo, leading to an intensification of impact rather than a dilution through repetition. The introduction traces the involvement of female reformers, particularly in the North West and their representation in graphic satire. Even though this section comprises only eight poems, the trope of woman and child as victims is present in many of the other poems in this collection as well as newspaper articles, graphic satire and other artefacts, resulting in a powerful discourse due to the sense of collectivity engendered by its repeated use. The introduction provides examples of how the representations of Peterloo depicted women and children, illustrating that the poems should be read alongside the caricatures of George Cruikshank and images printed on handkerchiefs, illustrated here by the work of John Slack, and pottery in order to fully understand the power and resonance of this single trope.
Conference papers on the topic "Illustrated songs"
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Yusa, I. Made Marthana. "Dunia Sekar Branding Development through 2D Animation Illustrated Song." In Proceedings of the International Conference on Innovation in Research (ICIIR 2018) – Section: Economics and Management Science. Atlantis Press, 2019. http://dx.doi.org/10.2991/iciir-18.2019.19.
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Leick, Eva. "Encircling Transnational Peace through Khaita – Joyful Dances." In 8th Peace and Conflict Resolution Conference [PCRC2021]. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/pcrc.2021.004.
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Abstract This article investigates how Khaita- Joyful Dances promote an understanding of peace from a transrational and Buddhist perspective. Khaita dances have been created by the Buddhist Dzogchen master Namkhai Norbu as a practice of presence and collaboration, promoting an inner attitude of peace spreading from the individual to the group. Peace is hereby understood as a multi-faceted, intra- as well as interpersonal, dynamic state perceived and experienced not only by the intellectual mind but also through the body and subtle energies. This article is structured in three parts. First, I will explore peace theory in the context of Khaita. Second, I will illustrate the peace understanding promoted by the Tibetan artists through examples from the Khaita songs. The Tibetan song lyrics thereby express the wish for unification amongst Tibetans and the desire for (world) peace. Third, I will investigate the principles of accessible participation, equality as well as collaboration as parameters for peace experiences through examples from the Khaita practice sessions as well as Khaita Kordros, circle dances. The circle dances thereby offer an easy, non-hierarchical immersion in a diverse group of dancers and require presence and self-observation. KEYWORDS: transrational peace, peace theory, circle dance, Tibetan dance, Buddhism
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FRANKENFELD, Christian. ""German forest": a romantic place of longing." In Probleme ale lingvisticii și didacticii limbilor străine: tradiții și inovații. Ion Creangă Pedagogical State University, 2023. http://dx.doi.org/10.46727/c.03-05-2023.p40-45.
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The forest is one of the most popular cultural motifs in German history. Although the extensive forest areas of Germania were already mentioned in ancient times, today’s understanding of the ‘German forest’ is strongly influenced by the Romantic era. In the following paper, the history of the motif will be illustrated using examples from German literature, operas, song, films, TV series and popular science books.
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Dermenji, Igor. "Aspects of creation portrait of a teacher Ion Radu." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.10.
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The article illustrates some biographical moments from the life and activity of Ion Radu, an accordionist and teacher at the Department of Folk Instruments at the College of Music and Pedagogy from Balți. The author presents his contribution to the training and development of the interpretive mastery of the students in the accordion class at the college, and also the rise of the professional activity and his major contribution to the enrichment of the accordion repertoire through numerous transcriptions for this instrument. At the same time, Ion Radu also promotes the folklore traditions, collecting about 150 folk songs from the Danube Bugeac, most of them being presented in the collection of folkloric works „Chiti, Miti”, thus demonstrating the continuity and viability of the local musical folklore.
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Song, Ruxin, and Paul Stanton. "Advances in Deepwater Steel Catenary Riser Technology State-of-the-Art: Part II—Analysis." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79405.
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The Steel Catenary Riser (SCR) concept offers advantages over other riser concepts and has been widely deployed worldwide. The first deepwater SCR was installed in the Gulf of Mexico in 1994. Since then, more than 100 SCRs have been installed for many types of deepwater floaters (Spars, TLPs, SEMIs, and FPSOs) in the deepwater fields of West of Africa, the Gulf of Mexico (GoM), and Offshore Brazil. As the second of two companion papers, this paper presents the state-of-the-art of key analysis techniques of deepwater SCRs while the first paper addresses the design methodology [R. Song, P. Stanton, Ref. 4]. First of all, the procedure for analysis of deepwater SCRs is discussed and presented in more detail than given in the first paper and is also illustrated in an analysis flowchart. Wave theory applicable to deepwater SCR analysis and time domain vs. frequency domain analysis approaches are described and discussed. More focus is given to the strength analysis including discussion and comparison of regular wave and random wave approaches. Attention is paid to the vortex induced vibration (VIV) analysis including discussion of modal response analysis and VIV parameter selections. For SCRs on semisubmersibles and FPSOs, vessel heave-induced VIV needs to be taken into account, and a corresponding time-domain approach is presented. Similarly, for Spars and deep draft semisubmersibles, vortex-induced motion (VIM) fatigue damage of SCRs is discussed in more detail. Particular attention is also given to the analysis of SCR compression in the touch-down zone (TDZ) and corresponding acceptance criteria are presented. The application of fracture mechanics to engineering criticality assessment (ECA) is explored. Two examples of deepwater SCRs corresponding to a semi and a Spar are given to illustrate the presented methodology.
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Zavidovskaia, Ekaterina, and Dmitrii Maiatskii. "COMPARATIVE STUDY OF THE ILLUSTRATIONS OF THE NOVEL INVESTITURE OF THE GODS BASED ON WOODBLOCK EDITIONS AND POPULAR PRINTS NIANHUA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.13.
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The authors of this paper discuss visual material based on the plot of the Ming dynasty novel Investiture of the Gods (Fengshen yanyi, 封神演義), formed on the basis of large corpus of written historical works and Song-Yuan vernacular literature. Various illustrated woodblock and lithographic editions of the novel (published before 1911) are discussed in chronological order with focus on the special features and artistic level of their illustrations, whose content and technique are compared. Popular woodblock prints nianhua from Russian collections are examined in order to trace whether connections with book illustrations exist and what episodes of the novel became more popular and for what reason. The paper refers to materials stored in prominent libraries, museums and research centers of Russia, Europe, US and Asia.
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ZAMFIR, Oana Diana. "Myriam Marbé – Avant-garde and Ideological Neutrality." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2024. https://doi.org/10.35218/icds-2024-0005.
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Myriam Marbé (1931-1997) was part of the Golden Generation of Romanian composers, involved in developing the technique of composition following the model of the European avant-garde. This objective was at odds with the aesthetic of socialist realism officially promoted in the 1950s and 1960s. The composer managed to avoid political conformism due to her style, in which she combines innovative language with musical and spiritual sources of Romanian folklore. The artist’s creative prestige reached a first climax with the famous work Ritual for the thirst of the earth (1968). The interest in capitalizing on ancient forms of expression can also be seen in the work for children's choir and orchestra, Chiuituri (1978). The chiuituri express irrepressible joy, jubilation, but also a type of folkloric manifestation that is specifically Romanian. Myriam Marbé creates an imaginary place of the joy of living. In the article dedicated to this work, Thomas Beimel depicts the Romanian political context of the late '70s in detail. “There are hardly any reasons for such jubilation as expressed in Chiuituri, during the Romanian dictatorship, beyond propaganda formats. The piece is very suitable to illustrate the aesthetic freedoms possible during this regime” Another work by the composer, Des-Cântec (1985), presents a study of melody and its possible functions. The creation refers to two different designs: a Delphic hymn and a quote from a work by Johann Sebastian Bach. The Delphic hymn is articulated in a contemporary manner, while Bach's fragment changes character and appears in the manner of a doina. Myriam Marbé was not concerned with quotes, but with working with songs of different registers and origins that are in a process of permanent metamorphosis.
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Tomoiagă, Ligia. "Names of characters in Game of Thrones: for and against multiculturalism." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/80.
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The Game of Thrones is one of the most popular shows in the world, with numerous audiences since it has been translated into many languages. Like any other such show, the reactions to it function like mirrors of contemporary themes and obsessions. As with most aspects of culture today, ideologues of all types – Marxists, conservatives, traditionalists, Critical Race Theory activists, intersectionalists, feminists, and others – always try to use such widely popular shows to illustrate their ideas and push their agendas. Some aspects of Songs of Ice and Fire have triggered debates on the issue of its characters as being not diverse enough, and thus showing how George R. R. Martin wrote a rather non-progressive book. This paper focuses on the names the author chose for his characters, and argues that the choice of names in the show is due to a wish of the author to evoke important world cultures, to have a sonority that matches the characters’ personalities, and to be both archaic and memorable. I have called such a view a non-ideological and symbolic one, and I think that viewers identify with the characters in the film due to their likes and dislikes, and not according to any kind of ideological claims. Nevertheless, these names can also be considered to be a good illustration of diversity – of ethnic, cultural, and racial background. For such a demonstration the study concentrates on the names of a few of the main characters, trying to come up with possible etymologies (as we know that Martin looked into such names of Medieval England) which are correct from a historical linguistic point of view, but which also can be interpreted as symbolic and have a rich connotation within the literary text.
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Zhang, Mengmeng, Shixiao Fu, Haojie Ren, Runpei Li, and Leijian Song. "A Time Domain Prediction Method for Vortex-Induced Vibrations of a Flexible Pipe With Time-Varying Tension." In ASME 2018 37th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/omae2018-77451.
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Prediction of vortex induced vibration (VIV) for a long-flexible pipe has always been an important concern for the design of risers. Currently, VIV prediction methods are mainly based on the linear beam theory, where the axial tension is treated as time-independent, and the couples between VIV and axial tension are totally ignored. However, experimental results have illustrated strong couples between the axial tension and VIV [1–2]. The purpose of this paper is to develop a time domain VIV prediction model. This model consists of pipe’s structural non-linearity, couplings between axial force, cross-flow/in-line (CF/IL) VIV responses, and the hydrodynamic forces. The hydrodynamic forces are further divided into vortex-induced force in CF and IL directions, and drag force in IL direction. The former one is determined via empirical force model based on forced oscillation test of rigid cylinders. The IL drag coefficients model considering the effects of VIV developed by Song [3] is adopted. VIV responses under these hydrodynamic forces at each time step are solved by Newton-Raphson method. Comparison between present method and the experimental results under uniform flows and shear flows are conducted, which verified the feasibility and reliability of the proposed method. In addition, by comparing the results under constant tension and time-varying tension, it is proved that the time-varying tension has a significant effect on VIV responses, especially under the case of high flow velocity and high vibration mode.
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Shao, Yulong, Jineon Kim, Jae-Joon Song, and Chen He. "Experimental Investigation of Damage Evolution and Strain Fields of 3D-Printed Rock-like Specimens Based on X-Ray Computed Micro-Tomographic Imaging and Digital Volume Correlation." In 58th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2024. http://dx.doi.org/10.56952/arma-2024-0546.
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ABSTRACT: Some researchers have explored the feasibility of replicating the crack behavior of natural rocks with defects using three-dimensional (3D) printing technology. However, few have investigated changes in strain fields during compression experiments, even though this is crucial for understanding the crack behavior of 3D-printed rock-like specimens. This study examines the crack evolution and strain field distribution in the 3D-printed rock-like specimen to address this gap during the compression tests. In this study, a set of in-situ uniaxial compression tests was performed on 3D-printed rock-like specimens with an initial flaw with various inclined angles (α = 30°, 45°, 60°) using the high-resolution Micro-CT scanner with a loading apparatus. Based on the CT images of 3D-printed rock-like specimens obtained at different scanning steps, the 3D reconstruction and digital volume correlation (DVC) processes were applied to illustrate the damage evolution and quantify the 3D interior deformation of 3D-printed rock-like specimens. The results indicated that within the 3D-printed specimens, tensile cracks were first initiated near the internal flaw, followed by shear cracks or tensile-shear mixed cracks at the flaw tips. The characteristics of internal strain distribution before cracking indicated strain localization, and the cracking process of specimens was strongly correlated with radial strain distribution. 1. BACKGROUND Currently, methods for studying rocks' crack behavior, damage characteristics, and failure mechanisms in compression experiments include experimental approaches (such as rock coring and rock analog materials) and numerical simulation methods (such as finite element methods, discrete element methods, and finite difference methods). Due to their superior control and reproducibility, rock analog materials offer a better understanding of the crack behavior of rocks in compression tests. Traditional rock analog materials, including gypsum, sand, and cement-based materials, are prepared by casting methods. However, this method is low-precision, time-consuming, ineffective, and cannot produce samples with complex internal structures. 3D printing technology, one of the representative technologies of the Fourth Industrial Revolution, has been widely used in various fields, including rock mechanics and geotechnical engineering (Jiang et al., 2016; Song et al., 2018; Zhu et al., 2018). Researchers (Shao et al., 2023; Song et al., 2020; Zhou et al., 2020) have found through uniaxial and triaxial compression experiments that powder-based 3D-printed specimens exhibit lower strength, with their mechanical properties only matching those of low-strength sandstones, while resin-based 3D-printed specimens can match the high strength of natural rocks. Asadizadeh et al. (2019) studied the full-field strain evolution and crack propagation behavior of 3D-printed gypsum specimens with different initial defects in Brazilian split tests using Digital Image Correlation (DIC) technology based on powder-based 3D printers. They concluded that tensile cracking dominates fracturing under loading, while shear cracking is challenging. Song et al. (2023a) explored the mechanical response and deformation-cracking behavior of 3D-printed sand specimens with prefabricated flaws, shedding light on how fracture characteristics impact strength and failure modes. The results indicate that the fracture mode of 3D-printed sand specimens strongly depends on the inclination angle of the initial defect.