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Academic literature on the topic 'Japanese songs'
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Journal articles on the topic "Japanese songs"
1
Putri, Annisa, and Meira Anggia Putri. "Analisis Gaya Bahasa Metafora Pada Lirik Lagu Karya LiSA." Omiyage : Jurnal Bahasa dan Pembelajaran Bahasa Jepang 4, no. 1 (2021): 62–69. http://dx.doi.org/10.24036/omg.v4i1.225.
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Song is a literary work that is enjoyed by all people, from young people to adults. In the song lyrics, there are many language styles, especially metaphorical styles. Metaphorical language style is an implicit comparative language style. One of the functions of using metaphors in writing song lyrics is to add beauty to the lyrics. Japanese songs are one of the most popular songs by Japanese students or learners, anime enthusiasts and the general public. LiSA is one of the popular Japanese singers whose songs are widely enjoyed. In this study, researchers analyzed the metaphorical language style of LiSA's song lyrics. This study aims to determine the types and meanings of metaphors in LiSA's song lyrics. This type of research is qualitative research with descriptive methods. The data in this study are in the form of phrases containing metaphors in the lyrics of LiSA's songs. The source of the data taken is the lyrics of a song by LiSA which is an anime soundtrack consisting of 8 songs including Adamas, Catch the Moment, Datte Atashi no Hero, Gurenge, Rally Go Round, Rising Hope, Shirushi, and Unlasting. This study uses the theory of Stephen Ullmann. Based on the results of the study, there were 4 types of metaphors, namely anthropomorphic metaphors with 9 data, synesthetic metaphors with 9 data, abstract metaphors with 22 data, and animal metaphors with 2 data. Besides that, there are different meanings in each metaphorical expression.
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Waseda, Minako. "Looking Both Ways: Gi Songs and Musical Exoticism in Post-World War II Japan." Yearbook for Traditional Music 36 (2004): 144–64. http://dx.doi.org/10.1017/s0740155800020506.
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GI songs or shinchū-gun songu in Japanese are legacies of the U.S. occupation of Japan, which started in 1945 with Japan's defeat in the Pacific War. Although the occupation officially ended in 1952, many American soldiers continued to arrive and remained in Japan even after 1952. This was due to the outbreak of the Korean War (1950-53), which made Japan America's advance base. GI songs generally refer to compositions addressed to American soldiers stationed in Japan during this occupation period and through the 1950s.
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Hrykun, Yu. "Educational and entertainment audiovisual aids in teaching the Japanese language: mnemonic song supported by video as a tool of edutainment." Scientific and methodological journal "Foreign Languages", no. 4 (January 2, 2024): 35–57. http://dx.doi.org/10.32589/1817-8510.2023.4.295051.
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Introduction. This article is dedicated to the problem of efficiency of using the multimedia aids in Japanese language teaching at the modern stage considering peculiarities of perception of today’s students (students of Net Generation). On the base of the mentioned above as the object of our research were chosen video clips from Youtube for teaching Japanese language which have mnemonic song as an element of edutainment. Тhe purpose of this article is to show the potential of mnemonic song which is supporting the images of learning content during teaching Japanese and also to show efficiency of video clips with mnemonic songs. Methods. We have provided the analytical review of the recent tendencies in teaching, using multimedia in particular, and demonstrated its benefits and efficiency. Results. Having analyzed mentioned above educational and entertainment video clips with mnemonic songs we developed the detailed classifications of those basing on such criteria as the object of teaching (vocabulary, grammar, writing), peculiarities of layout of study material (visual and audial), made detailed description of those structure and pointed those special aspects. Also we provided the classification of the Japanese mnemonic songs and demonstrated its connection with other classifications mentioned above. Conclusion. On the basis of the conducted analysis it’s possible to state that the educational and entertainment video clips with mnemonic songs can be considered the effective tool of teaching Japanese language for the students of modern generation since those correspond to their peculiarities of perception and improve memorizing of content in entertaining mode which makes studying Japanese more effective at different stages.
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Hrykun, Yuliia. "EDUCATIONAL AND ENTERTAINMENT AUDIOVISUAL AIDS IN TEACHING JAPANESE LANGUAGE: MNEMONIC SONG SUPPORTED BY VIDEO AS A TOOL OF EDUTAINMENT." Scientific and methodological journal "Foreign Languages", no. 1 (March 13, 2024): 40–49. http://dx.doi.org/10.32589/1817-8510.2024.1.298903.
Full textAbstract:
Introduction. This article is dedicated to the problem of efficiency of using the multimedia aids in Japanese language teaching at the modern stage considering peculiarities of perception of today’s students (students of Net Generation). On the base of the mentioned above as the object of our research were chosen video clips from Youtube for teaching Japanese language which have mnemonic song as an element of edutainment. Тhe purpose of this article is to show the potential of mnemonic song which is supporting the images of learning content during teaching Japanese and also to show efficiency of video clips with mnemonic songs. Methods. We have provided the analytical review of the recent tendencies in teaching, using multimedia in particular, and demonstrated its benefits and efficiency. Results. Having analyzed mentioned above educational and entertainment video clips with mnemonic songs we developed the detailed classifications of those basing on such criteria as the object of teaching (vocabulary, grammar, writing), peculiarities of layout of study material (visual and audial), made detailed description of those structure and pointed those special aspects. Also we provided the classification of the Japanese mnemonic songs and demonstrated its connection with other classifications mentioned above. Conclusion. On the basis of the conducted analysis it’s possible to state that the educational and entertainment video clips with mnemonic songs can be considered the effective tool of teaching Japanese language for the students of modern generation since those correspond to their peculiarities of perception and improve memorizing of content in entertaining mode which makes studying Japanese more effective at different stages.
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Nakano, Tomoyasu, Kazuyoshi Yoshii, and Masataka Goto. "Musical Similarity and Commonness Estimation Based on Probabilistic Generative Models of Musical Elements." International Journal of Semantic Computing 10, no. 01 (2016): 27–52. http://dx.doi.org/10.1142/s1793351x1640002x.
Full textAbstract:
This paper proposes a novel concept we call musical commonness, which is the similarity of a song to a set of songs; in other words, its typicality. This commonness can be used to retrieve representative songs from a set of songs (e.g. songs released in the 80s or 90s). Previous research on musical similarity has compared two songs but has not evaluated the similarity of a song to a set of songs. The methods presented here for estimating the similarity and commonness of polyphonic musical audio signals are based on a unified framework of probabilistic generative modeling of four musical elements (vocal timbre, musical timbre, rhythm, and chord progression). To estimate the commonness, we use a generative model trained from a song set instead of estimating musical similarities of all possible song-pairs by using a model trained from each song. In experimental evaluation, we used two song-sets: 3278 Japanese popular music songs and 415 English songs. Twenty estimated song-pair similarities for each element and each song-set were compared with ratings by a musician. The comparison with the results of the expert ratings suggests that the proposed methods can estimate musical similarity appropriately. Estimated musical commonnesses are evaluated on basis of the Pearson product-moment correlation coefficients between the estimated commonness of each song and the number of songs having high similarity with the song. Results of commonness evaluation show that a song having higher commonness is similar to songs of a song set.
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Reynaldi, Vito Faisal, and Anisa Arianingsih. "CODE SWITCHING IN THE SONGS MISSING AND SPECIAL KISS BY NANIWA DANSHI." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 7 (June 26, 2024): 224–31. http://dx.doi.org/10.34010/98ezpw45.
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This study aims to describe code-switching in the lyrics of the songs Special Kiss and Missing. The subject of this research is the song entitled Special Kiss and Missing Song by Naniwa Danshi. The object of this research is the code-switching contained in these two songs. The qualitative method was employed in the study is descriptive, Specifically, referring to research utilizing descriptive analyses presented through song lyrics. The songs "Special Kiss" and "Missing" exhibit instances of external code-switching from Japanese to English. The findings of this study highlight distinct characteristics that emerge from analyzing these two songs: 1. The analysis reveals the utilization of two types of code-switching in the two songs. 2. In "Special Kiss," intra-sentential code-switching is frequently employed, whereas in "Missing," inter-sentential code-switching is more prevalent 3. In these two songs, intra-sentential code-switching predominates, with 12 instances compared to inter-sentential code-switching, which only occurs 7 times
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Yeni, Yeni, and Gede Satya Hermawan. "Penggunaan Nomina Kyoku dan Uta pada Kolom Komentar Youtube." Jurnal Pendidikan Bahasa Jepang Undiksha 7, no. 2 (2021): 97. http://dx.doi.org/10.23887/jpbj.v7i2.37588.
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This paper describes the use of words that are synonymous or have the same meaning. The words chosen are Kyoku and Uta, each of which refers to the meaning of the song. For Japanese language learners, the word Uta is better known to refer to the meaning of a song, and Ongaku refers to the meaning of music. This study will show that in its use the word Uta can be replaced with the word Kyoku, which generally refers to the meaning of the song. But Kyoku shows a more specific meaning. The data is taken from the YouTube comments on popular Japanese songs. Three songs were selected that are in the top three of the Oricon Chart, namely: Gomen ne Finger Crossed (Nogizaka 46); Hitori ni Shinai yo (Kanjani 8), and Pale Blue (Kenshi Yonezu).
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Kelly, William H. "Mediating Modernity Through Popular Song: The geography of visual images illustrating enka in the context of karaoke and thematic parallels with Arabesk." GLOBAL PERSPECTIVES ON JAPAN, no. 1 (March 31, 2017): 175–206. http://dx.doi.org/10.62231/gp1.160001a07.
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It is often said that enka, a popular song genre which has been closely associated with karaoke-singing since its inception in the mid-1970s, expresses the true Japanese heart. Although enka is by no means an entirely uniform song genre, encompassing some degree of stylistic and thematic variation, enka songs are characteristically melancholy, expressing themes related to separation, lost love and loneliness, as well as a nostalgia for the past as expressed most potently through the concept of furusato (hometown), but also through a panoply of symbolic images which serve to contrast contemporary, modern, urban Japan with its more traditional, rural counterpart of another (better) age. Focusing on the visual images used to illustrate enka songs in the context of karaoke and their categorisation by the karaoke industry, this paper examines how, through a series of oppositions –rural and urban, past and present, western and Japanese– such images serve not only as a symbolic discourse mediating modernisation, but also to articulate a collective notion of Japanese identity, at least as it is expressed through the emotive symbolism of enka songs. Finally, the paper explores parallels between enka and the Turkish popular song genre, Arabesk, both in terms of the sentiments and themes expressed in song lyrics and with reference to the wider backdrop of rapid change and social dislocation characteristic of the historical contexts within which both genres developed and thrived.
9
Suzuki, Reiji, Shinji Sumitani, Naren Naren, et al. "Field observations of ecoacoustic dynamics of a Japanese bush warbler using an open-source software for robot audition HARK." Journal of Ecoacoustics 2, no. 2 (2018): 1. http://dx.doi.org/10.22261/jea.eyaj46.
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We report on a simple and practical application of HARK, an easily available and portable system for bird song localization using an open-source software for robot audition HARK, to a deeper understanding of ecoacoustic dynamics of bird songs, focusing on a fine-scaled temporal analysis of song movement — song type dynamics in playback experiments. We extended HARKBird and constructed a system that enables us to conduct automatic playback and interactive experiments with different conditions, with a real-time recording and localization of sound sources. We investigate how playback of conspecific songs and playback patterns can affect vocalization of two types of songs and spatial movement of an individual of Japanese bush-warbler, showing quantitatively that there exist strong relationships between song type and spatial movement. We also simulated the ecoacoustic dynamics of the singing behavior of the focal individual using a software, termed Bird song explorer, which provides users a virtual experience of acoustic dynamics of bird songs using a 3D game platform Unity. Based on experimental results, we discuss how our approach can contribute to ecoacoustics in terms of two different roles of sounds: sounds as tools and subjects.
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Kasai, Amane. "Dubbed in patois: Musical mimicry involving the Chinese in wartime Japanese popular songs." East Asian Journal of Popular Culture 10, no. 1 (2024): 29–42. http://dx.doi.org/10.1386/eapc_00123_1.
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This article examines the politics of cultural differentiation in wartime Japan, especially from the viewpoint of linguistic imperialism and musical mimicry, by researching official documents, newspapers and magazines, as well as investigating popular songs. Various sources from this period demonstrate that Japanese critics, musicians and musicologists were conscious of the cultural difference between Asian regions, even while the government propagated a unified East Asia. Different actors pursued contradictory objectives of cultural assimilation and dissimilation, reflecting tensions and contradictions in both popular attitudes and official policy. On the other hand, the boundary was distorted in musical practices, as seen in the way different languages were selected and used in the lyrics of wartime popular songs. This article analyses two cases as examples of this phenomenon: (1) popular songs sung by Chinese singers, mostly female, in Japanese patois, and (2) songs by Japanese singers in broken and role language. Even during the Second Sino-Japanese War, Chinese and Japanese singers visited each other’s countries on the pretext of ‘goodwill’ to record songs and participate in shows or radio broadcasts for local audiences.