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Journal articles on the topic 'Judaism – Songs and music – Texts'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Muszkalska, Bożena. "Kolberg and Jewish Music." Musicology Today 11, no. 1 (2014): 23–30. http://dx.doi.org/10.2478/muso-2014-0010.

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Abstract The world of the Jews must have attracted Kolberg, who as an educated member of the intelligentsia must have been conscious of what was happening in Judaism in his times. The nineteenth century was indeed a time of the flourishing Hasidism, the travelling hazanim, the development of the Jewish Enlightenment movement (the Haskalah), a great numbers of Jewish Tanzhaus openings. Jewish themes also appear in almost every volume of Kolberg’s Complete Works. However, Jews only formed the backdrop for the events taking place among Poles. Only in the case of a few records left by Kolberg can

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2

Thompson, Joseph. "From Judah to Jamaica: The Psalms in Rastafari Reggae." Religion and the Arts 16, no. 4 (2012): 328–56. http://dx.doi.org/10.1163/156852912x651054.

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Abstract Rastafari reggae bears a profound but problematic relation to the Judeo-Christian biblical texts, particularly the Psalms. Involving multiple religious and cultural transmissions, orders of intertextuality, the adaptation of Judaic psalms into reggae songs clearly constitutes some form of appropriation, an act of reinterpretation that has religious, political, cultural, and ethnic implications. This analysis aims to reconcile conflicting narratives explicating this relation and reinterpretation, approving the creative adaptation of biblical texts while resisting a trend in some of the

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Tawa, Nicholas E., and Frederick A. Hall. "Songs I to English Texts." American Music 5, no. 4 (1987): 452. http://dx.doi.org/10.2307/3051454.

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Tawa, Nicholas, and Lucien Poirier. "Songs II to French Texts." American Music 7, no. 1 (1989): 103. http://dx.doi.org/10.2307/3052061.

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5

Szczur, Piotr. "Jan Chryzostom o śpiewie i muzyce. Zarys problematyki." Vox Patrum 67 (December 16, 2018): 599–618. http://dx.doi.org/10.31743/vp.3417.

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This article has been divided into three parts. The first part discusses the importance of singing and music in Jewish and Christian traditions; the second part discusses Chrysostom’s observations on singing and secular music (a lot of space is devoted to criticizing the obscene songs) and Jewish; the last part of the article is devoted to Christian singing. John Chrysostom attributed the great importance of singing and music and pointed to their various positive functions and actions. However, he criticized apotropaic and convivial songs, and theatrical and wedding songs as well. He also spo

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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 81, no. 5 (2025): 616–18. https://doi.org/10.53830/sing.00142.

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Abstract: Three new music publications are featured, two by American publishers, and one by the venerable Italian publisher, Casa Ricordi. 40@40: Volume I is the latest release by NewMusicShelf, forty new songs by forty composers, curated and commissioned by American soprano Laura Strickling. Classical Vocal Reprints has published Phantaste, Opus 8, songs by Kenneth Mahy, American composer, with texts by nineteenth century British fantasy writer George MacDonald. Casa Ricordi has re-released songs by early twentieth century composer Ermanno Wolf-Ferrari, Canzoniere, Opus 17, for Voice and Pian

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Sklavounakis, Georgios. "Semiotics on music charts: The signification of late-blooming hits in contemporary popular music." Punctum. International Journal of Semiotics 9, no. 2 (2023): 189–208. http://dx.doi.org/10.18680/hss.2023.0025.

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Eliseo Verón’s approach to circulation focuses on the gap between production and recognition and the consideration of texts in relation to their contexts of production and consumption. In this paper, we employ Veron’s concepts of grammar of production and grammar of recognition to examine popular songs that reached their peak of success several years after their release. Drawing our case studies from the Hot 100 American singles chart, we combine social semiotics and semiotics of popular music to examine the contexts of the initial songs’ release and their eventual commercial peak while consid

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Spracklan-Holl, Hannah. "Noblewomen’s Devotional Song Practice in ‘Patiençe veinque tout’ (1647–1655), a German Manuscript from the Mid-seventeenth Century." Context, no. 48 (January 31, 2023): 35–51. http://dx.doi.org/10.46580/cx78832.

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"Devotional song in the German vernacular was a large repertory in the seventeenth century; as Robert Kendrick points out, the more than two thousand printed collections of these songs produced at this time attest to a relatively musically literate public that engaged with the repertoire. Most published devotional songs appeared in collections, usually consisting of a foreword or dedications, other poetry, and songs. The songs themselves often appeared without printed musical notation, indicating the use of contrafactum. Both men and women contributed to the German devotional song repertoire;

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CHRISTODOULAKIS, MANOLIS, COSTAS S. ILIOPOULOS, M. SOHEL RAHMAN, and WILLIAM F. SMYTH. "IDENTIFYING RHYTHMS IN MUSICAL TEXTS." International Journal of Foundations of Computer Science 19, no. 01 (2008): 37–51. http://dx.doi.org/10.1142/s0129054108005528.

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A fundamental problem in music is to classify songs according to their rhythm. A rhythm is represented by a sequence of “Quick” (Q) and “Slow” (S) symbols, which correspond to the (relative) duration of notes, such that S = 2Q. In this paper, we present an efficient algorithm for locating the maximum-length substring of a music text t that can be covered by a given rhythm r.

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Cruz, Fabielle Rocha. "Intertextuality and recontextualization in music: an analysis of songs." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 23, no. 46 (2024): 72–85. http://dx.doi.org/10.12957/palimpsesto.2024.81405.

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Critical Discourse Analysis is an area in constant development, especially with the relevance of multimodal texts, which are becoming increasingly frequent due to the presence of technology. Considering the significance of CDA in applied linguistics and other areas, this article aims to present the concepts of intertextuality and recontextualization based on the use of music, considering that many texts are based on other works. With the conceptualization of these two essential elements in the area of Critical Discourse Analysis, as well as the understanding of multimodality as texts that use

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MapurangaChitando, TapiwaEzra. "Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe." Religion and Theology 13, no. 1 (2006): 72–89. http://dx.doi.org/10.1163/102308012x13397496507667.

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AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study

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Stallsmith, Glenn. "Protestant Congregational Song in the Philippines: Localization through Translation and Hybridization." Religions 12, no. 9 (2021): 708. http://dx.doi.org/10.3390/rel12090708.

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Historically, the language of Protestant congregational song in the Philippines was English, which was tied to that nation’s twentieth-century colonial history with the United States. The development of Filipino songs since the 1970s is linked to this legacy, but church musicians have found ways to localize their congregational singing through processes of translation and hybridization. Because translation of hymn texts from English has proven difficult for linguistic reasons, Papuri, a music group that produces original Tagalog-language worship music, bypasses these difficulties while relying

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Lee, Jonathan Rhodes. "Texts, Drugs, and Rock ’n’ Roll." Journal of Musicology 38, no. 3 (2021): 296–328. http://dx.doi.org/10.1525/jm.2021.38.3.296.

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Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyric

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Porras, J. Yuri. "Contextualizing Extant Music for Song-texts in Selected Plays by Lope de Vega." Comedia Performance 21, no. 1 (2024): 166–83. http://dx.doi.org/10.5325/comeperf.21.0166.

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Abstract: In recent years, there has been an expanded effort to identify, rescue, and transcribe Iberian early-modern theatrical music scattered in Cancioneros––period anthologies of secular music and song-texts attributed to a range of named and anonymous composers. Some of these songbooks are the primary sources of songs that appear in composer Jesús Bal y Gay’s (1905–1993) Treinta canciones de Lope de Vega. Although the scores’ song-texts derive from various lyric, prose, and dramatic works, in honor of Donald R. Larson, this article will focus on the latter. The extant music in Treinta can

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Važanová, Jadranka. "Functions of Ceremonial Wedding Tunes, Svadobné Nôty, in the Context of Traditional Culture in Slovakia and in a Cross-Cultural Perspective." Yearbook for Traditional Music 40 (2008): 21–32. http://dx.doi.org/10.1017/s0740155800012078.

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Within the varied repertoire of songs sung in the course of the traditional village wedding ceremony in Slovakia, specific songs were performed—usually by women without instrumental accompaniment—at particular, mostly ritual moments with context-appropriate texts to one or two recurring, locally identified wedding tunes called svadobné nôty. Today, these songs are still known by village people and are occasionally also performed within or outside the wedding context. Moreover, this phenomenon of a common local wedding melody seems to be spread among the wedding traditions of central, southern,

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Shrestha, Tara Lal. "Music as therapy in Bhim Birag’s selected songs." Nepal Journal of Multidisciplinary Research 5, no. 5 (2022): 17–30. http://dx.doi.org/10.3126/njmr.v5i5.51799.

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An art or an artist is not beyond influences of the dominant historical- politico-cultural- forces. However, an art is a platform of meditation, where an artist can remain beyond historicity and exists as a healer. Birag lived an enduring painful physical life, but he used music as a therapy. In his simple looking serious songs he exists as a therapist, and it looks as if beyond his ideological ‘I’. In search of an escape from his painful life, he engaged his moments in composing serious songs, which embody certain level of therapeutic essence. This paper presents an outcome of the qualitative

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Ziv, Naomi. "Reactions to “patriotic” and “protest” songs in individuals differing in political orientation." Psychology of Music 46, no. 3 (2017): 392–410. http://dx.doi.org/10.1177/0305735617713119.

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Music is commonly used in political contexts, to strengthen attitudes and group cohesion. The reported research examined reactions to music representing national values or contesting them in individuals with different political orientations, on issues related to national pride, cohesion and free expression. In Study 1, 100 Israeli participants heard three “patriotic” or “protest” songs and rated their agreement with statements regarding them. Beyond a number of main effects of music and of political orientation, several interactions between these two variables were found. For right-wing partic

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Hascher-Burger, Ulrike. "Music and Meditation: Songs in Johannes Mauburnus's Rosetum exercitiorum spiritualium." Church History and Religious Culture 88, no. 3 (2008): 347–69. http://dx.doi.org/10.1163/187124108x426538.

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AbstractThe Rosetum exercitiorum spiritualium et sacrarum meditationum of Johannes Mauburnus is considered the most extensive and influential treatise on meditation in the circles of the late Devotio Moderna. It was printed in five editions from the late fifteenth to the early seventeenth century. Besides instructions for numerous meditations of varying length, this treatise contains seven religious songs which were intended to stir up the emotions and facilitate the correct disposition for meditation. These songs were created as contrafacts, meaning that the newly composed texts were sung to

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Gill, Mary. "The Music of Amy Grant." Journal of Communication and Religion 13, no. 1 (1990): 12–24. http://dx.doi.org/10.5840/jcr19901312.

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This study examines the rock musical forms and lyrics chosen by Amy Grant by comparing them to traditional Christian principles. For purposes of this comparison traditional Christian principles are understood to be a primary belief in one God and Jesus Christ as His Son. In as much as Grant's music is consistent with this belief, her style may be considered traditionally Christian; however, religious leaders and musicians have criticized her style and message. This study attempts to determine to what extent Grant portrays a traditional Christian perspective through her music. A major contribut

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20

Ye, Ye, and Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective." Journal of Chinese Literature and Culture 8, no. 1 (2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.

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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have

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Kim, Seon ah. "From early composed art songs in Japanese occupation period to korean style art songs: the correlation between poetry and music in Park Tae-joon s art Song." Korean Society of Music Education Technology 47 (April 30, 2021): 209–28. http://dx.doi.org/10.30832/jmes.2021.47.209.

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A study on the analysis of Park Tae-joon s art song is the first step in studying the process of transforming from early composing song to Korean style art songs in the early modern era of Korea. IIt focused on changing musical factors of his pieces from his initial period of time until the time when he established matured technique. I analyzed how the music expressed the lyrics when it sings a poem and how Korean elements were used in Park Tae-joon s music works. Generally Park Tae-joon composed simple music with regular phrase such as children s songs and hymns. Sometimes he tried to e

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Shreffler, Anne C. ""Mein Weg geht jetzt vorüber": The Vocal Origins of Webern's Twelve-Tone Composition." Journal of the American Musicological Society 47, no. 2 (1994): 275–339. http://dx.doi.org/10.2307/3128880.

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The essay explores Anton Webern's earliest encounters with the twelve-tone method in the context of his previous decade-long preoccupation with vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16, Three Traditional Rhymes, op. 17, Three Songs, op. 18, and sketches and drafts from 1922 to 1925 suggests that Webern did not accept Arnold Schoenberg's method uncritically, but alternately rejected and embraced it. The religious and folk texts that Webern set during these years, hardly anonymous ciphers, were essential in helping him to articulate his own twelve-tone technique

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Kupina, Darina, and Galyna Smirnova. "Music interpretation of Shakespeare’s plays poetry in the beginning of the XX century into the solo song genre." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 46–56. http://dx.doi.org/10.33287/222033.

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The purpose of this scientific article is to prove the potential of Shakespeare’s poetry „Fear no More” for giving rise to multiple interpretations in a genre of a solo song. Methods. This study is based on a historical approach, which is used to determine the types of musical genres present in Shakespeare’s plays and trace the history of setting playwright's texts by British composers. The systems approach, comparative and analytical methods are used by investigator to determine the specifics of the form and music interpretation of texts. The scientific novelty of this investigative article i

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Jacob, Uri. "A Musical Stereotype? Repetitive Formations of Women’s Voices in the Trouvère Repertory." Journal of Musicology 40, no. 4 (2023): 456–84. http://dx.doi.org/10.1525/jm.2023.40.4.456.

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This article focuses on the effects of extensive melodic repetition in twelve Old French monophonic songs preserved in chansonniers (song books) from the thirteenth century. All these songs share a specific formal pattern: at least three initial poetic verses (or pairs of verses) set to the same melody. While the methodological point of departure for this study revolves around musical form and melodic construction, five songs within this group of twelve involve women speakers within their poetic texts—a relative rarity in medieval song. In addition to reviewing the cultural, cognitive, emotion

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Metzer, David. "Reclaiming Walt: Marc Blitzstein's Whitman Settings." Journal of the American Musicological Society 48, no. 2 (1995): 240–71. http://dx.doi.org/10.2307/3128815.

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Between 1925 and 1928, Marc Blitzstein composed nine songs to texts by Walt Whitman. These settings highlight homoerotic and corporeal thematics, which dominant views of the poet had either obscured or denied. Challenging such interpretations, Blitzstein advanced a reclaiming of Whitman by homosexual readers. Subtitled "songs for a coon shouter," four of these settings introduce African American elements, either through "coon song" gestures or through incorporation of jazz idioms. These appropriations were intended to enhance Whitman's eroticism. They also create tensions between the "primitiv

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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture." Jurnal Humaniora 30, no. 1 (2018): 27. http://dx.doi.org/10.22146/jh.32137.

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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of r

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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture." Jurnal Humaniora 30, no. 1 (2018): 27. http://dx.doi.org/10.22146/jh.v30i1.32137.

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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of r

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Nagode, Aleš. "Benjamin Ipavec‘s Solo Songs on German Texts: Slovenian Patriot to German Muse." Musicological Annual 54, no. 1 (2018): 23–30. http://dx.doi.org/10.4312/mz.54.1.23-30.

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Benjamin Ipavec is deemed to be the key composer of Slovenian nationalistic movement in the 19th Century. But he also composed solo songs with piano accompaniment on German texts. He is typical representative of musical “biedermeier”. He attempted to achieve the synthesis of perfect form and profound emotional expression.

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Mikhaylova, Alena, and Tatyana Bocharova. "USE OF BARBARISMS IN POPULAR MUSIC TEXTS." Bulletin of the Donetsk National University. Series D: Philology and Psychology 3 (June 27, 2024): 111–18. https://doi.org/10.5281/zenodo.12564923.

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The article addresses the problem of increasing the amount of foreign vocabulary in Russian-language texts. The use of barbarisms in modern domestic popular songs is considered. The authors describe some features of this type of discourse, which act as prerequisites for the emergence of a large amount of foreign language units, in particular the desire to follow speech trends. The content of the concepts of barbarism and foreign language inclusions is briefly outlined. Various points of view on the issue are provided. General criteria for the selection and classification of the lexical units u

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Sladký, Aleš. "Blues lyrics in teaching music and Czech at the grammar school." Musica paedagogia pilsnensis 1, no. 1 (2021): 96–103. http://dx.doi.org/10.24132/zcu.musica.2021.01.96-103.

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My study is entitled: “Blues lyrics in teaching music and Czech at the grammar school” and now I will outline its fundamental contents, the basic conclusions of my study and the meth- ods used to help me reach these conclusions. The study is conceived as a comparison of five American and five Czech blues compositions, which are considered the most popular and basic works of the genre. I did this by analyzing several available charts focused on foreign blues songs and then compiled my list of the five “most popular” American blues songs based on the number of occurrences and locations of the so

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Tiron, Ekaterina L. "Fly agaric songs of the Koryaks-Nymylans." Sibirskiy filologicheskiy zhurnal, no. 1 (2023): 26–45. http://dx.doi.org/10.17223/18137083/82/2.

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The tradition of singing songs under the influence of fly agaric intoxication has been recorded among many peoples of Siberia. However, this topic still needs to be studied, with publications of texts, translations, and sheet music being scarce. This paper presents samples of Koryak-Nymylan fly agaric songs recorded in the 1990s–2000s in the Karaginsky and Olyutorsky districts of Kamchatka. There are two types of songs associated with different stages of interaction with fly agarics. When fly agarics are found, special songs-dances of a joyful character are sung due to the beliefs about the co

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Van der Mescht, Heinrich. "Herbert Howells’s “Two Afrikaans songs” (1929)." Acta Academica: Critical views on society, culture and politics 33, no. 3 (2001): 231–51. https://doi.org/10.38140/aa.v33i3.655.

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The English composer Herbert Howells (1892-1983) did not understand the Afrikaans language, but he did hear it spoken when he travelled in South Africa in 1921. In his letters from South Africa he made very negative comments on the sound of the language. In this article his “Two Afrikaans Songs” of 1929 (Eensaamheid and Vryheidsgees, on texts by Jan F E Celliers) are analysed in order to determine whether his settings in a language foreign to him are convincing. It is concluded that the songs reveal remarkable sensitivity to the Afrikaans texts. Howells probably consulted the Afrikaans-speakin

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Gramit, David. "Orientalism and the Lied: Schubert's "Du liebst mich nicht"." 19th-Century Music 27, no. 2 (2003): 97–115. http://dx.doi.org/10.1525/ncm.2003.27.2.97.

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Franz Schubert's "Du liebst mich nicht" (D. 756) has often been discussed as an extreme example of chromatic harmony, but one important possible motivator of the song's extravagance--its representation of one of the most exotic of the Orientalizing texts that Schubert set--has largely been overlooked. By considering the song and its interpretation by several recent critics, this essay suggests that the exotic is here represented not by overtly Orientalistic stylistic features, but rather by a pervasive ambiguity, which parallels the features ascribed to the Oriental in a variety of contemporar

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Karpowicz, Agnieszka. "Azbest Punk." Kultura Popularna 3, no. 53 (2018): 11–20. http://dx.doi.org/10.5604/01.3001.0010.8262.

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The article analyses the lyrics of Polish punk rock songs showing their relationship with urban culture. By considering punk culture as an urban culture it interprets an impact of architecture and its materiality on the character of music and texts.

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Borčak, Lea Wierød. "The sound of nonsense - on the function of nonsense words in pop songs." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 1 (2017): 27–43. http://dx.doi.org/10.7146/se.v7i1.97177.

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Nonsense words in songs challenge the common assumption that song meaning resides in song texts. Songs containing verbal nonsense thus make evident that meaning cannot be deduced from one element (e.g. text), but rather emerges as a constant negotiation between the different medialities involved: music, text, the visual, the aural etc. It has been pointed out by several musicologists that content analysis of texts, despite having had a long historical tradition, is nonetheless insufficient or even downright misleading as a methodological approach to interpreting songs. The extensive use of non

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Muralytė-Eriksonė, Giedrė. "Benjamin britten-henry purcell realizations: musical language correlation with original compositions." South Florida Journal of Development 3, no. 2 (2022): 2749–56. http://dx.doi.org/10.46932/sfjdv3n2-092.

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English music and literature has deep traditions. In twentieth century the composers had the idea to refresh English music and literature, to show the beauty, freedom, and vividness of the English language. Benjamin Britten (1913–1976) was inspired by Henry Purcell‘s (1659–1695), the Baroque composers, musical language, which made use of texts in an expressive and free manner and was very modern in his living time. The identified patterns will be used to explain the linkages between the musical text in Britten’s realizations of several of Purcell’s, which were expressive and free, more like im

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YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING." Eighteenth Century Music 2, no. 2 (2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.

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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, littl

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Ishizuka, Kenkichi, and Takehisa Onisawa. "Evaluation of Operetta Songs Generation System Based on Impressions of Story Scenes." Journal of Advanced Computational Intelligence and Intelligent Informatics 16, no. 2 (2012): 256–65. http://dx.doi.org/10.20965/jaciii.2012.p0256.

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This paper describes a system which composes operetta songs fitting to adjectives representing producer’s impressions of story scenes. Inputs to the system are original theme music, story texts and adjectives representing producer’s impressions of story scenes. The system composes variations on theme music and lyrics based on impressions of story scenes using Kansei information processing in order to convey producer’s impression of a story to audiences. Evolutionary computation is also applied to generations of variations and lyrics. Subjects experiments are performed to verify the usefulness

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Liu, Chen, and Rong Yang. "Consuming popular songs online: Phoenix Legend’s audiences and Douban Music." cultural geographies 24, no. 2 (2017): 295–310. http://dx.doi.org/10.1177/1474474016684125.

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This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotiona

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Kablova, T. B., and S. O. Pavlova. "Ukrainian folk songs in music education of pupils." Musical art in the educological discourse, no. 2 (2017): 128–32. http://dx.doi.org/10.28925/2518-766x.20172.12832.

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The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic

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Bao, Dat. "Exploring the impact of songs on student cognitive and emotional development." International Journal of Visual and Performing Arts 5, no. 2 (2023): 134–43. http://dx.doi.org/10.31763/viperarts.v5i2.1217.

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This scholarly article investigates the impact of diverse songs on second language (L2) learning, emphasizing cognitive, kinesthetic, and emotional engagement. This research recognizes songs as literary expressions, specifically through the lens of lyrics as literary texts, and explores their historical and ongoing significance in L2 education. Beyond linguistic proficiency, the article delves into the broader implications of integrating songs into language education. Educators observe that incorporating music fosters a positive learning environment, contributing to increased motivation and en

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Domansky, Valery A., and Dorothea Redepenning. "I. S. Turgenev’s Late Vocal Translations for Music Albums of Pauline Viardot." Two centuries of the Russian classics 7, no. 1 (2025): 372–425. https://doi.org/10.22455/2686-7494-2025-7-1-372-425.

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The article examines I. S. Turgenev’s late translations for the music albums of Pauline Viardot. The authors analyse the vocal album of Pauline Viardot from 1874. For the first time, the article provides a linguacultural analysis of the translations of poems from this album (from German into Russian and from Russian into German), and attributes the authorship of the translations belonging to Turgenev. The authors of the article consider another aspect of the co-creation of Turgenev with Pauline Viardot, which remained virtually unexplored until now, i. e., the creation of the music albums of “

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Braun, Michael. "Bartóks originale Vokalmusik Gemeinsamkeiten in Textwahl, Textbehandlung und Stil." Studia Musicologica 53, no. 1-3 (2012): 199–210. http://dx.doi.org/10.1556/smus.53.2012.1-3.15.

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The inventory of Béla Bartók’s original vocal compositions produces a heterogeneous impression: as regards to scoring, form, the derivation of the text, and the attitude of expression, the opera Bluebeard’s Castle, the two collections of songs opp. 15 and 16, Cantata profana for Soli, Choir and Orchestra, and the a cappella series Elmúlt időkből (From Bygone Times) and Twenty-Seven Two- and Three-Part Choruses apparently do not form a homogeneous group. However, they do share the common characteristic of being born as original music out of pre-existing texts. Stylistic features and peculiariti

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Higgins, Paula. "Parisian nobles, a Scottish princess, and the woman's voice in late medieval song." Early Music History 10 (October 1991): 145–200. http://dx.doi.org/10.1017/s0261127900001121.

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Perhaps the best-known songs of Antoine Busnoys are those whose texts conceal in acrostics or puns some form of the name ‘Jacqueline d'Aqueville’ (for the song texts and translations see Appendix 1).The first letters in each line of A vous sans autre (no. 2) and Je ne puis vivre ainsi toujours (no. 3) yield the acrostics ‘A Iaqveljne’ and ‘Jaqueljne d'Aqvevjle’ respectively; the first line of A que ville est abhominable (no. 4) makes a pun on the surname ‘Aqueville’; and the incipit of Ja que lui ne si actende (no. 1) forms an ambiguous series of monosyllables that can also be read as the name

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Van der Mescht, Heinrich. "Practise what you preach: Stanford's German songs." Acta Academica: Critical views on society, culture and politics 33, no. 1 (2001): 65–98. https://doi.org/10.38140/aa.v33i1.633.

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Charles Villiers Stanford (1852-1924) had an immense influence on the young composers who were his students at the Royal College of Music in London where he taught from 1883. Unlike many other composers, Stanford committed his views on composition to paper: they are to be found in his book Musical composition: a short treatise for students (1911) and in certain chapters (especially “The composition of music”) of his book Interludes, records and reflections (1922). The application of his strict ideas on composition to his own German songs (all eighteen on texts by Heine), reveals that he genera

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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.

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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis

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Honisch, Erika Supria. "Drowning Winter, Burning Bones, Singing Songs." Journal of Musicology 34, no. 4 (2017): 559–609. http://dx.doi.org/10.1525/jm.2017.34.4.559.

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In 1587 the Flemish composer Carolus Luython, employed by Holy Roman Emperor Rudolf II, published an unusual motet collection in Prague. Titled Popularis anni jubilus, the collection describes the sounds and rituals beloved by Central European peasants, recasting them as the ecstatic songs of rustic laborers (jubilus) famously celebrated by Saint Augustine in his Psalm commentaries. Highlighting the composer’s collaboration with the Czech cleric who wrote the motet texts, this study serves as a corrective to the interpretative frameworks that have broadly shaped discourses on Central European

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van der Geest, Sjaak. "Orphans in Highlife: An Anthropological Interpretation." History in Africa 31 (2004): 425–40. http://dx.doi.org/10.1017/s0361541300003582.

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In 1971 and 1973 I carried out anthropological fieldwork in Kwahu-Tafo, a rural town of about 5,000 inhabitants on the Kwahu plateau in the Eastern Region of Ghana. The first research project was a case study of the family I was staying with; the second was on ideas and practices concerning sex and birth control. As usual in anthropological research, my attention was drawn to many other things around me. One of these was Highlife. This short essay discusses the texts of some Highlife songs, which intriguingly related to my experiences in the field.It was impossible not to be struck by the impo

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Ковалів, Юрій. "Український інтермедіальний резистанс у мілітарному світі". Українська література: історичний досвід і перспективи, № 3 (25 серпня 2024): 101–12. http://dx.doi.org/10.31652/3041-1084-2024-3-08.

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This article explores the historical persistence and motivation behind the intermedial practice of transforming verbal texts into musical ones, particularly focusing on Ukrainian embaterias and songs inspired by the russia-ukraine war, rich in motives from the heroics of the rank to the lyrical and tragic experiences of the resistance personality. It examines the dynamic synthesis of poetic and musical texts, tracing back to the practices of poets, composers, and singers from the Legion of the Ukrainian Sich Riflemen (Ukrainski Sichovi striltsi, USS). Drawing on the experience of Cossack and O

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Pedneault-Deslauriers, Julie. "Webern’s Angels." Journal of Musicology 32, no. 1 (2015): 78–114. http://dx.doi.org/10.1525/jm.2015.32.1.78.

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Anton Webern’s Two Songs, Op. 8 on Poems by Rainer Maria Rilke (1910-1926) stand at the intersection between the composer’s spiritual ideals involving a fascination for angels, his personal circumstances at the time of the songs’ composition, and the literary influences of Weininger, Balzac, and especially Rilke. The Lieder absorb the Rilkean notions of transcendence and “intransitive love,” themes developed in the novel The Notebooks of Malte Laurids Brigge, the source of Webern’s texts. According to Rilke, lovers access the higher spiritual realm of angels by forsaking (rather than yearning

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