Academic literature on the topic 'Lyricists'

The need to address this problem is due to increased interest in the origins of traditional national culture and spirituality of our people, growing interest in authentic culture of the Ukrainian ethnic group, and in particular its component – the life of wandering elders-singers. The music of the Ukrainian lyre (kobza) is an organic part of people's worldviews, their thoughts and aspirations, diverse and rich spiritual life. One of the important roles in awakening the spirituality of our people was played by lyre players and kobzars, who carried the fiery Ukrainian word to the people, called for the struggle for freedom, for Cossack glory, for the ancient ancestral Orthodox faith. The article presents an analysis of the formation of lyricism (kobzarism) as a significant part of the cultural heritage of the Ukrainian population of Bukovina. The lyricists are portrayed as witnesses of the life and development of the people in different historical epochs, as well as their influence on knowledge of history, education of patriotism, love for the native land and respect for their ancestors. The purpose. Based on the analysis of literature sources and available historical documents to trace the peculiarities of the process of formation and reproduction of the history of lyricism in Bukovina, as part of the historical heritage of the Ukrainian people. Research methods: retrospective, synthetic analytical and generalizing methods. The scientific novelty lies in the generalization of information about the representatives of Ukrainian epic singing in Bukovina and Bukovina Hutsul region. Conclusions. The biographies of lyricists of Bukovyna, recollections about them, features of Hutsul lyre are given. Lyricism as a unique cultural phenomenon was spread all over Ukraine and in Hutsul region and Bukovyna as well from XVI century till 30ies of the twentieth century. As in the territory of Bukovina, as well as in all Ukraine, industrial production of lyres was not developed - in comparison with similar tools from other countries such lyres were much simpler in the design. The lyre in the Bukovynian Hutsul region had a layer of religiosity, so in addition to the heroic epic, the repertoire included chants and psalms. Well-known lyricists in Bukovyna were Yuriy Fedkovych (“Bukovynskyi Solovyi”), from the village of Putyla, Vasyl Tonievych from the village of Samakova, Petro Dzurak from the village of Dytynets, Dmytro Hentsar from the village of Ryzha (Pylypkove hamlet), Vasyl Hrytsko, Ivan Pokhovych (Hnat) from Sadhora (Chernivtsi).

The Nova Canço Catalana is mainly associated with the artist type of the cantautor, but professional composers and lyricists have also to be taken into account to describe this movement. The articles presents the most prolific and important lyricist of the Nova Canço era, Josep Maria Andreu (1920-2014), who – apart from literary poems – between the 1960’s and the 1990’s wrote the lyrics for 114 original Catalan songs and adapted some 281 foreign song texts to Catalan. Special attention is given to his most successful song, “Se’n va anar”, which he wrote in 1963. An appendix to the article contains an exhaustive list of Andreu’s original work and adaptations.

The song is used to describe vocabulary composed with the purpose of singing. Language is the main medium of poetry and song. Due to the brevity unique to the song, the lyricist does not have the same freedom of language as a poet. Therefore, the use of language is a strong challenge for a lyricist. This linguistic challenge is compounded by the fact that the composition must conform to an audio medium such as a song, as well as under the relevant limitations of the song. The successful writer does not break these technical limitations but successfully overcomes them as in the use of language. The uniqueness of the language used in a high-quality lyric becomes a powerful factor in determining the overall success of the composition. Thus, a lyricist gets a great relief from the use of poetry in creating successful creations by combining a group of ideas in a limited number of words. The purpose of this research paper was to examine the nature of the use of metaphors in modern Sinhala songs. How did the use of metaphor help in creating meaningful lyrics? Is the research problem of this study. Using the works of lyricists Lution Bulathsinghala, Sunil Sarath Perera and Rathna Sri Wijesinghe as the primary source. Content analysis method has been used under qualitative data analysis method for this research and Library study method was used in data collection. The conclusion that can be reached from this study was that the use of metaphor has made a significant contribution in the creation of meaning in the art form of song as well as in providing creative excellence

The article provides a general description of the image of friend and enemy in early Greek lyrics. First of all, the author defines the specificity of the key lexemes of the ancient Greek language for the studied concepts, namely φίλος, and ἐχθρὸς, emphasizing their diversity, ambiguity, “untranslatability” and contextuality. This situation is also connected with the presence of a kind of “dictionary” of both friendship and enmity in the language of the ancient Greeks. It is proved that the source of the designation of a person as a “friend/enemy” for the early Greek lyricists was the work of the archaic epic, namely the works of Homer and Hesiod since both epics and lyricists noted that both gods and humans can be friends. At the same time, it is emphasized that the possibility of friendly relations with the transcendent was widespread in the ancient Near Eastern tradition. By examining the works of such early Greek lyricists as Alcmaeon, Anacreon, Bacchylides, Pindar, Sappho, and Theognis, it is proved that the image of a friend is dual, according to the use of one or another lexeme φίλος or ἑταῖρος. Φίλος denoted a friend with whom a person has a spiritual/emotional affinity, although this did not exclude usefulness, while ἑταῖρος determined the relationship between the mundane and everyday. This distinction between friendship and kinship was also due to the reflections of the pre-Socratics, as they contributed to this clarification by arguing that there are conditions for friendship that do not necessarily exist between family and friends. It has been proved that enemies in the context of the works of the lyricists of the pre-classical period of ancient culture exist not only in the relations between people but also between certain mythological characters. The Greek poets of the pre-classical period did not hate the enemy as such only for some atrocities, but it was a mutual feeling. One was not at odds with a person blindly, thoughtlessly, but because of the corresponding (in)action with which this or that person was associated. The image of the enemy has not only a negative meaning, since negative, sometimes even cruel feelings will be felt towards him, but also positive and friendly ones, if he really deserves it.

Lasgush Poradeci (1899-1987) is one of the most outstanding lyricists of modern Albanian poetry of the first half of the 20th century. He is the author of two poetic volumes: "Vallja e yjeve" (1933) and "Ylli i zemrës" (1937), which made him one of the most prominent Albanian lyricists. Reading and studying the work of this poet had its ups and downs over time. Although after the installation of the communist dictatorship in Albania (1955-1990) there was no proper treatment, no such thing happened in Kosovo. In addition to the publication and reprinting of his work, in Kosovo, books with studies have been written and published about his poetry. Although the list of names of researchers who have dealt with Lasgushi's work is long, in our paper we will highlight only some of the opinions of researchers such as: Rexhep Qosja, Sabri Hamiti, Emin Kabashi and Kujtim Shala.

In this study, we raise a simple question: do STEM (Science, Technology, Engineering and Math) education and employment provide a monetary return to professionals with this specialization and holding STEM jobs? If yes, what is the premium across ages and cohorts? We compare wages of professionals with the STEM education and without it, holding STEM jobs and those working in alternative positions, and with various combinations of education and jobs. We estimate premiums for the whole sample as well as for different age groups and cohorts. For this, we use various large data sets with variables for college majors and occupational positions. The main conclusion is that the STEM specialization brings no significant benefits compared to non-STEM majors and jobs. The premium does not emerge over experience or age; moreover, older groups engaged in STEM-related work tend to experience a wage penalty. As we move from younger to older age cohorts, the wage growth declines which means that wages for younger age cohorts catch up and take over the older ones, even if they were initially lower. These results are reproduced on all available datasets.